Genres Books

Acoustic Stories is a unique and impressive anthology of true personal stories about musical legends such as Jerry Garcia, Aretha Franklin, Bob Dylan, and many more as witnessed, experienced, and regaled by string bassist Bill Amatneek. An engaging recollection of personal memories, of tunes that transcend time, and offering contemporary readers with a tiny peek behind the surface of great entertainers, Acoustic Stories is most especially recommended for those legions of fans whose musical icons made and played decades of popular and unamplified music.

Bill Amatneek is accomplished musician and an equally accomplished storyteller, which is what makes this book such a great read. Just what what was it like to hang with Jerry Garcia? - well read on. Or plucking with Peter, Paul and especially Mary when they breezed through town. He talks about that, too, and even brings in Dion Warwick and an unexpected birthday serenade. His book is personal, musical, intelligent and full of back-stage scenes that you can only get through someone who's on the inside.

I bought the book for the Jerry Garcia and David Grissman stories but was pleased to find lots of great stories about musicians I did not know. This isn't a typical "fan" book but fans will like learning more about these famous, and not so famous, musicians from a backstage point of view. It's worth it for the Peter, Paul and Mary story alone. Sounds like this guy has had a lot of fun over the years!

about an era and a scene that most people in my generation either see through rose-colored glasses or know only cursorily. A long list of people with famous names appear here, and are given faces, voices, and the quirky mannerisms that make them people, told by someone who has sat in the same room with them and breathed the same air with them.

Best of all, running through this work as steadily as a flowing river is a deep reverence for musical expression at its most personal, its most intimate. A treasure of a read.

One of the first photos in "Acoustic Stories" shows author Bill Amatneek playing upright bass with Peter, Paul and Mary in 1979. At the end of the book, a photo shows the author with the Peter Rowan Bluegrass Band in 2003. Between these pictures are over 20 stories and 33 other photos that provide extraordinary recollections from this musician's years of professional experience. Amatneek refers to these stories as unamplified tales, largely because of his love of acoustic music. Moreover, he certainly needs no additional reinforcement, expansion or exaggeration of them to make his charming points. In fact, each story reads quickly, and they come across more as entertaining anecdotes that are both interesting and humorous. For the most part, they are based on real occurrences although the author's preface indicates that some are "told from their facts but to their hearts." Like picturesque mountain scenery, each story is suitable for framing. The author writes with a vivid freshness and vigor that capture his unique experiences.

Amatneek grew up in New York's Greenwich Village in the 1940s, and his connections eventually led to him becoming a "string-bass poppin', banjo-pickin' Philadelphia folkie." His short vignettes from the 1960s through the 1990s include tales about meeting Bob Dylan, being "used" as a prop by Mary Travers, interviewing Aretha Franklin, having Dionne Warwick sing "Happy Birthday" to him on his 21st birthday, and being inspired by Mimi Farina to make the world a better place. Throughout the book, the author intersperses a few song lyrics amidst the narrative.

Acoustic musicians, especially in the folk genre, typically include stories into their presentation. Most are based on personal experience and relate thoughtful and honest portrayals of life on the road and the people they meet along the way. Many of Amatneek's yarns revolve around well-known music personalities. In one situation, he might be auditioning tortoiseshell picks with Tony Rice in Paris. In another, he and the Rowan Brothers might be picking with Bill Monroe at the Wintergrass Festival in Tacoma, Wa. A couple of my favorites are about a panel discussion of the meaning of Monroe's song lyrics in "Little Girl and the Dreadful Snake." Other favorites are his description of the 3-ring circus of Beach Blanket Babylon, and the 50th anniversary of D-Day in 1994 in Ranville, France.

The emotional impacts of death creep into the stories. The author becomes introspective when talking about the passing of Mimi Farina, Kate Wolf, Jerry Garcia, Steve Gorn's father, Steve Silver, Al "Jazzbeaux" Collins, and the New Orleans horn player Buddy Bolden. Amatneek claims to be "basically shy," but this book shows, in writing, his more social and extrovert side. His "Acoustic Stories' are affectionately told, and anyone who can appreciate a few slices of music-related folklore will enjoy this book. Not only will you get to know the reserved bassist, author and storyteller better, but you'll get a taste of what it's been like for Bill Amatneek to cross paths and play with many luminaries in the music business. (Joe Ross, staff writer, Bluegrass Now)

If you buy this book because the title might indicate it is an overall look at the banjo, its playing, its musics, and its place in society, that is not what this book is or pretends to be.

This is a history of the physical development of the banjo and its construction and manufacture during the 19th Century. There are some small references to the different musics the instrument was used for, but not many. There is elaborate and detailed discussion of the main lines of construction of the banjos during this period. The authors also write well and thoroughly about the business dynamics of the chief producers
of the banjo during the 19th Century.

While this book is obviously the work of two of leading banjo collectors in the world and of interest to banjoists and instrument makers of all kinds, it is an important picture of America social and economic history as well. Someone interested in the rise and development of capitalist industry, fetishism of "the finer things in life" by the middle class, and how culture wars were waged in the 19th Century would profit from reading this book.

