Product Description
This matching folio features exact transcriptions for every instrument played on 20 of Hendrix's best: All Along the Watchtower Angel Bold as Love Castles Made of Sand Dolly Dagger Fire Foxey Lady Hey Joe Little Wing Manic Depression Night Bird Flying Purple Haze Red House Star Spangled Banner Stone Free Voodoo Child (Slight Return) The Wind Cries Mary more. Includes brief intros to each song.
Customer Reviews:
One of the best!!!.......2007-01-09
What can I say?? Hendrix is amazing... And this songbook will make your guitar cry with all of it... And the best thing is that your drummer and bass player can take a pick too!!!
Precise and detailed.......2006-11-07
This is a great work- I am wholeheartedly impressed.
The transcriptions here are full scores, meaning that every instrument played on each studio recording is notated in sheet music and then tabbed out in the language of that instrument. There is also about a half page description before each song discussing its unique features and mechaincs.
The guitarist who is interested in understanding Jimi's style and techniques could do so with this book, the album itself, and perhaps a few other recordings. And drummers would do well to analyze it also.
As far as quality, the level of detail and accuracy is like nothing I've ever seen in a music book. The author has done the impossable by taking Jimi's techniques and notating them all on paper. Truly impressive, and truly useful.
Hazey.......2006-06-01
First off, this book is HUGE. Almost 400 pages. The biggest tab book I have by half of the book. Hendrix is god on the guitar, no one could compare to him then or now. I love all his songs, now I finally know how to play them. Still working on actually playing them. Every song in this book is awesome. Even the "Star Spangled Banner". I play it COMPLETELY different.
Hendrix.......2006-03-04
Book is very accurate and thorough. There is a paragraph or two about theory (key, scales, techniques) to begin each song. It incudes all solos as well as rythm, and even bass lines. Great book.
Couldn't Have Been Happier!.......2005-09-25
I'm no top notch guitarist who can play some Hendrix with their eye's closed, but i'm all right, and I couldn't have been happier with this book. The Tabs to me seemed like they were dead on accurate. I must admit that some of the chords Mr. Hendrix used are kinda crazy when your fretting them but once you get used to it you'll be allright. If you just got into Hendrix or have been into his music for some time this book won't do you wrong!!
Book Description
A rite of passage, a defining event, a catalyst of musical and personal epiphanies--a concert is an experience unlike any other.
In The Show I'll Never Forget, writer Sean Manning has gathered an amazing array of unforgettable concert memories from a veritable A-list of acclaimed novelists, poets, biographers, cultural critics, and songwriters. Their candid, first-person recollections reveal as much about the writers' lives at the time as they do about the venues where the shows occurred or the artists onstage.
Ishmael Reed on Miles Davis
Luc Sante on Public Image Ltd.
Heidi Julavits on Rush
Daniel Handler and Andrew Sean Greer on Metric
Diana Ossana on Led Zeppelin
Maggie Estep on Einstürzende Neubauten
Dani Shapiro on Bruce Springsteen
Gary Giddins on Titans of the Tenor!
Nick Flynn on Mink DeVille
Susan Straight on The Funk Festival
Rick Moody on the The Lounge Lizards
Jennifer Egan on Patti Smith
Harvey Pekar on Joe Maneri
Thurston Moore on Glen Branca, Rudolph Grey, and Wharton Tiers
Chuck Klosterman on Prince
Sigrid Nunez on Woodstock
Jerry Stahl on David Bowie
Charles R. Cross on Nirvana
Marc Nesbitt on The Beastie Boys
And many more . . .
No matter where your musical taste falls, these often funny, occasionally sad, always thought-provoking essays--all written especially for The Show I'll Never Forget--are sure to connect with anyone who loves, or has ever loved, live music.
Customer Reviews:
Encore Please!.......2007-09-07
A few years ago I had an idea for a project/blog/zine thing that would involve getting friends of mine to write about their most memorable live music experiences. Since live music was a huge part of our lives from ages 12 on, it seemed like a cool way to reconnect with the past and each other. Of course, school, a baby girl, moving, and all those kinds of things got in the way and that project never got off the ground (yet). So it was a little disconcerting (in a cool way) to stumble across this book in the library, which is basically an anthology with the exact same premise.
