Music Books

I have a number of Voice over books, and this one is hands down my favorite. Even though I've worked in the voice industry for years, there are so many proven voice techniques in this book that I keep it handy in my studio. I strongly recommend it to beginning students as well as veterans.

My favorite aspects of this book are:

- outstanding presentation of the fundamentals of voice over. When you read each technique, it's absolutely clear how to use it AND how it improves the result.
- great advice for revising my demos (or creating them if you don't have one)
- interviews with copy writers and agents, to give a real-world view of the industry

I've seen proven results in my own work, and I highly recommend this book to anyone serious about a career in voice over.

I'm at the beginning of my career in voice-over and I've read a good handful of books on the topic and taken tons of classes...but rarely has anyone "broken down" the essentials of technique quite as clearly and succinctly as Elaine Clark does in this book. For the first time, I felt like I had some practical tools I could refer to when approaching copy, which not only gave me a promising ground to start from, but also helped build my confidence and desire to "stick-to-it." Rather than give you hollow, abstract phrases about the need to connect emotionally to the copy, she shows you "how" to make it "yours." Obviously she's a great teacher with a lot of experience, as she leaves no stone unturned in this book with regards to what to expect in every aspect of this career and how to be best prepared so that you can succeed.

Elaine Clark is my guru. I have read this book a number of times since purchasing it in 2001, and I return to a number of specific passages when I need a refresher. Having worked steadily in this business for 20+ years, and having purchased many books on voice acting, I 've found "There's Money Where Your Mouth Is" to be my absolute favorite. The reader is taken from the basics to the multitude of details involved in running your own successful voice-over business.
Thanks to Elaine Clark, I have grown professionally as a voice actor, and enhanced my voice acting and copy interpretation skills.

If you are at all interested in VO, get this book. I read it cover to cover a year ago, and I've been cherry picking those areas that I've needed to focus on ever since. Now that I've marked up my copy at least three times and pages are starting to break loose of their binding, I'm ready to get an agent and start working. If your an actor or improvisor this book will help all areas of your artistic endeavors. The nuances & subtleties of speech are examined in great detail. The bottom line throughout this book is how to stop "acting" and be real. The market is hungry for every day real people. There's a pot of gold at the end of this rainbow, pick it up.

This book is very helpful for those new to the industry. It contains information about putting your demo together, about getting an agent, and has sample copy to practice with, and tips for exercising your voice. I definitely reccomend this for anyone who is interested in trying this line of work for the first time.

The reviews of this book do not do justice to this book. The pictures alone are spectacular. Neil Zlozower took nearly every famous and infamous picture of Van Halen during the DLR years. They are all here along with a plethora of never seen before photos of the band and quotes and anecdotes from a broad spectrum of the music industry ranging from Jimmy Page to Slash. The book itself is well done also, the cover beneath the dust jacket has a nice glossy finish on it and the pages themselves are nicely bound, sewn in instead of just glued in so that the book can be laid flat when open without damaging the binding. This book is a must for any true Van Halen fan or collector.

WOW, WHAT A WONDERFUL WAY TO GO BACK IN TIME W/ THE VAN HALEN BOYS...ESPECIALLY DAVE, CUZ W/O HIM THERE IS NO VAN HALEN!!!!! IF YOU LOVE VAN HALEN, YOU NUST MUST MUST BUY THIS BOOK!!!!

I remember hearing the first track of VH 1 when it was released,
bringing with it chills up the spine and jaw dropped.
This book brings you in a time warp to witness rock history, and
realize - in case you didn't - that Van Halen dropped a bomb on
the music scene. Not only a revolutionary guitar god, but songs
and live performances that rose light years beyond what was coming out
of the U.S.A. at the time. The kind we won't see again, either.

The photos, by a master of R&R photography, look like they were taken
yesterday. Crisp, clear and a great mix of group shots and live. The
backstage pics of Eddie preparing his axe arsenal, for example, are priceless; Alex behind one of his monster drum kits.

And yes, it appropriately culminates with 1984 - got a problem with that?

Felt like I was back in high school, as I flipped through this book about the Rock God's -- Van Halen. Finally a Van Halen book worth looking at. Beautiful book about the Greatest Rock Band and Guitarist of all time.

This is a big, good quality hardcover book. Mostly full of pictures, hence the title. The pictures are excellent quality, and I couldn't stop from looking through them. There are also many quotes and stories from other musicians and coworkers. Very interesting. I bought this book as a gift for a huge Eddie fan, and I'm sure he'll display it proudly on his coffee table... I know I would.

