Peter Guralnick – The Listener’s Guide To The Blues (1982)

frontcoverThis is another out of print book from my Collection of Music books …

By delving into the livesm influences and recordings of the great blues makers, The Listener´s Guide To The Blues provides a unique tour through the growth and development of one of America´s finest Musical forms.

“If you were to only get one book about the blues, this is it. It provides all the necessary biographical and background information in short, readable chapters, and then discusses the albums most worth checking out for every artist and every style. Indispensable” (Patrick)

Abouth the author:

Peter Guralnick is an American music critic, writer on music, and historian of US American popular music, who is also active as an author and screenwriter. He has been married for over 45 years to Alexandra. He has a son and daughter, Jacob and Nina.
Guralnick’s first two books, Almost Grown (1964) and Mister Downchild (1967), were short story collections published by Larry Stark, whose small press in Cambridge, Larry Stark Press, was devoted to stories and poems. Mona Dickson, writing in MIT’s The Tech (May 13, 1964) gave Almost Grown a favorable review.
After Guralnick graduated from Boston University in 1971 with a master’s degree in creative writing, he began writing books chronicling the history of blues, country, rock and roll and soul.
Peter Guralnick with Chuck Berry, 2012

His two-volume biography of Elvis Presley, Last Train to Memphis in 1994, followed by Careless Love in 1999, placed the story of Presley’s career into a rise and fall arc. Encompassing more than 1,300 pages (including 1,150 pages of text), the work countered earlier biographies such as Albert Goldman’s Elvis from 1981 with an in-depth, scholarly examination of Presley’s life and music. Guralnick had previously written on Presley in the The Rolling Stone Illustrated History of Rock & Roll, starting with the first edition in 1976, said article having been reprinted for each subsequent edition.

Larry Stark Press published Peter Guralnick’s second book in 1967. A first edition is currently valued at $200.
In contrast to contemporaries such as Lester Bangs, Ian Penman and Nick Tosches, whose music writings are marked by idiosyncratic, self-referential and highly personal styles, Guralnick’s writing is characterized by a colloquial approach that is clean and understated by comparison. In his best passages, he has an ability to simultaneously empathize and remain objective. Writing as a music fan, his enthusiasm powers his writing but doesn’t overpower it.
Guralnick wrote the script for A&E’s documentary, Sam Phillips: The Man Who Invented Rock ‘n’ Roll, narrated by Billy Bob Thornton, and he also scripted Sam Cooke – Legend, narrated by Jeffrey Wright. (by
This is an essential book about the blues and about all These great blues recordings through the last century
Here are some pics from the good … before you can read the book:


























Jon Chappell – Blues Guitar For Dummies (2006)


Do you wish you could play your favorite blues music on guitar? Even if you don’t read music, it’s not difficult with Blues Guitar for Dummies.
With this hands-on guide, you’ll pick up the fundamentals instantly and start jamming like your favorite blues artists!
Blues Guitar for Dummies covers all aspects of blues guitar, showing you how to play scales, chords, progressions, riffs, solos, and more!
It’s packed with musical examples, chords charts, and photos that let you explore the genre and play the songs of the great blues musicians. This accessible guide will give you the skills you need to:

Choose the right guitar, equipment, and strings
Hold, tune, and get situated with your guitar
Play barre chords and strum to the rhythm
Recognize the structure of a blues song
Tackle musical riffs
Master melodies and solos
Make your guitar sing, cry, and wail
Jam to any type of blues

