Music Books

This book is so unique, I would recommend it for anyone who loves the history of the stage or just unique perspectives and biographies.
Not only is the story engaging, but each page is tasty eye candy.
You will not be disappointed with Century Girl!

Loved everything about this book: the subject, the era, the layout, the photographs, the ephemera. This was an enjoyable read and I've purchased copies to give as gifts to friends that I know have an interest in this time period. My only caution is that the text is "handwritten" and sprawls across the pages. I found it charming, but others may find it difficult to read. All in all, a delightful glimpse into a life led in the glory of days long gone.

Wow, this book is fantastic! Lauren Redniss put a lot of highly detailed work into this charming publication about the last Ziegfeld girl alive. Doris Eaton is a spunky little lady who, at the age of 104 has graciously opened the pages of her life during the days she was a Ziegfeld girl. The book is beautifully illustrated and colorful with lots of photographs and clippings follwing Doris' career as well as her siblings. Ms. Redniss did a marvelous job. I can't rave about it enough.

You must buy this sweet book if you adore the Ziegfeld Folies, fashion illustration, collage, lush photos of flappers, and want to know more about the last of the living burlesque dancers Doris Eaton Travis. This wonderful book makes a fab gift for collectors of nostalgia and vintage frocks. Features pages and pages of handpainted/tinted photos and whimsical creative collage spreads of 1920's photos.

Century Girl: 100 Years in the Life of Doris Eaton Travis, Last Living Star of the Ziegfeld Follies is a new order of biography. Lauren Redniss uses hand-written text as an artistic element to guide the eye through the evocative images she has created using photo-collage and line drawings. The result is a visually stunning tour of the extraordinary life of Doris Eaton Travis

The book chronicles the life of Norman, Oklahoma, resident and University of Oklahoma graduate Doris Eaton Travis. The book follows Travis and her siblings, once known as the Eatons of Broadway, from their lives as child actors, to their success in theater and early films, and ultimately to their sad and often tragic fates.

Travis alone was able to leave show business behind. She had the strength to adapt herself when circumstances demanded; from dancer, to entrepreneur, to book-keeper on a horse ranch, to college graduate at 88 years old. She returned to the Broadway stage at the age of 94 and recieved an honorary doctorate at 100. Her's is a story of reinvention and ultimately of success.

Lauren Redniss teaches at the Parson's School in New York City. Her work is often seen on the Op-Ed page of the New York Times, which nominated her for the Pulitzer Prize. She is currently writing a biography of Marie Curie, due out in the fall.

This book is a work of art from cover to cover. Redniss knows her subject well and the story is told largely in Travis' own words. It is the author's unique, artistic approach that brings this fascinating story to life so vibrantly and with such immediacey.

In one section of the book, for example, Redniss discusses Travis' sister Mary Eaton's beauty, and the eagerness with which men gave her expensive gifts. The text takes the reader to photographs of Eaton in a seductive pose layered over images of Eaton's name in lights on the marquis of the New Amsterdam Theater. These images flow into a still photo from Eaton's starring role in Glorifying the American Girl. As we read of Eaton's beauty, we see coming off the page a Broadway star at the height of her fame and a woman who epitomizes beauty in the early twentieth century....and we understand why men were so easily parted from their money.

The artistic elements flow together seamlessly and carry the reader through this lovingly crafted biography. Redniss' incredible images allow the reader to experience the lives of Travis and her family in ways that text alone simply doesn't allow.

This book would appeal to anyone interested in dance or theater history. It has appeal to the general reader as well. Doris Eaton Travis is an extraordinary human being. Her ability to overcome tragedy, to reinvent herself, and to constantly strive to learn is an inspiration to all. Lauren Redniss' extaordinary book is the perfect vehicle to bring her inspiring story to life.

This Commentary is a very affordable way to get Martin Luther's insight on his theology of the cross. This book is really a sumation of Luther's beliefs on God and Christ.

Commentary was for a Christmas present. Receiver of the gift was very excited, and enjoys the book very much.

