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On the evening of July 25, 1965, Bob Dylan took the stage at Newport Folk Festival, backed by an electric band, and roared into his new rock hit, "Like a Rolling Stone". The audience of committed folk purists and political activists who had hailed him as their acoustic prophet reacted with a mix of shock, booing, and scattered cheers. It was the shot heard round the world - Dylan's declaration of musical independence, the end of the folk revival, and the birth of rock as the voice of a generation - and one of the defining moments in 20th-century music.

Dave Van Ronk was one of the founding figures of the 1960s folk revival, but he was far more than that. A pioneer of modern acoustic blues, a fine songwriter and arranger, a powerful singer, and one of the most influential guitarists of the ’60s, he was also a marvelous storyteller, a peerless musical historian, and one of the most quotable figures on the Village scene. The Mayor of MacDougal Street is a firsthand account by a major player in the social and musical history of the ’50s and ’60s.

In Brother Robert, nonagenarian Annye C. Anderson sheds new light on a real-life figure largely obscured by his own legend: her kind and incredibly talented stepbrother, Robert Johnson. This book chronicles Johnson's unconventional path to stardom, from the harrowing story behind his illegitimate birth, to his first strum of the guitar on Anderson's father's knee, to the genre-defining recordings that would one day secure his legacy.

New York Times-bestselling author Elijah Wald, one of the most wide-ranging and respected writers on blues and popular music, traces the beginnings of the music that became our national soundtrack. Using Morton’s life and songs as a connecting thread, Jelly Roll Blues suggests an alternate history of blues and jazz, surveying a world of Black and working class culture that at times seems startlingly modern.

It has been defined by lyrical structure, or as a progression of chords, or as a set of practices reflecting West African "tonal and rhythmic approaches," using a five-note "blues scale." He traces its roots in work and praise songs, and shows how it was transformed by such professional performers as W. C. Handy, who first popularized the blues a century ago.

In the 1920s and 1930s, as radio took over the pop music business, record companies were forced to leave their studios in major cities in search of new styles and markets. Ranging the mountains, prairies, rural villages, and urban ghettos of America, they discovered a wealth of unexpected talent - farmers, laborers, and ethnic minorities playing styles that blended the intertwining strands of Europe, Africa, Asia, and the Americas.