For the artistically inclined there are a number of beautiful plates of 19th Century Banjos as works of art. It is clear that the authors priviledge the decoration and physical beauty of the instruments as much as they do the instruments "playability."

This work is great in itself. I found it very readable and believe someone who did not know much about banjos would also find this readable.

If you are interested in the social and cultural history of the instrument to the present day, what you need is
That Half-Barbaric Twang: The Banjo in American Popular Culture Culture by Karen Linn.

If you are interested in the African origin of the instrument, its development from African playing styles, as well as the roots of contemporary "frailing" and clawhammer and much else about the musical tradition of the banjo, especially as used in traditional folk music try African Banjo Echoes in Appalachia: A Study of Folk Traditions by Cecelia Conway. Both books are available here on Amazon

At last, another important book has emerged to stand with the few other necessary references on early American 5-string banjos.

Unlike the two fine Tsumura books which are primarily photographic essays of considerable magnitude, Gura and Bollman's treatise combines a highly readable and informed history with a remarkable collection of rare antique photographs and ephemera plus 4 lengthy sections of recent photographs of exquisite instruments and banjo related objects. Any one of these three aspects would be sufficient reason to own the book.

The frequently startling and personal photographs impart a very human feeling as we progress through the story of the evolution of the banjo in American culture. Amazingly, they represent just a minor fraction of Jim Bollman's immense collection.

Special praise is due Peter Szego for his magnificent photographs of the wonderful early banjos from his own collection.

I find it hard to remain objective as I turn the pages and imagine what it must have been like to pose for one of those Dageurreotypes, rudely dressed, banjo in hand, daring the photographer to capture my soul. And again, when I turn to that favorite Boucher or Fairbanks banjo and long to feel and play it.

Well done, gentlemen, and thank you!

James Bollman's collection of banjos and banjo memorabilia is stunning and this volume may be the only way in which I would ever be able to view it in my home a photograph at a time. The history is a resource for historians and reenactors alike. The vintage photos are mostly ones I've never seen before. This collection has the most vintage photos of lady banjo players I have ever seen. The 1860's photo of a young woman playing the banjo on page 93 has enough detail for a reenactor to duplicate her dress and accessories as well as her banjo. The same is true of an 1895 photograph of a woman playing a Fairbanks Electric. The turn of the century all woman banjo band on page 10 is inspiring. It's great to know that there have always been lady banjo players and these photos give the lady reenactor a place to start when planning a period costume to go with a period banjo. There is a section of breath taking color plates in this book that allow you not only to see detail on some rare banjos, but also depict antique banjo clocks and memorabilia. I never knew such pieces existed until this book. A great book and a must have for anyone interested in vintage instruments and pickers.

As a banjo player of some twenty-five years experience, as well as a historic interpreter/performer of Early American music, all I can say is that this is the book that I've been waiting for! This well-researched, well-written, beautifully illustrated tome doesn't just give us an interesting history of the banjo; it offer us a fascinating view of the instrument's pivotal role in the birth of American "pop" music.

My favorite features of the book are the antique period photographs, as well as the many wonderful illustrations of authentic period instruments and ephemeria, primarily from the extensive personal collection of the book's authors and fellow collectors such as Peter Szego. The majority of the 19th century photos depicted belong to author Jim Bollman, whose home can best be described as a museum and shrine to the banjo. I'm also a collector of vintage photos of musicians and I can tell you there's no one more respected in the field than Jim. His name is constantly invoked with awe and reverence by both dealers and other collectors. I have to admit there were times at photo shows when I've had cause to harbor some unkindly thoughts towards Jim every time it had become that he had scored all the best photos. However, purchasing this book, which contains many of those incredible unattainable photos, more than makes up for that.

My only complaint about "America's Instrument..." is its failure to really explore the banjo's African roots other than to briefly quote Dena Epstein's pioneering work on the subject. Also, the authors are mistaken in their statements that the African ancestors of the banjo, such as the xalam, "lack the shortened string on the top of the fingerboard that is characteristic of later banjos." In fact, the xalam has three "chanterelles" (drone strings) of various lengths above the two long melody strings. A cursory look at the xalam illustrated in the book would reveal that.

Be that as it may, I highly recommend "America's Instrument...!"

If one were to collect instruments, art and ephemera to organize and document an exhibition about the banjo, a good place to start would be to review Gura's and Bollman's "America's Instrument: The Banjo in the Nineteenth Century." This impressive book actually seems like a comprehensive companion to a museum's exhibition which could have the same name, and I could envision such a treatise being a museum gift shop's best-seller.

James Bollman is recognized as one of our Nation's foremost banjo collectors, and his outstanding assortment of Victorian-era banjos and related paraphernalia is one of the finest in the world. He was very pivotal as a project consultant to the fine exhibition that took place in 1984 at the Massachusetts Institute of Technology called "Ring the Banjar!: The Banjo in America from Folklore to Factory," curated by Robert Lloyd Webb. That exhibit's catalogue had some wonderful information, photographs and illustrations. After seeing it, I was personally inspired to research and write an article about "Banjos at the Smithsonian Institution" which subsequently appeared in Bluegrass Unlimited magazine (Vol. 27, No. 5, November, 1992).

