Music Books

Maxine Brown has created a masterpiece about the history, and characters involved in the making of Country Music. Her story is honest and heartbreaking at times. She has bumped into just about everyone who has had anything to do with the industry. She's smart, funny, honest and in some cases, unforgiving of those that have crossed her in the business. And, rightly so. Just the insight into the beginning career of Elvis Presley is worth the read. She toured with this shy kid who would become king. She gave us a glimpse into what it was like to know him before all the fame. This woman had guts to stick it out in a business that could be very unkind to women in the early days. Her determination to carve herself out a place in the business of country music is witness to her drive. The Browns hold a very important place in the history of Country Music. They influenced an entire generation, and let us not forget, were one of the first crossover sensations. Not only did they create a fire here in the States, they took on Europe with huge success as well. They lived through the rough and tumble days in Nashville when a chosen few could make or break a career. There were also good guys, like Chet Atkins who believed in the Browns, and stood up to the big studio execs to ensure that their records were made with integridy. Maxine was there to see it all, and tell it through her amazing recall. This book is an important piece of history, and should be read by anyone who calls themselves a fan of country music.

I've been a fan of the Browns ever since I was a young child in the early 1960's and my mom bought a Browns album. In recent years, I continue to enjoy the sweet harmonies brought by this incredible brother/sisters singing team.

Maxine Brown writes a riveting story of what country music was like in the 1950's, when they got started. It was a brutal, unforgiving business at the time and the Browns had their share of unscrupulous businessmen. She also writes about the relationship the Browns had with other country music singers of the day, some who have become major legends.

Very honest & open by the Author/Singer Maxine Brown. Very interesting & revealing, especially about Elvis Presley & Jim Reeves. Very good book.

Maxine Brown was part of a family country band with her brother, Jim Ed and sister, Bonnie. Their most famous recording is that of Edith Piaf's `The Three Bells'.

She writes about her early family life growing up in rural south Arkansas during the Depression. Her journey in country music and the people with whom she traveled and the songs she wrote. The people she met and performed with such as Jim Reeves, Johnny Cash, Patsy Cline and Chet Atkins. Performing on the Louisiana Hayride, at The Grand Old Opry and touring Europe. Particularly touching was the story about Jim Reeves' tragic death. It bought a new reality to his life for me.

I particularly enjoyed her stories of their encounters with Elvis Presley and how he fell in love with Bonnie and asked her to marry him. She turned him down. One particular incident was at the time of his discharge from the army when he called a press conference and invited the Browns to attend. He asked Bonnie did she wait for him and she told him `no', she was married and expecting a baby. She must have known what would have been ahead.

I absolutely loved reading this book and did it in 3 days. I love country music and it is also takes a look at the background of some of the great American country performers and the people involved with their careers.

Here in Australia we only see the end result of some the greats and have no idea what life was like for budding country singers in America.

I found this book while listening to WSM America's Country Music Station broadcast live from The Grand Old Opry. There was a live interview with Maxine promoting the book.

Thank you Maxine, for the experience.

Kudos to Maxine Brown for her fascinating no-holds-barred look at the country music industry of the 1950's and 1960's. Maxine, along with sister Bonnie and brother Jim Ed, were legendary country group The Browns, who chalked a number of hits for fifteen years, notably THE THREE BELLS, one of the biggest hits in country music history and as well as a number one pop hit for them. The Browns were all but ready to throw in the towel when they scored that monster hit. Their RCA recordings were not producing major hits. The group earlier came to success on the small Fabor Records label founded by one Fabor Robinson. Like many vocalists on small labels during the era, according to Maxine, the Browns "never made a dime" on their hit LOOKING BACK TO SEE, needless to say she has harsh feelings for Robinson "probably the sorriest b****rd then infesting the industry." She recalls a string of horrors the Browns had to put up with due to the association, so much so Robert Cochran, in the book's introduction feels to need to note country musican historian Colin Escott found similar stories from other Robinson associates in his research. Maxine titles one of her chapters "We Get Screwed" and her tales of blackmail attempts to harassment are truly astonishing.

There's lots of good times too, from dozens of close friends in the industry from Elvis Presley to George Jones and their years as the leading country vocal group. The Browns were especially close to Jim Reeves, and like Reeves they suffered from some backlash in some country circles because of their pop hits. Maxine recalls a run-in she had with Little Jimmy Dickens at a country music function during the peak of the Browns' crossover success when Dickens strolled up to them and said "What are you doing here? You Ain't country." As you might have guessed Maxine is not the type to just stand there and take that, calling him a "sawed-off son of a b***ch" which broke into a cuss fest that led to Maxine and Dickens not being on speaking terms for years although she happily notes they have since made amends.

