Music Books

The publishing of this book is of low quality. The pages are 8 1/2 by 11" and feel about as thick as standard copy paper, perhaps a little thicker. They are held together with a plastic comb binding. When my book arrived, three of the combs had slipped out of half the pages. I stuck them back in. The font size looks like 10 and the staff is smaller than standard music. With a price of $34.00, the book should have a better binding and larger format pages.

As for as the content... it's lots and lots of variations of single note improvization over ii V I progressions. Outline No. 1 in the key of C is a descending quarter note scale starting on F, the 3rd of a Dm7, the next measure, arriving at B the third of G7 and thrid measure landing on E, the 3rd of Cmaj7. There are two other outlines, difficult to describe without music paper but very simple when seen . Variations of the outlines are shown as used by musicians such as Randy Brecker, Cannonblall Adderley, Charlie Parker, Clifford Brown, Tom Harrell, Lee Morgan, Bill Evans, Jimmy Giuffre, Tom Harrell, Paul Chambers, Sonny Stitt, John Coltrane, Kenny Barron, Lee Morgan, Clark Terry, Freddy Hubbard, Clark Terry, Dizzy Gillespie, Fats navarro, Thelonious Monk, Wes Montgomery and there may be a couple I missed. For someone wanting to copy these musicians, this book should help a lot. It looks like be-bop to me.

The exercises and examples are in several keys, but not all 12. I saw a lot in the key of C, Bb and some in Eb, maybe more. I hope this review helps you decide whether this book is for you or not. I gave it only four stars because of the binding and small notation.

I like this book. This book helps the aspiring jazz musician to be well on their way to creating good music on their instrument. Mr. Ligon uses three types of linear harmonic outlines that creates and can develop a jazz solo. I think this book is good for a beginner just starting out in learning how to improvise. It is very sound in its knowledge and presentation of it. Mr. Ligon cites many excerpts from improvised solos of very great jazz musicians to support his outlines. And there are exercises to go with it. This is important stuff for all jazz musicians to know and, I believe, it is a book that should be in any college or university teaching jazz music.
Books like this and many others prove that jazz music is NOT a mystery. Jazz is music that anyone can enjoy!

I've spent the last several months building up my jazz chops for a new gig. After getting through the song list fluidly, I set about supplying missing ingredients in my playing. Neil Olmstead's Solo Piano book supplies some. Mark Levine's Jazz Piano and Jazz Encyclopedia books supply many. This book goes where those books do not: it shows how to create ii-v-i runs that do not sound like scales and arpeggios stitched together like a crude Frankenstein's monster. It describes three very simple outlines, spends a short chapter discussing embellishments, and then takes the reader through more and more complex examples of where these outlines appear in the work of giants. My ii-v-i runs are improving as I integrate these outlines into my playing. My active listening is also improving as I learn to identify the outlines and embellishments in recordings, and practice transcribing them. You can learn this stuff the hard way, or you can use this book and start using this important secret ingredient almost immediately.

This isn't going to sound like a very intelligent and well thought out review, but if you're a professional musician and have had this experience you'll appreciate it: I don't remember too much about this book, other than that after I worked through most of it I went from not really being able to solo to being able to solo...
The specific text from the book is gone from my mind... but the concepts became part of my playing.

Connecting Chords with Linear Harmony is a great study of how to create coherent solos and well structured melodies by playing the changes and connecting the tones. As a swing based player who had to deal with being overdosed with modal theory this was the first book I ever read that really helped me play in the swing/bop/hard bop based tradition that I love.

As mentioned, the book hass become part of my playing, but I left my copy back in the States ages ago... however, the all I rememember is that I found every page to be practical and enlightening and it opened up a world of ideas. Along with Amadea's Harmonic Foundations for Jazz and Pop, I'd definitely rank it as one of the most important Jazz improv texts I've ever got (and one of the few useful ones.) - - Thank heaven its FINALLY up on Amazon - - I'm definitely getting it AGAIN !

The other reviews for this book convinced me to purchase it and they were right. Great book to understanding harmony and chords. Jackie McLean the great alto sax player said you could only do so much playing by ear. You had to learn the structure of music to really be great and this book has all the information to help move you in this direction.

this is a great practical theory primer, and the practice CDs are great!

This book gave me so mouch to chew on it will be years, if ever, before I put it down. I have played and performed on guitar for 30+ years and studied music in college and I still have discovered that the more I know, the less I know. I felt that I had hit a brick wall in playing and performing and this book gave me so many ideas and options that I had not considered. I emailed Steve Khan to thank him and got a personal response a day later. Not only does he have a lot to give in this book he is truly a nice guy. Buy the book, work at it everyday, utilize the things that work for you and become a better guitarist.

Useful material here, with plenty to keep you going for a long time. Steve gives you lots of examples on how to use triads and extentions and not just a bunch of theory. The CD's are very helpful in hearing the applications. After all, it is music and having an opportunity to hear what the material should sound like was a great aid in helping me understand the ideas.

If you already know your basic chord theory, know all your barre chords and jazz chords, play well from lead sheets, etc... then you are ready for this book. Kahn discusses the use of leading tones and the basic triad as tools for playing guitar in a combo setting. He does a good job of covering the no-man's land between rhythm guitar and lead guitar. The book is well written, in an easily accessible style, by someone who really knows what he is talking about. There are many gems sprinkled throughout these pages. If you are a beginner or weaker intermediate player, pass on this book for now and come back to it later.