This is an awsome book. IT had great detail and kept your mind on the book. It was like Vestal was your best friend sitting next to you telling you her life story. I read it as a Vestal fan but, it's great forany reader of any age Christian or not this book will show you Vestal's life(much like ours)hasn't been filled with mountian top expierances it will make you look at her in a totally differnt way weather you love Vestal or just love to read you will enjoy this book.Happy Reading!

This is one of the best books I have ever read.It is very hard to put down.

I have read Vestal! three times now, and find more things each time I read it. This book can uplift you when you are at your lowest point. Vestal's experiences and the things that she has gone through was enough to bring even the strongest man down without the faith and belief in God that she possesses. She is not afraid to let the readers know that without God and strong faith and belief she would have survived her journey. She is an inspiration to everyone in her book and in person.

I have admired Vestal Goodman for years, especially because of her former hairstyles. I read this book and could not put it down. I understood how her life had come up from bootstraps and how time and time again they were desolate and had nothing but the Goodman Family and faith. Vestal was honest and frank about several relationships and theology. She did not mince words on anything. Vestal wrote this book not to impress anyone but to honor God.

This is such a delightful, inspirational book that I chose to review it for a couple of the Round Table groups in our church. [These are groups of Christian women who meet monthly at a member's home for a book review, prayer-and-share time, food and fun.] I included a couple of video clips of her singing and praying. Vestal and her husband Howard (both recently deceased)led amazing lives full of faith and miracles as well as hardships and disappointments. They trusted God to meet their needs and he always did. They experienced miracles of all types, including physical healings. I "met" the Goodmans years ago on television and became "reacquainted" when they began appearing on the Gaither Gospel Concerts (live, video, tv) in 1991. Like the rest of Vestal's fans, I was attracted to her clear, strong, one-of-a-kind voice, and the sweet spirit that showed on her face with a special glow when she sang. I'm thankful to have been able to see and hear her in person in Dallas in 2003 just ten months before she died. Vestal always gave glory to God and Jesus when she sang. She was a spiritual advisor to hundreds of people including celebrities such as George Jones, and was known as a great Prayer Warrior. She had a wonderful sense of humor, and I laughed out loud at some of her stories. The book includes pictures of the Goodmans (and others) through the years. It's a special book that stays with you. I keep telling my friends about different stories from it!

In this slender volume, Fr. Lee not only provides a neat summary of Wagner's epic, but an ample and insightful look at the political and philophical underpinnings of the opera's genesis. His discussion of Schopenhauer's influence, albeit a surface treatment, never overwhelms the reader. Nor does the discussion of the leitmotives bog the reader down and detract from a lively and personal narrative. Highly recommended.

I found Father Owen Lee's interpretation of Wagner's Ring concise, beautifully written and coherent. I was utterly mesmerized and could not put the book down until I had read it.

Father Lee's book is essentially a fleshing out of some radio commentary given on the Ring cycle. While it is a short book and a quick read, it is insightful, deep, and well worth study and discussion.

There is no single 'correct' way to interpret Wagner's giant gesamtkunstwerk, one reason why so many books of interpretations and analysis of the pieces struggle for shelf space. This one makes a worthy addition to the pile.

Readers new to the Ring will find the synopsis and discussion of each opera informative and most valuable in getting them started to a basic understanding. Those more familiar with the Ring should find much to think about and compare with their own or other interpretations.

Supplemental to the text are suggested recordings, short reviews of additional books worth investigating, and a brief list of some of Wagner's more well-known musical motifs. There are more complete such lists and references available, but again for the novice these will all be of great help.

I found Lee's book informative, fascinating, and useful.

This little book is an excellent introduction for folks like myself who have tried for years to make sense of the cycle. The narration gives a plot synopsis followed by the author's view of the meaning behind the drama. I have always been fascinated by Wagner's Ring Cycle though I do not know German. I have been very intrigued by the music. Well this book gave me a tiny little bit to get me going.

Much of Father Owens' analysis may not meet with everyone's interpretation of the cycle but it does make one think.

There is a section at the end that contains written music. My knowledge of reading music is very scant so I just ignored that section. It is not germane to the narrative because one can get these examples by listening to the work. For good examples get An Introduction To Wagner's Der Ring Des Nebulungen by Deryck Cooke on CD. Mr. Cooke's CD gives audio examples that one can appreciate without knowing how to read music.

to one of the most multi-layered works of art in existence.

I have wanted to see this opera series for over 20 years, ever since I saw an opera properly prepared by a Wagner fanatic. Finally, I was in a place where I could, so I turned to the various preparations that I could find.

This short book was indisputably one of the best, and it doesn't shy from bold pronouncements and interpretations. Lee is a classical scholar of great learning and brings together a huge range of sources in this 100plus-page book.

