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Blues Essays, Articles and Tales

Here are some blues essays which may be of interest to you. They were mainly written by enthusiasts of the blues as amateur writers. All essays are copyright of the authors. Please do not reproduce or distribute them without their prior knowledge and permission. They are provided here for educational use only. If your interest is in Gospel music, check out the full list of Gospel Essays on the sister website www.earlygospel.com

© Copyright 2008 Alan White. All Rights Reserved.
Mural at Tutwiler, Mississippi

© Copyright 2008 Alan White. All Rights Reserved.
Inscription next to the mural

© Copyright 2008 Alan White. All Rights Reserved.
Tutwiler Depot, Mississippi

"Then one night at Tutwiler, as I nodded in the railroad station while waiting for a train that had been delayed nine hours, life suddenly took me by the shoulder and wakened me with a start.

A lean, loose-jointed Negro had commenced plunking a guitar beside me while I slept. His clothes were rags; his feet peeped out of his shoes. His face had on it some of the sadness of the ages. As he played, he pressed a knife on the strings of the guitar in a manner popularized by Hawaiian guitarists who used steel bars. The effect was unforgettable. His song, too, struck me instantly: Goin' where the Southern cross' the Dog. The singer repeated the line three times, accompanying himself on the guitar with the weirdest music I had ever heard. The tune stayed in my mind. When the singer paused, I leaned over and asked him what the words meant. He rolled his eyes, showing a trace of mild amusement. Perhaps I should have known, but he didn't mind explaining. At Moorhead the eastbound and the westbound met and crossed the north and southbound trains four times a day. This fellow was going where the Southern cross' the Dog, and he didn't care who knew it. He was simply singing about Moorhead as he waited".
William C. Handy, Father of The Blues, Sidgwick & Jackson, London 1957

 

Coming soon ...

Death Letter Blues (a survey of possible origins)
            - by Max Haymes

The first recordings of this title appeared in 1924 by vaudeville singers.  ...

 


 

Blues Specialist Record Shops in the UK - 1960s
            - by Max Haymes

A rough estimate of the number of record shops which specialised in blues in England during the 1960s, as far as I can recall, numbered about 10! This among many hundreds of record shops/stores in the UK .  There were no other outlets at that time.  Virtually all the rest did not include a ‘Blues’ section in their racks, although a very mixed ‘jazz' section was included which was heavily slanted towards ‘modern jazz’ in most of its various (often disputed) forms ...

 

I've Got The Blues, But I'm Too Damn Mean To Cry
(Protest in early blues & gospel)

       - by Max Haymes

The word 'protest' in the 21 ". century is often linked with, and refers to 'political protest'. But this is really a tautology or two words strung together meaning the same thing. Erroneously, people refer to being political as involvement by a group, or party, retaining power of government or aspiring to acquire this power for themselves.

But politics is a much broader concept. It covers virtually everything in our daily lives from birth to death. Public health and safety, education, transportation, energy, agriculture, social and environmental issues, are major aspects governing the degree of quality we experience in our time on the planet. Indeed, for African Americans in the first 3 centuries of enslavement, politics and protest meant life itself. While the former spent much time talking of what could be achieved, the latter attempted to have this talk transformed into action....
 


Clara Smith 'Queen of the Moaners' c. 1923
Coming soon:

Travelogue: Researching the life of Clara Smith
      - by Max Haymes
 

Fat Man Blues
A 'taster' for a blues novel by Richard Wall

"Hobo John" is an English blues enthusiast on a pilgrimage to present-day Mississippi. One night in Clarksdale he meets the mysterious Fat Man, who offers him the chance to see the real blues of the 1930s. Unable to refuse this offer, Hobo John embarks on a journey through the afterlife in the company of Travellin' Man, an old blues guitarist who shows him the sights, sounds and everyday life in the Mississippi Delta. Along the way, the Englishman discovers the harsh realities behind his romantic notion of the music he loves and the true price of the deal that he has made.

Check out the Recommended Books Section for more information.
 


Papa Charlie Jackson c. 1924


 

Why Do You Moan, When You Can Shake That Thing?
(a survey of Papa Charlie Jackson & Bo Weavil Jackson: 1924-1934)

                     - by Max Haymes

One of the interesting facts to emerge from putting Papa Charlie Jackson and Bo Weavil Jackson together in a CD set, is the obvious different approaches they applied to the recently-arrived phenomenon - the country or rural blues.  Both artists were growing up in the South when the Blues were relatively young.  Still, there would seem to be little commonality between William Henry and James Jackson - presumed to be their respective given names. ...


