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Hi, I have no idea how long ago you did the review of The Maigret Collection, but I just found it while trying to find out where it was filmed. So, thanks very much for confirming our guess (my husband and I just watched all the episodes, though not in a marathon) which was mostly based on the look of the cast's names (alas, not on the basis of the buildings, although presumably had it been filmed in Paris one would have seen more Parisian landmarks!). We also enjoy the eastern European set of A Knight's Tale, especially the production notes.

Anyway, thanks for the only info I could find on the location of Maigret. I think sometime we are going to have to find a place with a whole floor for our library.

Jane Karwoski

Cat Eldridge responds:

I'm glad that you enjoyed the Maigret series. Many of the novels are being reprinted these days, so you can enjoy reading them in translation if you, like me, don't read French.

Greetings:

Author Richard Purtill recently showed me the wonderful reviews of his Kaphtu Trilogy written by Rebecca Scott in The Green Man Review. Dr. Purtill is a retired philosophy professor. I am a writer and editor who was a student of his and who helped him bring these books back into print. I was delighted to find The Green Man Review and roamed about reading book and music reviews, and hope to write for you in the future. I run the alivingdog.com Web site which the review provides a link to under "More Information about Richard Purtill...."

I'm handling e-mail for Dr. Purtill since he's not very computer-savvy. He would like permission to reprint at least part of Rebecca Scott's review on his Web pages. He'd also like to possibly use a very short quote on the back cover of a new novel we're publishing. This is another Kaphtu novel, but one that has never before been in print, called The Gryphon Seal. I am now circulating it in manuscript form to interested reviewers. I would be glad to provide a copy if Rebecca Scott would like to review it. I clicked on the e-mail link to her at your site, but my e-mail was returned as undeliverable.

I was particularly interested because her bio said she had moved to Seattle. Both Dr. Purtill and I live in Bellingham, WA, near Canada, but I often get to Seattle and could give her the manuscript in person. Of course, I'm fine mailing it. I was excited when Dr. Purtill showed me her reviews. Author House is, in my view, a very good Publish on Demand publisher (the contract is very good for the author), but as you know, a POD book needs all the help and publicity it can get.

I'm very glad The Green Man Review is helping readers find his books, and I'm very glad I found The Green Man Review.

The best, Gord Wilson

Interesting ... but:

...what became knighthood started evolving in France in the fifteenth century...

Jon

Deborah Brannon replies:

Yes, there was a mistake in my review, and I am correcting my review to read that knighthood evolved about the 11th century.

From the way I understand things, knights evolved around the 1000s (they definitely existed then since William the Conquerer has knights in his army at Hastings in 1066). There is no doubt that the roots of knighthood extend before that, as I understand knighthood came about due to a combination of things, such as: the development of a true stirrup, the fall of the Roman empire in the West, the death of the professional army, and the rise of early concepts of chivalry in France via Germania in the absence of the Roman Empire. However, in spite of this historical fuzziness, I still, for the purposes of my review, believe the 11th century is a good focal point to attach to knighthood.

Thanks, Deborah

Dear Cat,

Thanks for the review - I have pasted it up on my site. Glad you liked the book! And the pig? I get a fibreglass facsimile for a year and then I have to give it back. But the real one I can visit whenever I want!

Hi David!

What a nice review of my CD! Thanks so much. I appreciate your kindness in the favorable review, and I quite agree with the few criticisms you offered. Getting Chris on board with the drum tracks was quite a challenge for me technically, given my circumstances. I had targeted three tracks on which to include his talents, if possible, but we only got to do two of them.

I’m so glad I had the pleasure of meeting you in Switzerland. Again, if you have tracks of your own you want to share, I would be a glad recipient.

Take care, Greg

Hi David -

Thanks so much for your incredibly well-written review of the Maggie Brown CD. We really appreciate your time, consideration and support of this artist.

One thing: the link actually takes you to maggiebrown.com (a jazz vocalist from Chicago). Our Maggie is at maggiebrown.net. [Editor's note: The link has been changed in the review.]