First, he gives a synopsis. Then, he interprets it, with full awareness that the reader may disgree. While the content is covered by other reviewers here, I wanted to say that this added immensely to my experience of this uniquely complex work of near-modern art. Plus, it is aimed that at erudite admirers, but to those (like me) desperate for an anchor as I approach the unique intensity of Wagner.

While it relies a bit too heavily on depth psychology, which places this interpretation at a certain time, it is never dogmatic and addresses many of the other philosophical ideas that underlie it. This is my only caveat. Truly great works of art are re-interpreted by every age, and this one will be too. In addition, it cannot be the only source one approaches - you need to listen to the music as well, so this is one supplement.

Warmly recommended.

This is a good one but is not as clear & comprehensive as "Everything You Need To Know About The Music Business" (Donald Passman)

I highly recommend this book to gain greater insights in the Music business or any business. It was a great buy along with a couple of manuals I purchased from Musicbrains.net entitled the Indie label Kit.

The hardships of surviving on the music industry can be easily compare with the jungle, where nothings is what it seems and danger lurks around every corner. This book is a guide that explains all the dangerous species and all the hazardous area, but also revealing the safe zones and undisputable truths about a world dominated by the strong ones. A good book with great references that has and will be appreciated by many.

Peter Thall's book at first struck me as a good book to have in the collection.

When I started reading it I thought, OH NO, its gonna put me to sleep. Perhaps at times, but mostly I found myself realizing I had not asked myself certain essential questions...which woke me right up!

It IS thick with legal issues. But, we are at this moment budgeting a tour and also negotiating with a manager...and the book made me think of things I would not have thought of. It looks like the book may have saved us from running the tour in the red (at a loss)! We will see how it all works out soon.

Gives a good view of how the money moves in the music business. It gives you ideas you can try to use in negotiations for a better arrangement. Lots of things to avoid and to think about that often get overlooked. What to think about before you sign that contract.

We are negotiating a deal and I pulled out this book and looked through the chapter corresponding to our deal. I got a whole page of questions and things to discuss BEFORE we finalized.

That IS one of Thall's goals with this book. If you forget to discuss it before you sign, then it is too late to talk about it later.

I have read "All You Need to Know About the Music Business" by Donald Passman and I recommend this as a Compliment to that excellent tome on the biz. If you are looking at them both trying to decide...you will have to decide what the application is. If you are an Indie artist/Manager at the early stages of your career then I would say, though "All You Need" is a more comprehensive overview, this may be more easy to take in and applicable to the issues you will be facing right now.

I do recommend them both as Passman discusses many issues not covered here.

Mr. Thall has done us a service. He has forewarned us of many of the pitfalls.

Already, it has helped immensely.

Not a replacement for good legal representation...but it may just save your behind!

From beginning to end, this extremely informative book is filled with music industry tips, anecdotes, and reality checks from one of the most respected entertainment lawyers in the country. As an entertainment lawyer myself, I have benefited greatly from Mr. Thall's straight talk on the way the industry actually works. I have recommended this book to all of my music clients and their managers, all of whom have reported that they have found the book easy to read, eye opening, and well worth their time.

If you are currently in or thinking about getting into the music industry, make the modest investment and purchase this book---to get this much advice, guidance, and perspective from a qualified attorney, particularly one with Mr. Thall's impressive resume, you will easily spend hundreds or thousands more than the cost of this excellent book.

I got this book back when I was in love with youngest group member, Zac, when we were 12 yrs old. It has lots and lots o' facts on this pint sized drummer, but now hes about 15 yrs old, and has changed a lot! so hopefully theyll make another Zac attack! besides all of the great info, this has a 16 page (front & Back) color photo insert and black and white photos throughout!

Like I said you gotta love him!! I bought this book and finished it in one day because I couldn't put it down. I just loved all the tests,Quzzies, and all the facts. I would reccomend this book to human Beings not Aliens O.K

Hey there Hanson fans! This book is totally awesome! I love the pix in it! The info is also a little bit different too! There are 16, yes 16 pix inside!!!! Is that cool or what? This author is AWESOME for a unautherized writer!

~Soni

P.S. This book rocked!!!! It also had funny stories about Zac and his bros!

I want to say thank you to everyone who brought this book. And I expecally want to thank the Scream Squad. Without your support we would never of gotten this far. So I just want to say thank you to all of the fans, and the fans parnents who have gotten dragged to our concerts. Thanks once more to the Scream Squad. We love you all.

Hey there Hanson fanz! This book rocked! I'm surprised that the author didn't even interview Zac herself! I love the pix and the quiz in it to see if you're the type for Zac. Very well written! There may be a tinie tiny bit of false info, but still cool!

