B - Hobby Blues Band

Recommendations

Info

Chavis, Boozoo Cheatham, Jimmy and Jeannie Cheeks, Reverend Julius Chenier, C. J. Chenier, Cleveland Chenier, Clifton Chenier, Morris ‘‘Big’’ Chenier, Roscoe Chess/Aristocrat/Checker/Argo/Cadet Chicago Chief/Profile/Age Chitlin Circuit Christian, Charlie Christian, Johnny ‘‘Little’’ Chudd, Lewis Robert ‘‘Lew’’ Church, Eugene Cincinnati C.J. Clapton, Eric Clark, ‘‘Big’’ Sam Clark, Dave Clark, Dee Clark, W. C. Clarke, William Class Classics Clay, Francis Clay, Otis Clayton, Peter Joe ‘‘Doctor’’ Clayton, Willie Clearwater, Eddy Cleveland, Reverend James Clovers, The Club 51 Coasters, The Cobb, Arnett Cobbs, Willie Cobra/Artistic Cohn, Larry Cole, Ann Cole, Nat King Coleman, Deborah Coleman, Gary ‘‘B. B.’’ Coleman, Jaybird Coleman, Michael Coleman, Wallace Collectables Collins, Albert Collins, Little Mac Collins, Louis ‘‘Mr. Bo’’ Collins, Sam Columbia Combo Conley, Charles Connor, Joanna Conqueror Convict Labor Cooder, Ry Cook, Ann Cooke, Sam Cooper, Jack L. Copeland, Johnny ‘‘Clyde’’ Copeland, Shemekia Copley, Al Corley, Dewey Cosse, Ike Costello, Sean Cotten, Elizabeth Cotton, James Council, Floyd ‘‘Dipper Boy’’ Coun-tree Country Music Courtney, Tom ‘‘Tomcat’’ Cousin Joe Covington, Robert Cow Cow Blues Cox, Ida Crafton, Harry ‘‘Fats’’ Crawford, James ‘‘Sugar Boy’’ Cray, Robert Crayton, Connie Curtis ‘‘Pee Wee’’ Crazy Cajun Records Creach, Papa John Cream Crippen, Katie Crochet, Cleveland Crockett, G. L. Crothers, Benjamin ‘‘Scatman’’ Crown Crudup, Arthur William ‘‘Big Boy’’ Crump, Jesse ‘‘Tiny’’ Cuby and the Blizzards Curtis, James ‘‘Peck’’ Cusic, Eddie D Dale, Larry Dallas, Leroy Dallas String Band Dance: Artistic Dance: Audience Participation Danceland Dane, Barbara Daniels, Jack Daniels, Julius Darby, Ike ‘‘Big Ike’’ Darby, Teddy LIST OF ENTRIES A–Z xiii
LIST OF ENTRIES A–Z Darnell, Larry Davenport, Cow-Cow Davenport, Jed Davenport, Lester ‘‘Mad Dog’’ Davies, Cyril Davies, Debbie Davis, ‘‘Blind’’ John Davis, Carl Davis, Cedell Davis, Eddie ‘‘Lockjaw’’ Davis, Geater Davis, Guy Davis, James ‘‘Thunderbird’’ Davis, Katherine Davis, Larry Davis, ‘‘Little’’ Sammy Davis, Mamie ‘‘Galore’’ Davis, Maxwell Davis, ‘‘Maxwell Street’’ Jimmy Davis, Quint Davis, Reverend Gary Davis, Tiny Davis, Tyrone Davis, Walter Dawkins, James Henry ‘‘Jimmy’’ Day, Bobby De Luxe/Regal Dean, Joe ‘‘Joe Dean from Bowling Green’’ Decca Decca/Coral/MCA Dee, David Delafose, Geno Delafose, John Delaney, Mattie Delaney, Thomas Henry ‘‘Tom’’ DeLay, Paul Delmark Derby (New York) DeSanto, Sugar Pie DeShay, James Detroit Detroit Junior Dial Dickerson, ‘‘Big’’ John Diddley, Bo Diddley Bow Dig/Ultra Dillard, Varetta Dirty Dozens Discography Dixie Hummingbirds Dixieland Jug Blowers Dixon, Floyd Dixon, Willie James Dizz, Lefty xiv Document Doggett, Bill Dollar, Johnny Dolphin, John Domino, Fats Donegan, Dorothy Dooley, Simmie DooTone/DooTo/Authentic Dorsey, Lee Dorsey, Mattie Dorsey, Thomas A. Dot Records Dotson, Jimmy ‘‘Louisiana’’ Douglas, K. C. Down Home Blues Doyle, Charlie ‘‘Little Buddy’’ Dr. Daddy-O Dr. Hepcat Dr. John Drain, Charles Drifters Drifting Blues Drummond Drums Duarte, Chris Duke Duke/Peacock/Back Beat Dukes, Laura Dunbar, Scott Duncan, Al Duncan, Little Arthur Dunn, Roy Sidney Dunson, Johnnie Mae Dupont, August ‘‘Dimes’’ Dupree, Al ‘‘Big Al’’ Dupree, Champion Jack Dupree, Cornell Durham, Eddie Duskin, Big Joe Dyer, Johnny E Eaglin, Snooks Ealey, Robert Earl, Ronnie Earwig Easton, Amos Easy Baby Ebony (1) Ebony (2) Eckstine, Billy
Page 4 and 5: ENCYCLOPEDIA OF THE BLUES VOLUME 1
Page 6: ASSOCIATE EDITOR Daphne Duval Harri
Page 10 and 11: A ABC-Paramount/Bluesway Abner, Ewa
Page 12 and 13: Black Patti Black Sacred Music Blac
Page 16 and 17: Edison Edmonds, Elga Edsel Edwards,
Page 18 and 19: Hammond, John Henry, Jr. Hammond, J
Page 20 and 21: Johnson, Henry ‘‘Rufe’’ Joh
Page 22 and 23: Lynn, Barbara Lynn, Trudy Lyons, Lo
Page 24 and 25: Oliver, Paul Omar and the Howlers O
Page 26 and 27: Royal, Marshal RST/RST Blues Docume
Page 28 and 29: Tangerine Records Tarheel Slim Tarn
Page 30: White, Georgia White, Joshua Daniel
Page 33 and 34: THEMATIC LIST OF ENTRIES Barker, Da
Page 35 and 36: THEMATIC LIST OF ENTRIES Casey, Smi
Page 37 and 38: THEMATIC LIST OF ENTRIES Fontenot,
Page 39 and 40: THEMATIC LIST OF ENTRIES Huff, Luth
Page 41 and 42: THEMATIC LIST OF ENTRIES Little Mil
Page 43 and 44: THEMATIC LIST OF ENTRIES Perkins, A
Page 45 and 46: THEMATIC LIST OF ENTRIES Spann, Per
Page 47 and 48: THEMATIC LIST OF ENTRIES Williams,
Page 49 and 50: THEMATIC LIST OF ENTRIES Barrelhous
Page 51 and 52: THEMATIC LIST OF ENTRIES Star Talen
Page 54 and 55: Rick Anderson Sparks, Nevada Peter
Page 56 and 57: Morris Levy Harvard University Ande
Page 58: Alan R. Young Auckland, New Zealand
Page 61 and 62: INTRODUCTION lx records were kept e
Page 64:
FREQUENTLY CITED SOURCES AMG All Mu
Page 67 and 68:
ABSHIRE, NATHAN ABSHIRE, NATHAN b.