Martin Luther King Jr.
Blues For Martin Luther King, Jr.
                     - by Terry Messman

In the despairing days after Dr. King’s death, the nation was overcome by the blues, so it was fitting that the pre-eminent blues band in the land would play for the activists in Resurrection City.
 


 
We'll March on Resurrection Day
                   - by Terry Messman

The final stanza is like a dream. Big Joe Williams looks down at Martin Luther King’s face, and vows to the slain civil rights leader that we’ll keep marching on - even unto Resurrection Day.

 


Voyager Golden Record
Dark Was the Night, Cold Was the Ground
                   - by Terry Messman

Dark was the night and cold was the ground on which Blind Willie Johnson was laid. Yet after his death, his music would streak to the stars on the Voyager and become part of the “music of the spheres.”

 


J.B. Lenoir Vietnam Blues
Blues From the Streets of 'The Other America'
               - by Terry Messman

J. B. Lenoir was one of the bravest political voices of his era. He sang against poverty, lynching, the Vietnam War, racism and police violence in Alabama and Mississippi.

 


Bessie Smith by Carl Van Vechten
 
Cold Ground Was My Bed: The Blues and Social Justice
            - by Terry Messman

A powerful torrent of “justice blues,” as deep and wide as the Mississippi itself, flows in an unbroken stream from the Depression-era blues of Bessie Smith and Skip James all the way to the 21st century blues of Otis Taylor and Robert Cray.
 


 
Nobody Knows You When You're Down and Out
            - by Terry Messman

In “Hard Times Killing Floor Blues,” Skip James sings for the multitudes forced out of their homes and jobs — locked out of heaven itself and trapped on the killing floor of poverty.

 

Gulfport Island Road Blues (Nonsense & Robert Johnson)
      
-
by Max Haymes

There has been, down through the years, a belief by many white people that blacks from the southern states often sang nonsense lyrics. From an otherwise very sympathetic Fanny Anne Kemble in the 1830s, on down to 1888 when another Englishwoman tracing the sea shanty, reports "The "chanty-men" have, to some extent, kept to the silly words of the negroes, and have altered the melodies to suit their purposes." ...

 


Blind Willie McTell
 

Tracing The Origins Of Dying Crapshooters' Blues Back To English And Irish Folksong In The Eighteenth Century
 - by Max Haymes

Blind Willie McTell's first known recording of Dying Crapshooters' Blues was in November 1940, and as part of his introduction to this version he states "I am gonna play this song that I made myself, originally this is from Atlanta". This statement also has strong significance when tracing the path of Crapshooter's origins ...
 


 
Mule, Get Up In The Alley (a Tribute to the Mule in the Blues)
 - by Max Haymes

The ‘lowly’ mule is a ubiquitous icon in the early blues and reaches back into slavery times.  This animal appears in many blues such as those by Coley Jones, Kokomo Arnold, Memphis Minnie, Billiken Johnson, Sonny Boy Williamson, Jazz Gillum, Texas Alexander, Julius Daniels, and Edna Winston ...
 


 
Alabama Blues - by Billy Hutchinson ... with contributions from Bob Eagle, Gayle Dean Wardlow, Don Kent, Alabama Blues Project's Debbie Bond, Alabama Mike Benjamin, Roger Stephenson and Microwave Dave.

This is the land of tornadoes, thunderstorms, scorching summers, packed churches, magnolias, kudzu, pecans, cicadas, squirrels and chipmunks that outnumber the dogs and cats, trees that want to grow forever and soul food ....
 


Clara Smith 'Queen of the Moaners' c. 1923
 
I Need-A Plenty Grease In My Frying Pan
(Roots and Influences of Vaudeville & Rural Blues: 1919-1940)

 
- by Max Haymes

Black female singers in the first decades of the 20th Century -during which time the Blues had 'arrived'- were generally part of their community at the lowest rung on the socio-economic ladder.    I am here, talking about the vast majority of black women and the female blues singers in particular, who sang and recorded the first blues on records; formerly ‘the classic blues’ and more correctly now the ‘vaudeville blues’.  
 


