Music Books

This extraordinary book critiques most of the Beatles' songs. It dissects, analyzes and explains the lyrics of the Beatles' songs; it compliments the intelligence of all readers. Music professionals and novices alike will come away with added information; this is a book that will appeal to all readers regardless of place/proficiency on the musical scale.

This book serves as a time line; the Beatles' achievements and the times they were living in are chronicled neatly alongside Macdonald's analyses of the music. It's general tone is light and upbeat, yet a tone of bittersweet nostalgia underscores much of the passages. "There are places I remember..." John Lennon, 1965 could be the sound track of this book. So could John Lennon's 1968 Anthem of the Sixties, "you say you want a revolution, well you know we all want to change the world..."

Beatle fans and those who love and/or lived through the Dodge Dart Era of the 1960s will love this book. It is so worth reading.

This book's publication concludes on a sad footnote. Ian Macdonald ended his life on August 20, 2003. He had been clinically depressed.

I love this book and have read it several times. When I listen to Beatles recordings, I sometimes take it out and read up on the song, and its fun to see the work that was put into it (music flubs, line flubs, edit flubs). I just wish he hadn't beat up on George so much! Highly recommended

More a question than a book review here. This edition is described as being updated; comparing it to the original hardcover, however, I found only one update -- a footnote in which MacDonald briefly comments on the 'Live at the BBC' album. Otherwise it is identical to the first edition. There is nothing on the Anthology material. So the question is this: Is that one little footnote the extent of MacDonald's "revisions"? If there is a fatter, better edition out there, I'd love to have it.

Anyway, now that I'm here I might as well say that this is not only the best critical analysis of the Beatles' work ever written; it's almost the only such book I can even take seriously. MacDonald does come up with the occasional strange opinion here and there (his dismissals of "Day Tripper" and "Helter Skelter" come to mind), but critics are not machines, folks, and even the best of them are not infallible. For the most part MacDonald is serious in the best sense of the word; he is intensely attentive, and his mastery of the catalogue escapes pedantry -- it's just plain jaw-dropping.

I wish that I could give this book more than five stars. It is an absolutely brilliant and supremely entertaining analysis of every song recorded by The Beatles. For those with musical knowledge it provides detailed analysis of things such as chord structure and sequences. For those, such as myself, who are merely fans of this great music, the book provides endless insight and anecdotes about the recording process and events surrounding each song. After reading this book you will never listen to The Beatles' songs in the same way again. This is eye-opening work that puts all other rock/pop music analysis to shame. Get this one!!!

A stunning examination of The Beatles, their music, the sixties, and by implication the state of modern popular music, "Revolution in the Head" is easily the best Beatles book ever published.

Written with an astonishing erudition acquired over his years as a music journailast for New Musical Express and other magazines, as well an obvious love for the music of the Fab Four, Ian MacDonald's book places the Beatles in the appropriate social and cultural context with exactitude,critical acumen and readability.

If you want to know why The Beatles are the most important pop group ever, or wish to reacquaint yourself with their genius, you must read this superb book. Along with Philip Norman's "Shout" and "Mark Lewisohn's" Beatles Sessions, "Revolution in the Head" is an undoubted masterpiece of Beatles scholarship.

It's an unexpected thing to say about a backstage book (not a genre I'm fond of) but this is an inspiring book about artistic collaboration, and a dream fulfilled.

The recording it celebrates can now be seen to be not without its flaws. For example it's tragic that Hotter's vast voice had gone "woofy" by the time they recorded Walku:re, the last of the cycle to be recorded. Despite the awesome conviction and power of Hotter's vocal acting, he wasn't beautiful, and the transformed Wotan at the end of Act III has to be beautiful. And it's a shame that they replaced Paul Kuen's excellent, musical, Mime with Gerhard Stolze's over-the-top cackling, which has not worn well with time.

But the Culshaw book helps put these flaws (and I can't bring myself really to consider Hotter a flaw, on balance) into perspective against the grandeur of the achievement - which, though complete Ring cycles are now common, remains unchallenged.

Culshaw himself is a fine, clear and sometimes amusing writer and, it seems, a likeably modest and decent man. For example he kindly withholds the name of the tenor, a potential superstar as Siegfried, who nearly killed the project by refusing to study his role. It's now known that that was Ernst Kozub, by the way, and you can consider Culshaw's claims about the magnificence of his voice by listening to his Erik on the Klemperer "Fliegende Holla:nder". He must be kicking himself to this very day. On the other hand, the story of Wolfgang Windgassen's artistic integrity and decency in stepping in and singing to save the recording, even while his agent was still working out the contracts, only adds lustre to the excellence of his performance. And if it were in a movie ("The hell with this; I'm going in to sing") no-one would believe it.

Kirsten Flagstad appears as perhaps the most loveable soprano, or singer of any kind, I have ever heard of, and the story of her death still, when I read it again, brings tears to my eyes. Culshaw's considerably more guarded treatment of Birgit Nilsson, undoubtedly a fine artist, tells a very different story...

It's also inspiring to read about record company management who were not solely motivated by the bottom line. Perhaps nowadays that would see the book classified as science fiction. :)

Good book. The best of it's kind. Recommended. (And they should re-print it.)

Laon

I was in elementary and junior high school when the legendary first-ever recording of Wagner's Ring Cycle was being set down and released. I did not get interested in opera until junior high and did not have access to the recordings until later, but in the meantime I did find and read this fascinating book, and have read it several times in the meantime.

Culshaw begins by giving some background: the earlier attempts on the part of Decca/London to record and issue a Ring the "easy" way (by going to Bayreuth and taking one down, which they tried in both 1951 and 1955); their ultimately successful attempt to snag Kirsten Flagstad, who had retired from recording, into the Rheingold cast; and the early attempts at creating stereo productions for the phonograph which finally jelled when they got around to recording Das Rheingold.