Page 69 and 70:
ACCORDION French-speaking community
Page 71 and 72:
ACE, JOHNNY ACE, JOHNNY b. John Mar
Page 73 and 74:
ADAMS, FAYE Bibliography Larkin; Sa
Page 75 and 76:
ADVENT RECORDS Discography Stefan W
Page 77 and 78:
AFRICA Wilson Pickett, and Ray Char
Page 79 and 80:
AJAX AJAX Record label of the Ajax
Page 81 and 82:
ALABAMA whose raucous soul blues ha
Page 83 and 84:
ALEXANDER, DAVE (OMAR HAKIM KHAYYAM
Page 85 and 86:
ALLIGATOR labels and in many cases
Page 87 and 88:
ALLISON, MOSE He led his own trio f
Page 89 and 90:
AMERICAN FOLK BLUES FESTIVAL (AFBF)
Page 91 and 92:
ANDERSON, PINKNEY ‘‘PINK’’
Page 93 and 94:
ARCENAUX, FERNEST ARCENAUX, FERNEST
Page 95 and 96:
ARKANSAS the Arkansas Delta, a musi
Page 97 and 98:
ARMSTRONG, JAMES ARMSTRONG, JAMES b
Page 99 and 100:
ARNOLD, KOKOMO Bibliography AMG; Ha
Page 101 and 102:
ATLANTIC/ATCO/SPARK as well as semi
Page 104 and 105:
BABY PLEASE DON’T GO/DON’T YOU
Page 106 and 107:
was the headlining act at a club in
Page 108 and 109:
Discography: DGR Charley Lincoln an
Page 110 and 111:
Black String Bands What were the fi
Page 112 and 113:
Commercial recordings tapped rich j
Page 114 and 115:
For a composite example of the musi
Page 116 and 117:
elsewhere. Clifton Chenier, who pla
Page 118 and 119:
usually thirteen to fourteen inches
Page 120 and 121:
The decline of the five-string banj
Page 122 and 123:
Bibliography DGR; Sutton Dixon, Rob
Page 124 and 125:
BARNES, GEORGE b. 17 July 1921; Chi
Page 126 and 127:
Bibliography Larkin; New Grove Jazz
Page 128 and 129:
of the workload needed to pluck the
Page 130 and 131:
BASS, FONTELLA b. 3 July 1940; St.
Page 132 and 133:
BATTS, WILL b. 24 January 1904; Mic
Page 134 and 135:
mid-1960s was Son House. John Moone
Page 136 and 137:
thirty superb blues between 1927 an
Page 138 and 139:
‘‘Goodnight My Love,’’ a to
Page 140 and 141:
BENTON, BROOK b. Benjamin Franklin
Page 142 and 143:
Love, Will Travel.’’ Born near
Page 144 and 145:
in Chicago’s subway tunnels for t
Page 146 and 147:
a truly postwar music group, one co
Page 148 and 149:
BIOGRAPH As with many other indepen
Page 150 and 151:
audience, however, King retains the
Page 152 and 153:
lack newspapers, especially among o
Page 154 and 155:
celebration of faith in song. Black
Page 156 and 157:
The Gospel Evangelists The affinity
Page 158 and 159:
Choirs Every church has at least on
Page 160 and 161:
a striking demonstration of the ind
Page 162 and 163:
Bumps Blackwell led jazz and R&B ba
Page 164 and 165:
He dazzled audiences with the same
Page 166 and 167:
Michigan, in 1971. Live music was a
Page 168 and 169:
eleased on Chess Records, was well
Page 170 and 171:
BLUES Blues: A type of music that m
Page 172 and 173:
1955, a twelve-measure blues song h
Page 174 and 175:
Some transcribers will render ‘
Page 176 and 177:
intact, and such retention and repe
Page 178 and 179:
Rice, learned a shuffling song and
Page 180 and 181:
(It must be remembered that jazz be
Page 182 and 183:
Carr of Indianapolis, Indiana, with
Page 184 and 185:
with Scrapper Blackwell functioning
Page 186 and 187:
1954. Frank Edwards and others were
Page 188 and 189:
The way blues records were being is
Page 190 and 191:
showed the way, but many more were
Page 192 and 193:
purchased the Chess catalog in the
Page 194 and 195:
Southern, Eileen. Music of Black Am
Page 196 and 197:
access to the written word under sl
Page 198 and 199:
Individual members Korner and Davie
Page 200 and 201:
BOGART, DEANNA b. 1960; Detroit, MI
Page 202 and 203:
and never fulfilled his potential.
Page 204 and 205:
Red Hot (1977, Blind Pig Records).