As Zac once Said: "'Peace, Love, Happiness, and Bullet-Proof Marshmellows!!"

So much has already been said & written about this amazingly talented man that although his talents have always been savored like fine wine....talking about his painstaking incredible stop-motion animation abilities almost seems to be redundant. Suffice it to say that so many of us monster kids sat in awe of Ray's work as we watched " The 7th Voyage of Sinbad " circa 1958.Harryhausen has always accomplished more on the movie screen with his special effects techniques than computers will ever be able to do. This book lovingly details all of the richness of Ray Harryhausen----Thanks for a great book, Ray !

Computer generated effects are standard in movies now, and any big-budget action film can be expected to have plenty. We didn't always have computers, so the effects such as putting fantasy creatures on the screen, like King Kong, had to be done with meticulous stop-motion filming, whereby a movie frame picture would be made of a model Kong, then the model's arm would be slightly raised, one more frame of the movie shot, and the process repeated until a smooth arm movement could be seen when the entire strip of film ran. It was Willis O'Brien who animated Kong and many other creatures in early movies. It was Kong who inspired Ray Harryhausen to start making stop-motion films. In _Ray Harryhausen: An Animated Life_ (Billboard Books), Harryhausen and Timothy Dalton tell the story of Harryhausen's entire career, including his humble beginnings. He was crazy about dinosaurs as a kid, and at the age of thirteen, he was taken by his mother and aunt to see _King Kong_. He studied up on the movie's techniques afterwards, and started making his own movies, first using a home camera that he could merely hope took only one frame at a time when he tapped it, and then purchasing his own 16 mm camera with a one-frame shift. He was one of those lucky kids who knew early what he wanted to do in life, and was able to do it; Harryhausen was the special effects wizard behind _Earth vs. The Flying Saucers_, _Jason and the Argonauts_, and _Clash of the Titans_, among many more. This beautiful book, filled with photographs and drawings to show how the models and effects were made for each of Harryhausen's films (and pictures of the artist's work as a thirteen-year-old as well), is a fascinating record of a career that could only have taken place in a restricted window of time.

To start with a clearing of the record: Harryhausen's first model, a cave bear, was covered with fur cut from an old black fur coat hanging in his mother's closet, but despite reports to the contrary, his mother _did_ know all about it and _did_ give her permission beforehand. This reflects the support his parents gave him toward his youthful enthusiasm, and he is certainly grateful. Most of the book describes his work for the studios; it devotes pages and pictures to all his films, and he gives detailed descriptions of just how he managed particular shots. Harryhausen isn't boasting; throughout the book he lets us know what he thought worked and what didn't, what he is proud of and what he winces at. If stop-motion is no longer going to be an art form, it is good that we have this documentation of what he actually accomplished, for the complexity of his creations and the way they were shot is astonishing. For instance, the Hydra in _Jason_ not only had a serpentine body and a double tail requiring their own movements, but also seven heads. In every frame, the model's movements might be only a millimeter, but there were sometimes more than thirty movements to do. He would have to remember for each head whether it was in the process of going up, down, right, or left, if the mouth was opening or closing, if the neck was flexing, and so on. Astonishingly, he was so in tune with his creation that he did not keep notes on what each head was doing, except if he were taking a break at the end of a work period.

Harryhausen has real affection for his creations. He has used real animals in some films, like an iguana made to look like a giant lizard in _One Million Years BC_. The trainer in charge of the iguanas was ready to use an electric prod to rouse the usually torpid lizards, but Harryhausen would not allow any cruelty, so action could only be obtained by a little prodding. Nonetheless, it was a lot harder to get the iguanas to move in just the way he needed compared to his obedient stop-motion models; he says that using models would have been more cost-effective and more realistic, too. He refuses to call his creations monsters; they are mostly creatures who are simply out of place. Of the tyrannosaurus in _The Valley of Gwangi_, he writes that he felt sorry for him, "... because all he wanted to do was live his life and eat a few people along the way." When he had to dismantle one creature to use its armature for another in a succeeding feature, he confesses, "It always breaks my heart to have to cannibalize my models. It's like losing a close friend." Gentle, self-deprecating humor is a hallmark of all the chapters here, no matter how technical the descriptions become at times. This is a handsome, large format book suitable for the coffee table; however, along with the beautiful illustrations, the written record of work here to show how creature features were made before the computers took over will be enjoyed by any fantasy film fan.

This is a top-notch compilation of genius on the cutting edge of our cultural history.