There are many, many fascinating stories within the main fabric of the tale, and it would take a review much longer than 1,000 words to even mention all of them. For example, although the reasons had to do mostly with the technical quality of the recording, this first-ever Das Rheingold captured the imagination of the opera-buying public in a way that nobody could have imagined or expected, despite the doubts of the competition and the lack of interest on the part of the Wagner cognoscenti. Another story is that of Kirsten Flagstad's tragically deteriorating health which ultimately prevented her from participating in any of the other operas, despite the glimmers of hope that kept flickering and the constantly changing plans Decca/London made to accommodate her. The story of the young unknown tenor who was supposed to be the ideal Siegfried except that he was unwilling to take the time to learn the role is a study in frustration. On the lighter side are the tale of the horse the producers brought into the studio to surprise Nilsson during the recording of Gotterdammerung, and the story of Regine Crespin's kicking James King in the shin during the recording of the Walkure Act I love duet.

Culshaw has a definite way with words and thus has the ability to allow the reader to feel the tension, time pressures and catharses involved in the recording sessions. One example of this is his description of Decca/London's attempt to record an acceptable Rheingold prelude--in the middle of the night yet!--given that the first half of the piece could not be edited because of the way it is written, and so had to be recorded without mistake; the tension here is almost palpable. It is in areas such as this where Culshaw is at his strongest.

Unfortunately, sometimes Culshaw fails to understand the power of his pen and as a result the book also has its weak and even offensive areas, usually centered around the author's own prejudices. For example, he dismisses the 1951 Bayreuth Gotterdammerung, which Decca/London almost issued but did not, as an inferior performance except for the Brunnhilde and the Hagen. However, this performance was finally issued a year or two ago on the Testament label and in the opinion of many immediately jumped to near the top of the list of contenders for best-ever recording of the work. What could Culshaw have been thinking when he wrote his cavalier dismissal of the recording? And if the Gotterdammerung *had* been originally issued rather than the legendary Parsifal from the same year, would Culshaw then have said that the Parsifal was no good? Given a glaring error in judgment such as this one, I have difficulty trusting Culshaw's objectivity in other areas. And even given his bias in favor of the German repertoire as opposed to the Italian, his words to the effect that no *real* conductor has ever shown any interest in Bellini are at best unprofessional if indeed not irresponsible, as Serafin and Berntein provided contemporary evidence to the contrary, while others such as Levine would come along later to prove Culshaw wrong yet again.

Another drawback to the book is that Culshaw can be incredibly condescending. The conclusion to the tale about the man who owned a rare steerhorn and came to Vienna during the Walkure sessions to help Decca/London get the relevant passages on tape is not only condescending but just plain mean. Likewise Culshaw makes the comment that he wouldn't expect anybody who hasn't been exposed to the pressures involved in recording music such as the Ring to understand the necessity of briefly lowering the temperature with the horse episode; such a comment assumes that Culshaw is writing to people who are unsophisticated if not worse.

These drawbacks aside, however, Ring Resounding is really an excellent read, and gives a wonderful idea of the joys and struggles involved in recording an opera. I'm sorry to see that it has gone out of print and hope to see it back soon. I want to edit if it does return, though...

This is one of a handful of books indispensable to the history of "classical" recording. It relates the on-again, off-again, 7-year history of what it took to record the first complete, commercial RING. (Other such books include Roland Gelatt's THE FABULOUS PHONOGRAPH; the Legge-Schwarzkopf ON AND OFF THE RECORD; and Culshaw's posthumously published memoir PUTTING THE RECORD STRAIGHT -in which Culshaw's observations are far less reserved than in RING RESOUNDING- and he names Names.)

The 1972 Time-Life edition of RING RESOUNDING is the one to have- if you can find a "seperate" copy. (Originally, it was leather-bound, in a big black box, together with Peter Gutman's 1968 Wagner bio and Bernard Shaw's The PERFECT WAGNERITE.) Not only is the layout more generous (with thick, glossy pages), but in this edition we get many more photographs of the Solti RING artists- most of them taken by Hans Wild at the actual recording sessions. (The commerical hard-cover edition of '67 has only a few pages of smaller-sized photos.)

Granted, Culshaw had his blind-spots and biases. Still, it is perilously easy to look down on this man and his work when, in terms of appreciation and musical hindsight, we "record collectors" of today are standing on his shoulders. Because without Culshaw and his Decca-mates (Ray Minshull, Gordon Parry, Erik Smith, Christopher Raeburn & CO.)- without them, such a thing as the Solti RING would have taken much longer to materialize...And by THAT time, it would have been too late to capture (in stereo/studio conditions) the last generation-or-so of great Wagnerian singing which we can hear on the Solti RING.

If this sounds like an exaggeration, consider that : 1) Kirsten Flagstad's terminal illness cut short her "comeback," within a year of her RHEINGOLD Fricka. 2) Within five years of this RING's completion in November 1965, Wolfgang Windgassen retired (and died soon thereafter). 3) Not much later, Brigit Nilsson passed out of her peak/glory days- even if, "out" of her prime, she could still clean the clock of any other Wagnerian soprano. 4) Soon after the mid-1960s many of the older players, who formed the last vestige of the pre-war Vienna Philharmonic, began to retire- taking with them a unqiue, burnished sound. (In time, even the Concertgebouw and the Vienna Philharmonic got infected by the Post-Jet, Post-Karajan "International Sound.") That is to say, Culshaw and his team were able to record this RING, in state-of-the-art sound, only just in time.

True, if you can put up with some smeary orchestral playing, there's the stereo '67 Bohm/Bayreuth RING on Philips- with a host of great singers, including Wolfgang Windgassen and Birigit Nilsson (who preferred her Bohm/Bayreuth performance to her Solti/studio one).

And yes, the live Bayreuth RINGs of the 50s (Krauss '53 and Keilberth's early stereo '55) allow us to hear several of Solti's singers, in younger and fresher voice...But remember that due to various "contractual" problems, these performances would not be legally OR widely available for decades to come. (Just for "starters," EMI had a "lock" on any Bayreuth RING recordings, from 1951 to 1958.)