After the Browns disband in the late 1960's and brother Jim Ed becomes a popular male star, Maxine found it difficult to launch a solo career (I personally love her only solo album SUGAR CANE COUNTY) and is surprised how quickly the industry seems to have forgotten she was one third of the hottest group in country music. Happily, the Browns have frequently reunited for concerts since the late 1980's and still perform today.

LOOKING BACK TO SEE is a great read, loaded with rare photos. Maxine writes in a friendly, talkative style and as you might guess, is as blunt as someone having an intimate conversation. This is a fairly large book - 348 pages - for a country star autobiography. The University of Arkansas (Maxine's home state and where she still lives) published this book and did a fine job with it. It's clear a local press is the way to go for country music star's of the past who might not be able to attract New York publishers. This book is a must for anyone who loves country music during it's classic "Nashville Sound" era.

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

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

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

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

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

This was an excellent read and it was great to see that somebody finally came out with a biography on Billy Strayhorn. So why the 3 star rating? Well, the author actually attempts to overemphasize Staryhorn's importance to the Ellington band (hard as that is to do).

The author unfortunately tries to paint a picture of Ellington as somebody that didn't appreciate Strayhorn's talent and put his name on Stayhorn's songs and basically didn't do much at all after the arrival of Strayhorn. This, of course, is a complete crock. Ellington wrote the vast majority of his most well known songs before Strayhorn even came into the picture ("Mood Indigo", "Sophisticated Lady", "It Don't Mean A Thing If It Ain't Got That Swing", "Rockin' In Rhythm", In A Sentimental Mood", and "Solitude" just to name a few). Are we really supposed to believe that all of a sudden Strayhorn comes and Ellington's compositional skills go down the drain and he relies on Strayhorn for everything thereafter? That's a little too much (actually way too much) to believe.

Also, if Strayhorn was truly all the brains behind the post-1940 Ellington band, then how come Ellington was still writing great works after Strayhorn's death (New Orleans Suite anyone?)? It just doesn't add up.

Duke Ellington and Billy Strayhorn were one of the greatest song writing teams of all time. Both were equally important players to the other's success after they joined together and each made his significant contributions. The author is probably a big Strayhorn fan and to make up for the lack of recognition that Strayhorn has received the author actually does a disservice to Strayhorn by overstating his importance to the Ellington band. Strayhorn accomplished so much it's just not necessary to do so.

That being said, the book is still a great source for learning about the life of Billy Strayhorn and who he was and it's great that somebody finally wrote a book on his life.

The backbone of Duke Ellimgtons music was his association with Billy Strayhorn. Where such genius came from emanates from poverty and rather ordinary family roots. This is a fascinating and beautifully documented story that completes any previous knowledge of the beauty that is Ellingtons music. Strayhorn was obviously an unrecognized genius deserving of notoriety and equal prominence.

one of the most interesting biographies I've ever read. When Billy Strayhorn was growing up in Pittsburgh he met Duke Ellington in the back of the theatre after a concert Duke performed at. He blew Duke away when Billy played the piano for him. Years later Duke would remember him and asked Billy to come out to NYC to see him. When Billy asked for directions Duke would write on a piece of paper, take the A train. While on the A train to Upper Manhattan to see Duke, Billy wrote the music for 'Take the A Train". So it goes the great collaboration between Duke Ellington and Billy Strayhorn would begin. Always in the background and never given the proper credit for all the music he wrote Billy Strayhorn would live a lush life. Travelling the world and meeting the kings and queens of the jazz world, he could be the life of the party but the applause for Duke Ellington's music would bypass him. Being black and gay back in those days was not acceptable behavior so Billy stayed in the background and Duke kept him. Billy wrote the music and Duke played it, his own personal muse. Billy loved the 3 am hour the best, it was the happiest hour of the day when you're too exhausted to care anymore and numb to everything else. A wonderful book.

i find myself always enjoying Books on People&this is no exception.very well detailed Book on a Important Composer&His Many Demons&Surroundings.I heard a few years back that Will Smith was considering doing the Bio Movie on Billy Strayhorn.it would be really interesting to see how things would come out on the Big screen.this book reflects on Music Talent&whole Life.very well done book.

This book has a lot going for it. Do you like music, swing and jazz? Do you like intersting people? Did you live through the 30's, 40's and 50's? Do you enjoy reading about that era? Do you enjoy reading a well written biogratphy? If the answer to any of these is yes, you'll like this book, it the answer is yes to several of these questions then you'll LOVE this book. David Hajdu has done an exemplary job of documenting the life of Billy Strayhorn. I really felt like I knew the man after reading this. He has done his research and he also writes with a very smooth style that keeps you intersted. I love music and I've read bios of Miles Davis, Dave Brubeck, BB King, Chuck Berry, Led Zepplin, Allman Bros. on and on. This is one of the best if not the best music bio I've read.