Die-hard fans of special effects master Ray Harryhausen may recall Jeff Rovin's book "From the Land Beyond Beyond", which arrived in 1977. It was a welcome addition to the Harryhausen legacy, but was too subjective and fan-based for some tastes. Hard to believe it took almost thirty years for this definitive, color version of the Harryhausen story to arrive on the scene. Some will feel it is merely an extension of Ray's previous work, the Film Fantasy Scrapbook, and in many ways, it is, but there's so much detail here that this deluxe volume is worth picking up. Though of course modern special effects have become almost ridiculously complex, it's wonderful to hear Ray describe in great technical detail the processes and techniques he used to bring his animals and fantasy creatures to life in films like "7th Voyage of Sinbad" and "Jason and the Argonauts". He's also candid about which films worked for him (and audiences) and which somehow missed the mark. Even readers who prefer modern spectacles to Harryhausen's classical, stately epics should find something of value here, and there is plenty to inspire any animator, filmmaker, or budding cinematographer. This book isn't just a special effects guide, it's a valuable and integral part of the history of film: Harryhausen's career spanned five decades, and he worked with some of the greats in the industry--not only effects geniuses like Willis O'brien, but actors like Laurence Olivier, Maggie Smith, James Franciscus, Honor Blackman, Richard Carlson, Jane Seymour and Raquel Welch. A little pricey, but worth the cost. A must have for Harryhausen fans, naturally, but anyone interested in the movies will come away satisfied.

I just recently purchased Ray Harryhausen: An Animated Life.
Mr. Harryhausen was influenced by King Kong for his remarkable career. I was influenced by his first movie released in theaters
entitled BEAST FROM 20,000 FATHOMS. Ever since I gazed at the
incredible effects when I was six, I wanted to know why and how
something could seem so life like. Unfortunately, all I did was manage amateur special effects with an 8mm camera, but enjoyed thrilling friends and relatives with what talent I had. Now I can appreciate all the patience and imagination that this
genius has somehow transmitted to the screen. All of his movies are showcased with the wonderful behind the scenes stories and photos that made such magic in my childhood. Anyone who has ambition to follow the FX trade, should definitely read this book. Granted the technology is greatly improved today, but that even made Mr. Harryhausen seem more adept at his work. How tedious it is to move a model just a fraction of an inch until it appears fluid on the film...how educational it is to realize what props were used and what artistry was projected to make everything REAL. This coffee table book will be a treasure
in my collection of literature.

When I went and saw "Assassins" for the first time, I honestly wasn't sure what to expect. I've been a Sondheim fan ever since I began watching "Into The Woods" at the tender age of four years old... but I don't think I was sufficiently prepared for "Assassins". And that's a good thing.
"Assassins" keeps you on your toes throughout, being able to make dramatic changes from the light-hearted to the tragic in the time it takes to bat an eye. Perhaps most striking is how you come to like and sympathize with every one of the assassins, while still knowing that they all have their dangerous streak.
Moreover, "Assassins" deals with a common subject in a very uncommon way. The overall 'theme' says "Everybody's got the right to be happy." The brilliance in this statement is not in the statement itself, but within the context of the cold-blooded murderers with it has been placed. It gives us the lesser seen perspective of life from the point of view of these historical figures who had major problems with their lives and with themselves. Rare, even in the history books.
In fact, "Assassins" has been a better history lesson for me than nearly anything else. The play is very highly based on the facts of every person's life and the details of their assassination attempts. Good for theatre buffs and history teachers alike.
Go Sondheim, go!

Well, I was not very well aquainted with Sondheim, though I had heard of him. Then I was fortunate enough to be cast as Sam Byck in a production of Assassins. I have to say, the show was an experience like I can only hope to have ever again. Weidman's writing brings to life thoroughly disturbed characters in a way the audience can relate to. It shows us the world of a psychopath- looking out from the inside. My first thought was to question whether I could do justice to the material. The incredible intensity of the scenes and the forceful emotion of the songs is nearly overwhelming. From the actor's point of view, I can say only that a sense of desparation is omnipresent, even in the comedy, and that there is the feeling of a great injustice, and perhaps an epiphany that never quite came. I encourage anyone who can to try and acquire a copy of the London production( I don't know if there are any official ones, but as any theatre enthusiast knows, there are ALWAYS bootlegs), or of the new production when it becomes available, because of the added song "Something Just Broke". This incredible piece serves as an important... I think the word is catharsis. I remember crying backstage during the first show, because it put a sharp point on the events of the previous scene, where Oswald takes his shot. The play itself also brings into focus the background of the assassins, and those lesser-known souls who tried and failed( like Byck). While it won't appeal to everyone, it is definitely worth looking into for Sondheim lovers and US History buffs. And serious performers will find the songs and text rich with meaning. I recommend this show, libretto and music, to anyone with an open mind, or a love of art.