Jon Chappell is a multistyle guitarist, arranger, and author. He grew up in Chicago, attended Carnegie-Mellon University, and earned his master’s degree in composition from DePaul University. He was Editor-in-Chief of Guitar magazine and played and recorded with artists such as Big Walter Horton, Billy Branch, Pat Benatar, Judy Collins, Graham Nash, and Gunther Schuller. Jon has also contributed numerous musical pieces to TV and film.
Jon served as Associate Music Director of Cherry Lane Music, where he transcribed, edited, and arranged the music of Joe Satriani, Steve Vai, Steve Morse, Bonnie Raitt, and Eddie Van Halen, among others. He has more than a dozen method books to his name and is the author of Guitar For Dummies, 2nd Edition, and Rock Guitar For Dummies (both published by Wiley), Blues Rock Riffs for Guitar (Cherry Lane), as well as the textbook The Recording Guitarist — A Guide for Home and Studio (Hal Leonard).
Table of Contents:
Part I: You Got a Right to Play the Blues.
Chapter 1: Every Day I Have the Blues . . . Hallelujah!
Chapter 2: Blues Meets Guitar: A Match Made in Musical Heaven.
Chapter 3: Grab Hold, Tune Up, Play On!
Part II: Setting Up to Play the Blues.
Chapter 4: Getting a Grip on Left-Hand Chords.
Chapter 5: Positioning the Right Hand for Rhythm and Lead.
Chapter 6: Blues Progressions, Song Forms, and Moves.
Chapter 7: Musical Riffs: Bedrock of the Blues.
Part III: Beyond the Basics: Playing Like a Pro.
Chapter 8: Playing Lead: Soaring Melodies and Searing Solos.
Chapter 9: Playing Up the Neck.
Chapter 10: Express Yourself: Making the Guitar Sing, Cry, and Wail.
Part IV: Sounding Like the Masters: Blues Styles through the Ages.
Chapter 11: Acoustic Roots: Delta Blues and Its Country Cousins.
Chapter 12: The Birth and Growth of Classic Electric Blues.
Chapter 13: Blues Rock: The Infusion of Ol’ Rock ’n’ Roll.
Part V: Gearing Up: Outfitting Your Arsenal.
Chapter 14: Shop Till You Drop: Buying the Right Guitar for You.
Chapter 15: Choosing Your Amp and Effects.
Chapter 16: Changing Strings.
Part VI: The Part of Tens.
Chapter 17: Ten Blues Guitar Giants.
Chapter 18: Ten Great Blues Guitars.
Chapter 19: Ten (Plus One) Must-Have Blues Guitar Albums.
Part VII: Appendixes.
Appendix A: How to Read Music.













Stuart Hoggard + Jim Shields – Bob Dylan – An Illustrated Discography (1978)

BobDylan_AnIllustratedDiscography_01AWhen Bo Dylan read this book in London on his European tour he was amazed at the amount pg work the authors put into tracking down the unofficially released recordings of his work. Even he didn´t know just how big a business bootlegging his songs had become.

Dylan has been the single most influential figure of an entire generation for the past two decades; yet his followers have access to only the tip of the iceberg, when it comes to his recordings.

More than 90 albums are available to collectors under the counter of bootlegs. They show Dylan practising songs, relaxing, and developing, allowing collectors to get closer to the man.

This book is not just a listing of of these 90 albums, his officially released albums, 17 films and interviews; it traces his career from his arrival in New York in 1961 to his European tour de force in 1978 showing what went on around the bare bones of the recording sessions and is set against a background of the music and politics of the time.

Cross referenced, fully indexed and illustrated with over 50 photographs.




Unknown Author – Jimi Hendrix (Discography + lyrics) (1986)

FrontCoverThis is a very item from my collection of music books.

I didn´t find any information about this book, written by an unknown author on the internet.

Jimi Hendrix was an exceptional musician and songwriter and justifiably considered as  one of the most outstanding artists of the twentieth century. The interpretation of him as simply a great or greatest guitarist has in a way overshadowed the sheer beauty of his music.
It is true that he transformed the whole approach to electric guitar playing with his audacious fusion of Chicago blues, R&B, rock and roll, free jazz, you name it. He had an enormous influence on so many musicians and not only in rock and blues circles. Even the great Miles Davis felt compelled to abandon traditionnal “Jazz” structures, even putting a wah-wah pedal on his trumpet, to get the “Hendrix sound” into his music. Hendrix’s influence reached out to soul artists such as The Temptations and subsequent Oscar winner Isaac Hayes who soon featured funky Hendrix-style “wakka wakka” or fuzzy guitars in their arrangements. Of course it was primarily in the field of rock and pop that his influence was so strongly felt and many artists and groups followed suit, featuring elaborate guitar playing in their music.

