'You the funkiest man alive.' Miles Davis' accolade was the perfect expression of John Lee Hooker's apotheosis as blues superstar: recording with the likes of Van Morrison, Keith Richards and Carlos Santana; making TV commercials (Lee Jeans); appearing in films (The Blues Brothers); and even starring in Pete Townshend's musical adaptation of Ted Hughes' story The Iron Man. His was an extraordinary life. Born in the American deep south, he moved to Detroit and then, in a career spanning over fifty years, recorded hypnotic blues classics such as 'Boogie Chillen', rhythm-and-blues anthems such as 'Dimples' and 'Boom Boom' and, in his final, glorious renaissance, the Grammy-winning album The Healer. Charles Shaar Murray's authoritative biography vividly, and often in John Lee Hooker's own words, does magnificent justice to the man and his music.

The winner of the 2006 IPPY Award for best non-fiction book from the South (presented by the Independent Publishers Association), the Mojo Triangle tells the true story--at long last--of the birth of the blues, rock 'n' roll, country and jazz! Draw a straight line from New Orleans to Nashville, then over to Memphis and back down to New Orleans, following the curves of the Mississippi River, and you have the Mojo Triangle, a phrase coined by the author in the early 2000's. "So much of what has been written about the music of the South is untrue," says Dickerson. "I wanted to set the record straight and put the development of the music in perspective. The Mojo Triangle is a land area in which all of America's original roots music was created: country, blues, jazz, and rock 'n' roll. How did this music come about? What is there about the Mojo Triangle that has contributed to the creation of so much original music?" The book points out that although the music itself was created in the geographical area defined by the Mojo Triangle, the two portals through which the various musical components entered and then morphed into the finished products were Natchez, Mississippi and Nashville, Tennessee, with the Natchez Trace serving as the main artery. Based on interviews with the recording artists, musicians, producers and songwriters who created and performed the music, it traces the development of the music from the early 1800s up to the present day. There is probably no author in history who has interviewed as many music legends and musicians as the author--and the reader benefits from that experience in a big way. Among the music legends who participate are: Al Green, Johnny Cash, Jerry Lee Lewis, Stevie Ray Vaughan, B.B. King, Carl Perkins, Carla Thomas, Rufus Thomas, Chet Atkins, Ike Turner, Jack Clement, Marty Stuart, Mose Allison, Rita Coolidge, Roy Orbison, Scotty Moore, Tammy Wynette, Vince Gill, Waylon Jennings, Garth Brooks, Chips Moman, Billy Sherrill, Bobby "Blue" Bland, Jimme Vaughan, Willie Mitchell, Booker T. & the MGs, Bobby Womack, Estelle Axton, Dave Edmunds, Pinetop Perkins, Bobbie Gentry, and the list goes on and on. This incredible book, which contains rare photographs, some of which were taken by the author himself, not only allows the music greats themselves to express themselves about the music they made famous, it explains for the first time the development of America's music.

For over one hundred years, Memphis, Tennessee, has been the center of musical innovation for American popular music. From W. C. Handy to Alberta Hunter and Lil Hardin Armstrong, in the early years, to B. B. King in the late 1940s, Elvis Presley, Johnny Cash, and Jerry Lee Lewis in the 1950s, to Otis Redding, Booker T. and the MGs, and Al Green in the 1960s and early 1970s, Memphis music sizzled with a level of creativity unrivaled in the history of American music. For five decades of the city's marvelous music history, author James L. Dickerson was at ground zero, first as a high school rock musician and then as a student rhythm and blues musician at the University of Mississippi, where his band made history by becoming the first all-white musical group to perform at a black Memphis nightclub, and finally as a Memphis journalist, magazine publisher, and radio syndication owner, who had unparalleled access to many of the music greats of the latter half of the century. Memphis Going Down is told in the words of the record producers, performers, and songwriters themselves as they reflect on their lives and music and its impact on popular culture. You'll hear legendary record producers such as Chips Moman, Willie Mitchell, Sam Phillips, and Jim Stewart talk about the ups and downs of the industry. And you'll hear the artists themselves: Johnny Cash, Carl Perkins, Jerry Lee Lewis, Al Green, Bobby Womack, B. B. King, Bobby "Blue" Bland, Stevie Ray Vaughn, Rufus Thomas, members of the Box Tops, and the Fabulous Thunderbirds go one-on-one with the author in an effort to understand the mysteries of Memphis music.

