Genres Books

It is important to realise that unlike many other jazz books this book does not set out to try to teach you how to improvise, nor is it a jazz theory book. You would benefit from at least some working knowledge of both these topics before you embark on this book (I would recommend something like Levine's The Jazz Theory Book if you need more background). Instead it helps you to develop the more technical aspects of jazz trumpet playing through exercises, etudes and well-written text.

The first part of the book covers the history of jazz trumpet from about the bebop era onwards, through some discussions of the musical styles of a number of key players and some musical examples.
The hard work starts with a large section on jazz articulation, in which you learn to control your placement of accents on different notes in a phrase and develop a polyrhythmic feel. He provides exercises for wide interval playing - something that is quite hard on trumpet compared to an instrument like the saxophone. Alternate fingerings are covered along with some exercises. He also discusses doodle tonguing made famous by especially by Clark Terry. This is the jazz player's way of tonguing fast passage as opposed to the multiple tonguing used by classical players. He has a useful section on tricky fingering studies which you can even practise without blowing into the horn (useful when the chops are tired).

Although I said that he doesn't try to teach you how to improvise, there are a few useful ideas scattered through the text. For example, after his first articulation study, he gives an example of how you might shift sections of it up or down a semitone at random when you are playing to get an "out" feeling. Putting some randomness into a fixed exercise helps you to exercise the parts of your brain that are needed for improvising without throwing you completely in the deep end. Another exercise he mentions is to play a 1235 or 1535 pattern around the cycle, alternating at random between 1235 and 1535 at random. McNeil describes this particular exercise in more detail in a 2002 journal article for the International Trumpet Guild entitled "Creative Pattern Practice" which is worth scouring the web for - it will give you a good taste of his writing style and his way of thinking about improvisation.

The book also comes with a CD demonstrating some of the exercises and etudes so you can hear what they sound like when performed correctly.

John McNeil is a highly respected Jazz trumpeter and his book is a classic that every aspiring jazz trumpet player should own. I love this book and use it often.

This book is great! The articulation studies are hip and tricky, and you can actually use them in a "real life situation". There are also some interesting articles on various jazz trumpeters. I highly recommend this book.

Without a doubt, John McNeil has done something with this book that has long been overdue. With the advent of jazz education, so much focus has been put on what to play, rather than on how to play it. McNeil presents exercises that go beyond the simple articulation of scales and puts them in real world situations. Furthermore, the author addresses technique issues that most other jazz trumpet books fail to even acknowledge exist. The section on alternate fingerings and different ways of tonging, that are so important to today's jazz improviser, are throughly covered through simple explanation and execution. Not to mention, the accompanying CD has several examples being performed by astute trumpet players who play through them with the ease of a basic stamp warm-up routine.

Quite possibly, the most important part of the book is the section on finger technique. With three pages full of finger twisters for the jazz trumpet player to navigate, the trumpet player will find more fluidity in their performance, resulting in better solos and overall better trumpet facility. This book should be required to be used by every trumpet player, commercial or not. The result will be a much more technically proficient musician, no longer hindered by a lack of technique, but rather, aided by a plethora of it.

I fell in love with it since I bought it on Amazon.com. It quite amaze me since I wanna learn more about jazz. This book would definitely take u far as being the best trumpet player u'll be. I'm also a trumpet player, and 'specially play other instruments I self-taught like the piano, keyboard, organ, harmonica, recorder, trombone, mellophone, French horn, euphonium, percussion, drums, flugelhorn, guitar, etc.

I'm not gonna say "I don't like this or whatever". I think it's a great introduction showing some basics and material work on how you 'gon be good at it. I know a lot of people don't agree what I'm saying. I believe that every trumpet player or music learner perhaps should have this along with Jazz & Blues, Arban's Conservatory Method for Trumpet, 1001 Blues Licks, 1001 Jazz Licks, Building a Jazz Vocabulary, The Jazz Fakebook, 28 Modern Jazz Trumpet Solos, Bks. 1 & 2, 14 Blues and Funk Etudes, and 14 Jazz and Funk Etudes all by Bob Mintzer.

Like this is definitely a book I should keep even tho I wanted practice some more I believe.

Fellow Travelers -

I have found John McNeil's "The Art of Jazz Trumpet" to be truly helpful and inspiring. The exercises presented are tough, though-provoking, and very cleverly focused on amplifying skills that appear - to me at least - to be genuinely useful in a jazz setting. Personally, I see the value of this book less in the applicability of specific lines ("licks") to tunes, and more in improving the improviser's ability to present his/her own ideas with more propulsive articulation, fluidity, and melodic confidence.