Editor Sean Manning has assembled brief essays from fifty writers, covering shows ranging from 1955 (Miles Davis) to 2005 (Metric), by writers ranging from the relatively well known to the relatively obscure, with a few musicians (Thurston Moore being the most famous) added to the mix. Most of the pieces are about shows inside the U.S. (with one each in Belfast, Vancouver, and Madrid), with 19 from New York City alone! Despite the wide range, none of the bands covered are one's I've ever seen live myself, and only three of the shows were ones I really wish I could have been to (Black Flag in '79, The Pogues in '86, and The Beastie Boys in '87).
In any event, I dipped in and out of the book and found most of what I read exceedingly compelling. Writing about music is hard, and most people fail to capture the essence of what makes our favorite music so vitals. Here, most of the contributors focus on the event, capturing the full experience, rather than trying to lamely recount how masterful a particular performance was. What is really nice is that a number of the pieces are about how a show was memorable for how bad it was (such as Lynn Tillman's account of phoned-in set by the bored Rolling Stones in '65 or Luc Sante's account of seeing P.I.L. at the Ritz in '81). Along the same lines is Jon Raymond's evocative account of a 1989 Bon Jovi concert to which he'd gotten free tickets, gotten tanked with his Replacements/Husker-Du-listening teenage friends, and gotten kicked out of almost immediately.
And then there are plenty of just flat-out well written essays. Pop culture maven Chuck Klosterman kind of phones in his first Prince concert -- but even when phoned in, Klosterman is wittier than 99% of writers out there. There's David Gates on being a white dude going to see James Brown play Boston Garden the day after Martin Luther King was assassinated. There's Diana Ossana breaking out of a three-year depression after being cajoled to a '73 Led Zepplin show. There's teenage Tracey Chevalier's introduction to the theater of the arena concert (and adult life in general) at a '77 Capital Center show by Queen. There's Susan Straight in the midst of 100,000 at the L.A. Coliseum for the 1979 Funk Festival with Parliament.
But probably my favorite piece is Marc Nesbit's account of an '87 show at the Capital Center featuring Junkyard (a legendary go-go band), Public Enemy, and the Beastie Boys. Part of the appeal is the personal connection -- I'm pretty much the same age as Nesbit, had the same high-school experience, and similarly, had zero chance (in those days) of seeing live go-go. But what really elevates the piece is his humor and ability to describe the audience' stunned and confused reaction to a then-unknown Public Enemy, including this line, which had tears of laughter rolling down my face: "Flavor Flav made his entrance, dancing in weird spastic steps like a marionette monkey while screaming rhyming gibberish that was supposed to rile the crowd, inform them of how in effect Public Enemy was, and issue bizarre threats to unnamed enemies who wished to defeat them -- all at the same time.
There are a few duds here and there, but on the whole, if live music was or is important to you -- this book is worth your time. As for me, I'm off to get that zine/blog thing off the ground.
"The Show I'll Never Forget" Does Not Disappoint.......2007-05-25
I bought this book looking to hear about great concerts that happened before I was born ... the ones you always hear about in that Man-I-Wish-I-Was-There sort of way.
Out of the 50 concert-going experiences, there were probably only 5 that I did not enjoy reading. The rest was either good, really good or amazing re-readable material.
For the most part, it doesn't get into the concert itself, with the workings of the set lists or whatnot ... rather it gives the emotional and background aspects of the concert goer before during and after. There were quite a lot of ultimate nirvana moments -- that moment where nothing could feel better, and those feelings jump right off the page and hit you. You become absorbed into the writer's story, placing yourself with the other people places and emotions.
A great read. For anyone who knows about music, wants to know about music, enjoys collections of short writings from various authors ... this is a great book. That's another thing, you get so many different writing styles and voices, it's a great book.
anyone should buy it -- except for a couple of passages, nothing that should keep this away from young readers, either.
