Composers Books

When I first spotted this book in a book shop's bargain bin, I didn't have any high hopes or inclination that I was about to read a classic legal thriller.

The story twists and turns like a roller coaster and then when you think your equilibrium is nearing a state of normal, another twist throws it up in the air again.

Small town lawyer Oliver Gulliver is down on his luck and feeling sorry for himself, until his daughter returns home. His joy is short lived as he discovers she is now dating a fading rock star with an drug addiction, CC Gilley.

A strange friendship between the two men blossoms; Gilley is persuaded to go cold turkey and returns to writing songs for a comeback album.

Gulliver is quickly drawn into the tale, when he called upon to test his advocacy skills after one of Gilley's songs is plagiarised by another band.

His success starts him on a road to recovery, or so he thinks...

A stunning read and which prompted me to devour the rest of the William Deverell canon like a starving man. In fact, it was the first book I have ever read, where I sent the author an e-mail to praise him on his work.

Oliver Gulliver is a small-town lawyer beset with problems and worries. He's just turned fifty, old enough to know that he's never going to be a hot-shot lawyer , but now he's even losing his bread-and-butter work to a dubious competitor.

Family life is also fraught with anxieties. Oliver is a widower, having lost his wife eight years earlier to cancer. He's has sex once since then , and might never have it again. Just being a lone parent to two teenage girls is wearing him out.

Things seem to get even worse when his eldest daughter Elora finds a new boyfriend - C.C. Gilley , a wreck of a rock star, almost destroyed by booze and drugs. Oliver is horrified, but gradually accepts that they are a genuine loving couple, especially when Gilley writes a new ballad "Small-Town Girl", in honour of Elora.

When another band suddenly has a big hit with "Goin' Down for the Last Time", a track with very similar music and sleazy lyrics, Gilley is outraged and wants to sue for plagiarism. Oliver finally has his big lawsuit, his one chance for legal glory, his opportunity to sort out his life.

The plot flows smoothly , it has the right legal and rock-music details and there are twists all the way. The sex scene, when it comes, is funny and touching.

Buy this book, settle down with Springsteen, Tom Petty or Bachmann Turner Overdrive in the background, and enjoy!

POR AMOR A LA MUSICA I think this book is very simple to read and the autor tell us about his experiance that are like from another person, I felt this book very close to me.

Me gustó como Kike cuenta la historia de su vida, de forma detallada y divertida. Con este libro te puedes dar cuenta que todos tenemos momentos buenos y malos, a veces estás arriba, a veces estás abajo...pero con esfuerzo, perseverancia y fe te vuelves a levantar y llegas al éxito!
Recomiendo el libro...

Randall and Gray Davis between them have given us a book which will permanently change the way we view Puccini and his most controversial opera, the "American" GIRL OF THE GOLDEN WEST, a work commissioned by NYC's Metropolitan Opera on the heels of the success of MADAME BUTTERFLY. Their research shows us that using David Belasco's Broadway hit as the basis for a libretto was by no means a foregone conclusion, and that many years passed before Puccini committed himself to the saga of Minnie.

Indeed, part of the interest of the book is speculating what we missed out on when Puccini decided to do with Minnie instead of working up--the last days of Marie Antoinette! For a piece that he planned on calling, THE AUSTRIAN WOMAN. He also flirted with turning the HUNCHBACK OF NOTRE DAME into an opera; as well as considering two plays by Oscar Wilde. Perhaps our greatest regret is that he did not pursue THE WOMAN AND THE PUPPET, the searing, sexual tale of obsessive love that Von Sternberh later filmed with Dietrich as THE DEVIL IS A WOMAN (and later remade by Luis Bunuel at the end of his career). As Randall and Gray Davis indicate, the scandalized reception of Strauss' recent SALOME made Puccini leery of a similarly decadent subject. However, in his private life Puccini was experiencing a coruscating scandal which tore him apart and exposed his marriage for a living hell to the whole world. His wife, Elvira, became madly jealous of her own maid, Doria Manfredi, driving her to her death. After Doria's death an autopsy revealed that she had never had sex with anyone, much less the blameless Puccini. Or was he blameless? It's easy to paint Elvira as a vicious, deluded shrew, but in my experience there's not much smoke without at least a little bit of fire. The authors hint that this trying and scandalous cloud affected the composition of LA FANCIULLA DEL WEST in numerous ways.

Gray Davis brings a lot to the project, especially the cache of Puccini letters she inherited from her late dad. These letters are the archive of Puccini's correspondence with Carlo Zangarini, his librettist. Zangarini's reputation, of course, went to hell long ago when his Fascist leanings won him honor in Mussolini's Italy and disdain everywhere else. The two authors here do their best to rehabilitate him, but in all honesty, it's uphill sledding for them and you can hear the tone of their monograph wobble when it comes to discussing Zangarini's politics.