There is, of course, a significant (in terms of wood shed frustration) cost factor here - but most players, I suspect, will feel that the improvements are deep and fast enough to fall well within our pain and patience thresholds.

Thanks John for a terrific contribution to the field, and for my (small but enjoyable) personal mini-breakthrough - it has been a long time, and I'm really enjoying the experience.

Bravo.

Jim Stagnitto
www.stagnitto.newhopecollective.com

This fun to read and well researched book explores the rise of Bachata from its obscure beginning as a musical style of the rural and urban poor in the Dominican Republic to its eventual international popularity. It is the only book of its kind in english and a must read for anyone interested in bachata's roots.

Hernandez delves particularly into social conditions and class issues which impacted bachata's formative years. The book traces back the Dominican Republic's musical and social climate beginning from the period of the repressive Trujillo Dictatorship (1930s-1961), and through bachata's humble beginnings in the 1960s to its attainment of international popularity by the early 1990s.

While the subject matter is complex, the book flows easily and is actually difficult to put down. Interviews with musicians, colorful anecdotes and plentiful song lyrics all help to bring to life the humor, candor, and also the pains, of the people who created bachata.

An excellent companion to this book is the classic bachata compilation CD Bachata Roja: Acoustic Bachata From the Cabaret Era - the accompanying booklet features an introduction by Hernandez along with many of the photos she took while researching.

I'm glad to have gotten this book, but the cover photo of Raulin Rodriguez is somewhat misleading. I'm a huge fan of Raulin and I was hoping to read more about his impact on the popularity of the Bachata in the DR. There is still a lot of stigma attached to the Bachata as music suited for bothels and shantytowns and the emergence of Raulin and Antony Santos has done much to make this form of music legit in the public view. The bachata of today is very different than the political songs described in the book. It also seems to me that most of the research took place in the Santo Domingo area rather than on the north coast where the Bachata is far more popular. Just as you wouldn't research country music in NYC, it seems odd to research the Bachata in the DR's largest city. A full follow-up book on the Bachata of today would be great that includes the Americanization of the form by such groups as Aventura and the current complexity of the music's guitar form.

Un curioso estudio, un libro de bachata. La primera vez que lo vi no me anime a leerlo. Pensé como todo mal dominicano con el complejo de gazcue que un libro sobre una música que no me gusta no merecía que le dedicara tiempo. Tuvo que pasar un año y un despertar de mi entendimiento para saber que no importa que la música no me guste o que sea de clase baja o que sea vulgar y yo solo escuche música clásica o rock; lo importante es que es nuestra música, nuestra identidad nos guste o no. El libro como una disección cuidadosamente hecha por una antropóloga trata el tema no con la frialdad de un descubrimiento arqueológico sino con la calidez de un tema humano, bueno con toda la calidez que puede hacerlo una norteamericana. Ella trata el tema de la bachata desde la historia de la etimología de la palabra. No sabia y ahora sé que la palabra bachata significa jolgorio, reunión en que las personas tocan música con guitarras. Las influencias de la bachata según la autora provienen de cuba.

El método de investigación de la autora consistió en residir en Republica Dominicana por un tiempo, mientras entrevistaba a los bachateros de radio guarachita, a artistas famosos, a historiadores y sociólogos. El libro escrito en ingles, también posee unas cuantas letras de bachatas famosas con su respectiva traducción, una galería de fotos de bachateros y merengueros y muestra el avance de la música y su aceptación final al llegar bachata rosa de Juan Luis Guerra al escenario y darle un impulso internacional a la bachata. La autora después de este acontecimiento tuvo que cambiar su foco narrativo, porque esta música lentamente se empieza a aceptar en la radio y ha dejado de ser marginada. Me agrada mucho ver que de todas estas cosas salen estudios, libros, análisis y que mi país esta bien representado. Ojala que autores dominicanos se enfrenten a la labor de exaltar lo nuestro y dejemos nuestro complejo gazcuense, nuestra exaltación de lo extranjero sobre lo nacional y nos pongamos a escribir sobre mas cosas de nuestro país.

Luis Méndez.

