Music Books

Weather you in the business or getting into it, this book is essential. Even if you have a lawyer. Good insight...

This book is so crammed with info and knowledge coupled with insight into practices of the industry and courts its like attending a credited law school.With basic torts and concideration of all parts and many elemental workings of the industry.It is a must have.

This is comprehensive & each chapter was written by another expert, so you're bound to like something!

This can be a substitute to the book: "Everything You Need To Know About The Music Business" (Donald Passman)

This book was a required text in my Legal Problems of the Recording Industry class. I'm passionate about the music industry and can give a good debate, but am far from being a "legal mind." This text is great for those, like me, are not the best students in legal courses. This text breaks down real contracts/ agreements into easy to understand formats, section by section. If it wasn't for this text I wouldn't have made an A in the course. This book should be required reading for those in the music business as well as the musicians who will be facing these agreements. Plus, it's like my professor said 'remember, everything is negotiable - don't get screwed in your contract!'

People think music business is all about creation and keeping the fans happy. Well it mostly is but a young artist can become stuck in all that legal stuff. For somebody who is new that can be very difficult and people could take advantage of this and try to cheat you so this book is about all the legal involved aspects of the music business. This book will offer you a detailed explanation of everything that concerns the people in the music business. After you read it you will know what to avoid and understand the issues as they are explained in an easy and franc manner.

At first blush this book appears to be a footnote to a writer who had an eccentric hobby. Since Professor Boyd's definitive biography some may consider that there was little else to explore. The scientific achievements of Vladimir Nabakov were not lost but perhaps overwhelmed in the literary story.
Nabakov's Blues does more than just dust off the lepidoptry papers. The book is in the final assessment a celebration of how science and research are never a sterile academic exercise but a reflection of greater issues of the beauty and elegance of intellect at work.
During the course of shedding light on the under recognized research we are reminded that the mundane work of classifying and sorting often underpins more glamorous tasks, but are also given insight into the many quiet achievers in science, who often take considerable personal risks to complete research which is part of a greater whole and leaves them only as a name in a arid catalogue.
We are too prone to identify the heros and not those who without clamor or boasting actually do the work.
Nabakov himself never "promoted" his science although he made it clear that his butterflies were an integral part of his life. We grow to specialise and those who can travel in literary circles as well as science are rare. The authors Johnson and Coates do themselves demonstrate that they too can travel the literary salons and the research laboratories, and write an elegant supplement to Professor Boyd that transcends that status to become a commentary on the man who was in many ways a true renaissance figure.

NABOKOV'S BLUES

Nabokov's Blues: The Scientific Odyssey of a Literary Genius. Kurt Johnson, Steve Coates. Cambridge, MA: Zoland Books, 1999. Pp 372 $27.00

In his Field Guide to the Butterflies of North America Alexander Klots wrote of the genus Lycaeides that "the recent work of Nabokov has entirely rearranged the classification of this genus." The response of Vladimir Nabokov, the acclaimed author of Lolita, Pale Fire and Ada or Ardor: A Family Chronicle, was "That's real fame. That means more than anything a literary critic might say."

Nabokov was born in April 1899 and his reputation as a leading literary figure of the century he was almost born in seems secure; the Random House Modern Library proclaimed Lolita the fourth greatest novel of the century and the memoir Speak, Memory, the eighth greatest work of non-fiction, thus Nabokov was the only author to feature in the top ten of both lists. It is well known that Nabokov had a strong interest in lepidoptery. Often however it is dismissed as mere dilettantism, or seen by academics and critics as a source of Freudian symbolism. Nabokov himself detested such phenomena as the crass observation that "insect" and "incest" are anagrams, and attacked "the vulgar, shabby, fundamentally medieval world of Freud, with its crankish quest for sexual symbols." Full-time lepidopterists were either ignorant of Nabokov's work or regarded it as amateur dabblings; perhaps they also felt resentment at this part-timer who was nevertheless dubbed "the most famous lepidopterist in the world."

Kurt Johnson is a lepidopterist associated with the Florida State Collection of Arthropods, while Steve Coates is an editor at The New York Times. This, their first book, fights on many fronts; it tries to restore Nabokov's scientific reputation and give some account of lepidoptery's place in his life and literary work; pleads for the oft-ignored discipline of taxonomy, more important now than ever in the light of the crisis in biodiversity; and is an exciting scientific adventure story ranging from the "incorrigible continent" of South America to the squabbles of the world of academia.

Nabokov's scientific work belongs in every sense in a different era; he represents one of the last of the gentleman naturalists. Lepidoptery was an interest inherited from his father, a prominent Russian liberal assassinated in Berlin in 1922. It remained constant throughout the upheaval of the Russian Revolution and exile in Cambridge, Germany and France. On coming to the United States in May 1940 he soon visited the American Museum of Natural History in New York City with certain puzzling specimens from Europe. In Autumn 1941 he visited Harvard's Museum of Comparative Zoology and found the collections in disarray, and first as a volunteer and then as a part-time research fellow in entomology he endeavoured to straighten it out. This was typical of the war years; considerable lacunae existed in academia and were filled with available workers with little regard for their professional training.

