Genres Books

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....'

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.

the residents at macon street apartments have more than enough drama. there's peaches, the resident stripper, who's addicted to the glamorous life. she has to learn the hard way that everything that glitters isn't gold. after having three kids, jewel has let herself go. her man, romello, has clearly grown tired of her and has his sights on their sexy neighbor peaches. from the outside, one would think that alisha has the perfect life, but alisha and her husband, craig, have secrets of there own. lucky moves in and brings more commotion to their drama-filled lives. kudos to you ms. donavan, this is an excellent read.

Man, this book was sooo good..I don't even know where to start with my review! I ordered this book based on all the five star reviews and I'm glad I did. Every chance I got I read this book. I kept telling myself I'll just read one more chapter and put it down, but I'll tell you right now it's hard to put this book down!

The residents of Macon Street Apartments are:
Peaches..a stripper that is only concerned with how much money a man can give her, and if he doesn't give her the amount she think she deserves then she has no problem taking it out of his wallet when he's not looking.

Romello..a street hustler that has been living with his baby momma for nine years. They have three kids together, but since his baby momma has put on a few pounds he starting to get a little bored, and boredom is not the only thing Romello is dealing with he's also obsessed with Peaches.

Alisha..is married to Craig. She's beautiful, faithful, well taken caren of, but one day her 'perfect life and marriage' seems to start crumbling like a cookie after Peaches starts whispering in her ear telling her you can't trust a man.

LaDonna..is a homely resident of Macon Street, but it's nothing for her to spread rumors or eavesdrop on other residents conversations. She's suppose to be Alisha's best friend, but is she really?

And then there's Lucky...he's the new resident of the complex. He doesn't work, drives a Mercedes Benz, his apartment is laid out and all the ladies want him. After reading this book I see exactly where he gets his name from. LADIES WATCH OUT FOR THIS MAN! lol

I loved this book from the first page to the last! It was good, good, good!

Welcome to Macon Street Apartments where there is drama on top of drama. If you ever stayed in an apartment you can relate to this book. The author takes you into the lifes of characters that have you laughing one minute and mad the next. Enjoying this book is not the word for it, a breath of fresh air I should say.

Peaches is a stripper that has the residents folks up in arms about her life style. Especially when she comes out of her door with a little bit of nothing on. All the ladies has a problem with this because their mens are looking from head to toe.

Romello has Jewel whip so hard that the truth is in her face and she can't see it. Romello has what us women says "it must be made of Gold!"

Craig & Alisha is the happy couple until her bestfriend (Ladona) starts to take interest in Craig. All hell brakes lose when Peaches starts whispering into Alisha ear about men's are no good and you need to watch that Ladona.

You have this mystery guy move in name Lucky that all the women is checking out. All the guys is up in arms about him because the rumor is that he has lucked up and have a women taking care of him. So he don't have a care in world but to get lucky so more.

Let me tell you that this book is not a fairy tale with a happy ending. I didn't see any of this coming for me. One time I throw this book across the room and left there. I was so made at characters I had to laugh at myself.

This book is very well written with the characters that is developed just right. I could see this book in a sitcom on television while I was reading it. There is so much that the author brings out and leave you wanting more after each chapter. This is a must read and I highly recommend this book to all.

This book kept me wanting more...and more...and more....Please go buy this book. I only have one question...How could Lucky be in 2 places at one time? I don't want to give the book away but how can he be in Utah and at the complex with Alisha???

I loved the book and I can't wait to read the sequel. I emailed the author, she even wrote me back and asked my view on the characters. It's a great read.

I purchased this book from Amazon, upon the suggestion of the author, after lamenting that I had not seen it available in local bookstores.

This book offers food for the soul - as it blends the technical with the experiential in its lucid exposition of the universal art of music.

Here, analogy and humor balance with science to evoke a deeper cognizance of the varied facets of this multi-cultural form of human experience.

Here too, the universal power of the 'Divine Art' of Music is well-expressed, so that it may be passed on - in the tradition of the 'bards' of every age.

Any musical novice, journeyman, or master would benefit from the experience that this book offers. Many thanks to Maestro Mathieu.

Mathiew really helps you get into your bones what all the tuning systems are about and, in process, I really got some deep insights into a variety of scales.