Deborah Pacini Hernandez offers an excellently researched, intelligently written, and amazingly detailed history of the Dominican Republic's Bachata music. Be forewarned ... this is not an easy book to read; this is not a glib magazine article with a superficial history of Bachata. On the contrary, Ms. Hernandez analyzes the growth of Bachata from a socio-economic / political and cultural point of view and her discussions and overall presentation often read like a doctoral dissertation.

Despite the book's academic tone, it is a wonderfully rich, engrossing study of Bachata and I highly recommend it. The book covers the birth of Bachata (circa the early 1960's) and traces its growth up until the early 1990's. I would like Ms. Hernandez to write another book that covers the explosive growth and popularity of Bachata from the mid 1990's up to the present. Ms. Hernandez is to be commended on her extraordinary research and intelligent presentation. I rate this book: A+.

This is a great book, one that challenges white male assumptions about class and its relation to music. A valuable book for anyone interested in combatting stereotypes, and patriarchal and racist interpretations of 'popular' music. I was reading a somewhat pompous academic's book about hiphop musical culture by someone named Russell Potter, and it almost made me swear off academic books about music. But Deborah Pacini Hernandez is unusual in that she understands, appreciates, and identifies with the best of Dominican popular music. What a great book!

Electrifying images with intense feeling. Fine photography by Raeburn Flerlage and superb editing by Lisa Day. What a moving adventure to turn each page. I felt like I was in the audience and part of each photograph.

The blues are not just notes and lyrics, instruments and people, but, more a frame, a view of the world, and of life, from inside and under.

Raeburn Flerage's evocative photographs and commentary, partnered with Lisa Day's luminous editing, have given us all a rare opportunity - a chance to take that view through Flerage's camera lens and rembrances.

Black and white - could the pictures be anything but black and white and all the muted tones of grey inbetween? And could the comments be more laconic and straight to the heart of the Blues?

I do not think so. I cannot reproduce the sensation in this review, but Flerlage's description of a 1964 performance of Sam House, tells the tale and paints the picture: "After a brief ingratiating smile, his face change dramatically, first slowly but then swiflty as the lyrics changed he projected those terrible moments that haunted his memory. When he sang "Death Letter Blues," he saw his dead girlfriend, "lying on the cooling board" and it made your own blood run cold. The scene was reflected in his face, sounded in the violent guitar strokes and his painfully forced voice. Unforgetable!" Unforgetable indeed when those lines are coupled to the stark photos of that performance by Lisa Day's skillful use of words and pictures, white and black and grey.

We weren't there. We can't really know the feelings. Like Sam House's comments on hearing his lyrics sung by an up-and-coming, young White blues pretender - "Those are my words all right, but it sure ain't my music." - we can't know it unless we are inside, down and under. "Chicago Blues: as Seen from the Inside" takes us about as close as we can get visually. Turn the pages with real blues in the background - "Unforgetable!"

This is the best photo documentary of a music culture I have ever seen, the photos are so alive you feel you are there, you remember when you were there, even if you never were. The text is as beautiful and intimate and truthful as the photos. The scope is big and very complete. I spend hours, looking and looking again, reading and re-reading. I close the book and the music stops.

I met Flerlage a few years ago in Chicago when I was doing some research for a now-forgotten project and I went through his collection of fantastic photos with him in his apartment and loved every second of it. The composition and lighting in these pictures is beautiful, and he catches something of the energy of the performances that is pretty amazing. Flerlage isn't one of these precious blues prigs (e.g., Steve Calt) who spends all of his time trying to protect some pet thesis and trashing everyone else's work relentlessly, but is a real dude who lived jazz and blues on the South Side in a way that few other writers or photographers have. The result is what you see -- great photographs, on the ground, in the clubs with the people who made the scene as wild and energetic as it was. If you want to see pictures that give you a real taste of the power of jazz and blues in teh 50s and 60s, get this book and linger over these fantastic photographs. You won't regret it.

