Composers Books

I was privileged to hear Jesse Sublett speak at ConMisterio in Austin. The way he presented himself and talked about his book intrigued me. A great-grandmother, I've never been particularly fond of rock music, but I bought the book and read it on my airplane ride back to California.

Mr. Sublett pours his heart and soul out in this book. It gave me some insight into the make-up of a musician. The way he writes about his music and how it makes him feel is revealing, especially to someone like me who had no prior knowledge.

However, the meat of the story is how the murder of his girlfriend affects his whole life, and how that devastating event also changes him and eventually even influences his choices during his life-threatening illness.

Once I began reading, I couldn't stop. I highly recommend Never the Same Again.

Marilyn Meredith, the author of Wishing Makes It So and Wingbeat

Aside from his music, Jesse Sublett is known for his pulp detective novels. Here he turns his gaze inward, and exercises his detection skills to unravel his past and come to terms with an event which has troubled his sleeping and waking since its occurence. One of the few memoirs that I have read which treats the author's younger self with neither condesencion nor contempt: it captures his innocence even in "rebellion", and the lovely part is, that although he faced both the brutal murder of a lover and a deadly disease, that innocence has survived and blossomed into a new life.

It's gotta be a wild hopscotch between playing first wave punk in the late 70s and turning into a detective novelist for the next two decades. Yet, like his idol James Ellroy, Jesse Sublett's own life was imprinted with death. Sublett's talent lies not just in the vivid depiction of a nascent music scene in Austin, Texas but his deft juxtaposition of it as a man living with a dark memory and what might have been a bleak future. With wry humor and insight, Never The Same Again is in a category of its own in the rock book pantheon, an autiography turned up to 11.

Although marketed as "A Rock 'N' Roll Gothic," this remarkable book deserves a much wider readership. Jesse Sublett's very literate story should be required reading for everyone over the age of sixteen.

His autobiographical story is a cautionary tale in which he visits the darker sides of his life head-on with incredible courage--traveling back to the one tragic event that was to shape his entire life. How he deals (and doesn't deal) with this tragedy is what makes this book a compelling read. It is a survivor's story written in an honest and candid style.

This is not an easy book! Reader's may be confronted with their own demons along the way but Jesse's ultimately hopeful and positive message shines through--leading the way!

Family, friends, music, creativity, tears, laughter, and ultimately understanding meld together to form a powerful mix in this very human story of one man's journey.


Note:
I was first introduced to Jesse at an evening signing event in our bookshop in Glendale, CA. Both my wife and I were impressed with this tall thin man from Texas with such an easy manner. I might not have investigated this book had it not been for Jesse's reading that evening. Thank you, Jesse! Keep writing!

The best compliment I can give Mr. Sublett is that after the first third of the book, I had to put the book down, go smoke a cigarette and then didnt pick the book back up for about 3 weeks. The events of his life are gripping, entertaining, funny and sad. Jesse defianlty has a story to tell, but in the same way, his writing reminds us that we ALL have a story to tell. That good and bad things happen to everyone. I really liked his writing style. Certain phrases and ideas really stuck in my head - lines like "her eye's didnt see me" and the tape loop running over and over. These are both events that I could identitfy with in my own life. I too was involved in a murder trial in which I was there with body before the police came. I really dont talk much about it because I feel like no one I know has been in that position and Jesse's words summed it all up. It made me revisit my past.
Overall, I highly recommend this book - especially to those who actually live in Austin. Reading about all the clubs that are now long gone and reading the back stories on people who play everyweekend here in Austin was great. The idea of John Dee Graham at 17 is a trip. Also I think struggling austin musicains will also find this book to be inspiring and an eye opener to how success in the music biz goes; the reality of it.
I loved how this book ended but what I think would be even cooler is when Dashille is older, that he writes a book from his prospective starting off where this book ends. Now that would be cool. Congrats Mr. Sublett on a great book. Much love to Lois and the most handsome man. I now will pass it on...

