Genres Books

lots of great old photos and pics. Stuff we never would have know otherwise...
ALL HAIL MASTER POPOFF

Very informative book. This makes me want to read everything Martin Popoff has written. It is done in a very easy to read style that is informative and enjoyable. The book gives an historical account of every Sabbath album and song. Well done!

This comprehensive coffee-table book is a perfect gift for the die-hard Black Sabbath fan. Loaded with band-member photos, interviews and graphics in a chronological progression, it's easy to open to any page and find yourself engaged with the narrative. I gave this to a friend who claims he hasn't read a book in years, and he was really excited to get it.

I have looked at some of the other Sabbath Books, and this one caught my eye. I can say it is probably the most thourough history of sabbath in one book. I was expecting a few more photos, but the history still is killer. It has all of the good stuff, from ozzy leaving, to dio's first comeback and second leaving, and ozzy's return. The history does seem complete from what I gather, including all of the details in transition with the band's line-up over the later years. The picture are nice as well, although I was thinking there would be a few more, it's still good. A must have book for Sabbath fans. Check this one out.

Martin Popoff knows his hard rock and heavy metal and this book is excellent. He goes into detail about every lp ever released and goes into depth about the songwriting at the time the songs were written. Tony Iommi's riffs are legendary and so are the details about the history of Black Sabbath in this book. This is a must read for any Black Sabbath or hard rock fan, it has everything, from Ozzy to Tony Martin from Dio to The late Ray Gillian to the legendary Deep Purple frontman Ian Gillian.
This book is the best Black Sabbath book out there bar none and Martin Popoff did a wonderful job. Buy this book.

Al-Saadiq Banks' (six series) Block Party books were definitely 5 star reads! If you haven't read his books I suggest you read each book from the beginning of the series all the way to the very end, because Al-Saadiq Banks answers each and every one of your questions in his final book. Characters that you were wondering about, from past books are in this book and that will make all the pieces in the puzzle fit. I hated to see the series end too, but I can't wait til' his new novel "Strapped" gets released later this year. Al-Saadiq if you are reading this I am a fan of yours for life!!!!!!!!

I HAD WAITED FOR THIS BOOK OR ANY BOOK FROM THIS PARTICULAR AUTHOR FOR A WHILE NOW, HE IS MOST DEFINITELY 1 OF MY FAVORITE AUTHORS, I LOVE THE AUTHOR'S MINE , HIS LINGO, HIS PERSONA!!!!! I AM NOT SURPRISED THAT HE BLEW ME AWAY WITH THIS BOOK,BUT FOR SOME REASON IT TOOK ME FOREVER TO FINISH READING THIS BOOK,NOW I KNOW THE REASON WHY IT'S CALLED SAVORING, I DIDN'T WANT IT TO END!!!!! I LOVED DRE'S CHARACTER IN THIS BOOK,THE MAYOR IS THE S#@%!!!! TONE THE LAWYER HE'S THE S%$# AS WELL!!!! MUMIT DAMN MAN ,LATIF I'M GLAD HE WENT OUT,HE WAS STARTING TO MAKE SUCKA MOVES (GETTING HIGH)!!!! I'M GLAD YOUNG CASH DIDN'T GIT IT!!!!! MAN I COULD GO ON FOR DAYS WITH THIS BOOK !!!!OH YEAH HE'S DEFINITELY HAS TO WRITE A BOOK IN WHICH TRAUMA GIT DEALT WITH, DON'T LET HIM WALK!!!!THANKS FOR THE UPDATES OF PRIOR CHARACTERS OF OTHER BOOK SHY AND SINCERE (MY FAVORITE)MIRANDA ( CAUGHT EM SLIPPIN) MY ALL TIME FAVORITE!!!!! PLEASE, PLEASE DON'T HAVE ME WAITING FOR TOO LONG FOR THE NEXT HOT JOINT!!!!!!!

Fort Dix , New Jersey - The Mayor sits before a small feast of delicacies. Despite his lavish lifestyle, his green jumpsuit and the concrete walls are constant reminders that he is no longer a free man. He often dreams of being on the streets. He has a helluva lawyer in Tony Austin aka Tony Cochran and can almost taste his freedom. But ultimately he knows his fate does not rest in the hands of his lawyer or even the judicial system. One man trumps them all. He knows that with "Brick City Massacre" his man Al-Saadiq will wrap up his True 2 Life series. Did the `Free the Mayor' movement work? Did the phone calls, emails and reviews have any bearing? Will the Mayor finally be freed?

"Block Party 3: Brick City Massacre" is an opportunity to settle old scores, resolve ongoing issues and get updates on some favorites. In style and substance, Al-Saadiq Banks has earned his spot as one of street lit's greatest natural resources. He captures the lifestyle of the streets with devastating accuracy. Banks knows his readers and gives them exactly what they want even if they don't know it. (Yes, I'm still mourning Cashmere .) His investment in vivid character development pays off in this character driven storyline that moves flawlessly from start to finish. Without detracting from the main story, Banks guides readers on side trips that only further solidify this novel and keeps them engaged. The brillance of Al-Saadiq Banks and "Block Party 3: Brick City Massacre" is undeniable.

