Music Books

A wonderfully crafted autobiography. Honest and personal, Geldof puts the first half of his life under the microscope and you grow to love him for his warts and scars.
A riveting book especially for those who recall the music of his era. You will laugh and you may cry even if it is only because the book ends years short of the present day.

This book is one of those books that will renew your faith in the ability of normal people to change the world for the better. It is also hilarious and a great read!

I don't usually read biographies books but this one is a very good one

It's severly dated by today's standards, but what an excellent read, all the same. I look at it as the music industry version of Julia Phillips "You'll Never Eat Lunch In This Town Again". Biting with sardonic wit, lots of muck-raking (most of it spot-on), and just a wee bit 'o' honesty.

How much of it is true, we'll never know. But the essential bits (the inception of the Boomtown Rats, their immersion into the music scene, other bands, Live Aid, etc.) are required reading for anybody who gives a damn about the music industry. There's loads of comedy as well as pathos, as well as some of the greatest quotes I've ever read in an autobiography.

If you can still find a copy, it's well worth owning.

Bob Geldof's book is a stunning odyssey into the mind of a rock star. he also happens to be a philanthropist who can teach a thing or two to the best of them. the man behind `live aid' not only collected hundreds of millions out of a telethon for africa's famine victims, but made sure they reached the right hands. his forthright language and no-holds-barred style are refreshing. if you must read an autobiography of a rock star, read this one.

I had never heard of Bjorling until several months ago one late evening when the local classical music station played some of his arias. I had missed the intro to the work and couldn't figure out to whom this incredible and unique voice belonged; I knew I'd never heard anything remotely like it. You have to hear Jussi only once to want to listen endlessly to his voice. (Needless to say, my opera CD collection is expanding exponentially.)

So it was a great pleasure to discover this excellent biography, which illuminates not only his life but also the opera world from the 20s through the 50s. His early life and training from his father are particularly interesting if you wonder how such a great talent was discovered and developed. (The only question in my mind not answered is the extent to which his children inherited the incredible musical talent that was in his family for generations; that they perform is mentioned but never elaborated on.) The book is well documented with quotes from his peers, and the authors do a splendid job of presenting the entire person with his strengths and weaknesses in a very objective way that holds the reader's interest from beginning to end.

Jussi was an impeccable artist with a a magnificent voice and superb musicianship. This book details his careeer as a flawed man and a magnificent artist with a voice which cannot be rivaled. Ever.

In a world where most opera biographies are either useless, gushy fan magazines or vicious, gossipy garbage, this loving yet warts-and-all account of the life of the great Swedish tenor Jussi Bjorling (1911-1960) is a standout. Although the book is written primarily by his widow Anna-Lisa, there is additional, exhaustive research and editing by Andrew Farkas (who also co-authored an Enrico Caruso biography with Caruso's son). Many of Bjorling's colleagues are also interviewed, and reviews of both his live performances and opera recordings are extensively quoted. As a supplement, there is also a 58-page listing of Bjorling's performances (933 in opera and nearly twice as many concerts and recitals) at the end of the book. The cover shows Bjorling as Romeo in `Romeo et Juliette', perhaps his greatest role.

Anna-Lisa Bjorling, who was married to Jussi for 25 years, was herself a fine soprano who often partnered her husband in concert. As of this writing she is still alive at 92. Although Anna-Lisa clearly loved Jussi very deeply, she is still capable of being objective about him when required. She is a wonderful writer, providing vivid portraits not only of Jussi, herself, and their children, but just about everybody they ever came into contact with, as well as of life in Sweden in general. After reading this book, I felt like Jussi and Anna-Lisa were old friends.

Bjorling had not only what was probably the most beautiful tenor voice to ever come out of a human throat, but also a nearly perfect technique, a superb sense of style, and the ability to truly stir the souls of his listeners. While he had a reputation for being a very poor stage actor, this was at least occasionally exaggerated. Although Bjorling died tragically young at the age of 49 of heart failure, he had a magnificent and very long career which lasted 45 years, 32 as a tenor. He is probably the only opera singer whose recording career (which began when he was 9!) lasted from acoustic to electric to LP to stereo recordings. He made his stage debut at 19 as Don Ottavio at the Royal Opera, Stockholm, after having studied first with his father, his principal singing teacher, and then at the Royal Opera School with the Royal Opera's director, baritone John Forsell. His career expanded to Europe and the rest of the world very quickly. He made his Metropolitan Opera debut in 1938, and with the exception of the WWII years and several years in the 1950s due to fights with Rudolf Bing, he remained there until his death. He concentrated on about 10 or 15 Italian and French operatic roles, and was also an avid recitalist with several hundred songs in his `inventory'.