Nabokov's paper Notes on Neotropical Plebejinae is the key in the reassessment of his position in science. It was a pioneering classification of the Latin American Polyommatini, a diverse group of Blue butterflies with members from the tip of Chile to the Caribbean. This paper established a broad framework of genera for later researchers to insert new species. In 1948 he left the Museum of Comparative Zoology to become Professor of Russian and European Literature at Cornell University. This marked the end of Nabokov's formal association with the world of lepidoptery, and with the publication of Lolita Nabokov's fame became a two-edged sword as far as his scientific reputation was concerned.

In the 1980s a series of expeditions to Las Abejas, a jungle enclave near Dominican Republic's Haitian border, began to turn up new specimens of what were known as Blues. Over the next decade and a half, Johnson and other lepidopterists travelled all over South America, becoming increasingly aware of the crucial relevance of Nabokov's classification system to the multiplicity of new species they discovered. In these chapters the authors make us aware of the biodiversity crisis which means species are becoming extinct faster than science can ascertain their existence. The humble place of the taxonomist, seen by some as a drone of biology, is scarcely deserved, considering the importance of this work. The authors are also at pains not to judge Nabokov by the standards of today; some of his beliefs on mimicry and evolution appear scientifically unorthodox, but reflect that when he was working these issues were still being resolved.

This book will provide both enjoyment and enlightenment to any reader interested not only in Nabokov but in the relationship of the arts and sciences, the current state of natural science and the biodiversity crisis. The crucial question for Johnson and Coates is "Was Nabokov a true scholar of Lepidoptera, or merely a dilettante whose contributions were remarkable?" The casual observer might wonder how "mere" a dilettante would make "remarkable" contributions, but the question is deeper; seeing Nabokov as a scientist gives the understanding of his life and works a whole new dimension.

The authors seem to suggest that a healthy relation between CP Snow's "two cultures" requires not a facile "unity" but a deep appreciation of both the humanities and the sciences. Nabokov's quote "Does there not exist a high ridge where the mountainside of 'scientific' knowledge joins the opposite slope of 'artistic' imagination" is often quoted in this context. Far from an airy abstraction, this refers to a specific example; Nabokov's 1952 review of a book centred around the drawings of John James Audubon; Nabokov found Audobon's butterfly drawings inept, and wondered "can anyone draw something he knows nothing about?" Nabokov considered a knowledge of natural science indispensable for a truly cultured sensibility; he was shocked when his literature students at Cornell University were ignorant of the names of local trees and birds.

We see Chekhov and William Carlos Williams as doctors and as writers; we see Primo Levi as a chemist and as a writer. Johnson and Coates convincingly try to persuade us that Nabokov should be seen as a writer and as a lepidopterist. Nabokov himself said "whenever I allude to butterflies in my novels ... it remains pale and false and does not really express what I want it to express, what, indeed, it can only express in the special scientific language of my entomological papers."

I picked up the paperback of this book because I'd heard about it when it was in hardback. For anyone who is fascinated by science, literature, history, sociology and much more, they will find the blend of story, information and insight in this book satisfying and enlightening. Its never gets dull because you're reading about a historical literary figure, and his biography, tons of information about science and exploration, the scientists who completed the formative work Nabokov began at Harvard before becoming famous after Lolita, and how this all fits together in todays biodiversity crisis and squabbles over whether Nabokov was really a bona fide scientist or just an boyish aficionado. I felt I had learned a great deal from this book but also enjoyed it. It is a great blend of historical fact, new stories, and insight the into world's environmental dilemmas. I also had no idea of the complex ways in which Nabokov interwove butterflies and their images and symbols into his novels.

This book is a fun read for anyone with an interest in the personal histories that shape authors, in biology and/or in the environment and ecology. It provides great insight into the scientific passion that moved one of the more interesting figures in literature, and nicely weaves the tale of Nabokov's first passion, lepidoptery, providing many interesting biographical details (including his wonderful sense of humor!), and the modern day story of the scientists who continued his work and discovered that his scientific legacy was truly as important and inventive as his literature. It discusses the science in a way that is interesting and easily understood by the non-scientist, but does not diminish the nature of the scientific information conveyed. In addition, it shows how the science impacted the literature. How interesting that a butterfly-gathering trip would provide the backdrop for Lolita! I found this book to be very interesting, informative and entertaining, and I highly recommend it.