I did the same thing when her management called to ask us to represent her: I went to maggiebrown.com, and called and said I couldn't take the job because I'm not knowledgeable enough about jazz publications! Oops.

Thanks again for everything! I'm also working Mando Saenz (a first release) and Burrito Deluxe with Garth Hudson (fellow Canadian!) and Pete Kleinow. Would you be interested in either of those for review? Just let me know.

All the best - Lee

I just ran across your review. It made a wonderful start to my week! (Yes, I wrote the biography. I had to fight with the publisher to keep it that long--my original was longer.)

Thanks, Katie de Koster

You did an unfavorable writing on the Jackalope Weavings CD a while back. I was the guitar player back then. I know that everyone has a right to their opinions, but you were totally inaccurate with your listening skills. Let me give you some examples. You said that I performed "book derived" Eddie Van Halen licks and that Larry Yanez played "spot on" Jan Hammer licks in our solos in one of the songs. First of all, I never was a fan of Eddie's nor did I ever study or attempt to copy him. Larry Yanez never liked copying anyone for that matter. Those are very strong statements and if we lived close to each other I would sit you down in front of the stereo and have you show me with music what part of a solo I used, what song it came from, etc.

The other comment you made was the "samples" of frogs and birds at ill-appointed times. First of all, birds and frogs do what they do when they want to do it. There is no rule to that and I would sit down with you on that one, too. Also none of those wild life sounds were "samples". You were wrong about that. Yanez created the bullfrog on a synth. Carlos was playing various animal calls and bone whistle. Flint had the instruments that sounded like ducks, and I did frogs by scratching the strings of my guitar with wawa pedal and birds with a slide. If anything, I learned that trick from Duane Allman at the end of "Layla." All of this was done live; we were all playing at the same time. I do believe that if you had seen us live in the eighties you would have felt differently. If I was grading you on accuracy, you would have some bad marks, my friend.

The thing that burns me is that, knowing all this, your write-up is on the Net for everyone to see. I felt it was careless and you came off as someone who was bitter or jealous something like that. "Avoid Jackalope at all costs." That is really harsh. Jackalope was not for everyone, but I could not deny the reception and reaction to our concerts. The listener imagined his own movie in his own mind when we performed. That's how it works. You should go back and listen again. Jackalpoe was far from perfect back then. We had a long way to go. No one was a worse critic of the band than me. But I hear our influence today in a lot of music. I've had bigger and better things happen to me because of that band. Don't get me wrong, Dude. You just need to be more careful.

Peace, Richard Carbajal

Hello Peter,

I was rambling around the Internet, and decided I really should check up on review copies I'd sent out of Branching Out. Needless to say, I was delighted to find your review at Green Man, especially since you're a musician yourself, and found our CD favorable. I just came back from visiting the Marrowbones' Web site, and enjoyed meeting your picture! We'll be touring in the UK next year, and can perhaps meet, if our peregrinations bring us close enough. I'd love to hear more about you and listen to some of your music.

Gratefully, Barbara

Peter Massey responds:

Hello Barbara,

Thank you for your email, I am glad you liked the review I wrote. I liked your album, so it was easy to write, as it had some interesting material. As a musician, I like and listen to all sorts of music, and have probably 'been there and played it' at some time in my life. However, I find I always gravitate back to traditional and contemporary folk songs and I can often spot and identify with a performance that comes from the 'inner soul' as apposed to that of a trained musician/singer who is just doing it for the 'money'.

If you are in the UK next year, let me know where your gigs are and, if you are close enough, I'll be sure to come and see you. As for the Marrowbones music, we do have a free CD I can mail out to you. The new 2004 version has 17 tracks and is a mixture of contemporary and traditional songs. It is completely free, but if you do feel compelled to pay something for it (any amount you want), your donation goes to The British Heart Foundation. If you would like one, let me have a postal address and I will pop A Taste Of The Marrowbones in the post to you.