Page 206 and 207:
BOUCHILLON, CHRIS b. 21 August 1893
Page 208 and 209:
Began playing harmonica in Mississi
Page 210 and 211:
Last name sometimes shown as ‘‘
Page 212 and 213:
BREWER, JIM ‘‘BLIND’’ b. 3
Page 214 and 215:
Rust, Brian. The American Record La
Page 216 and 217:
Big Bill Broonzy in the 1940s. (Pho
Page 218 and 219:
accompanying himself on acoustic gu
Page 220 and 221:
forty years. His first released rec
Page 222 and 223:
and Milt Buckner. There was even a
Page 224 and 225:
Man in Show Business,’’ Brown m
Page 226 and 227:
about the Titanic sinking of 1912)
Page 228 and 229:
Guitarist, singer, ethnomusicologis
Page 230 and 231:
and developed an expressive signatu
Page 232 and 233:
6, 1902, Stewart County, TN; d. Dec
Page 234 and 235:
the Blues Began and Deep Blues and
Page 236 and 237:
In Chicago, Butler did police work
Page 238:
Ellis III, Tom. ‘‘The Real Worl
Page 241 and 242:
CAESAR, HARRY ‘‘LITTLE’’ 19
Page 243 and 244:
CAMEO Rust, Brian. The American Rec
Page 245 and 246:
CANNON, GUS music. He recorded for
Page 247 and 248:
CARELESS LOVE Billie and Dede Pierc
Page 249 and 250:
CARR, LEROY Discography: DGR Comple
Page 251 and 252:
CARTER, BO tunes but rare in the do
Page 253 and 254:
CASEY, SMITH the Texas Department o
Page 255 and 256:
C. C. RIDER again all part of the f
Page 257 and 258:
CHANCE Bibliography Pruter, Robert,
Page 259 and 260:
CHART include Rufus Beacham, Elder
Page 261 and 262:
CHAVIS, BOOZOO business. He recorde
Page 263 and 264:
CHENIER, CLIFTON Bibliography Ancel
Page 265 and 266:
CHICAGO racism that was then still
Page 267 and 268:
CHICAGO Early important pianists on
Page 269 and 270:
CHICAGO Blues Festival. Sadly, many
Page 271 and 272:
CHITLIN CIRCUIT Club Ebony, Indiano
Page 273 and 274:
CINCINNATI from slave states like n
Page 275 and 276:
CLARK, ‘‘BIG’’ SAM CLARK,
Page 277 and 278:
CLARKE, WILLIAM twice rewarded with
Page 279 and 280:
CLAYTON, WILLIE CLAYTON, WILLIE b.
Page 281 and 282:
COBB, ARNETT remainder of his life
Page 283 and 284:
COLEMAN, GARY ‘‘B. B.’’ Joh
Page 285 and 286:
COLLINS, ALBERT After three albums,
Page 287 and 288:
COLUMBIA The labels were bought by
Page 289 and 290:
CONVICT LABOR work song for complet
Page 291 and 292:
COOPER, JACK L. presiding over a hu
Page 293 and 294:
COSSE, IKE 1983 he began a four-yea
Page 295 and 296:
COTTON, JAMES Discography: LSFP, AM
Page 297 and 298:
COUNTRY MUSIC recorded, though his
Page 299 and 300:
COVINGTON, ROBERT unit that made go
Page 301 and 302:
COX, IDA ‘‘Coffin Blues.’’
Page 303 and 304:
CRAY, ROBERT The follow-up album to
Page 305 and 306:
CREAM Bibliography Welch, Chris. Cr
Page 307 and 308:
CRUDUP, ARTHUR WILLIAM ‘‘BIG BO
Page 309 and 310:
CURTIS, JAMES ‘‘PECK’’ them
Page 311 and 312:
DALLAS, LEROY Bibliography Harris;
Page 313 and 314:
DANCE: AUDIENCE PARTICIPATION trend
Page 315 and 316:
DAVENPORT, COW-COW DAVENPORT, COW-C
Page 317 and 318:
DAVIS, ‘‘BLIND’’ JOHN Bibli
Page 319 and 320:
DAVIS, LARRY DAVIS, LARRY b. 4 Dece
Page 321 and 322:
DAVIS, QUINT Bibliography Davis, J.
Page 323 and 324:
DAVIS, REVEREND GARY Danny Birch, M
Page 325 and 326:
DE LUXE/REGAL ———. ‘‘A De
Page 327 and 328:
DELAFOSE, GENO Bibliography AMG (Ja
Page 329 and 330:
DERBY (NEW YORK) Bibliography Pearl
Page 331 and 332:
DETROIT JUNIOR DETROIT JUNIOR b. Em
Page 333 and 334:
DIDDLEY, BO earned a pop career, Di
Page 335 and 336:
DILLARD, VARETTA Discography: AMG S
Page 337 and 338:
DISCOGRAPHY Rainey (who recorded wi
Page 339 and 340:
DIXON, WILLIE JAMES Willie Dixon wi
Page 341 and 342:
DIXON, WILLIE JAMES 2385); Memphis
Page 343 and 344:
DOMINO, FATS regularly at the Hidea
Page 345 and 346:
DORSEY, THOMAS A. for Paramount. Al
Page 347 and 348:
DR. DADDY-O DR. DADDY-O b. Vernon W
Page 349 and 350:
DRIFTING BLUES original lyrics. Thi
Page 351 and 352:
DRUMS or more ‘‘trap tables’
Page 353 and 354:
DUKE Moonoogian, George, and Roger
Page 355 and 356:
DUPONT, AUGUST ‘‘DIMES’’ Sa
Page 358 and 359:
EAGLIN, SNOOKS b. Ford Eaglin, Jr.,
Page 360 and 361:
Ragged Blues’’ b/w ‘‘Honey
Page 362 and 363:
Bibliography Santelli Moon, D. Thom
Page 364 and 365:
‘‘Build Myself a Cave’’ and
Page 366 and 367:
ELEKTRA RECORDS Jac Holzman and Pau
Page 368 and 369:
Bibliography AMG (Steve Huey); Lark
Page 370 and 371:
Blues,’’ and ‘‘Broken-Heart
Page 372 and 373:
Bibliography Pruter, Robert. ‘‘
Page 374:
house accompanist for blues artists
Page 377 and 378:
FAHEY, JOHN of his work, including
Page 379 and 380:
FATTENING FROGS FOR SNAKES Vocalion
Page 381 and 382:
FIDDLE probably unrelated.) The ear
Page 383 and 384:
FIDDLE After acquiring a violin, he
Page 385 and 386:
FIDDLE Muddy Waters: First Recordin
Page 387 and 388:
FIELDS, KANSAS Fitzgerald, Eddie Co
Page 389 and 390:
FIFE AND DRUMS Othar Turner playing
Page 391 and 392:
FILMS performance itself is superb,
Page 393 and 394:
FILMS Throughout the 1970s and into
Page 395 and 396:
FIRE/FURY/ENJOY/RED ROBIN from bad
Page 397 and 398:
FLASH Bibliography Cook, Les, Victo
Page 399 and 400:
FLYING FISH Bibliography O’Neal,
Page 401 and 402:
FORD, ROBBEN LEE Bibliography AMG (
Page 403 and 404:
FORMS 12-measure blues form (B) Mea
Page 405 and 406:
FORMS ’n’ roll musicians as div
Page 407 and 408:
FOSTER, ‘‘BABY FACE’’ LEROY
Page 409 and 410:
FRAN, CAROL a regional attraction b
Page 411 and 412:
FRANKLIN, REVEREND C. L. Bibliograp
Page 413 and 414:
FULLER, BLIND BOY Blind Boy Fuller.