Nabokov's Blues by Kurt Johnson and Stephen Coates is a testament to the dogged pursuit of their art by basic scientists such as Drs. Vladimir Nabokov and Kurt Johnson who continue their efforts with minimal funding and little glamour, and the roles played by happenstance and eccentricity in substantial discoveries. The adventure stories spun by Stephen Jay Gould in Wonderful Life and Jonathan Weiner in The Beak of the Finch in high profile, well-financed disciplines, and by Mark Jaffe in And No Birds Sing and now by Johnson and Coates in Nabokov's Blues in lesser known arenas, demonstrate how events and personalities conspire. Johnson and Coates capture this process and invite the reader into this adventure as the scientists and their colleagues pursue the magic of butterflies. Nabokov's Blues is an engaging retelling of the exciting set of adventures, in the field and in museums, begun by one of the great storytellers of the 20th Century, Vladimir Nabokov. With the disclaimer of a member of a class described by the reviewer as "eccentrics and polymaths" who played a minor role in Kurt Johnson's great adventure, I cannot disagree more strongly with Richard Conniff's assertion in his February 20,2000 review in The New York Times Book Review that "the authors fail to capture the full wonder and oddity of the enterprise." This is exactly what the authors accomplish.

I love this book!!! It talks about success at music as well as success in life. Very uplifting and motivational.

This book revolutionized my life. I visited a Suzuki flute instructor and fell in love with this method. I saw how excited the children were about learning and how much joy they had. When I read the book I understood why. Dr. Suzuki has a mastery over how children respond to love and encouragement. Reading the stories in here about patience, love and encouragement changed the way I taught flute and also the way I approach life in general. I now try to emulate Dr. Suzuki's teachings in all my interactions. I would recommend this book to every music instructor, whether Suzuki or traditional, every teacher, every parent, and any person who works with or has contact with children. I bought this copy to give to a former student, to help him remember his roots as he begins his music career. I hope he will choose to emulate Dr. Suzuki's love and wisdom in his teaching.

Suzuki's philosphy is a good one, and I happen to agree with his theory of Talent Education--which posits that children are the products of their environment and that, given suitable environs and nurturing parents, the ability to do just about anything is present in all of us from birth. Suzuki likens the process of learning to perform music to a child's easy,if prolonged, acquisition of his native language. Focus is made on practice--rote and repetitive--as the key to proper traning. Short and easy to read, but there's a lot of flower-fluff and almost scientific method involved. A lot of Suzuki writing "I think" and "I feel" and "I knew" without much research or external input to back some of his arguments. The chapters here (which is essentially the same tome as "Ability from Age 0") are disjointed, and often read like a loose string of Dr. Suzuki's anecdotes as both a student and teacher of violin. Some of this may owe to the translation from Japanese. Much of it is downright naive, very preachy, and self-congratulating. In Suzuki's perfect world, ALL children are special and wonderful, and anger is "unnecessary," war is nonexistent, and love is all you need. Idealistic, if not practical, words for most of we parents who aren't exactly as Christ-like as Suzuki portrays himself to be. What the doctor seems to forget, however, is that were his advice followed to the letter and all children given the opportunity to capitalize on their ability, everyone would excel, everyone would be noble--which would be great--but then no one would be special any longer, because we'd ALL be talented little geniuses in EVERY aspect of our lives. Sadly, ours is not a perfect world. A majority of the world population live in less-than-nurturing circumstances, which ensures that some children will always grow to be miserable, angry, or in perpetual need--which in turn breeds want and war.

In short, a great inspirational book for parents and teachers, in music and in life. But if anyone can really espouse all the virtues Suzuki is selling here, they should change their name to Jesus and ascend into heaven forthwithly.

This book should be required reading for music teachers, and for parents who would like their young children to have music lessons. I teach piano and violin to young students, and I felt it was immensely helpful to me. It was a constant reminder that patience, persistance, and a deep love of music will yeild the most profound results with even my most difficult students. It is all to tempting to dismiss the abilities of a particular child, especially one who tends to be uncooperative, instead of recognizing that each child has enormous potential. The touching stories Mr. Suzuki shares of students who overcame terrible difficulties, from blindness to infantile paralysis, to play the violin as best they could, moved me more than words can say.

The book wonders between autobiography, philosophy, history of how Suzuki's philosophy developed, and technique but the message is clear. Most children's success is dependent on the culture parents create EVERYDAY at their home and for their children. The parents are the creators of culture and the culture is what is done, talked about, emphisized, supported, given time to, and encourage everyday with love. It is easier if society at large supports the culture that parents want but parents ultamately have to create their own culture for their children and the key is what is done everyday and it requires a serious investment of time.

We are what we do everyday (Suzuki is in line with Aristotle on this one). Patience, perserverance, determination shrouded in love 15 minutes a day, for a child, is better than an hour one day a week. Parents talking about it, encouraging it everyday, making it the family culture, are keys to success in music as most anything for most children. There are a lot of distractions that wish to throw our children into worshiping the vanities in this world, the best way to fight this is to create an inner dignity and harmony that comes from a serious but loving endevour everyday.