Kindest regards, Pete Massey

Hello, how are you? My name is Erich McMann, I am a musical archivist researching Paul McCartney's recording sessions as an artist, producer and guest musician. I am trying to identify the recording engineers and date of recording for James Taylor's Apple records version "Carolina In My Mind," that Paul McCartney played bass on. Would you have any information concerning the details of the recording session? I know it was produced by Peter Asher at Trident studios sometime in 1968, but details on the date and engineers are vague. Any information would be great.

Thank you, Erich McMann

David Kidney responds:

Erich:

After a couple of hours of research, I don't think that I can be really definitive since James Taylor is not definitive about when it was. In an interview with Timothy White, Taylor remembers the dates as "between July and October 1968." And those dates appear right on the "James Taylor" (Apple) record. Also, along the bottom of the inside sleeve it lists "Balance engineering by Barry Sheffield and Malcolm Toft." They are the only engineers whose names appear in any documentation.

Taylor mentions hanging out at Beatles' recording sessions and hearing "early versions of Hey Jude, etc." "Revolution" was recorded at Abbey Road on July 9, and sessions for The Beatles continued mainly at Abbey Road throughout July. "Hey Jude" was recorded at Abbey Road Studios on July 31 and was released in September, so the month of September found the Beatles busily promoting their single ("Hey Jude" b/w "Revolution"). On August 20th, McCartney recorded "Wild Honey Pie" at Abbey Road, where he continued to record for a couple of days. The earliest mention of his recording at Trident Studios (where Taylor was recording his album) was on August 28th ("Dear Prudence"), so this is one possibility of a date for Paul to play bass on JT's "Carolina on my Mind".

Taylor mentions that a lot of his album was recorded "between sessions for The Beatles [The White Album]". If this is true, then days when Paul appeared at Trident would be logical dates for his bass playing on Taylor's record. During September (as I said) the Beatles were busy promoting their new 45rpm. October saw McCartney busily wooing Linda Eastman, but he still had time to record. October 1st he was at Trident recording "Honey Pie." This is another possibility for work on the Taylor tune. On the 3rd they worked on "Savoy Truffle" and on the 4th "Martha My Dear" at Trident. After this it was back to Abbey Road by Oct.8th.

So, although I can't be sure -- and there are a few more places to look -- I would guess that the late August date is the likely candidate. Hope this helps.

David

Erich replies:

Hello David

Thank you very much for your information and insights into the possible recording date of "Carolina In My Mind." I am very impressed with your research skills and knowledge of The Beatles and James Taylor's recording activities around the time of the sessions at Trident studio. Are you a writer or researcher yourself?

What I am working on is a 40-year chronicle (1964-2004) of McCartney's recording sessions. I have his post-Beatle work very well-documented, but the sessions with artists like The Silkie, Alma Cogan, and The Fourmost -- that occurred while he was still a Beatle -- are very difficult to track down. I really appreciate your help, and would welcome any other information or correspondence with you.

All the best, Erich McMann

Greetings, David.

I just read your tribute to the Biscuit a few moments ago. Funny thing was, it was the first time I'd ever searched his name on the Internet, not even after he died almost 18 months ago. I'm 50 years old, and live in Ottawa. I first saw the Boy play in late 1971 at Carleton University, here, when a few buddies who actually play music, talked me into going. Even though Sly and the Family Stone were playing at the Civic Centre that night, and my girlfriend wanted to be there, I convinced her to come to the pub at the university. Sly was his legendary stoned freak self in concert (what a waste of fucking talent; he turned out some great music), but I digress.

I will listen to any kind of music there is, as long as it captures my soul: Sinatra, Blood Sweat & Tears, Beatles, Metheny, bluegrass, Edmundo Ross, Steely Dan (Fagen & Becker are genius), Gilberto, whoever. But when I heard the Biscuit that night, it was like nothing else. I only had two beers, afraid to fuzz my pubescent brain, or lose my spot on the floor. A short time later, I was in a record store and bought the Official Music album. I shared it with my cousin, who went berserk. We tracked down his manager at the time, got a list of upcoming dates for 1972, and saw him 4 days in 7 nights. My mother thought I was obsessed, my sister got hooked as well, and soon all my cousins were listening.