A lot of the entertainment in this book comes from the grisly descriptions of junky lifestyle (e.g., Nico removing the pus from an infected vein with a used syringe, etc.). Also, there's interesting cameo appearances by John Cale and Allen Ginsberg. But the real star is of course Nico. In the beginning, Young describes her as a depressing, hollowed-out drug addict, "... her hands and arms scabbed and scarred by needletracks, and her eyes like a broken mirror." (pg 12) But as I followed the characters from gig to gig, scraping just enough money together to support Nico's habit, followed by the recording of the CAMERA OBSCURA album, then more money and more gigs; through all this, Nico emerges somehow as a sympathetic character, far more interesting than the other eccentrics in her group. At the end, after she dies en route to meeting a drug dealer, I felt sad to see her go.

"Nico-The End" is definitely a better, more intelligent piece of writing then the hard to find "Songs they Never Played on the Radio". "The End" tracks the last years of Nico's life; it is sad and seedy, but has some incredibly funny parts to it. What we get here is a glimpse into Nico's many live shows and her relationship with others in the 80's, particularly the author, her band The Faction, her fans, and John Cale as well as some others. There is part telling about the struggle to make her final recording, "Camera Obscura" and finally her unexpected death. I totally recommend this book to anyone who wants to learn about the absolutely facsinating life of VU chanteuse and proven solo artist Nico.

This is the most hilarious "rock" book I have ever read. I found myself turning the pages in complete fascination -- bizzare performances, wild parties, weird tour experiences, encounters with luminaries like John Cale, a visit to the motel where Tom Waits used to stay ... etc. And you have to admire Nico for sniffing out drugs anywhere, even behind the then iron curtain & getting high regardless. The funniest part is where Nico takes her first trip on Angel Dust, he he, I'm laughing just thinking about it. The writing style is great. My book has a subtitle not mentioned on this amazon.com page: Songs They Never Play On The Radio, but perhaps that is the UK edition. You don't have to be a fan of Velvet Underground to enjoy this book, it stands on its own feet. Finger licking good.

Having been a Velvets/Nico fan since 1968, I somehow ignored this book until recently, perhaps because of my annoyance with the status the Velvets have attained over the years. (They really were a better band when nobody else had heard of them....) Anyway, to complete my collection I suppose, I bought this book a few weeks ago with very low expectations. What I discovered was a beautifully written book, picaresque, dark, satirical, poignant...James Young writes like a Celine for the twilight of the 20th century. I would eagerly buy another book written by Mr. Young. In short, this book is a masterpiece.

This book is tedious, sad, sometimes confusing and sickly funny. In other words, it's a complete success. James Young captures the twilight years of the Velvet Underground's once-beautiful (and unwelcomed) lead vocalist, Nico, in all her drug-addled, unwashed, apathetic glory. He humorously conveys the sad silliness of the burned-out "Queen of Addicts" and the motley crew of cut-rate musicians and scam artists who follow her on several world tours during the 1980s.

Much of this book is dull and montonous. Another bad gig. Another distasteful description of an addict's habits. Another strange character popping up to join the ride for a while. At first, this bothered me. But I ultimately realized that this boredom and repetitiveness is crucial to the book's effectiveness. Failure is not exciting, nor is it climactic.

Attention Britney Spears: This is what happens to the pop stars who get left behind.

i bought this for my husband, a green day fan and guitarist/lead singer in his own band, for christmas and he LOVED this book. neither he or his friends knew it existed and are taking turns reading it.

For years I have enjoyed Green Day's lyrics, punk rock mentality, and original sound they carry from 1000 hours through to American Idiot. Upon the release of American Idiot and their worldwide tour, I wanted to know everything I could about their development and psychology that goes into their particular brand of madness. This book had everything I could have possibly wanted to know and more. I feel like I'll always appreciate their contribution to human society as a whole. Thanks to Marc for writing this book.

While the career of Green Day is not lengthy compared to many rock lengends, I found "Nobody Likes You" to be a cohesive and thorough account of their lives and careers to date. Marc Spitz has again successfully delved into the economic background and times that shaped these young men into one of the best punk rock bands of modern times.

my love for green day is inconsistant, and i know all there is to know about everything concerning green day. when i heard about this new novel about green day, i snatched it up the moment it came out in stores. i spent my evening reading this engrossing novel, and was shocked to find many candid interviews that made me cry with joy! some of the things i already knew, but that is only because i am a hardcore fan. Those who like green day, and would like to take a peek into their lives, fame, and stress, will absolutely without a doubt eat this novel up. it is that good. it isnt boring, and very insightful. i recommend it greatly.