This is a great and comprehensive resource for any orchestra librarian or administrator! A Must Have!

Daniel's Orchestral Music is an amazing resource. As a music librarian, I find it indespensible. It is huge time saver, with loads of information all in one convenient package. I particularly like the updated instrumentation format, which is easier to understand and gives more complete information.

This is my bible! Could not live without it. Far surpasses all previous editions.

This book is a necessity for any conductor, orchestra librarian, or artistic director as it is an invaluable resource. It is significantly more comprehensive than the previous edition but nonetheless is a work in progress, missing many great, but obscure composers. The inclusion of the various appendixes with catagorization by duration, composer nationality, etc. are extremely useful. All being said, it is an essential part of any serious musician's library and will serve you well.

The fourth edition of Daniels' handbook is a must for anyone involved in selecting repertoire for the symphony orchestra. The appendices are extremely helpful, the precise instrumentation for percussion and auxilary instruments is valuable, and the listing of nationality, birth/death dates and places for the composers is useful. This handbook is truly a time-saving and informative reference work.

I have recieved my score for the planets suite and this score is just what I wanted. The book is about A4 size and is very easy to hold, read and handle. The print size is fine for studying the score or just scanning while you listen. I am very happy with my score.

What more can be said about Holst's masterpiece "The Planets" which has not already been said been? To be sure, the music is a work of genius; therefore, I wish to comment more about the quality of Dover's printed score. This publication is a quality product. The engraving is primo (a reproduction of the 1921 Goodwin & Tabb Ltd. original); it is easily legible, accurate, and looks wonderful. Obviously, the original engravers were at the top of their game on this one, and Dover has done a terrific job of transferring the plates; it's as clean as one could wish for in an affordable study score. Even in soft-cover, the binding is durable and the pages lay flat. The inclusion of a commentary or brief analysis would have been a welcome addition, but that is a very small gripe against an otherwise fantastic publication. I give it my highest recommendation.

I went through this score several times with multiple recordings and it is to the tee. All the movements are in the book, in concert order, the score was written out in the proper key. If you're trying to find a score for the Planets, This is the one without having to buy the actual performance score.

This Dover score presents everything in a clear and easy-to-read way even though Holst wrote some interesting things that are difficult to notate by ear! The score does open up a new world - listening to it and reading/watching the score are two different things. I was completely unaware of Holst's gigantic forces and his wonderful orchestration that is present in the score.

There's no see through on the pages (and where there is, it is only minimal). Main languages are English and Italian terms. For an 80-year old score, it's pretty impressive and in very good condition. A very good buy I must say for $10 - my friend had to pay close to $70 for her copy (both of which are exactly the same). A great bargain!

Clean, clear, large print, handsome edition of this well known and loved classic. Lists instrumentation on every page (some editions don't list the score instrumentation except for the first page. This often makes score study [especially big orchestral works like this or R. Strauss] very hard to read).

Great price as well.

This book was super amazingly crazy popular in Sweden. It was widely adored, and also made into a film. The reviews of the English translation have also been glowing, and words like "luminous" were thrown around as though they cost absolutely nothing instead of 50 cents.

I feel as though I must have missed something BIG. After I looked at the reviews (I generally don't look at 'em until after I'm done with a book) I found myself paging back through the book, looking for what everybody found so wildly new and exciting.

Don't get me wrong, I didn't hate the book. I thought that it was a nice little coming of age story, made interesting by the theme of the impact that popular music can have in the midst of isolation. The fact that it is set in Norrbotten made it particularly interesting for me. (I actually would really like to visit Haparanda sometime, but that's a different story.)

No, my issue is that I am not really sure why there is so much to love about it. I'm not sure if it is the translation or the writing, but I find the prose kind of clunky in places-- not luminous, whatever that means. It has its moments where it gathers itself to take flight, and almost succeeds. But then I found it sank back down into more predictable sociology of the far north-- saunas and schnapps and what not.

Anyhow, I would recommend the novel, but with reservations. It was a quick smooth read, and interesting enough. Particularly if you have an interest in Swedes or Sweden, it is worth the time to read.