First of all, let me qualify my review by saying that I am 40 years old and have been playing since I was 11, mostly classic rock, blues, and rockabilly (with a bit of jazz). This book, in my opinion, is geared toward the intermediate to advanced jazz guitarist as the text references focus on upper 4 strings to be played over a bass guitar. Cool concepts and useful stuff if you're in a jazz band. Me, I play 99% of the time as solo (fingerpicking rythyms, chord-melody solos, etc), therefore I didn't gain a lot of insite out of this book. There is a nice discussion on triads, but I already knew this concept, plus the author never tied any of it the CAGED system.

In this book Erdman strings together a series of meditations on the process of preaching, including philosophical and theological reflections, practical thoughts on preparing to preach, the art of preaching, and prayerful reflection on Scripture. I like the variety of expression this book has. Instead of being a string of "how-to" tips and tricks (though there are some in it), it avoids that kind of simplicity by broadening its scope to questions about why and how we prepare and preach in the real world.

On one level I am torn about how to rate this book. From time to time the things Erdman writes are insightful, helpful, and outright wonderful to read. His encouragement for pastors to be pastors and keep their own souls and congregations rooted in the Word of God is a sorely needed corrective for the self-help pop-psychology that passes for most preaching today. There are several chapters I will keep with me for future encouragement, and several have already influenced my own preparation (to its benefit).

On the other hand, there are ways in which the meditations don't deliver the kind of direction and insight they could have. I don't think it helps pastors very much to be encouraged to not take moral stances when clear moral issues rise to the surface of culture and church. I agree that one of the more important jobs of a pastor is to listen and listen and listen (pg. 103), but another job pastors have is to speak clarity into cultural confusion where it can be spoken. Then there are moments that seem more to be a result of a fairly tinted political view of the world rather than a biblical reflection on things. At times even prophets like Jeremiah seem to be snatched out of context to support a hesitancy to proclaim God's Word into a broken and rebellious world.

As I read I wavered between genuinely appreciating Erdman's insights and writing style, and being irritated. Sometimes irritation is good for the soul as it exposes our own shortsightedness, but I am not sure that's the kind of irritation I felt. Overall, however, I am glad this book is on my shelf.

"The best way to be a really good preacher is by not trying to be good at all."

"Go ahead, preach as badly as you can. You can't do it."

If I could just keep those two great bits of advice in healthy tension, I'll be a much better preacher this Sunday.

Knowing Chris Erdman and his giftedness, I was prepared for a great read on the "countdown to Sunday." Not only was I not disappointed, but I feel I am somehow far more prepared for the rest of my Sundays; and far more prepped to engage life and God in a number of ways. Yes, it is officially a practical book about preaching (but far from a cheesy formula or bad sermon itself), but unlike any book in this genre since Dennis Kinlaw's "Preaching in the Spirit," it is far more....it is spiritual formation woven into the stuff of daily life and world events; with a special focus on sermon preparation and preacher preparation.

Of course anyone who grasps the implications of:

1)our living "in modernity's last gasp"
2) U2's "inhabiting" their songs as an encouragement for us to inhabit the text
3) working your week so one can actually spend time with loved ones and sleep well on Saturday, and actually worship with, and enter sabbath with, the congregation
4)"our fear of each other... is at bottom, fear of death"

is a genius in my book!

The book is a model for how to work your week as the sermon grows. Interspersed among the daily guidelines are powerful prayers and fantastic theological and cultural insights. Erdman's eminently helpful suggestions and his engaging conversational tone dovetail with his loaded prophetic statements about (for example) the subtle insidiousness of extreme nationalism. He must be wrestled with.

His four page chapter on hospital visitation shines. I don't dare give it away, but I dare say it changed almost everything about the hospital visit I made today. And probably my sermon this Sunday.

And coming to view funerals as "dissent from death", as well as coming to terms with the fact that "Death would love to help us write our (funeral) sermons" refill me with the hope and life of the gospel.

I particularly enjoy that many of the author's suggestions I have stumbled onto over the years; and several of his ideas I can now incorporate and test-drive. But how I wish I had this book, and Chris Erdman as my preaching professor, twenty years ago.

But if I could eventually say with him that"I nearly always come out of my Fridays with a much clearer sense of what the Word wants to do among us come Sunday," it's not too late.

And I am already drawing from it as I teach preachers in our network.
Maybe I'll eventually practice most of it, and not just preach it.
Let the countdown begin.

Mr. Erdman is a preacher. He gives a simple outline on how to prepare sermons through the week. The book was strong in slowing down the preaching preparation. I tend to develop a sermon in one day. Maybe this is done because I preach twice and teach twice, where Erdman seems to develop one sermon a week. His book also gives a lot of grace to the minister as he encourages us to try to fail. He implores to allow the Biblical text to be the highlight of the sermon and not the illustration. He makes a good point in stating that we are too concerned about making the great sermon or making the top delivery of the material. Instead we must focus on allowing the text to mold us. The book is good as a counteraction to the success mindset in the church. It is not the best book on preaching, it is more of a book on some of the poor practices within the Christian world when it comes to preaching. If you are looking for a book to help you develop sermons, this is not the book for you. If you are a perfections when it comes to sermons, this is the book for you.

