Music of Louisiana was at the heart of rock-and-roll in the 1950s. Most fans know that Jerry Lee Lewis, one of the icons, sprang out of Ferriday, Louisiana, in the middle of delta country and that along with Carl Perkins and Elvis Presley he was one of the very first of these -white boys playing black music.- The genre was profoundly influenced by New Orleans, a launch pad for major careers, such as Little Richard's and Fats Domino's.

The untold -rest of the story- is the story of swamp pop, a form of Louisiana music more recognized by its practitioners and their hits than by a...

The essence of country music for many aficionados is harmony singing, and country harmony, for most of these, is synonymous with the blended voices of Ira and Charles Louvin.

This book is the first full study of the Louvin Brothers' remarkable career and of their rich, complex music. Based on extensive...

Many studies of African-American gospel music spotlight history and style. This one, however, is focused mainly on grassroots makers and singers. Most of those included here are not stars. A few have received national recognition, but most are known only in their own home areas. Yet their collective stories presented in this book indicate that black gospel music is one of the most prevalent forms of contemporary American song.

The Johnson Family Singers, a gospel group from North Carolina, rose to national acclaim during the 1940s and 1950s. This memoir was written by one of the three sons who sang with them. It focuses not only upon family singers that became famous on popular radio but also upon American gospel music. Although neglected by scholars and historians, it is loved by aficionados and is cherished by many devoted Christians everywhere.

Here, in a frank, objective narrative Kenneth M. Johnson looks back on his singing days and details both the successes and struggles the Johnsons experienced during...

In 1969 Gerhard Kubik chanced to encounter a Mozambican labor migrant, a miner in Transvaal, South Africa, tapping a cipendani, a mouth-resonated musical bow. A comparable instrument was seen in the hands of a white Appalachian musician who claimed it as part of his own cultural heritage. Through connections like these Kubik realized that the link between these two far-flung musicians is African-American music, the sound that became the blues.

Such discoveries reveal a narrative of music evolution for Kubik, a cultural anthropologist and ethnomusicologist. Traveling in Africa,...

Hank Williams (1923--1953) is revered in the top tier of the country-music pantheon, and his forlorn ballads are classics in the country songbook. An inspired, natural genius, Williams was the complete country balladeer. Though he knew almost nothing about the technicalities of music, his plaintive songs---Cold, Cold Heart, - -Your Cheatin' Heart, - and -I'm So Lonesome I Could Cry---affirm that he knew everything about its heart.

Williams was to country music what Elvis Presley was to rock 'n' roll. With his legend already firmly established, he was only twenty-nine when he died...

Jimi Hendrix called Earl Hooker -the master of the wah-wah pedal.- Buddy Guy slept with one of Hooker's slides beneath his pillow hoping to tap some of the elder bluesman's power. And B. B. King has said repeatedly that, for his money, Hooker was the best guitar player he ever met.

Tragically, Earl Hooker died of tuberculosis in 1970 when he was on the verge of international success just as the Blues Revival of the late sixties and early seventies was reaching full volume.

Second cousin to now-famous bluesman John Lee Hooker, Earl Hooker was born in Mississippi in 1929, and reared in...

American soul music of the 1960s is one of the most creative and influential musical forms of the twentieth century. With its merging of gospel, R&B, country, and blues, soul music succeeded in crossing over from African American culture into the general pop culture. Soul became the byword for the styles, attitudes, and dreams of an entire era.

Female performers were responsible for some of the most enduring and powerful contributions to the genre. All too frequently overlooked by the star-making critics, seven of these women are profiled in this book -Maxine Brown, Ruby Johnson, Denise...

Yank Rachell and his mandolin playing style moved every musician lucky enough to hear him perform in the early sixties. When he died in April 1997, he left behind a stack of unanswered requests to tour Europe and to play blues festivals in the United States.

In Blues Mandolin Man: The Life and Music of Yank Rachell, Richard Congress delivers the first biography of a family man whose playing inspired and energized the likes of David Honeyboy Edwards, Sleepy John Estes, and Henry Townsend. No other biography discusses the mandolin's influence and role in the blues.

Guitar great...

Elmore James, Sonny Boy Williamson, Little Milton, and James Waller-all of these musical powerhouses furthered their recording careers at a little label on once-thriving Farish Street, the historic black district of Jackson, Mississippi.

These blues, gospel, and R&B all-stars are featured in Trumpet Records: Diamonds on Farish Street, the detailed story of this thriving recording label of the mid-1950s.

What caused it to spring to life in Jackson? It began in 1949, when a white woman named Lillian McMurry and her husband purchased a hardware...