Book Description

Bassist James Jamerson was the embodiment of the Motown spirit and groove - the invisible entity whose playing inspired thousands. His tumultuous life and musical brilliance are explored in depth through hundreds of interviews, 49 transcribed musical scores, two hours of recorded all-star performances, and more than 50 rarely seen photos in this stellar tribute to behind-the-scenes Motown. Features a 120-minute CD! Allan Slutsky's 2002 documentary of the same name is the winner of the New York Film Critics "Best Documentary of the Year" award! ... Read more

Reviews (19)

A good book about a great bassist
This book and CD combination examines the music of James Jamerson, the studio bassist on most of the early Motown hits. Until rather recently, Jamerson was unknown to the general public and not widely known to musicians. Nonetheless, his playing was very influential and many bassists today consider his playing the gold standard of bass guitar in popular music.

This book is valuable as a reference for the history of Motown, but it is primarily a teaching tool. It is organized into three parts. The first 78 pages give a biography of Jamerson and put his work into historical context. Part two (17 pages) is a compilation of data: descriptions of bass equipment, recording facilities, accompanists, and discography. Also included in this section is a four page "Appreciation of Style" by Anthony Jackson that attempts to analyze the musical elements that made Jamerson unique. Part three contains 90 pages of transcriptions of Jamerson bass lines and accompanying text. The transcriptions go with the CDs described below.

The CDs and transcriptions are the heart of the set. The CDs feature Motown tunes with the bass lines played by over two dozen "all-star" bassists (e.g Marcus Miller, Jack Bruce, John Entwistle). Bass is on the left channel with instrumental accompaniment on the right. The bass lines are transcribed by the author and the transcriptions are accompanied by short bios of the artists who play the lines. The tracks on the CDs are interspersed with short interviews of people who knew Jamerson. The artists reportedly donated their services as a tribute to Jamerson and the bass lines and accompaniment were recorded in a variety of circumstances. Many tracks are recorded in home studios. The quality varies, but all tracks are well played and all are useful teaching tools. I thought the variation of sounds would be a drawback, but it is a very interesting part of the project. The best Precision Bass tones are not necessarily from the artists you would expect. (Not everyone tries to duplicate Jamerson's tone. Geddy Lee was approached backstage at a concert and contributed "Get Ready" on either a Steinberger or a Rickenbacker. Lots of fun.)

The level of the transcriptions is somewhat advanced. Transcriptions are given in traditional bass staff (no tab) and the rhythms will give your reading skills a workout. There are very few specific comments about fingering, right-hand technique, or damping. Yet the range of difficulty is from dead simple (beautifully rendered) line to lines that will challenge the most advanced player. (The challenge is rhythm and feel not lots of note or big stretches.) Beginning to intermediate players can use this book, but will benefit greatly by using it with the help of a good teacher.

One can quibble with the historical overview. It is quite readable, but doesn't dig deeply into any of the tough issues it raises (e.g. Jamerson's drinking and emotional stability, Berry Gordy's business practices). Since the focus is on the music, some of this reticence is laudable. However, one important musical controversy that the author fails to pursue is the question of the true credit for recorded bass lines in the era when Motown was moving from Detroit to LA. (Many tracks were demoed by LA studio bassists and then cut by Jamerson as well. There is still debate as to which track made it to the final recording. The question is acknowledged, but no new information is brought forth.) Another musical deficit is that there is very little about the interplay between Jamerson and other members of the rhythm section. (This is in contrast to the author's better-written (if slightly less important) book on the James Brown rhythm sections.)

Even with those minor issues considers, this is an extremely valuable book. It is clearly a labor of love and will be an extremely valuable learning tool for any bassist with the fundamental skills (or support) necessary to ap

Don't Believe The Hype!
As a biography of James Jamerson, this book succeeds. However, as an educational guide to James Jamerson's playing style, it is lacking. While the CDs are excellent learning tools, there are a few errors in the transcriptions. Also, there is no tablature, so be prepared to read music. Only a few of the examples are suitable for beginning bassists, and there is no fingering information, so you'll have to figure it out for yourself. As far as analysis of Jamerson's playing style goes, there are fewer than 10 pages devoted to picking apart what made his bass-lines special. On the other hand, the book includes a wonderful chromatic exercise penned by Jamerson for a fellow studio bassist.

In summary - this is a good book if you are really interested in learning about this Motown legend, or if you are an intermediate or advanced bass player willing to spend some serious time to learn some incredible bass-lines. Just thought I'd add a level-headed assessment to all the adulation here.

A Portrait, a Tribute, a Learning Tool, & a Great Listen
To comprehend James Jamerson's work, listen to the beautiful bass lines of the hits. Whether you're a student of bass or a seasoned player, playing those lines is no easy task! "Bernadette", "Reach Out",.... Envigorating sounds! Jamerson's story is here. Hear re-creations of his work minus vocals by the best of the best of today's bass players. Most of the sheet music is included!
Sitting without tribute, quietly and anonymously in the audience at the Motown 25th anniversary TV special performance in California, Jamerson had been akin to the elder Indian in the old "Keep America Beautiful" TV ad who sheds a tear with grief at the spoiling of his pristine land. This book was a great first step at righting that wrong.
This book went on to inspire a similarly titled movie on the Funk Brothers. This book and the 2 CDs that accompany it are a one-of-a-kind find for the bassists and all who crave the Motown and soul sound of the sixties and seventies. Thanks to its author for assembling the treasures and for inspiring such good will in the music community!

Superb resource for new Bass players
This is a must-have for new Bass players who want to be serious about the craft.
One possible draw-back is that there is no TAB, but serious students will value the extra push towards better standard notation reading skills.
Much of Jamerson's music is now 40+ years old. So, in some ways the book now also serves as an important Historical perspective on the roots of the modern Bass sound.
If you're serious about BASS, get the book.

James Jamerson, Stone Alone
In contrast to the bass players warning you away from not reading this book, those who have seen the movie of the same name may not be surprised enough by how different this book (dedicated to James Jamerson alone) is. This is because the movie is frankly a celebration of a Motown sound which is no longer a live cultural influence, and many may not properly understand the equivocality of this statement on account of Norman Whitfield's other omisssions -- Jamerson was very much a figure of Detroit Motown, but like the "psychedelic soul" which immediately preceded the *auteur* LA era he was *meant* to be felt and not heard.

Due to his increasing cultural stature, very little attention is paid here and elsewhere to the fact that the famous AM-friendly Motown mastering was intended almost explicitly to reduce Jamerson's presence in the mix, to the point that I suspect the first revelation for quite a few concerning the downside of the Sixties was the discovery that some people *really* knew how to play. The praise for "Igor" is not "subaltern" hype: Jamerson's arpeggios meet the formal standards for virtuosity set by classical musicians, and the further standard of not interfering with Motown's positioning in the "social field" as the "Sound of Young America" in no ambiguous sense. Here we can see how Jamerson's stature was reduced during his lifetime *even* as the cultural influence of his midsixties highpoints increased.

Such that we might do well to wonder not only "whither Berry Gordy?" but also whether Jamerson's descent into madness and death reflected the de-privileging of a certain standard of craftsmanship in American culture (one might also consider Rick James' sobriquet for the late Marvin Gaye, "Uncle Marvin"). On this score, the sociologist Niklas Luhmann once said that his position on long-term societal changes was that he was not asked: and although there is a refreshing amount of realism in such positions, that is rather explicitly and interestingly not the stance of this book -- those curious about "cultural memory in the present" would also do well to consider it. ... Read more

Book Description

From the critically acclaimed, best-selling author of Holler if You Hear Me, a fresh reassessment of the remarkable life, art, struggles, and death of an American icon.