Not so much "remember when" as "remember us"..........2007-03-22
Shows that stick in our minds, decades after the fact, are so interwoven with who and where we were at the time--and why we couldn't breathe-- that it's hard to tease apart each element. That's why words like these from John Albert, musing on his then-15 year old self (and Black Flag) in the late 70's ring so true: "I love punk rock but know it is a fantasy. We are not in England. I am not poor. It is not raining. I can relate to the rebellion and anger in the music, and sometimes try to imagine we are in London, but it's difficult. The sun is too bright and there is silence all around. Each night, I sit on the curb outside my parents' house and listen to the sound of cars passing in the distance. There is a growing panic inside me. I can't shake the thought that somewhere else there is something profound and exciting happening--and I'm missing it all." Hoo boy.
A theatre kid who just made the varsity cut, shows up at a Kinks show in a tux for the last time. A closet Prince fan who comes to worship blindly at the Elfin Temple in--of all places--Fargo. A college girl dodges bullets at a Funk show starring George Clinton, who, after James Brown (also profiled here), must have been "the hardest working man in show business". And Jerry Stahl, newly off junk and still jumpy, gets a congratulatory hug from David Bowie (I always knew he was cool). You'll find yourself there amongst the geeks and stoners, the disaffected and the conforming, the used-dental floss that's that wretched in-between time when being alive doesn't seem so fun anymore.
There aren't many shows later than Beck here, but that's because it takes a while for adulthood to process the neural storm that is the past. I found myself warmed all over by this book, and musical taste be damned. Listen to Robert Polito:
"Earlier that evening, in one of those flukes that promises more than the moment can deliver, we ran into The Pogues, at least some of them, across the street at Fenway Park. The Red Sox were playing the Toronto Bluejays..."
I can't think of a better definition of being young than "a fluke that promises more than it can deliver". The music itself isn't so much an afterthought as the aural soup through which we navigate those years. But if you're interested, there are reviews of shows by the Stones, the Beatles, Led Zep, Miles Davis, the very young Beasties, Metric, Public Image, Van Morrison, the Mekons, Lou Reed, White Stripes (okay, I was wrong about Beck), a wonderful Ishmael Reed review of a Miles Davis show from the 50's, and lots of others for people who still think music can set our experiences UNIQUELY apart from the drek that is "everybody else". For those who know it's all a part of being human, bring your lighter.
Insightful, sometimes funny, thought-provoking essays .......2007-03-06
Unforgettable concert memories have been revealed in numerous sources, from magazine articles to biographies and the works of literary writers: here they're gathered under one cover to prove a powerful collection of insights from those who observed Patti Smith, Led Zeppelin, Miles Davis, Rush, and more in concert. The musical genres are diverse here and range from rock to classical, but these insightful, sometimes funny, thought-provoking essays have all been written especially for THE SHOW I'LL NEVER FORGET and are vivid recollections for both general-interest public libraries and specialty music collections alike.
Personal Views on Fifty Concerts.......2007-02-18
A very simple premise for a book. The author asked fifty writers: 'What was the best concert you ever saw?'
The results vary, as you would expect. The book grabbled me when flipping through I saw that one authors favorite show was one put on by Kevin Spacey. Kevin Spacey? A Concert? Yes. Keven Spacey's an actor, not even a first line actor -- until you see him in 'The Usual Suspects.' Turns out that he is also a singer, using his own voice in the Bobby Darin bio. Max Collins writes a great report of Kevin Spacey singing Bobby Darin.
The other fifty articles vary. Some are on artists I simply don't care about. Some are funny, some are very sad. They are all told in the first person -- 'This is a show I went to see, and it affected me.'
A very enjoyable read to anyone who follows the music scene.