Reviewed by: Toni

True 2 Life Series in order:
No Exit (True 2 Life Street)
Block Party
Sincerely Yours (True 2 Life Street)
Caught 'em Slippin'
Block Party 2: The Afterparty
Block Party 3/Brick City Massacre

Al-Saadiq Banks' True 2 Life series is a compelling series of books about the streets; a story of some people's reality. The final chapter, Block Party 3: Brick City Massacre, is a gritty story of drugs and the love of money. He does a wonderful job of bringing the realities of street-life and placing it at the hands of his readers. If you're looking for the real deal, some one to keep it all the way gangsta and all the way true, with street-life virtue, this is the book you want to read. I highly recommend.

This just in...

Al-Saadiq Banks, a long-time, well respected resident of Newark, NJ., has successfully completed a six-book series. Banks, who often downplays that he's an author, has successfully launched one book after the other as well as took part in an anthology published by another well known author/publisher. Al-Saadiq Banks first appeared on the shelves with his blockbuster hit, NO EXIT, in 2004. It was there readers got their very first taste for Banks' unyielding urban style. While NO EXIT proved that Banks was new to the game, as far as editing goes, it also proved to those that his vision and voice wouldn't be silenced. With readers begging Banks to finish and end the long awaited suspense, Banks decided to bridge the gap and invite them to the BLOCK PARTY. Now if there was any doubt in anyone's mind that this man was an author, this newest title customized his seat and readers were strapped in as Banks not only took over the wheel, but shifted full speed ahead. Readers may have gotten a little comfortable, and assumed that they knew what was next, until Banks slipped SINCERELY YOURS, a hood love affair, that not only shows his versatility, but answers questions readers had been dying to know from the first two novels, while further inviting readers into the depths of Banks' world. Just when you thought it was safe to move around the cabin, you were hit with some turbulence, gagged, bound and fearful because Banks CAUGHT 'EM SLIPPIN'. In simple enough terms, this book literally broke the mold. Speechless, and wondering if Banks maybe topped out, traces of AFTER PARTY were found on the scene and people were lined up by the droves for a hit. With the man in high pursuit, and an endless connection, readers wondered what could possibly be next?

BRICK CITY MASACRE is the finale of all finales! Without a warrant it pushes for the indictment, infuriating the haters while entangling the hopeful. If there are lingering questions from the first five novels, characters you were rooting on and freedom that you've prayed for, then WALK WITH ME as Banks sneakily takes you on a high speed adventure through the brutual streets of Newark, behind the walls in Yazoo, MS, and across the world to the Dominican Republic for this star studded conclusion. While reading, I laughed, cried, cheered on the ruthless, and dared the madness to get further out of hand. While this reviewer has openly campaigned for Banks, readers who are in need of change from that fake, unlived street chronicles should step on over to the real, raw and gritty mayhem of TRUE 2 LIFE. A series that is sure to awaken you!

In a previous review of this book, I mentioned some minor gaps in the discography. Actually, it was my own error, I hadn't noticed that the cut-off date for this mainly '60s-oriented work was 1972 and that releases by the artists discussed after that date were discussed fairly extensively in a "postscript" to the main entry on the group or artist.

In any event, that was only a very minor concern. As I've read more and more of this book, I've come to decide that it is an almost indespensible reference work for lovers of rock, blues and 60s music in general.

And I take issue with those who feel a bit miffed that this or that artist or group has not been included in this volume. If all goes as hoped, this book will be one of many in a series devoted to music of the 60s. The old goats at Old Goat Publishing are hard at work at follow ups, so please be a little patient. (You can check them out at www.oldgoat.com.) Many artists of the era were eclectic to the point where genre bending became their modus operadi. Creatively, that was an exciting and flat out wonderful turn of events. Critically, well, it makes classification and categorization all the harder.

Yes, Led Zeppelin had a strong blues influence, but there would be a much stronger argument for including them in a future volume on "metal" or "megastars." The focus of this work is more on those artists that you may NOT have heard of and whose work deserves attention. (No one can deny that Led Zep has not had a fair amount of ink spilled in their name.) By comparsion, the inclusion of Cream in this volume is justified, not just because Cream was significantly "rootsier" than Zep, but because (apparently) an editorial decision was made to include all of Eric Clapton's work in one volume.

And speaking of Erics, wouldn't Burden be more appropriate in an eventual "British Invasion" volume? Yeah, it's all somewhat arbitrary, but if you're familiar with any kind of criticism (literary, film, music or whatever), you know that those kinds of distinctions are absolutely necessary. There are people out there, for instance, who will tell you in no uncertain terms that "classical" music should NOT be an umbrella term for the music of the Baroque, Classical, Romantic and Modern eras. But sometimes that kind of critical shorthand is necessary if you're going to have any kind of discussion at all.

BLUES-ROCK EXPLOSION should help initiate discussion of the oft-neglected music to which it is devoted. There'll be plenty more to discuss with future volumes in the Old Goat series. At least this old goat hopes so.

Whenever I find a book that devotes significant ink to my all-time favorite singer (the criminally neglected Tracy Nelson--and no, I don't mean Ricky's TV actress daughter), I can't help get excited. BLUES ROCK EXPLOSION devotes several pages to Tracy and her original band, Mother Earth. And the info is all pretty much accurate, with quotes dug up from what now must be pretty obscure sources like late 1960s HIT PARADER articles. (HP used to be quite the informative little music mag back in the day--before it went heavy metal hair band crazy.) There are gaps in the discography, and that disturbed me a bit. But any coverage of this great singer in a major publication is heartening nonetheless.

