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Steve Cushing’s third volume of interviews from Blues Before Sunrise puts fans face-to-face with music legends and industry figures. The volume kicks off with a roundtable featuring drumming all-stars Earl Phillips, S.P. Leary, Odie Payne, Clifton James, and Fred Below discussing their lives and craft. Cushing segues to one-on-one interviews with Howlin’ Wolf sideman Phillips; Leary, a fellow Wolf alum and player with Sonny Boy Williamson II; Payne, known for his kick drum technique; longtime Muddy Waters drummer Willie “Big Eyes” Smith; next-generation standard bearer and session mainstay Casey Jones; and King Records house drummer Phillip Paul.

Interviews with guitarists include talks with Honeyboy Edwards, whose friendships with innumerable Chicago blues legends (and Robert Johnson) predated the Great Migration; jazz player turned bluesman Guitar Shorty; and figures like Texas native Roy Gaines, Johnny Heartsman of Oakland, and Memphis-born Floyd Murphy. A final section offers interviews with vocalists, record label founders, and other figures. Music scholar Wayne Everett Goins provides an introduction on blues history, blues style, and the careers of the featured artists.

Interviews: Joel Dorn, Honeyboy Edwards, Slim Gaillard, Roy Gaines, Johnny Heartsman, Franz Jackson, Casey Jones, S.P. Leary, Floyd Murphy, Jimmy “T-99” Nelson, Johnny Parth, Phillip Paul, Odie Payne, Earl Phillips, Art Sheridan, Guitar Shorty, Willie “Big Eyes” Smith, and Norvel Taborn

David Whiteis delves into how the current and upcoming Chicago blues generations carry on this legacy. Drawing on in-person interviews, Whiteis places the artists within the ongoing social and cultural reality their work reflects and helps create. Beginning with James Cotton, Eddie Shaw, and other bequeathers, he moves through an all-star council of elders like Otis Rush and Buddy Guy and on to inheritors and today's heirs apparent like Ronnie Baker Brooks, Shemekia Copeland, and Nellie "Tiger" Travis.

Insightful and wide-ranging, Blues Legacy reveals a constantly adapting art form that, whatever the challenges, maintains its links to a rich musical past.

Through revealing portraits of selected local artists and slice-of-life vignettes drawn from the city’s pubs and lounges, Chicago Blues encapsulates the sound and spirit of the blues as it is lived today. As a committed participant in the Chicago blues scene for more than a quarter century, David Whiteis draws on years of his observations and extensive interviews to paint a full picture of the Chicago blues world, both on and off the stage. 

In addition to portraits of blues artists he has personally known and worked with, Whiteis takes readers on a tour of venues like East of Ryan and the Starlight Lounge, home to artists such as Jumpin’ Willie Cobbs, Willie D., and Harmonica Khan. He tells the stories behind the lives of past pioneers, including Junior Wells, pianist Sunnyland Slim, and harpist Big Walter Horton, whose music reflects the universal concerns with love, loss, and yearning that continue to keep the blues so vital for so many.

Winner of the 2016 Living Blues Award for Blues Book of the Year

The complete history of early blues guitar, with portraits of its first stars—now in paperback

Since the early 1900s, blues and the guitar have traveled side by side. This book tells the story of their pairing from the first reported sightings of blues musicians, to the rise of nationally known stars, to the onset of the Great Depression, when blues recording virtually came to a halt.

Like the best music documentaries, Early Blues: The First Stars of Blues Guitar interweaves musical history, quotes from celebrated musicians (B.B. King, John Lee Hooker, Ry Cooder, and Johnny Winter, to name a few), and a spellbinding array of life stories to illustrate the early days of blues guitar in rich and resounding detail. In these chapters, you’ll meet Sylvester Weaver, who recorded the world’s first guitar solos, and Paramount Records artists Papa Charlie Jackson, Blind Lemon Jefferson, and Blind Blake, the “King of Ragtime Blues Guitar.” Blind Willie McTell, the Southeast’s superlative twelve-string guitar player, and Blind Willie Johnson, street-corner evangelist of sublime gospel blues, also get their due, as do Lonnie Johnson, the era’s most influential blues guitarist; Mississippi John Hurt, with his gentle, guileless voice and syncopated fingerpicking style; and slide guitarist Tampa Red, “the Guitar Wizard.”

Drawing on a deep archive of documents, photographs, record company ads, complete discographies, and up-to-date findings of leading researchers, this is the most comprehensive and complete account ever written of the early stars of blues guitar—an essential chapter in the history of American music.

The familiar story of Delta blues musician Robert Johnson, who sold his soul to the devil at a Mississippi crossroads in exchange for guitar virtuosity, and the violent stereotypes evoked by legendary blues “bad men” like Stagger Lee undergird the persistent racial myths surrounding “authentic” blues expression. Fictional Blues unpacks the figure of the American blues performer, moving from early singers such as Ma Rainey and Big Mama Thornton to contemporary musicians such as Amy Winehouse, Rhiannon Giddens, and Jack White to reveal that blues makers have long used their songs, performances, interviews, and writings to invent personas that resist racial, social, economic, and gendered oppression.

Using examples of fictional and real-life blues artists culled from popular music and literary works from writers such as Walter Mosley, Alice Walker, and Sherman Alexie, Kimberly Mack demonstrates that the stories blues musicians construct about their lives (however factually slippery) are inextricably linked to the “primary story” of the narrative blues tradition, in which autobiography fuels musicians' reclamation of power and agency.

Long Lost Blues exposes for the first time the full scope and importance of early popular blues to mainstream American culture in the early twentieth century. Closely analyzing sheet music and other print sources that have previously gone unexamined, Muir revises our understanding of the evolution and sociology of blues at its inception.

