Music Books

Townes Van Zandt was a cult musician with a lot of demons like mental illness and alcoholism and drug abuse. It's all catalogued here for those who care. He left a lot of recordings, but never quite achieved the kind of fame he may have deserved. I'm not sure how thoroughly this book was researched, because I know of at least one manager of Van Zandt's who is not even mentioned. Still, it's unlikely that anything better will be done for a long time.

Hardy has written a meticulous and incisive book on TVZ that is sure to please TVZ fans. I have not read John Kruth's bio on TVZ so I cannot compare the two. Nevertheless, I was quite pleased with the ethos of this bio and am sure other TVZ fans will appreciate it in kind. Despite Hardy's obvious awe of Townes, "A Deeper Blue" does not come off unctuous. It never approaches hagiography, and comes fairly close to being quite objective. Moreover, the narrative methodically unravels, yet is consistently interesting. It is well-written and overall, offers a thorough and compelling portrait of TVZ. I'm glad I bought it.

If I had 10 or more years to do the research Hardy has done (and I could write) I would not have done better myself. I could not detect one false note or major factual error in the covering of Townes 52 years. This book is a joy to read and gives a very close account and filling in of many "missing years" that had never been shared before now. The album and song reviews are well done, and the adherence to chronology is most rewarding. Highest recommendation.

Hardy's long-awaited biography of Townes Van Zandt pretty much gets everything right. This is an excellent work. Hardy's treatment of Van Zandt's life is appropriately thorough, but it isn't at all tedious. I know that this book was exhaustively researched (and in the interest of disclosure I should say that I contributed some research). It is also clearly a labor of love - Hardy is a fan - but he has not succumbed to the tendencies of so many biographers to gush or to simply list everything he learned over the years about his subject's life.
What Hardy says about Van Zandt's song "Waitin' Around To Die" is also true about this book: The archetypical story is well-told. To the extent that Van Zandt's story is a sad one, this book, "bears the weight of its seriousness almost effortlessly. . . it is handled so deftly that there is no sense of it being maudlin." But the details of Van Zandt's drinking and drug use are not glossed over or glamorized. Hardy is objective; he doesn't vilify anyone, and he lets the narrative speak for itself.
This book is well-written, well-organized, insightful and quite moving too. It's the one to read if you're seriously interested in Townes Van Zandt. And you should be.

This is an excellent biography. Townes' story is assuredly a sad one but he left a legacy of unparalleled songs. I actually put off finishing the book for almost a month just because I didn't want to read the end...I already knew what happened but it didn't make reading a detailed account of his last days any easier.

I've also read the other biography out there, To Live's To Fly, and there's simply no comparison. TLTF was largely anecdotal and the author broke a key rule of biography writing by attempting to project his own importance into the story; Hardy has simply done an exhaustive amount of research and cites all of his sources. He presents the story and then steps aside, so this is the one to go with if you want a more factual recounting of Townes' life. 100% worth the price and read if you're a fan, and if you aren't it just might convert you.

I have read the 5 star reviews listed here and agree with them. I want to add however, that what makes this book even more special is to see the picture of the author. He is a white guy in his 60's who has simply adored Diana Ross for over 45 years. It is the vignettes he tells about his Ross sightings and meetings that add depth and warmth to this book. He also tells the reader "everything you wanted to know but didn't realize would interest you" which separates this from all other biographies on Diana Ross (for example, the films Diana was going to star in but the projects never happened.) I have read J Randy Taraborelli's 2007 biograhy Diana Ross Diana Ross: A Biography and actually suggest it be read PRIOR to Diana's Dogs, because it provides more detail in a chronological order about Diana's amazing life and career. Diana's Dogs is like finding a pearl in an oyster for a Ross fan, though. The one criticism I have is simply the title--I love the cover artwork, but I would have chose a different name, perhaps DIVA--the definition of Diana Ross. And as I stated prior, the author's personal stories were so essential that I could have read more of those as well. As a big fan, I completely identified with him, and am so grateful that he wrote and published this treasure of a book!