Hendrix01Jimi’s psychedelic image also launched a trend with many black artists adopting his look, from Sly Stone to James Brown to the young Michael Jackson and his brothers, who took the stage sporting psychedelic costumes and afros, looking like little Hendrix clones. Even Eric Clapton had an afro perm back in 1967, making him look like a white Hendrix fronting Cream !

The fact that he acheived so much in a short time, with such influence, is amazing. There again, what he did get down is frustratingly short of the real measure of his talents. His blossoming as a songwriter in 1967 and 1968 had established him as a major international artist. His three classic albums as The Jimi Hendrix Experience had perfectly suited and even defined their epoch. Two unbeleivable years of creativity and fun, like one long party, which couldn’t have lasted forever. (by

Here some scans from this book … And many thanks to the unknown person, who wrote this book ! This is a printed booklet *smile*



Terry Rawlings – Small Faces – All Our Yesterdays (1982)

AllOurYesterdays01AThe Small Faces was and is one of my favorite Beat/Rock groups from the Sixties.

Small Faces were an English rock band from London. The group was founded in 1965 by members Steve Marriott, Ronnie Lane, Kenney Jones, and Jimmy Winston, although by 1966 Winston was replaced by Ian McLagan as the band’s keyboardist.

The band is remembered as one of the most acclaimed and influential mod groups of the 1960s. With memorable hit songs such as “Itchycoo Park”, “Lazy Sunday”, “All or Nothing”, “Tin Soldier”, and their concept album Ogdens’ Nut Gone Flake, they later evolved into one of the UK’s most successful psychedelic acts before disbanding in 1969. After the Small Faces disbanded, with Marriott leaving to form Humble Pie, the remaining three members were joined by Ronnie Wood as guitarist, and Rod Stewart as their lead vocalist, both from The Jeff Beck Group, and the new line-up was renamed Faces, except in North America, where this group’s first album (and only their first album) was credited to Small Faces. This practice has continued on all subsequent North American reissues of the album to this day.


A revived version of the original Small Faces existed from 1975 to 1978.

Small Faces are also acknowledged as being one of the biggest original influences on the Britpop movement of the 1990s. Despite the fact the band were together just four years in their original incarnation, the Small Faces’ music output from the mid to late sixties remains among the most acclaimed British mod and psychedelic music of that era.

And this ia a fan’s eye view of the Small Faces – Terry  Rawling´s first book published on Paul Weller’s Riot Stories imprint.

This 7″ x 10″ magazine (52-pages) style softback book is packed with photos, a breakdown of their career (till 1969) & an illustrated discography.

And here are some preview pictures … get this fanzine … it´s a great book about a great band



Alan Lomax – The Land Where The Blues Began (1993)

FrontCoverA self-described “song-hunter,” the folklorist Alan Lomax traveled the Mississippi Delta in the 1930’s and ‘40s, armed with primitive recording equipment and a keen love of the Delta’s music heritage. Crisscrossing the towns and hamlets where the blues began, Lomax gave voice to such greats as Leadbelly, Fred MacDowell, Muddy Waters, and many others, all of whom made their debut recordings with him.

The Land Where the Blues Began is Lomax’s “stingingly well-written cornbread-and-moonshine odyssey” (Kirkus Reviews) through America’s musical heartland. Through candid conversations with bluesmen and vivid, firsthand accounts of the landscape where their music was born, Lomax’s “discerning reconstructions . . . give life to a domain most of us can never know . . . one that summons us with an oddly familiar sensation of reverence and dread” (The New York Times Book Review). The Land Where the Blues Began captures the irrepressible energy of soul of people who changed American musical history.

