Meeting Jimmie Rodgers

How America's Original Roots Music Hero Changed the Pop Sounds of a Century

Nonfiction, Entertainment, Music, Pop & Rock, Rock, Biography & Memoir, Composers & Musicians, Music Styles
Cover of the book Meeting Jimmie Rodgers by Barry Mazor, Oxford University Press
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Author: Barry Mazor ISBN: 9780199886869
Publisher: Oxford University Press Publication: May 15, 2009
Imprint: Oxford University Press Language: English
Author: Barry Mazor
ISBN: 9780199886869
Publisher: Oxford University Press
Publication: May 15, 2009
Imprint: Oxford University Press
Language: English

In Meeting Jimmie Rodgers, the first book to explore the deep legacy of "The Singing Brakeman" from a twenty-first century perspective, Barry Mazor offers a lively look at Rodgers' career, tracing his rise from working-class obscurity to the pinnacle of renown that came with such hits as "Blue Yodel" and "In the Jailhouse Now." As Mazor shows, Rodgers brought emotional clarity and a unique sense of narrative drama to every song he performed, whether tough or sentimental, comic or sad. His wistful singing, falsetto yodels, bold flat-picking guitar style, and sometimes censorable themes--sex, crime, and other edgy topics--set him apart from most of his contemporaries. But more than anything else, Mazor suggests, it was Rodgers' shape-shifting ability to assume many public personas--working stiff, decked-out cowboy, suave ladies' man--that connected him to such a broad public and set the stage for the stars who followed him. In reconstructing this far-flung legacy, Mazor enables readers to meet Rodgers and his music anew-not as an historical figure, but as a vibrant, immediate force.

View on Amazon View on AbeBooks View on Kobo View on B.Depository View on eBay View on Walmart

In Meeting Jimmie Rodgers, the first book to explore the deep legacy of "The Singing Brakeman" from a twenty-first century perspective, Barry Mazor offers a lively look at Rodgers' career, tracing his rise from working-class obscurity to the pinnacle of renown that came with such hits as "Blue Yodel" and "In the Jailhouse Now." As Mazor shows, Rodgers brought emotional clarity and a unique sense of narrative drama to every song he performed, whether tough or sentimental, comic or sad. His wistful singing, falsetto yodels, bold flat-picking guitar style, and sometimes censorable themes--sex, crime, and other edgy topics--set him apart from most of his contemporaries. But more than anything else, Mazor suggests, it was Rodgers' shape-shifting ability to assume many public personas--working stiff, decked-out cowboy, suave ladies' man--that connected him to such a broad public and set the stage for the stars who followed him. In reconstructing this far-flung legacy, Mazor enables readers to meet Rodgers and his music anew-not as an historical figure, but as a vibrant, immediate force.

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