This brings us to the old canard that, out of self-interest, Culshaw "eighty-sixed" the release of the '55 Keilberth/Bayreuth RING (which Decca taped in stereo). Now, it's true that Culshaw (to quote a certain Politician) "misunderestimated" Keilberth's conducting, going so far as to describe his 1953 Bayreuth LOHENGRIN as "limp." (Not many Wagnerians would agree with this.) There's no question that Keilberth was indeed one of Culshaw's blind-spots, and that Culshaw's input to Decca's corporate "suits," vis-a-vis Keilberth, would have been "negatory."

Still: in 1955 and '56, did Culshaw, by himself, have the sheer CLOUT to prevent the release of the '55 RING?

Culshaw had produced Decca sessions as early as 1947, but the fact is that during the '55 Bayreuth Festival, he wasn't even WITH with Decca, but with Capitol. Yes, he returned to Decca, but not until August 29, 1955- after the Festival was over. Not only that: as "A & R man," Culshaw would not take over Decca's Continental recording schedule from Victor Olof until the following year.

But the biggest "snag" for the release of any Decca/Bayreuth RING was the 7-year "lock" which EMI had on any Bayreuth RING recordings, from 1951 to '58. Still, if you insist on assigning the role of "culprit" to Culshaw, then you must assume that

(a) Culshaw's Zurich boss, the notoriously conservative Maurice Rosengarten, had considered Keilberth's "name" big enough to sell a complete RING in 1955
(b) that Rosengarten actually thought of a complete RING as marketable at that time, under ANY name. As it was, getting him to "sign-on" to a studio RHEINGOLD, in 1957, was something of a "coup." (Yes, he had given the go-ahead to TAPE the '55 RING- but contractual legalities had to be worked out, prior to "publication".)
(c) that the formidable "Uncle Maurice" would EVER (at least so far as he knew it) allow his perogatives to be swept aside, simply on the say-so of an A & R man (i.e., Culshaw) whose greatest successes were still in the future.

That is to say, Gimmee a break. And besides, would anyone really WANT to go back in time, pre-empt the Solti RING, and deprive us of Kirsten Flagstad's RHEINGOLD Fricka?

This is an enjoyable "read" which stands up to repeated traversals...What fascinating stories, what an abundance of example after example of seeking out just the right ambience, the right textures, moods, tempi, effects...And when Culshaw relates how difficulties and crises were not only weathered & overcome, but turned to the advantage of the recording, it's nothing less than inspiring. (By the way, does anyone know HOW Windgassen's voice was changed to sound more like Fischer-Diskau's, in the GOTTERDAMMERUNG Tarnhelm scene? It's the only instance where Culshaw wouldn't reveal how an effect was achieved.)

Going through this volume, it is painfully nostalgic to behold a time when such vision, quality and craftmanship were not only sponsored, but ENCOURAGED by big record companies. Still, a periodic re-reading of RING RESOUNDING can replenish appreciation of all-out quality and dedication to one's craft (whatever it may be) - and help the "gentle reader" become part of the greater public which once supported such visions, much more than they do, now. So, in spite of the pain of knowing that there are no Culshaws or Legges walking among us in 2006 (much less the corporate leeway thereto), we can still keep alive the larger visions - and enhance our lives. (No mean feat, that.)

This book came as an insert into the Package of the Ring(Solti). Purchased the set back in 1976, at Westwood/LA'sTower Records. Clerk said,"Wanna see people's heads turn?" And cranked up the concludng portion of the Immola-tion scene for me...on the PA......THAT decided for me notjust which version of the Ringto buy, but just how beautifu-lly and faithfully this recor-ding really IS to Wagner's very precise original direc-tions...I take it out every sooften to remind myself of just how much we opera-lovers oweto the pioneering work doneby Mr. Culshaw and his team ofauditory/sound engineers forEMI/London Recordings.Indeed, I daresay it is due invery large part to their pain-staking work that full-length recordings of Bach, Mozart,Verdi, for that matter, ANYopera, oratorio, or longer-length piece, could have beenrecorded, let alone attempted,at all, or have sold enoughcopies to justify furtherpioneering works.I am in debt, as are we all, to this pioneer in music!

I got this book s part of a boxed set of Solti's Der Ring des
Nibelungen back in 1976. Culshaw was the sound engineer on the
Sofiensaal recording of Wagner's Ring, beginning in 1958, the
preparations took years to bring to fruition, and the whole ef-
fort was a gamble on Decca/EMI/London's part, as noone was tot-
ally sure that the record buying public would support financial-
ly such a monumental recording. Just as the logistics of get-
ting an internationally famous assemblage of singers weren't
daunting enough, there were the gargantuan tasks associated with
recording this Mount Everest of music-and getting it right, with
out having to recall singers, conductor, and musicians again and
again. This part is absolutely fascinating, and if one gets the
dvd/video as a an illustration, one will get a very fine appre-
ciation of the tremendous efforts that go into the making of any
operatic recording.

This effort made it feasible for whole operas to be recorded and
sold, not to mention pioneering recording techniques that con-
tinue to be refined to this day.

You really want to understand what goes into making an opera re-
cording tick? Or what efforts go into recording sound? Then
buy this!!!!!!!!!!!!!!!!!!!!

Stravinsky's "Rite of Spring" is excellent, but even if it weren't, this score would still be wonderful.

Major positive points:
1) The score stays open and flat on a table or conductor's stand. Dover seems to take great care with this in their full scores, and it really makes score reading/studying much simpler.

2) The paper is thin enough to keep the size of the score small, but it's thick enough that markings/highlighting don't bleed through, which is wonderful.

3) Every system has either instrument names or understandable abbreviations.

4) MEASURE NUMBERS!

5) The music is dark and easy to read. There are no faded or missing barlines, which is a problem I seem to encounter with Kalmus and Lucks scores, as well as Dover miniature editions.

6) Attractive layout and engraving. This doesn't just look like a Finale print, unlike some other new scores.

I've always been proved with Dover's orchestral scores, and this is no exception. I worked from the Boosey's score last semester, and I definitely prefer this one.