 
The Mississippi Delta: Birthplace of the Blues
- "This Is Where the Soul of Man Never Dies."

 
- by Terry Messman

This is a story about how poverty, segregation and racial discrimination harm human beings. This is also a story about how beauty flowers from the fields of brutality. This is a story of the blues. “This is where the soul of man never dies,” as Sam Phillips said about Howlin’ Wolf. 
 


© Copyright 2008 Alan White. All Rights Reserved.
Slave Shacks, Hopson Plantation, Clarksdale, Mississippi © Copyright 2008 Alan White. All Rights Reserved.
 
Blues At Sea
 - by Max Haymes

Although the sea-shanty is a form of work-song and the latter is a universal phenomenon in one form or another, the 'shanty is never ascribed any origins from the African continent. For whatever reasons, the various versions of the beginnings of the shanty point to many a geographical birthplace - except Africa. In fact it is not until African slaves were forcibly removed from their homelands that they got involved with work-songs of the sea ...
 


 
"I'm Gonna Hang This Mandolin Under My Shoulder"
(Mandolins in the Blues)

 - by Max Haymes

Although the blues on record started in 1920, it was not until 1924 when Willie Black was included on mandolin as part of Whistler and His Jug Band, from Cincinnati, in an ensemble role for a series of sides in September of that year.


 
British Superstitions and The Blues
 - by Max Haymes

..... I maintain that many superstitions, beliefs and customs were transported from the British Isles over to southern USA in the nineteenth century, and earlier.


 
Lil McClintock, Blues and Medicine Shows
- by Mike Ballantyne

The roots of the blues are many and varied. The two most prominent genres from which they sprang are Black folksongs, including both play-party songs and animal rhymes, and work songs. Many of these latter songs evolved from the singing of railroad track-lining gangs, sugarcane cutters, cotton pickers, road gangs, quarry and mine workers and the like, commonly within the prison systems of the American South and South West.


 
History & Mystery (a long shot in early blues & gospel) - recordings of the Dixie Symphony Four by Max Haymes

Sometime ago in the mid-1930s, (or a few years earlier) an African American group known variously as the Dixie Symphony Four or Dixie Symphony Singers recorded six performances for a record company on a radio station in San Francisco, California.
 

© Copyright 2008 John Tefteller. All Rights Reserved.
Ida Cox c. 1924
From the collection of John Tefteller and Blues Images with permission, www.bluesimages.com
 
Ida Cox / Old Bingham Town & The Nickel Plate Road
- by Max Haymes

...  a very belated response to a query from Paul Garon, listed in ‘Words Words Words’, Blues & Rhythm magazine No. 188. April, 2004. After listening to Chicago Bound Blues by female singer Yack Taylor (1941), he said that the recording “begins with Yack singing that she wants to leave old Bingham town, or at least it sounds like that.  Heading for Chicago, of course.  But I can’t find a Bingham Town anywhere”.


 

© Copyright 2008 Alan White. All Rights Reserved.
 
Ghost Trains of Mississippi - by Michael Gray

I’m travelling by train through Mississippi, accompanied by the ghosts of those who sang the blues here before I was born: those who migrated north to Chicago and elsewhere on these trains and those who stayed behind, in the little towns where the trains still stop. 

 
Roots of Blind Willie Johnson - by Max Haymes

..... there were indeed quite substantial number of songs and artists who influenced the Texas bottleneck guitar ace, forming an important factor in the roots of Blind Willie Johnson.


“Cherokee gourd booger dance mask ....”
 
Booger Rooger Blues - by Max Haymes

The term came to light - for Blues fans - via the recording by Blind Lemon Jefferson on the very first reissue on the old Austrian Roots label (Roots RL 301 L.P. Blind Lemon Jefferson Vol.1. c.1965.  This was Booger Rooger Blues .....

Blind Lemon Jefferson (1890-1929)
Blind Lemon Jefferson (1890-1929)
 
British Colloquial Links and The Blues
- an in-depth study by Max Haymes

Although, geographically and culturally, Africa is the place that is usually associated with the roots of the Blues, by the layman, this is acknowledged for the most part to be on a musicological basis, by the Blues writers and aficionados. Even then traces of Africa are only glimpsed momentarily, like the sun on a cloudy day. Some African words have been retained in black American culture, including that of the Blues singer, but they are exceptions rather than the rule.