This book was the winner of the 1993 National Critics Circle Award for nonfiction.

Pic01Co-founder–with folklorist father John A. Lomax–of the Archive of American Folk Song at the Library of Congress, Alan Lomax traveled the South “from the Brazos bottoms of Texas to the tidewater country of Virginia” in search of the wellspring of American blues. Previously the author of Mister Jelly Roll, Lomax stalks the ghosts of Robert Johnson, Muddy Waters, Big Bill Broonzy and Charlie Patton, among many other blues pioneers. This winner of the 1993 National Book Critics Circle Award for General Nonfiction is more than just another profile of a musical genre. It’s an intimate diary of a purely American art form born of a powerful mix of despair and hope. (amazon review)

Pic04Working for the Library of Congress and other cultural institutions, legendary roots-music connoisseur Lomax ( Mister Jelly Roll ) visited the Mississippi Delta with his father, folklorist John Lomax, and black folklorist Zora Neale Hurston in the 1930s; with African American sociologists from Fiske University in the 1940s; and with a PBS film crew in the 1980s, researching the history of the blues in America. Addressing this wonderfully rich vein of scarcely acknowledged Americana, Lomax has written a marvelous appreciation of a region, its people and their music. Burdened early with now long-forgotten technology (500-pound recording machines, etc.) and encountering pronounced racial biases and cultural suspicions about black and white people mixing socially and otherwise, Lomax sought out those in the Delta who knew Robert Johnson and Charlie Patton and others acquainted with musicians once less well known, such as Doc Reese, young McKinley Morganfield (Muddy Waters), Dave Edwards, Eugene Powell and Sam Chatmon. Traveling across the South “from the Brazos bottoms of Texas to the tidewater country of Virginia,” Lomax discovers the plantations, levee camps, prisons and railroad yards where the men and women of the blues came from and the music was born. In a memoir that will take its place as an American classic, Lomax records not just his recollections but the voices of hard-working, frequently hard-drinking, spiritual people that otherwise might have been lost to readers. (by Publishers Weekly)

Pic05The Land Where the Blues Began is one of the finest books on any subject I’ve ever read in my life. Every magical benefit of reading came poring forth from its pages, including deep and fascinating discovery, chills, outrage, tears, joy, laughter, amazement and finally, understanding and awe. Alan Lomax embarked on a personal odyssey to the Mississippi Delta serving up one of the great vicarious thrill rides any reader with a hankering to learn where rock and roll, and rhythm and blues came from. Armed with primitive recording equipment and a lifetime’s experience researching the folk and popular music of the world (following in his father’s distinguished footsteps in this endeavor), Lomax plunges us directly into the redneck towns and the plantations, where the Blues emerged from a fascinating combination of African musical roots, Folk…Popular…and Church Music, and the hollers which slaves, prisoners, levee workers, rail gangs, mule drivers, sharecroppers and roustabouts would sing out to express their rage, pain, heartsickness, loneliness, hopelessness and frustrations. Finding giants of the blues in dilapidated shacks in the middle of nowhere, Lomax coaxed many into performing for his acetate machines. Also haunting the bars, with names such as the Dipsy Doodle, in the black sectors of heavily segregated towns, Lomax (who is white) repeatedly puts his personal safety in jeopardy as he defies the redneck deputies’ orders and ends up swigging homemade whiskey and eating fresh barbecue while recording legendary performances. If all this weren’t enough, the book weaves the evolution of the Blues in with poignant memoirs of impoverished childhoods, family life, prison life, farm labor, Jim Crow, unthinkable mistreatment, murder, and devastation. Fashioning musical instruments out of pieces of wire and wooden boxes, tree branches or anything available, these masters created, nurtured and passed down their knowledge to subsequent generations until it flowered in the hands of a young and inspired new crop of Blues giants. Eventually blacks seeking a better way of life were able to move North into the urban areas of Chicago, New York, Kansas City and other places, and the adventurous among the Blues musicians followed them there, where the Blues kept people in touch with their roots and linked them emotionally to their Southern heritage. Here, the musicians were horribly exploited by white recording executives who invited them to record their music, and robbed them blind when a recording did well on the radio and/or in the stores. Eventually the mature Blues style inspired the world’s greatest pop and rock musicians from the Rolling Stones and The Beatles to Eric Clapton, all of whom were British and discovered American Blues music at its commercial inception. Later, they introduced it back to the American masses who had for the most part not yet been exposed to it. As I finished the book, I was awestruck that these impoverished yet heroic people who lived in the shacks, shouting their laments to the cotton fields and the sky above, had a massive and magnificent influence on the world which few human beings will ever achieve. Hats off to Blind Lemon Jefferson, Son House, Robert Johnson, Fred McDowell, Big Bill Broonzy, Muddy Waters and so many others, especially the now-forgotten faceless progenitors of the style, without whom today’s popular music would have an entirely different and far less rich character. And three cheers for Alan Lomax whose passion and love for the people and music he documents, coupled with his original and rich writing style leaves us in an emotional heap at the end of our journey. (by First Things First)