What I most enjoyed was the tone or attitude the author established about Diana Ross and her musical history. Maybe I mean "attitude." I'm very much interested in the cult of celebrity and how it plays out in the media, so this book seemed a natural to acquire. I'm not a big fan of Ross, but I am intrigued by "Motown" and its importance. Most of all, the author seems to relish the offbeat observation, the humorous aside, and more importantly, the jaundiced, slightly tempered satirical focus. Done lovingly (I assume), the author explores the evolution of the word "diva" as epitomized in the career of Supreme Diana Ross--an exploration that takes him into a variety of places, some not so laudatory, to be sure. Nevertheless, what he has managed to do is to encapsulate something of the shifting, evolving currents of contemporary pop media, as evidenced by the rise of black crossover music, best exampled by Diana Ross and her early days as a Supreme and later as a solo performer.

What I really enjoyed were the throwaway asides, the glib observations, the shoot-off-the-hip comments. Somehow, as the book moved along, I felt I was reading not only a personal commentary on the author's favorite singer but, as well, a sardonic, bemused speculation on the bizarre contemporary culture we now live in.

To tell you the truth, this book was captivating.

This is the most realistic book on Diana Ross I have read to date. So much about this woman that is written is either slanted too far against her or in favor of her. This book is balanced and explores Diana Ross in both positive and negative ways.

I agreed wholeheartedly with the author when he critiqued the Return to Love Tour where Diana Ross partnered with two former Supremes with whom she had never performed with in the past. It was a poor choice for her career and that certainly showed the years that followed. She should have either made the real reunion happen and do all she could to get Mary Wilson and Cindy Birdsong on that tour or not do it at all.

Still I have to say I went because I am a diehard fan! And it was great!

Even so, I love this DIVA and have since the day I heard her on the radio and watched her perform. I appreciated the author talking about how embarrassed he was to admit he was a fan of Diana Ross. I have felt that way throughout my life thinking that people would see my celebrity worship as less than and inferior to others who worship sport celebrities or classic writers or even the Beatles or the Stones.

I no longer feel this way. I am a proud fan of Diana Ross and the Supremes.

Thank you for this realistic view of this wonderful woman!

I have always been able to see the good side of this star and her "dark" side which we all have.

I was given a copy of this book by a fan who bought it, read it over night, disliked it, and said it was too negative. He knows of my love for Diana's music, so he thought I'd join him in not liking it. To the contrary, I think he misread the book's intent. Yes, there's a lot of dark stuff about the great diva, but that's what makes a diva, no? The great divas of history are bigger-than-life, impetuous, over-the-top, furious, willful, wonderful. What's also there is a lot of the great, wonderful, compelling stuff--Diana as the singular singer of our time.

But what makes me write these comments is the fact hat the book seems to be to tell a large, comprehensive story. There is so much ground covered here, there is so much information packed into the smallish chapters. It's a comprehensive look at the singer. I learned stuff I've never known before, and I've read all the bios and the magazine articles (I own them all!). I've been a fan for over 30 years, and thought I know what needed to be known about her. But the author seems to pull gossip and facts and observation together into a seamless package that somehow tells me some things I didn't know. And that takes some doing.

Oh yeah: there are no pictures inside, like in the biographies. That's why my friend handed it over (aside for the belief that it's a negative screed intended to smear the reputation of the untouchable lady). No pictures. Just commentary. Lots of it. A thousand words are sometimes better than one picture. Believe me.

A new book on Diana Ross, the Supremes, and Motown. And, frankly, a book totally different from what's been published before.

What caught my attention were the later chapters of the book--the ones dealing with aspects of Diana Ross's careers I'd never considered. Long a fan, if not a constant one, I nevertheless had read the Taraborrelli and Wilson tomes, and so I knew the story of the Supremes and of Ross herself. I admit that their viewpoints may have colored my way of looking at her, taking something away from my appreciation of her music. But this book makes me look at her in a new light. This is because of the chapters in the "Act 3" part of the book. Ifkovic has these fascinating chapters on the way the tabloid headlines depict her, how reviewers employ poetic similes to describe her, and, even more bizarre, the titles of movies she never made--but was "supposed" to make. What was "not" filmed tells us about her career. There's even a chapter on the academic papers delivered around the globe at various esoteric conferences. As well, there is material on the use of Diana (or the Supremes) as inspiration for writers, from Stephen King to Ann Beattie. I can't think of another such book on a celebrity--and I've read a bunch on celebs from British punk rockers to Hollywood luminaries-that tackles such offbeat and utterly unexpected topics.