Mathieu's Harmonic Experience is a delight to read and look at and ponder over. Incredibly, one day I ordered some CDs of his piano compositions, mentioning that they would provide nice listening while I make my way through the book. The next thing I knew, I got an email, "Hello. Allaudin Mathieu here. I'm glad you are reading "Harmonic Experience" and evidently getting something from it. I'm glad you bought some of my records. I have a wee request. Please don't even THINK about using my music as a background for reading my book. It will do both of us more good if you really listen to music when you listen to it, and really read my book (and do the practices best you can)when that's what you're doing."

And this is still my problem, I am reading but not practicing, and I am still missing the real point of this book, which is EXPERIENCE, not just technical mastery of his elegant method of fathoming harmony. Perhaps this admission will prompt me to finally take the bold step of actually playing the drones and singing the intervals and really gathering the experience. Meanwhile, I love and treasure the book; it's beautifully written, profound, complicated but within our grasp, and fun. It's time to take a swim beneath the surface - I think I'll start right now.

This book has changed the way I hear music. I hear things I never heard before, but were always there. I am much more sensitive to tuning now. And I'm only at the beginning of the book! Wonderful

Mathieu generously, and eloquently, teaches and inspires the reader to explore the harmonic Deep Structure of the mystery we call Music. Using music theory, philosophy, mathematics, poetry, botany, and his own rich world view, he unearths the underlying relationship between harmony, scale, and rhythm. Starting with the acoustical given of the overtone series, Mathieu builds a coherent system with which the Music student can frame and further delve into the patterned world of Musical phenomena.

I've always wondered about the day-to-day lives of musicians, especially about those who are not regular members of a band. I now know that these musicians are called "sidemen." Fred Wesley is an extraordinary trombone player and a candid writer. I didn't know James Brown was such a jerk to work for. You can listen to (and watch) some of the performances Fred talks about on utube.

I am a 57 year old Washington, DC trombonist with many years of "chittlin circuit" experience. Reading Fred Wesley's account of his life as a sideman really hit home with me. So far, I have purchased (at last count) twelve copies of this fascinating book and distributed them to fellow musician friends who I know would also appreciate it. This really feels good and also therapeutic that our story is being told and documented. Older musicians always used to talk about paying dues. Well it seems that we never stop paying them, and Fred really spells it out in a clear, brutally honest, and what I find to be a very humorous and entertaining fashion. I would highly recommend this book to musicians young and old and to anyone else interested in learning what it is really like for the majority of us in this bizarre and crazy business.

Lincoln Ross
[...]

Fred wesley's book takes you on a Journey of the Music industry that you seldom every get on the whole un-cut real. this Man is responsible for some of the Baddest Jams known to the Human Ear Drum. He is a Multi Talented Instrumentalist, Producer&Arranger. He Grew up Down south&dealt with so much,but that was just the start upon entering the Army, then His Exposure to the Music Business under the Controls of Ike Turner. back when Ike&Tina Turner were together. then Fred going over to James Brown's camp which alone makes this Book a Must have. He doesn't pull no punches about JB's Camp&How He ran&did things. then fast forward to George Clinton and the Whole P-Funk Mob&operation. you move on to Count Basie. this Book deals with Inflated Ego, Sex,Drugs,Music, Race, Politics of the Industry&so many other details that you just can't even imagine sometimes that go on behind the curtains. very detailed&a Must read.

"Hit Me, Fred" by Fred Wesley is one of the most honest and engaging autobiographies I have read. Honest in that Fred gives us uncolored insight into to the world of the music industry with all of the inflated egos, false hype, drug abuse, and intense politicizing. Also honest in his love and appreciation for his mentors, his unabiding affection for his fellow sidemen through out his career and his sense of awe when the James Brown band or Parliment or the Count Basie band were playing at their best. "Hit Me Fred" is engaging for all of the reasons above with the addition of Fred being a gifted story teller in general. This book is a must read for funk enthusiasts and aspiring musicians.