© Copyright 1999 Ray Smith. All Rights Reserved.
Bix Beiderbecke
Chalk pastels by Ray Smith 1999
 
The Blues & Jazz Poetry of Langston Hughes (Part 4)
- a personal appreciation by Ray Smith

In 1930, funded by Mrs Mason, Langston Hughes went to Cuba and met many writers and artists there. His blues poems influenced one poet, Nicolás Guillén, to write ‘Motivos de Son’ (1930), hailed as the first ‘Negro’ poems in Cuba. Here are two poems from that period. 


Slave coffle using wooden 'chains'
 
Slave to the Blues - Coffles and the Auction Block
- by Max Haymes

This article is part of a far larger work ('Slave To The Blues') which seeks to focus on the secular roots of the Blues back in slavery times in the USA.


A mix of White, Black and Choctaw
 
The Red Man and the Blues the link between the North American Indian and the Afro-American, an in-depth study by Max Haymes

The North American Indian and the Afro-American, including the Blues singer, are two of the largest ethnic minorities in the United States. The aim of this study is to point up a far stronger link between the two of them than has been supposed, or even considered in the past.


Jim Jackson
 
"I Heard The Voice of a Pork Chop" - by Max Haymes

This seemingly humorous title actually has some dark undertones; as with many apparently comedic blues in the earlier era (1890-1943).  The title and first line were adapted from a religious song I Heard The Voice Of Jesus Say  .....
 
The Titanic and The Blues - by Mike Ballantyne

On April the 10th 1912 the Royal Mail Steamer Titanic sailed on her maiden voyage from Southampton. Shortly before midnight on the 14th of April she struck an iceberg and, a little over two and a half hours later, she sank with the loss of 1,517 passengers and crew. Considering the enormity of the disaster it is not surprising that a great number of songs were either written about the tragedy or referred to it in one form or another.
 

  The Birds and The Blues - by Max Haymes

 

  Hogan's Heroes - a tale about not letting Best Bitter go bad by Ray Smith

 
  West Pennine Boogie Blues a tale about Champion Jack Dupree - by Ray Smith

 
  Only Maloney - a tale about how Only Maloney got his nickname  - by Ray Smith

 


Son House:
"blues is a low-down old achin' chill"
Poetry and The Blues - by Christine White

There are two words that are particularly difficult to define in the English language; 'poetry' and 'blues'. To attempt to classify these two together is even more difficult yet a large number of blues critics claim that blues lyrics are poetry. This paper proposes to examine the definitions of 'poetry' and 'blues' and to consider the extent to which it is justified to link the two.
 

  I Woke Up This Morning - Introduction to Blues for the Newcomer
- by Max Haymes & Alan White

 

  An Introduction to Bob Dylan's use of Pre-war Blues - by Michael Gray

Because it’s so crackly on record, so lo-fi, so immured behind a white-noise wall, the black noise that is the pre-war blues can seem inaccessible, unreachable. To be put off by this would be to lose great riches. Sometimes it’s best to play it really loud (and maybe go into the next room): then you’ll hear all the joys and mysteries of esoteric vocals, guitar magic, sheer moody weirdnesses: all the synapse-crinkling giddy-hop that rock’n’roll gave you when you were thirteen.
 

Joe Willie Perkins
(Pinetop Perkins)
 
"Gettin' a Handle on those Monickers" - by Alan White

There are so many blues artists that had nicknames or had adopted alternate names that I thought it would be interesting to list some of them and identify where their nicknames came from.


Promotional advert for
'Champagne Charlie'
 
The English Music Hall Connection - by Max Haymes

Of all the subjects in these studies, the music hall is probably the farthest away from Africa. Or put another way, it is the link with the Blues which can be considered the most 'non-African'. ... The phenomenon of the music hall was originally a peculiarly English institution of the working-classes which seems to have been centered in London and from there spread to other towns and cities throughout the British Isles.
 