Philip Gura, historian and Professor of English and American Studies at the University of North Carolina, is an expert in the history and culture of America's music industry. I found Gura's 2003 charming book, "C.F. Martin and His Guitars 1976-1873," to be well-researched, thoughtfully written, beautifully illustrated, and professionally executed.

In "America's Instrument: The Banjo in the Nineteenth Century," Gura and Bollman begin by documenting the banjo's evolution from the plantation to the stage. An interesting overview of the minstrel tradition and early performers is given. The authors show how the popularity of banjos increased, largely due to effective marketing. As the banjo made its way from the minstrel stage to Victorian parlors and concert halls, the physical development of the instrument was also affected. Part III of the book addresses "selling the banjo to all America," focusing on the efforts of Philadelphia's S.S. Stewart. It's interesting that Stewart's adoption of the "cause" of the banjo (nothing short of everything about it) set him apart from other makers. The book's fourth part, "manufacturing the real thing," delves into how the Boston banjo makers (Fairbanks, Cole) began to challenge Stewart's preeminence in the mid-1880s and eventually design and build the acknowledged standards of the banjo world.

Ragtime is given cursory treatment in this book. Another direction that banjo music took was into classical music, and the book could have devoted something to that incarnation of the instrument. I found it curious that this book makes no mention of Alfred A. Farland, "the progressive banjoist," who caused quite a stir in the banjo world in the mid-1890s when he played concertos, Beethoven sonatas, and even Rossini's "William Tell Overture" on the instrument. He was also known as the "Scientific Banjoist of Pittsburgh, Pa."

It also becomes quite apparent that the major banjo makers in the late 19th Century were located mainly in the urban north, and the great majority of major makers are discussed. However, this book should have at least acknowledged J.B. Schall, from Chicago, who built a large number of banjos about 1870-1907. Of a list of manufacturers of "classic" banjos in Akira Tsumura's "Banjos: The Tsumura Collection," most are addressed. Rettberg & Lange (New York 1897-1929) aren't mentioned, and only very brief mention is made of Weymann & Son (who made banjos in Philadelphia from 1864-1935) and Charles Bobzin (who operated in Detroit from 1892-1915).

While this book is beautifully laid out with over 250 illustrations, some of the very special banjos featured in the MIT exhibition, at the Smithsonian Institution, and in private collections such as Akira Tsumura's or David Vachon's, might have further enhanced Gura and Bollman's book. Some of the instruments are credited as from the collection of Peter Szego or Philip Gura, and the other uncredited photographs are apparently from the extensive collection of James Bollman. While the many full page color illustrations are definitely nice, perhaps the book could've added many more by placing two to four per page. Banjo afficinados typically enjoy such "eye candy," and photos speak a thousand words.

Keep in mind that this book only covers the banjo in the 19th Century. There is a cursory link to the banjo in the 20th Century, and there's only minor mention of firms such as Gibson, Paramount, Bacon and Day, and Weymann. While the authors state that "the stories of these companies and their instruments are fairly well known and...belong to the history of the new century," I hope that Gura and Bollman will consider pulling all these tales together into a sequel that documents the banjo in the Twentieth Century. All in all, they've done a very fine job covering a hundred years of the instrument's early history in America. Banjo-players and others interested in the instrument's history should certainly add this book to their library. (Joe Ross, staff writer, Bluegrass Now)

I did not want this book to end. I have been a fan of Al's since the Blood,Sweat,and Tears days and this book filled in so many unanswered questions I had. I recommend that anyone who likes him in any capacity read this book and see him live.

Backstage Passes and Backstabbing Bastards: Memoirs of a Rock 'N' Roll Survivor
Anyone who grew up with sixties Rock 'n Roll should find this funny yet
incisive retrospective highly entertaining.
Al Kooper, a man with 50 years in the music business as back-up, and a
Magna Cum Laude graduate of the School of Hard Knocks, manages to relate
his memoirs in an easygoing, good-natured and often hilarious manner. And,
despite the title and events behind it, he hardly has a bad word to say about anyone (which would seem somewhat incredible). As a bonus, he's a pretty good writer.
Here is a man who, for a half century, has been ubiquitous in the Rock business, mostly in the background but never from the sidelines, yet is largely
unknown outside of the music industry fraternity. And while it appears that credit for his enormous contribution to the medium has been difficult
to come by, he has to a large extent gained the RESPECT he so rightly deserves. Perhaps this is because he comes across as a real
person and not some untouchable Rock legend. You'll like him.
I had a great time reading this book and recommend it highly.

Backstage Passes & Backstabbing Bastards by Al Kooper is 1 of if not the best book written about Rock"n'Roll, this guy has done it all & by him noT even being considered for the Rock Hall of Fame shows what a shame that orginazation is. I always thought this dude was one cool cat & this books proves me right,just look up some of the things this guy has played on,produced & for me The Blues Project & Bllod Sweat & Tears are enough to get him into the "Hall of Sales" as he calls it, this book came out in 1978 with an updaye in 1998 & another update in 2007,hope he can update it again in 2017. If you love Rock this is a must read.................Greg H

Al Kooper's 'Memoirs Of A Rock 'N Roll Survivor' makes for an extremely enjoyable reading: it's funny, loaded with very interesting anecdotes and behind-the-scenes stories and is very well-written.
One of the best books ever about the music world.
Highly Recommended!!!