Twenty years after his murder at the hands of his own father, Marvin Gaye continues to define the hopes and shattered dreams of the Motown generation. A performer whose career spanned the history of rhythm and blues, from doo-wop to the sultriest of soul music, Gaye's artistry magnified the contradictions that defined America's coming of age in the tumultuous 1970s. In his most searching and ambitious work to date, acclaimed critic Michael Eric Dyson illuminates both Marvin Gaye's stellar achievements and stunning personal decline--and offers an unparalleled assessment of the cultural and political legacy of R&B on American culture.

Through interviews with those close to Gaye--from his musical beginnings in a black church in Washington, D.C., to his days as a "ladies' man" in Motown's stable of young singers, from the artistic heights of the landmark album What's Going On? to his struggles with addiction and domestic violence--Dyson draws an indelible portrait of the tensions that shaped contemporary urban America: economic adversity, the drug industry, racism, and the long legacy of hardship.

Published to coincide with the twentieth anniversary of Gaye's death in 1984, and infused with the soulful prose that has become Michael Eric Dyson's trademark, Mercy, Mercy Me is at once a celebration of an American icon whose work continues to inspire, and a revelatory and incisive look at how a lost generation's moods, music, and moral vision continue to resonate today. ... Read more

Reviews (8)

Good Review, but...
I've read most of the books that have been written about Marvin Gaye, this being my most recent. Although I found it to be a somewhat interesting read, I also found it to be a little too "clinically" written, for lack of a better term, much like an academic study of the man. The section on R. Kelley, and the author's conviction that he is very much like Marvin, was way off base for me. This book is one of those that you'll just have to read for yourself and form your own opinion.

A biography and social criticism combined
"In his guttural cries, his hectic moans, his elliptical ejaculations, and his plaintive whispers, Marvin explores the healing and redemptive dimensions of black romantic love."
- From page 132 of "Mercy, Mercy Me"

Man, does Dyson have a way with words!

I guess that I am one of those "public intellectuals" that finds Dyson's analyses of both Gaye's life and the social ills plaguing the black community so intriguing. Dyson, a minister himself, contrasts Gaye's life as a popular secular singer with his strict Pentacostal upbringing at the hands of his stern minister-father. The struggle that the singer endured played an important part in his music and the book dissects four of the artist's most challenging and enigmatic works: the classic and legendary "What's Going On", "Let's Get It On", "I Want You" and the controversial "Here, My Dear".

The author cuts down each album, layer by layer, revealing Gaye as a man in constant turmoil with the battle between his religious teachings and his desires as a man. Dyson also introduces the reader to many lost versions of Gaye's work, now coming to light in "deluxe editions" available for purchase.

Unlike most "men of the cloth", Dyson's approach is destined to draw criticism from traditional Christians for he suggests a greater openness in sexual matters, as well as less dependency on corporal punishment as a means of child-rearing. He implies that stiff and unbending Church doctrine may have contributed to Marvin's death at the hands of his preacher father.

The final chapter of the book compares Gaye's music and approach to life with the contemporary singer R. Kelly, an admirer of Gaye himself. This provides some interesting food for thought, as the two singers seem to share a bond transcending death and decades.

Dyson could've spent a little less time on social/culture commentary and more on the life of the singer at hand; however, the book is still a worthwhile read into the soul of a soul singer and the society that both uplifted and condemned him.

Detailed analysis of Gaye's musical history
I LOVED the first 5 chapters which breaks down Gaye's music on his popular What's Going On, Let's Get It On and I Want You. Dyson's interviews with those behind the scenes on those landmark classics and what went on very much was impressive to get their thoughts and them acknowledging the different takes Marvin did on songs. I actually wanted to go back and listen to What's Going On again after such a detailed breakdown of the songs and the feelings surrounding them. The book also goes into detail of Gaye's personal issues he was dealing with in the midst of the creation of those classic albums as well.

The final chapter in my view was a rehash of the final chapter of Divided Soul but Dyson brings in an analysis of Gaye Sr's disfunctional behavior and corporal punishment. Sadly that messed up influence leads his celebrated son into his own disfunctional drama and sadly his death by his own father (which 20 yrs ago as a kid and now 20 yrs later as an adult still saddens me and is still hard to understand why).

The afterword in which Dyson spoke to R. Kelly and how Gaye has influenced him was also very much amazing to me how similar both of these men are with conflicts they have of the spiritual and sexual. It makes me wonder if Gaye was alive today if he would do some kind of music collaboration with R. Kelly and (if he was able face his demons and win the war) if he could be of some mentor/father figure to him beyond the music scene.

I just only hope after reading R. Kelly's glowing praise of Gaye that Robert finds a positive way to face his own "Divided Soul" and get the help and seek positive guidance in the way his old school counterpart wasn't able to.

Most Intriguing, Profound Commentary on Marvin
Dyson explores the life and love and pain of one of the best musical geniuses of all times. He reveals little known facts and secrets such as his love affairs, some purposely blurred song lyrics, and his broad range of musical abilities including playing the piano and drums. This book deeply touched and inspired me. I have grown deeper in my fascination and admiration of Marvin. I have had the pleasure of meeting Dyson on a couple of occassions and he is very articulate, intelligent, charismatic, and also has a great sense of humor. This is a must read for any true Marvin fans!

Analyzing Marvin....
Upon fist glance, one would think this was another of many biographies on the legend that is, Marvin Gaye. This is not a biography however, but an analytical look at the life of Mr. Gaye; what made him do what he did, sing what he sang, and feel the way he felt. In an essence, Mr. Dyson disects events in Marvin's life to show what it was that made Marvin tick; what made him fall in love with the women that he fell in love with, and what made him rebel.

This book has surprises- one in particular that we all wondered about for some time. There is also an interesting parallel made between Marvin and another modern day singer, R. Kelly, that will surprise some readers. There are references to other Marvin Gaye biographies (Divided Soul by David Ritz; My Brother, Marvin Gaye by Frankie Gaye; and Trouble Man by Steve Turner, just to name a few), which are good for the readers who haven't read many books on Marvin, or want to know more about him outside of his music.

Michael Eric Dyson did a good job on bringing forth the "inner" Marvin, and revealing sides to him that weren't often documented prior to the release of this book.

A wonderful read for the die hard Marvin fan- such as myself- and those who want to know more about the spirit behind the music. ... Read more

Book Description

On April 16, 2003, Luther Vandross suffered a near-fatal stroke, and the world held its breath. Inside sources said he might never sing again. He was too weak to receive visitors, but cards and good wishes came from Aretha Franklin, David Bowie, Anita Baker, Halle Berry, Patti LaBelle, Jesse Jackson, Burt Bacharach, Bette Midler, Star Jones, Gladys Knight, and Dionne Warwick, among others. With a will to live matched only by the enormous strength and power of his heart, soul, and singing talent, Luther survived and is regaining his voice. This biography is a loving tribute to the man who has entertained millions.

Luther remains one of the music industry's most private celebrities. In Luther, the first biography of the hugely popular and beloved singer, Craig Seymour investigates and illuminates Luther's life, from his early obsession with soulful girl groups to the day he was discovered by glam rocker David Bowie to his devastating stroke and inspiring recovery. Seymour explores Luther's elusive sexuality, the taboo question that has plagued him for his entire career. He talks about Luther's yo-yo dieting, and the pain his weight has caused him and those around him. He tells the whole story behind the widely publicized feuds between Luther and R&B icons Aretha Franklin and Anita Baker as well as the group En Vogue. And he frankly and honestly explores the tragedies of Luther's life: the 1986 car crash that killed his best friend and nearly destroyed his career, and the 2003 stroke that almost ended his life.