This novel was recommended to me by fiddler Colm O'Riain and poet Pireeni Sundaralingam, both much more cosmopolitan than I. They keep in better touch with great European writing. It's as wonderful as they said it would be, and hard to describe because Vittula is truly another world, a least as Niemi portrays it. Picture kids at the far end of nowhere trying to make out the Beatles on short wave radio and practicing on broomstick guitars. Picture winter-goofy Scandinavian men with too much to drink, too long in the sweathouse, and too little to shoot at--in a funny/weird sort of way! Really, this book will take you to place you'll remember more vividly and strangely fondly than most of the places you've actually been. Take Me With You When You GoNutty to Meet You! Dr. Peanut Book #1

This is one of those gems that would never have been published in the US unless it came in with some momentum and buzz from afar. It describes adolesence, dipping deeply into the well, stringing together a series of vignettes that are well tied together. I'm a 54-year old businessman, parts of the book were agonizing and I actually found myself squinting through my fingers in raw embarassment. The wedding chapter was tremendous.
jk

Growing up anyplace isn't smooth, it isn't describable exactly. If you search your memories later, trying to ask why you did something, you can't, for the life of you, remember why. You just did it. Things happened. You tried to get to China. You mimicked the rock stars when you thought you were alone. You might even have licked cold locks---if you grew up in northern climes--- and got your tongue stuck. You were never the hero of your own legend. Well, folks, this novel captures that confusion perfectly. I've never set foot in Sweden, let alone in its far north by the Finnish border, where all the growing up takes place. But now I feel I know what it was like. Niemi's description, magical realism and all, gives you such joy, such interest, that I assure you, you will read POPULAR MUSIC IN VITTULA as quickly as you can. I haven't laughed out loud over a book so much for years. Hey, I even laughed in the Boston subway like some kind of weird, public transport cackler. But I didn't care. Kids fight in the woods with B-B guns, try to start rock bands to impress girls, experiment with sex and alcohol, get up the teacher's nose, visit scary old healers, watch the grownups pass out at huge drinkups, and dream of fast cars. In the very end, things turn out quite differently, but that's really familiar too. Most of the themes are hardly unique to the area, but it's Niemi's genius that he makes you feel it exotic and familiar at the same time. It's contemporary writing at its best and I think all readers in English owe a vote of thanks to the translator too.

You've got to have a strong stomach for a couple sections, say for example, if large piles of dead mice are not your forte. If you have ever seen Kaurismaki films like "Leningrad Cowboys Go America" or "The Man without a Past", you will recognize the same deadpan Finnish humor in Niemi's novel, whose characters are mainly from the Finnish minority in Sweden's rural north. I could recount a scene or two for the surfing reader, try to "deconstruct" whatever, go literary if I could, but your best bet would be to read the book. You will not regret it.

If you're looking for a funny and tender coming-of-age story set above the Arctic Circle, this is the book for you! It's set in Pajala, a small town in the remote Tornedalen region of Sweden, far north and near the Finnish border. The semi-autobiographical story is told through a series of twenty self-contained short stories that take Matti roughly from age 5-15 or so from the mid-'60s to mid-'70s. One is immediately given a taste of the book's style in the prologue, in which the adult Matti manages to freeze his tongue to a metal plaque atop a Nepalese mountain. He only manages to free himself (and live) by using his urine to break the bond, which then launches him into the story of his youth. The broad outlines of his experiences are similar to those of any other boy growing up in a remote place forty years ago. Life was boring and filled with hard work, some things were manly (hunting, work, fighting, hockey, eating, drinking, machines), and everything else is "women's work." If you're not good at manly things, well... at a minimum you won't fit in very well.

Of course, Matti is a little outside the mainstream, but manages to make his way with best friend Niila by his side. Where the book shines is in the the specifics of his childhood, in which wacky antics shine with humor and pathos, and magic realism rears its head every now and then. Some of the events covered include: discovering rock and roll music via the Beatles, a summer job as a mouse hunter, a raucous arm wrestling contest, an equally grueling sauna endurance contest, a sermon in Esperanto, a mind-boggling teenage drinking contest, tall tales of family prowess, a will reading degenerating into a brawl, starting a band with a cardboard guitar, the vagaries of a fundamentalist Christian sect (Laestadianism), first sexual encounters, and a BB-gun war. And let's not forget the transsexual hermit magician... All these individual parts are quite entertaining, even if they never quite add up to a complete hole. It's an amusing, and sometimes very funny look at growing up rural which would probably resonate much more with other remote cold climate dwellers than the average reader. A welcome oddball addition to the coming-of-age genre.

Note: The book was a runaway bestseller in Sweden, selling one copy for every twelve Swedes! Naturally, the book has been adapted as a film--which was co-written and directed by an Iranian who immigrated to Sweden as a teenager!

Michael Aczon is an amazing resource for all musicians and music business individuals. I have had the pleasure of talking with him about the business as well as reading his book. Each time I've had a question, I've checked the book to find my answer. The most useful information for me was the chapter discussing the difference between publishing/mechanicals/royalties. There is always a gray area for me surrounding exactly where the checks come from. This clarification was enough for me to give the book a thumbs up!

"Michael Aczon's 'Legal Companion' is an absolute necessity for anyone with the slightest interest in the music industry. Having had first hand experience in dealing with music industry legal issues, Aczon's guide is confirmation that all musicians (even professionals) should be vigilant concerning the 'business of music'. Ya gotta get this book!"