Average customer rating:
- Superb
- Recommended ONLY for the neophyte
- Examines Hendrix's unique talent using the album
- An opinion on Hendrix - far from anything new
- A guitar fan's wet dream
|
Jimi Hendrix's Electric Ladyland (Thirty Three and a Third series)
John Perry
Manufacturer: Continuum International Publishing Group
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ASIN: 0826415717 |
Book Description
"Thirty Three and a Third" is a new series of short books about critically acclaimed and much-loved albums of the last 40 years. The authors provide fresh, original perspectives - often through their access to and relationships with the key figures involved in the recording of these albums. By turns obsessive, passionate, creative, and informed, the books in this series demonstrate many different ways of writing about music. What binds the series together, and what brings it to life, is that all of the authors - musicians, broadcasters, scholars, and writers - are huge fans of the album they have chosen.
Electric Ladyland is one of the greatest guitar albums ever made. During the recording process, Jimi Hendrix at last had time and creative freedom to pursue the sounds he was looking for. In this remarkable and entertaining book, John Perry gets to the heart of Hendrix's unique talent - guiding the reader through each song on the album, writing vividly about Hendrix's live performances, and talking to several of Hendrix's peers and contemporaries.
Customer Reviews:
Superb.......2007-09-18
Very interesting, as usual for the 33 1/3 series. Found out many details about the record and Jimi I did not know about.
Recommended ONLY for the neophyte.......2004-09-10
If you've read anything about Hendrix beyond the liner notes you will find little new here beyond the author's personal memories of seeing Jimi in concert. The actual analysis of the album is spotty at best, shedding very little light (or anything of real interest for that matter) on this masterpeice of rock music.
Considering the cost of this tiny book, there is very little bang for your buck.
Examines Hendrix's unique talent using the album.......2004-09-09
Jimi Hendrix's rock pinnacle Electric Ladyland was one of the best guitar albums ever made for the genre, affording Hendrix the creative expression and freedom he needed for the first time. John Perry examines Hendrix's unique talent using the album as a foundation for his analysis. Electric Ladyland's short stature may make it a difficult library loan, but any fan of the Hendrix sound will consider it an essential guide.
An opinion on Hendrix - far from anything new.......2004-07-26
If your into Hendrix enough to want to find out more about Electric Ladyland, your probably already going to know everything in this book. If you've read such great Hendrix books such as 'Electric Gypsy' then you won't get much from this book other than information obtained that you've read before from 'Electric Gypsy' coloured in this authors opinion on Jimi's music.
The author lays down his opinion that reads like someone either not overly impressed by Jimi Hendrix, or someone that has trouble laying praise where it's due. The author makes big calls in this book which fall flat, for example expressing his view on how Jimi could of edited and recorded certain songs better in his opinion (not unlike like Alan Douglas made true) or ego trips like footnotes after mentioning 'Like A Rolling Stone' at Monterey can only be outdone by the rare hard to find Flamingo Club version in 1968 - where does he get that from? The Flamingo club version is near inaudiable for most of the recording with its vocals and the guitar very distorted at the very least and is no way a superior rendition than Monterey but the book has many little comments by the author like that which only makes you think, is this guy trying to brag about his Hendrix collection? Or does he just have to have a different opinion on everything to try and make his book, which really has nothing new, stand out from the pack? His opinions would be valid if he didn't try to go against the grain to just go against the grain! If you've ever heard or seen Jimi at Monterey you don't need to be told how so many people thought he played crap that night - the evidence that this is one of his greatest performances is right there on CD or on the screen as you watch it which just makes bringing up that negative side without balancing it with the many rave reviews he also got seem targeted. Why point out the bad things and not mention the good?
If you want to learn the technical side of the recording or the technical side of Hendrix, you won't learn it from this book. You'll get the classic Hendrix bio for most of it with this Authors strange comments, some bad reviews for Electric Ladyland to show Hendrix was human after all i guess and an author bringing up all his 'friends' and 'visits' to people that are well documented in knowing Jimi.
All in all, if you have no opinion on Hendrix and read this you probably won't think he's that great and get a distorted opinion on him, if you love Hendrix and read this you'll wonder why this Author bothered to write a book about Jimi in the first place other than to let us know he has so many friends that knew Jimi, was lucky enough to see him play a few times and the funniest of all, could of done some things better in his opinion.