I first discovered Al Kooper in 1966 at a local record store in rural northern Maine. I think it was the Jaquar (or was it a Jazzmaster) Steve Katz was holding on the album cover which drew me to it. Whatever...but, it was the crazy schizo guitar of Danny Kalb and keyboards of Al Kooper which really impacted on me. Later, I recognized this guy "Al Kooper's" name on Dylan albums, his face on the debut album of the first Jazz rock band (with horns, no less)and then his work with guitar virtuoso Mike Bloomfield. Decades later I actually met Mr. Kooper briefly (not that he would remember me)at the Redding Roadhouse in Connecticut and was releived that he was a gracious nice guy, more tolerant than most with fans. Enough about my experiences.

Al Kooper is a musician's musician. His experience spans the history of good popular music from the late '50s to the present. It is intriging to figuratively be a "fly on the wall" as Al relates his experiences with the Blues Project, Dylan, BS&T, Bloomfield, Skynrd, Jimmy Vivino, the Beatles, Stones...shall I go on? His wit, objectivity about himself and down to earth perspective on events which (although many of us see in mythic proportions - Dylan's Highway '61, for instance)he actually lived, make this book a uniqely honest portrayal of the period. If you are a guitar player who grew up during the mid-late '60s in America, you probably were either a Bloomfield or Kalb fan. Well, Al played with both of them. If you are a Hammond B3 player who grew up during the same period, well, you must be aware of Al's work. For you other people who may not know about Mr. Kooper's contributions,you you are in for a surprise, a big one!! Mr. Kooper, as a working musician, provides inside details of events only someone with his experience could. This book is highly recommended for anyone who has even a passing interest in rock, blues, culture or just likes a good read. "Dr." Kooper is one of the good guys and really delivers with this one!!

Be aware that the book shown when you take a "Look Inside" is NOT the book you get. What they show is a bound copy of the musical score with the libretto added. What you get is the libretto described in the written review, no musical score. That having been said, the book you get is useful and of interest, and the CD is a great recording.

This is a wonderful study score to Rossini's wonderful masterpiece. The story of a Barber named Figaro, who is the person that everyone comes to seeking advice.
It's easy to read and the size is standard (9in x 12in). It lies easily on a music stand or desk. It's low price is great for the starving music student. I highly reccommend this for professionals and opera-goers alike.

One of Rossini's best operas, the Barber of Seville, is immortalized here in another one of Dover's fine scores. From the fast-paced overture to the "Figaro" aria (both made famous in old Bugs Bunny cartoons), this opera is nonstop greatness.

As usual, Dover has provided us with a book of the highest quality: they sew their books instead of gluing them so as for them to stay bound and be flexible, and they print legibly. Unfortunately, legible print is becoming disappointingly rare in modern scores, but Dover is the exception.

For a great score of a great opera at a great price, you can't go wrong with Rossini's Barber of Seville.

This book and CD set are the perfect combination for those who are new to the world of opera and not fluent in foreign language. Better than just a synopsis, the libretto in English lets you read every word so you won't miss the humor or pathos. As a homeschooling mom, I really appreciated this set as a teaching tool. I hope to increase my collection of The Black Dog Opera Library series.

I have several "Black Dog Opera" recordings, and they are a wonderful way to introduce yourself to opera WIHTOUT spending a lot of money. This label primarily offers recordings of extremely well-known operas. I had some initial concerns regarding sound quality given the price, but I have yet to be disappointed by them -- Barber of Seville is no exception. Each opera comes in a neatly packaged book that contains the full libretto in its original language and in translation; the history of the opera and its performance; and short biographies of the composer and cast. The books are just the right size to tuck them in your purse (or bag!) so that you can follow the libretto along at a live performance -- I took Barber with me to last year's Chicago Opera Theater production and plan to take Tosca along to Lyric later this year! What a great idea!

Great Story, well written and well researched. very entertaining. Having read several of the Clancy novels, Miguel has created a detailed story on the very same level. Growing up under the cloud of the Cold War, this novel provides a detailed perspective of the OTHER side. The book weaves together the story line with obviously well researched aspects of the Soviet Military and insight into the hardships of life there.

From the very first page I felt as if I was there with these men sharing their fears in life threatening situations, wondering if they would make it to the end. At points I was unclear about whether it was a true story because it was so real. I finally came to realize that this was a product of Miguel's imagination and not a piece of history. If it would have happened, this is the way it would have happened.

From the very first page I felt as if I was there with these men sharing their fears in life threatening situations, wondering if they would make it to the end. At points I was unclear about whether it was a true story because it was so real. I finally came to realize that this was a product of Miguel's imagination and not a piece of history. If it would have happened, this is the way it would have happened.

This is a real page-turner! You will follow the lives of men who, in their struggles and disillusioments within the Soviet military system, come to the decision to seek freedom. The author realistically portrays his characters' angst as well as their hopes. The descriptions of the Bear itself woven into the story are fascinating and integral to the plot--even to one not so familiar with aircraft! You will find your own heart beating a little faster along with the Captain's throughout the ingenious twists and turns. It's a great read!