I bought this book because I am an adult beginner in playing music and the wonderful reviews it has. I was disappointed. The book reads much like a textbook, it is very informative and gives a lot of great facts. But don't expect to be inspired by it. It is a great resource book for me, but I was looking for a little more joy and enthusiasm on the subject of music.

This book is a fantastic resource for amateur musicians of all levels. The quotes and anecdotes are absolutely charming. I bought it about 10 yars ago when it was new: I loved it then and I love it now! Every time I pick it up I find something new. I was thrilled to see it is still available as I hadn't seen it in the stores for years.

I've had this book for 10 years, and am just now reviewing it, partly because I feel that nothing I write will do it true justice. I do, however, want to add to the great comments here and to promote what Stephanie Judy has done. This book deserves about 5 million stars, if you ask me.

Before I talk about my own musical experience, I want to say something to those who had bad early experiences with music (usually at the hands of bad music TEACHERS). Many of us who were not natural athletes can remember the humiliation of being picked last for the team and then being assigned to the outfield because we weren't good enough for the real action on the diamond. What I didn't realize until reading this book is that there are many folks that experienced similar humiliation when it came to music--maybe being told to sing softer or worse yet, being told to just lip-sync. Now I know what to say to people who tell me, "I'd love to learn to sing or play and wish I'd taken lessons as a child." I ask them to share their experience with me, and then encourage them to get their hands on "Making Music for the Joy of It." If you are one of those folks who always wanted to "do something" with music--and one of your regrets in life is that you let an early experience such as that discourage you from ever trying again until now, don't live with that regret a minute longer. Hit the "purchase" button right now. (Gee, doesn't this sound like an infomercial??) Read the first few chapters and see if you're not encouraged to go for it again. I second the reviewer who said this is a must for teachers of adult students. In fact, they should buy copies for those students as a gift and a reference.

My own musical life has been a relatively easy one. I was a pretty good singer as a child and have played the piano for nearly 35 years. While I do have to practice and work at it to stay really good, it still feels very natural to me. I don't think of a house as being a home without a musical instrument in it. But in 1992, I was in a period of my life where I had spent several years doing music for "other people" more than myself--productions at church, playing for weddings, and most of the time it was stuff that other people picked out, not me--enjoying it less, and, not coincidentally, suffering from some aches and pains in the process. I was at a crossroads--not wanting to continue with music unless I could get some satisfaction out of it again. Call it God or serendipity, but at the low point of that time, I ran across this book, bought it, and my whole attitude about music became what it was when I was a child--pure fun and joy again. The suggestions on practicing, technique, improvisation, and especially the section on ensemble playing and dealing with the inevitable ego and morale issues therein really hit me. That whole concept of "release" and separating making music from "performance" was almost revolutionary--one I still use now when I'm playing songs of my own choosing, and as much as possible with music my director assigns me. I recently revisited them when I found myself drifting into feeling like I was just a pair of hands for a couple of groups I was accompanying. This summer, I've spoken up about what I need in order to continue working with them, keeping in mind what I'd read in the book, and things are much better. While I hope to take a partial break from music "for others" this fall, the music that I do contribute to my church will be much better and I think much more appreciated.

Adding to the excellent work she's done with the narrative is an extensive bibliography and thorough crediting of her sources when she mentions a technique, idea, or concept that was not hers originally. She makes some of the more scholarly work on musicology accessible and user-friendly. And the quotes are real gems--nothing but encouragement and hope, with a little humor thrown in now and then.

In short, this is one of the ten books I'd take to a desert island. Even if I were taking a break from music for a season, I would still want this book close by to ponder on for the time I returned to civilization and my piano.

Buy it now. You won't be sorry. . .

Want to be inspired and motivated to go for it--taking up an instrument or starting again in adult life? This book will provide just that, as well as source to turn back to once embarked.

So vital is the section on finding and evaluating a teacher. They can make or break it. The suggestions here are right on and will provide the filter needed to protect against angst of teacher abuse.

Permeating it all is this theme of personal joy. What a treasure this is and to be realized at one's own pace and approach, however, this will provide some other ideas for pursuit such as ensemble and other group possibilities.

This book returns us to the basic reason why we make music: joy. The author reassures us that, no matter what level you're at, there is much to enjoy in making music. Importantly, she assures us all that it's okay to be an ameteur, semi-pro, or pro because the world needs them all. She also states that music-making is for everyone, not just the musically gifted and talented. This is a wonderfully encouraging book for anyone who is on the path to learning music.

This book is a "must have" for any oboist. It is such a well written account of the man who had more influence on the oboe world than probably any other person in history. I am not quite all the way through the book, but I am so enjoying it and I don't want to miss anything. The book itself is of such excellent quality. Only the finest materials were used in making this book. Thank you so much Ms. Storch for your excellent work!