This is a great pastoral tool designed to help a pastor preach more faithfully and realistically. The author encourages the reader to preach their own sermons using their own life experiences, not the experiences or words of others.
The book is broken down into daily "spiritual formations" which help the minister focus on the sermon at hand that they will be preaching on Sunday and live the principles in that sermon.
Countdown to Sunday helps the preacher to peel off the mask they often feel forced to wear and to and be themselves. His best advice? You have to be real. It's only then you can be useful to God.

This is a good book for every new pastor to read. It should be required reading.

This is a book that all who call themselves preachers should read. It confirms those things which we know to be true about preaching and at the same time challenges the task of sermon writing. It reminds the reader of what the task of preaching is, which is bringing the Word of God to God's people, not God's people bringing a Word to God. As Erdman writes, it is more than a how to book on preaching. It offers the reader a new way of looking at the Word and how it frames our lives. As one who dares to preach and teach regularly it reminds me of the true frame of all that ministers are called to do and that is scripture. This manuscript is a challenge and a joy all wrapped into one.

Hi,
I'm happy with the book, fast shipping to my home.

First, 2 pages about how to hold your pick in your hands. Than: work on scale exercises!

It's well written, but it's still up to you: lots of practice!
Some things are less explained, but it's for the advanced player, you have to know already some basics about what scales are, how they are formed. In fact you don't need it, but it's nice to know it beforehand.
But maybe there are things explained in Creative Guitar 1 (wich i don't have), but you can follow without that book if you already can play.

I'm still at the first chapter and playing slowly, but I'm looking forward to work it out. Finally good exercises for stretching fingers and playing scales. I'm looking forward for the sweep picking and tapping exercises.

Extensive picking exercises really get your fingers doing the stuff that's tough to do. Lot's of insight from the master. Really a large number of variations on each topic so there is bound to be something that will highlight a weakness of yours. Then it's up to you to spend the time practicing them. The CD is great for improving over as well. A steal when you consider what lessons covering this material would cost.

This guitar book is great for people who kind of know a good amount about the guitar. It has many helpful tips and it contains a lot of good examples to practice.

I have been a great fan of Guthrie Govan (the author of this book) since I read his articles in the pages of Guitar Techniques magazine (also a great resource):)
I really liked the way the author summarized and verbalized the techniques that are involved in playing. For me, it was a great way to explain how each technique should look like and feel like which for this part, I believe is the sign of a good teaching technique.
This book is great for people who have played for a while and think are pretty familiar with the majority of concepts the instrument has to offer and Guthrie here throws a monkey wrench into the system. As guitarists we realize that the comibations and scale patterns are virtually endless but he offers combinations and ideas that sound melodious and musical.
I particularly liked the sections on picking (a great simple explanation of a big topic), the immitation of other instruments on the guitar (now I don't need that mandolin) and the two handed techniques deserve hours and hours of expirementation.
If you have been playing for several years and if you feel like you in a bit of a rut this one is for you.

Tear their faces off with blazing virtuousity is what you'll do when you master the techniques in this book! I have quite a few other technique books by Troy Stetina, Satriani, and Musicians Institute I believe. They are alright and have some decent and some useful information in them but have not made the impact on my guitar playing I was hoping.

Particularly useful in this book is that exercises and ideas are written in both standard notation and tablature. Sometimes its easier to see patterns in standard notation than it is in tab form; notation also helps a lot in learning the fretboard. I was worried this book would skimp on the technical side of playing and be geared more to standard scale exercises like other books I own. This is not the case. Two handed tapping, eight finger tapping even, legato picking, strange sequences similiar to those found on Vai's Passion and Warfare album, odd rhythm grouping patterns, double stops, and even how to make your guitar sound like a Hammond organ and other intruments are included.

This is a fantastic book geared to highly technical guitar playing. References to other great guitar albums are also sprinkled throughout to expand your listening library. I would highly recommend this book to anyone serious about mastering the guitar and wish I had it years ago myself. I've been playing for almost 15 years now.

I was expecting each knit to be a different pattern and was surprised to see only 2 types of patterns for tops. At the beginning of the book, there is 1 pattern for a cardigan, a pull-over and a hat/mittens (6,12 and 18mth sizes). You are basically directed to knit the particular pattern and add the mofifs as you go. So, for example, if you don't like the pullover pattern a significant proportion of the book is not useable, or you need to adapt the motifs to a pattern from another book. Adapting the motifs to a design you do like (or know that fits) is probably not a difficult task and the motifs and colours are sweet.
There is a nice range of mofif styles, with the cover picture a good indication of the types of designs in the book.

At last! Knits for "Wee Ones" without "wee" needles! I have never liked to use size 2 or 3 needles which most baby and toddler patterns call for. This book has great designs but it gives you the basic patterns first, and colors to please everyones taste.

absolutely love this book. i have made several of the sweaters and plan and plan on making more. they make wonderful presents at showers and baby gifts after. i am waiting for her next book.

This book is wonderful. It offers very basic patterns for sweaters, hats, booties, then offers the variations in design and color patterns. I now have knitted many of the patterns in this book (even adding my own variations) and the patterns are amazingly accurate, well written, and explained simply and understandably. Anyone who is looking for a book that gives simple pattern instructions, suitable for an ambitious beginner, with memorable designs that make you look like an expert, should pick this one.

