A member of Muddy Waters' legendary late 1940s-1950s band, Jimmy Rogers pioneered a blues guitar style that made him one of the most revered sidemen of all time. Rogers also had a significant if star-crossed career as a singer and solo artist for Chess Records, releasing the classic singles "That's All Right" and "Walking By Myself." In Blues All Day Long, Wayne Everett Goins mines seventy-five hours of interviews with Rogers' family, collaborators, and peers to follow a life spent in the blues. Goins' account takes Rogers from recording Chess classics and barnstorming across the South to a late-in-life renaissance that included new music, entry into the Blues Hall of Fame, and high profile tours with Eric Clapton and the Rolling Stones. Informed and definitive, Blues All Day Long fills a gap in twentieth century music history with the story of one of the blues' eminent figures and one of the genre's seminal bands.

The Penderyn 2020 Music Book Prize (UK edition) Living Blues Critics Choice Best Blues Book of 2019 Living Blues Readers Choice Best Blues Book of 2019 Certificate of Merit in the Best Historical Research in Recorded Blues, Soul, Gospel, or R&B category from ARSC (Association for Recorded Sound Collections) An essential story of blues lore, black culture, and American music history Robert Johnson's recordings, made in 1936 and 1937, have profoundly influenced generations of singers, guitarists, and songwriters. Yet until now, his short life—he was murdered at the age of 27—has been poorly documented. Gayle Dean Wardlow has been interviewing people who knew Johnson since the early 1960s, and he was the person who discovered Johnson's death certificate in 1967. Bruce Conforth began his study of Johnson's life and music in 1970 and made it his mission to fill in what was still unknown about him. In this definitive biography, the two authors relied on every interview, resource, and document, much of it material no one has seen before. This is the first book about Johnson that documents his lifelong relationship with family and friends in Memphis, details his trip to New York, uncovers where and when his wife Virginia died and the impact this had on him, fully portrays the other women Johnson was involved with and tells exactly how and why he died and who gave him the poison that killed him. Up Jumped the Devil will astonish blues fans worldwide by painting a living, breathing portrait of a man who was heretofore little more than a legend.

Through Townsend's easy reminiscences, the guitarist Lonnie Johnson, the pianists Walter Davis and Roosevelt Sykes, and the promoter Jessie Johnson come vividly to life, along with scores of other individuals both remembered and forgotten who left their mark on a key musical genre."--BOOK JACKET.

How do you love and not like the same thing at the same time? This was the riddle that met Mississippi writer B. Brian Foster when he returned to his home state to learn about Black culture and found himself hearing about the blues. One moment, Black Mississippians would say they knew and appreciated the blues. The next, they would say they didn't like it. For five years, Foster listened and asked: "How?" "Why not?" "Will it ever change?" This is the story of the answers to his questions. In this illuminating work, Foster takes us where not many blues writers and scholars have gone: into the homes, memories, speculative visions, and lifeworlds of Black folks in contemporary Mississippi to hear what they have to say about the blues and all that has come about since their forebears first sang them. In so doing, Foster urges us to think differently about race, place, and community development and models a different way of hearing the sounds of Black life, a method that he calls listening for the backbeat.

Blues Book of the Year —Living Blues Association of Recorded Sound Collections Awards for Excellence Best Historical Research in Recorded Blues, Gospel, Soul, or R&B–Certificate of Merit (2018) 2023 Blues Hall of Fame Inductee - Classic of Blues Literature category With this volume, Lynn Abbott and Doug Seroff complete their groundbreaking trilogy on the development of African American popular music. Fortified by decades of research, the authors bring to life the performers, entrepreneurs, critics, venues, and institutions that were most crucial to the emergence of the blues in black southern vaudeville theaters; the shadowy prehistory and early development of the blues is illuminated, detailed, and given substance. At the end of the nineteenth century, vaudeville began to replace minstrelsy as America’s favorite form of stage entertainment. Segregation necessitated the creation of discrete African American vaudeville theaters. When these venues first gained popularity, ragtime coon songs were the standard fare. Insular black southern theaters provided a safe haven, where coon songs underwent rehabilitation and blues songs suitable for the professional stage were formulated. The process was energized by dynamic interaction between the performers and their racially-exclusive audience. The first blues star of black vaudeville was Butler “String Beans” May, a blackface comedian from Montgomery, Alabama. Before his bizarre, senseless death in 1917, String Beans was recognized as the “blues master piano player of the world.” His musical legacy, elusive and previously unacknowledged, is preserved in the repertoire of country blues singer-guitarists and pianists of the race recording era. While male blues singers remained tethered to the role of blackface comedian, female “coon shouters” acquired a more dignified aura in the emergent persona of the “blues queen.” Ma Rainey, Bessie Smith, and most of their contemporaries came through this portal; while others, such as forgotten blues heroine Ora Criswell and her protégé Trixie Smith, ingeniously reconfigured the blackface mask for their own subversive purposes. In 1921 black vaudeville activity was effectively nationalized by the Theater Owners Booking Association (T.O.B.A.). In collaboration with the emergent race record industry, T.O.B.A. theaters featured touring companies headed by blues queens with records to sell. By this time the blues had moved beyond the confines of entertainment for an exclusively black audience. Small-time black vaudeville became something it had never been before—a gateway to big-time white vaudeville circuits, burlesque wheels, and fancy metropolitan cabarets. While the 1920s was the most glamorous and remunerative period of vaudeville blues, the prior decade was arguably even more creative, having witnessed the emergence, popularization, and early development of the original blues on the African American vaudeville stage.