Marcel Tabuteau: How Do You Expect to Play the Oboe If You Can't Peel a Mushroom?

A superb glimpse into Classical music in the 1950's. Interesting autobiographical notes and an intimate look at that icon of American oboe playing, Marcel Tabuteau, by a long time student, colleague and friend.

While I'm not through reading this book, I'm amazed at it in many ways. Tabuteau was perhaps the most important orchestral musician of the 20th century in that he taught and found employment for many oboe and other woodwind players. This book covers many details of his life in a readable fashion by the great Laila Storch, a student and worker of his. As a woman, she was not readily accepted by the orchestral community, but she persevered and became an outstanding oboist and musician as a result of his teaching. His methods are not readily understood by many players and I admit to some confusion at times, perhaps because of his choice of words.

Included in the book is a CD of lessons with a Danish student after he had retired. I'm eagerly looking forward to listening to it and, perhaps, learning more.

This book is a must for oboists. It is a great bargain!

Marcel Tabuteau is a name any wind player of my age (60+) has been familiar with for many years. As a teenager, I purchased the "First Chair" album with Tabuteau and other pricipal players of the Philadelphia Symphony soloing. This is a very well written and thorough book on his life that any musician, and certainly any wind player, should read.

The book offers a much needed portrait of one of the most influential woodwind players in 20th century America. All students or teachers of music should have this in their library. The historical references and personal insights are fascinating and inspiring. Ms. Storch was lucky to have had such a great teacher, and M. Tabuteau was even more lucky to have had such a dedicated, respectful student who writes well.

Yes, it had a some new things to entice the usual salacient Edie fan - I admit to being a reverent, admiring Grey Gardens ghoul myself - but didn't any of you guys think this slight (91 page) volume was a bit overpriced - even at the Amazon rate? Perhaps if Mr. Newkirk had included his DVD- " Little Edie Speaks" (and even upped the price) I wouldn't have felt a tad short changed.

I was pleased to discover that Edie's Miami Beach apartment was in a luxury complex (Harbour House) right on the beach! These condos are selling for around half a million dollars! Her condo had a large pool and the beach just beyond-it looks like it was perfect for grabbing "a couple days on the beach". Also fun was to see Edie all decked out in New York city after her move there and all manner of tidbits that fans will enjoy. It looks as though Edie lived the good life after Grey Gardens (did Jackie help?) Thanks for the book Walter!

Loved it! A very interesting memoir for any Grey Gardens fan. The watercolor illustrations are beautiful, I would love to be able to purchase a print of one. As any GG fan has realized, anyone who knew Edie loved her. Walter, so glad you did not sell her letters on ebay! A wonderful book.

WORTH WAITING FOR. CHUCKED FULL OF NEW PICTURES AND TIDBITS THAT WE NEVER READ BEFORE. THE PICTURES OF THE ACTUALL LETTERS HAND WRITTEN BY LITTLE EDIE WERE JUST A WONDERFUL SURPRISE AND DELIGHT. IF YOU ARE A GREY GARDENS FAN, OR FANATIC LIKE ME YOU MUST OWN THIS WONDERFUL TREASURE. SCRAPBOOK IS THE PERFECT WORD. THAT IS WHAT MAKES IT SO UNIQUE AND INTERESTING.

i just loved Memorabealeia,it was nice to get another glimpse of the fabulous Little Edie

I read this book from cover to cover and only set it down when I got tired. Each night I would set aside some time to join adam on his adventures growing up playing the harmonica. He talks about love gained and lost and how he first became a harp player, including some of his influences. He has a captivating writing style and brings alot of imagery to his writing. I really felt he poured his soul out onto the page and you really kind of get to know who Adam and Satan are. Not the Prince of Darkness but Sterling "Satan" Magee. The overall story really is about the awkward white boy putting himself out there to play a soulful style of music and how he went through pain and heartache to pay his dues with with his friend and bluesmate, Mr. Satan. I would highly recommend this piece of work by Adam. You should also check out their 3 albums: Harlem Blues, Mother Mojo, and Living on the River.

I could hardly put this book down to perform activities of daily living, let alone going to work. "Mr Adam" has created a masterpiece of American musical literature. Being a blues lover of many years, I was bored to death by the almost clinical approach of most writers on the subject. Not so, Mr. Gussow! He delivers a passionately honest and heart felt memoir filled with wonderfully alive and vibrant individuals, sharing with us the one true American music, the blues.

It is an amazing thing when an artist (in this case, Gussow, a writer/blues harp player) can somehow manage to make their mark despite all the confusion and hard knocks life throws at them- and they sometimes throw at themselves. This is a moving story about a burgeoning blues musician captured with excellent dialogue... Gussow has made his characters come alive and jump off the page the way writers are supposed to.

