Blues Highway

Includes hotels and restaurants; music clubs and bars; music landmarks; music festivals and events; interviews; jazz, blues, Cajun, zydeco, country, gospel, soul and rock and roll; and more.

"Daniel Erickson has the blues. There's a Russian mobster wearing his finger on a necklace, two hit men hot on his trail, an FBI agent obsessed with his capture, and a rogue motorcycle gang hunting him down as he desperately races cross-country following musical clues he hopes will lead him to the stolen million dollars that might not be enough to save him. Or his son"--Cover p. [4].

The hunt continues. What would you do to keep your kids safe in a zombie filled wasteland? Two down. One to go. A father hunts for his lost child in a world where the Dead aren't the worst thing to survive. Fans of action packed adventure with heart are staying up all night swiping this eighteen book thriller series. Find out why.

This is a musician’s tale: the story of a boy growing up on the Iron Range, playing his guitar at family gatherings, coming of age in the psychedelic seventies, and honing his craft as a pro in Minneapolis, ground zero of American popular music in the mid-eighties. “There is a drop of blood behind every note I play and every word I write,” Paul Metsa says. And it’s easy to believe, as he conducts us on a musical journey across time and country, navigating switchbacks, detours, dead ends, and providing us the occasional glimpse of the promised land on the blue guitar highway. His account captures the thrill of the Twin Cities when acts like the Replacements, Husker Dü, and Prince were remaking pop music. It takes us right onto the stages he shared with stars like Billy Bragg, Pete Seeger, and Bruce Springsteen. And it gives us a close-up, dizzying view of the roller-coaster ride that is the professional musician’s life, played out against the polarizing politics and intimate history of the past few decades of American culture. Written with a songwriter’s sense of detail and ear for poetry, Paul Metsa’s book conveys all the sweet absurdity, dry humor, and passion for the language of music that has made his story sing.

It had never been done before. Not in 4000 years of Japanese recorded history had anyone followed the Cherry Blossom Front from one end of the country to the other. Nor had anyone hitchhiked the length of Japan. But, heady on sakura and sake, Will Ferguson bet he could do both. The resulting travelogue is one of the funniest and most illuminating books ever written about Japan. And, as Ferguson learns, it illustrates that to travel is better than to arrive.

Ron Levy, blues keyboardist, has written his memories of being a musician on the road with artists like B.B. King, and also recorded with Freddie Hubbard, Melvin Sparks, David T. Walker, Idris Muhammad. He includes anecdotes covering his career as a back-up musician, a solo artist, as well as a producer and record label owner.

“You’ve never read a road trip novel like Ailsa McFarlane’s Highway Blue.”—Entertainment Weekly A hypnotic debut of broken love on the run, from a blazingly original young writer “In front of me the long length of the road wound out, wound out and wound on under hot sky. And I drove . . .” In the lonely town of San Padua, Anne Marie can never get the sound of the ocean out of her head. And it’s here—dog-walking by day, working bars by night—where she tries to forget about her ex-husband, Cal: both their brief marriage and their long estrangement. When Cal shows up on Anne Marie’s doorstep one day, clearly in trouble, she reluctantly agrees to a drink. But later that night a gun goes off in a violent accident and the young couple are forced to hit the open road together in escape. Crammed in a beat-up car with their broken past, so begins a journey across a vast, mythical American landscape, through the dark seams of the country, toward a city that may or may not represent salvation. Highway Blue is a story of being lost and found—and of love, in all its forms. Written in spare, shimmering prose, it introduces the arrival of an electrifyingly singular new voice.

On Highway 61 explores the historical context of the significant social dissent that was central to the cultural genesis of the sixties. The book is going to search for the deeper roots of American cultural and musical evolution for the past 150 years by studying what the Western European culture learned from African American culture in a historical progression that reaches from the minstrel era to Bob Dylan. The book begins with America's first great social critic, Henry David Thoreau, and his fundamental source of social philosophy:–––his profound commitment to freedom, to abolitionism and to African–American culture. Continuing with Mark Twain, through whom we can observe the rise of minstrelsy, which he embraced, and his subversive satirical masterpiece Huckleberry Finn. While familiar, the book places them into a newly articulated historical reference that shines new light and reveals a progression that is much greater than the sum of its individual parts. As the first post–Civil War generation of black Americans came of age, they introduced into the national culture a trio of musical forms—ragtime, blues, and jazz— that would, with their derivations, dominate popular music to this day. Ragtime introduced syncopation and become the cutting edge of the modern 20th century with popular dances. The blues would combine with syncopation and improvisation and create jazz. Maturing at the hands of Louis Armstrong, it would soon attract a cluster of young white musicians who came to be known as the Austin High Gang, who fell in love with black music and were inspired to play it themselves. In the process, they developed a liberating respect for the diversity of their city and country, which they did not see as exotic, but rather as art. It was not long before these young white rebels were the masters of American pop music – big band Swing. As Bop succeeded Swing, and Rhythm and Blues followed, each had white followers like the Beat writers and the first young rock and rollers. Even popular white genres like the country music of Jimmy Rodgers and the Carter Family reflected significant black influence. In fact, the theoretical separation of American music by race is not accurate. This biracial fusion achieved an apotheosis in the early work of Bob Dylan, born and raised at the northern end of the same Mississippi River and Highway 61 that had been the birthplace of much of the black music he would study. As the book reveals, the connection that began with Thoreau and continued for over 100 years was a cultural evolution where, at first individuals, and then larger portions of society, absorbed the culture of those at the absolute bottom of the power structure, the slaves and their descendants, and realized that they themselves were not free.