A good read, this slight book. I also appreciate his plays on language, his delight in the pun, and his cynical disregard of the proprieties of good taste in his depictions of such Motown stalwarts as Mary Wilson. This book won't make some people happy, but its story needs to be out there.

I like the book I recemend it to anyone who is a mama and papas fan

This book was very good, but it was sad to find out how really pathetic these talented people were. John Philips was the worst of the group, what a egotistical and controlling as*hole! I was totally blown away by the actions of this famous group! I understand that this was the 60's , but not everyone was doing drugs and laying around stone out of their minds. Cass Elliott brags that she dropped acid 5 times during her pregnancy and her daughter turned out perfectly normal! She was considered a "good" mother by her friends?!! (I have to wonder what her daughter really thinks about that.) To me, being very talented is not an excuse for being irresponsible. I'm glad I read this book, It was a real eye-opener about who the Mama's and the Papa's really were.If you Love this group you HAVE to read this.

For me, a good celebrity biography has several qualities: it makes me feel I know the person better, it feels credibly researched, and it makes me glad I am NOT that person.

This is a simply wonderful biography of a great, flawed, unfortunate, amazingly talented person.

My mom went to Forest Park High School in Baltimore. Cass Elliot went there also. There is a picture of her in my mom's yearbook, 1959....Who knew? Love you Cass, always have, always will!!!

David Crosby offered the author $100 if during her research she came across anyone who disliked Cass.Needless to say,she did not collect any reward.

Her reward is knowing she has done a worthy job in presenting the essence of Cass Elliot for readers touched by the singer's amazing talent and personality.

A must-read for anyone remotely interested in Cass,The Mamas and Papas and the West Coast music scene of the mid to late 60's

EXCELENTE Transcripcion
La verdad, Para mi ESTE es el Mejor Album de Dream Theater
y tenerlo en libro es lo mejor que he tenido

Se los recomiendo mucho, esta muy completo no le falta nada
Solo practicar y practicar hasta que salga la Magia :D

MaRtYn
MTY-MEX

This book is simply what it says it is. It's note for note. I often sit down and read the book while listening to this work of art. The information found in this book is awesome...take from it the licks and chord harmonies and help shape your own playing. If you want to know how to play these songs, buy this book. Its simple.

this book is correct note by note. The fact that Petrucci edited it makes it even more amazing.

Where I really learn from Dream Theater is when I read this score while the CD is playing. Because, after all, this book really is a very thorough score for the album, allowing you to watch at least two of the parts in action (guitar and voice), plus the occasional piano part written out. Since I play both piano and guitar, and sing, it's like having a partial orchestration provided for my education. And I do learn from this music. You will, too, and that can only help your own technical ability. Of course, you really need to know how to read music (and quickly, in some sections) to read the book while the CD is playing. As Petrucci says in another book, regular practice is the greatest boost to proficiency - so if you get this book, read thru it with the studio recording, and practice regularly, you will learn how to play this music. Maybe not as well, maybe not as spontaneously, but there are so many techniques here you'll gain a solid foundation for rock playing and writing. Not a bad return on your $25 investment, as long as you're willing to put in the time, too.

Not every page is going to surprise you, because there's a lot of repetition in DT's music and usually with enough subtle variation that few shortcuts can be taken and still remain faithful to the original songs. You'll see that here. You'll also see plenty of "Riffs" and "Rhythm Figures", too. Again, the trick is to see how they constructed their songs and appreciate both the repetition and the changes.