Not only is it Gussow's personal memoirs of his early years in music, but a riveting biography of one of the most unique and original blues acts in recent years- Satan & Adam. Gussow's accounts of his early music/life mentors (such as the underexposed harpist Nat Riddles) with sincerity and genuine emotion is fascinating. The telling of Mister Satan's story is a valuable contribution to blues history that could well have been lost in obscurity.

There are issues explored in this book that have rarely been expounded upon with any meaningful insight in any musician interview or book I can remember. The passages in the book where Gussow is in the middle of Harlem grappling with the rift and misunderstanding between black and white is especially poignant, particularly from his perspective as a young, white, Princeton educated "bluesman".

Although this book isn't an instructional course on technique or musicianship- for those who aren't aware- Adam Gussow is considered by many blues afficionados to be one of the best harmonica players alive today. So he's paid some dues and he knows what he's talking about.

Adam Gussow had the good fortune, the talent, street smarts and the heartfelt focus to get out there and live it- become an apprentice to a bluesmaster- just like most traditional art is passed down from accomplished teacher to eager student. I admire him for it. Mister Satan's Apprentice is a must read for any struggling musician or blues fan- it just might get you thinking about your own life's journey.

Recently it was my privilege to see author and harmonica player Adam Gussow at my local huge independent bookstore here in the Eastern US. I rarely do commercials, but if you can't catch Adam, you can check out his new novel "Mr. Satan's Apprentice". Adam calls it "a blues memoir", and so it is. The guy is a no-shit, kick-butt, street-smart harp player! FYI, I have fairly high standards in this realm. If you've seen or heard the New York duo "Satan and Adam", you'll know what I mean. The guy is ALSO a juicy and creative, energetic, sexy writer - something I'm also picky about. Princeton Ph.D. candidate - English.

Adam's book describes a journey that a few of us know, but most do not. The musician in you will relate to the tale of the emergence of deep and powerful music from the little instrument - and the romantic in you will throb with the ways the emerging harmonica player and boundary-crosser discovers the things he needs to grow musically and personally - and then sometimes fearlessly, sometimes not, sets out to acquire them. You'll meet his teachers and mentors, and like it or not, you'll see life through the eyes of this seeker of musical and personal connection. You'll go with Adam on the romantic roller coaster as loves come and go - and you'll travel with him to Paris to play in the Metro and on the street; to the American South, and to other places exotic and otherwise - including a hitch with the road company of Broadway show based on Mark Twain's Sawyer and Finn. Later we get into the recording studio with Mr. Gussow and Mr. Satan - the Harlem street mystic and one-man band who becomes Adam's main-man mentor and muse, the Mr. Satan of the book's title. Throughout the book you'll find Adam the street intellectual examining his position as a white man among black men (and black women) in this blues-filled world - an examination in which Mr. Satan plays a key role.

A book for players and lovers - of the spirit of the music, of the street; of the endless forms of beauty and love, as they are found ALL over the place. The author is one who knows, and magically, describes, many of the gut experiences we players know; to my knowledge no one's ever written quite this way about these things before. Like the performing moments, the pulling out of all the everything you've got and then some, when the audience is on it's very EDGE, right there with you; when you are truly and purely the great IT! Blowing and drawing deep, and deeper, and then high and higher; and the room is all whoops and smiles, and all there in your hand. A good player knows these things, and believe me, in a blues band, nobody gets that kind of juice but the harp player.

OK, so maybe you don't know the peak of performance grace and light - but you know your peaks, and Adam's telling can stir it back into view...

Adam Gussow writes of music, romance, conflict, and awakening in an intimately physical and heart- connected way. As a player, I'm rocked. -"Harmonica Jack" Merrylees (JMerrylees@aol.com)

In "Mister Satan's Apprentice," street musician extraordinaire Adam Gussow has left in just about everything, and it's about 40 percent too much; the book would have read far better at a sleek 250 pages. But the good stuff is really good, and the book is well worth reading despite its distractions and digressions. In his early 40s, Gussow is currently a doctoral candidate in Princeton's English department. But thousands know him as the harmonica-wielding half of the "progressive gutbucket blues" duo Satan and Adam -- three-CD recording artists, photogenic subject of any number of newspaper and magazine features, and cameo stars of the U2 movie "Rattle and Hum."

In his autobiography, Gussow gets deep inside blues, and his relationship to it, and manages to successfully translate the music into language. "Blues harmonica played well was a miniature tongued slalom, a tornado swallowed and contained," he tells us, and his words capture every bit of excitement that the grooves and notes have to offer. "Mister Satan's Apprentice" is about much more than the blues, though -- it's a provocative meditation on race from a white man immersed in a traditionally black genre, neighborhood and world. Playing around with his first harmonica, in 1974, Gussow contemplates the subtleties of playing blues. "It had something to do with being a black guy," he muses.