Interesting though, the entry on Tracy goes on at some length about the inevitable Joplin comparisons (which were always somewhat misleading, since Tracy was more gospel influenced and much less raspy and raw than Janis--god love 'em both though). But oddly, there is no entry on Joplin herself. Hmmm. Could it be that they're going after only the rootsiest of "blues rockers" for this book, and that Janis and Big Brother will surface in some future volume (psychedelia maybe? or rock icons in general?).

Some of the reviewers below complain about this or that artist or group not being included in this otherwise fairly comprehensive reference work. I AM guessing here, but as indicated above, this appears to be the first in a series of Old Goat publications, and it is likely that when the artists overlap genres that they will be included in some other volume. Led Zeppelin may strike some as the "ultimate blues rockers" as one poster notes below. But, as mentioned, this book's focus seems to be on the rootsiest artists--and Led Zep could be being saved for the metal volume. And of course, Zep only showed up at the tail end of the 60s (which is the temporal focal point of this volume) and went on to conquer the world mainly in the 70s, so that could be another factor.

I have less of an answer for why Eric Burden and the Animals didn't make the cut, however, although Eric could slip into a psychedelia volume later on too (that just wasn't his BEST work). And maybe Hot Tuna was too much tied to the San Fran scene as well (though on their own, they were pretty darn rootsy too). Well, we'll have to see what future efforts by the Old Goats bring. In the meantime, this is welcome coverage for some pretty deserving artists, much of whose work is still available. Even though the book is a bit on the pricy side, I recommend it to any half-way serious student of the blues.

No cobbled-together overview, this is an impressive, meaty book of great integrity. Care has obviously been taken to do the research & get the facts straight. "Heavy hitters" like John Mayall, Fleetwood Mac, the Butterfield Band & the Yardbirds are covered admirably in a way that is both comprehensive & concise. Lesser known artists also appear, & when reading the book one constantly encounter players who would turn up in other places, at other times. The reader feels himself in good, knowledgeable hands from the get-go. (Martin Celmin's introductory essay is worth the price of the book in & of itself.)
It's that rarest of things, a book that is both entertaining & a solid reference work as well. The A-Z approach also makes it, as my friend Chris Darrow calls it, a great "toilet book." Meaning, I hasten to clarify, a book one can dip into whenever or wherever.
It's the first in a series, & I look forward to the future volumes.

This book is fantastic! The only thing that would make it better yet, would be the addition of a few more blues artists that seem to have been left out. (The Animals, Eric Burdon, Spencer Davis,...and WHERE is Led Zeppelin!...the greatest Blues rock band ever??) It is still well worth owning, if you can still get one...lots of information, and things even an avid Blues Rock fan probably didn't know. The "Introduction" is one of the best parts, giving you virtually a complete history of how this great music evolved. Gives Blues Music the attention it has deserved for so long, and never got.

Old Goat Publishing Company, located in Mission Viejo, California, is a group of elite rock music writers who have come together for a common purpose: Bring the vibrant music scene of the 1960's to life in a series of books that are painstakingly researched and meticulously detailed. Blues-Rock Explosion, the first offering in this series, delivers 42 profiles of many of the seminal groups of the so-called "Blues Revival Movement of 1968." Generously assisted by recollections from many of the principals involved, Blues-Rock explosion paints a vibrant portrait of a (primarily British) scene suffused with excitement, as the musicians start by slavishly imitating the great American bluesmen like Howlin Wolf and Muddy Waters, then grow by leaps and bounds to create an entirely new genre (blues-rock) that forms the basis for much of popular music's later development into hard rock and heavy metal. One could argue for inclusion of more bands, such as, say, the Animals and Led Zeppelin, but the author's decision to limit the time period covered (from roughly the mid-1960's until 1973) puts sensible boundaries around the subject, making the book's length a very manageable 300 pages instead of 900. Several future Rock and Roll Hall of Famers are detailed in these portraits (the Allman Brothers, Cream, Eric Clapton, and the Yardbirds), but just as compelling are the chapters concerning artists whose careers were cut short by tragedy (the Mark Leeman Five, Jo Ann Kelly). Also, even though it is not surprising that many of the British artists played with and were influenced by each other (since England is a smallish country), it is a great pleasure to read that Chicago in the 1960's remained a vital component of the blues scene, contributing such greats as Electric Flag, the Paul Butterfield Blues Band, Mike Bloomfield, and Nick Gravenites. Last, and perhaps most important, Blues-Rock Explosion finally spotlights such long-neglected heavyweights as Savoy Brown, Chicken Shack, Canned Heat, and Ten Years After, many of whom are not only still alive in the 21st Century, but are still contributing relevant, listenable new albums to those of us who never tired of hearing the blues in its many incarnations. Good luck and continued success to the Old Goats for continuing to believe that these great artists are still worthy of our attention.

This is a really effective authoritative publication of Hunter's lyrics. Robert Hunter had a big impact on the lyrical imagination of 60's rock, and this book bears witness to that fact. It presents the lyrics with minimal distractions, which causes my only complaint with this book. Hunter's notes/comments are sparse and usually very brief. Some additional explanations and background information, while perhaps being somewhat distracting from the lyrics, would make this more interesting.