Fred Wesley is "THE MAN". Here is a musical funk legend who has really paid his dues. He was the glue that kept the Funk going strong despite of James's legendary self-righteous super-ego and his harsh tyranny ways that interferred with the creative freedom and progressive potential of the most talented musicians that God has ever put on earth. James invented Funk which I will give him the credit he rightfully and respectfully deserves, but he definitely didn't do it on his own (thanks to the talented musicians of Fred Wesley, Maceo Parker, Alfred 'Pee Wee" Ellis, St Clair Pinckney, Waymon Reed, Richard 'Kush' Griffin, Jimmy Nolen, Al 'Country' Kellum, Clyde Stubblefield, John 'Jabo' Starks, Melvin Parker, Fillyau Clayton, Bootsy and Phelp Collins, Bernard Odum, Sweet Charles Sherrell, Johnny Griggs; the talented singers of Marva Whitney, Vicki Anderson, and the late great Lyn Collins; last but definitely not the least, I can't forget Bobby Byrd because if not for him, James life would have taking a bleaker turn since Byrd and his family not only helped James get out of prison and on parole, but got James into his gospel group which James would later become the frontman of and, with his ambition and talent, would take the group further than they had ever imagine. There are other James Brown musicians names that I can't remember but had a major influential impact on builting the structural foundation on the sound we now know as 'Funk'. This book honestly puts everything on the table with his experiences as a professional musician as well as how shady the music industry really is.

I grew up learning to sightread classical music; a pretty standard set of piano lessons. Unfortunately, those lessons were weak on the theory of how music is created. This is a great book for someone like me who now wants to understand how to start in a key and figure out how to combine chords and rhythm and the right notes to make music. The book has things like how the blues scale works, how to pound out a barrelhouse left hand while improvising with the right hand, turnarounds and endings, and much more. There are some tunes in here to learn (Blueberry Hill, Pine Top's Boogie Woogie, etc.), but that's not really the point--Tim Richards goes on to explain how those tunes were created, and how to change and improvise over them. The CD lets you hear the exercises, but it also includes drum and bass to play along with on your own. I looked around a lot, and bought some definitely inferior books, before finding this one. The author also wrote Exploring Jazz Piano, volumes 1 and 2, which basically build on this book. I recommend buying all three. No book is going to substitute for practice, but if you practice what's in these books you're going to love what you learn to do.

Why is this book so good? Unlike most books, Richards takes the time to explain why each of the example pieces are important, and what you should pay extra attention to. He also really holds your hand in the improvisation practices by suggesting notes (and explaining why the suggested notes were suggested). Also very good is the use of different keys in the pieces. Some blues books tend to stick to C or G, but in this book the keys are varied (and Richards suggests going back through the pieces in other keys, which is a very good idea).

My only wish is that Richards makes a sequel to this book. This does not mean that this book isn't completely jammed with material, or is too easy: no on both accounts. I found myself wanting to learn more of the advanced "cliche's" which make Blues sound like the Blues. Nonetheless, this book is the best there is on the market for blues or improvisation instruction.

I'm an aspiring jazz pianist in Canada (I'm 32). I'm another one of the victims of the classical music education system that was taught to read the page and nothing else. I always thought that people who were good at jazz and could play by ear were born that way.

When I was in high school I wanted to play jazz piano. Someone recommended the Mark Levine book to me. I tried going through it but gave up because I couldn't even figure out what a II-V was from his explanation. I figured jazz was this impenetrable language. I was sick of classical lessons by that time and gave up the piano.

Fast forward ten years when I decided I didn't want all those hours of practicing (before school, even) to go to waste. I headed to a local music store and literally went through every piano book before I found IBP. It's pretty much been a revelation, from discussions of notations to chord types to ideas. I still suck at improvising, but before this book I wouldn't have even tried.

I've got Tim's other two books on my shelf, patiently waiting for me to get to them. Seriously, his books are phenomenal. If I had found IBP back in high school instead of Mark Levine's brick wall of jazz accessibility, I might be ten years ahead. I can't recommend it highly enough. Rumour has it he's working on a fourth book about Latin piano, too.

There realy are not many great methods for the blues out there, but Tim Richards is thorough and goes into the required detail to show you how each blues style works.

The examples are very playable, suiting more or less an intermediate level pianist. Richards is one of the few take-away instruction teachers to be concerned about fingerings, and takes the trouble to suggest good ones. His playing instructions work very well and add a dimension that you don't often get in these method books - he has a great insight into the chords, and the notes and the way they fit the music. The breakdown of theory is very well explained, if sometimes overdone. But he never floods you with scales without showing you how to apply them - that in itself is a good thing!

Richards' choice of music is impeccable, and calssic blues standards of af all styles are presented from boogie, to funk, slow blues, and some jazzy numbers. And he shows you music in a number of keys so you aren't stuck to one or two and get a work out in the other keys. I found the music very playable, and well sounding, although I didn't always find the improvising instructions that intuitive.