From within the plethora of objective Western and Communist accounts of the Cold war comes this view, the one from the lives of the men that actually lived it. Mr Vargas-Caba illustrates the struggles of the Cold War from the point of view of the crew of a Tu-95 (Bear D) who care not about the politics of the world, but rather about their own happiness and freedom. What I found truly interesting was the honesty of the accounts. There was no real pro-Western or pro-Communist propaganda, there was no "American Dreams" or such. This book was the first in some time to pique my interest again in that period.

This book is filled with gorgeous artwork from various artists with a Beatles theme. Love it!

Once upon a time, there was a book called, "The Beatles Illustrated Lyrics" by Alan Aldridge. Knowing I was a Beatle Nut, my professor up at art school always raved about it as a graphic arts masterpeice that I should own. I eventually bought a copy, and enjoyed the artwork in that book. I wonder what my professor thinks of this new book of Beatles Art! I'd have to imagine it has knocked his socks off - assuming he's seen it.

There are peices ranging from cartoony art to comic strippy "pop" art... from characitures to impressive oil paintings of the Fab Four! One look at the cover image and you'll get a good idea of what's inside. My two favorite peices within the book are shown on the cover: the painting of Paul, top row second from the right (there's a great painting of John, as well, by the same artist)... and the Paul image (part of a "Bealtes For Sale" group portrait) on the bottom row, second from the left. Such a wide variety of styles sandwiched between two covers makes for an amazing visual experience. I really need to research some of the illustrators represented in this book! It's good to know that The Beatles continue to inspire not only musical artists, but graphic artists as well!

This book is a proud addition to my Beatles library!

This book has a wide range of artists and art styles. From abstract to cartoons, from realism to science fiction, the book has something for everyone. There are many interpretations of the Beatles themselves: paintings, sculputres ad drawings) and interpretations of songs. The variety is all over the map... You'll see a blown glass version of the Yellow Submarine, characitures, portraits, multimedia pieces, digital art, 3D renderings and doodles. There is a ton of really fun art in this book! The cover, although paperback, is made of good quality board and even has wrap around sides which help protect the corners from damage.

I am one of the artists in this book. My ceramic sculpture is featured on page 92, and I was delighted and honored to be in such great company. The artwork in this book is diverse, colorful, and an absolute must for any Beatles fan. Even if you are a casual fan, you will love turning each surprisingly beautiful page. My compliments to Linda Webb, who by the way, was a joy to work with. So much love has flowed from these artists into these marvelous pieces and she has done a spectacular job of conveying that to the printed page. I highly recomment this book. You will LOVE it and you know what they say!? "ALL YOU NEED IS LOVE"

The Beatles have inspired generations of musicians--whether directly or indirectly--and it's not at all surprising to find they've inspired visual artists as well.

This book gathers a great deal of it in one space, and is sure to inspire in and of itself! Some of the illustrations will appeal to a larger audience than others, and certainly there are several that left me wondering just what the artist was thinking, but I can appreciate everything here for the connection the artists must have felt to their subjects.

The most appealing, and certainly the best-represented artist has to be Anthony Parisi, who, by my count, has five pieces in the book, including one that folds out. Parisi has created whimsical caricatures that capture the joy and excitement of the Beatles music as surely as if you were hearing them play rather than simply seeing their faces on a page. It's easy to hear the boys laughing in the pictures on page 10 and 116 (Breakfast with the Beatles and Beatles 64 respectively.) The attention to detail is astonishing, especially where the instruments are concerned, and the overall effect of each of his entries brings a smile to your face. I was so entrhralled by the art that I had to check out his website listed in the back of the book. Check it yourself! You'll love it! wwwdotparisistudiosdotcom

Other entries are worth a look as well, notably Tracy Sabin whose more realistic drawing seems to capture a precise moment in time (page 202) and David Rudd's work on pages 170 and 171.

Still more art here is not representational of the Beatles themselves, but are inspired by their songs their clothes, their more famous publicity shots, and or other less than obvious sources.

This book is a true celebration of the Beatles at their best...inspiring those around them to "Think for Yourself".

This collection, along with the Little Walter collection, is perfect for the middle level player who wants to go the rest of the way. If you can play these, you can work. Just don't stop there. Keep going until you have your own sound.

There are many good books that teaches you how to begin playing the bluesharp. They have some short harpsolos that you can learn to play, but they are usually to few. For a long time I've tried to find a book with bluessolos containing tabulature for harmonica and finaly I found this wonderful book called Blues Harmonica Collection. The book is not suiteble for beginners but if you've played the bluesharp for a while and know how to play bendnotes, this is probably a challange for you. There are chords, notes, text and harmonica notation of songs recorded by great harmonica players as Sonny Boy Williamson, Jimmy Reed and Little Walter for example. Many of the solos are difficult to learn but many of the songs are possible to listen to on record and that is a great help. But even if you don't have the records there are still many riffs and licks that you can learn from and practice. I have played the harmonica for a while but I've always had trouble with creating/building a nice solo - but this book has taught me alot about how some of the great harpplayers played their solos and fill-ins.

