Tools

LEADER 03345cam a2200397 i 4500

001 ocm01745143;

005 20141212173341.0;

008 750423r1975 nyuaf 001 0 eng ;

010 a| 75014114;

020 a| 0306706784;

020 a| 9780306706783;

035 a| (Sirsi) o01745143;

035 a| (OCoLC)1745143;

049 a| EREMa| NPEE;

050 10 a| ML3556.C475b| C7 1975;

082 0 a| 784;

092 a| 784.53b| C38c;

100 1 a| Charters, Samuel,d| 1929-2015.=| ^A39526;

245 14 a| The country blues /c| Samuel B. Charters ; with a new introduction by the author.;

260 a| New York :b| Da Capo Press,c| 1975.;

300 a| xix, 12-288 pages, 8 leaves of plates :b| illustrations ;c| 22 cm;

336 a| text2| rdacontent;

337 a| unmediated2| rdamedia;

338 a| volume2| rdacarrier;

500 a| Reprint of the edition published by Rinehart, New York.;

500 a| Includes index.;

505 0 a| A music "...extraordinarily wild and unaccountable." -- "That gives me the blues to go back to Dallas." -- The crazy blues -- Blind Lemon -- "You don't see into these blues like me" -- "...The noisiest damn place in the world." -- Dr. Stokey, Dr. Benson, Dr. C.E. Hangerson -- The Memphis jug bands -- "Goin' to Kansas City" -- Leroy Carr -- The 14000's -- Blind Willie -- "Big Bill Broomsley" -- "I got the bluebird beat" -- 49, 51, 61 -- Robert Johnson -- "Hey, mama, hey, pretty girl." -- Brownie McGhee -- "The mommies and daddies from coast to coast" -- Muddy Waters -- Lightnin' -- Appendix: Recorded blues backgrounds -- Appendix: The blues recordings.;

520 a| From the field cries and work chants of southern negroes emerged a rich and vital music called the country blues, an intensely personal expression of the pains and pleasures of black life. This music--recorded during the twenties by men like Blind Lemon Jefferson, Big Bill Broonzy, and Robert Johnson--had all but disappeared from memory until the folk music revival of the late 1950's created a new and appreciable audience for the country blues. This book recreates the special world of the country bluesman--that lone black performer accompanying himself on the acoustic guitar, his music a rich reflection of his own emotional life. Virtually rewriting the history of the blues, the author reconstructs its evolution and dissemination, from the first tentative soundings on the Mississippi Delta through the emergence, with Elvis Presley, of rock and roll. His carefully-researched biographies of near-legendary performers like Lonnie Johnson, Blind Boy Fuller, and Tampa Red--coupled with his perceptive discussions of their recordings--pay tribute to a kind of artistry that will never be seen or heard again. And his portraits of the still-strumming Sonny Terry, Brownie McGhee, Muddy Waters, and Lightnin' Hopkins--point up the undying strength and vitality of the country blues.;

650 0 a| Country musicx| History and criticism.=| ^A228769;

650 0 a| Blues (Music)x| History and criticism.=| ^A24598;

919 a| BOOK;

590 a| Little-101616;

596 a| 2 3;

998 a| 93238;

999 a| ML3556.C475 C7 1975w| LCc| 1i| 310372001089631d| 2/23/2023e| 1/25/2023f| 7/18/2025g| 4l| MCSm| JMUSICn| 11r| Ys| Yt| MCSSBKu| 5/11/1988x| BOOKz| MCIRCo| .STAFF. enhanced 10/2/25 -jjabo| .STAFF. Copy Statement : c.1;

The country blues / Samuel B. Charters ; with a new introduction by the author.

Author/creator	Charters, Samuel
Format	Book
Publication Info	New York : Da Capo Press, 1975.
Description	xix, 12-288 pages, 8 leaves of plates : illustrations ; 22 cm
Subjects	Country music--History and criticism. Blues (Music)--History and criticism.

Contents	A music "...extraordinarily wild and unaccountable." -- "That gives me the blues to go back to Dallas." -- The crazy blues -- Blind Lemon -- "You don't see into these blues like me" -- "...The noisiest damn place in the world." -- Dr. Stokey, Dr. Benson, Dr. C.E. Hangerson -- The Memphis jug bands -- "Goin' to Kansas City" -- Leroy Carr -- The 14000's -- Blind Willie -- "Big Bill Broomsley" -- "I got the bluebird beat" -- 49, 51, 61 -- Robert Johnson -- "Hey, mama, hey, pretty girl." -- Brownie McGhee -- "The mommies and daddies from coast to coast" -- Muddy Waters -- Lightnin' -- Appendix: Recorded blues backgrounds -- Appendix: The blues recordings.
Abstract	From the field cries and work chants of southern negroes emerged a rich and vital music called the country blues, an intensely personal expression of the pains and pleasures of black life. This music--recorded during the twenties by men like Blind Lemon Jefferson, Big Bill Broonzy, and Robert Johnson--had all but disappeared from memory until the folk music revival of the late 1950's created a new and appreciable audience for the country blues. This book recreates the special world of the country bluesman--that lone black performer accompanying himself on the acoustic guitar, his music a rich reflection of his own emotional life. Virtually rewriting the history of the blues, the author reconstructs its evolution and dissemination, from the first tentative soundings on the Mississippi Delta through the emergence, with Elvis Presley, of rock and roll. His carefully-researched biographies of near-legendary performers like Lonnie Johnson, Blind Boy Fuller, and Tampa Red--coupled with his perceptive discussions of their recordings--pay tribute to a kind of artistry that will never be seen or heard again. And his portraits of the still-strumming Sonny Terry, Brownie McGhee, Muddy Waters, and Lightnin' Hopkins--point up the undying strength and vitality of the country blues.
Local note	Little-101616
General note	Reprint of the edition published by Rinehart, New York.
General note	Includes index.
LCCN	75014114
ISBN	0306706784
ISBN	9780306706783

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Library	Location	Call Number	Status	Item Actions
Music	Closed Stacks - Ask at Circulation Desk	ML3556.C475 C7 1975	✔ Available	Place Hold

The country blues / Samuel B. Charters ; with a new introduction by the author.

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