This review covers the Flemming H. Revell Commentary on St. Paul's Epistle to The Galations. This version is based upon Luther's lectures at the University of Wittenberg in 1531 and the translation is based upon the "Middleton" edition of 1575. This is the best version to my knowledge, but it is written in King James english. On the positive side, it reads very poetic, but on the negative, it is harder to follow. I personally like this writing as it is closer to the language of the 16th Century. This book was considered by Luther to be his favorite, and history rates it highly. To summarize, it has a number of messages, (1) Galations shows that a person who is in true faith can fall away if they are negatively influenced by false teaching - a real problem in today's world. (2) That Biblical teaching must be solely based upon Bible scripture, and anyone who teaches man's doctrines using random Bible passages to support his/her sermons is most likely not a trustworthy preacher. (3) That even faith is a gift of God, and not a decision that a person makes. (4) That "Justification" is based upon "faith alone. (5) That Mose's OT law condemns mankind, and that anything a person tries to add to God's grace in the way of works or self rightiousness, denies what Jesus Christ did for mankind on the cross - Galatians 5:4. (6) That good works result from heart felt faith, and that good works do not preceed or contribute to salvation when it comes to "Justification."
The world needs this teaching to be more prevalent; however, the world does not like to hear it; therefore, it is almost lost in today's religious teachings. This work is a masterpiece with few peers if any, and is highly recommended to a person familiar with the Bible who desires to grow in their faith and understanding.

This is, in my estimation, the greatest non-canonical book ever written. Luther expounds Paul's epistle to the Galatians with an insight, power and depth of emotion which is sorely lacking in modern commentaries. He is not concerned with the various potential interpretations of "problematic passages" that fill the pages of other commentaries. From the very first page Luther cuts to the heart of the epistle-the doctrine of justification-in the way that only he can. His bold words and plain-sense interpretations result in a work filled with much of the same force and passion that characterized the epistle itself. The grace of God and the love of Jesus Christ cling to every word like the scent of a precious perfume. I cannot recommend this work highly enough. This is the very essence of the gospel as understood by the one who "rediscovered" the doctrines of faith and grace as he teaches us from the words of the one to whom God first revealed those doctrines. If you are looking for an up-to-date critical commentary or a greek-focused exegetical work then you will not find it here, but if you would hear a plain declaration of the power and wisdom of God then you will not find a better treatise apart from the Bible.

When faced with the ineptitude of my walk with the Lord Jesus I must turn to Luther's Commentary on Galatians! It nearly always brings me to tears of joy as Luther expounds on the love of the Lord Jesus for me a sinner. If Christians of today would make this book a constant book of study, second of course to their Bible we as a church would be able to say along with the apostle Peter,"silver and gold we have none,but such as I have give thee..." Its time for revival in America. Luther's Commentary on Galatians was good enough for the Wesley's amd Bunyan as one other reviewer stated. May I say its good enough for us today. Let's reclaim the power of the Gospel of our Lord Jesus Christ and learn the old truth of being justified by faith alone through His grace alone.

I've only gotten about a quarter of the way through this book. It has a LOT to offer. It covers lots of different rhythm possibilities while introducing you to various chord voicings and inversions.

It will take me a long time to get through this one, but its worth it. Terrific text.

This is something more for intermediate players though. If you don't know some basic music theory, you could get lost fast.

I have been playing blues in a working band for years. The biggest hole in my playing was chord knowledge and application. This book is money in the bank. It has had an immediate impact in the way I play rythm. I gaurantee everyone will take something from this book. I'm looking forward to hitting this book hard when I'm snowed in.

This will give you more confidence and a greater understanding of how to construct old-school blues progressions. This book is fairly dense and will require quite a bit of time to "soak in". I have found that this book, in conjunction with "Blues You can Use" work well in further advancing my blues skill and knowledge base. Not for beginners, and not a book of "licks you should know".

This music book was more than I hoped for! I use it at my lessons and my teacher loves it too. Theory, finger work, strumming, it's all in here for the blues wanna be! Good delivery time too.