Page 415 and 416:
FULSON, LOWELL FULSON, LOWELL b. 31
Page 417 and 418:
FUNK African characteristics, in ef
Page 420 and 421:
GADDY, BOB b. 4 February 1924; Vivi
Page 422 and 423:
age sixteen Gaines moved to Los Ang
Page 424 and 425:
sales went to a slightly later vers
Page 426 and 427:
Garon’s focus on poetic protest a
Page 428 and 429:
GAYTEN, PAUL b. 29 January 1920; Ne
Page 430 and 431:
Blues music traces its origins in p
Page 432 and 433:
Discography: AMG; LSFP See also Eme
Page 434 and 435:
entice Lightnin’ Hopkins to leave
Page 436 and 437:
jukebox market, covers of hits by a
Page 438 and 439:
their 1936 recording sessions in Ha
Page 440 and 441:
perpetual debt for many black agric
Page 442 and 443:
Smith’s recording of ‘‘Trombo
Page 444 and 445:
Green replaced Clapton in the Blues
Page 446 and 447:
Bibliography Larkin Schuller, Tim.
Page 448 and 449:
GUESNON, GEORGE ‘‘CURLEY’’
Page 450 and 451:
lumber camps circa the 1880s before
Page 452 and 453:
standard for sound and playability
Page 454 and 455:
Davis, Lightnin’ Hopkins, and Man
Page 456 and 457:
in Germany as well, and performs re
Page 458 and 459:
was different. Slim used heavily di
Page 460 and 461:
GUY, GEORGE ‘‘BUDDY’’ b. 30
Page 462 and 463:
HADDIX, TRAVIS b. 26 November 1938;
Page 464 and 465:
with the band, and promoted it at e
Page 466 and 467:
self-published his ‘‘The Memphi
Page 468 and 469:
Gonna Murder My Baby’’—a viol
Page 470 and 471:
Blues Harmonica Playing Tongue bloc
Page 472 and 473:
ut favored the lower four holes (Li
Page 474 and 475:
Handy, W. C. Father of the Blues. N
Page 476 and 477:
a thorough knowledge of the complet
Page 478 and 479:
Bibliography Nelson, David. ‘‘T
Page 480 and 481:
Bibliography AMG (Ken Chang) Discog
Page 482 and 483:
own Kangaroo imprint. Produced the
Page 484 and 485:
tambourine. After recovering from a
Page 486 and 487:
important rock guitarist of all tim
Page 488 and 489:
Bibliography Harris; Larkin Discogr
Page 490 and 491:
y Motown, and currently it is reiss
Page 492 and 493:
Specializes in the music of Memphis
Page 494 and 495:
cities, they did so while displacin
Page 496 and 497:
HILL, MICHAEL b. 29 June 1952; New
Page 498 and 499:
In the twentieth century, the socia
Page 500 and 501:
Lidia Mendoza ca. 1936. (Photo cour
Page 502 and 503:
Charters, Samuel Charters. Recorded
Page 504 and 505:
The Lomax’s American Ballads and
Page 506 and 507:
Rockliff, 1969) that is still usefu
Page 508 and 509:
(1961) frequently had blues acts li
Page 510 and 511:
1998), while several books in Paul
Page 512 and 513:
HITE, LES b. Leslie Leroy Hite, 13
Page 514 and 515:
What is often overlooked in the fix
Page 516 and 517:
HOLLOWAY, RED b. James Wesley Hollo
Page 518 and 519:
A relative and disciple of Tommy Jo
Page 520 and 521:
eligions provide a process for the
Page 522 and 523:
commodifies working class black Ame
Page 524 and 525:
HOOKER, JOHN LEE b. 22 August 1917;
Page 526 and 527:
Award for best blues recording. In
Page 528 and 529:
Lightnin’ Hopkins. (Photo by Tom
Page 530 and 531:
HOUSE, EDDIE ‘‘SON’’ b. 21
Page 532 and 533:
and Bonnie wanted House to open for
Page 534 and 535:
Ramsey, Jr., Frederic, and Charles
Page 536 and 537:
West Coast boogie-woogie pianist an
Page 538 and 539:
turn his people down to go play a j
Page 540 and 541:
part of the ‘‘From Spirituals t
Page 542 and 543:
company sued him to change the titl
Page 544 and 545:
Preacher come to your house, you as
Page 546 and 547:
the death of her mother, Hunter lef
Page 548 and 549:
Mississippi John Hurt. (Photo court
Page 550:
Hutto endured almost a decade of to
Page 553 and 554:
I BELIEVE I’LL MAKE A CHANGE (DUS
Page 555 and 556:
I’M GONNA MOVE TO THE OUTSKIRTS O
Page 558 and 559:
JACKSON, ARMAND ‘‘JUMP’’ b.