The other reviewers have very well said how great this book is so I won't repeat what they have written. It is amazing though that this is about the only book of harp tab available although given the fact that harp isn't as pop culture as guitar this probably makes sense. There's another book of tunes out by Glen Weiser (also on Amazon) that I haven't checked out and even though it only has about half as many tunes as this collection does I will probably eventually get it. Weiser also has a collection of fiddle tunes, Irish and American, for harmonica in tab form. After I got this Blues Harmonica Collection I also got the "His Best" collections of both Sonny Boy Williamson and Little Walter which have a good many of the songs contained in the book. It may be a good idea to have at least a C, D, and an A harp which will let you play along with about 15 or so songs in the book that are in these keys. There may be a good chance you already know a bit about harp and have a few of these keys so of course my "tips" here are maybe only for more novice players. (like myself!) A good choice of harp if you're getting started may be the Hohner Special 20 or the Lee Oskar. They were both about 20 bucks if you shop around a bit online although I recently saw the Oskars go up about an extra 5 bucks almost everywhere all at the same time! They are really nice harps though. Only other thing I might add is to also highly recommend the Rock n Blues Harmonica book by Jon Gindick and the Bluegrass Harmonica book by Mike Stevens.

Wow! Tons of material, excellent transcriptions, variety of difficulties, large format is very easy to read. I read music notation easily, and have no trouble following along with my recordings. If you only know harp tablature you may have to work harder to find the spot on the page with the lick you are trying to cop, but the tab notation is all there for you.

No discography in here that I could find, but "Essential Little Walter" and "Sonny Boy Williamson, His Best" will cover about half of the tunes in here. That's enough to keep me busy for a year or two.

What an incredible value. If you're ready to really study a huge load of licks and choruses by the masters, buy this book!

Most aspirring harp players start with an instructional book covering the basics of playing, notes, positions, a few simple riffs. Once you get past that you want to play some real blues and almost every instructional book teaches you how to play "Oh Suzanna" and "Frankie and Johnny". This book shows you in simple tablature how to play all of your favorites by Sonny Boy Williamson 2, Little Walter, Howlin' Wolf and more. Some songs are more difficult than others, but Love in Vain or Don't Start Me Talkin' are not much harder than Oh Suzanna and a lot more fun to play.

That is the kind of thing that keeps aspiring players interested. If you have the cd's you can play along (it helps)but you can really be playing some good blues in a matter of weeks instead of mastering "Frankie and Johhny"

Like so many other deceased musicians, there are way too many "insider" books about the person. This is the only authorized book by the Bob Marley Foundation and it is a superb picture book. Filled with an abundance of color and black and white photographs this book brings the man to life. The pictures are rare as some are private family photos that are being released for the first time. This is a book that you want nearby so you can look at the photos periodically and remember the man as you listen to his music. The introduction by his wife Rita Marley is heartfelt and lays the foundation for intimate views of Bob Marley. His passions, his friends, his children, and even his music is here for all fans of Bob Marley. One of the cool features of this book is the format and how the narrative is given using some of the titles of his albums as a backdrop. Just a great book about a great man who passed this world much too quickly but left his mark for all to listen to the whisperings of a mystic. "Bob will come again. Like Christ he shall come in a new name"-Rita Marley.

Songs of Freedom truely gave me as a Bob Marley fan a better look at the life of a legend. Next to Bob's biography, Catch a Fire, this is the best acount of Bob Marley I have read. Songs of Freedom is filled with unseen photgraphs and quotes from Bob's loved ones, friends, and colleagues. An excellent story that has touched me deeply. I give this book a strong recomendation to life long Marley fans and those who have yet to discover the mystery, inspiration, and spirituality in this mans life.

A must for any Bob collection. I found a few new facts, but overall much of the same info elewhere. Get "Catch a Fire" for the story and "Songs of Freedom" for the pictures. It's proudly displayed in my office with the rest of my Bob, Reggae, and Jamaican souvenirs.

I loved this book. The pictures were very nice to look at. This book tends to focus more on Bob's music career then his personal life though. But otherwise this is a great book for all you Marley fans.

Being a huge roots & dancehall fan of almost 7 yrs, this book is essential for any reggae collector of Bob Marley. I first enjoyed the intro by Rita Marley and the rest of the book is great. I must say that it is well-worth the money

One love, Jah Schreiber

This book is intended to be a gift for my grand daughter, Clara Elisabeth Schumann. But first I am reading it myself. What a woman!

Author Nancy Reich's scholarship is impeccable, her research, comprehensive, and her passion for accuracy, uncompromising.

This is a completely thorough and compelling biography which reads as smoothly as an easy novel. It is powerful and sensitive; objective and personal. Dr. Reich's depth as a scholar and skill as a writer provide us with a rarely-, possibly never-seen view of this extraordinary woman, Clara Wieck Schumann.

Clara's life was fraught with pain, sorrow, frustration, and self-doubt, and how her genius managed to prevail is nothing short of remarkable. I took pause many times while reading to catch my emotional breath.

Dr. Reich also shares with us her enormous insight into the personalities of ill and troubled husband, Robert, dear friend and confidant, Johannes Brahms, and domineering father, Friedrich Wieck, making sense and coherence of the disjointed facts many of us know regarding these three very important men in, not only her life, but in the life of Nineteenth Century European music.