Two stars because there's many books out there with much more information about Electric Ladyland, let alone Hendrix, that aren't trying to re-write Jimi's history from one person's perspective and critique thou it's cheap and quite funny if you have a big Hendrix library anyway.
A guitar fan's wet dream.......2004-07-24
Jimi Hendrix after 30 years from his death is still revered as a guitar hero and innovator in the way the instrument was played and recorded, and Electric Ladyland was a major benchmark in his too short studio recording career in letting him stretch out and play compared with his prior 2 LPs and hit singles.
That this book is written by a guitar afficionado should thus come as no surprise, and the author was clearly influenced by Hendrix at an early age having seen him live in the UK and in his own subsequent career as a guitarist. The content (especially on the individual tracks and their recording) is very guitar playing orientated, explaining a lot of chords, tuning and playing techiques that made Hendrix sound so different and while a fascinating insight into exactly how unique Hendix was in his playing, I suspect it will potentially grate with many non-musicians (of which I am one) though as a long time Hendrix afficionado I must admit I found it all fascinating.
The book also picks up on many side issues that help one understand Hendrix and his times better esp. his position as a black American who in the heated anti Vietnam war and US domestic race riots happening at that time remained politically indifferent and his treatment at the outset and afterwards by white rock critics.
A captivating book especially for Hendrix fans and in the end piece that speculates that Hendrix at the time of his death shortly afterwards had already potentially delivered his best recorded work.
Book Description
An exploration of musical harmony from its ancient fundamentals to its most complex modern progressions, addressing how and why it resonates emotionally and spiritually in the individual.
W. A. Mathieu, an accomplished author and recording artist, presents a way of learning music that reconnects modern-day musicians with the source from which music was originally generated. As the author states, "The rules of music--including counterpoint and harmony--were not formed in our brains but in the resonance chambers of our bodies." His theory of music reconciles the ancient harmonic system of just intonation with the modern system of twelve-tone temperament. Saying that the way we think music is far from the way we do music, Mathieu explains why certain combinations of sounds are experienced by the listener as harmonious. His prose often resembles the rhythms and cadences of music itself, and his many musical examples allow readers to discover their own musical responses.
Customer Reviews:
Life Changing Perspective on Music.......2007-08-12
Mathieu generously, and eloquently, teaches and inspires the reader to explore the harmonic Deep Structure of the mystery we call Music. Using music theory, philosophy, mathematics, poetry, botany, and his own rich world view, he unearths the underlying relationship between harmony, scale, and rhythm. Starting with the acoustical given of the overtone series, Mathieu builds a coherent system with which the Music student can frame and further delve into the patterned world of Musical phenomena.
What a fantastic experiential approach to learning harmony!.......2007-05-05
I am a musician and have played professionally. Now, I work in the psychology field, but I have a good education in science including physics. I think this qualifies me to speak about the merits of this very fine book.
This book differs from most other musical theory books in that it encourages you to experience how music evolved and harmony grew out of the natural harmonics that occur in strings and other instruments. It gives you the theory and some of the physcis, but must importantly it provides exercises to give you the FELT SENSE of what each concept corresponds to. This is both at the emotional and somatic levels.
This is a very natural way to learn and embody harmony. It makes use of chanting intervals with a string drone or note from an instrument or tuning fork. It teaches you how to listen for harmonics and explains how these harmonics naturally lead to the contruction of certain chords and scales. It is really a "ground up" approach as one reviewer said and an eye opener even for most musicians.
The book encouraged the use of Indian syllables for the musical exercises, which was a bit difficult for me. However, the ideas behind the exercises were great and could be converted to do, re, mi, fa, so, la, di, do. I must confess, however, that at times this was a bit of an annoyance, but totally forgivable given what I took away from this book!