I profess to be of a young age, and those who don't know me would probably consider my experience with musical theatre to be rather inextensive. I am, however, even at a young age, a Stephen Sondheim admirer. Yet even I, whose favorite musical is the ghastly and mind-numbing masterpiece "Sweeny Todd," was not entirely prepared for the unabashed "Assassins."

Assassins combines all the would be and have been presidential assassins of the United State's history and throws them all into a timeless world where Charles Guiteau (Garfield) can chat with Leon Czolgosz (McKinley) and Sam Byck (Nixon) at a bar while John Wilkes Booth (Lincoln) reads a copy of Variety magazine. It is more of a revue than anything, but the music (which you MUST own if you're going to buy the libretto) is so moving and so powerful it actually is able to draw sympathy for Lincoln's assassin. If the prospect of feeling pity or sympathy for Lee Harvey Oswald makes you angry, Assassins is not my recommendation.

Indeed, Sondheim and Weidman sucessfully made me feel sorry for Leon Czolgosz and Booth and Oswald and nearly all the characters in the musical. Some may think it unpatriotic; I think it presents the other side to woefully biased history lessons claiming the Assassins to be vengeful madmen searching for chaos. Assassins truly brings to light what's wrong with the American dream, and for any history buff, Sondheim fan, or just plain theater fan, Assassins is a MUST have.

All I can say about this play is that it is sheer genius. I was fortunate enough to see the Broadway revival cast act it out in Studio 54, thus can safely say that the play is just as shrewd and clever onstage as it seems in the play.

The thing that often repels people from 'Assassins' is firstly its subject matter - assassins and would-be assasins of presidents of the United States - and secondly, the way it handles its subject matter. 'Assassins' neither trivializes nor glorifies its characters: what it does is examine them, and let the audience make the decision as to what prompted them to commit the crimes they did. On stage, the play is chilling - seeing "Squeaky" Fromme carve an 'M' for 'Manson' into her forehead at the end of her number with John Hinckley 'Unworthy of Your Love' does not seem disgusting; it is entrancingly horrific. And this is not even mentioning the song 'How I Saved the President', the fast-paced narrative of Giuseppe Zangara's attempt on the life of President Franklin Roosevelt: it rises to an eerie feverish pitch and ends with a jolt - literally. The singing ceases only when Zangara has been electrocuted.

I realize that the above description may seem to portray 'Assassins' as a gruesome horror-trip into history - but really, that is not what it is at all. The rises and falls of emotions in the songs (apparent in the book as well as in the play) are shrewdly placed so that the viewer can't quite bring themself to feel sorry for the assassin, exactly, more fascinated. And this is what 'Assassins' is - a fascinating look at some of the most forbidden American taboo in our country's history. The play jumps on its subject matter with surprising gusto - it does not jump delicately from point to point. It attacks its topics and does not let the audience leave unshaken.

I feel as though I should probably mention that reading the book and seeing the play live are two different things. They are both thought-provoking and interesting looks at the various assassins - but a certain emotional element is lost in the text. Not that the book is bland and dry - far from it. However, seeing Charles Guiteau dance his way up to gallows feverishly reciting his poem 'I Am Going to the Lordy' is slightly more morbid than reading it.

Highly recommended.

This review is by Crosley.

I had become very well acquainted with the score to Assassins before I read the script, and I think John Weidman may have done the impossible: he may have overshadowed Sondheim's score with his book. Don't get me wrong, the music and lyrics are phenomenal, but the book is what really matters in this one.

Assassins is an examination of the dark side of the American Dream and those it has affected, namely, those who have tried to kill presidents. Most of the assassins actually have good reasons for their efforts. The play has gained a lot of bad publicity for "glorifying assassinating the president," "being unpatriotic" and "trivializing terrible events." The play does none of these on any level. I said that some assassins had good reasons. I did not say that their actions were the right thing to do, because they weren't. However, the play rehumanizes people that society has dismissed as one dimensional madmen. Hence, the Balladeer. The Balladeer represents the traditional, one sided view of the assassins, and is used expertly. The play keeps in mind the fact that the assassins are dangerous people who should be condemned, but it also keeps in mind that they are indeed people. The scene between Csolgosz and Emma Goldman is wonderfully poignant, and allows us to see a side of Csolgosz rejected by the world, and it's things like that that make the characters much more real.

By making the characters real and at least vaguely sympathetic, the play succeeds in such a way that could never be done with demonized characters. Since the assassins are made human and just like us, Americans trying to live The Dream, they are infinetly more terrifying and frightening, because now we can identify with them, and see the clear and present danger in America.