I have been teaching and arranging for guitar players for a very long time, and one of the problems I repeatedly encounter is the red hot lead guitarist who can't play rhythm worth a bean. I have to explain that even if it's your group, you will spend two thirds of your time playing rhythm. Then I have to convince them that what they are doing is awful, and believe me, it is. The most popular method is what I call "the thrash". The way I make the problem clear to them is to play backup myself while they take a solo. Then I point out that if that kind of rhythm is what they want, THEY have to be able to do it too. Then we start in on Mccabe's book. The Cd's numbers are screwed up, but you can figure it out. (I doubt if the author is responsible) I love this book. Before it came out, I had to do demo tapes to show what to do. Now I just write down the page number. Six weeks of serious work will make you better. Six months of work will make you a lot better, and very popular with your fellow musicians. Make no mistake; this book is aimed at blues and rock. If you are working in that field and play guitar, get this book. If you are working in this field and play some other instrument, you might want to suggest to someone in the group that he buy it. Self defense.

Just purchased this rightoff on Alibris and was real excited to read this even tho I'm into music conducting, arranging, writing, hearing by ear, all of it.

This is deeply a Music Must if u're interested of being a most-talented musician, bandleader, music director, conductor, and/or just trying it out for practice.

Alot of people been recommend 'cuz the man himself Brock Elheran tells it right here from the heart and it's rocks on to this day 4ward.

I just begun conducting while in high school with the band and duggin' up everybody who can do that. I'm also a talented musician myself so ya'll know the basics 'bout that. I look 4ward of reading more books like this in the future and 'mos definitely on arranging, composing, orchestration, theory, composition, leadership, music production, all of the above.

I'm proud to say that I studied with Brock. He is an amazing conductor with great passion for music. While his book was required reading for his undergraduate conducting class, his concepts are used every day is my choral rehearsals. I've been conducting for 12 years now, and know that his concepts and rehearsal techniques have served me well. A very simple, concise, and practical guide by an incredible teacher and conductor.

I bought this book shortly after I'd agreed to conduct an adult community choir, and studied it with fearful concentration through the first tentative weeks while the choir and I developed some trust in each other's good will and ignorance. I'm still a novice conductor, but I've now stood in front of some big groups of singers, experienced and beginners, and I trust this book. Even when it's not hidden in the music in front of me.

There's room for argument with some of what McElheran says, and I haven't yet seen a choral conductor who works as he recommends, but the book is clear, sensible, brief, and practical. What's more, it's in better shape than most of my music, although it's travelled further and lived rougher.

I've found the exercises very useful, especially those with "a group of friends". I tried these with my novice choir, in a spirit of "let's explore", and we all learnt from them.

Warmly recommended for anyone interested in conducting, even those who are not about to try their hand, with or without baton, at it.

This is the best book for technique I've come across, period. The style is not unnecessarily abtruse and the clarity of the book in explanation is magnificent. What appealed to me is the fact that logical, scientific explanations are given for most of the technique encompassed, and the author does not take refuge in 'tradition'. It is as suited to the absolute beginner as it is to the professional looking to polish his/her tehnique.

This book has become a common introductory text for undergraduate level conducting gesture in the United States. In this respect, the book is extremely effective.

McElheran's treatise is laid out in ultra-clear chapters, all of which are concise and contain possible "Assignments." Not to get too bogged down in the mire of conducting gesture, McElheran's first chapter is on Inspiration. In short, "make the performers want to do their best," he says.

The next few chapters cover aspects such as the baton, beat patterns, the left hand, dynamics and other aspects of music, cues, off-beat accents, fermatas, and some aspects about rehearsals and performance. There are more chapters but you get the picture. All are good.

Some readers may wonder if this is meant for "orchestral" or "choral" conducting. McElheran states clearly that there is (or should be) little difference and that choral conductors should develop an orchestral technique. While I would say that good choral and orchestral conducing are about 95 % similar (perhaps even more so), choral conductors should be aware that there are some differences, especially in ideas of always "hitting the imaginary table" or conducting every single beat. Nonetheless, Conducting Technique can be very helpful for the beginning choral conductor.