An authentic R&B legend, Luther Vandross is one of the most popular and talented vocalists in the world. His life has been full of pain and love, tragedy and redemption. And now, for the first time ever, Luther gives you a backstage pass into his life and longing.

Reviews (5)

Enjoyable and surprisingly funny
This Luther Vandross biography unexpected arrived in the mail and I begin reading immediately. An easy, quick and fascinating read, I enjoyed learning about Luther's background, his struggles to become a recording artist, and his careers successes and challenges. Although this really isn't a book filled with personal comments by Luther to the biographer, Craig Seymour, you can tell that the author did a great job seamlessly piecing together Luther's history so that it reads logically and thoughtfully. There are sad and poignant moments (the stroke), and many funny moments too (Luther's quick wit and great sense of humor). The squabbles he's had with fellow singers will make you laugh too and shake your head at what goes on behind closed doors within the industry. Even if you aren't a Luther Vandross fan, if you enjoy reading about a slice of R&B music history, you may enjoy reading this book. The book provides a fascinating and dramatic look at the music industry, and it simultaneously honors Luther Vandross with grace and honesty. It's highly recommended and may give you a greater appreciation for Luther, as well as entertainment in general.

great book!
I loved this book! Luther's life unfurls with drama and style--much like his live shows. I've been a Luther fan for years and learned more about him--and had a greater appreciation for him--by reading this book. I definitely recommend it!

Inspirational
The story is inspirational; aspiring artists should read it to appreciate the obstacles and fears that perseverance overcomes. After finishing the book, I was inspired to begin my artistic projects again. Also, it was a wonderful journey down memory lane.

Riveting Biography
This is probably the best celebrity biography I have read. Seymour demonstrates his reporting and writing prowess by filling the book from beginning to end with loads of character-revealing research, while simultaneously maintaining pace and rhythm. He gives readers the sensation of having front-row seats to the ongoing drama by recreating the kinds of behind-the-scenes antics that only an insider gets to witness. He also helps to transport readers across the barriers of time and place by recreating the sights and sounds of the important social (and musical) events that mark each era. Even if you have not followed Luther's career closely, you'll find yourself drawn into this engaging portrait of a man whose childhood hobby led him to become a producer for some of R& B and pop music's biggest icons and, ultimately, to attain mega-watt stardom.

An Inspirational, Uplifiting Read!!!!
This book cuts to the heart of Luther's artistry and spirit. A must read!!!! Great for the beach!!! ... Read more

Book Description

Robert Johnson's story presents a fascinating paradox: Why did this genius of the Delta blues excite so little interest when his records were first released in the 1930s? And how did this brilliant but obscure musician come to be hailed long after his death as the most important artist in early blues and a founding father of rock 'n' roll?

Elijah Wald provides the first thorough examination of Johnson's work and makes it the centerpiece for a fresh look at the entire history of the blues. He traces the music's rural folk roots but focuses on its evolution as a hot, hip African-American pop style, placing the great blues stars in their proper place as innovative popular artists during one of the most exciting periods in American music. He then goes on to explore how the image of the blues was reshaped by a world of generally white fans, with very different standards and dreams.

The result is a view of the blues from the inside, based not only on recordings but also on the recollections of the musicians themselves, the African-American press, and original research. Wald presents previously unpublished studies of what people on Delta plantations were actually listening to during the blues era, showing the larger world in which Johnson's music was conceived. What emerges is a new respect and appreciation for the creators of what many consider to be America's deepest and most influential music.

Wald also discusses how later fans formed a new view of the blues as haunting Delta folklore. While trying to separate fantasy from reality, he accepts that neither the simple history nor the romantic legend is the whole story. Each has its own fascinating history, and it is these twin histories that inform this book.

Reviews (6)

great book!
I just finished this book, and I have to say that it is the best history of blues I have ever read. It was full of facts, but written in a really readable style -- sort of like a conversation with someone very knowledgable about the subject, more than a lecture. It also made me think about a lot of the music I love in a whole new way.

I have been listening to Robert Johnson's music for years, and after reading Wald's chapters on his recordings I went back over them again. I can't say I agree with every single one of Wald's comments, but I heard so much that I had never noticed before. It really opened up Johnson's music, and made me understand what he was doing, and how he fit into the bigger picture.

I have to admit that I am not as familiar as I should be with some of the other people the book talks about, like Leroy Carr and Dinah Washington, but this made me want to go out and get their records, and learn more. And I guess that's really the point of any book on music.

Long haul to the Crossroads
When I saw this book, and the cover picture I was so excited. I couldnt wait to read it. I anticipated some insite into Robert Johnson, and the blues generally. Never judge a book by its beautiful cover....

I read the book, cover to cover. I have been an avid blues fan since 1967, still am, and listen to the stuff and play it on my guitar almost every day. I was familiar with 95% of the performers mentioned in the book. I owned the companion CD and have much of the material on other Lps and CD's. This is an area of interest, passion and comfort for me.

I would really like to meet Mr. Wald and play guitar with him-he is clearly knowledgable and stimulated by the genre.

But in a nutshell, this is a LONG READ, which I eventually found TEDIOUS. All of the five star reviews are accurate regarding its content and meaning, and I don't take issue with Mr. Wald's premise. The information on Robert Johnson, which interested me enough to buy this book was not comprehensive-the liner notes from The Complete Recordings of Robert Johnson are more informative. This has ALL THE THRILL OF A TEXTBOOK, with a bit LESS USEFULL information. But, thanks to Mr. Wald for his efforts on a subject not much delved into since the folk anthropology of the late sixties and early seventies.

Six stars. A required book to understand Blues & Culture
Every time I read this book I am emailing, making long distance and local telephones, going to parties, political meetings, music
performances and other gatherings that I would prefer to miss for
a quiet night at home reading and practicing my many instrument. I am calling and talking to, running out to meet with, scholars of the blues and African American music, performers of blues, jazz, and folk music, people who study culture, ideology, race, and class, crusading that they buy this book.

This book follows the reality of the invention of the blues and how it really spread and what it really is. This book tells the truth and not the ignoramus stereotype of the state of blues culture in the world that Robert Johnson, and for that matter, his parents grew up in. This book tells a story the moldy fig people the Johnson met the devil at the crossroads idiots, etc won't recognize, but if you are African American, you will recognize you grandparents and parents and great grands depending on how old you are and how musical the memory is, whether you come from Mississippi or Los Angeles.

This is a serious serious serious book clean and well written, a book that belongs in every home. This book is marketed as a book about Robert Johnson. However, the central thesis of the book is that blues is a creation of a black public that loved and desired the blues and that defined the reality of the blues and then seeks to find this music's history and how the conflict between it and the nature and business of commercial recording transpired, and how this is totally contrary to the folklorists image of the dustry field hand by day, and blues virtuoso of sad existential songs at night.

To the many researchers and divers into our past this book is sourced enough that if you are quick enough you can get to the primary sources he mentions that will help you be in the next generation of rational thinking papers, books, music collections, and discoveries will come from, at least if you share my hope that real scholarship and knowledge can pierce through the garbage oceans of stereotypes and thinking that serves dominant culture and the place of Blacks in its fantasies and nightmares.