Clara Schumann was a truly astonishing figure - both as an artist (prolific composer, formidable virtuosa - some say Liszt's equal or superior), and as a woman (dedicated wife, mother, daughter, loyal friend). This book takes a major step toward giving a just measure of recognition to this awesome woman. It contains wonderful photos, sketches, pastels, and paintings - some, particularly of Clara alone, are especially moving. Her expressions tell nearly as complete a story as the text.

Though replete with musical discussion and analysis, one need not be a scholar or musician to comprehend and be totally struck by Nancy Reich's telling of Clara's story. If you care anything about wives, mothers, daughters, friends, or music, this book is a MUST READ.

I discovered this marvelous book on the Clara Schumann Society website of Dr. David Kenneth Smith, Geneva College. I recommend doing a GOOGLE on "Clara '96" (the name of the site celebrating the anniversary of her death in 1996). You will get an abundance of hits, all of which are very worthwhile.

This revised edition of Clara Schumann's biography by Nancy Reich is a gem. Not only is the scholarship impeccable and thorough, but the talented writing engages and fascinates the reader at every turn.

Features of this wonderful new edition include the use of new medical reports that have come to light regarding Robert Schumann's illness; reference to recently discovered letters and diaries that further elucidate Clara's friendships with people like Emilie List, Frederic Chopin, and the Mendelssohns; and the expansion of the Catalogue of Works.

The revised Catalogue alone makes this new edition compulsory for anyone-lay or professional-interested in Clara Schumann and her prodigious work and impact. The Catalogue records every known piece by Clara Schumann, reviews of her compositions, her own performances of her works, the location of autograph copies, and much more.

The 1985 edition of Dr. Reich's outstandingly researched biography clearly had a major impact on Schumann studies. It was followed by a continuing, worldwide outpouring of performances and recordings of Clara Schumann's works, articles about Clara, and studies of her music.

The biography is based on original research in German archives and first-hand consultation of letters, music autographs, diaries, and other primary sources. To this meticulous scholarship, Dr. Reich adds intelligent, compassionate analysis of Clara Schumann's life and music, the influences that shaped her, her inspirational marriage to Robert Schumann, and Clara's breathtaking, at times unbelievable strength and ongoing artistry amidst the sometimes horrific adversities in her life.

Rarely is such a magnificent feat of scholarship accompanied by such gripping and graceful writing.

This book is a must for anyone who professes interest in Schumann studies, nineteenth century music, and gender studies, or who wants to experience a true story of passionate, devoted love and the mutual pursuit of art that Clara and Robert Schumann inspired in each other.

Nancy B. Reich certainly did her homework while writing the revised edition of Clara Schumann: The Artist and the Woman. Her resources include translations from primary texts in her native German, as well as other primary sources from the important friends in her life. She updated the 1985 version of the book in 2001 to include "a variety of significant documents-letters, medical reports, and music-that were in private hands and unavailable when [she] was working on the first edition". These texts include Robert Schumann's medical log, and Clara's correspondence with her husband's music publishers, the List family, and texts written by her granddaughter Julie. I felt this book was well laid out, and was able to include many thoughts and emotions from the people involved in Clara's life. By including information from the diaries and discerning when the passage was Wieck's writing or Clara's helped make clear whose feelings were really being expressed.
One thing I found was that Reich draws many of her own conclusions based on the information presented. Due to the difficulty of not having Clara's uninfluenced, uncorrected thoughts from the first twenty years of her life, it is difficult to actually know her true mind. Wieck's influence on her caused many of these primary documents to be soiled with his own opinions. They do, however, provide an interesting look at her motivations behind many of her decisions. He never spared his thought, and so, there is not as much need for speculation of his beliefs. Reich also does not ponder what her conclusions mean, she simply presents the facts, her opinions based on them, and allows the reader to agree or form their own ideas.
Her inclusion of a timeline of Clara's life in the beginning of the book is rather helpful. It allows the reader to follow her life and to find specific events within the book. Also, the division of chapters makes it easy to home in on specific parts of her life and to find the information easily. The second half of the book reemphasizes the themes in her life by forming separate sections with each grouping. These show her relationships with others and discuss the positions she held throughout her life. The second section might lose the reader's interest somewhat because of the recounting of many facts. She presents the information in greater depth, but she does so in a way that common themes are grouped together instead of emphasizing where they occurred in her life.
Overall, it was a very enjoyable read. It was very informative, and easy to follow. The writing flowed easily and the beginning held my attention. Reich wrote a book successful of influencing my emotions and teaching me more than I had ever known about Clara Schumann. This was a very effective story of the woman and artist's life, and I would recommend it as a great account.

Reich's beautifully written, thoroughly researched and objective book is certainly the best biography on Clara Weick Schumann in English. It is also one of the finest biographies I have read of any subject by any author.

From her childhood as a piano virtuoso through her 50 year performing career, Schumann was an international star of the concert stage, a composer and champion of the composers close to her, a woman who astounded and compelled those who knew her, a legend in her own time.