Unfortunately, Bjorling is nearly as famous in operatic circles for his alcoholism as for his glorious singing, and I think that is appalling. In fact, the one thing this book makes very clear is that although the disease was a tragedy for him personally and traumatic for his family, it had comparatively little effect on his actual career, at least outside Sweden. Working actually kept him from drinking. Anna-Lisa offers considerable proof that many of the stories about Jussi's drinking were exaggerations, gossip or outright lies, most tellingly in the true story of the cancellation of the `Un Ballo in Maschera' recording under Sir Georg Solti, which was a product of producer John Culshaw's malice. Nearly all his colleagues also defend him on this regard. As far as I'm concerned, the only people who have any right discussing Jussi's alcoholism are Anna-Lisa and his children, as they are the only ones who really had to deal with it. ....

Overall, Jussi comes across as a beautiful human being - simple, warmhearted and lovable, a wonderful husband and father, adored by almost everybody who worked with him or knew him. The book is full of stories about his kindness and generosity to colleagues. He was also an avid pike fisherman who loved westerns and was unbeatable at arm wrestling. He basically had only three serious flaws as a human being: impulsiveness that on occasion bordered on irrationality, stubbornness, and what Anna-Lisa calls, for lack of a better term, a deep inner restlessness - the inner demon that drove him to drink.

I only wish `Jussi' could have been longer. A year before it was published, I spoke with leading Bjorling authority Cantor Don Goldberg, one of the book's proofreaders. He told me that the first draft was 1100 pages. As the final copy is only 520 pages, I wonder what was cut besides the many laudatory comments from colleagues that were considered repetitive. I was surprised that there wasn't more information about Jussi's brothers once they reached adulthood, especially Gosta, who was so close to Jussi that they had an almost telepathic relationship. And while this book does full justice to such fundamental influences on Jussi's singing as his father, John Forsell (who emerges as quite a character!), and Tullio Voghera, I would have liked a bit more on Nils Grevilius, who conducted nearly every recording Jussi made before 1950. There is also virtually nothing about Hjordis Schymberg, the fine Swedish soprano who partnered Jussi over 100 times in Stockholm. More mention of his recordings besides the complete opera sets would have been welcome, although I am aware that his recordings are covered in the companion volume `A Jussi Bjorling Phonography'. Finally, while I am aware this would have added to the price of the book, there are so few color photos of Bjorling that I think they should have had one on the cover.

`Jussi' is essential reading for anyone with any interest in good music, let alone opera. It is the definitive biography of one of the most magnificent singers and human beings ever to appear on an opera or concert stage. If you haven't heard this man sing, remedy that immediately!

Using painstaking research, Mr. Farkas helps readers understand the demons that followed this troubled musical genius. I always revered this extraordinary man; I now feel that I know him. Thank you, Mr. Farkas Carol P. (JBS member...attended Washington conference but never met you)

That Jussi Bjorling was a man beset by demons from within, against which he frequently lost battles, is a revelation to those of us who only thought of him as the greatest tenor of the 20th century. Anna-Lisa does justice to his memory by openly discussing his problems. But of equal importance, she depicts a warm, friendly man whose life was his family and his singing. He was a loving and devoted husband and father, and, simultaneously, a consummate professional who took enormous pride in his craft. He achieved a level of success that will remain the standard for future generations of singers. The heights of adoration he engendered in his fans and colleagues, combined with the critical praise he enjoyed, will probably remain unequalled. His passing created a void that will NEVER be filled.

Superb book.

No really, this may very well be the book I have enjoyed the most, ever (though principally these kind of judgements are bollocks and nothing more, of course).

If you have the slightest acquaintance with psychoanalysis (the Lacanian field, preferably), the book should be read with Zizek's "The Fright of Real Tears". Here Zizek has some really perceptive discussions on Kieslowski the filmmaker and on charachters in the Colour Trilogy - without too many forced obscene jokes, I might add.