Moreover, McElheran's writing style is very fresh and full of self-effacing wit. Reading the book gives one the impression that Brock McElheran is the type of person who takes the art of music seriously but not himself seriously. I think any beginner of conducting should consult this book, and even professionals might want to have it around just as a reference.

I laughed, I cried, it became a part of me. Take a look at ..... site regarding the first chapter of Crackpot. It is as wild as the book. Many of the links are gone, but many are still there. Loved this book.

First, let me say that this book should have more universal appeal than do his movies. We all know that his movies are just too gross for some people to stomach, but there's nothing here that any adult reader should find offensive. If you enjoy homorous writing, a la Woody Allen, Steve Martin, Joe Queenan, David Sedaris, etc., you should find this little volume right up your alley.

Waters displays an acerbic, eccentric, but highly insightful comic sensibility. There are fifteen short pieces here, which first appeared in various magazines during the mid '80s, primarily NATIONAL LAMPOON (When it was still funny) and AMERICAN FILM.

The book opens with a bang, in one of the funniest pieces, "John Waters tour of L.A." Needless to say, this is not the L.A Chamber of Commerce "official guide." He takes us to some of the seamier sights, including the spot on Hollywood Boulevard where you can catch "the legless, one-armed white guy who break-dances on the street for horrified families as they stroll up the Walk of Fame." He also offers some timely,timeless advice for when you're driving around L.A: "Never look at pedestrians; they're the sad faces of L.A., the ones who had their licenses revoked for driving while impaired."

There really aren't too many weak entries in the collection. He does go a bit over the top in his rhapsodizing of Pia Zadora, perhaps, in an article devoted to that queen of glitz, but one comes to expect "over the top" from Waters. Who would want it any other way? He's also very much the exaggerator when it comes to his likes, "Puff Piece (100 Things I Love)and his dislikes: "Hatchet Piece (100 Things I Hate)." Amongst the things he most admires are Supermarket Tabloids: "Then I gazed at the great LAS VEGAS SUN wire-photo of a giant ostrich, escaped from a zoo chasing a totally bewildered middle-aged woman down the street. Every time I see her horrified expression, the creative juices start to flow." Not content with this passing mention, he writes an entire article entitled WHY I LOVE THE NATIONAL ENQUIRER as a paean to that fine bastion of journalistic integrity.

Some of Waters' images do convey a bit more of the "so banal it's hysterical" quality of his movies, as when he conjures up "a fancy Santa," in a piece called WHY I LOVE CHRISTMAS.
"Why hasn't Bloomingdales or Tiffany's tried a fancy Santa? Deathly pale, this never-too-thin-or-too-rich Kris Kringle, dressed in head-to-toe unstructured, oversize Armani, could pose on a throne, bored and elegant, and every so often deign to let a rich little brat sit NEAR his lap before dismissing his wishes with a condescending 'Oh darling, you dont REALLY want that, do you?" I mean, really, wouldn't you just love to have John Waters' private phone number and be able to shoot the breeze with him about popular culture? No!! you say? Well then this book's not for you. However, if you enjoy mordant, biting wit, and a breezy, conversational style of writing, this book is definitely for you. It was sent me by a friend. I'm going to be sending a few copies out to other friends now. Who knows, maybe we could start a John Waters cult?

BEK

This collection of essays is one of the most compulsively readable, and re-readable, books I have ever owned. I was drawn to it, as you might expect, by my enjoyment of Waters' camp classics. But to be honest, I enjoy Waters the essayist at least as much, if not more, than Waters the filmmaker. Waters' films, and particularly Pecker, Serial Mom, and Hairspray, set the scene for the miscellany of obsessions which animate this book. Crackpot offers a comforting way to understand Waters' recent turn to a more conventional cinematic venue: these films are *also* celebrations of his passionate likes (and dislikes).