They all have different motives, but there is one thing that ties them all together. They thought The Dream was not a goal, but something they were entitled to, and when they didn't get it, they wanted people to listen. Hence, drastic measures. Booth's anger with Lincoln is very real, and the crimes he lists against Lincoln are all true to some degree. Csolgoszs' anger at the working man's plight is completely justified, considering his working conditions and wages. Few of them have motives that we can't understand (except Moore and Guiteau), and again, they are that much worse because of it.

This is not to say that the play is not funny. Au Contraire, Assassins is one of the funnier plays I've read, mostly because it preys upon the assassins' character flaws and quirks and exploits them for some great comedy. They're even funnier if you know about the personalities of each for whatever reason. For example, regarding the scene where Guiteau hits on Moore, it was known that Guiteau hit on anything with two legs (usually unsuccessfully), and Moore, who had been married five times (each husband was more successful than the last), may have been roped in by Guiteau's line of "How would you like to marry the ambassador to France?" It's really quite good. The scenes between Moore and Fromme are priceless, as are Byck's rants into his tape recorder, hamburger in hand. "I am Unworthy of you Love" is a gorgeous song, and in context (being sung to Jody Foster and Charles Manson by John Hinckley and Squeaky Fromme, respectively), it's uproarious. Thank God for Weidman's wit, because this is a show that definetly needs comic relief.

The interesting idea that the play presents is that the assassins are just as American as anyone else, because America is "The land where any kid can grow up to be president," and likewise, "Any kid can grow up to be his killer." Comedy, tragedy, laughs, tears, a message, great music, Assassins has it all. The scene near the end with Lee Harvey Oswald is one of the most powerful scenes I've ever read. In fact, it was recorded on the soundtrack, because it's just that important. Delaying Oswald's appearance for so long was a great move, because the audience, after being emotionally assaulted by the other 8 assassins, is finally pushed over the edge with an event that most of them were alive for and remember. The triumphant chords after Oswald's shot give me shivers every time I hear them.

Assassins is a phenomenal play that unfortunately is rarely produced. I recommend reading the script and enjoying the excellent score to people looking for something a little different (hey, that's Sondheim for you), a little funny, and a little scary. The show will live on because of its relevance, and it's a wonderful addition to the American Musical Theater.

This is a big book, full of candid photographs of some of the rawest moments in punk rock history in DC. Anyone who is interested in the history of the scene, especially Dischord, should be able to appreciate how extensive this collection of words and images is, and will enjoy the sense of urgency and life it conveys.

Without a doubt, this book is the best around on punk and hardcore. Banned in DC was put out long ago, about at the height of the infatuation with Dischord, just as that DC scene was beginning to shun itself and others, in a way.

But this collection of b/w photos is amazing. Simple and smart, the pix capture the essence of the scene, including the bands and the people. Because this music is best experienced live, the photos do it justice unlike words can.

Anyone into punk, hardcore or indie music needs to have this book. Unlike many British and 70's NY or LA punk books, Banned in DC means something to anyone who grew up on 80's and 9's underground music.

This book rocks! I feel so lucky to have grown up in the area during this time skating and listening to these legendary bands that helped pioneer and shape the domestic punk rock scene. That time in my life had such a great influence on who I am today. In what was normally a stuffy conservative area, the DC punk scene was a culture of it's own that forced me to think outside the box. I have long since left the area for the west coast, but I will never forget that time and all the great shows I saw at the 9:30. This book really helps bring those memories back to life.

I've had this book for years! I even found three pictures that have me in them!

It's a collection of photos that could be submitted after the fact - because of that, the photos were of people and bands that were around the photographer/submitter - thus the limited perspective that some reviewers commented on.

I don't think that the people taking the pictures had planned to publish something of this magnitude, and try to make a documentary of it, but the stories and pictures of people that I remember make it worthwhile. Some of these people are still very influential in the music scene.

If you want to get a feel for what it was like during the late 70's and into the 80's in the DC punk scene, this book is invaluable.

These rare photos are amazing. Cynthia Connelly's simple high-contrast black-and-whites were ubiquitous while growing up in the DC area, and for good reason--she is an awe-inspiring artist and master of her craft. The only thing that's disappointing about this book is that it features her boyfriend Ian's record label and both of their dischord-scene friends a little TOO prominently. There were (and still are)so many other bands and people doing things in DC--NOT just Dischord--many of the other small labels, promoters, and bands who maybe weren't accepted by the 'Dischordites' are ignored and as such, dismissed here. Too bad. This is a one-sided view of a very multi-dimensional, thriving musical scene.