Can anyone actually imagine playing this difficult piece for 33 minutes? If you look inside, you can see the many complexities that are within the score. Time signatures change almost constantly, brass play twenty random notes in one measure, tubas play much higher notes than usual, strings do a lot of plucking, and the woodwinds go all over the place in many scenes )including the Introduction to the "Adoration of the Earth" sequence). This just shows you how much of a genius Stavinsky really was. Fantastic!

Oh, and I never performed this piece, so that's why I was asking in the first place...............

If you are enthralled with the Rite's rhythm, harmony, or whatever... this is the perfect opportunity to see the orchestration and metric usage. As someone who loves the Rite, and analyzing music, this was a no brainer. Cheap and easy to read. Absolutely fantastic.

"The Rite of Spring In Full Score" contains the complete unabridged score of composer Igor Stravinsky's timeless classic "The Rite Of Spring". Besides presenting the full musical notation for the entire piece, this book also contains a brief but detailed history on the work. Looking at the score is an astounding revelation into Stravinsky's creative genius. What often sounds like pure noise on recordings and in performance is in reality carefully notated and fully realized. In other words, Stravinsky knew exactly what he was after when he composed "The Rite of Spring" and the score proves it in all its glory. Even if you can't read music, if you're a fan of Igor Stravinsky and "The Rite Of Spring", this score is an essential guide and study tool to this revolutionary work. It also offers an insight into the composer's fascinating creative mind.

From Jordan in Minnesota
In 1998 I bought the original score of Le Sacre du Printemps from Kalmus for 65.00 dollars!! Although the Kalmus version in cited from numerous musicians and stravinsky himself, this version of dovers is well worth the 10 dollars!! It is pretty much the same as Kalmus' but it has no chief editor, and since its a reprint it will have the same concept as the Kalmus score, only it is 55.00 dollars cheaper. If anyone wants the 4 extra pages of the kalmus version that compares the scores, I would be happy to copy it and send them, as long as people realize that the Kalmus version as of January 16 2006 is almost 100.00. So stick with this dover version it will definately save you the money!!
cojo0502@stcloudstate.edu

Best Book Ever, if you're in to Gram or Rock/Americana bios. This is the 4th copy I've bought, 3 as gifts.

It's very easy to read, very entertaining, and you have to wonder how this guy has managed to live so long and so much. I had never heard of Phil Kaufman until I saw the movie "Grand Theft Parsons." I am a Gram Parsons music fan, but never knew his body was "liberated" and burned in Joshua Tree, CA. Thinking this can't be true, I researched on the internet, found this book and decided to check it out.
The stories are funny and unique, and I'm a little less naive about some of these people and the times they lived in.

I love this book! It's the funny and heart-felt inside story of the life and times of a rock music insider.Heck,he was the manager for some of thee best darn musical acts in the history of rock and country music.Period.He was not just their bodyguard,he was their friend and mentor as well.He laments about not being there to protect Brian Jones from the druggy landscaper ,who beat him over the head with a shovel.Jones was then dumped into a swimming pool,to make it look accidental.Phil Kaufman was earlier fired by the Stones ,that crazy and care-free Summer of 1969.It's not his fault Brian later died.It's amazing their musical act is still top-notch after touring for fourty plus years. Later ,Phil helped Manson record an album called ,"LIE". Everyone in the music industry,did not want anything to do with Charles Manson.And even Terry Melchoir and Dennis Wilson gave up on Manson and his Family,when the sessions began to fall apart.(Manson sounded more like Bobby Darrin the Crooner than a psychodelic hipster.)Manson's music is awesome ,yet their sinister religious beliefs led to the terrible slayings that landed most of the Family ,on ice .Manson was very charasmatic and had impressive song writing and singing ability.Yet, his age played a strong barrier in an industry obsessed with beauty and youth.Phil blames himself for the LaBianca murders,because Phil was one of Manson's targets.Phil was not home ,at his bungaloo,so the Mansonites went next-door to the LaBianca's mansion.So,the urban myth goes.It turns out that Leno LaBianca owed large amounts of money ,in gambling loses .He was using money from his super-market empire to cover some of his loses.I think Manson's heroin supplier was aware of this.And directed the Mansons to go next-door,if Phil was not at his bungaloo.Of course,'someone' had called Phil away from the scene ,earlier that evening.It's no surprise and no one blames Phil for leaving the hippy-dippy L.A. scene for the real Music City of Nashville. -Ps-Gram(O'Kelley)Parsons died way to soon.Gram Parsons was like the real-life Keith(Cassidy)Partidge in many ways. -If you know the story, behind the music, it adds to the enjoyment of reading this excellent musical autobiography.Bright Blessings and God Speed to Phil Kaufman.Buy this book !

Incredible tale of an amazing guy. We have known each other for over 60 years and I can vouch for the accuracy of his story. Many men lead lives of quiet desperation - not Philip Kaufman. His every moment is an adventure filled with humor and exuberance.

I first became interested in Phil Kaufman after watching the bonus footage section on the DVD "Grand Theft Parsons". After a little internet searching I came across this book. I am so glad that I did! What an amazing story. If there weren't photos & liner notes to back up this man's tale one might not believe it. Phil, known as "The Mangler", has gone from being a former inmate & friend to a pre-Helter Skelter Charlie Manson to the Executive Nanny of the Rolling Stones. He has been an inspiration to the likes of Frank Zappa & fulfilled the now infamous last wish of his friend & colleague Gram Parsons. He has traveled the world with such acts as Joe Cocker & long time friend Emmylou Harris. He has acted in Hollywood, riden across England by Harley & has Mangled his way through rock & roll. His body's tattoos seem to be as colorful as his vocabulary & memory. In the words of actress Elizabeth Ashley, the Mangler seems to truly be "terribly funny, mythological & charismatic". To read him is to love him. Even if you are not interested in the music industry, you have to read this man's story. It will keep you laughing & dazzled the whole way through. May Phil continue his Mangling ways for many years to come!