Waters writes a witty and acerbic prose, which conveys genuine passion for his obsessions, obsessions which include trials, the National Enquirer, Woody Allen's Interiors, dangerous candy, menthol cigarettes, and Christmas. His preferred methods seem to be the catalogue and the reminiscence: Waters' list of 101 things he hates, and 101 things he loves, are obsessive ruminations on the everyday, and Waters' methodical survey of his everyday touches gives new meaning to the sublime *and* the ridiculous. Most memorable to me, perhaps, is his LA Tour, a pre-OJ intinerary of murder, mayhem, and showbiz, and his loving tribute to the Enquirer. But his celebration of William Castle, or shame-faced coming out as a fan of avant garde, his ritualistic account of Christmas and his loving descriptions of his interests, home, and personal history all make for a case study of obsession that feels both candid and arch, in Waters' inimitable, and paradoxical way. If you read it once, you're going to read it again.

This is absolutely the funniest book that ,Baltimore Bad Boy, John Waters has ever wrote! This book made me laugh out loud several times to the point that I'm sure my significant other may have harbored thoughts about having me committed.

This is the book that piqued my intrest in John Waters over ten years ago before I could even be called a teenager.

For a man with such a reputation for being "filthy, perverse, trashy, etc., etc., etc.", this book ggives the reader a delightful gllimpse into his bouyant and often child like mind. Whether raving over meeting with Pia Zadora, listing the events of a truly hellish day, or giving a guided tour of Los Angeles as only he can, he guides the reader along in a cheerful skip, full of bounce and frolick.

Even for one who's unfamiliar with his films, this book is a light, quick read sure to entertain and provide laughs, crating a vivid and lovable image of the man known to so many as "The Prince Of Puke"

Have you ever wondered what it would be like to write a hit song? Perhaps you have asked yourself why do some songs become commercial successes while others end up in the dustbin?

Journalist, talk show host, teacher and consultant, John Braheny, provides us with the answers to these queries as well as many other topics in his blue-ribbon manual The Craft and Business of Songwriting-Second Edition.

Braheny was one of the founders, along with Len Chandler, of the Los Angles Songwriters Showcase. For 15 years he was intimately involved with this national non-profit organization that was dedicated to creating opportunities for discovering aspiring songwriters. As a result of this relationship, he accumulated an exceptional amount of knowledge pertaining to the business and craft of song writing. The reader is fortunate to have all of this information neatly wrapped up in a compact manual that is split into two main sections, the craft of writing songs and the business of selling and marketing songs.

Within the section dealing with the craft the author delves into such topics as creativity, inspiration, subject matter, media, listeners, lyric writing, song construction and possible collaboration with other writers. Naturally we would probably be sceptical of a book that purports to teach us how to write a song. Some would say you are born to write a song, others would disagree and say it is possible to be taught the craft. Braheny believes that you can't be taught inspiration or imagination. However, you can be taught ways to get in touch with what you have to say and how to communicate it effectively. Using this premise as a base, the book provides us with the tools that will perhaps uncover our hidden talents.

The second half of the book deals with the business features of song writing and as the author states, "writing a great song is only part of being a successful songwriter. Unsung thousands possess the talent and craft to write great songs, but without understanding the business and knowing how to protect your creations and get them heard by those who can make them successful, those songs are like orphans." Perhaps we should refer to the second half as the entrepreneurial skills needed to sell, promote and market your songs. Within this section we are introduced to such topics as protecting your songs, securing money, publishing, self- publishing, demos, marketing, Internet and record deals.

The appendix of the book provides the reader with a very comprehensive listing of songwriters' resources containing names, addresses, phone numbers, web sites and general descriptions of the various references. No doubt this inclusion will save anyone who aspires to be a songwriter a great deal of time and effort.

After reading the book are you guaranteed that you will be successful songwriter? Probably not. Unfortunately, we don't have a crystal ball indicating who will succeed and who will fail. However, at least after reading and being exposed to the elements of song writing, you will have a better understanding as to how the music industry works in relation to the songwriter, or writer/performer. As the author asserts in his introduction, "it will demystify and humanize what can often feel to a newcomer like a cold, monolithic, and impersonal industry."