Harmonic Experience changed my life! .......2007-02-16
Harmonic Experience has proven to be as valuable of an education as my four years at a music conservatory. But this is also easily accessible to all musicians, not just professionals! The book is written in clear English and it feels like Mathieu is in the room with you.
I'm delighted to find some insight into some musical contradictions that I frequently think about, but have never reconciled. Harmonic series vs. major and minor tonality? just intonation vs. equal temperament? western harmony vs. eastern music? It's beautiful to see a unified perspective that embraces acoustics, emotion, intuition, knowledge and many musical traditions. My approach to intonation has also changed for the better!
Here is my favorite testimonial:
"Harmonic Experience is the Rosetta stone of music. It turns harmonic theory into a web of "ah hah's"! What has been a tangle of inexplicable concepts is transformed into a repertory of generative experiences. Mathieu puts together what no one has put together before"
-Will Johnson, professor of music, Sonoma State University
a text book must-have.......2000-11-17
This is hands down one of the best books about music I've ever read. This should be circulated in ever high school and college throughout the U.S. and beyond!
ear and mind opener.......1999-08-25
I am so glad to see jzmckay's excellent review of this book, posted here. He said many of the things that I feel about this book.
I have studied music, including theory, for thirty years, and nothing has expanded my understanding (and perception!) of music as much as the information in this book.
I have studied music with the author of this book -- he's a great writer about music and an even better teacher! I know that this work is the result of a lifetime of profound consideration of what is at the very heart of the musical experience, and of why music affects us as it does. W. A. Mathieu's highly intelligent exposition is a great gift to all who wish to deepen their understanding of music.
I would like to express my personal thanks to the author for this book, which has enhanced my sensitivity to music.
Book Description
For the Tumbuka people of Malawi, traditional medical practices are saturated with music. In this groundbreaking ethnography, Steven M. Friedson explores a health care system populated by dancing prophets, singing patients, and drummed spirits.
Tumbuka healers diagnose diseases by enacting divination trances in which they "see" the causes of past events and their consequences for patients. Music is the structural nexus where healer, patient, and spirit meet—it is the energizing heat that fuels the trance, transforming both the bodily and social functioning of the individual. Friedson shows how the sound of the ng'oma drum, the clapping of the choir, call-and-response singing, and the jangle of tin belts and iron anklets do not simply accompany other more important ritual activities—they are the very substance of a sacred clinical reality.
This novel look at the relation between music and mental and biological health will interest medical anthropologists, Africanists, and religious scholars as well as ethnomusicologists.
Book Description
Score reading provides insights into the musical structure of a work that are difficult to obtain from merely listening. Many listeners and amateurs derive great pleasure from following a performance with score in hand to help them better understand the intricacies of what they are hearing. This guide includes practice examples of increasing difficulty taken from scores of well-known works from various periods.
Customer Reviews:
Score Reading Book.......2001-03-11
As a Composition and Conducting major, it's a nice, well-written book which reveals a way how to you read a score while listening to it. For real Score Reading purposes ("hacking the Orchestral Score on the piano), I wouldn't recommend it so much because although it consists of excerpts, it's not practical enough because of the format. Probably di Lassus, Bach Chorales and later the "Kunst der Fuge" are still the best way to improve your reading of the clefs before you can start reading a full score using the clefs for the transposition. For everybody who's not a conducting major, it could be a very useful book as an introduction to score reading or actually score listening
One-stop-shopping for orchestral information.......2001-02-16
This book belongs in the hands of every aspiring orchestral musician, conductor, and avocational music-lover. Ambitious high-school students and conservatory undergraduates will especially appreciate the clarity and concision with which Dickreiter (through Pauly's fine translation) illuminates the labyrinth of abbreviations, symbols and page layout details for deciphering orchestral scores. Best of all, the book answers most basic questions about instrumentation (including foreign terminology, clefs and transpositions), performance practice and history, without forcing the reader to hunt down the information in several other sources.