The devil is the most charismatic and important figure in the blues tradition. He's not just the music's namesake (""the devil's music""), but a shadowy presence who haunts an imagined Mississippi crossroads where, it is claimed, Delta bluesman Robert Johnson traded away his soul in exchange for extraordinary prowess on the guitar. Yet, as scholar and musician Adam Gussow argues, there is much more to the story of the devil and the blues than these cliched understandings. In this groundbreaking study, Gussow takes the full measure of the devil's presence. Working from original transcriptions of more than 125 recordings released during the past ninety years, Gussow explores the varied uses to which black southern blues people have put this trouble-sowing, love-wrecking, but also empowering figure. The book culminates with a bold reinterpretation of Johnson's music and a provocative investigation of the way in which the citizens of Clarksdale, Mississippi, managed to rebrand a commercial hub as ""the crossroads"" in 1999, claiming Johnson and the devil as their own.

Development Drowned and Reborn is a "Blues geography" of New Orleans, one that compels readers to return to the history of the Black freedom struggle there to reckon with its unfinished business. Reading contemporary policies of abandonment against the grain, Clyde Woods explores how Hurricane Katrina brought long-standing structures of domination into view. In so doing, Woods delineates the roots of neoliberalism in the region and a history of resistance. Written in dialogue with social movements, this book offers tools for comprehending the racist dynamics of U.S. culture and economy. Following his landmark study, Development Arrested, Woods turns to organic intellectuals, Blues musicians, and poor and working people to instruct readers in this future-oriented history of struggle. Through this unique optic, Woods delineates a history, methodology, and epistemology to grasp alternative visions of development. Woods contributes to debates about the history and geography of neoliberalism. The book suggests that the prevailing focus on neoliberalism at national and global scales has led to a neglect of the regional scale. Specifically, it observes that theories of neoliberalism have tended to overlook New Orleans as an epicenter where racial, class, gender, and regional hierarchies have persisted for centuries. Through this Blues geography, Woods excavates the struggle for a new society.

"Black Pearls" is an anthology of black women singers who made major contributions to American music. The word anthology derives from the Greek language meaning "gathering of flowers." In this collection, Josephine Qualls has described the evolution of Jazz music and its' related musical forms as embodied in the careers of these women ranging from Bessie Smith through Ma Rainey, Memphis Minnie, Pearl Bailey, Ethel Waters, Aretha Franklin, Mahalia Jackson (mother of pearls) and many others. Also included are descriptions of several early venues in which black women developed their talents. The musical art forms of Jazz, Blues, Gospel, Ragtime and Dixieland highlights the descriptions of the births, early years and lifelong careers of these African/American women. Spanning the years from 1895 to the present, this is an engaging and informative book leaving the reader fascinated by the amazing variety in this "collection of flowers." "Black Pearls" belongs in the library of any fan or historian of African/American music.

Easy Riders, Rolling Stones delves into the history of twentieth-century American popular music to explore the emergence of 'road music'. This music - blues, R'n'B and rock - took shape at pivotal moments in this history, and was made by artists and performers who were, in various ways, seekers after freedom. Whether journeying across the country, breaking free from real or imaginary confines, or in the throes of self-invention, these artists incorporated their experiences into scores of songs about travel and movement, as well as creating a new kind of road culture. Starting in the Mississippi Delta and tracking the emblematic routes and highways of road music, John Scanlan's fascinating new account explores the music and the life of movement it so often represented, identifying 'the road' as the key to an existence that was uncompromising. Scanlan explores how the image became an inspiration for musicians like Jim Morrison and Bob Dylan, and how these musicians also drew stimulus from a Beat movement that was equally enthralled with the possibilities of travel.The author goes on to relate how the quintessential American concepts of freedom and travel influenced English bands such as the Rolling Stones and Led Zeppelin. These bands may have been foreigners in the us, but they also found their spiritual home there - of blues and rock'n'roll - and glimpsed the possibility of a new kind of existence, on the road.Easy Riders, Rolling Stones is an entertaining, rich account of a key strand of American music history, and will appeal to both road music fans and music scholars who want to 'head out on the highway'.