Pic06And here are some pics from this book:


Martin I. Green + Bill Sienkiewicz – Voodoo Child – The Illustrated Legend Of Jimi Hendrix (1995)

FrontCoverThis is going to be heresy to a lot of people, but I’ve never been a fan of Jimi Hendrix. Oh, I respect that he was an influential musician and how for a lot of people he turned music upside down… but it just never did anything for me. When a copy of Voodoo Child: The Illustrated Legend of Jimi Hendrix fell into my hands, though, I found myself wondering if perhaps this could show me just what I was missing.

Born John Allen Hendrix, the musician had anything but an easy childhood. Born while his father was fighting in World War II, Hendrix was used to being sent to live with relatives as his mother struggled with her alcoholism. When his father returned from overseas, he was renamed James Marshall Hendrix and in many ways his life started over. Struggling to find somewhere that would let him record his music and respect what he was doing, Hendrix finally begun to find fame, but in the end, it would be all too fleeting…

Illustration01Martin I. Green’s script for Voodoo Child is certainly informative, but one gets the impression that he’s preaching to the converted. That’s perhaps not a surprise—the primary audience of a hardcover graphic novel about Jimi Hendrix would naturally be his friends—but for an outsider like myself it was a little disappointing. It’s a challenge to try and explain the appeal of Hendrix’s music through the printed page, but Green didn’t seem to even try and convey it to the reader. It’s a very dry story, matter-of-factly telling Hendrix’s life story as a memoir, embedded with quotes from songs here and there. At the end of the day, you leave Voodoo Child‘s script with a lot of facts and very little else.

On the other hand, I’ll be surprised if readers left Voodoo Child feeling cold from Bill Sienkiewicz’s art. Fully painted, Sienkiewicz’s art is brilliantly matched with the subject material, able to mix psychedelic emotions with the love of music into every single page. You’d swear that Sienkiewicz was painted over top photographs here, with a careful control of how he handles people and their body language. What’s great about Sienkiewicz is how he’s able to quietly take a perfectly realistic painting and then mix in things like musical notes, or words, and make them just as much a part of the page. Voodoo Child‘s writing may be dry, but Sienkiewicz’s paintings are alive and well.

Illustration02Towards the end of Voodoo Child I found myself all but giving up on actually reading the book, instead just basking in Sienkiewicz’s art. For those with only a casual knowledge of Hendrix, this is ironically what you’ll get the most out of the biography. You may still not have a hard grasp on the appeal of his music, but you sure will understand how much Sienkiewicz clearly loved the man’s work. And in the end, getting 128 pages of Sienkiewicz paintings is a good deal indeed. (by

Some more illustrations from this book: