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Bücher/Books on STUDIO VIS by Paul Garon – The Devil’s Son-in-Law In a series of monographs Blues Paperbacks examine impor-tant blues singers and musicians, local styles and traditions, subjects and themes, and the history and influence of this living music. The books are written by acknowledged …

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Bücher/Books on STUDIO VIS by Paul Garon – The Devil’s Son-in-Law In a series of monographs Blues Paperbacks examine impor-tant blues singers and musicians, local styles and traditions, subjects and themes, and the history and influence of this living music. The books are written by acknowledged authorities in the field and are of importance to enthusiasts of modern musical idioms, sociologists and folklorists, and students of the popular arts. Each book in the series is extensively illustrated with historic and recent photographs and printed ephemera, many previously unpublished, sup-ported by maps, discographies and bibliographies. LAUGHING TO KEEP FROM CRYING Frank Boom This study, written by a Dutchman in the mid-1940s, discovers a strain of satire and self-satire in the blues, and suggests new theories about their structure, composition and meaning. BIG ROAD BLUES David Evans Complementing Tommy Johnson, the author discusses certain Mississippi singers and their blues, and the role of composition in traditional song. Much of the material was recorded by the author himself on field-trips. CRYING FOR THE CAROLINES Bruce Bastin A pioneering study, based upon months of fieldwork, of the blues of the Carolinas and north Georgia, and the legacy of the area’s best-known artist, Blind Boy Fuller. The author’s detective work has unearthed many important musicians, who have been interviewed for the first time   THE DEVIL’S SON-IN-LAW -The Story of Peetie Wheatstraw and his Songs Paul Garon Among the Northern city bluesmen of the 1930s few were as popular, prolific and influential as singer/pianist Peetie Wheatstraw. The author analyses his songs and distinctive style, drawing on new research into the musical history of St Louis and on interviews with Wheatstraw’s fellow-musicians in the city.
Paul Garon
STUDIO VIS

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