Hunter's words, the inspiration, soul, and backbone of the Grateful's Dead's songs, are here collected in all their subtle grace. His songs read like poems, and his poems burst like songs. Vital reading for dead-heads and poetry lovers alike.

Driving around a curve on a mountain backroad, I saw what looked to be a book lying in the middle of the road ahead. I stopped, opened the door and reached down to pick it up. Must have fallen out of someone's car and then been run over: the cover pockmarked by gravel, the pages loose.

The title instantly grabbed my awareness: A Box of Rain - Almost 40 years of a prodigious poetic output, the sculpting of over 250 songs.

This collection of lyrics represents most of what the Grateful Dead performed - along with many songs either done by other groups or sung by Hunter himself. This book is a superb fusion of the mystical and the mundane - If Garcia's music was the skeleton of the Dead, these lyrics surely must be the flesh.

Would the Dead have acheived anything near their anointed state without these lyrics? I truly doubt it. Robert Hunter and Bob Dylan are in a class by themselves; these writings bear witness to that fact.





Extracts: A Field Guide for Iconoclasts

... one of the greatest poets ever. in my opinion. reading his poems as oposed to listning to them on a album is a vastly differnet experiences. his words touch me like no other. this book is absolutly amazing, especially reading the things the dead never played. "jack o roses" the seventh section of "terrapin station" is the most beautiful thing iever read ( you can hear hunter sing it by going to the hunter archive at dead.net". everyone should read this, and for the few that really get it, it will be a transcendant experinece.

...and my tunes were played on the harp unstrung would you hear my voice come through the music would you hold it near as it were your own?' Part of the experience of a Grateful Dead concert (and now The Other Ones, Ratdog, Phil Lesh and friends, and Mickey Hart's band) was listening to the words of Robert Hunter dance and twirl in your head. Hunter probably isn't the greatest American poet of the second half of the 20th Century, but he does know how to turn a phrase, borrow a line, and mix a metaphor. And his strange mix of phrases went well with the strange mix of American music written by the late Jerry Garcia. Box Of Rain is a must reference for anyone interested in the lyrical end of rock and roll. The book will clear up many an on going debate on just what Jerry was singing all those nights so long ago. And for all those people who can't understand why the Grateful Dead was so successful, this book will let you in on part of the secret. 'If you get confused, just listen to the music play....'

It's a first for me to review a book I haven't finished reading. I've been reading Cuba and Its Music for about a year, off and on, as I've read other books and material. What's prompting me to review it now is that this is simply a terrific, wonderful book and the word needs to get out. Full disclosure: despite being a musician all my life, I discovered Cuban music only about twenty years ago. The more I learned about it the more it took me over. This is not the place to go into the reasons, but I will make an outrageous blanket statement and say that what Bach is to classical music, Cuban music is to popular music.

Ned Sublette explains why in his marvelous book. I find myself pouring over passages, rereading and underlining and making notes to myself in the back. I can't take a lot of this at one time. I'll put the book down to pick it up a week later and end up rereading what I'd already read. The prospect of getting all the way to the end of it fills me with joy and dread at the same time. It's not that it's densely written: on the contrary, it's some of the clearest, easiest to read scholarly writing I've ever run across (and that's a lot, by the way).

The book is not for everyone. You have to like music, for starters. Then, it would be good if you enjoy learning about how musical styles originate, travel, and influence other styles. Cuba has been a true melting pot for many of the world's musical traditions, and most have made their way to this country, through New Orleans, through New York, and by other means, to the point that its influence is discernible in almost every popular American genre today. Sublette has traced these influences in the most careful and understandable way, and the result is enlightenment on every single page.

Now I hear that Sublette has another book out on the musical cultures and history of New Orleans. This is wonderful news even if it means I'll spend the next five years finishing both volumes. Amazon won't let me review a book twice, so I won't be able to comment on the latter parts of Cuba and Its Music here. Maybe I'll be able to mention it when I finally report on The World that Made New Orleans: From Spanish Silver to Congo Square.

Ned Sublette really knows his stuff. Although he quotes extensively from other authors, his own research and experience combine to make this a wonderfully solid piece of work, and one that is long overdue. Sublette takes us back to the very beginning, unravelling the potent mix of cultures and influences that have gone into what we call Cuban music today. His attention to detail will be appreciated by Cuban music afficionados, for whom many questions will be answered and mysteries revealed. Read this book, and look forward to the second volume!

This is the finest book on the sociological basis of music I have ever read. Many good books will provide a new fact on each page or two, but I seem to learn three new bits of history on every single page of this extensive analysis of the origins of musical styles in Cuba. But this is more than about Cuba; it is about Al-Andalus/Sefarad and Renaissance Spain and the eary history of the United States, and about northwest and central African peoples, and about Renaissance Europe, and about the early history of Islam and Arabia. It is about differing social policy and its effect on the slave trade. It is about what gave New Orleans jazz the Latin tinge and makes that city a treasure. It is about the distinct origins of the polyrhythmic, polytonal structures of Afro-Cuban and Afro-Brazilian music and the recitative, glissando-embellished, monorhythmic music of the blues and later jazz. We learn about Louis Gottchalk's first use of the African drum in classical music [performed in Europe] and why such instruments were banned in England's continental colonies and the early United States since 1739. We learn how Moorish, that is, black, line dance style was once the rage of western Europeans, and led to England's Morris dances. These are among the smallest of factoids that you will encounter reading this highly readable yet scholarly book.