© Copyright 2008 Alan White. All Rights Reserved
Moorhead, Mississippi  
"Where the Southern Crosses
the Yellow Dog"
© Copyright 2008 Alan White.
All Rights Reserved

 
Ghost Trains of Mississippi - by Michael Gray

I’m travelling by train through Mississippi, accompanied by the ghosts of those who sang the blues here before I was born: those who migrated north to Chicago and elsewhere on these trains and those who stayed behind, in the little towns where the trains still stop. These railroads are entwined with music. It was at a station in Tutwiler, Mississippi, around 1903, that W.C. Handy first heard a blues holler  -  and the words were about the railroads: ‘I’m goin’ where the Southern cross the Dog…’ 
 

 

'Things They Said' (by early blues singers) - by Max Haymes 

 

 

Jumpin' The Blues - by Steve Pilkington

Jump blues – it’s a term you hear more and more of these days, but what exactly is it? Like many classic American musical forms, jump blues is a hybrid - an inspired mix of blues, swing and jazz. The end result is an intensely exciting, buoyant music which noted music writer, Billy Vera sums up like this, “Marked by a front line of horns (heavy on the saxophones), backed by a strong rhythm section and propelled by a strong ‘back beat’ on drums, the jump combos were long on danceability and short on subtlety.” 
 

Survey of Black Preachers in the South-before 1940 - by Max Haymes

This article is an initial ‘testing the water’ on a subject in earlier African American song which has rarely been considered in print up to this point in time.  – the preacher in the late 19th. and early 20th. centuries.  ...  Although intended as a larger work (possibly a book) I will here, be concentrating mainly on the origins of rap together with some early background to the importance of the preacher in early black communities; especially from the blues and gospel vantage point.  I will also be considering a particular theme which gets tangled up with the well-known ‘Dry Bones In The Valley’, much-recorded in the pre-war era by black preachers and quartets alike.
 


 

Got the Blues for Chattanooga - by Max Haymes

This article was inspired by a  poetic and far-sighted verse recorded by a blind blues singer in the late 1920s!  Twelve-string maestro, Blind Willie McTell recorded his beautiful “Drive Away Blues” for Victor Records in 1929.
 

© Copyright 2008 Alan White. All Rights Reserved.
 

Background of Recorded Blues: No. 1 - Pea Vine Blues - by Max Haymes

 

 

 

Background of Recorded Blues: No. 2 - Mobile and Western Line
- by Max Haymes

 

 

Background of Recorded Blues: No. 3 - Beaver Slide Rag
- by Max Haymes

 

  Background of Recorded Blues: No. 4 - P. C. Railroad Blues
 - by Max Haymes

 
  Background of Recorded Blues: No. 5 - Nut Factory Blues
 - by Max Haymes

 
  Background of Recorded Blues: No. 6 - Big Ship Blues
- by Max Haymes

 


Blind Gary Davis
 
Blues Artists & Their Instruments - by Dai Thomas

This started as a list of acoustic or acoustic-based blues artists with an informed (mostly) guess at the make of the instruments they used during the “Acoustic Era”, i.e. prior to The Second World War. The list now has almost 200 artists!!


Tommy McClennan
 
Catfish Blues (Origins of a Blues) - by Max Haymes

... McClennan's rasping vocal veering between the menacing and the sensual, in the familiar dark melodic strains that have become associated with this famous blues. His spoken self-encouragement might refer to the fact he featured slide for the only time on a record, or that this was his most popular number in the jukes and barrelhouses in the Delta.
  Now Look-A Here, Blues. I Wanta Talk To You* - by Max Haymes
        * “Conversation With The Blues” Big Bill. 1941.

 
  T C I Blues - by Max Haymes

 
Back to the Land of California
        - Robert Johnson & "Sweet Home Chicago" - by Max Haymes

Robert Johnson’s phrase “back to the land of California to my sweet home Chicago”, (the latter three words of which give the title to his Vocation record from 1936) has in the past, been queried by Blues writers as to his geographical sanity!! But as I maintain that the Blues singer rarely sang lyrics which were meaningless, Johnson had a reason for singing such a line. This article is an attempt, if you like, to ‘justify’ Johnson’s apparent nonsensical phrase.
 

 
"Katy's at the Station, Santa Fe is in the Yard"
        (on the rail trail of Bessie Tucker - Queen of the Texas Moaners)
       
- by Max Haymes

 
© Copyright 2008 Alan White. All Rights Reserved
Moorhead, Mississippi  
"Where the Southern Crosses
the Yellow Dog"
© Copyright 2008 Alan White.
All Rights Reserved
 
"This Cat's Got the Yellow Dog Blues" 
        - origins of the term Yellow Dog - by Max Haymes

Railroads have always been an integral part of the blues; not only in inspiring the boogie rhythms of countless rural guitarists, barrelhouse pianists and harp blowers, but also the lyric content of the blues singer.  The earliest blues that has been noted featured one of the most famous railroads; Mississippi’s “Yellow Dog”.  In this article I shall be not only seeking out the origin of the term but I will also attempt to identify the railroad it refers to.
 