As the protagonist in his narrative, Gussow pales (no pun intended) next to two marvelous characters: his two mentors, Nat Riddles and Sterling "Mister Satan" Magee. Twenty-two years older than his protégé, Mister Satan is as colorful as they come. He's a visual artist and apocalyptic numerologist with a murky music-industry background, and a font of, if not wisdom, then brilliantly idiosyncratic aphorisms and soliloquies. A Harlem fixture when Gussow approaches the guitarist to jam along, he shouts and hollers, runs hot and cold, towers over other men. Mister Satan looms larger than life, but harmonica player Nat Riddles is entirely real, an odd-job taxi driver with a dazzling smile and soulful tone. "He was perpetually on the verge of becoming the blues world's Next Big Thing," Gussow writes. "A young black harp-player with the Sound." Riddles flits in and out of fortune, showing up unexpectedly to astound a New York club, phoning from somewhere in the South, destitute and desperate, surviving gunshot wounds only to eventually succumb to a cruel wasting disease.

It's the music, finally, that counts most -- Gussow gives his story its own soundtrack, one of restlessness and yearning, of his struggle to capture the Sound: "The Sound was Southern-bound, it was cocky, playful, manic, chucking, resentful, edgy, comforting, relentless. It took incredible lip strength and finesse to produce. It was sexual. It was the haunted, restless feeling of a guy's apartment late at night after the woman who used to live there had moved out. It was whatever nasty things she was doing with the other guy-a virile sensitive soulmate-this very minute. It was the best way of beating those visions back into the ghoulish cave they had crawled out of. Working hard at the Sound was a socially acceptable way of sobbing, raging, and primal-screaming from a hot heart while pretending merely to be practicing." A little of this kind of writing goes a long way, and there's an awful lot of it here. Granted, it's a real challenge to maintain a level of excitement in writing about music page after page, particularly about blues, a genre built on the same few chords locked in a repetitious groove. So it's forgivable that Gussow often leans out a little far: "The sidewalk scene dissolved; I was wandering in a garden of earthly delights, hands cupped against the sweet cold fluid air. Every bent note was a pitch-perfect arrow puncturing the gray dusk. You only live now. Blue notes danced and spun, lines endlessly unfolding like so many wrapped gifts laid bare." You have to remind yourself that he's talking about a harmonica, one of the more prosaic of instruments.

For all Gussow's breathless adjectives and action verbs, he's frustratingly vague about the technical aspects of the duo's "huge raw perfect sound." The book's photos show Gussow with effects pedals at his feet, but he makes no mention of them; he doesn't mention the basic information that he plays in "cross harp" style until page 386; Mister Satan's "phase-shifted guitar wash and deafening clatter" is described pretty much only in metaphorical terms, as, for instance, "an endlessly unrolling Persian carpet with gristle and clanks added." Gussow is so good at getting inside his playing that the narrative sags whenever it moves to other topics. A hefty amount of the bloat deals with his failed relationships. We meet mercurial crackhead Robyn and inconstant ex-fat girl Gail, but mostly there's erratic, irritable hyperfeminist Helen. Gussow tells us on page 30 that Helen left him back in 1984, so we're predisposed to dislike her, and we indeed do. "Most men had a girlfriend," he writes. "I had Aphrodite crossed with Kali the Destroyer, She of infinite ravenous limbs." Worse, the book's artfully jumbled narrative, with short sections ordered sort of sequentially on several tracks, dooms us to read about Helen over the entire course of the book. We think we're finally through with her, and then: "1983. Things with Helen had turned out surprisingly well . . ." Enough already!

In the late '80s and early '90s, a period when racial violence kept flaring up in the outer boroughs of New York City, Satan and Adam's young-old, white-black novelty made a splash, but momentum slipped away. "Minor celebrity beckoned, then faded," Gussow writes. And despite the book's vibrant cover photo of the pair, they no longer perform, according to an e-mail Gussow sent me. "[I]t's impossible to keep the act together," he wrote, noting that Mister Satan now lives in south-central Virginia and has no telephone. That's a real shame.

with so many biographies about 60s era icons coming out now regaling their bygone days and sometimes nightmarish tales of sex, drugs and r&r, it's refreshing to hear a story that is not only current, but enlightening as both author D'Mot and folkstar Donovan play their parts in bringing forth the music once again. A well written, entertaining, and easy to read book that anyone from who recalls the summer of love will enjoy.