Because I admire and particularly enjoy multidisciplinary cultural histories, Sublette's book is a feast. His explorations are ours. You will be fascinated, and you will be delighted. The book is an education. Buy it.

There is nothing written in English that compares to the scope and depth of this book on Cuban music. (Leymarie's Cuban Fire comes close in volume of information, but it lacks the cogent overview and insight that Sublette masterfully weaves into the details.) This is a history of Cuban music written by a musician (!) who understands the importance of credible research when defining context and cultural antecedents. Furthermore, he uses his perspective as an outsider--he is a North American--to our advantage. Coupled with his examinations of the complexity of a Cuban identity and aesthetic, our North American culture also becomes more transparent.

This is particularly true when it comes to dissecting the story that most conventional Western Hemisphere histories neglect-the profound cultural influence of West Africa. As Sublette notes, "the drum...what an African would call a drum-is conspicuously missing from European music before the sixteenth century." Was it the creolized cultures of the New World that finally gave Europeans license to return to the dance floor after centuries of Church proscription? Sublette presents a convincing case for this, while simultaneously providing an explanation for those among us who are rhythmically challenged...

Readers also benefit from the full spectrum Sublette's perspective--that of a musician who migrates comfortably between the music of the concert hall and the dance hall. "Dancing," he writes, "is an intense listening state. Dancing can be complex and it can be spiritual. African music is almost always music for dancing; and so is Cuban music, which is African music's grown-up child." No armchair scholar talks like that.

Furthermore, his writing is not of that academic ilk that is afraid to offer opinions, or reveal passions. (For starters, he states that he likes Cuban music because he "has good taste.") Nor does he shy away from connecting the dots or hazarding wide-reaching theories. He is the first author I have come across to point out that the geographical origins of the African slaves-those coming to North America from the Senegambia, those to the Caribbean from the coastal areas-largely explains the differences in the musical styles (melismatic vs. polyrhythmic) between these two regions of the Western Hemisphere. Shouldn't this information be part of our cultural literacy?

The subject of this book is huge and Sublette is certainly up to the task. (Did I mention the extensive index?) I have also found, thanks to this text, that I am listening to Cuban musicians (eg. Chano Pozo, Miguelito Valdes, Arsenio Rodriguez) with new ears. That's quite a gift. Chevere que chevere!

An incredible book, filled with anthropological data, African history, European history, but most of all Cuba and its people and its music.

As a music professor and jazz drummer I found so much information I ended buying a dozen cds to hear what Sublette was talking about. I always knew that call and response is a hallmark of African music and used to say that there has to be an African influence in the 18th century concerto with its call and response. This book explains how the African influence reached Europe through Spain. So I have been right all these years.

Sublette is great when he weaves developments in music in the context of Cuban politics. We see how American intervention led to Batista, who was overthrown by Castro, thus Castro is really a product of American intervention.

But ultimately the book is about the music and it delivers with the punch of a conga drum. Required reading for anyone and everyone interested in music.

This is such a great book. I really enjoyed reading it. It tells Buddy, Ritchie and J.P.'s story in a very interesting and easy to follow book. I would recommend this book to any Buddy fan. Five stars!

This is a great book. I have always been interested in "The day the music died" I had read several books and magazine articles about Buddy Holly's life but there was little in the way of the actual Winter Dance Party or the other musicians. I purchased this book and was shocked at how well and detailed the accounts of the musicians lives and the aftermath of the plane crash was. Larry Lehmer did an excelent job and should be commended on telling the truth not just what Buddy Holly's widow wanted or others who are wanting to cover the truth about what life was really like for all those involved. I recommend this to anyone who is interested in rock and roll, Buddy Holly or just 50's style music.

This book is great because it not only tells of the careers of those involved in the Winter Party Tour, but also tells details leading up the crash (including stops in many small towns along the way). It was quite informative.
Buddy Holly is the best known,yet most elusive and enigmatic of all Rock 'n' Roll legends.This man was a genius.The way he constructed his songs was sensational.

The initial first run of this great book was not around very long and people have been begging since for a reprint and here it is! This one is hard to put down, it is intriguing, informative and FACTUAL, which most Buddy book are not (avoid the Amburn book at all costs). What is particularily nice is that it features a great deal of updated info about the last tour & crash, info about Roger Peterson, and a good deal about Ritchie & The Bopper that usually doesn't get included. Lehmer talks to people that were at the shows, helped with the Tour, etc. No wild theories here, just the facts. Top notch in every regard. You see any bad reviews here? 'Nuff said!

Larry Lehmer has crafted one of the better journalistic books about a historical rock 'n' roll event. He brings a newspaperman's observations and senses to the project, which connects all the dots in the tragic last tour for Buddy Holly, Ritchie Valens and the Big Bopper. "The Day the Music Died" is not only entertaining -- somber and occasionally macabre in appropriate moments, and humorous elsewhere -- but it describes the days and weeks leading up to the tragic crash in Clear Lake through the eyes of people who were there. In each case, he paints a vivid portrait of a fallen star, making their stories all the more tragic. To read this book is to understand how American rock 'n' roll evolved from its early, innocent roots toward the fragmented, even chaotic market it encompasses today. I highyl recommend this book.

Heavenly Places

This story is wonderfully written and a blessing to women who love God and women who want to know more about Him.