And yet they have accomplished something new under the sun, a new reading of FANCIULLA as well as the definitive account of its writing and reception.

One minor quibble, I do not exactly see why they say that the archive of Puccini letters must have left the Zangarini hands after his death (in other words, in the postwar period). According to the evidence, why not consider it possible for Carlo to have sold them to the American autograph dealer himself, perhaps before the war? Did I miss something, why blame it on his mistress or nephew or whoever.

One further comment, publication of Puccini's notes to Zangarini reveals that Puccini ws quite a poet himself, his verses are the dark equivalent of those of Laura Riding or Edith Sitwell. They're spooky, they're so weird. "I'm passing dark days/ writing real torpedoes/ in kangaroo form/ for days not far in the future." What the hell? How about, "They are all English,/ German and French,/ Women with hips,/ Women bamboo."

Terrific tale of the maestro coming to New York with his new opera. Sure to provoke attention with 2010 in the near future when this work will be 100. The attention paid to the opening when New York burst with potency, bejewelled dames listening to world voices sort of put the Met on the map. Laughed out loud at the recreation of that scene of the opening. Now, we wonder what about that girl next door, Doria, who helped him recuperate from the auto accident, then with Elvira the Fricka-like wife screaming, having to deal with the tragedy of Doria's demise. This personal view of the master at home with his devils informs the interpretation of the opera and how it went over. The depiction of Belasco and early 20th century theater, the pre-Method method as it were, puts Puccini right in the middle of the mix that included but pre-dated the Stanislavski revolution, in fullest flower with Stanley's "Stella!" at the foot of the stairs. None of that here, actually, this a precise look at the work and its times, the publisher, the competiton, the writers, the abandon with which people went to opera then, the end of the Whitman era and the the beginning of end of that world, only a few years after 1910 when all hell broke lose. It's historical, yes, but also hysterical how much is made of so little. There are in fact no arias in this opera, just rich orchestration and seemingly improvised conversation, very modern that way, a view to Strauss then, Adams now. It's like a couple hundred years of opera crystalized into one book, both too specific, (pages of music printed in a text), and not specific enough: do the authors think Elvira was right? The movie that must be made of this book will deal with this question. In the meantime, opera lovers should thank these writers for perservering dauntlessly to give us a look through 29 epistles at what the man went through to get there then, landing us here and now when we wonder who was that girl of the golden west: the soprano who survives, does not die in the end, but rides off with her beloved, wow, a happy ending; or the girl left behind who poisons herself, a miserable death? It's edgy that way.

"Querido Alberto" is the authorized biography of the legendary Mexican singer/songwriter Juan Gabriel. Written by Gabriel's longtime friend and musical arranger Eduardo Magallanes, the book gives the reader a view into the life of the kid who grew up in the streets of Chihuahua, Mexico as Alberto Aguilera Valadez through the 1995 publication date.

Magallanes absorbs the reader immediately by opening the biography with a description of Gabriel's benefit performance at the Palacio de Bellas Artes in Mexico City in 1990, the concert that became famous through audio and video sales. Magallanes then covers the life of Gabriel in short segments relating more to significance than chronology.

Magallanes addresses Gabriel's early life: the mysterious disappearance of his father three months after Gabriel's birth on January 7, 1950; the mother for whom he wrote "Amor Eterno"; the sister who lies in a coma, a state she has been in for many years; the various people who took him in off the streets and how they influenced him and his music; in essence, the steps through which Alberto Aguilera Valadez become the international pop singer known as Juan (named after a teacher) Gabriel (named after his father).

The book also includes a few chapters on Gabriel's personal life as an adult, a subject about which Gabriel is intensely private, particularly his near-30-year relationship with Laura Salas Campa and their four sons.

The book is written in Spanish but at such a level that people with a limited Spanish reading ability would be able to understand the main ideas. It includes extensive quotes by Gabriel, lyrics to many of his songs and tributes to Gabriel by Lola Beltran, Lucha Villa and other Gabriel contemporaries.

The photographs are perhaps the most intriguing part of the book. More than 100 captioned pictures show the singer's transformation from Alberto Aguilera Valadez, the poor street kid, to Juan Gabriel, the superstar. All the photos are black and white. No matter. Some allow a glimpse into Gabriel's private life. There are several pictures of his houses, his sons as young children, his partner Laura Salas and there's even one of his German shepherd dog, the breed he still keeps today.

This is a professionally written book that doesn't waste the reader's time on smutty tabloid material. It is a worthy purchase.