He wanted his audience to be interested in his films....and so we are. He wanted to stir people to something...he does. He wanted to inspire us...and that he did. Fans of Krzysztof Kieslowski, film buffs and aspiring filmmakers alike will get as much out of his story told in "Kieslowski on Kieslowski" as through his cinematic works of art.

Although not a very long career, due to his untimely death, it certainly was an illustrious one. And how fortunate we are to have had the filmmaker who brought us the beautiful and moving films "The Double Life of Veronique", the "Three Colours Trilogy" and the unbelievably intuitive "Decalogue", tell us in his own words his views on life and what he was thinking during the filming of these works.

The book, wonderfully edited by Danusia Stok, takes in Kieslowski's early years as a child, his film school years, his early short films and finally the feature films. Kieslowski is open and frank about his life and his work. He didn't see himself as a genius at all(we fans may tend to disagree on that point),quite the contrary he tends to point out what he feels were mistakes and his shortcomings. He talks of working in Poland, having to skirt around the political upheaval around him, films he made that were never shown to the public, and his quest for trying to make the stories as authentic as possible.

He discusses each and every film. He gives much of the credit to the cast and crew and although he touches on what the films meant to him,he usually speaks more of the technical aspects of each than the analytical.He talks of what was going on in the world, his life and his mind during the making of each film. The feature films are given more time and one whole chapter is devoted soley to "Three Colours"(these films were still in the editing stages at the time this book was written).

Included are many still photos of working on the sets, and personel pictures with his family, the actors and his collaborators. There is a section devoted to notes on many of the names and events, and also a complete filmography with a brief summary and list of credits for each film.

"You make films to give people something, to transport them somewhere else and it doesn't matter if you transport them to a world of intuition or a world of the intellect"....Krzysztof Kieslowski

Kieslowski lets us know in this book that we don't have to analyze each scene...just enjoy it for what it is. This book is a must read for fans and filmmakers alike!...So...enjoy...Laurie

Kieslowski is one of my favorite film directors, maybe because I can identify with so much of what he shows in his films... So I was very happy to read "Kieslowski on Kieslowski" and learn about his years in the Film School and the events and memories connected with the making of many of the movies. The autobiography, edited by the director's friend, Danusia Stok, is very good and a must-have for his fans, but it is an autocreation, not a katharsis! It cannot be forgotten that Kieslowski was an artist also in his life so this book is not just a collection of facts.

The book also contains sharp comments and a very good background on the situation in Poland and how difficult it was to push one's own vision. The collection of photos is a valuable addition as well.

In his own words, Krzysztof Kieslowski tells you about the agony and the ecstacy of the independent filmmaking process.

The late Polish filmmaker is up to the challenge, delivering his characteristic frankness nestled within the pages of this short retrospective work, narrated in his own words, and magnificently edited (translated, too?) by Danusia Stok.

The book is tailor-made for "idie" filmmaking buffs, and supplies a glimpse into the enticingly magical personality which was Kieslowski's. Eschewing a typical rote autobiographical style, Kieslowski divulges key details about himself via the device of his extensive filmography -- revealing things about his thinking process and the high value he places upon delicate human emotionality through a step-by-step examination of his long filmography.

Spanning his early years as a prominent documentary filmmaker during the stifling years of Polish Communism and state censorship -- especially during the imposition of Marshal Law in Poland during 1980-1 when Kieslowski couldn't work for half a year -- and ending with his magnificent trilogy "Barwy" (Three Colours: Blue, White, Red), we're subjected to a feast of Kieslowski-isms regarding his thoughts pertaining to such diverse notions as:

** casting for acting talent.
** Kieslowski's penchant for making his ENTIRE crew a part of the idea-generating process for his films.
** the nature of artistic filmmaking in Europe compared to commerical filmmaking in the US.
** the demands of time on a filmmaker's personal life.
** the differing range of skills between Western and Polish filmmaking crews.

A right pity Krzysztof Kieslowski is no longer with us to share to a burgeoning generation of up-and-coming filmmakers what might very well some none-too-optimistic viewpoints on the state of today's "international" filmmaking.