You will learn from this book, which is an excellent transcription of the guitar and voice parts, and I think you'll enjoy it every step of the way. 5 stars simply because this is such a great resource for any guitarist's education -- and it's such great music, too.

This book is excelent. A must for all guitar players.

Julie Beard's THE DUCHESS' LOVER, is a multi-faceted, sparkling gem of a book! She deftly weaves the subplots while keeping the readers' emotions focused on the sensual, yet poignant, unfolding lovestory between a lonely duchess and her forbidden lover. Several secondary characters enliven the story with their authenticity and humor. Beard always manages to delve deeply into the dark complexities of human nature to mine out shining shards of humanity and compassion and love and hope.

Lady Chatterly isn't the only woman who loves her gardener--but Julie Beard tells a much more compelling, satisfying tale than the classic by giving us a heroine and hero who develop their own dreams while making each other's come true, societal pressures be damned! And she leads us down a delightful primrose path with plenty of misleading clues as we discover who dunnit to the Duke.
It's been a long time since I've enjoyed a cast of such well-developed, interesting characters, and I literally couldn't put this one down.

If you read the other reviews you should know that Oliva is in her 40's and Will, the gardner cum artist is in his twenties. Her husband dies, they get together, fall in love and he helps find a killer. Besides the murder mystery, the story looks at society's ills and examines not just the main couples relationship (although it does focus on them) but the fascinating secondary characters' as well.

What really is astounding though, is that Ms. Beard makes this whole May/December plot work. Completely.

Ordinarily, I don't really go for the older woman/younger man scenario. I have the usual hangups about it and wonder what will happen when she is 60 and he is 40. But the author really sells the whole kit and kaboddle. It's so well written and the characters are so well defined that I can picture Livie and Will falling in love. I can see them facing anything to be together. I can feel the love they share and I believe that they can each change enough to make a life together.

This is no small feat, let me tell you. ;-)

So if you're squeamish at all about the older woman/younger man scenario, please, don't be. It's a terrific book. One of the best I've ever read. I've read it many times now and it will definitely be on my keeper shelf for many years to come.

Beard triumphs in this well-constructed and touching tale. The hero and heroine are well-rounded and beautifully developed. Any woman who's had to or is reassessing her life will immediately relate to Olivia. Her courage is inspiring. And the hero is everything such a woman could dream of. Theirs is a powerful story of unexpected love and passion in spite of the strictures of society and differences in age and social rank.

In addition to the wonderful love story, one that had me wondering how Beard would manage to come up with a happy ending, there are a number of wholly satisfying subplots, including a secondary love story that parallels Olivia's discoveries about love and life and a who-done-it murder mystery with plenty of red herrings, possible suspects, and titillating clues. On top of all this are penetrating looks at social mores, societal ills, and personal foibles, dreams, and heartaches. The doubts, joys, and anguish experienced by the characters ring true, allowing the book to do what the best literature should do: question ourselves and the world around us, reevaluating what we believe and how we live.

"The Duchess' Lover" is a riveting book that should be on everyone's to-be-read list, reminding us that real love truly is the most important thing. This is probably a book that needs to be read periodically, just to remember all these things when the tyranny of the urgent and the expectations of others begin weighing us down.

Olivia "Livie" had been very young when she married Quinton Thorpe and became the Duchess of Brandhurst. For almost twenty-five years she lived with her husband's cruelty by shutting off all emotions. As the book opened, I learned Quinton had been murdered, stabbed in the back with a letter opener by an unknown person (while trying to kill Olivia), and Livie was still in shock.

Few knew the Duke had been murdered. Those few, which included Olivia, felt the Duke had gotten what he deserved. So the murder was covered up and kept quiet. The title fell to Andrew Thorpe, an American. Until he could settle his affairs and get to England, Livia was to be in charge.

Neville Thorpe, second in line for the title, was jealous. He stayed by his Aunt Olivia's side and took charge of everything in her for her. He used his time to plot and scheme ways of obtaining the title he so coveted. He was aided by Quinton's wicked valet, Antonio. Neville found Olivia to be easily controlled until ...