"Querido Alberto" is the authorized biography of the legendary Mexican singer/songwriter Juan Gabriel. Written by Gabriel's longtime friend and musical arranger Eduardo Magallanes, the book gives the reader a view into the life of the kid who grew up in the streets of Chihuahua, Mexico as Alberto Aguilera Valadez through the 1995 publication date.

Magallanes absorbs the reader immediately by opening the biography with a description of Gabriel's benefit performance at the Palacio de Bellas Artes in Mexico City in 1990, the concert that became famous through audio and video sales. Magallanes then covers the life of Gabriel in short segments relating more to significance than chronology.

Magallanes addresses Gabriel's early life: the mysterious disappearance of his father three months after Gabriel's birth on January 7, 1950; the mother for whom he wrote "Amor Eterno"; the sister who lies in a coma, a state she has been in for many years; the various people who took him in off the streets and how they influenced him and his music; in essence, the steps through which Alberto Aguilera Valadez become the international pop singer known as Juan (named after a teacher) Gabriel (named after his father).

The book also includes a few chapters on Gabriel's personal life as an adult, a subject about which Gabriel is intensely private, particularly his near-30-year relationship with Laura Salas Campa and their four sons.

The book is written in Spanish but at such a level that people with a limited Spanish reading ability would be able to understand the main ideas. It includes extensive quotes by Gabriel, lyrics to many of his songs and tributes to Gabriel by Lola Beltran, Lucha Villa and other Gabriel contemporaries.

The photographs are perhaps the most intriguing part of the book. More than 100 captioned pictures show the singer's transformation from Alberto Aguilera Valadez, the poor street kid, to Juan Gabriel, the superstar. All the photos are black and white. No matter. Some allow a glimpse into Gabriel's private life. There are several pictures of his houses, his sons as young children, his partner Laura Salas and there's even one of his German shepherd dog, the breed he still keeps today.

This is a professionally written book that doesn't waste the reader's time on smutty tabloid material. It is a worthy purchase.

This work, which is also available as _Race Of Angels: The Genesis of U2_ (exactly the same, different publisher) aims to trace and muse on the experience of being Irish as reflected in the work of U2. As such, it is not an easy-read band bio, and is written at let's say college level. However, the long interviews, especially of Bono, cover material that is just not found anywhere else; U2's remarks here have an uncensored, just-between-Irishmen feel that is rare.

The book, as hard as it is to find, is an absolute must-read for anyone interested in U2's Irishness, in their literary/cultural connections, or in their spiritual history -- it's full of amazing insights on all three. Generalist fans of the band should, of course, look elsewhere.

This work, which is also available as _Race Of Angels: The Genesis of U2_ (exactly the same, different publisher) aims to trace and muse on the experience of being Irish as reflected in the work of U2. As such, it is not an easy-read band bio, and is written at let's say college level. However, the long interviews, especially of Bono, cover material that is just not found anywhere else; U2's remarks here have an uncensored, just-between-Irishmen feel that is rare.

The book, as hard as it is to find, is an absolute must-read for anyone interested in U2's Irishness, in their literary/cultural connections, or in their spiritual history -- it's full of amazing insights on all three. Generalist fans of the band should, of course, look elsewhere.

At last, it has happened. Ever since Mark Lewisohn published his momumental session-by-session "The Beatles Recording Sessions" in 1988, I have been waiting for other important artists to be given the same thorough, studious treatment. It's been a long wait, for while some vaguely similar titles have been published (including one about Jimi Hendrix), few of them could offer access to the same obsessive documentation that Abbey Road studios required of its engineers. Syd Barrett, the offbeat genius and erratic founder of Pink Floyd, also happens to have done most of his work at Abbey Road, and David Parker has been through every corner of the studio files to come up with this impressive offering. In it, we learn the date and content of every professional recording session Syd Barrett (with and without Pink Floyd) is known to have done during his finite career, from the first 1965 demos through the last, unheard, abandoned sessions in 1974. Some of Syd's engineers, friends and managers (Peter Jenner, etc.) contribute memories and comment perceptively on each of the songs and sessions. (Alas, no comments from members of Pink Floyd.)It should be noted that the author did not actually get to listen to many of the tapes; indeed, sometimes tape was recycled at the studios and the originals no longer exist. Nevertheless, the documentation is here. This is a wonderful, respectful reference work for any Syd Barrett fan, and an amusing read for anyone interested in recording sessions in general. Discographies, a compendium of live shows, and other appendices add to the completist fun. Wow, a winner.

Syd Barrett will be greatly missed. His whimsical songwriting style was unique and greatly influenced many famous musicians like David Bowie. This book is an essential purchase for those wishing to know about a genuis.