Musicians searching for practice material in reducing scores at the piano will not find it in this book, but they will find a handy reference with a sound review of orchestral history and instrumentation. Aspiring conductors will find a valuable introduction to their craft and all readers will appreciate the clarity of the text which conveys information without the baggage of elitist condescension or that chatty hand-holding which bloats many mass market "how to" or "dummies" books. Several of the score examples employ a format (found in the Norton Scores) that highlights prominent melodic lines with gray shading. This illustrates the dynamics of score reading very clearly for novices.
The chapters are as follows: 1) Introduction, 2) Types of Scores, 3) The Look of a Score, 4) Scores and Their History, 5) Reading a Score - Hearing a Score, 6) Examples for Practicing Score Reading, 7) Orchestras and Conductors, 8) Instrumentation and Score Reading: Suggestions for Further Reading.
Product Description
13 songs from the album, including: Bold as Love Castles Made of Sand Little Wing Spanish Castle Magic. The Guitar Recorded Versions edition has been newly revised with a 24-page full-color section. Ain't No Telling Bold As Love Castles Made Of Sand EXP If Six Was Nine Little Miss Lover Little Wing One Rainy Wish She's So Fine Spanish Castle Magic Up From The Skies Wait Until Tomorrow You Got Me Floatin'
Customer Reviews:
Get Experienced Again and Again This Gets Better Each Time.......2007-04-02
This is actually the third time I've bought this book. About a decade or so ago I had a copy of this and it got lost or stolen or something. I remembered it because I was actually impressed that the songs herein cold actually be transcribed especially this accureately. I got a second copy after my sight reading skills had improved somewhat and used it often enough for the pages to start to come loose. So, I bought a 3rd copy of it. The transcriptions are challenging to anyone's sightreading abilities, but the rewards of a little bit of effort are very satifying. The book is accurate giving great insight into Hendrix solos and choice of(often apparently jazz influenced)chord voicings. A must for any guitarist who wants to learn these songs.
A Good Source for Investigating Jimi's Style.......2007-03-02
At the time I write this, two other customer reviews exist. One laments the book is full of mistakes and inaccurate transcriptions. The other insists it is note-for-note perfect and an invaluable resource for learning to play these songs. In an article written by Joe Gore for Guitar Player magazine shortly after the first edition of this TAB book was released (around 1989, I believe), he called the Hal Leonard Hendrix series "the finest Hendrix transcriptions available, despite a shocking number of music typos." I think Mr. Gore's statement comes closest to hitting the mark.
Yes, there are mistakes in the book, here and there. But, I think most people can sort them out easy enough. There are some passages (usually those a bit hard to hear on the recording) that I question if they accurately reflect exactly what Hendrix played. But, the majority of the transcriptions are unquestionably correct, and the passages in this TAB book which I think might vary a bit definitely sound good and are "Hendrixesque." Hendrix himself never played the same thing twice, and it's unlikely that anybody is going to be able to play EXACTLY like Hendrix, no matter how perfect the transcription.
So, my take on the situation is that the true usefulness of any transcription book is to serve as a departure point which offers insight into a particular player's style and which provides practice material which allows a player to internalize aspects of that style into their own playing. Therefore, I can live with a book that has mostly accurate transcriptions, in spite of a lot of typos. If you feel the same, you'll might find this book valuable. If not, I guess you'll need to sit down with a recording and try to figure it out for yourself. Actually, that's probably the best way. But, doing so will require having more skill and patience than I do :-)
ripped off!.......2004-02-21
There are so many mistakes in this book with both the notation & tab (too many beats in a bar, mistakes in fingering, etc.)that it's almost funny. In addition to this, some of the transcriptions are ridiculously incorrect with regards to what is actually being played as well. It's really a shame, because it could have been a great book.
The Best Guitar Tab Book Out There!!!!!!.......2002-12-19
This guitar tab book is by far the best one out there! Jimi Hendrix is the best guitarist of all time and this book proves it.There are really great Hendrix classics in here too. Some like "Spanish Castle Magic","Little Wing","Castles Made of Sand",and "Bold As Love". These tabs are all on the money and are great to play and further your skills as a guitar player. If you are a good bassist you can figure out the bass lines from these tabs too. So go out and buy this book..........You Won't be disappointed!