The above review first appeared on the reviewer's own site

Although this book isn't as comprehensive as others in the songwriting department, it presents information in a very concise and interesting format. It also has a comprehensive section (half the book) on the BUSINESS. It's a quick, easy read and definitely worth the price. But if you want to get serious about songwriting, you'll also need a book with more theory such as WRITING MUSIC FOR HIT SONGS.

One of my most basic problems when starting off as a songwriter, was the lack of background and knowledge on how to approach a new song. I am talking about your basic strategies and how to structure them into a final product. Where does one begin, what do you need to take into account, what to do first, how to approach rhyme, basic tips about melody, chords etc. I found this book to answer these type of questions in a simple and interesting way.

The author is obviously a specialist with a very good track record. He taught me how to analyse existing songs to expand my knowledge. No more do I just listen to music, I learnt the skill to expand my songwriting knowledge whilst listening to other songs on the radio or on CD.

I have learnt how to decide on a basic structure, how to approach the most important issue of finding a "hook" for your song and refining it to something useful. I have discovered that it is O.K. to rewrite songs, but I have learnt how to approach it. This book has taught me how to make songs more interesting and it has made songwriting a more interesting hobby for me.

I think the most important lesson from this book is how to grow from a songwriter that tries to express his/her own feelings to himself/herself and a few close friends, to someone who can express his deepest feelings in such a way that his song could be loved by millions and could become a commercial success. It also contain an abundace of valuable information on the industry and how to promote your music.

If I did not read this book I would have missed something for sure. If you are serious about songwriting you cannot go without this book.

The first Edition of the book, was a must read, now this 2nd Edition, updated with new information and current song references, is also a must read for everyone that writes songs. The most complete songwriting book, for beginning songwriters to the aspiring, to even pro writers will learn from the book. I often refer to it as "The Songwriters Bible", just full of information that we need in the world of songwriting.
I have been a Nashville Songwriters Association International coordinator in Charlotte for (6) years, and do at least one activity or read a quote from a hit writer or music professional in the book at every meeting. This book is years of songwriting seminars and workshops all in one. The reader will learn just like the title says, the craft and business from someone who knows what they are talking about, and has led workshops for some of the best songwriters of all time, including the awesome Diane Warren and several other hit writers. John Braheny made a difference with hit writers, with myself, and other songwriters that I have recommended the book to in the past 14+ years of reading the first edition, and now the 2nd edition. I recomend this as the very first book for every songwriter to read and study. If you know someone who writes songs, buy the book for them, and a copy for yourself. Buy a highlighter or two, to use when reading the book. ...Doak Turner
...

So what if words and music come natural? We write the stuff down, add a tune and sing it to the world. Then what? This book, The Craft and Business of Songwriting, is a very affordable reference; and probably all you need.I'm happy it contains material that will make me wiser.Buy this or you'll miss out.

I have been wanting to teach myself to sing for several years, since I can't afford voice lessons, and have tried several books on the subject. This one is by far the best. I first tried books by William Vennard and Richard Miller and found that they were meant for advanced students, not beginners. There are other books for beginners, but they aren't usually meant for classical singing, more for pop (and I find that the authors don't really seem to have much of an understanding of the human voice). I don't know how he does it, but Brown manages to make normally difficult concepts easy to understand. Part of that is because of the CD that comes with it. It helps give a better understanding of what he's trying to explain. I would highly recommend this book for anyone trying to learn how to sing classically.

While the title makes it seem as if the book is some kind of vocal therapy book for medical patients, singers rejoice, this is a thorough manual on the art and mechanics of singing.

While I would never encourage a serious singing student to learn from just a book, if you just can't afford a singing teacher, this is the book to buy! Of course, it may not catch your eye immediately. It doesn't promise you vocal prowess in just 10 easy steps. It doesn't claim to be a revolutionary new method and it does not bask in its own ill-conceived glory like so many other books out there. It is simply a book of time tested foundational knowledge on the instrument of voice.

Each chapter is concise and is backed up by many references, examples and excercises. It is beautifully written and covers all aspects of voice from breathing and posture, to what it takes to be a proffesional singer. There was not one moment in reading the book that I felt like this might have been teaching me incompletley or incorrectly.