I found this an engaging book, one that I could hardly put down once I started reading. Although this is Lucy's first published book, her writing style flows like a conversation with a friend. A friend who sees evidence of a higher mind at work in everyday happenings. I found this book strengthening my metaphysical faith in a force for good at work in the universe. This book is inspirational to all who desire to follow their own path. Lucy certainly did, but it takes much courage. A wonderful read, highly recommended.

I've been a Donovan-fan since first hearing Catch the Wind 40 years ago. My wife and I visited California two years ago and saw the tribute to Donovan and loved that too. This book tells the story of the making in an entertaining, easy to read, conversational style that makes you feel like you're sitting in the author's living room. As she describes her every day miracles, it gives one pause to take notice of the special things in our own lives that we might be overlooking. The author's humor is evident throughout. I'm touched by this this book, by Donovan's music and the tribute music and hope they all continue forever.

I found this book so compelling that I just couldn't put it down. So many of the thoughts expressed resonated with me as well. Inspiration really does come to those who seek it, and people really are drawn together for a reason - even if that reason is only understood in retrospect. So many people talk of writing a book, or pursuing some other dream, but never do it. Ms. D'Mot has led a fascinating life, and has done things others only dream of. Her courage and creativity enabled her not only to overcome grief, but to touch the lives of others in a positive way. Her life demonstrates, in a most uplifting way, that it CAN be done!

There is an old saying that a moving target is hard to hit. I think this also holds true for both life and Lucy D'Mot's book Moving Mountains. It's a great first-hand tale of being open to the universe, even while having a doubting streak. I hope this book allows other folks to be able to have the courage to listen to those voices, omens, signs (no matter what manifestation they come in) to pursue their dreams.

There are several things that stand out upon even a preliminary acquaintance with the book. The tasteful presentation of the book, the Klimt on the cover, the quality of the paper the book is printed on all exhibit careful attention to fine detail. But there is an additional quality, which I found particularly appealing.

The author unabashedly centers her attention on eternal values, such as beauty and higher aspirations of the soul. These Òold-fashionedÓ values which the author takes as given and forever relevant, our societyÑat least that part of it which expresses itself most loudlyÑdeems irrelevant and out of fashion. The bookÕs tone, with its unhurried soft-spoken concern for beauty and lofty values, strikes me as bold and courageous. For our time is interested in flashy, quick, loud and digital (that is, small and fractured and flat and two-dimensional). The society is much less interested in the quiet, the subtle and the deep, which this book espouses. The book is set against the background of the fin de siecle, only this time it is OUR own 20th centuryÕs fin de siecle! The message, whether conscious and unconscious, that the book delivers, becomes a counterpoint and an antidote to our culture.

If you know nothing or everything about music, read this book to open up a whole new world. Draper's simple, elegant writing and natural approach to her subject will inspire readers to pay attention and listen to music with a fresh approach. This is a great gift for yourself, your children, your parents, your new amour. Listening to the cds and reading the accompanying text with friends is a wonderful reason to have a series of dinner parties.
Thanks, M. Draper, for bring music back into my life through another door I didn't even know was there.

This book is full of love of music and inspiration for musicians of all ages and levels. For the historian, there are many lesser known, interesting facts. For the music student, there are words of wisdom about keeping the inspiration and love in daily practice. For the music lover just beginning to build a listening library, there are wonderful suggestions for starting a CD collection (not limited to classical music). This is a book to be read slowly, to be savored and contemplated. This book invites the reader to experience music in a very sensual way, not with ears alone, but with one's whole body, mind and spirit. It is an exploration of the possibilities of music as a mood setter, a mood enhancer, or a mood anti-dote. It is about music as a healer of physical and emotional disharmonies. It is an exploration of what is universal in music and what is highly individual.
There is something for everyone in this book. I highly recommend it as a gift to anyone interested in music.

Maureen McCarthy Draper's book is an invitation to return to the joy of listening to music in a way to set moods, to mark days of the week or to simply relax and be transported by musical experiences. This invitation includes examples via the carefully selected selections of music on the accompanying CD's which depict each of the examples of how music can soothe the soul within, or elevate the awareness of beauty in a way that no other medium can. This book reminds those of us that love music of its importance, but invites us to consider it at another level of perception and gives us the suggested methods to add to our perception.

It also makes a lovely gift to anyone who loves, and loves to share the joy of music....

Maureen Draper`s book is a jewel! In today`s time of high technology and speed, she slowed me down, called the voice of my heart and reminded me to listen to my body and to my soul. She did it all with classical music - speaking of it with great simplicity, and although i am a professional classical musician, i felt like i was entering an unknown field and wanted to know EVERYTHING about it! On the two cd`s that she recommends buying together with the book, she has chosen less known pieces, which allowed me to discover my own feelings and sense of the music, undisturbed by the familiarity of more famous pieces. She guided me through the many different landscapes of music and patiently showed me, with great knowledge and passion and tenderness, all their beauty, encouraging me, at last, to be alone in them, to observe and to fully sink in the emotions they elicited in me.