The book is written in Kieslowski's typical unassuming style -- par for the course from the Polish master. The late director doesn't bowl you over with how much he knows about film history, or about the complicated craft of filmmaking. Kieslowski doesn't tell you that he's better than you or me. Rather, through a detailed accounting of his past achievements, Kieslowski's emphasis is always upon that which is most human: the wellspring of all his works, and the central reason why filmmakers must indeed make films, in his esteemed opinion.

Still, I found the book ended suddenly.

Not shockingly so, just that the work might have gone on for much longer than its seemingly scant 227 pages. There's so much to know about this magnificent paragon of the film community, and if anything, it will be a primer for further reading on the man, the legend, and his favourite subject: films.

Five-stars.

-- ADM in Prague

Reading the book was like watching another wonderful Kieslowski film. His casual authentic narrative throughout the book gives it a touch of a documentary almost.

I appreciated every page of his life story, as he tells it so that his personal story as a director - from his childhood through filmschool, his first films right to the Three Colours trilogy - is combined with the situation in Poland, with the Communist times, the censorship, the hopes and the fights with the system, the fears, the communication with the public through hidden messages, and the victories when succeeding to outsmart the censors.

All wrapped up in one, sprinkled with wit and natural story-telling style, the book is all you ever wanted to know about Kieslowski and the background of his life and filmmaking.

In the interviews throughout the book, he not only talks about the films, he also explains why he had to do them the way he did - both, the story and the style - about his personal beliefs, about his life and work in the Communist Poland (in which I could see similarities with the former Czechoslovakia, where I was born, as well), and about how it shaped his views.

Real reading pleasure, educational and entertaining, this book is one of the best I have read lately! And, I believe it gives another dimension in understanding of his films as well.

At the end of this book, author Andy Hamilton reassures Konitz that it will become a classic of jazz literature. I guess Hamilton was speaking at least half tongue-in-cheek, but, for what it's worth, I also think he's probably right.

As it's been said elsewhere, the author's editorial prowess is phenomenal, and the proof is that the book is extremely easy to read, while, at the same time, it is packed with information and insight. Hamilton has also been able to engage Konitz in some interesting discussions, like his views on several musicians - Anthony Braxton, most memorably - or his assessment of his own playing, and on the actual physical and psychological aspects of the process of improvising music.

This is pretty close to my ideal book on a jazz musician, where the subject has the chance to tell his story while speaking freely to a knowledgeable counterpart.

Highly recommended.

I found this book to be one of the most clear, informative and honest books in jazz literature that I have ever read.
Lee comes across as a candid, humble man, a servant to his art.
Through the conversational and well researched style that the writer Andy Hamilton adopts, Lee Konitz offers many realistic, straightforward insights into his life and study: and the lives of those around him.
As a jazz musician myself, this book opens many doors of perception.
It cuts through the myth and hyperbole that often surround the lives of the truly great ones in this wonderful artform.
Highly recommended!

In this book of lively conversations on the improviser's art, Lee Konitz talks about all aspects of his music, from his beginnings (as a student of the clarinet, during the late 1930s) to the early years of the new century, and he does so with great candour. There's lots about the Cool School of playing and Konitz's musical mentor, the blind pianist Lennie Tristano. Tristano's music ran on a parallel track to bebop, but because it wasn't such a hot, sweaty affair it's been dismissed as a pallid version of the real thing, cerebral and abstract, disconnected from feelings, a music to be analysed by beard-strokers rather than enjoyed by foot-tappers. Konitz dismisses these false distinctions and emphasises both the vitality and originality of Tristano's music - points supported by several musician-contributors to the book.

The criticisms and comments that Konitz offers are frank, thoughtful and well-argued. Several of the chapters cover specific decades in his career. Others include: Formative Influences; Working with Tristano; Early Collaborators; The Art of Improvisation; The Instrument; The Material. Embedded within each of the chapters is a series of brief interviews with musicians, most of whom have worked on the bandstand with Konitz or recorded with him, including John Zorn, Phil Woods, Mike Zwerin, George Russell, Clare Fischer, Sal Mosca, Alan Broadbent, Sonny Rollins, Rufus Reid, Ornette Coleman, Harold Danko, Wayne Shorter, Paul Bley, John Tchicai, Greg Osby, Martial Solal and Evan Parker. Although this is fundamentally a book of interviews, Andy Hamilton provides scene-setting introductions to each of the chapters, explanatory links between subsections, and brief comments that help the reader better to contextualise the interview material. His contributions are considerable, but they're done with such a light touch the attention remains firmly on Konitz throughout.