It is expensive, but you do not expect to spend 20 dollars for a master class with Pavarotti. Likewise, do not waist 20 bucks for the self proclaiming and inferior vocal instruction books out there. Oren L. Brown knows what he is doing and knows how to articulate it. This book is a culmination of so much knowledge on voice production that I am quite certain that it will improve any broken voice seeking to be fixed.

It's no secret singing is a personal universe of mystery that somehow remains unveiled no matter teachers, discipline, technique, etc. With all other instruments you can actually SEE what's going on in the process of learning. With the voice, everything is how "you feel" about it. You can not see your vocal chords to realize you have a good or bad habit...
The secret is then how to LEARN to recognize if what you feel is right about the way you sing or not. It shouldn't be so hard; you either -for example- feel exhausted after singing an aria or whatever, or feel you can keep on singing for the rest of the day without fatigue. That should indicate something! But the problem is to be able to reproduce great singing sensations in an everyday basis. That can certainly be a lifetime challenge. This book helps pointing out towards sensations associated with freedom and flow of a natural voice; Brown is all about this, in search of a more "primal" sound, connected to the way we speak. Not everything is as simple as that, and singing, depending on the repertoire, etc, etc, needs to a certain extent, some kind of artifice beyond the speaking natural sound of our voices. But this book will put you on the right track if you have been wondering about tensions with the way your vocal production occurs. Highly recommended for connecting singing with a more mundane experience in which emotions need to be part of your singing. Great simple exercises can reveal so much, and in that respect it is a fantastic book. Highly recommended.

This book is very good. It makes the (singing) voice clear to understand. Just by simply reading this book, you will start to have wonderful insights about your own voice, which this book is all about.

Mr. Brown has written a powerfully informative book about all aspects of the voice. His book provides many interesting case studies, is very enjoyable to read, and includes factoids like "the Western and European singing style uses a low larynx." My one gripe is that the CD is not usable as a practice aid. Every exercise is demonstrated so briefly that you won't get a warm-up at all after singing along. If you don't have a piano, and you want to practice vocalizing at home with a piano recorded on a CD and exercises that methodically start on consecutive pitches, try the Jeffrey Allen book/CD set. That set includes techniques such as messa di voce, also demonstrated (more briefly) in Mr. Brown's CD.

A thorough, carefully researched biography of the infamous Mama Cass. Through interviews with Cass' family and friends, the author debunks the Ham Sandwich Myth which has been urban legend for years. If you want a detailed biography of this talented woman, this is a great one to start with. Cass never really wanted to be a folk-rock/pop singer; she was a Broadway Baby and her love was Broadway musicals. But without her, The Mamas & The Papas would not have had the success they did have in the 1960's, in my opinion. Her larger-than-life figure and personality, plus her knockout voice really made that group.

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!!!

all of the tabs are very accurate. since Petrucci helped edit it, the tabs are more accurate than what you would find on an internet tab site. if you are looking for an accurate book this is it along with any other Dream Theater book.

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.

There is no such thing as a bad Ross MacDonald novel, but while this is good, it isn't typical of his best work. MacDonald's Lew Archer novels are correctly judged to be the great successor works to the great stories and novels of Dashiell Hammett and Raymond Chandler. Together the three writers constitute the Great Triumvirate of the American hardboiled school. While MacDonald doesn't write prose quite as brilliant or memorable as his two predecessors, he created characters of greater depth and complexity. He also wrote a larger quantity of great novels than either Hammett or Chandler.

Despite all this, THE DROWNING POOL does not stand out very far from what Hammett and Chandler had achieved and it did not really put on display MacDonald's later innovations. If there is a theme running through MacDonald's best books like THE CHILL or THE INSTANT ENEMY or THE MOVING TARGET is it this: "The sins of the fathers will be visited unto the second and third generations." In almost all of his mature novels Lew Archer starts off investigating some incident in the present that ends up having roots 20 or 30 or 40 years earlier. His novels always puts me in mind of Yeats's "Leda and the Swan," where the rape of Leda by Zeus in the form of a swan inevitably leads to the tragedy of the Trojan war: "A shudder in the loins engenders there/The broken wall, the burning roof and tower/And Agamemnon dead." There is an intricate causality in the Archer novels. Things happen not because of anything happening right here and now, but in almost foreordained fashion because of actions in a previous generation. THE DROWNING POOL has a smidgen of this, but not much. The causality developed here is the later view of causality in embryonic form.