This was an excellent book, and truly a blessing for me! I liked how God is at the center of the mother/daughter, husband/wife, girlfriend, and neighbor relationship dynamics that are interwoven throughout the storyline. The study questions in the back of the book are very helpful. It allows the reader to delve a little bit further into the issues that were covered, as well as prompts the reader to take an inward look at herself/himself. What a fantastic idea!

The reader will truly be blessed after reading this novel.

I've always been an avid reader, so once I began to explore my spirituality I turned to Christian fiction. I love stories that have a purpose and a connection to God. Lately, however, I've been yearning for something deeper than the standard Christian fare. That's why I'm so excited about Heavenly Places. This book went way beyond my expectations. From the first few lines in the "Foreword," I knew this book would be special. Once I began the story itself, it kept me glued to the pages as I first judged, then sympathized, then empathized with the main character, Treva. It made me laugh as I celebrated with the women's bible study group and cry as each layer of a character's past (and present) pain was unraveled. It also made me yearn to get into my bible more and have the intimate experience that was so superbly detailed in the book. It also connected me to some of the issues from my past relating to skin color and self-esteem while also allowing me to understand and accept how each person's Christian journey is different and designed just for them. It's amazing that one book could do so much - - but this book did. I encourage everyone to read it, think about it deeply, and share it with a friend. I guaranteed that you will be uplifted, enlightened, and blessed! Thank you Kim Cash Tate for sharing this story with the world. I can't wait to read your next novel!

I started this book and I couldn't put it down. I was anxious to find out what happened with Treva and family/friends. At times I laughed and at other times I cried. In this novel, Kimberly Tate gets to the heart of how women interact. I was definitely blessed.

I recently completed this awesome book! The storyline was great and the characters were well developed. Kim's writing provoked many emotions within me - laughing one minute & crying the next! This is the first novel I read that has ignited a fire within me to become more disciplined in my Bible study. I look forward to reading her future novels. I guarantee you if you enjoy reading novels - you won't be disappointed with Heavenly Places! Thanks Kim for sharing your gift!

Maxine Brown has created a masterpiece about the history, and characters involved in the making of Country Music. Her story is honest and heartbreaking at times. She has bumped into just about everyone who has had anything to do with the industry. She's smart, funny, honest and in some cases, unforgiving of those that have crossed her in the business. And, rightly so. Just the insight into the beginning career of Elvis Presley is worth the read. She toured with this shy kid who would become king. She gave us a glimpse into what it was like to know him before all the fame. This woman had guts to stick it out in a business that could be very unkind to women in the early days. Her determination to carve herself out a place in the business of country music is witness to her drive. The Browns hold a very important place in the history of Country Music. They influenced an entire generation, and let us not forget, were one of the first crossover sensations. Not only did they create a fire here in the States, they took on Europe with huge success as well. They lived through the rough and tumble days in Nashville when a chosen few could make or break a career. There were also good guys, like Chet Atkins who believed in the Browns, and stood up to the big studio execs to ensure that their records were made with integridy. Maxine was there to see it all, and tell it through her amazing recall. This book is an important piece of history, and should be read by anyone who calls themselves a fan of country music.

I've been a fan of the Browns ever since I was a young child in the early 1960's and my mom bought a Browns album. In recent years, I continue to enjoy the sweet harmonies brought by this incredible brother/sisters singing team.

Maxine Brown writes a riveting story of what country music was like in the 1950's, when they got started. It was a brutal, unforgiving business at the time and the Browns had their share of unscrupulous businessmen. She also writes about the relationship the Browns had with other country music singers of the day, some who have become major legends.

Very honest & open by the Author/Singer Maxine Brown. Very interesting & revealing, especially about Elvis Presley & Jim Reeves. Very good book.

Maxine Brown was part of a family country band with her brother, Jim Ed and sister, Bonnie. Their most famous recording is that of Edith Piaf's `The Three Bells'.

She writes about her early family life growing up in rural south Arkansas during the Depression. Her journey in country music and the people with whom she traveled and the songs she wrote. The people she met and performed with such as Jim Reeves, Johnny Cash, Patsy Cline and Chet Atkins. Performing on the Louisiana Hayride, at The Grand Old Opry and touring Europe. Particularly touching was the story about Jim Reeves' tragic death. It bought a new reality to his life for me.

I particularly enjoyed her stories of their encounters with Elvis Presley and how he fell in love with Bonnie and asked her to marry him. She turned him down. One particular incident was at the time of his discharge from the army when he called a press conference and invited the Browns to attend. He asked Bonnie did she wait for him and she told him `no', she was married and expecting a baby. She must have known what would have been ahead.

I absolutely loved reading this book and did it in 3 days. I love country music and it is also takes a look at the background of some of the great American country performers and the people involved with their careers.

Here in Australia we only see the end result of some the greats and have no idea what life was like for budding country singers in America.

I found this book while listening to WSM America's Country Music Station broadcast live from The Grand Old Opry. There was a live interview with Maxine promoting the book.

Thank you Maxine, for the experience.