Clara Peabody was an advocate with the Ladies' National Association. She approached Olivia, a year after the Duke's death, about helping fight to help the suffering of the match factory ladies. Olivia's eyes opened to possibilities and she developed a backbone.

Willoughby Barnes was an unknown artist. Since his deceased father had worked in the Duke's garden, Will had grown up learning the trade. He was asked to design the garden around the Duke's burial plot. Out of money for paints, he agreed. There, Olivia and Will met and fell in love. Olivia felt true love for the first time. However, Livie was forty and a duchess while Will was in his twenties and a gardner. It could never work.

***** The author, Julie Beard, keeps the reader guessing as to who really murdered the Duke. At the same time, she succeeds in keeping romance, betrayal, compassion, and several wonderful sub-plots going in the story. Normally this would not work. However, Julie Beard MADE it work! It all blends smoothly together and becomes as beautiful as Will's painting of Olivia! An enlightening and graceful story that I highly recommend to one and all! *****

Reviewed by Detra Fitch of Huntress Reviews.

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.

Big winner for my 2 and 4 year old.


We already own the Charlie Bird CD which they like.

They love this one. It is very very funky fun music that adults can listen to and enjoy as well which is not the case for a lot of children's music out there as most parents know.

There's maybe 12 songs or so on the CD and 8 will be huge hits with your kids. The only minor thing I can say is the book that it comes with is mostly useless -- it's not really a book. These guys should save the money and charge even less -- not that the price isn't more than fair. But definitely a great CD if you even like jazz a little bit.

This series is wonderful! Our two-year-old absolutely loves the Baby Loves Jazz series. We bought a few to start out, then ended up buying the whole set. Two months after acquiring them, she is still enamored and requests to listen to them and read them every day. Her favorites? Well, these are the words we hear most often: "Mommy, read Duck and Miles?" or "Daddy, listen to Duck and Miles?" Philly Joe is also high on the list. I recommend them all. The books stand out on their own, but the music is what makes this series really shine. For example, on Duck Ellington's CD, he does a great Monk style on one track, then switches to great impression of Coltrane's classic quartet on the next track, with a very nice McCoy Tyner impression. Lots of variety and high quality make this series worthwhile (though I could have done without Louis Lion's potty tune). Don't forget the Go Baby Go CD as well (a stand-alone CD without a book), which is perhaps a notch above the music on the book CDs. The ABC tune is her favorite on that one.

Our 17-month old always asks for Ella the Elephant music. She's completely entertained by it. My only complaint is that the book has minimal use, as there's not much to point out for an entire song on two pages.

Our 2 1/2 year old granddaughter played 'Ella Elephant Scats...' over and over for the week she was with us. We ALL enjoyed it every time.

Do not know if it is the rhyming in the beginning of the book or the beautiful breakout colors but my 16 month old loves this book.

If you are an Elvis fan, this is really one of those must have books. The pictures are to die for and it is just wonderful.

the photographs are spectacular, but where is the non-limited edition that i've seen retail in the bookstore for $65?

i Love this Book it has very good quality photos of the king in his prime!

This book is beautiful. The pictures are excellent and it is nice to have as a collectors item for any Elvis fan or give as a gift to any Elvis fan.

If you only have one Elvis book in your library, or one photography book, let it be "Elvis at 21"...you will never buy a more sumptuous volume. The printing of the images is phenomenal, with wonderful use of gatefolds. It is one of the very few art books I've bought that I didn't balk at the retail price.

Wertheimer's photographs are collectively an artifact of our cultural history. It's amazing to see so many of them gathered together and in sequence. A much smaller selection of this body of work was published about 20 years ago as "Elvis '56"--this was my one-book-in-the-library, even back when I only had a photocopied edition. With this expansion, a whole new king is crowned.

2007 is of course the 30th anniversary of the King's passing. The world should expect a vast onslaught of new and revised offerings on the man. "Elvis at 21" throws down an early gauntlet so firmly, the other publishers might just as well crawl back into their niches.

Buy it, and wear a bib so you don't ruin the pages with your drool.

