| Introduction |
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1 | (3) |
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4 | (1) |
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The Roots of The Blues: 1619--1919 |
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5 | (23) |
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5 | (1) |
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History and Origins of the Blues |
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6 | (3) |
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African Musical Traits in African American Music |
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9 | (1) |
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African American Spirituals |
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10 | (3) |
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Early Black Secular Music |
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13 | (1) |
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14 | (3) |
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17 | (4) |
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Social Conditions at the Birth of the Blues: 1870s--1900 |
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17 | (1) |
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18 | (2) |
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20 | (1) |
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21 | (2) |
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23 | (2) |
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Learning to Play or Sing the Blues |
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25 | (2) |
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27 | (1) |
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The 1920s: Documented Beginnings of the Classic and Rural Blues |
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28 | (16) |
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28 | (2) |
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Ma Rainey and Her Influence on the Blues |
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30 | (3) |
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Bessie Smith: Empress of the Blues |
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33 | (4) |
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The Recordings and Importance of Bessie Smith |
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35 | (2) |
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He Done Me Wrong: Classic Blues Subjects |
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37 | (2) |
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Other Blues Women of the 1920s |
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39 | (3) |
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42 | (1) |
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Jazz Influences on the Blues |
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43 | (1) |
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43 | (1) |
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The Folk Blues: 1920--1940 |
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44 | (38) |
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44 | (1) |
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African American Musical Styles |
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44 | (1) |
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Why the Classic Blues Were Recorded Before the Folk Blues |
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45 | (2) |
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47 | (3) |
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50 | (2) |
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52 | (19) |
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52 | (2) |
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Robert Johnson: His Life, the Music, the Controversies, and the Legend |
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54 | (15) |
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The Impact of Robert Johnson |
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69 | (1) |
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Other Mississippi Artists |
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70 | (1) |
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Piedmont and Other Regional Styles |
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71 | (2) |
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Leadbelly and Lonnie Johnson |
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73 | (1) |
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Mr. Charley's Blues: White Blues Performers |
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74 | (3) |
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77 | (1) |
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The Role of Individual Instruments |
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77 | (3) |
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Memphis Minnie: Women and the Folk Blues |
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80 | (1) |
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81 | (1) |
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Rhythm and Blues and the Beginning of Electric Blues: 1940--1960 |
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82 | (18) |
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82 | (1) |
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Chicago Blues: 1935--1950 |
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83 | (3) |
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86 | (2) |
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The Blues Go Electric: T-Bone Walker |
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86 | (2) |
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Muddy Waters and the Chicago Delta Sound |
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88 | (1) |
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John Lee Hooker and B.B. King |
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89 | (1) |
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The Record Business in Postwar America |
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90 | (3) |
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Rhythm and Blues vs. the Blues |
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93 | (1) |
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Texas Goes to California: The LA R&B scene |
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94 | (1) |
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New York and the Doo-wop Groups |
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95 | (1) |
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96 | (1) |
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Rock and Roll and the Blues: 1954--1960 |
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97 | (2) |
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99 | (1) |
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The Blues Revival: 1960--1980 |
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100 | (30) |
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100 | (1) |
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101 | (12) |
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The Strange Career of Josh White |
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102 | (1) |
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Blues Scholarship and Rediscovered Blues Singers |
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103 | (2) |
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Protest Music and the Blues |
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105 | (3) |
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The Young, White Blues Singers |
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108 | (3) |
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The New Independent Record Labels |
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111 | (1) |
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Why the Blues Became Popular? |
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112 | (1) |
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113 | (3) |
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American Blues-Rock Bands |
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116 | (1) |
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117 | (1) |
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117 | (1) |
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118 | (2) |
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Building a New Blues Audience |
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120 | (1) |
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Louisiana Blues: The Sound of the Swamp |
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121 | (1) |
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The Blues Roll on in Chicago |
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122 | (2) |
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B.B. King's Career and Influence |
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124 | (1) |
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125 | (4) |
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128 | (1) |
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129 | (1) |
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The New Generation of Blues Artists: 1980--Today |
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130 | (61) |
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130 | (1) |
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The Late 1970s: The Blues Hiatus |
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130 | (1) |
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131 | (1) |
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Stevie Ray Vaughan and the Austin Blues Scene |
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132 | (1) |
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Independent Labels Fill the Void |
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133 | (1) |
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The Return of Robert Johnson |
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134 | (1) |
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The Emergence of Young, Black Blues Artists |
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135 | (2) |
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Blacks, Whites, and the Blues |
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137 | (2) |
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139 | (1) |
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The Young Turks: The Blues Rockers |
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140 | (1) |
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141 | (1) |
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142 | (1) |
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142 | (1) |
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Current Outlets for the Blues |
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142 | (1) |
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The Martin Scorsese Blues Series |
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143 | (2) |
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Feel Like Going Home (d. Martin Scorsese; written by Peter Guralnick) |
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145 | (1) |
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The Soul of a Man (d. and written by Wim Wenders) |
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146 | (2) |
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The Road to Memphis (d. Richard Pierce; written by Robert Gordon) |
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148 | (2) |
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Warming by the Devil's Fire (d. and written by Charles Burnett) |
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150 | (1) |
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Godfathers and Sons (d. Mark Levin) |
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151 | (1) |
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Red, White and Blues (d. Mike Figgis) |
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152 | (2) |
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Piano Blues (d. Clint Eastwood) |
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154 | (1) |
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155 | (2) |
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157 | (1) |
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157 | (14) |
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157 | (1) |
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158 | (1) |
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158 | (1) |
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158 | (1) |
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Social and Musical Background of the Blues |
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159 | (2) |
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161 | (1) |
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162 | (1) |
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163 | (1) |
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Urban Blues, Rockabilly, Rock Blues, the Folk and Blues Revivals, British Blues |
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163 | (1) |
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164 | (1) |
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164 | (1) |
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Cajun, Zydeco, and Swamp Pop |
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165 | (1) |
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165 | (1) |
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Biographies and Autobiographies |
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165 | (2) |
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167 | (1) |
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Songbooks (Words and Music) |
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168 | (1) |
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Record Companies and the Music Business |
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168 | (1) |
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Miscellaenous: Record Guides, Regional Blues, etc. |
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169 | (2) |
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171 | (15) |
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171 | (1) |
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Black Secular Music Before the Blues |
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172 | (2) |
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Classic Blues Singers: Women of the 1920s |
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174 | (1) |
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174 | (1) |
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175 | (1) |
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175 | (1) |
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176 | (1) |
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177 | (1) |
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177 | (1) |
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177 | (1) |
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178 | (1) |
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179 | (1) |
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Social Protest and Commentary |
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179 | (1) |
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Chicago: Early Electric Blues |
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179 | (1) |
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180 | (2) |
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Chicago: Classic Electric Blues |
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182 | (1) |
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White American and the British Blues Revivalists |
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182 | (2) |
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184 | (1) |
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Cajun, Zydeco, and Louisiana Swamp Rock |
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184 | (1) |
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The New Black Blues Artists |
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184 | (1) |
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185 | (1) |
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185 | (1) |
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Instructional Materials and Videos |
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186 | (5) |
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186 | (2) |
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Audio and Visual Materials |
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188 | (1) |
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Performance and Documentary Videos |
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188 | (3) |
| Index |
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191 | |
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