This book is a practical, user-friendly guide through the maze of legal topics that confront so many working musicians. Michael Aczon makes complicated legal issues seem a lot less intimdating, and much easier to navigate. I wish I'd had this book when I was first starting out, and will definitely make use of it in the future - very highly recommended!

This book is a must have for those in the music industry. It seperates itself from other music law texts with its clear, consise, and thorough examination of the music business. As a manager of a rock band I have relied on The Professional Musician's Legal Companion to help guide me through the music industry... which at times feels like a jungle.
Aczon's engaging writing allows valuable legal details to be easily remembered at times when I need them most.

I think the genius of Michael Aczon's book is that he neither gives nor tries to give us all the answers--he helps us to consider, raise, and articulate for ourselves the essential questions of our particular situations as professionals in a complicated industry. He provides the perfect starting point to enter into informed business relationships. In my experience hearing him speak and teach, this runs consistent with the straight-shooting and compassionate way he walks through the world. He generously empowers others with information, and he encourages them to be responsible and accountable for meaningful decisions that will impact their careers. The Legal Companion seems like his able emissary in the world, doing just that. I have found it entirely helpful, relevant, and useful in my own work.

If you are looking for a book as a one-stop answer guide for all the complex legal questions surrounding a career in music, you might be disappointed. That is not the author's intent, nor his philosophy. (It is debatable whether any single volume can do such a thing.) But if you are looking for a text written clearly that respects your intelligence and your values as an artist and businessperson, the Legal Companion will provide you with a solid foundation for making decisions about the business of your art. I highly recommend this book.

I'm not really a Stones fan, but this book is an interesting examination of what we choose to make important in our lives, how we view our own obsessions (and behaviors) relative to those around us, and if/how we finally decide to back off from them. The uneasiness Mr. Baumeister's review attributes to the book is exactly what sets it apart - it makes us ask how much is too much, and whether we are sure our protagonist is on the right side of the line.
I really liked the central role Chuch (the guitar tech) took on in the narrative, and found his story quite a jarring dose of reality, casting into sharp relief the circus he was surrounded by.
Had to deduct a star for lack of props to the bass player - give Darryl some love!

The Konrad Baumeister review gives away the ending. Do not read the 4th paragraph if you intend to read the book -- which you should.

A writer and musician, Wendy Ellison Mullen brings a very special expertise to bear in Ronnie Wood's Smile And Where It Led. A rock 'n roll insider, Wendy combines her abilities as a scholar, a writer, and a fan to share with her readers an engaging and informative account of the world of rock music with its roadies, concerts, life on the road, and the recording studios in general, and Ron Woods of the Rolling Stones in particular. Ronnie Wood's Smile And Where It Led is a terrific read from first page to last -- and one that no true Stones fan will want to miss!

Ronnie Wood is one of the true rock greats. He has played with frankly everybody of any consequence, been a key figure in the greatest rock bands then extant (Jeff Beck, Faces, Rod Stewart, Rolling Stones), released quirky and touchingly charming solo albums, and guested onstage with talents large and small. While certainly no guitar virtuoso, his playing instead is honest and personal; he plays unlike anyone else I have heard. Throughout one gets the feeling of humor, great charm, and a love of performing. I love him.

Wendy Mullen loves him too; she loves him *a lot*. And this book is really her story, not Ronnie Wood's at all.

At a Stones concert in the mid-90s, Ronnie more or less randomly smiles one of his huge ear-to-ear grins into the crowd, Cupid's arrow strikes Wendy, and a tale of obsession begins. Intrigued and fascinated, she writes a fan letter and eventually a signed photo appears in her mail! Now she's a goner. Pursuing her fascination and new raison d'etre in any way she can, she comes across fan communities on the internet, and meets varied other monomaniancs in her travels. She and some new friends begin criss-crossing the country, and then other countries, following the Stones tours, and finding imaginative and sometimes successful ways of getting decent and even afforable tickets to sold-out shows, as close to the object of their affections as they can. They camp outside of the hotels the Stones are staying at, and make fun of the obviously stalking and dangerous, pathetic fanatics who are doing everything that Wendy et al are doing, but a few feet or inches closer to the hapless band members. They hurl objects like men's briefs or scarves onstage hoping for recognition from Wood for their loyalty and love. They dodge security to get closer to the stage, or even briefly backstage.

On rare occasion, Wendy gets a word or two from one of the Stones, even from Wood (mouthed to her in some huge concert venue from stage), more often from roadies and band employees, and gets backstage more than once. [...] Once home, having been face to face with her obsession and suddenly realized the gulf between them, she decides that there is no point in going on with this type of pursuit and 'releases' poor Woody, and herself, from her love. We are all relieved, including probably Wendy's husband.