This was ourchased for my 11 year old granddaughter. She love it. Basic things are explained perfectly!!!!!!!!!!!!

This book is a great addition to your ceramics library.
It has many beautiful and colorful pictures that will definately inspire the artist in you.

excellent reference book. covers all aspects of pottery. full of wonderful ideas and is a great inspiration for the artist. i am excited about adding this book to my reference libary.

I've been throwing for about 3 years and this book was given to me as a gift. It briefly touches on many subject and has a lot of good pictures.

I would recommend this to anyone with interest in pottery, both wheel throwing and hand building.

This is a great reference book with lots of ideas and lots of illustrations. Great for someone who wants to explore out of just throwing or hand building. Great step by step ideas with great color illustrations.

I agree with the reviews that say this is a careful biblical study of what constituted worship amongst OT and NT communities, and what new insight and emphasis Christianity brought. The unexpected answer - that, very broadly, it is in the loving interaction between the individuals of the Body, rings true, and from a personal point of view, cleared up many of the questions I had about those times when "worship leading" seems rather a shallow, simplistic reponse from someone who claims to want to see God's kingdom come on earth.

Introduction

As the principal of Oak Hill Theological College in London, England for the past 11 years, David Peterson has been a significant vessel that God has used to elevate that seminary to be one of the largest in the United Kingdom and in the Church of England. Only recently succeeded by Michael Ovey as Principal, Peterson has shown himself to be an astute interpreter of the biblical text, being formerly a lecturer in New Testament at Moore College in Sydney, Australia. As such, it is no wonder why Engaging With God is another first-rate example of Peterson's careful exegesis and gospel-centered hermeneutic.

Subtitled A Biblical Theology of Worship, Peterson's Engaging With God is the author's attempt at a biblical theology of worship that is evangelical and generally free from denominational bias. Students of biblical worship would be happy to see an extensive exegetical volume finally released, as Peterson provides a full-orbed examination of what worship is according to the whole counsel of God and the entirety of Scripture - both the Old and New Testament.

Summary

In his introduction, Peterson establishes the nature of Christian worship as "an engagement with [God] on the terms that he proposes and in the way the he alone makes possible" (20). The rest of the book is hence an explanation of `engaging with God' as an idea that is found in the totality of Scripture. With this purpose in mind, Peterson thus begins careful exegesis of the Old (in chapters 1-2) and New Testament (in chapters 3-9) to provide the foundation for his thesis.

The groundwork for his biblical worship theology is provided in the first two chapters, where Peterson examines engagement with God from the Old Testament. The ark, tabernacle and temple are shown to be the God-ordained, God-initiated means for Israel to acknowledge and live in relation to the royal and holy presence of God. Worship in Old Testament has its emphasis on God's self-revelation: God makes it possible for His covenant people to worship Him by the cultic observance of the sacrificial system. Through a detailed look at various important worship sections in Exodus, Leviticus and Deuteronomy, Peterson finds that it is only by "God's provision through the cult the covenant relationship could be maintained" (49).

Further, the author establishes that honoring, serving and respecting God are encompassed by adoration as an expression of awe and grateful submission to the LORD (73). While this includes the physical acts of bending/bowing down or falling down before God that hinted at by the Greek word proskynein or the Hebrew histahawa (57), expressing homage according to the Old Testament is not merely bending over at the waist. It further includes awe and submission that is motivated by gratitude, and so it is also a matter of heart-worship, thanksgiving that inevitably leads God's people to serve Him (64-70). While the obedience to God's demands in cultic activity enabled Israel to express reverence to God, Peterson concedes that "fear of God in the more positive sense of reverence and respect is regularly on view" (71) - by walking faithful in God's ways and in keeping His commands.