Just to highlight something another reviewer put in their brief review of this title, it is not a 'novel'. Novels are works of fiction. This is the polar opposite.

I am holding the book here in my hand preparing to analyze it for my job at a national book supplier, and will likely end up purchasing a copy for my son.

It appears to be a concise, well-written history of the group. Check out the Booklist review.

Simply a classic! There is no other book written on jazz that even comes close. A.T.'s questions were intelligent, pointed and insightful. I loved the interview format. It gave the musicians an even wider canvas to paint on. The no-holds-barred and candid portrait of Black life should be a book to cherish for ages to come.

Notes and Tones is distinct in its highly synergistic dialogue. The fact that Arthur Taylor was a serious [Black] jazz drummer, with a familiar professional and personal relationship with many of the interviewees, resulted in wide ranging discussions marked by unguarded sincerity. Certain themes are touched upon numerous times [the Black Power movement & the need for jazz musicians to unite and practice cooperative economics], which while perhaps dating the book, nevertheless provide a telling contrast to the current state of affairs in the music world in general, and the social concerns of the U.S. Black community specifically. This clearly was a labor of love, and the insights shared by these iconic figures consistently inspire me to make the most of my time and efforts in whatever I'm pursuing, every time I read from the book.

Arthur Taylor, a most creative source of a force in the drumming world, has created a moving, startling, and lovely group of interviews of some of the most influential artists in jazz (Black Classical) music. Giants like; Thelonious Monk, Erroll Garner, Elvin Jones, Nina Simone, Miles Davis, Dizzy Gillespie and so many others paint images of pointedness, beauty, intellect and feeling. The reader really gets an insight into the personalities and lives of these wonderful people that are the lineage of the only true American art form. I really recomend the book to anyone, from the person who has had one passing thought about jazz artists to those who dedicate their life to the art form, or any artform. This is, as they say, the real deal. I am humbled by Mr. Taylor's wonderful work and, in my own way, feel love for each of the unique artists that he interviews. Thank You Arthur!

A genuinely fascinating collection of interviews with some of the most important jazz figures of the 1950s-60s. (It's worth the purchase price just for the goofy, entertaining exchange with Dexter Gordon which opens the book.) Not only do you get an unusually intimate sense of what some of these brilliant musicians were/are actually like in "real life," but the book is particularly interesting--and frank--about the subject of race, in the jazz world and beyond. If you love jazz, don't miss this book.

Arthur Taylor, a most creative source of a force in the drumming world, has created a moving, startling, and lovely group of interviews of some of the most influential artists in jazz (Black Classical) music. Giants like; Thelonious Monk, Erroll Garner, Elvin Jones, Nina Simone, Miles Davis, Dizzy Gillespie and so many others paint images of pointedness, beauty, intellect and feeling. The reader really gets an insight into the personalities and lives of these wonderful people that are the lineage of the only true American art form. I really recomend the book to anyone, from the person who has had one passing thought about jazz artists to those who dedicate their life to the art form, or any artform. This is, as they say, the real deal. I am humbled by Mr. Taylor's wonderful work and, in my own way, feel love for each of the unique artists that he interviews. Thank You Arthur!

I think this is the best work about afrocuban roots and african music in Cuba.

This is a wonderful work, well researched, full of interesting comments and done with extreme care.

finally a clear, cohesive compendium to the songs and chants of the Orisha tradition and well-researched vital information on the tradition of the sacred bata drums / for someone like myself, an Ocha initiate who lives in Asia, thousands of miles from Africa, Cuba and the US, this is a resource godsend --

To anyone that practices within the Ifa'Orisa community, this book is a jewel. It is not often that one stumbles upon a book rich with knowledge & standing strong in it's research & presentation. Mr. Mason has taken his years of practice & translated these beautiful songs to call the Orisa. I can only say that this is probably one of the BEST books I have ever seen on the Orisa tradition! Mr. Mason is to be thanked time & time again for his amazing contribution of this community! ASE!