"Worry Blues"- an in-depth study of Tom Dickson's recorded output
 - by Max Haymes

 

Big Joe Williams
 
Baby Please Don't go (Origins of a Blues) - by Max Haymes

”Baby Please Don’t Go” was first recorded by Mississippi’s Poor/Big Joe Williams in the autumn of 1935 for Victor’s cheap-priced Bluebird label. This was William’s second session on record, having cut a largely solo one in the early part of the same year, But here he is backed by Chasey Collins on fiddle and “Kokomo” on washboard to give a decidedly rural and ‘archaic’ feeling to the piece.

Lucille Bogan
 
Spotlight on Lucille Bogan (Part 1) - by Max Haymes

 

  Spotlight on Lucille Bogan (Part 2) - by Max Haymes

 

  Spotlight on Lucille Bogan (Part 3) - by Max Haymes

 

  Spotlight on Lucille Bogan (Part 4) - by Max Haymes

 

  Spotlight on Lucille Bogan (Part 5 - Conclusion) - by Max Haymes

 

  Blues Where You From? - by Max Haymes

The Blues originated in the Southern states of the U.S.A. as sung by working-class African Americans. The term ‘blues’ was first applied to a style of music in the closing decades of the 19th. Century, but older blues singers ‘rediscovered’ in the 1960s claimed the blues has been going “for centuries an’ centuries”.
 
  Got The Blues For Mean Old Stack O' Lee - by Max Haymes

Stack 0’ Lee of course, is the notorious badman who attained legendary status around the turn of the century, and who has been much eulogised and sung about in black folklore; especially in the world of the Blues.
 

© Copyright 2008 Alan White. All Rights Reserved.
Home of Mississippi John Hurt, Avalon, Mississippi © Copyright 2008 Alan White. All Rights Reserved.
 

 
Lemon's Hoodoo Moan (Hoodooism and the Blues of Blind Lemon Jefferson)
- by Max Haymes

While I have always been aware of hoodoo in the blues, via references to ‘mojos’, ‘black cat bones’ etc., I didn’t realize just how many more obscure (or less obvious) allusions existed within the genre.
 


 
Robert Johnson, His Life, His Music, His Legacy - by Alan White

Information on the events of Robert Johnson's life is rather scarce.  From birth to his still-disputed burial place, his life has remained shrouded in mystery for more than half a century. Indeed, some early blues researchers encountered a difficult time finding any information about him, even in the years immediately after his death.
 


© Copyright 2008 Alan White. All Rights Reserved.
Original Hazelhurst Railroad Sign, Hazelhurst, Mississippi © Copyright 2008 Alan White. All Rights Reserved.
 
  Some Blues Roots of Rock 'N Roll Music - by Max Haymes

Ever since the middle 1950’s when rock ‘n roll hit the sound waves, Western music, and particularly the U.K./U.S. scene, have been irrevocably altered. Many titles have passed into near legendary status, such as “Rock Around The Clock”, by Bill Haley, “Be-Bop-A-Lula” by Gene Vincent and “Blue Suede Shoes” by Elvis Presley.
 
Hoboes and Their Constant Struggle with Railroad Workers - by Alan White

For southern Blacks the appeal of the railroads has always been both a real and a symbolic one. Way back in slavery periods, when black slaves were unable to travel between districts without written 'bonds' from their owners, the sight of powerful locomotives thundering past, with clouds of black smoke billowing into the air, created an awe which remains even today.
 
  One Way / Country Rock Blues - by Max Haymes

 
  Blues essays in Spanish - translations by Argentinian Andres Magallanes
                    (
Ensayos sobre el Blues, en español)

 

  Background to the Blues - by Max Haymes

The reality of life for working-class blacks in the Southern states of the USA – putting the lyrics of the early blues into perspective. 
 

  Coming soon:  Essay relating to Solomon Northup - 12 Years a Slave

 

   
 
If you have an essay on the blues you would like publishing on this site or wish to ask permission to copy one, please email
alan.white@earlyblues.com   Thank you.
 

  

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All essays are © copyright of the respective authors. All Rights Reserved.
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