Kudos to Maxine Brown for her fascinating no-holds-barred look at the country music industry of the 1950's and 1960's. Maxine, along with sister Bonnie and brother Jim Ed, were legendary country group The Browns, who chalked a number of hits for fifteen years, notably THE THREE BELLS, one of the biggest hits in country music history and as well as a number one pop hit for them. The Browns were all but ready to throw in the towel when they scored that monster hit. Their RCA recordings were not producing major hits. The group earlier came to success on the small Fabor Records label founded by one Fabor Robinson. Like many vocalists on small labels during the era, according to Maxine, the Browns "never made a dime" on their hit LOOKING BACK TO SEE, needless to say she has harsh feelings for Robinson "probably the sorriest b****rd then infesting the industry." She recalls a string of horrors the Browns had to put up with due to the association, so much so Robert Cochran, in the book's introduction feels to need to note country musican historian Colin Escott found similar stories from other Robinson associates in his research. Maxine titles one of her chapters "We Get Screwed" and her tales of blackmail attempts to harassment are truly astonishing.

There's lots of good times too, from dozens of close friends in the industry from Elvis Presley to George Jones and their years as the leading country vocal group. The Browns were especially close to Jim Reeves, and like Reeves they suffered from some backlash in some country circles because of their pop hits. Maxine recalls a run-in she had with Little Jimmy Dickens at a country music function during the peak of the Browns' crossover success when Dickens strolled up to them and said "What are you doing here? You Ain't country." As you might have guessed Maxine is not the type to just stand there and take that, calling him a "sawed-off son of a b***ch" which broke into a cuss fest that led to Maxine and Dickens not being on speaking terms for years although she happily notes they have since made amends.

After the Browns disband in the late 1960's and brother Jim Ed becomes a popular male star, Maxine found it difficult to launch a solo career (I personally love her only solo album SUGAR CANE COUNTY) and is surprised how quickly the industry seems to have forgotten she was one third of the hottest group in country music. Happily, the Browns have frequently reunited for concerts since the late 1980's and still perform today.

LOOKING BACK TO SEE is a great read, loaded with rare photos. Maxine writes in a friendly, talkative style and as you might guess, is as blunt as someone having an intimate conversation. This is a fairly large book - 348 pages - for a country star autobiography. The University of Arkansas (Maxine's home state and where she still lives) published this book and did a fine job with it. It's clear a local press is the way to go for country music star's of the past who might not be able to attract New York publishers. This book is a must for anyone who loves country music during it's classic "Nashville Sound" era.

Seeing this book was one of the reasons I set about the task of writing Revelation Blind Willie Johnson The Biography in an attempt to emulate this great tribute to a great man, this is surely the definitive work on the life of Howlin' Wolf, a must read to anyone interested in the man and his music!
Revelation Blind Willie Johnson The Biography.

Interesting. Provides an insight into the character of Chester Burnett, especially enjoyable since less seems to be known about him than other bluesmen.

This book sets a new standard for music biographies, the authors have really done their research. Not only that, Chester almost jumps off the pages so well do they reveal a complex and private man. Descriptions of live performances and studio sessions are finely detailed, due to the numerous interviews the authors conducted with sidemen, producers, fans and family members. Good thing these writers started work on the book many years ago; a number of the interviewees have since died, making this the final word on working/living with the Wolf. Outstanding.

This book is without doubt, an excellent, well-researched and detailed account of the life of Howlin' Wolf. The life of the blues pioneer was one of hardship, sadness, and overcoming adversity, and the authors do a good job of conveying what the Wolf dealt with.

From his hardscrabble upbringing, an abusive and hypocritical father, and mother lost in psychological and religious madness, and just obstacle after obstacle, the Wolf endured, but sometimes I feel never achieved the full happiness he wanted. There's no doubt he loved his family, cared for his bandmates and did his best, but you could tell the sadness that the blues often heals might not have been enough.

There's a good examination here of Wolf's music, his influences and how he managed a signature sound as well as a performance style that blew nearly all the others away. All the same, Wolf was very protective of that sound, demanding of his mates and making sure they did it the way he wanted it done. Sometimes he was overbearing and arrogant, as witnessed by the defection of Hubert Sumlin to the Muddy Waters band. But Hubert later did return, and many would come in and out over the years.

The rift between Waters and Wolf is noted here; was there ever really one, beyond the professional rivalry? It does appear that Wolf saw Waters as a company man, in terms of his relationship with the Chess brothers. Wolf was very careful about his money, making sure the brothers paid him what he was due, while Waters was content to allow the brothers to get him a new car or a home now and then, perhaps a bit too trustful.

But in the end, it does seem they cared about each other and made up any differences near the end of their lives.

I do think there's a certain God-worship by the authors of Wolf. Too much in some places I think, where a writer makes the subject the greatest thing ever, and all others are chaff. Just the same, this is a sometimes funny, often sad look at a great musician, writer and performer, who influenced those who followed, such as the Rolling Stones.

When I hear "Smokestack Lightning" now, I don't hear it quite the way I once did. It has a more sorrowful quality now than ever. RIP, Wolf...you deserve it.