Rat Race Blues is a real find. This account of the life of Gigi Gryce was an inspiration to me. We read it in our library book club for January 2003, where it was a great hit with all our members.
I would recommend it to anyone who is curious about life and/ or music and particularly to young people, struggling against the odds of poverty and racism.

The book rediscovers Gigi Gryce, a name that appears on the records of numerous famous Jazz musicians,Cifford Brown, Charlie Parker, Miles Davis, Max Roach, Thelonius Monk, Donald Byrd, Art Farmer.... to name only a few.
The research done by Noal Cohen and Michael Fitzgerald is meticulous and sensitive. They manage to give us an insiders view of the Jazz scene in the 50's and early 60's, depicting Gigi's whole life from a strict and loving upbringing in Pensecola, Florida to his education at the Boston Conservatory; heady days in New York playing with all the greats and starting a family; his attempts to help musicians protect their publishing rights and finally his reinvention of himself as a teacher in the Bronx.
For the most part, the authors are in the background, letting the musicians, family and friends speak for themselves about their memories of Gryce. Some of the anecdotes are hilarious. There are also great photos, including one of a young Quincy Jones and Clifford Brown who worked with Gigi in the Lionel Hampton band.
Finding Gigi Gryce is akin to finding Zora Neal Hurston or more recently Henry Grimes.
Congratulations to the authors for a book that sets a high standard for biographies of musicians.

This book is the most complete discography you will ever find about the jazz great, GiGi Gryce. It is well-written and a very fascinating history of jazz, itself, revealing many "insider" type anecdotes about the old days in jazz history. There are many interviews with famous jazz greats but best of all, the story of a very talented and enigmatic gentleman, Mr. GiGi Gryce
Kudos to to Cohen and Fitzgerald for a Class A book destined to become a textbook reference on this period in jazz history.

IGGY POP & THE STOOGES, OUTTA DETROIT, WERE PRETTY MUCH THE UNIVERSALLY UNDISPUTED GREATEST INFLUENCE ON THE PUNK ROCK SCENE OF 1976-1977, WHICH PRODUCED CLASSIC BANDS LIKE THE CLASH AND THE SEX PISTOLS. IGGY & THE STOOGES' RECORDING CAREER LASTED FROM 1969-1973, RECORDING 3 STUDIO ALBUMS AND ONE NOTORIOUS LIVE ALBUM. 1972 WAS THE PEAK OF IGGY AND THE STOOGES BRILLIANCE AND OUTRAGEOUSNESS - IGGY'S ANTICS AND APPEARANCE MAKE THE SEX PISTOLS LOOK TAME IN COMPARISON. IF YOU WANT TO ACTUALLY SEE ROCK N ROLL, BESIDES HEARING IT - THIS IS THE BOOK THAT SHOWS WHAT ROCK N ROLL, AT IT'S MOST EXCITING, LOOKS LIKE. BLOOD AND MAKEUP AND BIZARRE/COMICAL/SICK POSES AND VISUAL RAW POWER! A MUST FOR EVERY IGGY/STOOGES/PUNK ROCK FAN, AND VERY LIKELY A FEAST FOR THE EYES FOR FANS OF ALL TYPES OF MUSIC!

In March 1972, Iggy and James, both completely off heroin, went on England to recruit a new band and start recording the album for CBS. In June joined Ron and Scott Asheton, and together worked on the new recordings until September same year. During their stay in London, The Stooges played only one concert in the King's Cross Cinema. Iggy was dressed only in silver lame trousers and had silver hair, black boots and black lipstick, his show and his mistreatment of audience had schocked all present. It was to be their only show outside America. This book is photographic report from this show, a few photo sessions of the whole band, and also contains common photos with David Bowie and Lou Reed, captured on camera by legendary rock photgrapher, Mick Rock. The book also contains his introduction and interview between virtuoso with camera Mick Rock and rock monster Iggy Pop, conducted in 1972. If you like album cover of "Raw Power", this book is made for you. Since there is no audio or video recording from any of The Stooges concert in 1972, this book offers unique experience for the band admirers. Raw Power! Look for the answer from the title in the book.

This book collects a vast range of articles, reviews and biographies covering jazz's most influential musicians. It's a wonderful compendium. I discovered great music from many artists I'd never heard of before. Well worth reading!

Robert Gottlieb is indeed up to the job of editing this anthology. The information about him provided on the book is incomplete--necessarily incomplete, because Gottlieb has one of the longest and most distinguished editing careers in American letters. He was head of a publishing house and editor-in-chief of "The New Yorker." He is responsible for some of the best writing of the last quarter century.