Although Konitz broke with the Tristano school, Tristano's foremost `disciple', tenor saxophonist Warne Marsh, remained in a strong creative partnership with him until the late 1970s. Marsh is undoubtedly the saxophonist whom Konitz admires most, and Konitz's aesthetic, sound and approach to improvisation owe perhaps more to Marsh than any other player. He contrasts Marsh's approach with that of several other major players, including Charlie Parker and John Coltrane, whose solos relied to some degree on pre-prepared material. Throughout the book, there's much useful discussion about the philosophy of music-making.

Konitz is a great talker, with lots of interesting things to say about his own music and the music of Marsh, Tristano, Ornette Coleman, Miles Davis, Gil Evans, Parker, Coltrane, Charles Mingus and a host of others, and the book is peppered with valuable comments about `the jazz life'.

This is clearly one of the best books about jazz I ever red. I'd put it next to P.Pettinger's "How My Heart Sings", J Szwed's "Space Is The Place" or E.Jost's "Free Jazz".
Pretty differently, here author chooses an original, extensive interview format, augmented by short essays written with the complete approval -and corrections, is said- of Mr.Konitz himself. Many great insight and analisys of this great, epocal musician are offered for a good work of comprehension of the complexity of Lee Konitz music and his belonging to jazz tendencies such Cool Jazz and Tristano's and others, his relations to many major jazz figures.

Despite Lee Konitz's illustrious career, there had not been a book-length treatment of his music and life until Andy Hamilton's book appeared. There have been numerous published interviews with him, but none is as informative, thorough, or enlightening as this book. Considering that Mr. Konitz is much better known in other countries than in the U.S., it is no wonder that an Englishman decided to write a book on him. One of the things that I liked about the book is that the artist got involved in the process, for example, proofreading the text himself. This lends a high degree of authenticity to the book. In addition to the interviews with Mr. Konitz, there are a number of shorter interviews with other musicians, which are also intriguing. This is an exciting and enjoyable book and I highly recommend it.

I gave this book to my son after reading it. It teaches basic skills to those who need some encouragement that, yes, they too are a musician. But it's also very entertaining and he tells some great stories.

This is a delightful collection of essays on how to sensitize yourself to and appreciate all the sounds around you, from frogs and birds to dinnerware clinks to foreign languages being spoken.

I read the book in Chinese, since that was all our library had. I only give the translation a B, but the meaning mostly came through, and I don't think I missed too much from the original English.

My favorite section was the one on musical composition. It contains several practical suggestions that I haven't seen in other books on how to compose your own tunes. I had discovered the notion of AMAPFALAP ("As much as possible from as little as possible") independently before, but Mathieu's approach provides a concrete and excellent starting point to developing your own musical ideas and stretching and firming up your musical muscles.

Mathieu ends with some thoughts on why his students would always say "thank you" for all they learned in his music workshops, but just "that was interesting" in reaction to his concerts of improvised music. He seems a bit miffed, but ultimately comes up with a rationalization he can live with.

Music is more than just Beethoven and playing the notes on the score; in this book, Mathieu helps you find out just how much more it is.

This books is amazing. It's very fun to read and really opens up your ear. My only issue is that sometimes he uses words that I can't find in the dictionary, so for that one sentence, I don't know what he's trying to say. But they don't affect what he's telling you. I think he puts stuff in there for himself. haha

anyway, get the book

W.A. Mathieu is utterly in love with vibrating air molecules, and this thoughtful, warm, and fun collection of short essays is bound to impart some of that to you. This is not a book about composition, about developing your own personal style or anything of that sort. It is a way of focusing on and developing your relationship with your ears, with sound, with what sounds good to you in music and in nature and in all of the world, both inside and outside of your head. In playful exercises for musicians and non-musicians alike, we examine the nature of a single note played on an instrument, or sung alound, or even just a series of spoken or drawn-out syllables. There are ways to bring music into a group of people; there are ways to draw it out of inanimate objects; there are ways to find it in silence. He's not trying to convince anybody that traffic, barking dogs, and 3 AM garbage trucks are as beautiful as a Bach piece; some things will sound better to you than others. But practice makes perfect: if you practice hearing, you will hear more, and you will hear better, and you will find more things that sound good, and you will get a richer enjoyment of them. This is "Discovering Your Own Music."