This is a huge, impressive book that provides a wealth of knowledge most of which you can't find in print in English anywhere else. It has background on Yoruba religion and Santeria, bata drumming in Cuba and America, and translations of many many songs. Also photos, etc. Some people will argue with some of the translations, but nobody can say this book doesn't add enormously to what's published in English on what has been an esoteric & oral tradition.

I played many Clementi sonatinas in my younger years and decided to give this a try. I've only been able to try out a few since I just received this book but I have a feeling it is going to be one of my favorites. I can't wait to be able to sit down and really play these. The book is beautiful and the music is difficult so I would not recommend this for a beginner.

I bought this book solely to play the G minor "Didone Abandonata" Sonata because it is so tragic, but he has so many other quality sonatas. I had never heard any of Clementi's sonatas until I had to do a presentation on Clementi's music for a Piano Literature class in college and I heard several of his sonatas. His music really is underestimated and I find it challenging to play, even more difficult than Mozart. These sonatas are a pleasant surprise considering how long they have been around. I love Dover's editions for the price and the quality of the music. Buy this book and you won't regret it.

This reproduction by Dover of the Peters edition of these sonatas is pretty good and very affordable.

I brought this after reading about how Beethoven liked Clementi sonatas and how much better his sonatas are comparing with his sonatinas (which i find boring). The very first sonata - op.7 no.3 attracted me immediately so that I decided to learn it. There're some very rich sound/polyphonic elements in it like Bach's, and also dramatic elements like Beethoven's, which just make this sonata sounding quite unique and fun to play. It's my first time learning a Clementi sonata, and find it a fascinating experience. I'd recommend any intermediate or advanced pianists give Clementi sonatas a try!

I learned a few superficial Clementi sonatinas when I was studying the piano as a child and was surprised and delighted to find (through this collection) that his sonatas are significantly more substantial. If you like Haydn piano sonatas, try these; eight measures into the first one, you'll be thinking "hey, this is nice."

I had read this book years ago and like so many other things, you lend it out and never get it back. sigh. I was happy to find this online and ordered it straight away. It was ordered at the same time as my Amazon stuff (through a reseller) and it beat my Amazon order by a good 3 days! lol

This is a fantastic inverview. I only wish an audio were available. Maybe someday.

I think that this book was very good. It took the reader in to the private lives of both John and Yoko. It gives us an inside look on what their own private lives were really like. That being when John was with The Beatles and his life afterwards and up to the end of his life. I recommend reading this book. It takes you into John's thoughts about life!!

I love John lennon so i started reading biographys on him and interviews, etc to learn more about him. When I read "The Playboy Interviews With John Lennon and Yoko Ono" I HONESTLY COULD NOT PUT IT DOWN! I couldn't believe it; i started reading it in the afternoon and didn't put it down until late at night where i finished it! It is a wonderful, wonderful book with John's sense of humor and yoko's too and their insight into the world. It really is my favorite book because it is close to a John Lennon autobiography as the world will ever know. HIGHLY RECOMMENDED!!

This is the definitive book regarding John Lennon. He reviews almost every song he wrote with or without Paul McCartney, which alone is worth the price of admission. In addition to that, he provides insights into his personal philosophies and world views. One could call it the perfect companion to the recent Beatles Anthology book. Crucial reading. How sad he had to die a little over 2 months after these interviews were conducted. Unfortunately out of print, do yourself a favor and try an out of print book search; you won't regret it.

I first read this book back in 1983, to gain a little insight of John...and it quickly became my favourite book. Although I don't think Yoko was or is everything he thought, this was a man who truly loved his wife, and believed with his whole heart and soul in their marriage and life together. He was enjoying making music again, so much (this interview was done in September of 1980) and was looking forward to the future...hoping he'd be there with us. His love for his music, his wife, his sons, and even the Beatles are all there. He gives his opinions on every subject he can think of, both positive and negative, in his usual witty, straight-to-the-point manner that we all know him for. The interviewer did a great job, and was clearly a man who admired John Lennon as much as I do. He did a great job in this book, and it is my absolute favourite, out of all of my collection. Anyone who wants a peek into what John thought and felt and wanted you to know, should read this book...you will treasure it as I do.

