简介
"From Robert Johnson to Aretha Franklin, Mahalia Jackson to John Lee Hooker, blues and gospel artists figure heavily in the mythology of twentieth-century culture. The styles in which they sang have proved hugely influential to generations of popular singers, from the wholesale adoptions of singers like Robert Cray or James Brown, to the subtler vocal appropriations of Mariah Carey. Their own music, and how it operates, is not, however, always seen as valid in its own right." "This book offers an overview of both these genres, which worked together to provide an expression of twentieth-century black U.S. experience. Their histories are unfolded and questioned; representative songs and lyrical imagery are analyzed; perspectives are offered from the standpoint of the voice, the guitar, the piano, and also that of the working musician. The book concludes with a discussion of the impact the genres have had on mainstream musical culture."--BOOK JACKET.
目录
Cover 1
Half-title 3
Series-title 4
Title 7
Copyright 8
Contents 9
Illustrations 10
Contributors 11
Chronology 14
Preface 19
1 Surveying the field: our knowledge of blues and gospel music 21
2 Labels: identifying categories of blues and gospel 33
3 The development of the blues 40
The blues genre 41
The earliest blues 45
Early blues recordings 47
Blues with guitar or piano 50
Consolidation 53
Blues in transition 57
Modern styles and the move to rock\u2019n\u2019roll 60
4 The development of gospel music 64
Psalms and hymns 64
Spirituals 66
Differential practices in South and North 69
\u2018\u2018Holiness\u201d songs 71
Early gospel: Dorsey 72
Jackson, Cooke and Cleveland 75
Conclusion 79
5 Twelve key recordings 81
\u2018\u2018Fred McDowell\u2019s Blues\u2019\u2019 81
\u2018\u2018Cross Road Blues\u2019\u2019 (take 1) 84
\u2018\u2018St. Louis Blues\u2019\u2019 87
\u2018\u2018Rock the Joint\u2019\u2019 90
\u2018\u2018(I\u2019m Your) Hoochie Coochie Man\u2019\u2019 92
\u2018\u2018The Thrill Is Gone\u2019\u2019 94
\u2018\u2018Jesus Goin\u2019 Make Up My Dyin\u2019 Bed\u2019\u2019 97
\u2018\u2018Golden Gate Gospel Train\u2019\u2019 99
\u2018\u2018Take My Hand, Precious Lord\u2019\u2019 101
\u2018\u2018Oh Happy Day\u2019\u2019 106
6 \u2018\u2018Black twice\u2019\u2019: performance conditions for blues and gospel artists 117
7 Vocal expression in the blues and gospel 130
The Lomax approach 131
The Estill approach 133
The Wolfsohn approach 135
Personal history and delivery 137
Other factors 139
Conclusion 142
8 The guitar 144
9 Keyboard techniques 158
10 Imagery in the lyrics: an initial approach 169
Nature 171
Animals 173
Food 177
Everyday existence 179
Learning and the arts 181
Personifications 182
Conclusion 184
11 Appropriations of blues and gospel in popular music 186
Categorization, crossover, fusion 186
Appropriation 188
Blues to 1950s r&b and r&r 190
Blues to 1960s rock and gospel to soul/funk 194
Gospel to 1950s and 1960s vocal groups, and 1960s soul 198
Blues and gospel beyond the 1960s 207
Themes 211
Notes 216
1 Surveying the field: our knowledge of blues and gospel music 216
6 \u201cBlack twice\u201d: performance conditions for blues and gospel artists 216
7 Vocal expression in the blues and gospel 216
9 Keyboard techniques 217
10 Imagery in the lyrics: an initial approach 217
11 Appropriations of blues and gospel in popular music 220
Bibliography 222
Selected discography and videography 230
Index 233
Half-title 3
Series-title 4
Title 7
Copyright 8
Contents 9
Illustrations 10
Contributors 11
Chronology 14
Preface 19
1 Surveying the field: our knowledge of blues and gospel music 21
2 Labels: identifying categories of blues and gospel 33
3 The development of the blues 40
The blues genre 41
The earliest blues 45
Early blues recordings 47
Blues with guitar or piano 50
Consolidation 53
Blues in transition 57
Modern styles and the move to rock\u2019n\u2019roll 60
4 The development of gospel music 64
Psalms and hymns 64
Spirituals 66
Differential practices in South and North 69
\u2018\u2018Holiness\u201d songs 71
Early gospel: Dorsey 72
Jackson, Cooke and Cleveland 75
Conclusion 79
5 Twelve key recordings 81
\u2018\u2018Fred McDowell\u2019s Blues\u2019\u2019 81
\u2018\u2018Cross Road Blues\u2019\u2019 (take 1) 84
\u2018\u2018St. Louis Blues\u2019\u2019 87
\u2018\u2018Rock the Joint\u2019\u2019 90
\u2018\u2018(I\u2019m Your) Hoochie Coochie Man\u2019\u2019 92
\u2018\u2018The Thrill Is Gone\u2019\u2019 94
\u2018\u2018Jesus Goin\u2019 Make Up My Dyin\u2019 Bed\u2019\u2019 97
\u2018\u2018Golden Gate Gospel Train\u2019\u2019 99
\u2018\u2018Take My Hand, Precious Lord\u2019\u2019 101
\u2018\u2018Oh Happy Day\u2019\u2019 106
6 \u2018\u2018Black twice\u2019\u2019: performance conditions for blues and gospel artists 117
7 Vocal expression in the blues and gospel 130
The Lomax approach 131
The Estill approach 133
The Wolfsohn approach 135
Personal history and delivery 137
Other factors 139
Conclusion 142
8 The guitar 144
9 Keyboard techniques 158
10 Imagery in the lyrics: an initial approach 169
Nature 171
Animals 173
Food 177
Everyday existence 179
Learning and the arts 181
Personifications 182
Conclusion 184
11 Appropriations of blues and gospel in popular music 186
Categorization, crossover, fusion 186
Appropriation 188
Blues to 1950s r&b and r&r 190
Blues to 1960s rock and gospel to soul/funk 194
Gospel to 1950s and 1960s vocal groups, and 1960s soul 198
Blues and gospel beyond the 1960s 207
Themes 211
Notes 216
1 Surveying the field: our knowledge of blues and gospel music 216
6 \u201cBlack twice\u201d: performance conditions for blues and gospel artists 216
7 Vocal expression in the blues and gospel 216
9 Keyboard techniques 217
10 Imagery in the lyrics: an initial approach 217
11 Appropriations of blues and gospel in popular music 220
Bibliography 222
Selected discography and videography 230
Index 233
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