Even after all these years, this book is an essential for world music lovers, from novices interested in learning more about something they just heard off the radio to seasoned music lovers interested in rounding out their collections. This encylopedic work (the first volume in the series) gives a brief survey of the different music traditions of Europe, the Middle East and Africa, divided by country, region, style or ethnicity. Each article was written by different authors, so obviously there is some variation, but they include very thorough details on the history, culture, background and style of the music, along with a sample discography at the end. Most articles include one or two profiles of famous artists from that country.

The first section, Europe, covers almost every country in Europe, as well as giving articles on the Saami people of Scandinavia, Gypsy music, regional cultures from Spain (like the Basques and Galacians), and Bhangra, the festive dance music of Britain's Punjabi diaspora! Everything you would expect is here, like Spanish flamenco, Portuguese fado, Greek rembetika, Norwegian fiddles, Scottish bagpipes, Celtic music from Ireland, Swiss alp horns, the haunting vocal music of Bulgaria and so forth. There are also quite a few surprises hidden in here too. Much of this section tends towards the folk, for obvious reasons.

The Middle Eastern chapter covers the music of Turkey, Iran, Israel, Armenia, Georgia and the Arab states (except for parts of North Africa), as well as Kurdistan and the Sephardic Jews. Theres alot of variety here, from the classical Arabic pop music of Oum Kalthoum, Fairouz and Abdel Halim Hafez, to modern Egyptian pop like Amr Diab, Natacha Atlas, and Hakim. Along the way, theres also the haunting sound of the Armenian duduk, Nubian music, Persian and Turkish classical traditions, Lebanese dabke, dervish rituals, Georgian polyphonic singing, Sephardic romances, Iranian-American pop music and Palestinean folk songs (which is great to see them acknowledge that Palestine DOES have a unique culture). This section is very good, with a very rich mix of traditions and cultures.

The biggest part of the book deals with Africa, with a very strong emphasis on regional pop music. Some countries (like Libya, Somalia and Namibia) are sadly overlooked, but all the powerhouses of African music are hero... Ethio-jazz, Algerian rai, high life from Ghana, Congolese soukous, Malagasy pop from Madagascar, Kenyan benga, South African gospel, Nigerian afrobeat, Senegalese mbalax, Moroccan gnawa, mbira music from Zimbabwe, Kabylie Berber music, east African taraab, recordings of the Pygmy people of Central Africa, Mande music of Mali... so much gets covered here, including numerous lesser known traditions (like the music of Zambia, Sierra Leone, or the Indian Ocean). Its by far the most exhaustive part of the book, full of great information, important artists and numerous CD recommendations.

Over all, its a wonderful introduction to the vast (and sometimes confusing) world music scene. The book was written in the late '90s, so some of the information is a little dated and a few REALLY great new artists or CDs aren't mentioned, but thats a minor detail. In fact, many of the CDs mentioned in the suggested listening section remain best sellers today! Theres also the occaisonal trend of focusing in on pop music or CDs more readily available in the west, but again, theres nothing wrong with this. Think of this book more as an introduction or a guide book and you'll be fine. Once you get into world music, or even just a particular culture or region, you'll be good. So check this book out and see what you like (or don't like).

I love having both volume one and two. They have much useful information. But speaking about the Netherlands where I lived for 35 years as a professional Surinam musician: I didn't like the part about Surinam music because it was very uncomplete. The writers didn't mention the two best known Surinam bands Fra Fra sound and the Ronald Snijders band. They only mentioned traditional style groups like Carlo Jones band pretending that the others are jazz, which is ridiculous.
Every other country mentions it's musicians and bands who fusion their worldmusic with jazz, like Cuba's Irakere, Brazil's Milton Nascimento, Argentina's Piazola, South Africa's Dollard Brand and so on. But in case of Suriname they simple cut that important part away. This also happened in part two. Sad and incomplete, because the mayor part of the innovation, promotion, touring and study comes from these new style bands.

Ronald Snijders (flutist-composer, writer, drs ethnomusicolgy)

Although I wish that there was even more room to fit in all that's needed. I do notice that, for instance, there has since this volume a separate pocket-size one for Irish music, and no doubt others. I studied the areas I was most familiar with to see if any surprises emerged. A couple each time; unfortunately, these were impossible to find on cd (cassette even out-of-print in more than one instance) if you lived more than a few miles from the musician, I reckon!

This inevitable let down between supply and demand for those outside of the countries who want to hear the music does frustrate armchair listeners like me. Go to the Egyptian chapter, for example, and you'll find that most of the genre's picks are bootlegged as tapes in the market stands. Since 1999, I gather that this tendency keeps growing given filesharing and cd-burners, so I'm not quite sure how one would find much of the music on smaller regional labels today even from reputable importers.

This evolution aside and perhaps beyond RG's survey, this does whet your appetite for music. But be forewarned that much of it comes at quite a price from the net or a music store, if you're lucky enough to find what you want. The illustrations in the text, the sidebar profiles, the list of merchants appended: all these represent a labor of love and a fine reference source.

I do wish, finally, that RG had kept their guides on the Net (as it had at least with the Rock Guide in the later 1990s) so they could be updated as CDs go in and out of print.

I love this book - it would be utterly useful to everyone except the MOST savvy World Music person with a big ol' advanced degree.

I do a radio show of Arab music (WHPK 88.5 FM in Chicago!) and consider myself an educated aficionado, and I refer to it CONSTANTLY. This is truly the current ultimate guide to World music - just great. They are righ when they say "your CD collection will GROW" It will!

Walk inside the universe of World Music is not easy. You have the feeling to moove in a jungle of names, titles and unknown instruments. A Guide is necessary to understand and help you for orientation. This book is good for primers and experts, speaking about generes, origins, musicians and their best records. From the 1994's first edition the new release is more rich and reflects the high number of World Music records released in the last five years. I think you are in presence of the best guide you can buy today on the matter.

SANCTUARY by Pamela J. Bailey is thought-provoking, restorative, and encouraging. She goes to the very root of what makes a home a sanctuary or a haven of love, rest, peace, and delight. She addresses proper priorities, housekeeping, hospitality, respect, integrity and much more. This book would be a wonderful foundational teaching for anyone wanting to create or recreate their home sanctuary.

