Product Details

• Amazon Sales Rank: #630655 in Books
• Published on: 1997-08-11
• Binding: Paperback
• 240 pages

From Library Journal
These two Jet Lambert Gumption Guides are designed to encourage expression and a do-it-yourself spirit in the young, but their lack of in-depth information and confusing concept hardly make them a standout in the genre. Jourard's work is the better of the two, the author's solid credentials buttressing an underwhelming effort. A sax/keyboard player of the highly successful Eighties band the Motels and a Tom Petty sideman, the author takes off when describing his experience in the music industry, though he generally imparts commonsense wisdom?e.g., record companies just want to make money?that even nonmusicians are aware of. His treatment of equipment, music theory, rehearsals, recording, and record contracts differs little from many of the disposable titles written for musicians, such as the out-of-print The Platinum Rainbow (Contemporary, 1988). Kalmar's work begins with a simplistic and unnecessary history of publishing in three pages ("Obviously individual thought did not perish"). The bad writing and editing continue in her discussion of contemporary zines (one zine "examines the darker side of true crime"). Although Kalmar writes for publications in the zine hotbed of Seattle, she has no zine publishing experience to draw from. Her coverage ranges from editorial approach and production to advertising and distribution, but it rarely amounts to more than quick tips. From the flower-laden cover to the enigma of who or what the "consummate hipster" Jet Lambert is supposed to be, these titles convey a more unfocused than "fun" approach to their subject. They contain some useful information but are certainly not everything you need to know.?Ben O'Sickey, "Library Journal"
Copyright 1997 Reed Business Information, Inc.

Customer Reviews

The ultimate survival manual for music
I use this book with every band I produce albums for - even after 15 years in the music biz I learned a ton of things that helped me, and those I work with. It answers questions that newbies and pros ask all the time, and the advice is universal for studio and touring musicians alike.

Even if you just want to make music on your own, you need to read this book to get your basics on booking studio time, mastering, management and copyright dos and dont's.

The author's personal stories are funny and usefull. Learn from other's mistakes and your half way there with half the pain.

excellent, but...
The book is excellent and very thorough and it even gave and old giger like me some insights. I mostly bought it cause I haven't played in a band or have been involved in music in years and I wanted to know if anything had changed --- according to this book it hasn't --- It hasn't? Well I need to make some extra bread and what better way than to do something I semi-loved (I say semi 'cause there were a few things I didn't like about playing gigs and the music industry) but after being semi-retired from my semi-professional career I realized it had its good points. My one concern is that getting gigs is not as easy as the book makes it seem, you have to be somewhat aggressive and if your not a born salesman (and don't like being one -- like I don't!) its a little tough. Well, armed with this book and a couple of more resources I'm gonna try it again --- here goes nothing! Good luck everyone!

haven't read it all yet, but it's great
I haven't read all of this book yet, but it has helped me greatly. It will teach you how to write music, play music, buy quality equipment, and so on. A MUST FOR ALL BANDS WISHING TO MAKE IT BIG!