...this book is definitely for the obsessive. These are pioneers who, for the most part, predate the concepts of stardom. Early recording companies, like early movie studios, were not interested in sharing any revenue with any "stars" that required promotion -- yes, Sarah Bernhardt made a movie or two, and Caruso sold a lot of records, but they were exceptions -- people who had reputations built outside the new mediums. For this reason, you'll find a lack of big-name stars. What you will find is a wealth of information on the practically unknown legions of men and women who were among the first to actually record the sounds and songs from the last two centuries. I found it fascinating, and of value in the obsessive cataloging that often goes hand-in-hand with the hobby of record collecting. It also helped to make a great many names a lot more human to me, and I'm thankful to the author for that. Not for the average reader, but if you have an interest in the acoustic recordings of popular music from the earliest days... well, you'll be as happy as Jones & Hare.

This is a well written biographical dictionary of the key popular (vs. classical) performers featured on early recordings. For example, you can look up "Edison Quartette" and find out that it was also known as the Hayden Quartet and exchanged performers with the American Quartet. Then you can look up the individual singers. I just consulted it this morning to find out about an early recording of John Philip Sousa's band.

While it is not a discography, it has information about selected early records, along with a song index. If you want to get a peek at the style, check out Tim Gracyk's site online.

I don't see how any collector of early popular records could live without this book.

POPULAR AMERICAN RECORDING PIONEERS: 1895-1925, by Tim Gracyk, has detailed biographies of singers/musicians on old records! 444 pages. This is the ONLY book ever published to give biographies of early recording pioneers. Learn facts about the singers who made records of "popular" music before 1925! The book's opening essay gives a summary of the history of the early recording industry, the "acoustic" era. Rare sources were used--trade journals like TALKING MACHINE WORLD, memos from the Edison, Victor, Zon-O-Phone, U-S Everlasting, and Columbia record companies, etc. Following the long intro are detailed encyclopedic articles (organized alphabetically): 100 artists with separate entries in the book include the American Quartet, Billy Murray, Ada Jones, Cal Stewart (Uncle Josh), Nat Wills, Steve Porter, the Original Dixieland Jazz Band (other "jass" bands of 1917 covered, too), Paul Whiteman, George J. Gaskin, Carl Fenton, Sam Ash, Aileen Stanley, Henry Burr, the Peerless Quartet, Arthur Collins, Byron G. Harlan, the duo Collins and Harlan (separate entry--new info!), S. H. Dudley, Al Bernard, Edward M. Favor, Rudy Wiedoeft, Sousa, Walter B. Rogers, Vess L. Ossman, Sam Lanin, Bert Williams, Frisco Jazz Band, Olive Kline, J. W. Myers, Ben Selvin, the Green Brothers, Haydn Quartet (the quartet that sang "Take Me Out to the Ballgame" for Victor), Marion Harris, Arthur Fields, Irving Kaufman, Will F. Denny, Frank C. Stanley, Nat Shilkret, Frank Ferera (did his wife and fellow recording artist Helen Louise die of foul play? she vanished during a ship voyage in 1919!), James Reese Europe (Jim Europe), Victor Military Band, Victor Light Opera Company, Werrenrath, Shannon Four (Revelers), Richard Jose...many more! Rare info here from descendants of the artists, from old letters sent to historian Jim Walsh (some never published by Walsh), from rare primary sources like birth & death certificates, from archives! This is the ONLY book that covers artists who, from the 1890s to the mid-1920s, made records of music that was "popular" in nature, as opposed to records of operatic arias, symphonic works, or concert pieces. A pre-electric method for recording was used, with musicians performing into a horn, not a microphone. This encyclopedia covers American artists who recorded Tin Pan Alley numbers, Broadway show tunes, ragtime, "coon" songs, novelty numbers, quartet arrangements, parlor ballads, early jazz (sometimes called "jass"), blues, dance music, hymns, and early country. This book makes a distinction between stage personalities who happened to make some recordings--when they found time in their busy schedules--and artists who made their living largely by recording regularly, perhaps finding a little time on the side for theatrical performances, vaudeville, or concert recitals. Few stars of the stage made records regularly, exceptions being Bert Williams, Nora Bayes, and Al Jolson--even their output is minuscule compared with that of Henry Burr, Harry Macdonough, Lewis James, Vernon Dalhart, Irving Kaufman, and others who, for a long time, earned a living by recording. Over 100 of these kinds of artists covered in detail, with info available nowhere else! This book has a GREAT INDEX if you want to look up specific records/songs.