I love reading books that are funny and educational, it helps the information sink in. This is exactly that type of book, x3! Mr. Mathieu is truly a gifted writer and an enormously talented musician. Play on!

Dwight, please give us another 20 years of words.

dwight yoakam has always been my favorite rockabilly, and he will always be. this is a great book and yes a must have. love the lyrics, even knowing i have the lyrics already on his cd's i still love the book a worth haveing if youre a fan of dwight yoakam's. worth every penny. a happy fan

I have every CD Dwight Yokham has ever put out, plus ever video clip he sings on CMT, and I would love nothing better to come to the States to hear him sing live in concert, as I have recently discovered I am terminally ill and there is no cure or treatment for my disease, as it so rare. I will keep on watching CMT to get as much as Dwight Yokahm as I can before this dreadful disease claims me, and then when I get to heaven I am going to ask God to put CMT on in heaven, so I can still listen to him up there. I am 46, happily married with 2 children, Tamara who is 26 and simon who is 24 and getting married on Easter Sunday next year, and hopefully, I will still be around until then.

Monica Sprott

Dwight Yoakam does not write complex lyrics. What he writes are lyrics of deep emotion and unsurpassed longing. Without the twang-and-swing of his honky-tonk melodies, these songs are reduced to their bared bones, stripped and displayed in all their anguish and despair. From the straightforward "It won't hurt when I fall down from this barstool; it won't hurt when I stumble in the street; it won't hurt 'cause this whiskey eases misery; but even whiskey cannot ease your hurting me" to the more thought-provoking "Don't look inside, don't look there, 'cause you might find yourself somewhere, walking around lost and alone, without one clue that it's a long way home" Dwight speaks to the heart and the mind, and to deeper emotions.

"Twelve Years of Words" is printed as a simple, straightforward book of poetry, introduced with Dwight's eloquent, thoughtful prose. It is true that anyone who has the CDs already has the lyrics, printed on each CD insert. But there is a beauty in this presentation, all of his poems gathered together into one slim little volume without the music. I'm very much hoping that, in time, there will be "Twenty Years of Words" and it will be updated as he continues to write those simple, elegant, words.

I saw this book in the public library, and I knew I had to have a copy of my own. Yoakam was reared in Columbus, Ohio, where I live, and I think he is the freshest talent in music in any genre. His lyrics are simple and direct and tell wonderful stories; it's as if he can look into everyone else's hearts when it comes to differing emotions. I am a fan of this man's music, and he's a great actor, too. I appreciate that he has not sold himself to pop music like other country stars -- but then again, I don't consider him a country star. He's carved a niche of his own. Bless you, Dwight, and your mom (she still lives here!).

I love the LOTR music, and these books (I have all 3) are great. The music is above beginner level, but not impossible to play.

When I first looked at the music, my impression was "This is it?" I must admit I expected more, but after playing it my opinion changed. It definitely takes intermediate skills to play as written, but with a few minor adjustments (like leaving out a roll or slowing down the tempo) late beginners can enjoy this music too.
While playing, I find the constant page turning annoying. The music could have been condensed into a smaller amount of pages without omitting any of the notes thus making playing easier.
Overall, it is beautiful. All of the well-known melodies are there. Played with the right emotion and expression, "Gollum's Song" is heartbreaking; "Evenstar" is beautiful; and "Rohan" is powerful. The music is not as complex as I had hoped, but it sticks to the notes played in the original score.
Is this a good arrangement? Yes. Is the arrangement worth $12.71? No, but I guess the higher price is for the pictures included.

The Two Towers Music score is wonderful and will be enjoyed by people who love to listen to the LOTR soundtracks. The music for Gollum's song is wonderful, and not too hard once you get it down. Evenstar is very beautiful and also very easy. "Isengard Unleashed" features "The March of the Ents", one of my favorite parts of this book. "Breath of Life" is not exceptional if you ask me, but it's there. "Forth Eorlings" is wonderful, especially the ending! And finally, If you've been trying really hard to figure out how that Rohan theme goes, wait no more. Here it is, and it's really fun! So if your at least an intermediate piano player and love Lord of the Rings music this is for you.