Page 560 and 561:
lues singer, hardly any factual bio
Page 562 and 563:
JACKSON, JOHN b. 25 February 1924;
Page 564 and 565:
Bibliography Nelson, David. ‘‘V
Page 566 and 567:
The Biharis did not renew their con
Page 568 and 569:
Discography: AMG; LSFP At Last! (19
Page 570 and 571:
however, he plucked with his finger
Page 572 and 573:
generations of blues fans—or blue
Page 574 and 575:
JAZZ Distinction Between the Jazz T
Page 576 and 577:
though that New Orleans was jazz’
Page 578 and 579:
oogie-woogie pianists to positions
Page 580 and 581:
Discontented swing musicians accuse
Page 582 and 583:
new area of exploration and experim
Page 584 and 585:
While it would seem he was most hap
Page 586 and 587:
Swinton, Paul. ‘‘A Twist of Lem
Page 588 and 589:
ecorded less than a year after John
Page 590 and 591:
Mississippi John Hurt’s ‘‘Spi
Page 592 and 593:
JOHNSON, BLIND WILLIE b. 22 January
Page 594 and 595:
ecorded for Roulette. His last reco
Page 596 and 597:
JOHNSON, JOE b. 19 January 1942; In
Page 598 and 599:
1917. When he returned, he found ou
Page 600 and 601:
JOHNSON, PETE b. Kermit Holden John
Page 602 and 603:
1937, issue of New Masses. Other no
Page 604 and 605:
Transcriptions: Anslie, Scott, and
Page 606 and 607:
Skip James among others). He made t
Page 608 and 609:
his mother, Bobby Patterson, Johnni
Page 610 and 611:
JONES, DENNIS ‘‘LITTLE HAT’
Page 612 and 613:
JONES, MAGGIE b. Fae Barnes, 1900;
Page 614 and 615:
Publicity photo of Louis Jordan. (I
Page 616 and 617:
JSP Record label of John Stedman (P
Page 618 and 619:
juke joints are interactive, combin
Page 620:
DROP INN’’ is painted directly
Page 623 and 624:
KANSAS CITY St. Louis, Chicago, Mem
Page 625 and 626:
KANSAS CITY RED Discography Old Fri
Page 627 and 628:
KEB’ MO’ was unable to continue
Page 629 and 630:
KEY TO THE HIGHWAY and emotional ur
Page 631 and 632:
KIMBROUGH, JUNIOR One of the most i
Page 633 and 634:
KING, ALBERT He later performed wit
Page 635 and 636:
KING CURTIS KING CURTIS b. Curtis O
Page 637 and 638:
KING/FEDERAL/QUEEN A&R specialist R
Page 639 and 640:
KING, RILEY B. ‘‘B. B.’’ B.
Page 641 and 642:
KING, RILEY B. ‘‘B. B.’’ Ki
Page 643 and 644:
KIRKLAND, LEROY Bibliography Larkin
Page 645 and 646:
KORNER, ALEXIS band of London’s M
Page 647 and 648:
LAMBERT, LLOYD of New Orleans blues
Page 649 and 650:
LASALLE, DENISE gospel style and ri
Page 651 and 652:
LAY, SAM Bob Dylan’s legendary el
Page 653 and 654:
LEADBITTER, MICHAEL ANDREW ‘‘MI
Page 655 and 656:
LEAVY, HOSEA LEAVY, HOSEA b. 26 Nov
Page 657 and 658:
LEE, LOVIE Bibliography Brisbin, Jo
Page 659 and 660:
LEMBO, KIM LEMBO, KIM b. 1967 Singe
Page 661 and 662:
LET THE GOOD TIMES ROLL soundtracks
Page 663 and 664:
LEWIS, FURRY LEWIS, FURRY b. Walter
Page 665 and 666:
LEWIS, MEADE ‘‘LUX’’ Lewis
Page 667 and 668:
LEWIS, SMILEY Shame, Shame, grasps
Page 669 and 670:
LIBRARIES Center for Black Music Re
Page 671 and 672:
LIBRARIES Most of the foundation’
Page 673 and 674:
LIBRARIES and observers covering th
Page 675 and 676:
LIBRARIES Oral history material inc
Page 677 and 678:
LIGGINS, JOE 1945. By 1949, Liggins
Page 679 and 680:
LIPSCOMB, MANCE LIPSCOMB, MANCE b.
Page 681 and 682:
LITERATURE, BLUES IN write social r
Page 683 and 684:
LITERATURE, BLUES IN ———. Mon
Page 685 and 686:
LITTLE MILTON Selected Recordings F
Page 687 and 688:
LITTLE RICHARD and Roll Hall of Fam
Page 689 and 690:
LITTLE WALTER Folk Blues Festival m
Page 691 and 692:
LOCKWOOD, ROBERT, JR. Legend Live (
Page 693 and 694:
LOMAX, ALAN Discography Negro Sinfu
Page 695 and 696:
LOUIS, JOE HILL LOUIS, JOE HILL b.
Page 697 and 698:
LOUISIANA New Orleans The major cit
Page 699 and 700:
LOUISIANA Smiley Lewis possessed a
Page 701 and 702:
LOUISIANA and tourists still fill t
Page 703 and 704:
LOWE, SAMMY LOWE, SAMMY b. 14 May 1
Page 705 and 706:
LUMBER CAMPS Maxwell, Robert S., an
Page 707 and 708:
LYNCHING AND THE BLUES Billie Holid
Page 709 and 710:
MABON, WILLIE family moved to Chica
Page 711 and 712:
MACY’S MACY’S Macy Lela Henry,
Page 713 and 714:
MAGIC SLIM decided to leave this co
Page 715 and 716:
MALACO/WALDOXY in 1980, Malaco with
Page 717 and 718:
MANDOLIN and many people subsequent
Page 719 and 720:
MARKETING MARKETING The Business of
Page 721 and 722:
MARKETING draw audiences, though so
Page 723 and 724:
MARKETING themselves on national te
Page 725 and 726:
MATCHBOX BLUES MATCHBOX BLUES This
Page 727 and 728:
MAYES, PETE sharecroppers on the bo
Page 729 and 730:
MAYWEATHER, ‘‘EARRING’’ GEO
Page 731 and 732:
MCCLENNAN, TOMMY that was truly iro
Page 733 and 734:
MCCOY, ROBERT EDWARD Kidnapper. He
Page 735 and 736:
MCDANIEL, HATTIE MCDANIEL, HATTIE b
Page 737 and 738:
MCGILL, ROLLEE through the 1980s. T
Page 739 and 740:
MCSHANN, JAMES COLUMBUS ‘‘JAY
Page 741 and 742:
MCTELL, BLIND WILLIE indulged his p
Page 743 and 744:
MEAN MISTREATER MAMA 02657); the se
Page 745 and 746:
MELROSE, LESTER Melrose’s system
Page 747 and 748:
MEMPHIS as the 1915 Boll Weevil epi
Page 749 and 750:
MEMPHIS Interest generated by colle
Page 751 and 752:
MEMPHIS JUG BAND more rural, blues-
Page 753 and 754:
MEMPHIS PIANO RED MEMPHIS PIANO RED
Page 755 and 756:
MERCURY/FONTANA/KEYNOTE/BLUE ROCK i
Page 757 and 758:
MILES, JOSEPHINE ‘‘JOSIE’’
Page 759 and 760:
MILLER, POLK Bibliography Funk, R.