Anyone who collects old 78s knows how frustratingly difficult it can sometimes be to learn about the musicians responsible for making the recordings. This book spotlights dozens of acoustic-era (1890s-1920s) recording stars, in most cases providing the most complete and detailed biographies I've found anywhere. The introduction is particularly helpful, providing an overview of the recording industry in its early years, examining how recording limitations dictated what and who was recorded, offering glimpses into the studios where these records were made, and a valuable note about estimations of record sales. This introduction nicely balances the individual accounts that come after and helps us see how these musicians fit in the "overall picture." If you've got moldy stacks of old 78s by Arthur Fields, Irving Kaufman, Ada Jones, The Sannon Quartet, Joseph C. Smith, or others like that, you might just find yourself cleaning them off and playing them again after reading this book. I find these old acoustics are much easier to enjoy once I know something about the people who made them.

This isn't a sit-down-and-read-like-a-novel book, it's more like an encyclopedia, with 1-10 page articles about individual musicians and groups. At times, the articles feel a bit "choppy," but on the whole they are quite readable and there's plenty of information. Unfortunately, the binding of this paperback version is rather poor (the sheets are just glued directly to the flimsy spine, not sewn together), maybe the hardcover version is better bound? So far, my paperback is still intact, but for how much longer, I can only guess. This is a book I pull off the shelf often to answer many of the questions that come up when I listen to my 78s. Gracyk and Hoffman will give you a whole new appreciation for these old records! Highly recommended!

POPULAR AMERICAN RECORDING PIONEERS: 1895-1925, by Tim Gracyk, has detailed biographies of singers/musicians on old records! 444 pages. This is the ONLY book ever published to give biographies of early recording pioneers. Learn facts about the singers who made records of "popular" music before 1925! The book's opening essay gives a summary of the history of the early recording industry, the "acoustic" era. Rare sources were used--trade journals like TALKING MACHINE WORLD, memos from the Edison, Victor, Zon-O-Phone, U-S Everlasting, and Columbia record companies, etc. Following the long intro are detailed encyclopedic articles (organized alphabetically): 100 artists with separate entries in the book include the American Quartet, Billy Murray, Ada Jones, Cal Stewart (Uncle Josh), Nat Wills, Steve Porter, the Original Dixieland Jazz Band (other "jass" bands of 1917 covered, too), Paul Whiteman, George J. Gaskin, Carl Fenton, Sam Ash, Aileen Stanley, Henry Burr, the Peerless Quartet, Arthur Collins, Byron G. Harlan, the duo Collins and Harlan (separate entry--new info!), S. H. Dudley, Al Bernard, Edward M. Favor, Rudy Wiedoeft, Sousa, Walter B. Rogers, Vess L. Ossman, Sam Lanin, Bert Williams, Frisco Jazz Band, Olive Kline, J. W. Myers, Ben Selvin, the Green Brothers, Haydn Quartet (the quartet that sang "Take Me Out to the Ballgame" for Victor), Marion Harris, Arthur Fields, Irving Kaufman, Will F. Denny, Frank C. Stanley, Nat Shilkret, Frank Ferera (did his wife and fellow recording artist Helen Louise die of foul play? she vanished during a ship voyage in 1919!), James Reese Europe (Jim Europe), Victor Military Band, Victor Light Opera Company, Werrenrath, Shannon Four (Revelers), Richard Jose...many more! Rare info here from descendants of the artists, from old letters sent to historian Jim Walsh (some never published by Walsh), from rare primary sources like birth & death certificates, from archives! This is the ONLY book that covers artists who, from the 1890s to the mid-1920s, made records of music that was "popular" in nature, as opposed to records of operatic arias, symphonic works, or concert pieces. A pre-electric method for recording was used, with musicians performing into a horn, not a microphone. This encyclopedia covers American artists who recorded Tin Pan Alley numbers, Broadway show tunes, ragtime, "coon" songs, novelty numbers, quartet arrangements, parlor ballads, early jazz (sometimes called "jass"), blues, dance music, hymns, and early country. This book makes a distinction between stage personalities who happened to make some recordings--when they found time in their busy schedules--and artists who made their living largely by recording regularly, perhaps finding a little time on the side for theatrical performances, vaudeville, or concert recitals. Few stars of the stage made records regularly, exceptions being Bert Williams, Nora Bayes, and Al Jolson--even their output is minuscule compared with that of Henry Burr, Harry Macdonough, Lewis James, Vernon Dalhart, Irving Kaufman, and others who, for a long time, earned a living by recording. Over 100 of these kinds of artists covered in detail, with info available nowhere else! This book has a GREAT INDEX if you want to look up specific records/songs.