A Classic of Blues Literature inductee into the Blues Foundation's Blues Hall of Fame

Drawing on archives and interviews with musicians, Red River Blues remains an acclaimed work of blues scholarship. Bruce Bastin traces the origins of the music to the turn of the twentieth century, when African Americans rejected slave songs, worksongs, and minstrel music in favor of a potent new vehicle for secular musical expression. Bastin looks at the blues' early emerging popularity and its spread via the Great Migration, delves into a wealth of field recordings, and looks at the careers of Brownie McGhee, Blind Boy Fuller, Curly Weaver, Sonny Terry, and many other foundational artists.

Merging literary analysis with cultural criticism and biographical study, Patricia R. Schroeder explores Johnson's ongoing role as a cultural icon. Schroeder's detailed analysis engages key images and myths about the blues musician (such as the Faustian crossroads exchange of his soul for guitar virtuosity). Navigating the many competing interpretations that swirl around him, Schroeder reveals the cultural purposes served by the stories and the storytellers. The result is a fascinating examination of the relationships among Johnson's life, its subsequent portrayals, and the forces that drove the representations.

Offering penetrating insights into both Johnson and the society that perpetuates him, Robert Johnson, Mythmaking, and Contemporary American Culture is essential reading for blues fans and cultural critics interested in a foundational musical figure.

"Exceptionally illuminating and philosophically sophisticated."
---Ted Cohen, Professor of Philosophy, University of Chicago

"In this audacious and long-awaited book, Joel Rudinow takes seriously a range of interrelated issues that most music theorizing is embarrassed to tackle. People often ask me about music and spirituality. With Soul Music, I can finally recommend a book that offers genuine philosophical insight into the topic."
---Theodore Gracyk, Professor of Philosophy, Minnesota State University Moorhead

The idea is as strange as it is commonplace---that the "soul" in soul music is more than just a name, that somehow the music truly taps into something essential rooted in the spiritual notion of the soul itself. Or is it strange? From the civil rights movement and beyond, soul music has played a key, indisputable role in moments of national healing. Of course, American popular music has long been embroiled in controversies over its spiritual purity (or lack thereof). But why? However easy it might seem to dismiss these ideas and debates as quaint and merely symbolic, they persist.

In Soul Music: Tracking the Spiritual Roots of Pop from Plato to Motown, Joel Rudinow, a philosopher of music, takes these peculiar notions and exposes them to serious scrutiny. How, Rudinow asks, does music truly work upon the soul, individually and collectively? And what does it mean to say that music can be spiritually therapeutic or toxic? This illuminating, meditative exploration leads from the metaphysical idea of the soul to the legend of Robert Johnson to the philosophies of Plato and Leo Strauss to the history of race and racism in American popular culture to current clinical practices of music therapy.

Joel Rudinow teaches in the Philosophy and Humanities Departments at Santa Rosa Junior College and is the coauthor of Invitation to Critical Thinking and the coeditor of Ethics and Values in the Information Age.

The rich history of the acoustic guitar and its impact on the music world.

In 2020, guitar expert John Stubbings released a limited-edition book on the American acoustic guitar that sold out in days. Now, The Devil Is in It returns with additional research and subject matter for a new generation of readers. Stubbings traveled the country and met with guitar makers, players, collectors, and historians to unravel the long and rich history of the acoustic guitar, its evolution, and the music it has made over the last hundred years.

Starting with the eighteenth-century European classical guitar, luthiers altered the instrument, changing the way musicians played them, and in turn the music they made. This slow but steady transformation created the iconic American flat-top that became influential across genres and rooted itself in cultural significance. The guitar developed from an obscure instrument into a superstar of the musical world, rivaling then overshadowing its competition. Tied to artists from Gillian Welch and Tracy Chapman to Taylor Swift and Ed Sheeran, the acoustic guitar maintains its eminence in American music and culture. The story of an alluring instrument that shaped the music of the twentieth century, The Devil Is in It is a must-read for lovers of the acoustic guitar and the music it has made.

Finalist, 2024 Lesbian Memoir/Biography, Lambda Literary Award for Arts and Culture
Winner — Walter & Lillian Lowenfels Criticism Award, 45th Annual American Book Awards, Before Columbus Foundation

A queer, Black “biography in essays” about the performer who gave us “Hound Dog,” “Ball and Chain,” and other songs that changed the course of American music.

Born in Alabama in 1926, raised in the church, appropriated by white performers, buried in an indigent’s grave—Willie Mae “Big Mama” Thornton's life events epitomize the blues—but Lynnée Denise pushes past the stereotypes to read Thornton’s life through a Black, queer, feminist lens and reveal an artist who was an innovator across her four-decade-long career.

Why Willie Mae Thornton Matters “samples” elements of Thornton’s art—and, occasionally, the author’s own story—to create “a biography in essays” that explores the life of its subject as a DJ might dig through a crate of records. Denise connects Thornton’s vaudevillesque performances in Sammy Green’s Hot Harlem Revue to the vocal improvisations that made “Hound Dog” a hit for Peacock Records (and later for Elvis Presley), injecting music criticism into what’s often framed as a cautionary tale of record-industry racism. She interprets Thornton’s performing in men’s suits as both a sly, Little Richard–like queering of the Chitlin Circuit and a simple preference for pants over dresses that didn’t have a pocket for her harmonica. Most radical of all, she refers to her subject by her given name rather than "Big Mama," a nickname bestowed upon her by a white man. It's a deliberate and crucial act of reclamation, because in the name of Willie Mae Thornton is the sound of Black musical resilience.