This is a relaxing read. This book is a wonderful workbook too. It gently made me list all of those household projects I had been putting off. I realized God wants our homes to be well-cared for places of refuge.

The Author brings you in touch with reality and the realization of life and the different circumstances and situations that may come and a outlook on how we should priortize and create our own sanctuary. The testimonials were great.

This is a well thought out combination of scripture and explanation. The personal testimony adds a sense of intamacy to the story. Great job.

SANCTUARY by Pamela J. Bailey is an inspirational book that details ways you can create peace in your home. The author and her husband had to sell their beautiful newly built home after the loss of the family business. The home was large, nicely decorated and was everything she wanted. It hurt her deeply to have to sell and move into something smaller and less elaborate. Bailey had an epiphany when she saw a bird nest in her yard. She saw a bird making a home out of next to nothing and she realized that your home doesn't have to be anything big and extravagant. Home is where the heart is, so she decided to make the most of her current situation and provide a loving, warm and peaceful atmosphere for her family. Two sayings that stick out in my mind while reading this book were 'home is where the heart is ' and 'cleanliness is next to godliness'.

The book has fourteen principles "chapters" that detail how to make your home a sanctuary. The chapters begin with a scripture or inspirational quote and end with a homework assignment that allows you to meditate in the principle learned and begin applying it to your everyday life. A few of the main points that stand out to me are : seek God for wisdom and guidance, love people and use material possessions, consciously set the emotional tone of your home, build a foundation of integrity and stand guard at the gate and be careful who enters.

SANCTUARY is a very positive and uplifting book that encourages the reader to make the most of what they have. Bailey shows the reader how to create a peaceful home full of love, life and laughter. The book was written in an easy to understand format without being preachy. What I enjoyed most about the book was how easily the principles can be applied to my everyday life. It was a very inspiring book that I am sure will help me to maintain a blessed atmosphere to live in my home and if you want the same, I encourage you to pick up this book.

Reviewed by Eraina B. Tinnin
of The RAWSISTAZ Reviewers

This book is a great find. It appeared one day on my Amazon recommendation list and I impulsively bought it. I am glad I did because Buechner has quickly become my new favorite Christian writer.

The sermons are beautifully written and as relevant today as they were when he preached them decades ago. His reflections are thoughtful and his thoughts original. I have given this book to several friends who would characterize themselves as unbelieving intellectuals and they have appreciated his wisdom and insight. This book is both food for the intellect and the soul.

I believe that this collection of sermons by Fredrerick Buechner is profoundly rich in sensitivity and wisdom, proclaiming without a hint of judgment and with authentic humility and integrity, the good and reassuring news of God's mysterious and redeeming presence in this world, including to believers, non-believers, non-believers-who-wish-they-could believe, and the indifferent.

Frederick Buechner is an extremely honest and emotional preacher and this is a book of over thirty of his best sermons. It is easy to identify with his readable, inspiring and imaginative sermons. Buechner is optimistic and never boring--he speaks of a gospel of love that invites to confront and continue to engage our doubts; he speaks of a gospel that isn't overly literal but speaks truth in stories and emotion. He finds ways to engage his audience and certainly these ways are not lost on the page. Surely, a book for every Christain to have, a guide for the path.

I am an unabashed fan of Frederick Buechner. His use of stories enforces my personal conviction that doctine preached is less effective than Christ lived...inside or outside the church. I love his style and he is one of "those" three or four that I wish I could share a meal with and literally watch him tell his stories.

Frederick Buechner is a warm, loving, witty, intellectual whom I greatly admire. After reading this book I have grown even fonder of him and I like to think grown in my faith a great deal too. It was my church service every morning. I would absolutely recommend this book to anyone and everyone. I loved it.

This is a 40th anniversary reissue of *the* book about the search for the living Homer in then-Yugoslavia organized by Milman Parry and his assistant and successor Albert Lord in the 1930s. Anyone interested in Homer or Balkan traditional epic should know the book. The DVD contains wonderful material that is also available online, so there's no need to replace your older edition.

Any student of traditional literary forms needs to read this book, which analyzes in considerable detail the 30 odd years of research done by Lord and Parry into oral epic in Yugoslavia. It is generally more applicable to Homer than to the Bible, but "The Singer of Tales" at least provides a starting point for discussion on aspects of oral tradition and the use of formulas. It can't be ignored!

Albert B. Lord's "Singer of Tales" was published in 1960, as Number 24 of the "Harvard Studies in Comparative Literature," and was picked up in paperback by Atheneum only a few years later (1965). Over the course of four decades, and a variety of reprintings, "The Singer of Tales" has established itself as probably the most widely read book in the monograph series, and the most controversial. It is certainly the best known of its author's books and articles.

"The Singer of Tales" is established as a fundamental work in the study of oral literatures, and literatures which appear to have emerged from oral traditions (Biblical, Old English, African, and others). The book presented to English-language readers studies of oral heroic poetry collected in the Balkans in the twentieth century, analyzed their technique, and compared them in detail to the Homeric poems, and, to a lesser extent, medieval European works with similar traits. Homer's repeated phrases and verses were shown to be explainable as a technical device to assist the rapid composition of poems as they were recited, not a sign of scribal corruption or sloppy editing of independent short songs. The comparisons were not new - French scholars had called attention to the nineteenth-century collections of Balkan heroic songs -- but were presented in a coherent and even attractive package, and included additional material from Lord's own fieldwork.

The heart of the book, however, was the work of Lord's teacher, Milman Parry, who had died in 1935 leaving a seven-page draft of his projected synthesis. Parry's works had not had a great reception from English and American classicists (a major study was then available only in French), but the basic ideas had filtered into classical studies in an unsystematic way. In "A Preface to Paradise Lost" (1942) C. S. Lewis even formulated an "audience-theory" variant of "oral formulaic composition," explaining how it helped listeners as well as the reciter-composers. With Lord's presentation, however, a fairly esoteric theory became a part of the intellectual world of literary scholarship.