The book, which has won actual literary prizes, is well written (Mullen reminds us time and again that she has a PhD in English lit), and the author has a keen eye for detail and there is an honest appreciation of irony (as when she and her friends look down on other stalkers). I did enjoy reading it, snideness above to the contrary. But I came away actually feeling pity for Wood and for all celebrities of his rank (and he doesn't even have to deal with the adulation Jagger gets). I have met Ron Wood at art shows, and must say that he is surprisingly approachable and charming. I have met other rock stars and can say that Wood is in that way quite an exception. But I have never had any illusions that somehow I can get Woody to pick up the phone on a Friday and invite me over for a Guiness or two.

Through the flowering of her obsession, Wendy has become hugely expert on Ron Wood's music and musical career, and her website, slideonron.com is strongly recommended for any Woody fan. But this book, well written and honest and in a way innocently and then not so innocently heartfelt, made me uneasy somehow.

This book was one of those that you pick up and you dont put it down until you've finished it. I thought it was very interesting, very personal, and I really liked the story, especially the ending. It was well written, and I would highly recommend it to any Stones fan, or any music fan who has had a "fan based" relationship with a musical artist or a band. Of course, the ending was great, and how appropriate that the lyric "You cant always get what you want, but if you try sometimes, you just might find, you get what you need", couldnt be more appropriate. Well Done!
John Lewis

New Orleans resident and attorney, Bruce Spizer, has accomplished what no other Beatle fan and/or author could ever. Using his legal knowledge and access, has shed the ultimate light on the Beatles brief but fascinating time spent on Vee-Jay records. Congratulations to Mr. Spizer for cornering the market on what would otherwise be a mere footnote in the Fab's career, and for making it a wonderful read.

This is for all the beatle fans who wanted to know everything about vee jay. I do believe the Beatles on Vee-Jay is just a sentence or two in most biographies. Vee-Jay was something that the Beatles were picked up by before Capital came to their senses. However, if you want to know everything about it from the physical shape of the records in detailed description, from which warehouse a disc was manufactured, to the details of the royalty rates and how vee jay got hold of the beatles recordings and how they chose to release them. Only a lawyer can be this detailed and this good at describing the legal issues of the Beatles various contracts. The Beatles on vee-jay is a complicated matter, something someone from today wouldn't understand but the rock and roll business wasn't always so organized or money oriented, it was a much different world. A world of Singles, which don't exist anymore, a world of EPs which never caught big in America. The story how veejay marked down an ep to a singles price to help sell copies is priceless. Not only is this a book on the beatles it gives a grand idea on how rock and roll was marketed in 1963-1964. Initially you might think these are books are dull and obsessive but these books are essential, the pictures alone are worth the price of each book in the series, never mind all the text, the text is also detailed and through, remember if there's something that doesn't interest you, you may skip over that part i'm sure they'll be plenty in this book and the others that will interest you.

The story itself is absolutely mind boggling. This incredible tale has more loose ends than a rastafarian hat factory, and just as incredibly, Mr. Spizer pulls all of the threads together into a coherent whole and ties it up in spectacular fashion. The bumbling, cheating, lying, greedy characters that make up the story of how a record company missed the brass ring and lost the Beatles almost plays out like a soap opera....but it's all true! This is one of those cases where the truth is stranger than fiction. And while the story plays itself out, one is overwhelmed by the shear volume of product that an albums worth of songs engenders. If you think that Capitol "Butchered" the Beatles, you ain't read nothin' yet. The book is replete with scads of dazzling pictures of everything from record labels to court documents and everything in between. If you're a dihard Beatles fan or a just interested in stories with a twisted plot, you won't be disappointed with this book.

Wow. A great book about a little known part of the Beatles history. Most British fans will probably never even heard of the Vee-Jay records - so for that reason I suggest they well steer clear of this book. It tells the history of each record in so much detail that it is almost exhausting. Most fans will probably not care about the different labels designs and misprints on the sleeve... and which record processing plant they were made in... but to all of the Beatles collectors out there who want to know every possible thing about the band, then this book is a dream.
Not only does it cover all the ground in exhaustive detail, but it is also accurate - a not inconsiderable detail when you read about Vee-Jay in other books. For example, Bruce lays to rest some of the fables about the Introducing The Beatles album.
It is also lavishly illustrated.
Well worth the high asking price.

I received my copy of this book a couple of days ago with the similar Apple book (see my seperate review of that one). I bought it on the strength on the Author's similar Capitol volumes and boy it's amazing how much research this guy puts into his work. The Vee-Jay story was pretty much an unknown quantity to us Aussies so it's all the more fascinating to read the twists and turns of Vee-Jay's involvement in Beatlemania back in 1963-64. The chapters are mind-boggling to read. All 4 Capitol & Others vs Vee Jay legal cases are thoroughly detailed though I have skimmed through these because it's just so much to take in. The chapter on "Introducing The Beatles" was my main interest because I have a copy of the Mono Version #1 LP which I bought in an Auction here over 10 years ago. I have verified that it's the real deal thanks to this book + Perry Cox's "Beatles Price Guide". No, it's not for sale either!! The label representations and pictures of old original 45's are amazing and enough to drool over. I can't add much more than my colleague reviewers here other than you must have this and the Author's other books (On Capitol #1 & 2 & On Apple) if you're a serious Beatle nut like me. Even if you're not it's a wonderful addition to any Rock Music book library.