For those who are into the blues as practiced by those on the earth as Blues People as Imamu would have said, this brings things wherethey are for you and where they should be.

As I have said in various places, this book is marketed as a
biography of Robert Johnson, but what this actually is is a condensed criticisms of the views of the blues foisted on blues people by the folk and post folk white blues industry, a concise and factual criticism of previous histories of the blues, and a lot of practical learning in a short readable book.

Not only if you are interested in blues, African American music, butif you are interested in the deformities of the culture by dominance in this society, you need to own this book and know what it teaches.

For those who see the blues as being ultimately represented by
isolated nearly African, primitive delta bluesmen, pouring out theirdeep Negroid souls about the existential nature of black suffering and founding the blues, this will show you that you are a complete fool or at least a victim misled by pervayors of ignorance.

Nice job

Click on the about me blurb above my name and then procede to my comments on the complete Robert Johnson set to see description of the realities of Bob Johnson that this book reflects even though I wrote it before this book came out. Then buy this book because it says so much more than I could have imagined along the same lines.

The Blues and Romantic History
Many Americans have shown a great interest in "roots" music as part of a highly commendable effort to understand our country's life and culture. Much of this interest has, over the years, focused on the blues of the Mississippi Delta and, in particular, on the recordings of singer and guitarist Robert Johnson (1911 -1938). Johnson was an obscure figure in his day and his life and music remain the stuff of legend. He had two recording dates in 1936 and 1937. His music was rediscovered in the 1960s and since that time the sales of his collected recordings have numbered in the millions.

In "Escaping the Delta: Robert Johnson and the Invention of the Blues" (2004), Elijah Wald offers a compelling study of the blues and of blues historiography focusing on Robert Johnson. Wald tries to correct what he deems to be the prevailing myths about Johnson: that he was a primitive folk artist caught in the Mississippi Delta who recorded and perfected a local traditional form of blues. Wald finds Johnson an ambitious young singer who had studied the blues forms popular in his day. Johnson, Wald argues, wanted to escape the Mississippi Delta and pattern himself on the urban blues singers, in particular Leroy Carr, emanating from the midwest and Chicago.

Wald finds that Johnson displayed a variety of blues styles in his recordings and that he was largely ignored by black music listeners of his day because Johnson's early efforts to capture an urban blues style were basically copies of more successful singers and because his songs in the Delta blues style lacked appeal to the urban and sophisticated black audience of the time.

Johnson's music only became well-known, Wald argues, with the rise of English rock, and with his rediscovery by a largely white audience. The tastes of black music listeners had moved in a mostly different direction towards soul, funk, rap, disco and did not encompass rural blues singers. The fascination of modern listeners with Johnson, according to Wald, is due to a romantic spirit -- a boredom with the life of the everyday -- and a search for a past full of authentic individuals who knew their own wants and needs and who projected themselves in their art.

Wald's book begins with a history of the blues before Robert Johnson focusing on the commercial character the music had at the outset. He gives a great deal of attention to the Blues queens -- Bessie Smith and Ma Rainey -- and to their smooth-voiced male sucessors, particularly Leroy Carr, as mentioned above, and Lonnie Johnson. These singers profoundly influenced Johnson's music and his ambitions to become a popular entertainer and not a cult figure.

The central part of Wald's book consists of a brief biography of Johnson -- summarizing the various speculations on his life -- and of a song-by-song discussion of his recordings. In this discussion, Wald discusses the music with a great deal of intelligence and understanding. He shows very clearly Johnson's debts to his more commercially sucessful predecessors and explains as well the variety of blues styles Johnson encompassed in his songs.

The final portion of the book carries the story of the blues forward beyond Robert Johnson's death. It shows how the music at first evolved into a combo style, again approaching popular music, which took blues into a different direction from Johnson's recordings. The book concludes with a discussion of Johnson's rediscovery, and the discovery of other Delta blues singers, beginning in the 1960's.

Wald clearly knows his material. For all his criticism of the mythmaking cult over Johnson, Wald's love for this music shines through, as he is the first to admit. Upon reading this book, I spent considerable time relistening to Johnson's music and felt I came away with a better understanding and appreciation of it than I had before. The goal of every book about music should be to encourage its readers to return to (or get to know) the songs, or what have you, themselves. The book meets this goal admirably.

There are few books on the blues that manage to be both scholarly, critical, and inspiring and Wald's book is one of these few. I do not find Wald's thesis as unsusual as he claims it to be, but it certainly will be worth exploring by listeners and readers who do not have a large backround in this music.

In music, a fair and careful historical account will in the long run perform a greater service to the music and the artists than will legends and stereotypes. The Delta singers discussed in this book, Robert Johnson, Son House, Skip James, Charley Patton, were musicians of talent. Understanding their story can only increase the listener's appreciation of the blues.

Who was Robert Johnson?
This is an intelligent, thoughtful, informative book, with a unifying objective historical view. If you want the musical answer to the musical question I posed above, it's here. Wald puts Johnson in context in the history of the blues, and there's a great companion CD, Back to the Crossroads: The Roots of Robert Johnson, with 23 rare 78 tracks, so you can hear many of the hundreds of blues pioneers mentioned in the book.

My favorite suggestion in this book: What effect did Alan Lomax's 1941 Mississippi interviews with Delta blues players regarding Robert Johnson have on their assessment of "their one-time peer"? This thought made me put the book down and think about history and history writing, for about 2 days.

Very heady. I'll be looking for anything Mr. Wald writes. ... Read more

Reviews (13)

Al Green Took Me to the River
Al Green's new autobiography, written in 2000, is a riveting story for anyone who has ever been curious about Al Green, how he came to be a famous soul singer, and the story behind his music. I was hooked on this book from the moment I picked it up. It was easy to read and very entertaining. He starts off describing his childhood and his experiences in Jacknash Arkansas as the middle child of a sharecropping family. He tells about his parents whom he loves very much and how they had the courage to sell everything they had and move north for a better life. "Al," he said, "go wake up your brothers and sisters. Tell them to get dressed and start packin." Al explains how much he learned from his parents and how much he respects them for taking this gutsy move. His childhood was hard but he pursued his dream of becoming a soul singer and when he teamed up with legendary producer Willie Mitchell, he was on his way. This autobiography tells of his rise to the top of the music industry, his attempted murder and suicide, his immense struggle between his religious side and his secular side, and how this struggle is reflected in much of his music. Al eventually chooses God over his million dollar career but left us with some of the best soul music ever recorded. I was very surprised at the candor with which Al told the details of his life, good and bad. He talked as honestly about the problems he had with drugs and money as he did about his numerous successes. It made his story sound very earnest and sincere. He covered all the bases of his life and answered all the questions I had about the artist that I have been listening to for many years. The only negative about this book was that it wasn't longer. I was not ready for it to end and have a strong desire to read as much more as I can about him. I am only 17 years old but have been listening to Al Green for over five years. This book was very well written and very interesting to me. I am sure it will be just as riveting for other fans.