Someone sent me a copy of this book...what a find. Whether you're into Blues greats of the 50's and 60's, or just into good photography, this is worthwhile. Some of the greatest black and white photographs I have seen. Puts your right in the smokey clubs of South Chicago, and in the artists' face. Sensitively accomplished and carefully assembled after 40 years. Photographer Raeburn Flerlage had a remarkable feel for the soul of the music, and a love of these peformers, and was granted unusual access to their lives. It shows in the photos, both candid and peformance, if there is a difference here. A lovingly crafted collection, and a time capsule of a age fled, a city now changed, that gave us an American art form. Done by a photographer with the soul of a poet. Excellent notes by Flerlage, now in his eighties. For music lovers, a must have. Ditto fans of Chicago.

paul howes is the ULTIMATE springfield fan. he hasn't spent hours listening to every syllable springfield ever sang. he has spent his life. and then some. because more than a few of the recordings he disseminates were not released to the public or are parts of tv specials springfield made during 40+ year career.

and his love for dusty and her unique, one of a kind voice is captured in page after page of this healthy tome that devotes itself to her recordings.

even when he doesn't like the performance or the arrangement, he still maintains impartiality and great respect for a woman that was loved, idolized, almost forgotten then reclaimed by her new and old fans from all over the world.

and this book is a perfect reading companion for when you are enjoying one of springfield's wonderful interpretations of a song she made her own.

and the beauty of that--there's more than a few.

This is a great reference book for all of Dusty's recordings. It includes the Where and When of each song she ever recorded.

Paul Howe's excellent book (now in 2nd ed.) is now available for preorder through The Dusty Springfield Bulletin and also through amazon UK. US fans are waiting for amazon to offer it here. PLEASE !!
[...]
Let's Talk Dusty!

Here's what we Dusty fans waited many years for. Several more compilation CD's and a couple more DVD's have been released in the U.S., U.K., Australia and the rest of the world since this comprehensive overview of Dusty's career was published in 2001, so the book is only complete up to that point. No matter, because these pages cover all of the known, individual studio recordings she made, including several alternate versions, album session outtakes and single mixes that have turned up over the years on various collections. There are many live television and radio recordings floating around out there, many of which have yet to see CD or DVD release, but this book is as complete a volume as we could have reasonably hoped for. And the pictures! There are many photos here I had never seen before, making this book even more of a special treat. The casual listener who is only familiar with Springfield for the four or five songs that get endlessly recycled on the radio could probably not care less about this book, but for us rabid fans, this is indispensable. Highly recommended, and nothing in here to disrespect the woman whose real legacy is a catalog of great music, NOT a string of sleazy tabloid stories. Avoid DANCING WITH THE DEMONS, a badly written "biography" which I won't even dignify with a negative review.

Dusty Springfield was a legend in the music industry. She was tough and a perfectionist without apologies. This book is about her music legacy and not about her personal problems with addiction or her sexual orientation. There's more to her person than who or what she sleeps with. Dusty was one of a kind. She died too soon at 59 just when she got awarded the O.B.E. (Officer of the Order of the British Empire) on her deathed and died two weeks before her induction into the Rock and Roll Hall of Fame in Cleveland, Ohio. Sadly, there is one honor that I think she should receive and that is the Star on the Hollywood Walk of Fame for recording. If I only had $25,000 dollars to spare, I would do it for Dusty.

I like this book. This book helps the aspiring jazz musician to be well on their way to creating good music on their instrument. Mr. Ligon uses three types of linear harmonic outlines that creates and can develop a jazz solo. I think this book is good for a beginner just starting out in learning how to improvise. It is very sound in its knowledge and presentation of it. Mr. Ligon cites many excerpts from improvised solos of very great jazz musicians to support his outlines. And there are exercises to go with it. This is important stuff for all jazz musicians to know and, I believe, it is a book that should be in any college or university teaching jazz music.
Books like this and many others prove that jazz music is NOT a mystery. Jazz is music that anyone can enjoy!

This isn't going to sound like a very intelligent and well thought out review, but if you're a professional musician and have had this experience you'll appreciate it: I don't remember too much about this book, other than that after I worked through most of it I went from not really being able to solo to being able to solo...
The specific text from the book is gone from my mind... but the concepts became part of my playing.

Connecting Chords with Linear Harmony is a great study of how to create coherent solos and well structured melodies by playing the changes and connecting the tones. As a swing based player who had to deal with being overdosed with modal theory this was the first book I ever read that really helped me play in the swing/bop/hard bop based tradition that I love.

As mentioned, the book hass become part of my playing, but I left my copy back in the States ages ago... however, the all I rememember is that I found every page to be practical and enlightening and it opened up a world of ideas. Along with Amadea's Harmonic Foundations for Jazz and Pop, I'd definitely rank it as one of the most important Jazz improv texts I've ever got (and one of the few useful ones.) - - Thank heaven its FINALLY up on Amazon - - I'm definitely getting it AGAIN !