This book is a wonderful mixture of fictional literature combined with the political backdrop of the reunification of Germany and an insider's view of the classical music world as seen through the eyes of a student conductor, Cooper Barrow, a conservatory dropout returning to his first love, although the challenges he faces are significant. The story follows Mr. Barrow's studies with a master conductor suffering from his own demons, in Germany where the culture, language and methods are not familiar, where he falls in love with a fellow musician, which of course has its own complications. The book is extremely well written, and is a pleasure to experience, sweeping the reader into the world in which Mr. Barrow is trying to make his mark. He is tormented by his teacher, trying to learn all he can under extremely difficult conditions pitted against other student conductors in an overly competitive environment, always with the fear of failure hanging over his head. The lessons he learns take him to new heights in his musical endeavors, forever changing his perceptions of music, and through his affair, his perceptions of life.

There is a bootcamp sort of relationship between our protagonist and his tough German professor who has been through the worst of Hitler's attrocities. Both wounded geniuses need a little bit of love and a chance to realize their true talents and role as real players in the world of concertmasters. A female oboeist from Eastern Germany plays a role in both of their lives while she deals with her own deamons escaping from the East. There is real passion in the romance that occurs, but the over-riding theme seems to be the affects of the pain and suffering that some of the Germans have lived through during the reign of communism and Hitler.

Sometimes, the story seemed a bit harsh and strained, although in the end, I think it was very realistic and the outcome certainly not a stretch. And for a non-musician, there is huge and interesting insight into the world of musicians and the huge effort and talent it takes to get to the top.

Identity and power characterize both the themes of The Student Conductor and the writing itself. Ford knows the world of classical music profoundly. Everything is depicted correctly. Astonishingly, he simultaneously captures the tremulous mindset of an American in 1989 Germany. This is a novel in the mold, curiously, of Faulkner. It is about a time and a place, but it is mostly about memory and love. Like Faulkner, Ford explores both individual and collective experiences of history as well as of life and music. While perhaps not quite on Faulkner's plane, Ford is a superb writer, though given to the occasional stiff turn of phrase. This is an extraordinary novel, and ranks with Frank Conroy's Body and Soul as one of the best fictional depictions of the world of classical music.

BRILLIANT, BRILLIANT, BRILLIANT. This for me was one of those rare books that one cannot put down. I love this book. The story keeps you involved and surprised at many of the twists and turns. Mr. Ford has managed to convey such emotion through his magnificent descriptions of the times, the music, the little know world of the conductor, wonderful descriptions of the German scene and on top of all that gives us beautiful love scenes and the tragedy and politics of Nazi Germany. Bravo Mr. Ford. Your book was a true gift.

After finishing 'The Student Conductor' and replacing the dust jacket, I noticed that the front flap contained a blurb comparing its author, Robert Ford, to John Fowles. I hadn't thought of that but instantly agreed on seeing it. In fact, make it a blend of Fowles and Erich Ambler. Mr. Ford's writing exudes erudition and clever insights without even a hint of showing off or straining for effect. He effortlessly creates an authentically European ambiance and engages the reader with his characters' (and his own?) finely-tuned sentiments contrasting today's healthy Germany with its profoundly divided and dysfunctional predecessor during the cold war. In this setting Ford weaves an Ambler-like tale of intrigue involving a promising American apprentice conductor, a brilliant but unstable teacher who seems bent on surreptitiously destroying his best pupils, and a beautiful oboist with an enigmatic past.

But that's not all. Ford delivers much more than just an engaging yarn to anyone who might be curious about the trade secrets of conducting, the ambitions and anxieties of classical musicians, and the nuts and bolts of orchestra management. He has mastered the technique of using professional jargon and recondite references in such a way that the reader is gradually drawn into the psyche of the protagonist (Cooper Barrow, the student conductor) and begins to acquire an enhanced musical understanding that feels real. And in fiction, the feeling is what counts. I confess to a little thrill of edification on learning that the famous tuning note A-440 actually vibrates 443 times per second.

A trio of tiny glitches stands out only because the book is, overall, so perfectly crafted. On page 15 "lay" is used where "lie" belongs. On page 216 "lay" again appears where "laid" should be, and on page 231 "affect" incorrectly takes the place of "effect."

Mr. Ford's first novel is a treat on several levels and I am glad to recommend it with enthusiasm.