There were some memorable shows, but I always liked him in a club setting. After Gooduns came out (he would never play "29 Ways" in concert; one time in between shows at the Ottawa Ex, he said they nailed the first take and used it for the album), he toured some more, but seemed to drift out of sight, and I got involved in college, then the working world. I think the album King Biscuit Boy that he recorded in New Orleans showed his diversity in the vocal department, but left me feeling a bit miffed without any harp. Nonetheless, it was a good album. Mouth of Steel was worth the wait, but I must confess that his final two recordings are not in my collection, but soon will be.

The last time I saw him in concert was at a Tuscon's Road House in suburban Ottawa. What a disappointment. We talked briefly, he lamenting that he longed for the days of playing with good bunch of musicians, but was unaware of the whereabouts of old Mainline guitarst Mike McKenna, for instance. The ones he had with him this night were hackers, especially the piano player -- who thought he could play boogie-woogie piano, but sounded more like some dude trying to make "Chopsticks" sound bluesy. Word that he had died came through a phone call by my cousin. He was really bummed out. It sent a flood of memories through me that left a smile on my face the rest of the night.

Sorry for this, I just wanted to share it with a true fan.

Regards, Joe Du Vall

It has never been my habit to respond to reviews of my recordings and performances but I am moved to make a first exception after reading the recent review posted by Pat Simmonds in The Green Man Review. Here the reviewer offers his opinion of the CD, conjoined with a series of statements whose purpose is to support his overall opinion.

We are all entitled to our opinions, and none more so than reviewers. Mr Simmonds does so by relating that The Caledonian Flute is not "[his] cup of tea". Fair enough. We accept his opinion on this count with regret. Reviews in general often tell us more about the reviewer than what is being reviewed, and the balance of Mr. Simmonds comments and statements reveal him as out of touch with the subject matter at best, to flat out ignorant despite generous liner notes accompanying the CD penned by one of the foremost scholars on the subject of Scottish music. The reviewer writes:

The simple wooden flute came into prominence in the orchestras of Europe, but was superceded by the Böhm system in the 1830s. This led to the introduction of large quantities of cheap simple flutes that were taken up by musicians who could previously ill afford them. By and large, the popular body of music known now as traditional music had been or was being composed for pipes and fiddles.

The earliest printed collection of traditional Scottish music, James Oswald's 1724 Caledonian Pocket Companion (one of the main sources for our project), was published for the flute. Oswald as publisher was a businessman aiming for a large market audience and, while fiddlers and pipers were undeniably active in Scotland in the early 18th century, his decision to publish his collection for the flute only suggests rather unequivocally that there were a lot of flute players in Scotland at that time.

The reviewer would be well-served to read some of the offerings of the Folk Music Society of Ireland, most notably the reprint of the Neal Collection, which was originally published in Dublin in 1724. It similarly holds the notable claim as being the first published collection of traditional Irish music. Nicholas Carolan points out in the colorful foreword that the father and son Neals were both flute players frequenting sessions at Christ Church pub in Dublin in the very early 18th century.

Perhaps most famously, Oliver Goldsmith, the legendary 18th century author, poet, and musician hailed from Roscommon, Ireland, and relates many anecdotes of his traditional flute playing in his essays and novels and there are numerous paintings and prints depicting him playing to the delight of his listeners and dancers.

Mr. Simmonds' charges of "[overstated] variations" overlook the long-standing tradition of variation playing in Scottish music, as exemplified by Piobreachd, one of the oldest and central forms of expression in the tradition. John Purser points out in the liner notes of the CD, and his epic tome Scotland's Music, that while this tradition is mainly associated with the pipes today, Piobreachd variations were and are not unique to the pipes. The Piobreachd found on our recording comes directly from the Dow Collection which was published for both flute players and fiddlers. The other variation tunes found on the recording -- "Lend me your Loom Lass" and "Tullochgorum" -- are taken largely verbatim from their respective sources. The reviewer's complaints of "[overstated] variations" and "affectation" on the part of the performer are baseless considering that, in these specific cases, the variations are played right out of the original collections.