The first two chapters cover Linear Harmony and Embellishing Devices. Armed with these you are now well equipped to explore `Outlines'. These are three basic melodic structures that turn up over and over again in jazz improvisation. The rest of the book is devoted to exploring how great players use these in practice in real solos. There are hundreds of examples of their creative use.

In my view, if you only improvise using these structures you will be an outstanding player! They are extremely powerful tools.

Connecting Chords With Linear Harmony is a must buy: it is a fresh approach to the skill of jazz improvisation.

The other reviews for this book convinced me to purchase it and they were right. Great book to understanding harmony and chords. Jackie McLean the great alto sax player said you could only do so much playing by ear. You had to learn the structure of music to really be great and this book has all the information to help move you in this direction.

I've spent the last several months building up my jazz chops for a new gig. After getting through the song list fluidly, I set about supplying missing ingredients in my playing. Neil Olmstead's Solo Piano book supplies some. Mark Levine's Jazz Piano and Jazz Encyclopedia books supply many. This book goes where those books do not: it shows how to create ii-v-i runs that do not sound like scales and arpeggios stitched together like a crude Frankenstein's monster. It describes three very simple outlines, spends a short chapter discussing embellishments, and then takes the reader through more and more complex examples of where these outlines appear in the work of giants. My ii-v-i runs are improving as I integrate these outlines into my playing. My active listening is also improving as I learn to identify the outlines and embellishments in recordings, and practice transcribing them. You can learn this stuff the hard way, or you can use this book and start using this important secret ingredient almost immediately.

Despite Lord Russell's criticism that "intuition works best in bats, bees, and Bergson," in this work Bergson not only finishes the uprooting of the Western and Platonic disembodied intellect (a deconstruction taken only so far by Kant), he presents us with the spectacle of unbridled life creatively shaping, not only its world, but itself in accord with its own telos: the need for eyesight creating the eye, so to speak. Difficult in places but a treasure, although one could wish he gave more credit to Nietzsche's obviously great impact on him. Jungians would do well to peruse Bergson too.

Creative Evolution is not so much a work, but a milestone in print of a new direction of thought. It is a book that is of immense importance to anyone who wants to understand the mystery of humanity.

Henri Bergson's seminal ``Creative Evolution'' starts off with the flowing movement so prevalent in his philosophy of the organism, one idea flows into the next in a smooth undivided motion. Not only does Bergson explain his work with analogies and examples supported by the biology of the time, thereby distancing himself from the purely intellectual pursuit of most philosohpy, trapped in the world of the mind, but he demonstrates his thought in the very way of exposition he uses throughout the book. One feels his thought is produced like a Mozart symphony, all at once with no corrections needed. This aptly demonstrates the idea of duration and time he proposes in this book. His influence is profound in thinkers such as David Bohm and Alfred North Whitehead which so to speak ``run with it'' in the parlance of baseball. This is a book worth reading twice for its rich display of creativity and also to reread sections not followed the first time. One does feel however that at times the flow is interrupted by disturbances in his mode of thinking leading to disjointed reading. Nonetheless, not only does he open a whole new way of thought free of dualism and the old patterns of mechanism, but he also expalins the reason for mechanistic thought itself.

I first came across Ibsen's monumental work when reading 'Tropic of Capricorn' by Henry Miller. Despite my complete lack of evolutionary and biological knowledge, I found Ibsen's eschatology mind blowing. Several times I was forced to leave the book for days in order to fully contemplate the philosophical ramifications of his insights. From this great stride forward into the fringes of human understanding Ibsen states: 'A conduct that is truly our own, on the contrary, is that of a will which does not try to counterfeit intellect, and which, remaining itself - that is to say, evolving - ripens gradually into acts which the intellect will be able to resolve indefinitely into intelligible elements without ever reaching its goal. The free act is incommensurable with the idea, and its "rationality" must be defined by this very incommensurability, which admits the discovery of much intelligibility within it as we will. Such is the character of our own evolution; and such also, without doubt, that of the evolution of life." No one, despite their educational backgrounds or lack thereof, should feel intimidated by the possibility of transcending one's very own intellect.

Bergson's thesis is that Darwinian and Lamarkian evolution are only half the story and that there is a creative urge inherent in life that defines the direction of evolution. It is distinguished from Creationism in that his system does not posit and eschaton or final perfect form, nor an external agent (God).