Wonderful book for Al Green lovers, but NEEDS a copyeditor!!
I love Al Green(e). Almost everyone who knows me knows that. For Christmas I received two copies of this book: one from my husband and one from a girlfriend. My husband ordered the book from Amazon.com. My girlfriend, however, purchased hers and stood in line at a bookstore in Atlanta to have Al sign it and personalize it. It was the BEST gift I received this Christmas! I read it in a couple of days and thoroughly enjoyed it right from the Introduction to the last page. I have a deeper appreciation of my favorite male vocal artist (Aretha being my favorite female) and although he sounded boastful often enough, he owned right up to it -- admirable. HOWEVER . . . Being married to a copyeditor/indexer/proofreader it was almost impossible to put up with all the stupid and distracting mistakes. A publisher the size of HarperCollins should have staff that is at least literate! What an embarrassment! For example, throughout the book "or" is used instead of "of," "spent" instead of "spend," words beginning with a consonant are preceded by "an" instead of "a," and the reverse happens for vowels. I know this kind of slack attitude is rampant in e-mail messages, but I started getting angry at the apparent total disregard for the English language. I hope this was a case of rushing to have the book out in time for holiday season sales (although there's NO excuse for such a sloppy job), but I started to wonder at one point if some misguided editor was trying to make the book have more of an ethnic sound to it. If that is the case, Mr. Green and Mr. Seay should have that editor's hide because it was downright insulting. And since that is probably not the case, I would advise future authors to think twice before allowing HarperEntertainment to publish their work using their current staff of copyeditors and proofreaders. By the way, I have the name of an excellent person if you want it!

Take it to the river, Leave it there!
Huge Al Green fan, yet greatly disappointed in this book. For some reason, I did not feel total truth and sincerity was put into writing this book. And who was the editor! The numerous typos only led to further frustration. I have always respected Al Green for who he was- the church boy gone secular who never lost his ability to interpret any tune with gospel fire and conviction. The Hollywood side of Al has always been visible- to everyone but himself- and it is still prevelant as I watch him on numerous television events singing his hits of old. I was not fascinated by this read and I would suggest that you borrow this book from the library or a friend before making the purchase.

Thoughts on Take Me To The River
I believe that one of the most interesting aspects of the book is Al's discussion about his upbringing in an intensely religious home, and how this conflicted with his worldly aspirations. His story in a sense is not unlike many of the stars of his generation who were brought up in the church, and found themselves at odds with their parents world view. The chapter that illuminated on the Hi recording sessions at the Royal Studios in Memphis was spectacular. The book even provides a great run down of the stars on the Hi label - a record label that has not received the respect it is due. By the way, Al Green's producer Willie Mitchell is a genius. He turned Al Green into a superstar. However, I must say I found the book wanting. I thought the pictures in the book were one's that most of us who have followed his career have seen over and over. In addition, there are no pictures of him as a child, or even of his own family (wife and children). If you expect this book to be reveal any of the struggles that he has dealt with on a personal level, you will be sorely disappointed. He glosses over his own personal family life. The book paints a nice surface potrait of Al, but really does not go much beyond that.

Fascinating, but...
I found "Take Me To The River" to be very eye-opening, in terms of the amazing range of experiences that Al Green has had, and as to his development as an artist. It was the later part, that interested me the most. Having been a fan of his, since "Tired of Being Alone" changed the course of soul music, in 1971, I was most fascinated by his accounts of his working relationship with Willie Mitchell (who I consider an unsung genius of popular music), and with the Hi Records rhythm section, one of the greatest groups to ever make a record.

I also found the book to be very well written. I have two major complaints though. First of all, as another reviewer has pointed out , (and I'm amazed that it's only been one), the book looks like it wasn't edited. I have never read a book with so many blatant typos, in my life! Harper Collins should be ashamed (and should make a recall, have the book edited, and send everyone new copies.)

My second objection is much less cut-and-dried: I was recently involved in the production of an event at which Mr. Green was given a Lifetime Achievement Award, and not only did he not show up, but didn't notify anyone until the day of the event, that he would not be there, leaving many people in a very awkward position-and leaving a very unsatisfied audience at the Apollo Theater. He had been aware of the award and of the event, for at least a month, and had confirmed the fact that he would attend.

The fact that he didn't show up was an insult to the organization making the presentation, as well as to the house full of people who were expecting to see him...Even worse, this isn't the first instance of his not showing up for a scheduled appearance, that I know about. I must say, that knowledge of actions like these, made me read certain sections of "Take Me To The River" with more than a grain of salt... ... Read more

Book Description

"Ms. Simone's vocal and piano style make her a culture unto herself." --New York Times

A gorgeous, inimitable singer and songwriter, Nina Simone (1933-2003) changed the face of both music and race relations in America. She struck a chord with bluesy jazz ballads like "Put a Little Sugar in My Bowl" and powerful protest songs such as "Mississippi Goddam" and "To Be Young, Gifted, and Black," the anthem of the American Civil Rights movement. Coinciding with the re-release of her famous Philips Recordings, here are the reflections of the "High Priestess of Soul" on her own life.

The mesmerizing autobiography of one of the most revered soul, jazz, and blues divas of our time-the late Nina Simone. ... Read more

Reviews (10)

Nina Simone is great, but this book needed more work
Nina Simone is a great artist with a compelling story to tell. Unfortunately, little of that story comes across in this book. Ms. Simone shares all sorts of details about her lovers, but very little about her music. There is almost nothing in the book about her recording sessions or why she sings particular songs the way she does. While Ms. Simone is very frank about her personal life, I would have liked to have learned more about her music. The book is also confusing because Ms. Simone will spend many pages on just a few days, and then entire years will be dismissed by a sentence or two. Ms. Simone's collaborator should have edited the book better and drawn out more music-related stories from her.

informative
I have enjoyed much of Nina Simone's music that I've been exposed to. I was anxious do read the story behind the singer/pianist. This was a good, brief account of her life and times. Going from a promising start as a classical pianist in the U.S. South to international fame as a singer, Simone saw and experienced a lot of things. The people she knew as friends/lovers seemed to be the elites in their fields. Her work shows that she sought perfection, but also had some insecurities. Many stemmed from the desire of her religious mother's approval. I wish her continued success because her music has made an impression on me.

I LOVE this book
This is a most fabulous book! I could not put it down! It's a fascinating account of Nina's life.....which is never a dull moment. Lots of incredible insight into what it's like to be a performer. Beautifully written, as though she's in the room with you, telling you her own story. Nina was such an amazing person, and there is so much depth in this book. I highly recommend this book....I can't say enough. If you love Nina, if you love autobiographies.....this is THE book!

Nina Simone writes about lovers, not music or her life
It's a sad commentary that Nina Simone wrote such a meaningless book in 1991. I couldn't wait to purchase it after it was released, yet I kept asking myself why she wrote it and who this woman really was. Besides being an interesting interpretor of jazz classics and folk songs, and well known for her ascerbic manner onstage and off, it would have been more thrilling to read about Simone as an artist, not the fact that she basically slept with every man that ever asked her. I felt a bit short changed by her writing...although most of it was no doubt ghostwritten, Nina Simone shows no real interest in music, instead considering jazz an afterthought in her career. She never goes into any details about her life except to blame her husband Andy Stroud for mismanaging her career, America for not giving her a chance, Curtis Institute of music for not accepting her application to study there, and the list goes on...if it were interesting reading, it might be ok. Still, most of this book is not well written at all...it is quite amateurish, and often boring...even the discography included at the back is lack luster..Nina Simone was so well associated with the Civil Rights Movement, yet you get no real feeling or emotion from her words, After reading the book, I continued to buy and listen to her music, but my respect for her is lacking. It's a shame that Nina Simone didn't realize her potential, but there were many artists worse off than Nina Simone, and I for one think she owes a great debt to the US for giving her success and the opportunity to succeed.

In Memoriam
In Memoriam of Nina Simone, the great singer, pianist, composer, arranger, songwriter, feminist, activist, mother and woman.