This book contains so many patterns that you will want to knit you will have a diffiicult time selecting the one to do first. Each is unique with some enhancement on each. I want to knit them all even though I have no one in mind (at the present) to give them to.

Makiya is not a Zionist or a Neo-Con, so it's hard for the Manichean anti-Americans to demonize his evidence and arguments against the totalitarian-drooling status quo in the Middle East. In the first half off the book, he relays heart-breaking anecdotes about sons unable to kiss their dying mothers after a chemical attack, children raped in front of their parents, prisoners forced to drink gasoline and shot so that they would explode, children surviving mass grave shooting, all in that "noble" Arab Gov't known as Saddam Hussein's Iraq.

The second half of the book is a scathing indictment of the Edward Saids and Noam Chomskys of the world who rationalize the inhumanity all too prevalent in the Mid-East, specifically in Iraq, "Saddam was a victim, The U.S. is worse, Saddam's strong!" and all that junk. Because Makiya isn't a GOP Zionist, these criticisms are particularly strong and persuasive. The book is a much needed call on the part of Arabs and Muslims to adopt a Liberty-based morality instead of a relativistic, ethnic allegience based morality. A good book for all to read.

As an arab-american familiar with the brutal insanity of Saddam Hussein's regime, I've always been puzzled by the Arab talking heads who routinely criticize the U.S. for it's targetting of Iraq. Makiya's writing was instrumental in helping me understand this in somewhat deeper terms than simple anti-americanism, though his insightful and revealing writing has only heightened my frustration.

Regarding the current political climate: You can certainly question the U.S.'s motives, but if you find yourself struggling to find "smoking guns" vis-a-vis terrorism and WMDs to ethically support replacing Saddam's regime, look no further than this book.

Beautifully written; there are points at which you will literally be moved to tears.

Now that the American government is controlling Saddam's infamous Abu Ghraib/Ghurayb prison, the site of many atrocities like those described in Cruelty and Silence, we owe it to ourselves to study the crimes against humanity that were perpetrated there. Arguments about whether the old death chamber should be destroyed or maintained for future generations go without much notice in the United States, as do the reports of ongoing investigations to insure we follow legal guidelines in handling the prisoners we now hold at Abu Ghraib. We owe it to ourselves to operate this facility in a manner which testifies to our philosophy and way of life. And when we question ourselves, the cause in Iraq, the price we pay, the chances of success, we should understand the nature of the vicious regime which created the dysfunctional and factionalized Iraqi society we see today. Cruelty and Silence helps us develop a long-term perspective to the challenges ahead.

This is one of the best books I have read all year. Ten years old, it is still agonisingly relevant. In its bearing witness to human cruelty, human indifference but also human courage, it is as unflinching, as passionate and as magnificent as the works of Primo Levi. Beautifully written, meticulously observed, focussed on people, not abstractions, it is a book that haunts me and will continue to do so for a long time to come. If you have any doubts at all about the rightness of invading Iraq, read this book. There will be no doubts left, only a terrible regret that the ousting of the Saddam regime was not done long, long ago.

Makiya achieves two goals in this 1993 book: he details the "rising curve of cruetly" in Iraq under the rule of Saddam Husein and more broadly throughout the Arab world, and he castigates Arab intellectuals for their silence on this topic.

Even though it is 13 years old, this book is highly relevant today for people trying to understand the middle east. Makiya warns that "Sunni-Shi'i hatred is today [in 1993] the most virulent potential source of new violence," thus accurately predicting Iraq's current quandry. Iraq's Sunni minority will "fight to the bitter end before allowing anything that so much as smells of an Islamic reupblic to be established in Iraq. They see in such a state -- whether rightly or wrongly is irrelevant -- their own annihilation." I wonder if the Bush administration was aware of this viewpoint as it planned the invasion of Iraq.

The book tackles the topic of cruetly through several first-person accounts, including a survivor of the Iraqi occupation of Kuwait, an Iraqi arrested and interrogated by the secret police, and Kurdish witnesses to chemical attacks and mass deportations and shootings. The reader learns about the anarchy of the intifada, the brief and unsuccessful uprising against Saddam in the aftermath of the 1991 Gulf War, where rebels resorted to wanton vengence-killing, and the returning security forces were paid cash bonuses for killing Shi'i males. Based on documents captured by Kurdish fighters, Makiya analyzes the efforts of the Iraqi regime to eliminate the Kurdish independence movement as a threat to B'athist hegemony, an operation code-named "Al-Anfal," a reference from the Koran to parceling out the spoils of war, which appears to have involved the razing of thousands of villages, as well as the killing of 100,000 non-combatants. The author also touches on violence against women, a widespread problem in the mid-east, and apparently a tactic that the Iraqi regime institutionalized as a strategy for dishonoring entire families.

On their own, these stories are chilling, just like other historical accounts of terror and genocide. They are even more disturbing when one stops to consider the implications for peace and prosperity in the middle east today. Makiya notes that the "terrible force of memory...tends always to sow dragons' teeth in the shape of the children and survivors of the dead," and he warns that the legacy of Saddam Husain for Iraq may be a continuation of violence, terror, cruelty, and silence.