This book is an unusual, unique look into the depths of music and it makes a wonderful gift. Thank you, Maureen!

I am an adult who read this after an 8th grade boy tried to explain the plot to me. Although I knew what the "surprise" ending would be at the start of the book and the story line was so predicatable, for teens I would highly recommend it.

Fast but not manicked pace and good dialogue (although it seemed a bit forced at times for cuteness sake when the main character spoke to his parents). Character developent was thin but the old man was quite well done.

Good read. Some nice lessons. Funny. I enjoyed it.

In Notes From the Midnight Driver, the titular "Driver" is Alex Gregory, a teenage boy with divorced parents, who in a fit of bad judgment takes a drunken drive to his father's house, resulting in Alex's arrest and the decapitation of a lawn gnome. As punishment, Alex is sentenced to community service with the elderly and ailing Solomon (Sol) Lewis who is notoriously hard to put up with. Alex's daunting task is to both teach and learn a "life lesson", but Sol seems only to want to criticize and mock his newest volunteer. Eventually, however, the unlikely pair open up to each other. Through a series of letters between Alex and his sentencer, Judge Trent, Alex's progress towards maturity is revealed. He loses his selfish exterior and is able to understand friendship, love and family in a way that creates a ripple effect into the lives of his friends, his parents, and even the rough-talking Sol Lewis.

Jordan Sonnenblick, author of Drums, Girls and Dangerous Pie, proves once again to be an expert at mixing serious and sad situations of teenage life with dry wit and sarcastic humor to provide an engaging and powerful story. Sonnenblick's teenagers are detailed and realistic and he does a great job of creating likable characters that are easy to relate to, while avoiding cliches and stereotypes that run rampant in other young adult novels. Though not a true sequel, Steven and Annette from Sonnenblick's Dangerous Pie also make an appearance as back up characters in Midnight Driver and the theme of music as an outlet for teenage emotion also runs through both novels. Overall, the mixture of laughter and tears, sadness and sarcasm make the book a delightful and poignant story.

It's not often that a feel-good story with its moral out in the open gets away with a 5-star rating, but Jordan Sonnenblick's NOTES FROM THE MIDNIGHT DRIVER manages to pull it off. Simply put, the novel follows the progression of a high school junior named Alex who must do community service in a convalescent home to make amends for his drunk driving conviction and suspension of license. The cantankerous old Jewish gentleman he's assigned to (named Sol) makes life miserable for him at first, but then some revelations begin to take place, with ramifications that go beyond the convalescent home and into every aspect of Alex's young life.

Yes, you can argue that the "set-up" is a bit contrived -- having your impulsive protagonist get rip-roaring drunk, driving to his estranged father's house to tell him off, and never making it due to an unexpected date with an unfortunate lawn gnome and the emergency room of a hospital -- but all is forgiven thanks to the winning chemistry of Alex and Sol, who are like fire and ice, oil and water, nasty and naive.

As subplots, Sonnenblick provides the marital woes of Alex's parents and his own attempts to convert a "just friends" relationship with a blackbelt beauty named Laurie into something romantic. And although there's some typical YA, school-side bullying episodes, the heart of this book is in the convalescent home where aspiring guitarist Alex eventually brings music and new life to an old man stricken with emphysema (overtly) and grief (covertly).

I was ready for a predictable ending and got it -- but with a twist I did not expect. In any event, it all works and readers will buy it. It's always good to read YA fiction that's carried by characterization and not plot alone. No, not YA no one under 18 will read, but YA that they will -- and willingly. This is a great addition to any home, school, or classroom library. Recommendation: buy.

Notes from the Midnight Driver is narrated by your average teenage boy (Alex)- its bound to be funny. But when an accident brings Sol, a grouchy man, into Alex's life, the story takes a heartwarming turn. At first Alex and Sol don't see eye to eye- Sol constantly verbally slams Alex, they argue- but after a while they find one thing that holds them together- music. It's a good read for all ages- it's got old people, cars, a little romance, and lawn ornaments.

Jordan Sonnenblick keeps getting better. NOTES is the story of an angry adolescent - even angrier than most! Alex's parents have gotten divorced and after drinking an excessive amount of vodka, he's going to just drive over and tell his dad how angry he is. Luckily, he doesn't hurt anyone when he crashes the car, but now he is even angrier, because he has to spend time at an old folks' home talking to possibly the crankiest man in the whole place - Sol. Sol's tough love is hilarious, poignant, and ultimately effective. Great book, great read, great for kids just starting to drive or even just thinking about starting to drive. I'm using it with my ninth graders right now, and they love it!