It has some similarity with biologist Rupert Sheldrake's theory of morphic fields. In his theory, there is an energy field (as yet undetected by modern physics) that controls the shape of organic molecules, i.e., one protein is shaped one way and the same collection of atoms gets shaped another way under the same pH and temperature.

Aldous Huxley mentions Bergson's theory of consciousness several times in his writings. Bergson thinks that consciousness pervades everything, and that intellect serves as a filter that presents only what is comprehensible to mental categories. This has several implications. One is the possibility for a monistic metaphysic. The other is that it leaves open the possibility of perceiving an alternate reality (what excited Huxley).

Chapter 3 is about his metaphysics, which are not very clearly expressed. There appear to be avenues unexplored by him. What are the consequences of matter being infused with consciousness? Magic? Why is it that intellect and geometrical thinking is what produces objects in perception? What is the mechanism.

What does have value is his theory that chaos is not the absence of repeatability, but is a stochastic process that can be understood as an aggregate of individual "wills." This is used to support his vital theory of evolution. That each organism "wills" its variation in seemingly random fashion, but at a higher order, it produces the regularity of genera.

Chapter 4 is a critique of various philosophic systems after establishing his "cinematographic" theory of perception. His basic point is that matter is in continual flux, yet we are only able to perceive it as a sequence of discrete states, hence the illusion of permanence.

...and quite possibly the best collection of quotes from the broadest range of leaders in the field that I have ever devoured. I started reading it with a highlighter to cover the best advice. Excluding the front and back covers and the title page, the book is now entirely yellow. From veterans to fresh meat on the hook, this is the bloody book to read if you want to take your craft seriously. What more can I say to rave about this? Buy it. Read it. Then read it again. Keep it within reach of your desk for inspiration when the words just don't seem to flow. It's like a horror convention in your brain!

This book is so inspirational it amazes me. It is quote after quote by famous authors on different topics that apply to horror writing. I think this is one of the most inspirational books on horror writing. I love this book!

Do you wonder what scares your favorite horror writers? Would you like to know who influenced them, or where they get their ideas? Wonder no longer--the answers to these and other intriguing questions can be found in Dark Thoughts On Writing. Editor Wiater, drawing on interviews he's conducted with fifty writers of horror and suspense, presents their responses to these questions and their opinions on censorship, the affect of fame and fortune, and why they choose to write in the genre. The result is a plethora of colorful opinions, surprising anecdotes, and useful advice from a wide selection of horror writers, including Stephen King, Anne Rice, Jack Ketchum, Ira Levin, Clive Barker, Matthew Costello, Charles L. Grant, Nancy A. Collins, F. Paul Wilson and Richard Matheson. Must reading for horror fans and aspiring writers in all genres.

This is a book that will be of interest to the struggling writer and the devoted fan alike: the author culls thought-provoking, helpful, and at times highly amusing quotes from his series of interviews with the giants of dark fiction and distills them into one handy volume.

As a writer, one topic I found particularly interesting was the matter of influences: discovering who inspired the authors and artists who inspire me was fascinating.

As an aspiring writer, I was especially interested in these writers' basic influences, fears, and drives. After the first chapter, I was glued to this book, absorbing the thoughts of writers such as Stephen King, Jack Ketchum, Anne Rice, and many others. This is a great gift for a horror fan.

If you have a huge collection of unlabeled tapes, this book will help you ID the tape by listing every song played with every song played BEFORE and AFTER it. It's a blast to just leaf through. There isn't another book like it anywhere. You really have to get a copy of this book. It's not like it's an optional purchase. The information in this book is not found anywhere else.

If you are a taper, collector, trader, or just forgot what opened the second set in the last Philly JFK show, then this book is a must. Finally make a setlist for all those unidentified MP3s. Check off what you have to make trading easier. Get goosebumps over one of the transitions you forgot about. Kick yourself for working and not seeing the second night. If you collect you gotta have this or wait for the next one coming soon.

Have you ever looked for that perfect show? Ever wondered how many times "Me & My Uncle" was played? Ever was curious about who all were guests at Dead shows? Do you ever trade Grateful Dead music? If you answered "yes" to any of the questions above, this book is a MUST HAVE! It contains setlist from almost every Dead show played from 1965-1995 including helpful timings, "every time played", and "feedback" columns. If you are a Dead trader & you do not own a copy of Deadbase shame on you. It is the bible of Grateful Dead music. Peace.

Have fun, & if you get confused...LET THE MUSIC PLAY!