In Chapter 3, Peterson turns from the Old Testament to the new, beginning with an analysis of how Jesus is the fulfillment of the Old Testament temple. Through an analysis of the Gospel according to Matthew and John, Peterson concedes that it is in the person of Jesus Christ that God's presence and glory is fully and finally experienced, and further, that Judaism finds its destined end of worship in Christ himself. Jesus Himself transferred the significance of the temple from Jerusalem to another entity -- not in the messianic community, but primarily in his own person and work. Christ replaces the temple as the wellspring of life and renewal for all the world, as Jesus Himself is the eschatological destination to which all nations journey to for worship. "The divine presence is no longer bound up in the temple, but the Word who was with God `in the beginning' and who in fact `was God' " (93).

In terms of being the fulfillment of the old covenant, Peterson argues that Jesus preached "a new centre for Israel, in himself and the salvation he proclaimed, rather than in the synagogue, the temple, the law or the inherited customs of his people" (112-113). Being the fulfillment of Jeremiah 31:31-34, Jesus fulfilled and transcended the Mosaic Law in his perfectly righteous life. For Jesus is shown to exalt Himself as the new standard of what does or doesn't constitute defilement (114), and as the new authority for the determination of acceptable Sabbath behavior (116). In the sacrificial service to God and His people, Jesus gave us the "final and perfect expression of uncompromising worship" (129) through the offering of Himself by dying on the cross for man's sins. By the means of the shedding of His blood, Christ inaugurated the new covenant, and thus replaced and fulfilled the sacrificial system of the old covenant.

Having argued for Jesus' as the fulfillment of the temple and the old covenant, Peterson then examines the community of apostles in Acts to show how the Christian life and ministry should be viewed as an expression of service to God. Unable to immediately disassociate themselves from the temple, the early apostles and Christians still saw the temple as a place for revelation and a place of public prayer (138), and consequently, also as a place where they experienced opposition and unrest (139) from those opposed to the gospel of Jesus Christ. The character and function of early Christian gatherings focused around apostolic teaching/preaching, as well as in the fellowship (Greek koinonia) of believers who eat together and pray and praise God together. The Christian community life thus can be a function of worship.

Through an analysis of Paul's underlying worship theology, Peterson advocates for the consecrated Christian life and gospel ministry as specific expressions of Christian worship. "Missionary preaching and the establishment of churches in the truths of the gospel can be described as fulfilling a God-given `liturgy' or service to the churches" (182). Supporting his theology of worship with a careful examination of Philippians, Peterson beautifully portrays the inseparability of sacrifice, faith and the Spirit - for worship by the Spirit is synonymous to faith in Jesus' crucifixion and the salvific implications of his death (187). In a further analysis of the Corinthian church, Peterson explains that worship the gathered church meets in order to participate in edification (195-197). During those times when a prophetic word and the word of Christ dwells in the midst of believers, and during times when thanksgiving, prayer and praise are shared together, the assembled church thus can "meet with God when we meet with one another" (198). As a result, ministries that are genuinely used for the benefit of others while purposed for the glory of God can actually be an expression of worship.

Through a detailed overview of the book of Hebrews - the one book of the New Testament that provides a thorough and integrative worship theology - Peterson analyses of key `worship' chapters within Hebrews, and argues for Christ as essentially the typology of all the Old Testament themes and symbols as previously discussed. Worshipping Jesus means worshipping Him as the High Priest, synagogue, temple, and sacrifice at one and the same time (228-230; 232-237). Under the new covenant, drawing near to God as an expression of worship is both congregational and personal to the Christian's daily experience (237-246), and service that aims to please God is foremost obedience through Christ our mediator (230-232). Concluding with synopsis of Revelation, Peterson portrays worship in the new covenant community as in taking a stand against paganism by bearing faithful witness to the truth of the gospel (265) and in the singing of God's praise (278).

Critical Evaluation

Engaging with God may not be an easy read for the regular layperson or the theologically untrained worship leader looking to get a biblical perspective on what worship is. The attention to exegetical detail is evident in Peterson's analysis of worship terminology in the original Greek and Hebrew, providing for the reader plenty of transliterated terms in his presentation. While most of the text-critical arguments are moved to the endnotes, the author's interpretive arguments for his thesis are included in the book's body and supported by careful study of worship terminology in its original biblical context. Such an exegetical method may be put off as unimportant for those unfamiliar with it, but those who are at least a little familiar with basic Bible interpretation methods would benefit significantly from Peterson's heavy-duty text work. A prime example of this is in his differentiation between worship as physical homage and worship in the general, abstract sense: "When other verbs denoting bowing or kneeling are absent from context and there are no other indicators of physical movement, the more general and abstract sense of `worship' may be understood" (61).