Page 761 and 762:
MISSISSIPPI MISSISSIPPI Mississippi
Page 763 and 764:
MISSISSIPPI SHEIKS Shreveport, Loui
Page 765 and 766:
MITCHELL, WILLIE produced hit recor
Page 767 and 768:
MONTGOMERY, EURREAL ‘‘LITTLE BR
Page 769 and 770:
MOORE, ALICE ‘‘LITTLE’’ MOO
Page 771 and 772:
MOORE, REVEREND ARNOLD DWIGHT ‘
Page 773 and 774:
MORGANFIELD, ‘‘BIG’’ BILL a
Page 775 and 776:
MOTEN, BENJAMIN ‘‘BENNIE’’
Page 777 and 778:
MURPHY, MATT ‘‘GUITAR’’ Tra
Page 779 and 780:
MUSTANG SALLY All you want to do is
Page 781 and 782:
MYERS, LOUIS Whiteis, David. ‘‘
Page 783 and 784:
NAFTALIN, MARK (Elektra 2005); In M
Page 785 and 786:
NEAL, KENNY Discography: AMG Bio on
Page 787 and 788:
NELSON, TRACY Time Is on My Side th
Page 789 and 790:
NICHOLSON, JAMES DAVID ‘‘J. D.
Page 791 and 792:
NIGHTHAWKS three hundred gigs a yea
Page 793 and 794:
NOLAN, LLOYD Bibliography Pruter, R
Page 796 and 797:
OAKLAND Although there were night c
Page 798 and 799:
Bibliography AMG (Bill Dahl); Harri
Page 800 and 801:
as an independent subsidiary. Only
Page 802 and 803:
theme to end his record ‘‘Milk
Page 804 and 805:
1920s, but after Plaza’s labels w
Page 806 and 807:
OVERSTREET, NATHANIEL ‘‘POPS’
Page 808 and 809:
PAGE, ORAN THADDEUS ‘‘HOT LIPS
Page 810 and 811:
The 12000 Race series was initiated
Page 812 and 813:
were. The Baby Face Leroy (featurin
Page 814 and 815:
a phrase while his guitar stressed
Page 816 and 817:
PAYTON, ASIE b. 12 April 1937; Wash
Page 818 and 819:
underground until 1865, followed la
Page 820 and 821:
1946), Jazz Tempo, Just Jazz, and s
Page 822 and 823:
Goldmine (Iola, Wisconsin) (1974- )
Page 824 and 825:
Blueseye (Crossroads Blues Society,
Page 826 and 827:
Old Sailor’s Almanac (San Francis
Page 828 and 829:
New York, in 1955, to find success
Page 830 and 831:
Bibliography Larkin Brisbin, John A
Page 832 and 833:
heavily would eventually metamorpho
Page 834 and 835:
freedom of right-hand improvisation
Page 836 and 837:
switch to Hammond organ and create
Page 838 and 839:
Discography: AMG See also Fabulous
Page 840 and 841:
Blake seemingly based his playing s
Page 842 and 843:
Pearson, Barry Lee. Virginia Piedmo
Page 844 and 845:
PITTSBURGH Pittsburgh has long had
Page 846 and 847:
PORTER, KING b. James A. Pope, 23 N
Page 848 and 849:
Bibliography AMG (Bill Dahl) Discog
Page 850 and 851:
Bibliography AMG (Bill Dahl); Larki
Page 852 and 853:
such as Sonny Boy Williamson I and
Page 854:
to the market much important and ob
Page 857 and 858:
QUATTLEBAUM, DOUG He recorded three
Page 859 and 860:
RACHELL, YANK While no mandolin app
Page 861 and 862:
RACIAL ISSUES AND THE BLUES form ro
Page 863 and 864:
RADIO Aleck Miller ‘‘Sonny Boy
Page 865 and 866:
RAILROADS By 1860, Chicago had esta
Page 867 and 868:
RAILROADS Perhaps the most widely k
Page 869 and 870:
RAINEY, GERTRUDE ‘‘MA’’ par
Page 871 and 872:
RANKIN, R. S. Walker memorial conce
Page 873 and 874:
RAWLS, JOHNNY blues, especially the
Page 875 and 876:
RECORDED IN HOLLYWOOD/HOLLYWOOD/CAS
Page 877 and 878:
RECORDING RCA was recording music i
Page 879 and 880:
RECORDING the great self-accompanie
Page 881 and 882:
RECORDING Elsewhere, King/Queen deb
Page 883 and 884:
RECORDING the 1970s into the early
Page 885 and 886:
RECORDING Delmark and Alligator con
Page 887 and 888:
RED ROOSTER, THE and was subsequent
Page 889 and 890:
REED, JIMMY Jimmy Reed. (Photo cour
Page 891 and 892:
REED, JIMMY Romanowski, 3rd ed., p.
Page 893 and 894:
RHINO finest achievement was partne
Page 895 and 896:
RHYTHM WILLIE Certainly not a stric
Page 897 and 898:
RIDGLEY, THOMAS ‘‘TOMMY’’ f
Page 899 and 900:
ROBINSON, ARTHUR CLAY ‘‘A. C.
Page 901 and 902:
ROBINSON, JESSIE MAE becoming perha
Page 903 and 904:
ROCHESTER, NEW YORK Bibliography Cu
Page 905 and 906:
ROCK ’N’ ROLL (1959, covered by
Page 907 and 908:
ROCK ’N’ ROLL Howlin’ Wolf).