This is the Baseball Encyclopedia for Grateful Dead tape collectors. No serious collector should be without this wonderful and informative book.

You HAVE GOT TO HAVE this book if you're into live Dead. It is ESSENTIAL. There is no substitute, only knockoffs. Superlatives fail, this book is the be-all and end-all of Dead volumes. GREAT fun to browse through, and CRUCIAL for identifying live Dead shows on tape!!! BUY IT!!! USE IT UNTIL THE PAGES DISINTEGRATE FROM USE!!! IT'S THE BEST!!!

James Campion is one of the bright young nonfiction writers of the new century, and he got a head start on this one. Back in 1995 the Jersey rock scene was changing and the craziness of life on the road in the clubs began with the swirling tide of Dog Voices. Their outrageous story is all-true in this thrilling page-turner. "Deep Tank Jersey" is "Almost Famous" times one-thousand.

It was one of the best books on rock and roll I've ever read, and I've read my share.

Buy this book to see just how pathetic the world of NJ music is. I found it by accident, bought it on a lark and am glad I did. It reafirmed every joke about NJ i've heard...

Leave it to James Campion -- the elfin Jack Kerouac of his time -- to expose the soft underbelly of the Jersey bar band scene in a gripping narrative which captures the sights, sounds and (god awful) smells of a Jersey summer as only an insider can do.

Although diminuitive in stature, Mr. Campion's oversized ego makes up for his lack of size and virility, as he becomes -- in essence -- the plot, characters and narrator of his cute little story about a bunch of punch drunk never-was'z.

I first came across Dr. Campion on his weekly cable show, "sports night", in which he was the host, producer, cameraman, gopher, sales manager, & Christ Object -- the Harold H. Heckuba of rancid cable tv.

Of course, the melodrama of Mr. Campion's personal life -- particularly his bachelorette party -- would make for dramatically more interesting reading than the sordid tales of a bunch of losers, but that will likely be saved for his memoir, which we understand is tenatively entitled "Meet me at my Summer retreat in Joe Namath's crotch region," due out in 2025 along with his Jesus book.

Salu, Dr. Campion!

I heard about James Campion on a Hunter WS. Thompson site, and picked up Deep Tank on Amazon.com and absolutely loved it! There is nothing down here that compares to the Jersey scene. I was up there once and couldn't believe the atmosphere for music. This is the BEST book on traveling musicians ever written. Campion is the new Gonzo king!!

In DTJ, James Campion journals a summer with "Dog Voices", one of the hardest working cover bands on the Jersey circuit. He manages to infiltrate their camp, gain their trust, and become one of them. His insightful personality and unique writing style make the book incredibly interesting; especially when you consider it's not a chronicle of a celebrity act AND when you realize he doesn't even use song titles during the descriptions of their performance(s). JC has been a long-time columnist for the Aquarian, a popular music weekly on the East Coast. This book, along with his other entitled "Fear No Art: Observations on the death of an American century" (which compiles his "Reality Check" columns from that paper) are great reading for fans of satire and substance.

This book brings back the Remo Williams series to its original flavor while adding new dimension to the Smith Character. A must read for Destroyer fans. The series is back!!

I thought the series was on its last leg. But the new guy seems to know what he is doing. Keep up the good work!!!!

The writing is tight, the plot develops and like the very best of the series, I simply cannot stop reading. Remo is himself he is no longer a marionette "karate dancing" for hack writers. Chiun is the reigning master bringing awe not, "aw no". I still have issue No.1 purchased many years ago. I have read all of the Destroyer series and I know that the series now has a chance to surpass it's own roots. There have been continuing themes before but never as tightly scripted and well plotted. The new author is not only extremely well versed in the sun source but he is expanding the legend. It may be heresy But this could be the best yet.

after a momentary lapse of reason it seems that Remo and Master Chiun have come to their senses and returned to the characters that we know and love. Although time seems to have tempered the biting sarcasm that was so common in the earlier scrolls of sinanju, it still remains as one of my main attractions to this series. I highly recommend this book and my hat is off to Jim Mullaney, Thank you sir, you do justice to this series.

I have to say while I haven't been thrilled with the Destroyer series lately, it is still a must read. I am esctatic that GE can get these books out on time. I like the story in this latest installment and I like the fact that it is going to arc into a miniseries. Remo's adventures have always been part political satire part history lesson rolled into an adventure story. This book goes back to what made this series so enthralling to begin with.