Book Description
When hard of hearing people begin hearing phantom voices or music, they immediately worry they are going crazy. After all, only people with schizophrenia and other mental illnesses hear such sounds, right? Wrong! The truth is, thousands of sane hard of hearing people experience the spooky phantom voices. music and other sounds associated with Musical Ear syndrome. This book explains what these sounds are, what causes them, what you can do to alleivate or eliminate them, and how you can regain your peace of mind.
Customer Reviews:
Phantom Voices Ethereal Music & Other Spooky Sounds: Musical Ear Syndrome:.......2006-08-20
Very helpful book and discussion on a troublesome experience related to some folks with hearing loss. No other know book covers this issue and it is an important item that most doctors do not know about and they should.
Interesting Information.......2006-03-26
I ordered this book because an elderly relative developed "musical ear syndrome" and this was the only publication that had any description or data on the subject.
The book was informative but did not give enough scientific explanations by way of scientific studies on the subject. It was, however, helpful to the elderly person and her caregivers to aid her until the situation abated. It was also helpful to know that other people had this syndrome even though most medical literature does not take note of this.
Book Description
Play your favorite songs quickly and easily with the Drum Play-Along series. Just follow the drum notation, listen to the CD to hear how the drums should sound, then play along using the separate backing tracks. Lyrics are included for reference. The audio CD is playable on any CD player, and also enhanced so PC and Mac users can adjust the recordings to any tempo without changing the pitch! Includes: All Along the Watchtower * Can You See Me? * Crosstown Traffic * Fire * Foxey Lady * Hey Joe * Manic Depression * Purple Haze * Red House * Remember * Stone Free * The Wind Cries Mary.
Customer Reviews:
Drumming with Jimi! You too can be on stage with Hendrix!.......2007-08-09
All the Hal Leonard Drum Play-Along Series are well done. This one is especially poignant to the point that we should all know how to play to these songs. After all, this was one of your first albums ever! I promise you, you learn these songs and you will definitely be called up to play one night at a party with some great guitar player and you tell him you know any Jimi song and you'll rock the house down.
Seriously, the book is straightforwardly laid out. The recordings, both with the drums and with out sound great and are mixed well. The music charts are clear and easy to follow too on bright white paper.
The Slow-down feature on the CD is fantastic and worth it alone. You can bring the song down to incredible slow speeds with out losing the tone of the song to hear exactly how the parts are played. Getting the entire series, you'll then be able to cover any rock, funk or jazz tune!
Customer Reviews:
Expanded my musical horizons.......2005-03-30
This book is truly a masterpiece! The author interweaves a tapestry of spiritual philosophy and deep musical understanding which was quite captivating for me. While I have played music and listened to music all my life, and so consider myself to be quite well-versed when it comes to music, this book has given me a deeper insight into how to expand my appreciation of music--and gives examples of different kinds of music and how they relate to different states of consciousness. The "yoga of listening", which is spoken about in the book as a spiritual practice, is a very natural process which the reader is exposed to step-by-step. Already my musical horizons have been expanded and my music listening has been reinvigorated by reading it. Throughout the book various specific recordings are recommended--and so of course I had to try some out and in the process discovered some really great new music! That alone was worth the price of admission for me. Kudos to the author who obviously is both highly intelligent and creative--for this is truly an original piece of work--and a masterwork for sure! I'd give this book six stars if I could...
Truly Revolutionary book for musicians, listeners!.......2005-01-18
WOW! A breakthrough book that lifts the music experience to another level. Kurt Leland shows us that music can be a journey
of human consciousness, through finding the source of inspiration, energetic diagnosis of the music that surrounds us- - from classical, jazz to pop. By making us aware of how the music affects us, we can make a "conscious" journey of enlightenment and healing through the music that we listen to.
Leland equips us with knowledge and skills to identify and
diagnose the music that are in our lives, so that it functions as a tool for self-discovery. A must-read for all music
lovers.
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