Page 909 and 910:
ROGERS, JIMMY Jimmy Rogers was inst
Page 911 and 912:
ROLL AND TUMBLE BLUES In 1936 Missi
Page 913 and 914:
ROOTS/PALTRAM/TRUTH/FOR SPECIALISTS
Page 915 and 916:
ROUNDER signings of Gatemouth Brown
Page 917 and 918:
RUSH, BOBBY Chicago alongside Luthe
Page 919 and 920:
RUSHING, JAMES ANDREW ‘‘JIMMY
Page 921 and 922:
SAIN, OLIVER leader was a disco hit
Page 923 and 924:
SANDERS, WILL ROY ‘‘WILROY’
Page 925 and 926:
SAVOY/NATIONAL/REGENT/ACORN began p
Page 927 and 928:
SAYDAK, KEN SAYDAK, KEN b. 18 Augus
Page 929 and 930:
SCALES modes are generated by start
Page 931 and 932:
SCOTT, BUDDY Bibliography AMG (Bill
Page 933 and 934:
SCRUGGS, IRENE her death in West Ge
Page 935 and 936:
SEE THAT MY GRAVE IS KEPT CLEAN Doz
Page 937 and 938:
SEX AS LYRIC CONCEPT blues music an
Page 939 and 940:
SHAMA the recording for the company
Page 941 and 942:
SHAW, EDDIE ‘‘VAAN,’’ JR. B
Page 943 and 944:
SHINES, JOHNNY In 1934, Shines team
Page 945 and 946:
SIGNIFYING MONKEY, THE SIGNIFYING M
Page 947 and 948:
SIMS, HENRY ‘‘SON’’ SIMS, H
Page 949 and 950:
SINGING more people. While black ty
Page 951 and 952:
SINGING Two other important singers
Page 953 and 954:
SINGING among them was Muddy Waters
Page 955 and 956:
SINGING recordings are excellent in
Page 957 and 958:
SINGLETON, T-BONE SINGLETON, T-BONE
Page 959 and 960:
SMITH, BESSIE SMITH, BESSIE b. 15 A
Page 961 and 962:
SMITH, BOSTON SMITH, BOSTON b. 1907
Page 963 and 964:
SMITH, CLARENCE ‘‘PINE TOP’
Page 965 and 966:
SMITH, LUCIUS SMITH, LUCIUS b. 9 No
Page 967 and 968:
SMITH, ROBERT CURTIS in Clarksdale,
Page 969 and 970:
SMOKESTACK LIGHTNING train, bells.
Page 971 and 972:
SOILEAU, FLOYD Louisiana. He began
Page 973 and 974:
SOUL helping to lay the seeds for t
Page 975 and 976:
SOUL doors to outdoor sessions seve
Page 977 and 978:
SOUL In addition to his work with t
Page 979 and 980:
SPADY, CLARENCE For much of the 198
Page 981 and 982:
SPANN, OTIS Otis Spann. (Photo cour
Page 983 and 984:
SPECIALTY/FIDELITY/JUKE BOX Abernat
Page 985 and 986:
SPECTER, DAVE Bibliography AMG (Bil
Page 987 and 988:
SPIVEY, ADDIE ‘‘SWEET PEASE’
Page 989 and 990:
SPOONFUL (A SPOONFUL BLUES) EG, EG,
Page 991 and 992:
ST. LOUIS BLUES variety between two
Page 993 and 994:
STACK LEE Despite strong arguments
Page 995 and 996:
STARK, COOTIE from Reverend Gary Da
Page 997 and 998:
STEPNEY, BILLIE Bibliography Leadbi
Page 999 and 1000:
STORMY MONDAY A clean unison ending
Page 1001 and 1002:
STREHLI, ANGELA Dreams Come True (1
Page 1003 and 1004:
SUGAR BLUE who had come before. Pri
Page 1005 and 1006:
SUN/PHILLIPS INTERNATIONAL/FLIP Sel
Page 1007 and 1008:
SUNNYLAND SLIM His final performanc
Page 1009 and 1010:
SWAN SILVERTONE SINGERS SWAN SILVER
Page 1011 and 1012:
SWEDEN jazz programs. Several of th
Page 1013 and 1014:
SYKES, ROOSEVELT SYKES, ROOSEVELT b
Page 1016 and 1017:
TAGGART, BLIND JOE Flourished 1920s
Page 1018 and 1019:
TALTY, DON b. 16 August 1911; Chica
Page 1020 and 1021:
next recordings accordingly, nearly
Page 1022 and 1023:
when asked by Basie to replace rece
Page 1024 and 1025:
friend Uncle Johnnie Williams, he b
Page 1026 and 1027:
musicians, and on occasion she woul
Page 1028 and 1029:
contemporary blues and soul singers
Page 1030 and 1031:
profile, appearing at more venues a
Page 1032 and 1033:
African American artists rendering
Page 1034 and 1035:
TEN YEARS AFTER Key participants in
Page 1036 and 1037:
TEXAS Geography Given the vast expa
Page 1038 and 1039:
stay for the murder of his wife. Wi
Page 1040 and 1041:
purveyors, as similar artists such
Page 1042 and 1043:
San Antonio Texas blues has long be
Page 1044 and 1045:
audibly thrilling. Among fans, Thar
Page 1046 and 1047:
angry words are overshadowed by the
Page 1048 and 1049:
THOMAS, BLANCHE b. 16 October 1922;
Page 1050 and 1051:
Bibliography AMG (Uncle Dave Lewis)
Page 1052 and 1053:
Bibliography Larkin Harris, Sheldon
Page 1054 and 1055:
THOMPSON, ALPHONSO ‘‘SONNY’
Page 1056 and 1057:
Big Mama Thornton performs at the N
Page 1058 and 1059:
artists recorded by the operation w
Page 1060 and 1061:
TOO TIGHT HENRY b. Henry L. Castle,
Page 1062 and 1063:
that Luella Miller recorded for Voc
Page 1064 and 1065:
The Natchez Fire (1940) The horribl
Page 1066 and 1067:
Conclusion In addition to the diffe
Page 1068 and 1069:
of the era included George Dixon, J
Page 1070 and 1071:
lead to high rates of death, social
Page 1072 and 1073:
performer. In 1985 he was presented
Page 1074 and 1075:
Publications The following are full
Page 1076 and 1077:
Bibliography Larkin Bruder, Jay.
Page 1078 and 1079:
Arhoolie, Acoustic Archives, Alliga
Page 1080 and 1081:
‘‘Five Long Years,’’ ‘‘
Page 1082:
Wells at Theresa’s. Also a studio
Page 1085 and 1086:
UNITED KINGDOM AND IRELAND player C
Page 1087 and 1088:
UNITED KINGDOM AND IRELAND included
Page 1089 and 1090:
UNITED STATES peaks and its valleys
Page 1091 and 1092:
UNITED STATES From the 1970s forwar
Page 1093 and 1094:
USA label in Milwaukee in 1959 in p
Page 1095 and 1096:
VANGUARD VANGUARD Founded as the Va
Page 1097 and 1098:
VAUGHAN, STEVIE RAY in these semipr
Page 1099 and 1100:
VAUGHAN, STEVIE RAY The Sky Is Cryi
Page 1101 and 1102:
VICKSBURG BLUES lyrics, although th
Page 1103 and 1104:
VIOLENCE AS LYRIC CONCEPT hat. Thes
Page 1106 and 1107:
WALKER, BLIND WILLIE b. 1896; SC d.