Nina was born in North Carolina, USA, February 21, 1933.

Although Nina was called the "High Priestess of Soul" by her fans and was regarded by them as an almost religious figure, she was often misunderstood as well. The High Priestess would walk different paths to find the adequate songs to spread her message.

A protest singer; a jazz singer; a pianist; an arranger and a composer, Nina Simone is a great artist who defies easy classification. She is all of these: a jazz-rock-pop-folk-black musician. In fact, we can find her biography in jazz, rock, pop, black and soul literature. Her style and her hits provided many singers and groups with material for hits of their own.

Nina Simone passed away on April 21, 2003 in Carry-le-Rouet, France. She was Aged 70.

She is survived by her daughter and will be forever missed - yet forever treasured.

May our high priestess find her path to peace. ... Read more

Book Description

Williams, a founding member of the legendary Motown group the Temptations, tells the story of the group's formation and its years of musical success. ... Read more

Reviews (51)

A Wonderful Book!
Once I saw the movie, I wanted to know more about David, Eddie, Paul, Otis and Melvin, so I decided to get this book so I could learn more about one of the most incredible, talented, groudbreaking not to mention classiest groups of all time. This book has a lot of info that isn't in the movie, so it was wonderful to read an account of how things really went down, especially at Motown in the early days. I finished this book in less than a week, I just couldn't put it down. This book has definitely made me a Temptations fan for life. I admire all of them and what they went through, and I especially commend Otis Williams for writing a book that discussed the good times and the bad, with class and grace. I am saddened by the fact that Eddie, David, Melvin and Paul (my favorite) aren't with us today, but their places in music history will always be remembered. A wonderful book!

One Of The Best Biographical Books On Music
When I first saw this book, I thought to myself "What can be so different between this and the NBC mini-series." I was wrong. In fact, this book gives more information than the movie, that in some ways it tells a little different version in the story of how one of the most famous R&B groups, in history, had started. For instance, in the movie it shows Elbridge Bryant singing lead on a song called 'Come On'. In Otis's book, he writes that Richard Street sang lead on that song.
It tells all about the countless changes in the group lineup. From day 1 until today, Otis mentions every Temptation that evr stood on stage with them. Also, he writes about Motown, when it was in it's early days, when Mary Wells and the Contours were making hits.
About this book, I give it five stars. It tells more details on the history of Otis Williams, and the Tempations, than any other source. I think Otis Williams tells the story wonderfully. I would recommend this book to any music lover.

A Big Fan from Old School!
I read the first edition of this book(in "88"). I borrowed it from the Library.Read it in four days, it was so informative on
life within the group and I loved the pictures. Wished there were
more of them. Being grown in the sixties, you know, I know of them.

I broughtjust about all of their 45's(smiles) and quite a few of
their albums,and now cd's. My loves were David and Eddie.
Otis's account of the group is one that he lived, whether we
like it or, we have to respect him as a living monument to the
group."REALITY CHECK," AS ONE REVIEWER SAID, Otis has a right to
have some bitternes.He put a lot of heart, sweat and tears into
keeping the group together. I also have the dvd of them and the
"Standing In The Shadow of Motown dvd, the Funk Brothers Band's
story, behind Motown's Music. I recomend this one too. Read other
performer's story about Motown for more history.I'll buy this book, for my self and WILL read it. If you don't buy, get it from
the library. God bless you Otis! you must be doing something right!I saw Their Movie, but the book is actuall.

Disgusted with Otis
I have read the 1988 version and the updated version of the Otis book. I even went out and bought the DVD. Okay, Otis if you want to hurt your soul brothers you have achieved! Why the hate!! According to you, Melvin and you did not do anything but become true Temps and everyone else was there for personal reasons. I totally agree with one of the reader, I will not buy anything that YOU publish!! Moreover, if you come to my town I will not spend a dime to see the show. Your true hate should be Barry Gordy not four uneducated men who did not understand how to become successful. I don't blame Eddie, Paul, David, and Dennis for their demons however; I blame the one who made 5 million dollars off of Temptations Barry. Yes, the producers wrote the songs but, Temptations brought the songs to life. You were all great in your own special way why do you hate your brothers because you are mad at BG.

BG used five talented men to get what he wanted and it is a shame you did not get that!! When I read the book, I cried for all of you guys not just you Otis!! With little or none education, you guys did not understand that you were being used to point that Paul had to drink; Eddie had to increase smoking, and David bad behavior. Next time you get in mood of bashing your brothers, please ask yourself why they acted like that!!

I am so sorry I bought the 1988 version, the updated version, and the movie. Otis, when you guys were at the top I was a baby I did not get an opportunity to share in the Motown excitement. All I can do just wonder what it was like in that era but after reading your materials I wish I would never pick up the book. I wish Eddie, Paul, Melvin, and David was around so they can help me understand what it was like being a temptation. In the movie, you were referring to David success brings out the worst in people. I think you were talking about yourself.

Recomendation to readers if you are looking for a book that will bash all the members please feel free to buy Otis version. If you want to celebrate the lives of the classic 5, seach for a book that will give a fair balance of each member.

Otis's Version of the Tempts
I love this book and I am grateful that Otis Williams wrote it. But I strongly suggest to all Motown fans to do your own research and read other books because things don't add up with Otis's version of the Temptations. I am not calling the man a liar because I admire him and I think he believes his own story, but I feel that he's trying to add importance to himself by taking away from David, Paul (my favorite), Eddie, Dennis and even Melvin. I didn't like the way he protrayed any of them. Yes, its true that David, Paul, Dennis and Eddie had both ego and personal problems, but I am sure that Otis had his demons too. In fact, from what I hear he wasn't the best person either. But he doesn't show that side to you in his book. The only bad thing he admits to is cheating on his wife and at times, I felt like he was bragging about his relationships with certain women. Although he was kinder to his friend Melvin, he protrayed Melvin as a follower and not a leader. I wonder why? One of the most disturbing tales in his book is about Paul's drinking problem. Its true that he had a problem, but Otis doesn't really talk about Paul's bout with Sickle Cell which made his problem even worst. Also Paul's "suicide" his rather strange and things don't add up (but do the research). I also found it odd that he didn't talk alot about how Berry G. ran Motown and why alot of the artists lived terrible lives after their Motown's glory years and why most died broke. By now, everyone knows that Berry was a cheat, but Otis seems to forgive him more than he forgives his brothers. Part of the reason why they died so young has something to do with Berry. Now, I am not blaming Berry for everything. I have read books that put all the blame on Berry (which I don't agree with), but its doesn't take an expert to realize that the Motown story is mostly sad. We will never hear David, Paul, Eddie, and Melvin's side of the story...and that is why you shouldn't take this book as 100% fact. Maybe the still living Dennis will write his own version. Excellent book, but not perfect. ... Read more

Book Description

Here is the story of perhaps the finest soul singer of the rock era--Etta James.

One of the great women of American music, equally at home singing blues and jazz, Etta regales us with tales of her chaotic childhood, the stars she has known, and her troubled trip to stardom in this mesmerizing autobiography. ... Read more

Reviews (13)

A Survivor's Story!
Despite all odds, Miss Etta is still with us: read this book if you have the courage to learn what life 'on the road' was like for an entertainer in the 50's and 60's, with the difficulty enhanced tremendously for African-Americans. The debt today's divas owe Etta and others from 40 years ago will never be repaid. The book pulls no punches: white record label owners shafted their acts in every way imaginable, yet there's a snapshot of Leonard Chess that you'll be thankful for. Etta writes of doing heroin with Little Esther, being in and out of jail, being up and down, getting her "X" by joining the Black Muslims, touring with Little Richard, the dangers of driving through Dixie in the late 50's and early 60's with a blond 'do' (and a monkey).