In the second part of the book, Makiya takes Arab intellectuals to task for their support of Saddam during the Gulf War and for their wilful ignoring of the violence and terror that characterized his regime and that are all too prevalent throughout the middle east. Ideologies based on cultural nationalism, which ignore the importance of human rights, are "morally bankrupt," in Makiya's view. I found his arguments persuasive, although to be fair I have not read the writings of those he criticizes.

writen as well as the music, in depth from early school days to 1989. beutiful pictures not just for a cure fan but for anyone wants to read about interesting people.

This book is the "definitive version" of the first ten years of the band we all know and love, The Cure. It takes us from Robert's early school days to the height of 1986, without leaving anyone behind. By far, the best biography to date, but another is in the works.

Ever since I became a Cure fan I had always wondered if Robert or any of the other band members had a biography, marking the major turning points of their musical careers.... And I guess that my question has been answered ever since I first heard about this crucial book. It lives up to what everyone has said about it, and I just got it yesterday from my friend Ben actually!(Thanks again! You're a sweetie!!)
What can I really say that hasn't been said already? It starts out in the late 70's, the original band members were in the middle of high school and already showing major signs of music excellence. Robert showed obvious signs of his intrest in music around his 10th grade year, and this book clearly highlights his journey to the top. I personally think it's quite intresting to read about their rise to fame and the obstacles they had to encounter along the way. I don't want to give out any spoilers so you all will just have to find out of yourselves the stories in here (oh yeah, there's a hilarious one that concerns Lol and Billy Idol... I almost fell over laughing!!)
This treasure is full of surprises and just about anything else you won't expect to hear. And, lets not forget the oh so needed eye candy!! It's practically exploding with tons of rare, great pictures... Color and black and white. The cute as hell baby pictures are a perfect ending. I especially love the color on the cover. Just because it says it's "paper-back" does not mean that it's not durable or good-looking. First time I saw it I thought it was a hard back because the front is glossy.
The pages are made out of nice quality paper and it's really thick, so you'll have hours to spend reading it. It's a fairly large book as well, I'd say around the size of a good-sized magazine (the width being roughly 8 1/2 in. and the length being 11 in.). This book is generally hard to come across(if not impossible), so I highly urge any Cure fan who is considering on buying this to second-guess no more.
You WILL NOT find any and I mean ANY other Cure book that will be more on the mark than this one. Take it from me and millions of Cure fans alike, this book will easily become one of your most valued possesions. Also, it's important to note that this is the only site on the 'net where I've seen this book for sale (new and used).
I've tried bidding before and no matter what, I was always outbidded by like, 12 other people so just save yourself some time and not to mention money and buy this now! I wish that I would've done that a long time ago. I promise you won't be disappointed in the least!

This book is not just a The Cure fan's book, it just a great book. In depth from cover to cover with every thing from school times to kiss me kiss me kiss me. In a few words: Lovable, interesting, and just wonderful.

I have been a cure fan for as long as I remember and own several cure books, but I must say this is my very favorite, one of the most interesting I have ever read on this band."Ten Imaginary years" takes you on a journey from the very begining of the band (it even mentions how Smith and Tolhurst meet) and ends around the late 1980's when the cure play in Orange, France.
Members of the band talk about their experiences with being in the world of music,their musical inspirations, life on the road, bad managment,fights,bar hopping, drinking binges (hilarious!!!), making of their videos, family life and the very unusual characters and situations they have been in along the way.
This was one of my first cure books , so I absolutely recomend it to the new cure fan and for the old cure fan, its a must have. It has great pictures (including childhood pictures form all members!!), a discography at the end of the book and lots of information about the members I had no idea about. Most important of all this book is extremely humorous.This book is the real thing, it revelas all unapologetically. You will love it!!!!!

The focus of this book is the automobile crash that ended the life of actor James Dean. Dean only ever made three movies but those three had a huge impact on folks of that period.

In any case, the details given here will present you with a clearly defined account of why and how this youth noir-icon died.

He was on his way to a race, in a racecar, when a young man pulled out from an intersecting highway. So, the question arises, 'Was Dean's speed the cause of the spectacular crash or, was it carelessness on the young man's part who possibly failed to yield the right-of-way?' (HINT: Dean was just issued a speeding ticket about an hour or so before the crash!)

This book has plenty of nice illustrations and I found it a real page-turner of a mini-biography.

We invite you to learn more about James Dean and other Warren Beath titles at http://jamesdeanindeath.com/

I first read this book almost 15 years ago and lost the original paperback whilst at college.But I can still recall the creepy passages of Beath's descripton of Dean's death and Beath's veiled admission of his own descent into madness and obsession-the young man that Beath describes throughout the book IS the author himself because if you read his bibliography at the front,he lists NOTES ON DYING which is the thesis the character writes in the book.Bits that stick out are the Japanese business-man buying the hulk of the tow-truck that carried away the crumpled porshe after the crash and the author stealing a high-way cornice and storing it in his room,only to find it infested with hornets and flies.Quite superb.

I read this book when it first was published, so I am obviously not in the best position to critique it at least a couple years later. However, when it comes to James Dean I am an admitted addict and have read almost everything that has been published about him over the past 30 years. What makes this book a standout is that it concentrates on Dean's death as opposed to his life. It provides very detailed information re: his last ride and how his death and the subsequent hoopla surrounding it was handled. It also provides quite a lot of previously unpublished material in regard to the period immediately before and after his death. The author has saved us all a lot of pain and irritation by researching this material in a factual and precise manner.
What makes this book a positive departure from the other Dean book is that there is no psychological stuff about Dean's tortured youth or attempts to affix a death wish to him, just a lot of good hard facts. Joe Friday couldn't do a better job in that area.
The best part of this book? It sticks to the truth and makes for an interesting read.