Page 1108 and 1109:
featuring his former bandmates the
Page 1110 and 1111:
upgraded the music with a combinati
Page 1112 and 1113:
Sippie Wallace ca. 1924. (Photo cou
Page 1114 and 1115:
Bibliography AMG (Bill Dahl); Larki
Page 1116 and 1117:
which later grew to have as many bl
Page 1118 and 1119:
WASHINGTON, LEROY b. 1 March 1932;
Page 1120 and 1121:
WATERS, ETHEL b. Ethel Howard, 31 O
Page 1122 and 1123:
harmonica player. The trio develope
Page 1124 and 1125:
a teenager. She began playing with
Page 1126 and 1127:
soul/blues performers such as Tyron
Page 1128 and 1129:
Bibliography AMG (Bill Dahl); Harri
Page 1130 and 1131:
eceived from these guest stints som
Page 1132 and 1133:
WHEATSTRAW, PEETIE b. William Bunch
Page 1134 and 1135:
and personally. Until the late 1980
Page 1136 and 1137:
Bukka White at the Newport Folk Fes
Page 1138 and 1139:
WHITE, MISS LAVELLE b. 3 July 1929;
Page 1140 and 1141:
WILKINS, REVEREND ROBERT TIMOTHY
Page 1142 and 1143:
years were memorialized in Joe’s
Page 1144 and 1145:
musicians playing with fire, sponta
Page 1146 and 1147:
WILLIAMS, JOE b. Joseph Goreed, 12
Page 1148 and 1149:
maintains close contact with his ol
Page 1150 and 1151:
that high a level of expressiveness
Page 1152 and 1153:
generations with his work. His reco
Page 1154 and 1155:
as a cross-generational conduit of
Page 1156 and 1157:
WILMER, VAL b. Valerie Sybil Wilmer
Page 1158 and 1159:
moved to New York in 1921. Her reco
Page 1160 and 1161:
to ever sing (or perform any instru
Page 1162 and 1163:
musicians, the African American com
Page 1164 and 1165:
1954 R&B hit, and while ‘‘Annie
Page 1166:
Bibliography Santelli Discography H
Page 1169 and 1170:
YANCEY, MAMA ESTELLE Lived in Chica
Page 1171 and 1172:
YOUNG, ZORA soul/blues revues with
Page 1173 and 1174:
ZZ TOP ‘‘Boogie Chillen,’’
Page 1175 and 1176:
INDEX African Americans banjo, deve
Page 1177 and 1178:
INDEX American South (Continued ) b
Page 1179 and 1180:
INDEX Atlantic/Atco/Spark (Continue
Page 1181 and 1182:
INDEX Batts, Will, 67, 317, 932 Bat
Page 1183 and 1184:
INDEX Bishop, Elvin, 20, 83, 442, 7
Page 1185 and 1186:
INDEX ‘‘Blues Capital of the Wo
Page 1187 and 1188:
INDEX Booker, John Lee. See Hooker,
Page 1189 and 1190:
INDEX Burnt Weeny Sandwich, 411 Bur
Page 1191 and 1192:
INDEX Cephas, John, 118, 190, 257,
Page 1193 and 1194:
INDEX Chicago (Continued ) race rio
Page 1195 and 1196:
INDEX Come on Home, 669 Come On in
Page 1197 and 1198:
INDEX Crying for the Carolines (boo
Page 1199 and 1200:
INDEX Delmore, Rabon, 231 Delta Blu
Page 1201 and 1202:
INDEX Dot Records, 280, 719, 882 Al
Page 1203 and 1204:
INDEX Eight-measure form, 337 8000
Page 1205 and 1206:
INDEX Ferguson, Johnny and His Twis
Page 1207 and 1208:
INDEX Fraher, James, 446 Fran, Caro
Page 1209 and 1210:
INDEX Girl I Love, She Got Long Cur
Page 1211 and 1212:
INDEX Griffin, ‘‘Big’’ Mike
Page 1213 and 1214:
INDEX Harris, Homer, 412 Harris, Ke
Page 1215 and 1216:
INDEX Hit It ‘n’ Quit It, 856 H
Page 1217 and 1218:
INDEX Huckle Buck, The, 1083 Huckma
Page 1219 and 1220:
INDEX If I Can’t Cut the Mustard
Page 1221 and 1222:
INDEX James, Nehemiah ‘‘Skip,
Page 1223 and 1224:
INDEX Johnson, Lonnie (Continued )
Page 1225 and 1226:
INDEX Keskidee (magazine), 754 Key
Page 1227 and 1228:
INDEX Lawlars, Ernest ‘‘Little
Page 1229 and 1230:
INDEX Little Sister, 779 Little Son
Page 1231 and 1232:
INDEX Lucky Strikes!, 763 Lucy Mae
Page 1233 and 1234:
INDEX McCollum, Robert. See Nightha
Page 1235 and 1236:
INDEX Milburn, Amos, 691, 866 Gary,
Page 1237 and 1238:
INDEX Mother of the Blues: A Study
Page 1239 and 1240:
INDEX New Masses (periodical), 399,
Page 1241 and 1242:
INDEX Old Memphis, King, Willie and
Page 1243 and 1244:
INDEX PBS series, American Promise,
Page 1245 and 1246:
INDEX Popular culture, 153, 415, 52
Page 1247 and 1248:
INDEX Ragtime, 509-510 black string
Page 1249 and 1250:
INDEX Rex label, 664 Reynolds, Big
Page 1251 and 1252:
INDEX Roland, Walter, 845 with Boga
Page 1253 and 1254:
INDEX Scott, Marylin (Mary DeLoatch
Page 1255 and 1256:
INDEX Six Cold Feet in the Ground,
Page 1257 and 1258:
INDEX South, 595 Southbound Blues,
Page 1259 and 1260:
INDEX Sumlin, Hubert, 102 AFBF Euro
Page 1261 and 1262:
INDEX Terry, Sonny, 115, 669, 871,
Page 1263 and 1264:
INDEX Too Weak to Fight, 496 Toombs
Page 1265 and 1266:
INDEX United States, evolution of t
Page 1267 and 1268:
INDEX Walker, T-Bone, 1044-1046 wit
Page 1269 and 1270:
INDEX West Coast style, 188, 861 We
Page 1271 and 1272:
INDEX Williams, Robert Pete, 388, 3
Page 1273:
INDEX You Don’t Know Like I Know
show all

B - Hobby Blues Band

Create successful ePaper yourself

Delete template?

Save as template?