For the completest. Bruce Spizers' second Beatles Apple publication dissects and represents the many international incarnations of the individual output of John Lennon, Paul McCartney, George Harrison and Ringo Starr whilst they were still associated with Apple Records. Sadly much of this output was merely associated with Apple due to contractractual obligations. In some cases under protest. But in those heady days beginning just prior to the saddest breakup in Rock history.. all up to the late seventies, the solo Beatles material from the four ex Beatles are among some of the most popular albums in musical history. McCartney, John Lennon & The Plastic Ono Band, Ram, Imagine, Band On The Run, All Things Must Pass, Venus & Mars and Ringo, all contain a wealth of popular hits, that were less conspicuous in the later solo Apple years. There are a few omissions, such as the Australian release of J.L. & The Plastic Ono Band (which had a unique Black & White label on Apple), but generally the material collected and presented by Mr Spizer presents an unbelieveable array of variable releases of the same albums throughout the world. It's a fascinating look at a unique era in music & memorabilia. If you love the detailed background of Beatles history, as I do. You'll read this book over and over again.

The followup to Spizer's book on The Beatles' group efforts on Apple, this goes through all of the band's solo Apple releases. Again, there's so much information here! And again, if you're not interested in all of the deep information on the various pressings, label copy, etc., you can skip it. Although you'll find that the Beatles had a lot of fun with what they did with Apple on their solo releases, and there's plenty of photos of various labels, album and singles covers, etc. I don't know where Spizer got the energy to do this 5 times (he's got 4 other similar books on Beatles releases), but I'm glad he did.

The Beatles 2nd UK lp (that became America's 1st) was released Nov. 22, 1963. The White album was released on Nov. 22, 1968. What tremendous growth in 5 years! They grew together and apart...this book will clue you in on every nuance of the solo years. Keep saying over and over, "it was only a band..."

Avid Beatles collectors who already have all the collector's guides to Apple Records may imagine they already have all they need - until they confront The Beatles Solo On Apple Records: The Stories Behind The Entire Beatles Solo Catalog On Apple Records Including Imagine, Band On The Run, All Things Must Pass And Ringo. Packed with black and white and color photos of records, vintage posters, ad illustrations and more, The Beatles Solo On Apple Records supplements extensive illustrations with meticulous background details for each recording's origins. In using the recordings to ground background history, The Beatles Solo produces a depth unequalled by competing, lighter Beatles coverage's - and insights simply unavailable in price guides alone. Not for the casual readers who seeks a light history, but perfect for the avid Beatles fan who needs to know everything about the group, it's individual members, and their recordings.

Bruce Spizer has now put together five books in this series of looks at the Beatles (and with this latest volume, the solo years on Apple in the early-mid 70's) and their relationships with record labels Vee-Jay, Capitol, and Apple.

As fans of these books know, much of each book covers very detailed, minute bits of information about the release of each LP, Single, EP, etc. The cost of the books is probably due in large part to each book being printed in complete full color on every page. A large percentage of the pages are covered with every label variation of every release. If you're not a hardcore collector intensely interested in what are usually very, very minute label differences (mostly different fonts, different perimenter print on the labels), then I have to say that some of the wow factor is missing.

What has made the other entries in this series must-have books for any Beatles scholar, even if they are not interested in label variations, is the detailed history Spizer uncovers behind the Beatles' relationship with their labels. Spizer uncovers long-forgotten or never-known stories behind how the labels devised albums or singles, and many other interesting details. His book on the Vee-Jay label's relationship with the Beatles was a complete revelation that completely changed scholars' perception of the relationship between the group and Vee-Jay, and would have been a must-have for Beatles scholars even without any pictures or illustrations of any kind.

There are interesting pictures in all of the volumes, including the "Solo Beatles on Apple" other than label variations. Pictures of alternate album covers and other artwork, as well as promotional items all adorn the pages.

"The Solo Beatles on Apple..." is perhaps a tiny bit less indispensable as compared to Spizer's other books only because it doesn't have as much revelatory information as the previous entries (particularly the Vee-Jay book and the Capitol books). All of the books contain Spizer's own reviews of the music itself, as well as basic information on the background of the songs and albums. This is the only information in Spizer's books which isn't indispensible. It's all well-written, it just doesn't offer any new information. Because the "Solo Beatles" book has a bit less of the new, wow-factor type of facts that made the Vee-Jay and Capitol books so interesting, the "Solo Beatles" book doesn't have quite as much to offer in terms of the text. Spizer admits that he came into writing the book with the opinion that the Beatles' solo work doesn't hold up well to the group's output. Listening to the albums apparently did change is mind to some degree, but I do see just a bit less enthusiasm behind the writing of this book as compared to the other group entries.

Still, between the ample color artwork and still plenty of interesting details uncovered by Spizer, this book is still a must-own for Beatles scholars and record collectors. I would give it 4 1/2 stars if I could.