Beath makes the death of James Dean a very personal experience for the reader. This is not a book one reads and forgets - the reader has participated in the author's passionate search for the substance behind the tragedy and the reader is changed. I'm ready for more from this author.

Appeared in Sing Out! the Folk Music Magazine, June, 2003 by Rich Warren
Scott Alarik is arguably the finest contemporary journalist covering the folk community. Alarik begins with a succinct, well-reasoned definition of folk in his introduction and moves on. (He considers the word 'folk' to include the contemporary aspect of the music, and prefers using 'traditional' or 'traditional folk music' when describing the older music.) For this book, Alarik has collected more than 300 columns primarily written for the Boston Globe (along with a few written for these pages) over more than a decade; from Dave Carter and Tracy Grammer in September 1991 to The Mammals in August 2002. As a performer himself, Scott brings considerable knowledge to the table, knowing what questions to ask and how to approach his subjects. You'll find conversations with Dar Williams, Pete Seeger, Gordon Bok, Hankus Netsky of the Klezmer Conservatory Band, a good number of Irish artists and even Patricia Monteith, station manager at WUMB. However, unlike some others writing about the community, Scott is objective without an axe to grind or a chip on his shoulder. He handles the descriptive prose and invites the artists to do the talking. While Scott removed dated references, the book does read like a collection of columns, often ending abruptly. As a newspaper writer myself, I know the brick wall of column length limitations. Many times I wished the short pieces were longer with a more graceful flow. One very distracting newspaper style element is putting one quote in each piece in large type, about 10-points larger than the body text. Obviously, the book is Boston oriented, but that should not lessen enjoyment for readers in Omaha or Sacramento. Sadly for researchers, the book is not indexed. The sub-title, Adventures in the Modern Folk Underground, captures the essence of this book. It is rich with nuggets of intelligence and insight. Scott gives us the stories behind the songs, the singers and the music. He covers a multitude of subjects, with many artists turning up in more than one chapter. Even if you never read a word, the scores of Robert Corwin's black and white photos are worth the price of admission. Corwin's lens brings to light whatever soul Alarik might miss with words. While some interest in the folk community is likely a prerequisite to an interest in this book, others would do well to understand that, in a broader sense, the folk community is a microcosm of the larger music community. There's a lot to learn here. If someone approached me wanting to know more about this music that I love so dearly, I would buy that friend a copy of Deep Community.

Author, songwriter, and folksinger Scott Alarik is fully qualified to document the current U.S. Folk Scene. His new book, Deep Community: Adventures in the Modern Folk Underground (2003), is comprised of articles he has written between 1990 and 2002 for the Boston Globe newspaper and Sing Out! The Folk Music Magazine. Black & white photographs by the noted music photographer, Robert Corwin, add immediacy and drama. Published by Ellis Paul manager Ralph Jaccodine's Black Wolf Press, Deep Community is comprehensive in scope, detailed in its appraisal, and accurately researched. There are illuminating interviews and articles here about older generation performers, musicians of every stripe, from traditional to pop, including Celtic, Klezmer, bluegrass, old timey, new acoustic, cowboy, blues, and songwriters, some Music Industry acts as well as grass roots & DYI performers, the New England dance community, managers, agents, record producers & labels, coffeehouses & commercial venues, festivals, concert promoters, folk radio, folk arts & educational organizations, and, of course, today's hottest young stars, all presented up-close & personal. Mr. Alarik writes from a valuable three-pronged perspective: his Boston Globe pieces are tailored for broad readership, his Sing Out! articles for a targeted folk music audience, and all are informed by his many years as a professional folk performer. Throughout the book, his extensive knowledge of folk music, its values, and its value to the culture is obvious. Mr. Alarik writes with insight, humor, curiosity, and profound respect for his subject. This is a fascinating, intelligent, and imminently readable book presenting ideas & perspectives that resonate far beyond the boundaries of the folk world. My only complaint is the lack of an index.

Appeared in Sing Out! the Folk Music Magazine, June, 2003 by Rich Warren
Scott Alarik is arguably the finest contemporary journalist covering the folk community. Alarik begins with a succinct, well-reasoned definition of folk in his introduction and moves on. (He considers the word 'folk' to include the contemporary aspect of the music, and prefers using 'traditional' or 'traditional folk music' when describing the older music.) For this book, Alarik has collected more than 300 columns primarily written for the Boston Globe (along with a few written for these pages) over more than a decade; from Dave Carter and Tracy Grammer in September 1991 to The Mammals in August 2002. As a performer himself, Scott brings considerable knowledge to the table, knowing what questions to ask and how to approach his subjects. You'll find conversations with Dar Williams, Pete Seeger, Gordon Bok, Hankus Netsky of the Klezmer Conservatory Band, a good number of Irish artists and even Patricia Monteith, station manager at WUMB. However, unlike some others writing about the community, Scott is objective without an axe to grind or a chip on his shoulder. He handles the descriptive prose and invites the artists to do the talking. While Scott removed dated references, the book does read like a collection of columns, often ending abruptly. As a newspaper writer myself, I know the brick wall of column length limitations. Many times I wished the short pieces were longer with a more graceful flow. One very distracting newspaper style element is putting one quote in each piece in large type, about 10-points larger than the body text. Obviously, the book is Boston oriented, but that should not lessen enjoyment for readers in Omaha or Sacramento. Sadly for researchers, the book is not indexed. The sub-title, Adventures in the Modern Folk Underground, captures the essence of this book. It is rich with nuggets of intelligence and insight. Scott gives us the stories behind the songs, the singers and the music. He covers a multitude of subjects, with many artists turning up in more than one chapter. Even if you never read a word, the scores of Robert Corwin's black and white photos are worth the price of admission. Corwin's lens brings to light whatever soul Alarik might miss with words. While some interest in the folk community is likely a prerequisite to an interest in this book, others would do well to understand that, in a broader sense, the folk community is a microcosm of the larger music community. There's a lot to learn here. If someone approached me wanting to know more about this music that I love so dearly, I would buy that friend a copy of Deep Community.