A Second Edition of "The Singer of Tales" appeared in 2000. It reprints the existing text unchanged, but includes a useful new introduction, describing the history and reception of the work, with extensive bibliography. It also includes a CD with reproductions of the original audio recordings of the sections of songs quoted in the text; those with the right PC or Mac hardware and software can also access visual material, including a short filmstrip of one of the traditional singers, and other interesting extras. Those not interested in these additions may prefer earlier printings. Harvard University is also making material available on-line; see my review of second edition for some details.

A great book which changed the way we look at poetry produced by an oral tradition. Based on fieldwork by Milman Parry Lord shows the structure behind the improvisation and applies the theory to Serbo Croation epic tradition, Homer and French medieval poetry.

Albert B. Lord's "Singer of Tales" was published in 1960, as Number 24 of the "Harvard Studies in Comparative Literature," and was picked up in paperback by Atheneum only a few years later (1965). It is probably the most widely read book in the monograph series, and the most controversial. It is certainly the best known of its author's books and articles.

Over the course of four decades and a variety of reprintings, "The Singer of Tales" has established itself as a fundamental work in the study of oral literatures, and literatures which appear to have emerged from oral traditions (Biblical, Old English, and others). The book presented to English-language readers studies of oral heroic poetry collected in the Balkans in the twentieth century, analyzed their technique, and compared them in detail to the Homeric poems, and, to a lesser extent, medieval European works with similar traits. Homer's repeated phrases and verses were shown to be explainable as a technical device to assist the rapid composition of poems as they were recited, not a sign of scribal corruption or sloppy editing of independent short songs. The comparisons were not new, but were presented in a coherent and even attractive package, and included additional material from Lord's own fieldwork.

The heart of the book, however, was the work of Lord's teacher, Milman Parry, who had died in 1935 leaving a seven-page draft of his projected synthesis. Parry's works had not a great reception from English and American classicists (a major study was published in French), but the basic ideas had filtered into classical studies in an unsystematic way. In "A Preface to Paradise Lost" (1942) C.S. Lewis even formulated an "audience-theory" variant of "oral formulaic composition," explaining how it helped listeners as well as reciters. With Lord's presentation, however, a fairly esoteric theory became a part of the intellectual world of literary scholarship.

A Second Edition of "The Singer of Tales" appeared in 2000. Serious students of Classical, Medieval, and several other literatures who do not already own a copy, and want (or need) one, will probably buy this edition; it is what is readily available. It reprints Lord's text without change (and rather more clearly than some copies I have seen!), so identifying references in early discussions of the book will not be a problem.

What about those of us who have a copy, or have just read the book several times? Is the Second Edition worth our time and money?

The differences from the first edition and its various reprintings are two.

First, there is an "Introduction to the Second Edition" by Stephen Mitchell and Gregory Nagy, distinguished scholars of Germanic and Greek literature (respectively). It surveys the history of the book, its reception, a variety of responses, and the development of Lord's thoughts on the issues it raises, and concludes with a six-page bibliography (in rather small print). The coverage is pro-Lord (not unexpectedly), but so far as I can see includes the most impressive of his critics. This is useful, and the execution is excellent, but the needs of the student can probably be met by consulting it in a library. Inevitably, as a review of current scholarship, it will be dated more quickly than the rest of the book.

Second, the volume comes with an Audio and Video CD. This contains actual recordings, made in the field by Parry or Lord, of Serbian traditional singers. The audio tracks are accessible on a CD player (or DVD player). For those with an appropriately powerful PC or Mac, it is possible to see the texts and translations as the singer performs. The passages chosen are those given in the text of the book, and are a minute fraction of the audio archive and published transcripts, but they bring the descriptions to life. The sound quality is that of the actual recordings, and has not been "cleaned up" or otherwise enhanced. For those with the right software, it is also possible to see an actual short film of a traditional singer performing, and Bela Bartok's attempts to transcribe some of the music. Assuming that changing technologies (see below) do not make it inaccessible, this should retain its value indefinitely.

(Or until the entire archive, with transcriptions and translations, miraculously shows up on DVD. Meanwhile, a substantial selection of material from the Milman Parry and Albert B. Lord collections, including more Bartok manuscripts and his public letter on the value of the collection, a collection of photographs, and the filmstrip, has been made available online by Harvard University, on a site dedicated to Oral Literature Studies and the Milman Parry Collection; additional material is promised.)

So, if it fits your budget (and the price is quite reasonable, despite my sticker-shock when I remember what I had paid for a copy in 1968), go ahead; just make sure that you are getting the second edition, with CD, not a copy of the first edition.

Note: On the Macintosh side, I have run the CD successfully on an early PowerMac using System 7.5.5, although the "film strip" (which needs a slightly later version of QuickTime) was, predictably, not accessible; completely successfully on a G3 under System 9.2; and again, on a G4 with System 10.2.7 (and later 10.2.8), which needed to open the "Classic" System 9 emulator to display the visual material. The "Classic" mode is supposed to be phased out over time, so problems of obsolence may already be closing in. A report on Windows issues would be useful.

This book was educational as well as an enjoyable book to read. I used this book when studying stories of survival. My students really enjoyed listening and reading it.

This is a testimony to the strength of women and the power of music to soothe the soul. Music is a common ground for all people and this true story illustrates how beautiful sounds calm and restore our spirits and, in this story, that of the oppressors. There must be thousands of heroic folks who lived through this terrible war with strength and dignity. I am always glad to find another inspiring story.

I have not yet read the book, certainly plan on reading it. I have however attended aplay this past Friday evening. A local Community Theatre presented it and I was in great awe of their performance. They did great justice to the story line and I am so pleased to have been present. At the end I so wanted to stand up with/for them as they closed with The Captive's Hymn. The message of strength, courage, and spirit were felt by all in attendance. Such strength these women had, makes me proud of my female sisters!

It wasn't long ago that America watched "Paradise Road" in movie theaters across the country. Audiences were captivated with the story of a young girl and her family's struggle to survive imprisonment by the Japanese. Like many moviegoers today, the audience may not have read the inspirational work behind the motion picture. Helen Colijn's Song of Survival is a real story. The experiences that Coljin documents in her work are real. The author gives her readers a glimpse of her life, and that of the other women imprisoned in Southeast Asia by the Japanese during World War II. Readers follow Colijn through the experiences of a shipwreck, being captured, and being imprisoned for three-and-a-half years.