This book contains some of the best music ever written! I play this stuff over and over, because not only is it awesome, it's fun. "Gollum's Song" is a haunting, beautiful song - one that really makes you feel sorry for Gollum. "Evenstar" is also a beautifully flowing piece. It's easy to put a lot of expression in it when you play it. "Isengard Unleashed" is a more complicated piece, once you get about half way through it, and it's rather hard to figure out in the beginning. "Breath of Life" and "Forth Eorlingas" are pretty simple, but redundant at times. "Rohan" is an absolutely amazing song that just makes me want to cry when I play it. That also lends itself to expression while playing. All together, this book is an absolute masterpiece, and while harder than the book for The Fellowship of the Ring, in my opinion, it is still pretty simple, and the arrangments are much better. I highly recommend this book. It's beautiful!!

It's books like this that made me wish I had the natural talent for music, or had at least studied and practiced hard enough to develop talent. The motion picture score that Howard Shore composed for The Lord of the Rings trilogy is absolutely brilliant, and while nothing can match his magnificent orchestra, there is something unique and incredible about hearing the same music played on a simple piano -- coming from your very own fingers.

The front cover is one of the promotional posters (NOT the DVD cover as was the case with the other two piano books from the trilogy) showing Saruman from the back commanding his 10,000 Uruk-hai. If you look on the right, although it is geographically incorrect, you can see Edoras in Rohan in the distance. Inside the book are forty pages, eight of which are movie pictures. Once again, there are some gruesome orcs pictured inside, in case you have little hobbits around the house that might get scared.

The music includes:

- Gollum's Song, the end-credits song of the movie. Not very enjoyable to play, I'd say...it's a rather mournful and melancholy song.

- Evenstar, which is all-Elvish, but surprisingly doesn't provide the translation. Shouldn't be too hard to dig one up on the internet, however. The tune is pretty, the background for Aragorn's dream/vision of Arwen in The Two Towers.

- Isengard Unleashed, which begins as the soundtrack score does, with the lament for Haldir upon his untimely death in the battle for Helm's Deep. Then it moves on to the score for the Ents as they march to war. This is probably the longest in the book, maybe of all three books. Afterwards, they give the translation of the war song of the Ents.

- Breath of Life, the quiet but stirring tune/song that you hear when Aragorn lies wounded after a battle, and receives another vision/dream of Arwen that gives him a (let's all say it together now) "breath of life". Elvish lyrics, English translation at the end.

- Forth Eorlingas, my favorite one (at least to HEAR), the tune that shows the rousing of the remaining soldiers at Helm's Deep, their death plunge out the causeway, and Gandalf's near-biblical arrival to the rescue. The second-best in this book, in my opinion.

- Rohan, which was an absolutely necessary piece to include in this book. It's short, *almost* simple enough for a beginner like me to pick my way through, and beyond gorgeous. It begins with the noble theme for Éowyn, and peaks into the majestic score for the kingdom of Rohan. This one alone is worth getting the book for.

This book makes an excellent addition to your piano library, or an excellent gift for your musically-inclined hobbit-heads. Go for it.

I love almost every arrangement in this book! This is three volumes in one, with 58 arrangements, some of which are medleys of two hymns. And I love the spiral binding that makes page-turning easy. I would rate these as intermediate in difficulty. Maybe it's just me, but I'd appreciate a bit more fingering help. I end up marking up every piece with fingerings. If you play a digital piano with several voices, try piano with choir, strings, or vibes for some of them.

I purchased this item for my wife for Christmas. The selections are arranged beautifully - a definite must for those who play the piano and appreciate fine Christian music.

I've played two pieces in this book on Sunday worship, and every time the congregation really enjoyed the music. I love the music as well. This book is not an easy book, there are always some spots I need to work on. However, after practicing several time, the music is wonderful!! If you are a church pianist, I would recommend you to buy this book.