Two years ago, I reviewed Howlin' Wolf: The Chess Box in this very hallowed cyberspace, wonderin' aloud (as Ian Anderson and Jethro Tull would have it) when in the world would someone please write the definitive bio of Wolf and his massive (reportedly 6' 3" and 300 pounds) persona? Well, folks, wonder no longer. Within the past year, James Segrest and Mark Hoffman have written said biography. In fact, I first purchased and eagerly devoured this tome a year ago; it was only upon rereading it that I decided it was time for review. Sam Phillips once reportedly said that Wolf was the greatest talent he had ever discovered. (For perspective, remember that Mr Phillips helped discover such "nobodies" as Roy Orbison, Johnny Cash, Charlie Rich, Jerry Lee Lewis, and the King himself, Mr. Elvis Presley. To say that Wolf was his greatest discovery was quite a statement, doncher know.) We see the early Wolf, cast out by his own mother because his music was "too sinful", and beaten repeatedly by his father, drive a plow on a Mississippi plantatation, until one day, (reads like a fairy tale, don't it?) first Charlie Patton, then Sonny Boy Williamson II (Rice Miller) come along to teach Chester Arthur Burnett the rudiments of guitar and harp, respectively. We see Wolf through the glory years of Chess, making his classic records, and giving his incredible performances (including reportedly sliding down the length of a fire curtain when he was 57 YEARS OLD, no less!), through the good and bad times with his multitalented bandmates (including a VERY young James Cotton and Hubert Sumlin, his nonpareli guitarist), through the unbelievable records (some of which were originals; others, such as "Sittin' On Top of the World", "Pony Blues" and "Built for Comfort", he received from artists like Charlie Patton and Willie Dixon); and finally, through the later, sick years (when he recorded London Howlin' Wolf Sessions, six years before his death, he was reportedly so ill, he could only complete one song per day). Hoffman and Segrest's excellent prose leaves you spellbound and wishing you could rush right out and purchase some of his music. TA DAAA!!!! The wait is over. When you are done reading this review, why not just do another search and pull up Howlin' Wolf: The Chess Box and send yourself 71 of the Howlin'est, Wolfingest tunes as an early Christmas present???? WHY NOT????? So don't delay, order both Moanin' at Midnight: The Life and Times of Howlin' Wolf and Howlin' Wolf: The Chess Box today, even as we speak. Trust me it's the kind of music (and writing) that will put hair on your chest and make you want to howl all night long!!!!!

There are several things that stand out upon even a preliminary acquaintance with the book. The tasteful presentation of the book, the Klimt on the cover, the quality of the paper the book is printed on all exhibit careful attention to fine detail. But there is an additional quality, which I found particularly appealing.

The author unabashedly centers her attention on eternal values, such as beauty and higher aspirations of the soul. These Òold-fashionedÓ values which the author takes as given and forever relevant, our societyÑat least that part of it which expresses itself most loudlyÑdeems irrelevant and out of fashion. The bookÕs tone, with its unhurried soft-spoken concern for beauty and lofty values, strikes me as bold and courageous. For our time is interested in flashy, quick, loud and digital (that is, small and fractured and flat and two-dimensional). The society is much less interested in the quiet, the subtle and the deep, which this book espouses. The book is set against the background of the fin de siecle, only this time it is OUR own 20th centuryÕs fin de siecle! The message, whether conscious and unconscious, that the book delivers, becomes a counterpoint and an antidote to our culture.

If you know nothing or everything about music, read this book to open up a whole new world. Draper's simple, elegant writing and natural approach to her subject will inspire readers to pay attention and listen to music with a fresh approach. This is a great gift for yourself, your children, your parents, your new amour. Listening to the cds and reading the accompanying text with friends is a wonderful reason to have a series of dinner parties.
Thanks, M. Draper, for bring music back into my life through another door I didn't even know was there.

This book is full of love of music and inspiration for musicians of all ages and levels. For the historian, there are many lesser known, interesting facts. For the music student, there are words of wisdom about keeping the inspiration and love in daily practice. For the music lover just beginning to build a listening library, there are wonderful suggestions for starting a CD collection (not limited to classical music). This is a book to be read slowly, to be savored and contemplated. This book invites the reader to experience music in a very sensual way, not with ears alone, but with one's whole body, mind and spirit. It is an exploration of the possibilities of music as a mood setter, a mood enhancer, or a mood anti-dote. It is about music as a healer of physical and emotional disharmonies. It is an exploration of what is universal in music and what is highly individual.
There is something for everyone in this book. I highly recommend it as a gift to anyone interested in music.

Maureen McCarthy Draper's book is an invitation to return to the joy of listening to music in a way to set moods, to mark days of the week or to simply relax and be transported by musical experiences. This invitation includes examples via the carefully selected selections of music on the accompanying CD's which depict each of the examples of how music can soothe the soul within, or elevate the awareness of beauty in a way that no other medium can. This book reminds those of us that love music of its importance, but invites us to consider it at another level of perception and gives us the suggested methods to add to our perception.

It also makes a lovely gift to anyone who loves, and loves to share the joy of music....

Maureen Draper`s book is a jewel! In today`s time of high technology and speed, she slowed me down, called the voice of my heart and reminded me to listen to my body and to my soul. She did it all with classical music - speaking of it with great simplicity, and although i am a professional classical musician, i felt like i was entering an unknown field and wanted to know EVERYTHING about it! On the two cd`s that she recommends buying together with the book, she has chosen less known pieces, which allowed me to discover my own feelings and sense of the music, undisturbed by the familiarity of more famous pieces. She guided me through the many different landscapes of music and patiently showed me, with great knowledge and passion and tenderness, all their beauty, encouraging me, at last, to be alone in them, to observe and to fully sink in the emotions they elicited in me.

This book is an unusual, unique look into the depths of music and it makes a wonderful gift. Thank you, Maureen!