Library Journal
Alarik, folk writer for the Boston Globe and music critic for National Public Radio's Here and Now program, has compiled nearly 125 of his brief articles to capture the spirit and substance of folk music at the turn of the 20th century. Initially published in Sing Out!, the Boston Globe, and Folk Music Magazine, these sketches portray a wide range of folkies, including the well known (e.g., Joan Baez, Pete Seeger, Judy Collins, and Emmylou Harris), the seasoned veterans (e.g., Utah Phillips and Ronnie Gilbert), the up-and-comers (e.g., Bill Morrissey, Dar Williams, Greg Brown, and Chris Smither), the relatively obscure (e.g., Jerry O'Sullivan, Natalie MacMaster, and Aine Minogue), and important folk entrepreneurs (e.g., Chris Strachwitz and Ralph Jaccodine). Though focusing on singer-songwriters and the sounds of his home base of Boston, the author defines the folk genre to cover a broad expanse of musical styles, including Celtic music, bluegrass, country dance, acoustic blues, the women's music movement, and the Latin revival. He emphasizes such themes as the crippling effects of the fickle music business, the potential of the Internet for folk, the importance of tradition, the definition of folk music, gender in folk, and the sense of community engendered by folk artists. Fascinating, informative, well written, and enhanced by Corwin's photos, this book offers an essential primer to the continuing folk revival that first blossomed during the 1980s. Highly recommended to anyone remotely interested in American music, folk, and the music industry.-Dave Szatmary, Univ. of Washington, Seattle Copyright 2003 Reed Business Information.

CORRECTED REVEIW:

DEEP COMMUNITY by Scott Alarik
July 15, 2003

Reviewer: Susan E. Naiman-Pascar (see more about me) from Lynn, MA United States
"Deep Community," authored by Scott Alarik, is an incredibly insightful, exquisitely written and well put-together book, a patchwork quilt woven of stories and reviews about the modern folk genre and the music that comes out of a music community segregated (Thank goodness!) from the mainstream of the pop music culture. It has always been so, and as most mainstream music trends have been born and died, folkmusic stays ever-bouyant and followed by its loyal fans. It has evolved to include ancient, traditional, topical, blues, and merging new styles of music such as "Afro-Celtic." "Deep Community" is a DEEP examination and look inside the hearts and minds of the artists, songwriters, singers and musicians who create this music and perform it.
I have been a "folkie" since I attended my first Newport Folk Festival in the summer of 1963, entered art school in Boston that same September and Harvard Square became my "hangout." I became a member of Club 47 on Palmer Street just outside the Square and was a regular attendee every Friday and Saturday night until the club closed its doors in October of 1968. The club opened again a few years later, has changed hands several times and is presently a strong and ongoing folk establishment now known as Club Passim.
Once again I am proud to be a member and recently attended a book release and music night the club hosted for Scott's book. Present were Ellis Paul, Vance Gilbert, Robbie O'Connell, Catie Curtis, Aoife O'Donovan and Aine Minogue. To start off the evening, and between the two sets by all of the performers, Scott read exerpts about each one from his book. It has to be one of the best evenings of folkmusic I've ever attended.
Like that evening, "Deep Community" is a collection of reviews I've been reading for many years from Scott's career as Boston Globe's folk critic. The artists run the genres from Pete Seeger, Tom Rush, Judy Collins, Bill Morrissey, Joan Baez and Utah Phillips to newer and younger artists such as Ellis Paul, Vance Gilbert, Dar Williams, John Gorka, Eddie from Ohio, Christine Lavin, Richard Shindell, Patty Larkin, Dave Carter and Tracy Grammer, just to name a few.
Aside from Scott's individual, truthful, creative and unrepetitious reviews, the artists' thoughts and feelings about their reasons for being folk performers, their love of the music, and their dedication to preserving and keeping folkmusic alive are interspersed throughout the book. The book is written from Scott's own experience as a folk performer and his perspective as a gifted writer. I don't want to say too many specifics or make too many references because I want you to buy the book, read it for yourself, and see why it should be an important and integral part of your folk library.
Along with Paul Stookey's and Geoff Bartley's reviews, and artists I've personally had the good fortune with whom to discuss Scott's book, I feel there isn't enough to be said about what a folk masterpiece and fitting tribute "Deep Community" is to a medium I hold passionately to my heart and to the man who wrote it. Thank you, Scott!!!