I have been playing the guitar for over 30 years, but I've never found a source of inspiration as impressive and captivating as Jason Waldron. His 6 Book series of Popular Classics of The Great Composers has been a stimulus that has me practicing like never before. I can't say enough about both the CD and the accompaning book. Having bought a number of other similar classical CD/book combinations, I can tell you there is nothing out there that even comes close to the quality, selections, and mastery of Jason Waldron.

This is the first book I've purchased by Mr. Waldron. I have worked my way thru the first three arrangements and I love the book and the cd. I will be buying more of these in the future. I'm so glad I found out about these books and I thank all of you for your positive reviews.

So, when are u publishing the 7th volume of progressive classical?

I hate TABs and I was looking for this type of book for a long long time. When I bought the vol.1, I was so impressed that I could not wait for the other volumes. I bought them all. The style of Jason Waldron is almost like the style of my first guitar guru Alexei Mikhailovich. I'm waiting for the 7th, 8th, 9th,......volumes. And I hope these volumes will inclde the great songs like "Love Story", "Old Mcdonald", theme song from the "Godfather", "The Lonely Shepherd", "Concerto de Aranjuej", etc. If anyone has the information about the standard notation of these songs, please email me to

There are several great songs here, including a very nostalgic rendition of Recuerdos de la Alhambra. I got Book 2 and the Composers, and now I'm about to complete the whole set -- it's no use buying one at a time. The CD itself is a gem, I play it before sleeping and after waking (not while driving! ). There is tremendous spiritual satisfaction after mastering some pieces here. Great collection. This needs to be extended to several more volumes.

I've played guitar by ear for many years, mostly hard rock. I wanted to expand my repetoire and improve my sight reading. This book helps, there's no tablature so you can't cheat. I've only started the book but there are many continued hours of enjoyment to be had here.

The best arrangements Ive ever had the pleasure to read, enjoy and play to an appreciative audience! keep them coming Mr. Waldron "The Maestro"

I learnt to play the classical guitar from books. After learning the basics, the thirst for playing more classical music intensified. Then I came across Mr. Waldron's books. His transcriptions and CDs were just the right combination for me.

The CDs are not just a reference source but also a pleasurable listening experience. All the pieces included are some of the best music I have heard. Obviously Mr. Waldron's expertise shines throughout the CDs.

I would give it 2 more stars for the sheer simplicity of arrangement.

Buy them. It would be the beginning of a lifelong romance with this versatile instrument, the Classical Guitar.

I own all 6 of the Progressive Classics Series by Mr Waldron for almost a year now. Throughout this time I have learned a deep appreciation for the guitar, and the marvelous melodies this magnificent (but portable) instrument could evoke. Book 2 is my favorite, mainly because it includes such powerful, meticulously arranged, but moderately easy-to-play songs like Bach's 'Air' and Pachelbel's 'Canon in D'. Practice and play these pieces well, and even the most doubtful critic of the classical guitar (like in my case, some buddies who are heavy into electric guitars) will melt and wished they could pluck those nylon strings, too. The other exceptional book in this series is #6, which have good songs but the notes go to the 15th fret so beware if you or your guitar cannot handle it. Oh, and the CD rocks, too.

The Progressive Popular Classics series have come to us from Australia and turn out to be some of the best of the genre. Each book is accompanied by a CD of the author playing every piece in the book. The CD alone is worth the price, as it is a compilation of justifiably popular classics written for or transcribed for the guitar and beautifully performed. The tyro should get Mr. Waldron's Classical Guitar Method, Book 1, but will enjoy this series of texts as something both as listening pleasure and as inspiration to practice and improve.