She was, as we know, beset by personnal tragedies of the most anguishing kind, beginning with her complex relationship with her taskmaster father, who taught her, drove her mercilessly, and made her a star at the age of 12, then refused to allow her to marry the love of her life,

She defied him at a dear price and married Robert Schumann anyway. The book explores at length her life as a beloved, then shunned daughter; as a lover, wife, mother, composer and performer.

She suffered terribly Robert Schumann's early and probably syphilis-induced insanity and death, the deaths of most of her seven children at a young age, and extreme financial straits in which she found herself most of her life.

Reich takes us step by step through all of the contingencies of her professional life: her lifelong celebration of Schumann's work; the 'Young Werther' relationship with her beloved Johannes Brahms, whose career she promoted tirelessly; her complex personality and deep involvement in her career and their effect on her maternal relationship with each of her children.

Throughout, Reich draws a richly variegated picture of the world of classical music in Europe from the early 19th century onward -- its characters, creations, rivalries, performances, highs and lows. Schumann interacted with many of the centuries' finest composers and performers: Chopin, Joachim, Liszt, Schumann (of course), Brahms...the list goes on.

Reich presents the incredible strength and courage for which Schumann is well-known, but does not flinch at exploring her more problematic qualities, for which friends, family, children and Schumann herself, paid a price.

Clara's deep understanding of the music of Robert Schumann and others, and its profound physical and emotional effects on its her play throughout. Here is Clara Schuman, de-mythologized, de-romanticized, and still amazing.

Intriguing, richly embued with testimony from original sources, a pleasure to read, Reich does not just tell the tale. She performs a symphony.

I borrowed The Complete Beatles Chronicle from the library hoping to get more info on the making of the White Album (my favorite). But, because of how well the book is written, I wound up starting from page one.

This book is interesting because it doesn't miss the big picture. At the beginning of each year is a concise chronicle of what happen that year and its significance. One needn't get bogged down in the details. Just read the first few pages of each chapter for a good overview.

But, if you read the whole account, you'll discover the true genius of the four lads from Liverpool and how they somehow managed to create high-quality songs in between appearances on TV shows, sitting in on radio broadcasts, making movies, going on far-flung concert tours and dealing with mobs of desperate Beatlemaniacs.

Some of this data must be conjecture (even though it's not presented as such). For example, unless it was revealed in an interview, how would the author know that Billy Preston was brought into the Get Back sessions in order to break the tension within the group.

Still, it's an easy read filled with facts. I must now buy this book. So should you.

[DW]

Since publishers and editions change from time to time, I am not certain that I am reviewing the exact book. This book will be interesting mainly to those who were teenagers during the 1960s. These persons will recall the first time they heard each of the Beatles' albums, or they will recall the event of buying these albums. For example, I first heard Sgt.Pepper at the Fillmore Auditorium in San Francisco. The album was played before the performers went on stage -- that was Cream on their first American tour, along with Gary Burton Quartet and the Flaming Groovies (a last minute replacement for the Electric Flag). Anyway, the book takes the form of a diary detailing when and under what circumstances many of the songs were composed, recorded, and performed. The book contains 360 pages of small print, and almost every page has a 1/4 page photograph, though some are 1/8 page or 1/2 page, in size. The latter part of the book contains color photos. The reproductions of the photos are better than one might expect -- nice contrast and sharp focus. We learn that the original name of the Beatles was the Quarry Men, where this name came from Quarry Bank High School for Boys (page 12). We learn that the Quarry Men (John, Paul, George, and John Lowe (drums)) made their first recording in 1958 (page 13). We learn that Ringo was the drummer for a band called "Al Caldwell's Texans" even before he (Ringo) jointed "Rory Storm and the Hurricanes." (page 16) We learn that the first appearance of the lineup of John, Paul, George, and Ringo took place on August 18, 1962, and this was at Hulme Hall, where the occasion was the Horticultural Society's annual dance (page 75). We learn that the Beatles' first U.S. performances were in February 1964. An interesting fact is that Charles Finley, then owner of the Kansas City Athletics baseball team, paid $150,000 out of his own pocket to persuade the Beatles to play in Kansas City, and that the manager of the hotel in Kansas City cut up the Beatles' bed linen into 3-inch squares, and sold them for $10 each (page 139). We learn that the trumpet players on Strawberry Fields Forever were Tony Fisher, Greg Bowen, Derek Watkins, and Stanley Roderick (page 234) and that Dave Mason played the B-flat piccolo trumpet on Penny Lane (page 240). We learn that Maxwell's Silver Hammer took 27 takes, that She Came In Through the Bathroom Window took 39 takes, and that Here Comes the Sun had 13 takes (pages 324-327). Again, the reading is fairly dry and fun facts are encountered only on occasion. There is essentially no information on the Beatles' social lives. But for those who were teenagers during the 60s, the book is likely to be a page turner.

The best book about the Beatles, with "The Complete Beatles Recording Sessions", of same author.

This is the kind of book that you would read cover to cover. But if you were a fussy fan you would want this book in your collection for reference.

Mark Lewisohn set a new standard for primary source research in rock music. This vastly informative book combines, in slightly truncated form, his brilliant day-by-day books "The Beatles Recording Sessions" and "The Beatles Live." Also included are film and radio appearances. Along the way are many suitable and wonderful photographs. Great for browsing or for obsessive fans to devour start to finish.