Having provided a lengthy and thorough biblical analysis, Peterson's work distinguishes itself in at least two areas. First, he demonstrates that there is tremendous meaning for today's church when we see Jesus as the new temple - most notably in the need for gospel-centered preaching. Christian teaching and preaching must center on the person and work of Jesus Christ in order to be biblical in its content and its aim, especially in terms of evangelism (102) and in the building of the Messiah's church (207). As Peterson proclaims in his summary chapter, "Throughout Scripture, the word of God is fundamental to a genuine engagement with him" (286).

Secondly, Peterson demonstrates that the church gathers in corporate worship to build each other up - for mutual edification, and not just `to worship' as some would argue. While Peterson does show the "central importance of the concept of edification for the meeting of God's people" in Paul's teaching (196), Hebrews is his chief support of this argument (247-250). As an expression of worship, Peterson convincingly argues that the mutual up building between Christians is purposed to help each other persevere in the faith and grow in spiritual maturity in light of the apostasy that a believer can possibly fall into. With this unique emphasis on the care that the church congregation should have for each other, it is no wonder why the divinely inspired writer of the book of Hebrews exhorts us to not forsake the local gathering of believers as some professing Christians do. This argument by itself sets Peterson's work exceptionally distinctive.

Conclusion

Peterson addresses central themes and expressions of worship throughout the Bible, each one of them supporting his thesis that worship is unquestionably engagement with God in terms He sets and ways He permits. Although this biblical theology on worship is extensive in its biblical exposition, it is a worthwhile read that will challenge the reader to examine his or her worship theology to see whether it conforms to the biblical text. While much of recent worship literature examine the English term worship, Peterson's book fills the gap with a succinct, biblical theology of Christian worship that can be warmly accepted by churches of any evangelical denomination.

I enjoyed Engaging With God because it was different than any other book or discussion of worship I have ever read or heard. It went straight to the bible to address the deep questions about worship that most books and people do not discuss. Starting with the Old Testament and moving right through to the end of the New Testament Peterson interacted with worship in the Old Covenant, reverence for God, and New Testament teaching by Jesus and about Him as fulfillment of Old Covenant shadows. He laid out a solid framework from which to answer the controversial but surface questions the modern Church is asking about what to do in church services and what not to do. He also stressed that the object of worship is to engage with God on a relational level that permeates all of life. Finally, a biblical analysis rather than a argument based on opinion and preference.

This text is written so that all may understand and yet provides indepth notes for those who would like to take their studies deeper. It is extremely informative concerning both the Old and New Testament usages in both Greek and Hebrew.

Peterson's "Engaging with God" is an excellent treatment of the biblical doctrine of "worship." His basic argument is that the Bible doesn't understand worship to be an occasional act of praise, or even a corporate meeting, but rather a life charcterized by obedience and reverence to God, and lived on the terms that God proposes. Peterson is particularly good when he discusses the meanings of the different Hebrew and Greek words that we translate "worship", and when he talks about how Christ fulfills the sacrificial/temple worship of the Old Covenant. This is simply a really solid, thoughtful, and biblical theology, written from an evangelical point of view. It is the standard biblical theology of worship, and rightfully so.

Peterson also talks about corporate worship (namely church services), emphasizing that the New Testament seems to suggest that gatherings of Christians are for edification more than worship. His argument is that worship is what we should be doing all of the time, so it doesn't make sense to talk about gathering for that express purpose. I think he fails to emphasize the special quality that God, in his providence, has ordained for corporate worship.

Regardless, this is an excellent, supremely biblical book, and comes recommended by scholars as eminent as D.A. Carson, Mark Dever, and I. Howard Marshall. It is scholarly, but pretty accessible, and well-written.