There's another reason to buy the book: you can dine out for weeks by sharing the story of Etta's father. The book includes a photo of the two of them side-by-side. Yup, amazing resemblance. And no, I'm not going to tell.

Etta did the Letterman tv show a few weeks ago; is still making music. She's a national treasure. When she appeared in Dallas I slipped a note to a member of her crew to pass along, thanking her for all the music that has meant so much to me. If you've never heard Etta, look for that two cd set of her Chess recordings. One listen, and you'll be hunting for a pen and pad to send her the same kind of note.

True Grit & Honest Story
Loved reading Etta James' story. I didn't know much about her life, but was quickly drawn into the story line. Etta James was very candid and the story was written so well that you felt that she was sitting at a kitchen table telling her story. The Etta James story tells the successes and failures of the music industry. This is one of the best biographies which I have read.

Understanding Etta James
If you're going to see Etta, read this book first. It will put some perspective on where this Diva has come from and help you understand some of her stage comments. To make your experience finer, read it while listening to "Her Best-the Chess 50th Anniversary Collection" and her newest CD "Roll On".

It's an honest and fresh read, very revealing and very scary as to how she survived racism, drug addiction and recovery. It also gives alot of insight on the R&B world players in the 50's, 60's and 70's.

I'd recommend it as a supplemental text in feminist/african-american/sociology college courses. It may be too controversial for high school courses but it would certainly get students talking. It's also a great summer read.

Not Your Typical Rags to Riches Story
Etta James. Powerful vocals and supremem attitude. This blues/jazz diva can only have a story that's as dramatic as her musical repetoire.

The biogrpahy is an easy read but full of emotional impact from her youth to her dificult struggle with her weight while climbing up the ladder to success. Family members bob and weave in and out of her life while she struggles to keep her head above the waters of black society.

Read about her survival and the road she took to make it there. Again, it is an easy read but the themes she brings up from her life are tough to handle. A true inspirational story, the life of Etta James will help any reader to appreciate her will to succeed and encourage all of us to strive to be our best.

I really wish I could say this was a great book
Maybe my expectations were too high. I've never heard Etta James sing a song I didn't love. Not only does she have one of the most breathtaking voices in popular music, but she uses it brilliantly. She sings every song from the depths of her soul, and at the same time she's a very intelligent singer, obviously very much aware of, and in control of, her craft. I was hoping she'd bring the same kind of feeling and intelligence to telling the story of her life.

And it's a great story. Abandoned by her father and growing up in poverty with a difficult mother, Etta James became a juvenile delinquent, and over the course of her life faced down just about every form of addiction you can think of, from food to heroin. She was saved by a gift for music, which other people, thank god, recognized almost as soon as she opened her mouth.

So I began reading, knowing I was digging into a great story written by an intelligent and sensitive woman. But as I read, I found myself growing more and more disappointed. The book has some wonderful anecdotes about the nastiness of the music business and the foibles of a lot of famous people. They're entertaining and sometimes even enlightening - and they're the reason I wouldn't rate this book any lower than three stars.

But something goes wrong when she writes about herself. A lot of reviewers have praised her "honesty" in accepting responsiblity for her mistakes and addictions.That's certainly an admirable quality, but it doesn't necessarily make for interesting writing. Again and again, James tells you the sordid details of her mistakes, says it was her own fault, and then goes on to something else. And every time she does so, I felt cheated of any insight into what led her down the paths she took. She sounds like someone who hasn't really come to terms with her problems, and therefore most of the book seems rather superficial.

The story is inherently interesting and it would probably make a great movie, but its unwillingness to probe below the surface kept it from being a great book. ... Read more

Book Description

James Brown has always been a fascinating, controversial figure. From his humble childhood in Georgia, he went on to change the face of American music with hit after hit on the R&B charts. And while he was a courageous public figure in a time of national strife and adversity, his personal life took many destructive turns,leaving a long and difficult path of redemption ahead of him. For the first time in well over a decade, he speaks candidly and at length about his tumultuous, incredible journey.

James Brown moves beyond his music and his much-publicized legal troubles to delve deeply into the highs and lows of his life. ... Read more

Book Description

Ray Charles (1930-2004) led one of the most extraordinary lives of any popular musician. In Brother Ray, he tells his story in an inimitable and unsparing voice, from the chronicle of his musical development to his heroin addiction to his tangled romantic life.Overcoming poverty, blindness, the loss of his parents, and the pervasive racism of the era, Ray Charles was acclaimed worldwide as a genius by the age of thirty-two. By combining the influences of gospel, jazz, blues, and country music, he invented, almost single-handedly, what became known as soul. And throughout a career spanning more than a half century, Ray Charles remained in complete control of his life and his music, allowing nobody to tell him what he could and couldn't do. As the Chicago Sun-Times put it, Brother Ray is "candid, explicit, sometimes embarrassing, often hilarious, always warm, touching, and deeply human-just like his music." ... Read more

Reviews (11)

In his own words.
Warning!: if people are honest you might hear some things you'd rather not read. In this case however, it does mean that through Ray Charles' own words we hear about his life up till 1978 when the book came out.

His youth was hard, becoming blind around age 7, going to a special school and losing his mom when she was only in her thirties were hard. Music is of course the theme that runs through it all, though I personally would have liked to have read more about the musical side of his life than the two things that make up an important part of the book: heroin and sex.

He seems to have been addicted to both but he has always said that heroin was his own choice and that he wasn't pushed into it by other people. That makes it all very openhearted and in a way bearable. The part where he decided to stop smack is heartbreaking and genuine.

He also talks lightly about his blindness, which is great, you forget most of the time that he couldn't see a thing.

The ghostwriter himself has carefully written that Ray himself went over the pages time and time again so we can be pretty sure that everything in it is true to his heart.

We could have done with some more musical history, but it's a great book to read nonetheless

This man's life is summed up in one word: WOW!!!!
when i started reading, "BROTHER RAY" i knew i was in for a treat. This man has lived a life that was worthy of a movie. this autobigraphy had me jaw dropped and blushing. one thing, Ray Charles was definitely something else. His music was his lifeblood and the women was his pulse. the heroin abuse was something he wanted to do and eventually stopped doing. the book was raw, honest, and to the point. you felt his passions, his hurt, his triumphs and his downfall. i loved every juicy tidbit of this book. it's the kind of book that had you thinking about it days after you have read it and you talk about it with your friends and family (my cousin told me i have become obsessed with Ray Charles!) all i know is that i want to read it again. i'm gonna give my self a few weeks and i'm going to give it a second read. MOST HIGHLY RECOMMENDED!!

One in a million
I'm not much for most autobiographies. Most seem to be self-serving, consequently less than accurate in description. This is truly an exeception. Revealing all of his motivations, weaknesses and failings, you'll see Ray Charles as you've probably never thought of or seen before. I'm sure Brother Ray could have include more about his life and times and attitudes, however, when the story finally closes, you'll feel that the perfect ending note was hit, once again.

Charles
I dislike Charles because it didnt catch my attension.It was not a really good bookI think.

The best partof book I read was when Charles kick the teachers friend because he got mad at the teachers friend.Charles did alot of bad things in this book.he also through chalk at kids.