The historical background he gives is accurate and informative and the pictures of blues and jazz legends really make this book interesting.

My criticism of the book is that it should have stretched up to the more advanced techniques of the blues - where the top players are, like Oscar Peterson, for example. That is its dissapointment - a teacher as good as this who dedicated the time to work a out a progressive and different course in blues shouldn't have stopped at the middle level. He surely should have stretched us, his interested audience up to the highest level.

But this should not stop you from using this very useful and inspiring book - I Thank you sincerely Tim.

Now and then you run across a method book that makes you a better player and is great fun to work through. "Improvising Blues Piano" is one such book. It starts out very simply and steadily progresses to a pretty sophisticated level. The accompanying disk is well recorded and the author's playing, particularly his timing, is quite musical. On most examples, if you can make your playing sound like Tim Richards, you'll really swing.

Starting in "C" and moving on to other familiar blues keys, the author mixes theory and practice in a logical progression of "bite sized" lessons that are very complete and doesn't assume anything about the student. At first, the experienced player may find the pace a bit slow but each section builds smoothly upon the foundation of the preceding material and I think it's worth while to patiently work on your weaknesses. When you can make those first simple exercises sound really musical, you've learned something valuable.

The volume is accessible to beginners (this will take you a long way) while remaining useful for the more advanced because there is so much good content. I particularly like that he weaves in biographical information of known blues players along with examples of their style. The history of blues unfolds along with the student's expanding ability to play.

If you are interested in the blues, I can't think of a better learning tool.

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.

This book makes fascinating reading. It helped me to appreciate more the musicians I was already familiar with, such as Jack Teagarden, and opened my eyes to a lot of people I knew little or nothing about. Be sure to pick up the companion CD, too.

This is the finest book about jazz that I have ever read. I own many of the records that the author dissects, as well as having seen several of these great jazz artists perform, and I find his judgment perceptive and unerring. But this is far more than just a book about jazz music. What makes these musicians tick, how did they happen to assemble together for a recording session, how did the record business impact their selection of pieces to perform? The author draws on a variety of academic disciplinces, including art, psychology, economics, and social history, to put his subjects in perspective. Most important, he is a fine storyteller who empathizes with the people he writes about. While many reviews focus on his overall thesis about race in jazz, this is but one theme he articulates, and it serves more as an organizing structure for the book than as its sole message.

First of all, Dick Sudhalter is a gifted writer. He crafts his narratives like a well constructed solo or composition. Second, this book tells us about early white jazz musicians and correctly describes the interplay between vital African American innovations and the contributions of Caucasian jazzmen. Sudhalter in no way diminishes the seminal contributions of African American jazzmen. He simply talks about the contributions of other artists, and does a masterful job of helping us to see the interplay between musicians who have given us this wonderfully entertaining music. I thought I knew a fair amount about the history of jazz. After reading this book, I know more. Nothing is more American than Jazz music (just my opinion), and the more you understand it, the more you know about the USA in the 20's and 30's. I keep re-reading parts of this book because there's so much here.

While a brilliant documentary, Burns' "Jazz" also reinforced the notion that jazz is exclusively an African-American artform. Fortunately, "Lost Chords" does much to blow away that misperception. While never belittling or downplaying the role of those African-American giants in jazz, this book does an outstanding job of profiling all of the individuals and bands who received short shrift from Burns: Steve Brown, who pretty much invented jazz bass playing; the Jean Goldkette Orchestra; Miff Mole; Frank Trumbauer; and may more. And he does so in a way that is both interesting to the casual fan (with anecdotes and such) and the hardened muso (excerpts of scores abound). A scholarly tome, this is a worthy addition for any jazz fan's library. I look forward to Volume II.

Not a mere antidote to political correctness in jazz criticism; Lost Chords is a prewar cultural history, a lesson in music structure, a history of woodwind instruments, a guide to innovations in guitar tuning, AND MORE. It shows the musicians as human beings with all their failings, humor, drives, hard work, and talent. I especially loved the account of the bass sax --- an instrument that looks like it could double as a moonshine still --- and its usefulness in the early days of sound recording. Sudhalter admonishes us to listen to the music and to make up your own mind. Exactly right. A good place to start is Robert Parker's Bix Beiderbecke Great Original Performances 1924-1930 (available on Amazon) If you have ever heard an early 78 rpm record, you will be astonished at Parker's sound restoration.