Based on her original manuscript written just after her imprisonment, Colijn's story is one of hope and perseverance. Many other books written by soldiers and survivors of World War II are laden with hardship and sadness especially those books detailing the accounts of brutality of the Japanese during their quest to expand their empire westward through Asia such as The Rape of Nanking by Iris Chang. Colijn's story is unique in that it details true survival of not just the body of the imprisoned, but the soul as well. The women of the camp in which Colijn was imprisoned used music to life their spirits and "free their souls" from detainment.

Reading a book such as Song of Survival can open up a new door to the way in which we learn about prisoners of war. Colijn describes disease and starvation leading to the deaths of more than one-third of the population of the camp (Colijn 159-169). "Before our internment was over, twenty-six Dutch children lost their mothers," she says (Colijn 162). But all the while, the women kept their spirits from breaking entirely through singing classical songs and even performing vocal concerts among themselves (Colijn129-146). Colijn gives her readers an idea of the sisterhood within her camp among the prisoners. This feeling of family is often discussed within the realm of the formation of a brotherhood-such as is seen in Band of Brothers by Stephen Ambrose--of soldiers, but is rarely seen in accounts of imprisonment. The work is so poignant because Colijn is able to draw from true personal experiences.

The author teaches her readers that even during imprisonment, with just a little faith and a little music, souls will have the ability to wander free. By using an effective autobiographical format, Colijn tells her story from a very personal perspective. She recalls the events so vividly that it is impossible for readers not to feel the same emotions that the prisoners felt. Colijn's work is so well crafted that even her feelings of optimism shine through the seemingly unpromising situation. As trite as it may seem, Colijn notes that several women even made "liberation dresses" to wear for the day that their camp was liberated by the Allied forces (Colijn 129).

A book such as Colijn's is an important element in any study of World War II as it not only brings to light the idea of hope in spite of hardship, but it also shows what seems to be a neglected area of war accounts-the struggle of women as prisoners of war. A personal account of the struggles of being imprisoned by the Japanese that is so seasoned with hope is rarely seen. Colijn serves the women of her camp well with Song of Survival. With the work of one author, hundreds of women's stories will live on to be read by future generations who will bear witness to the events taking place-the immense struggle-during World War II. Song of Survival will live on long after the last survivor passes away. It will carry a message of faith and perseverance for the women in Colijn's camp who kept hope alive through their immense personal strength.

When one reads of the hardships that Colijn and her fellow inmates lived through, one expects that they would have focused on survival, and thrown all other concerns to the wind. There were some who did, but not others. Many strove to keep a modicum of loveliness in their lives. Sometimes, all they could do was escape to memories of their past, either through daydreaming or conversation. There were instances, however, of actual impact on their current situation, including a refusal of some inmates to lick their plates(though food was scarce), struggles to live in peace and harmony with fellow inmates, and, most of all, the musical peformances.

You might imagine that if you were living in a filthy prison camp where people were dropping like flies, you would owe it to yourself to fight for your survival tooth and nail, even against the other inmates, and the furthest thing from your mind would be music. You would need to look out for number one, period. Colijn believes that many more of them might have perished, or, at least, might not have come out as well, had there not been a commitment to community and beauty in that abject misery. In a sense, this book tells about war heroines.

I wish a bit more info had been given on the site, but it was in pretty good condition considering it was 10 years old

This is a wonderful book. It's lovingly researched and was obviously put together by someone who cares about film music. It's recommended for reference and pleasure alike. Plus, the book has the courage to discriminate---we don't waste our time reading about plagiarists,..... who are not included at all.

Although clearly a labour of love by the author, this is also an entirely professionally written and produced book. Perhaps wisely, it doesn't set out to be a comprehensive, definitive guide to film music composers and their recordings - this would have been impractical both in terms of the writing and the eventual weight of the tome! But what Jon Burlingame has done is to include a mini-biography of just about every important film music composer there has been up to the present day, plus a selection of what he considers to be their best works. This provides both an invaluable reference guide not only to composers but also an interesting debating point as to which of their scores should have been included.

It was pleasing to see a large number of photos of the composers and some record sleeve reproductions. Many potential readers will doubtless be familiar with the likes of John Williams, John Barry, Henry Mancini and Elmer Bernstein, but they'll also get the opportunity to see some 'golden age' composers, like Miklos Rozsa, Alfred Newman, Dimitri Tiomkin and Franz Waxman, as well as relatively unsung heroes such as John Scott, Christopher Young and Rachel Portman, and those more associated with classical music, such as Ralph Vaughan Williams, Sergei Prokofiev and Dmitri Shostakovich.

The author's enthusiasm for the subject is very apparent and no stone has been left unturned in order to ensure this book becomes an essential purchase for all lovers of film music. An excellent effort, which is thoroughly recommended, not just to film music aficionados, but also to anybody with an interest in the cinema.

Jon Burlingame is nothing short of a hero to many film composers, because in addition to the astounding depth of his knowledge about composers and their work, he shares a tremendous passion for what they do and effortlessly conveys that to his readers. "Sound and Vision" is an essential book for anyone interested in film music, not only because it contains fascinating information that can't be found anywhere else, but because it's written by a greatly respected and dedicated journalist whose enthusiasm for his subject is unparalleled.

In Sound And Vision: 60 Years Of Motion Picture Soundtracks, Jon Burlingame has created an indispensable, seminal, very highly recommended reference guide featuring a detailed history of Hollywood film music on record and compact disc. Also included are up-to-date biographical sketches of soundtrack composers from the inception of the movies down to the present day. Annotated listings of the best-selling, award-winning, or otherwise memorable soundtracks of the past and present (original film scores as well as movie musicals and song-compilation scores) further enhance this marvelous compendium. Of special note is the "user friendly" and comprehensive index so that the reader can quickly reference whether a particular piece of movie music is commercially available.