Theology and the Blues
By Donté A. Ford (Foreword by), Michael A.L. Broyles (Contribution by), Coldwell Daniel IV (Contribution by), William L. Ellis (Contribution by), Douglas Groothuis (Contribution by), Edward Komara (Contribution by), Jonathan Lower (Contribution by), Justin McLendon (Contribution by), Jessica McMillan (Contribution by), Michael Sharp (Contribution by), Julia Simon (Contribution by), Alex Sosler (Contribution by), Mark Winborn (Contribution by), Justin McLendon (Editor)
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By Donté A. Ford (Foreword by), Michael A.L. Broyles (Contribution by), Coldwell Daniel IV (Contribution by), William L. Ellis (Contribution by), Douglas Groothuis (Contribution by), Edward Komara (Contribution by), Jonathan Lower (Contribution by), Justin McLendon (Contribution by), Jessica McMillan (Contribution by), Michael Sharp (Contribution by), Julia Simon (Contribution by), Alex Sosler (Contribution by), Mark Winborn (Contribution by), Justin McLendon (Editor)
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While all music genres incorporate religious imagery, the blues has its origin in the soil of the church. In its infancy, the blues was often dismissed as undermining the church’s gospel songbook. The initial resistance, however, could not suppress the organic development of a genre of music born from suffering. The great Mississippi Delta bluesman, Muddy Waters, once said, "The blues was born behind a mule." Behind a beast of burden, the working man found in the blues a way to console the ...