The setting of charlesbasically was atcharles schoolin the 1990s but also his friend house and the charcters to this story was charles hi friend ,his friends my dad & mom,the princapal,teacher and teachers friend.

An in-depth set of insights into his life and thoughts
Fans of the late Ray Charles will delight in this classic autobiography of the legend, which is reprinted in a new edition including co-author David Ritz's essay on Charles' last days. If it's only one Ray Charles book you're buying, and you want an in-depth set of insights into his life and thoughts, it should be Brother Ray: Ray Charles' Own Story. Competing Ray Charles biographical titles provide photos; but it is this highly recommended memoir which provides his personal story in his own voice and from his own perspective.
... Read more

Book Description

Acclaimed writer Charles Shaar Murray's Boogie Man is the authorized and authoritative biography of an extraordinary musician. Murray was given unparalleled access to Hooker, and he lets the man from Clarksdale, Mississippi, tell his own story. "Everything you read on album covers is not true, and every album reads different," he told Murray. Murray helps Hooker set the record straight, disentangling the myths and legends from truths so rock-ribbed that we understand, as if for the first time, why they have provided the source for a lifetime of unforgettable sound.

Murray weaves together Hooker's life and music to reveal their indissoluble bonds. Yet Boogie Man is far more than merely an accomplished and brilliant biography of one man; it gives an account of an entire art form. Grounded in a time and place in American culture, the blues are universal, and in the hands of the greatest practitioners its power resides in the miracle of using despair to transcend it. "The preacher's mantle," Murray tells us, "passes to the bluesman." This bluesman traveled a hard road out of the American South, from obscurity to adulation and back-and back again. John Lee Hooker has seen it all and sung it all, and his music is both a living legacy and an American treasure. Here is the book that does him and his music full justice. ... Read more

Reviews (10)

The intellectual's Blues
The blues is primal as this biography reminds us more than once. Scholar's have used more words than a presidential candidate in trying to explain the blues. This book succeeds when it directly discusses John Lee Hooker, his life and thus the blues. When it repeats Blues 101 information found in other books it fails. Many other works by Sam Charters, Pete Welding, Leroi Jones (Amiri Baraka) and others do it much better. Read works by these authors if the history and etiology of the blues is what you need. But if you want to know more about Hooker... this is the place! The author admits when the information he has conflicts with the various sources, yet lets you know where the truth may be found. An Hooker's words are worth the price alone! Read and then listen to the Man to find a answer to the question "What is the Blues?"

Facinating, But Flawed
"Boogie Man" is a fascinating portrait of a fascinating man. John Lee Hooker is arguably the greatest living blues man, a man whose life virtually spanned the entire 20th century, and this is the book he deserves. Based on extensive interviews with Hooker and many of his contemporaries, the reader experiences Hooker's life, his influences, his motivations, and, most important, his music as if one were sitting at his knee listening to him playing his guitar and telling stories. In addition, Charles Shaar Murray does a magnificent job of placing Hooker and his inimitable style within its historical, sociological, cultural, and musical context, including several interesting "sidebars" on the history of the blues, the nature of blues music, and that intangible something that makes Hooker so unique and so influential.

However, the book has one major flaw that will keep many readers, especially those who are not blues aficionados, from completely enjoying it. It is written in the hep-cat, daddy-o style that music critics and biographers seem to be compelled to employ and that readers of music criticism and biography have come to know and hate. Because of this, the author himself is so prominently present on virtually every page of the book. "Boogie Man" ends up being not a biography of John Lee Hooker, but rather a book about Hooker as seen through the eyes of Charles Shaar Murray. Good biographers know how to make themselves disappear from the text, to the benefit of their subjects. Murray is so present here that after a while it proves very annoying. Worst of all, many times he writes in a faux ebonics style that he thinks mimics the way black people speak. It's annoying, embarrassing, and even disturbing.

Murray also shares the bias that many Brits share of being convinced that America is a land seething with racism and racial prejudice, from the day the first Europeans landed here up to the present day. Granted, America is not a land of racial harmony, slavery was legal for he first 250 years of the country's existence, and it wasn't until a mere generation ago that blacks received the same treatment under law as whites. Still, Murray's prejudices against white Americans mars his point of view and clouds his perception of the facts surrounding Hooker and his life.

Further (and, strictly speaking, this isn't really the author's fault), the book is very poorly edited. It was written over a period of many years, and reading the finished product makes it clear that no one went through the book from start to finish to check for consistency and flow. There are several points repeated many times, and even some of Hooker's quotes are repeated verbatim in different places. One small example: Every blues fan knows that there were two blues men named "Sonny Boy Williamson," and perhaps for the sake of non-fans this curiosity needs to be pointed out and the difference between the two explained, but not five or six times.

In the end, despite its flaws, "Boogie Man" is a fascinating, informative, and insightful book, one that fans of John Lee Hooker, or blues in general will want to read -- provided they can overcome the author's style and point of view.

Better than nothing but...
When someone does that other book, I trust their research will be more thorough. Murray goes on for a long paragraph about Hooker's birth year. A quick simple search of the 1920 Census, available years before this book was published, showed John Lee was seven then. Murray doesn't even give 1913 among the 4 years he listed. For our few pages about Hooker in Dedicated Dads: Stepfathers of Famous People (available amazon.com), our author found some interesting anecdotes on a CD liner--Murray missed them, too. And I agree that Murray went on and on and injected himself too much.

A disappointment
The author seems to have been under the mistaken impression that those of us reading a biography about John Lee Hooker actually wanted to read a book about Charles Shaar Murray. This could have been so much better.

Disappointing
As a long time fan of John Lee I really looked forward to reading this book. Unfortunately the writer spent more time editoralizing about the sins of America in general and the south in particular and very little time on the actual subject of the book. The writers bias against the U.S. came across very clearly.

There are sections in the book that go on for pages without even discussing John Lee or his music. If the author had stayed off his soapbox he could have covered the same material in 100 pages instead of the 480+ pages he required. All in all I found the book very boring and a chore to read. I was glad when it was over. I love John Lee but hated the book. ... Read more

Book Description

Marvin Gaye's incredible talent as a singer and songwriter fueled enduring hits like "I Heard It Through the Grapevine" while redefining soul music as a form of personal and political expression. He is the best-selling artist in Motown history. Gaye's life and brilliant career were cut short in 1984 when he was shot and killed by his own father. Now his story is told in intimate detail by another member of his family. His brother Frankie was at Marvin's side when he died, and only Frankie heard Marvin's deathbed confession. Featuring dozens of photographs, this book gives readers a definitive behind-the-scenes glimpse into Marvin Gaye's childhood, his spectacular success at Motown and later Columbia, and his struggles with drugs and despair. ... Read more

Reviews (7)

Unfortunately this is the Homogenized version!
This book was a major disappointment and filled with half-truths and "cleaned up" versions of Marvin's Life. Yes this was written
by Frankie Gaye, brother of Marvin but his view is clouded, in an attempt to clean up embarrassing details in his family. For instance; his mother is quoted as saying her husband never loved Marvin and told her so, she also says her husband was a cross-dresser and wore her gowns, panties, and hose. Which is reiterated by Marvin. But Frankie in a couple of sentences says his father never cross-dressed and loved Marvin dearly and moves on. He claims David Ritz (author of Marvin's first Biography) only met Marvin briefly one day overseas, and that Marvin didnt open up or discuss much, but yet Ritz puts out his 1985 book filled with Marvin quotes and stories, including interviews from family and friends. Frankie also dedicates a