I have always been "picky" about the arrangements of Christian hymns and worship songs, because I am a piano arranger myself. This book has THREE things going for it!
1. these are classy, beautifully done arrangements and not disjointed
2. Mark Hayes has just a "hint" of jazz chording which adds to the appeal of these arrangements
3. this particular book is actually three books in one, so you get a terrific bargain!
I use this book with some of my students, as well as for church offertories. This book is at least upper-intermediate to advanced level. I love how he weaves in some classic hymns with newer worship choruses from the last two decades. You will not be disappointed if you purchase this book.

Mark Hayes is a master of creating arrangements that reflect the message of the song rather than simply showing off the talent of the performer. I have used his music arrangements constantly during the last 20 years, and I buy all his new arrangements the minute they come out. Not only do I use these transcriptions for my own piano solo work, but I also utilize them as topnotch accompaniments for both vocal and instrumental soloists during the worship service.

Don't pass this up!

This book is the best Xena book I have read, maybe even better than the official one. It contains their biographies and a complete script of one of Lucy and Renee's conventions. It also lists the most websites and groups. The episode guide was very informative. It contained some mistakes that the author found with the show. This book is worth every cent!

I was one of the people Nikki Stafford interviewed for this book. Sadly, the fan survey she conducted had to be cut from the final version, but a great deal of information was still included. Nikki's research into the show, its stars, and the fans who built an international community around Xena: Warrior Princess in the early years is unsurpassed.

Some other books have since come out which seemed to me to be nothing more than blatant attempts to capitalize on the success of one of the most popular syndicated television shows in history. This book always struck me as something different. But maybe that's just because the author took the time to see what the fans thought and cared about.

One thing in this book that stands out from the others is that Nikki bothered to comment on the different episodes. This is better than the official book!! I like the way that there is a personal voice in the comments, and the way that the author dared to criticse it, and add some suggestions as well. Brilliant work!!

I thoroughly enjoyed reading this book. It was very informative and by most accountants accurate. I would suggest this book to any Xenite! :) BATTLE ON!!

this book is great.it has every thing you need to know about xena.it has a chapter on the broodway production of grease that lucy was in.what lucy and renee were like as kids.it also has two or three pages of comics.if you love xena you'll live this book.

This is definately one of the best Maisy books my 19 month-old owns. (Or should I say, I own-since I love them all!!) Great colors, and great pulls/pop-ups. My son loves to say "Shhhh" on the last page as Maisy is going to bed.

I'm on the third copy of this book - the first two were eaten alive by my children. :)

If you are the parent of a young child, you probably know who Maisy is. She's a mouse with a duck, a squirrel, an elephant, and a crocodile for friends. Why the crocodile isn't trying to eat the others is beyond me, but that's life in Maisy's world.

Both of my daughters love the Maisy books; there's something about their simple stories and colorful pictures that even appeals to adults. The books are short and easy to read. But, the stories are never obnoxiously simplistic, like so many other books for small children.

This is a lift the flap book in which the childen are lifting flaps as Maisy prepares for bed. Believe it or not, this book helped convince one of my daughters to brush her teeth, which is frquently a battle in our house. This is one of the most fun Maisy books to read to your children. One caution, the kids might get a little aggressive with the flaps and tear a few, resulting in the purchase of a new lift the flap book (in our current copy, Maisy's tooth brush has bit the dust).

Maisy is on the way to bed. She has to do a few things before she can snuggle under her covers. Follow Maisy as she gets a drink, uses the potty, washes her hands, brushes her teeth, puts on her pajamas, reads a story, and goes to sleep.

Flaps and tabs on each page make each step fun and interactive for young children. Day turns to night in a window, the toilet flushes and toilet paper pulls out, Maisy brushes her teeth, and her storybook has several pages that children can see.

Ever the gentle, sweet mouse, Maisy is a beloved friend children love to see. The tabs and flaps add to the fun, although children who haven't mastered fine motor skills are likely to experience a little frustration when tabs don't work right or flaps pop off. The toilet seat flap popped off the page while my young daughter played with it. I anticipate an easy fix with the help of our gooey friend "Elmer."

For children who love Maisy and flap/tab books, MAISY GOES TO BED is a definite winner.

Reviewed by Christina Wantz Fixemer
10/20/2006

This is a very cute, sweet book to read at bedtime. All about a little girl mouse & her bedtime preparations.