The amazing thing is that even though this is not quite as breathtaking as later MacDonald novels, it is still absolutely first rate. Ironically, this is one of his best-known novels, even if it isn't one of his very best. The reason is easy to identify: it was made into a movie starring Paul Newman. In fact, though MacDonald is clearly one of the Big Three hardboiled writers, unlike Hammett and Chandler -- both of whose novels have been turned into several great films -- MacDonald's books simply do not lend themselves to conversion to movies. Paul Newman did play Lew Archer as Harper in two movies, but they were not of the same quality as the best films based on Hammett and Chandler books. HARPER was a film version of THE MOVING TARGET, so both the title and the main character underwent a name change. Unbelievably, MacDonald's best book -- and one of the two or three greatest hardboiled novels ever written -- THE CHILL has never been made into a movie. The film that is closest to the world of Lew Archer has no connection to any novel by MacDonald, Roman Polanski's CHINATOWN, which is much closer to MacDonald in spirit than to either Hammett or Chandler.

Still, this is must read MacDonald. His books would get better, but that isn't to say that this isn't a good, even a great, novel.

Of all the classic heroes in hard-boiled fiction (Spade, Marlowe, etc.) I've always found Lew Archer to be my favorite. Maybe it's because MacDonald does such a superlative job illustrating Archer's flaws, doubts and shortcomings. Rather than some iron-jawed superhero, he's a compellingly complex person whose battered conscience ultimately makes him more heroic. Many readers consider The Drowning Pool to be the best Archer book and it's hard to argue that contention. If pressed, I might rank The Way Some People Die just a little bit higher, but both books are so good it's stupid to quibble. I haven't read The Barbarous Coast yet, but look forward to diving in soon.. and afterward I might have to revise my opinion regarding Archer's best case once again.

A different Lew Archer here than THE BLUE HAMMER Lew Archer. The tone is in TDP is more gritty and hardboiled. Lew is less the romantic toward the ladies he meets. I like Macdonalds' writing in TDP. A less polished and more direct style has its appeal. There's less psychological development of the characters, more emphasis on plot.

I hesitate to call this a classic because some people consider "classics" as dull and out-dated. And there's nothing dull or out-dated here (well, maybe that paying $10 to be driven from Las Vegas to L. A. is a bit out of date).

Archer's hired to discover who sent his client's husband a letter accusing her of infidelity. Introduced to the family and friends at a party as a Hollywood agent, he is sensitive to the growing tension and explosive atmosphere. The reader knows of course that somebody's going to be murdered, but these early chapters are among the most skillfully written to build suspense that I've ever read.

Written in 1950, the inclusion of a homosexual couple was quite daring although there is not graphic description, and isn't significant enough a factor of the plot to either offend or attract a reader.

Read this and I'm sure you'll find it on your own list of crime classics.

In this skillfully written tale of murder and intrigue, Ross MacDonald manages to "out Chandler" Raymond Chandler. It's Southern California, circa 1950, and hardboiled detective Lew Archer finds himself traversing the same landscapes Chandler's Philip Marlowe does in The Big Sleep, High Window and The Long Goodbye.
The plot of The Drowning Pool is complex enough to be interesting without being convoluted or forced. Greed, blackmail, homosexuality and family dysfunction all play roles in advancing the nicely paced narrative. Thrown in for good measure are seductive women, a number of action scenes and a Lolita like teenager named Cathy.
MacDonald's very descriptive prose is quite effective. And there's plenty of memorable dialogue. My personal favorite: "Your reminiscences fascinate me. May I take notes?"
You'd be hard pressed to find a more satisfying example of noir crime writing. An enthusiastic 5 stars.