After continually being compared to his father, a famous harmonica player, J.B. decides not to play his harmonica anymore until he realizes that he can be a musician and be himself.

The Harmonica Encyclopedia is the most comprehensive book ever written on the instrument, offering over 900 articles on players, bands, techniques, resources and a discography of over 5,000 recordings by harmonica players. Originallyreleased in 1998, this new edition is profusely illustrated with over 150 photographs of the players who have made the harmonica the world's most popular musical instrument. This book has been critically acclaimed by readers in over 25 countries and is a must-have for any serious harmonica enthusiast

This is a great method for any harmonica player to learn blues harmonica basics. An excellent means for expanding performance capabilities and styles, this book and audio set teaches cross harp (second position), note bending, 12-bar shuffle blues with bends, 12-bar slow blues with bends, introduction to third position (Dorian mode), Dorian mode exercises, 12-bar slow blues in third position, holding the harp with a microphone, the different microphones for electric harp, getting a great sound (amps, reverb devices, microphones and harps), and much more.

Thomas Edward Harkin's Woodstock FAQ: All That's Left to Know About the Fabled Garden cuts through the lofty rhetoric and mythology surrounding the legendary festival. Rather than waxing philosophical about whether or not the Woodstock Music & Art Fair was the defining moment of the 1960s as so many have done before, Harkins places the focus on the music, solo artists, and bands who performed. Thirty-two acts took to the stage in Bethel, New York that weekend, and the book gives the performers and the music their due consideration. Who were they? Where did they come from? What songs did they play? What happened to them afterward? How did the festival impact their careers? Those are the questions explored in these pages. Further, the book attempts to restore the chronological arc of the festival from concept to concert to its aftermath and enduring legacy. Drawing on his experiences as a media scholar, Harkins ponders how the album releases and Michael Wadleigh's Academy Award-winning 1970 film Woodstock helped shape the narrative of the festival and in the bargain distort people's memories of the actual event.

Around twenty percent of your playing time on the bandstand is spent soloing—have you studied how to play during the other eighty percent? Blues Harmonica Accompaniment Playing, within the School of the Blues® Lesson Series, is an exciting journey into the art of traditional blues harmonica accompaniment (playing fills, under vocals and chording patterns) as well as modern approaches to playing horn, organ and bass lines. Additional studies cover openings, breaks and endings. This book and CD is for the intermediate to advanced harmonica player. Recording includes all harmonica parts notated in the book with accompaniment music.

April 5, 1874 Jeremiah Bradley O'Shea, JB to all his friends, is leaving his home in Lancaster, Pennsylvania and headed west. He is leaving the only home he has ever known but even more he is hoping to leave behind the person he has become. He begins his quest, a baptism of sorts to begin a new life. His plan is to first find his brother and his family somewhere in the Wyoming Territory. There, he hopes to begin his own dream of owning a cattle ranch and rediscover the person he was before the Civil War. Before all of the killing, the death and destruction the war brought with it. During his trek JB quickly discovers things, much like in the past, are still the same where he is headed. Just like before, bad may not always be bad and what appears to be good most certainly is not always good. He continues to trust his instinct as he did in the war, maybe even more on this journey. Truly believing at the end of his quest he finds what his soul most desires, peace. Peace in knowing he has given everything he had to give. Not realizing how high the price would actually be. "Welcome, Tom Keilholtz, into the pantheon of great western writers. SOMEWHERE is an engaging, heartfelt road trip circa 1874 with a cast of unforgettable characters, including JB, a great leading man taking us on this scenic adventure into the West. Like the outdoorsman author, JB owns the ground he walks on here, and authenticity resonates on every page." - Robert Knott (Author of Revelation)

Music of Louisiana was at the heart of rock-and-roll in the 1950s. Most fans know that Jerry Lee Lewis, one of the icons, sprang out of Ferriday, Louisiana, in the middle of delta country and that along with Carl Perkins and Elvis Presley he was one of the very first of these “white boys playing black music.” The genre was profoundly influenced by New Orleans, a launch pad for major careers, such as Little Richard's and Fats Domino's. The untold “rest of the story” is the story of swamp pop, a form of Louisiana music more recognized by its practitioners and their hits than by a definition. What is it? What true rock enthusiasts don't know some of its most important artists? Dale and Grace (“I'm leaving It Up to You”), Phil Phillips (“Sea of Love”), Joe Barry (“I'm a Fool to Care”), Cooke and the Cupcakes (“Mathilda”), Jimmy Clanton (“Just a Dream”), Johnny Preston (“Runnin' Bear”), Rod Bernard (“This Should Go on Forever”), and Bobby Charles (“Later, Alligator”)? There were many others just as important within the region. Drawing on more than fifty interviews with swamp pop musicians in South Louisiana and East Texas, Swamp Pop: Cajun and Creole Rhythm and Blues finds the roots of this often-overlooked, sometimes-derided sister genre of the wildly popular Cajun and zydeco music. In this first book to be devoted entirely to swamp pop, Shane K. Bernard uncovers the history of this hybrid form invented in the 1950s by teenage Cajuns and black Creoles. They put aside the fiddle and accordion of their parents' traditional French music to learn the electric guitar and bass, saxophone, upright piano, and modern drumming trap sets of big-city rhythm-and-blues. Their new sound interwove country-and-western and rhythm-and-blues with the exciting elements of their rural Cajun and Creole heritage. In the 1950s and 1960s American juke boxes and music charts were studded with swamp pop favorites.