PS.....By the way, Scott is also a talented and diversified singer/songwriter and musician in his own right. If you have a chance and he's playing in your area, be sure to catch his show. Though he often performs on his own, he also has a wonderful and unselfish habit of doing shows that showcase and expose to us folk fans several new and gifted performers on stage within one evening's entertainment.

David Boucher has written a book that examines in detail the contribution of both artists to the worlds of both literature and rock & roll. In his intoduction he looks at the progress of Cohen from serious poet to rock & roll recording artist and performer. This transition cost him status in the literary world but aided by the legendary "golden voice" and some consummate musicians it allowed him to reach a hitherto undreamed of audience.

Dylan, whom he refers to as "The Changing Man" in Chapter Three, was the chameleon-like performer who picked up, and discarded new personas and new musical styles at the drop of his very famous hat. The obvious example here is the infamous "electric tour" where Dylan was heckled and called "Judas". This abuse was, the book shows, not only for his perceived betrayal of the acoustic folk movement, but also a reaction to the contempt with which Dylan treated his audience. Dylan had always been a confrontational performer, and his response to such attacks was to become louder and less acoustic than ever. What David Boucher also shows is that this signified a shift from the community centred ethic of the folk movement to the excessive individualism and nihilism of the Beat poets who through the drug culture wanted, like Rimbaud, to experience the extremes.

In other chapters the myriad influences on both performers are examined as well as their involvement with political and religious organisations. Finally David Boucher gives us an insight into the road travelled by both men in search of their own personal salvation.

Bob Dylan and Leonard Cohen are complex men and complex performers. To listen to, or to read the works of either man is always challenging. In this book the author has written an analysis that is equally challenging exploring, as it does, the anger and the angst of the 1960s and beyond. I enjoyed every minute of the challenge.

What makes this book such a unique and significant contribution to its genre is that it is written with the insight and sensitivity of a spirit that seems deeply attuned to those of its subjects. Not only does the reader come away with a better understanding of the historical times and political contexts that shaped these men, and the personal struggles and psychological bents that motivated their writing, but also with a clearer understanding of what attracts their devotees to their work.

Throughout the book, Boucher weaves explorations of various aspects of the lives and cultural context of Dylan and Cohen that strongly affected them and their work. These include the civil rights movement, drugs, women, sexuality, God and religion, what it means to be reluctantly identified as the voice of a generation, and -- particularly for Cohen -- the holocaust. Boucher also explores the influence of other artists on their work, from Woody Guthrie for Dylan to Lorca for Cohen, as well as the influence that Dylan and Cohen had on each other.

Just as Dylan and Cohen make poetry an accessible part of popular culture, with equal skill Boucher makes philosophy of art and interpretation accessible as well. He points out that our experience of lyric poetry is informed by the questions we bring to it and he explains that the richest experience is to be had when the most appropriate questions are asked. Boucher uses the theories of several philosophers such as R. G. Collingwood, Henry Jones, and Michael Oakeshott, to identify which questions are most appropriately asked of particular works at particular moments in the artists' creative development. He also shows the fruitlessness of asking the wrong kind of questions of a particular poem, as is the tendency of many thinkers. He describes various forms of artistic expression: pseudo-art, or art as magic; art as the expression of emotion, or imaginative art; and inspirational art, or poetry which delights in images. He then demonstrates how, at various stages in Dylan's artistic development, his work takes all three forms of expression, whereas Cohen's work primarily takes the form of the last two. He then offers examples from their poetry to illustrate which form(s) of expression is/are being inhabited by a particular work and he supports his demonstrations with quotations about their work from the artists themselves.

Finally, Boucher helps to bring the period to life for his reader by including several pictures of book covers, concert and film posters, magazine covers and various photographs. The overall result of the book is that Boucher successfully positions his readers to have a richer experience and a deeper understanding and appreciation of the lyric poetry of Bob Dylan and Leonard Cohen.

The irate and intemperate person signing himself pepidude in a previous review seems incapable of being able to appreciate an argument or of understanding the nature of the exercise that David Boucher has undertaken. It is a thematic book with a wide range of references, not a book of facts about Bob Dylan.The author introduces us to the complexities of issues relating to the difference between popular music lyrics and poetry, between origins and originality, the poetry of imagination and inspiration and much more. Anyone interested in ideas and issues, and in theories as well as facts will find this book immensely stimulating and fascinating.

David Boucher's masterly work 'Dylan & Cohen' is essential reading, not simply for devotees of these 'Poets of Rock and Roll' but for anyone with an interest in the history of the radical cultural, political and musical changes in the last century.

It is clear from this eloquent book that neither Dylan nor Cohen wished to speak for anyone but themselves and equally clear that the strength of their work would be seized upon by a generation looking for a new direction. Thankfully they both continued to write through their tribulations and we have a bank of some of the most evocative music to continue to listen to.

I urge you to buy this book but with a word of warning: you won't want to stop reading once you've started.

This is an excellent study of the music and lyrics of the 2 greatest rock "poets." Boucher explores whether or not their lyrics even qualify as poetry and keeps the subject interesting! He effectively delves into their psyches,as well, without getting hung up on personal, biographical details which have been over analyzed in other places. I found the final chapter "The Religious Experience" to be some of the best writing that I've seen on Dylan and Cohen's spiritual journeys. I highly recommend this to fans of either man's work.