The reviewer correctly points out that "no small amount of research has gone into the sourcing of the material" and suggests that he "can imagine the bagpipers running for the hills with some of the stuff that's going on here", and that being used are "a number of techniques developed outside of the tradition that seem out of place." Research seems to inevitably expand the scope of a given subject. Interestingly, I have communicated directly with a number of notable pipers specializing in pre-military styles of piping, including Alan MacDonald and Hamish Moore, whose personal input directly influenced my choice of techniques, particularly on the Piobreachd. I would defend any of these techniques as being appropriate by musical or academic standards. In addition to Messrs. Purser, MacDonald, and Moore, I have collaborated and consulted for many years with scholar and keyboardist Dr. David McGuinness (who appears as a guest artist), and fiddlers Alasdair Fraser, David Greenberg, and Carl MacKenzie, who have taken particular interest in this project and generously supported my aim to re-adapt Scottish & Cape Breton fiddle techniques to the flute and vice versa.

Mr. Simmonds appears to miss the point of the recording completely: that the flute was a popular instrument in early 18th century Scotland, a time which represented one of the zeniths in the popularity of Scottish music there and abroad. There was obviously a thriving tradition of flute-playing that diminished in the 19th and 20th centuries. This fact does not negate the role of the fiddle or pipes. For better or worse, The Caledonian Flute is the only recording I know of that attempts to revive this tradition and take a broader look at the flute's role in Scottish music with a wide-angle lens encompassing the earliest written and published forms of dances and airs.

While there was a considerable amount of research undertaken to support the project, it was not an academic exercise and we were not interested in trying to replicate performances from the 16th - 19th centuries. We did take some license in updating bass lines and adding guitar and percussion to the rhythm section, but not nearly as self-indulgently as the reviewer suggests. We sought to bring this music to life for the 21st century. Those taking the time to obtain the original source material will find the melody parts and variations played on the flute follow the original sources closely, answering the reviewers spurious charges of revisionism.

The Caledonian Flute was a labor of love for all involved, and should be viewed as an an initial shot across the bow in a relatively unexplored realm of Scottish music. Few recordings that I have been involved with over the past 17 years have received more consideration than this one. The reviewer is correct that some of the results are "not immediately recognisable as being Scottish" but it is Mr. Simmonds' own lack of context, and his superficial and parochial understanding of Scottish music, that mistakenly attributes them to the whims of the performers. Our musical traditions are broader and deeper than are generally understood.

Chris Norman

Pat Simmonds replies:

In response to Chris Norman's critique of my review I would like to add a few points of clarification to support my views and also to concede a number points to Mr. Norman.

In no manner did I question the musical ability of Chris or his ensemble; quite the opposite, in fact, describing them as stellar musicians, which they quite clearly are.

I do not dispute the fact that there were numerous volumes published for the German flute at the time, also for two guitars, lute, harpsichord, and a whole raft of other instruments. Oswald catered for many instruments in his composing and publishing career, not just the flute. He was an accomplished cellist himself, finding favour in the court of George III. To quote John Purser, who supplied some of the liner notes to the album, in a separate source; "An early notebook from 1734 shows that he studied and imitated the Italian style of composition, as well as cultivating his own native music". Mr. Purser goes on to describe another of Oswald's compositions thus; "The concluding Hornpipe, in triple rime and with lively syncopations, is thoroughly British in character, from which we may guess that the visiting sailors have had a good time of it." Clearly Oswald was a musical magpie, borrowing freely from European art music and using these forms to suit his own ends, pleasing the English courtesans along the way.

Yes, Oliver Goldsmith played the flute and no doubt gleaned a lot his knowledge of traditional music from his housemaid-cum-nanny who also taught him the rudiments of the Irish language. Goldsmith, however, was known to have supported himself with his flute playing in Europe and England where he spent his adult life. There was no suggestion in my review that flutes were not in circulation at this time, more a hint that they were not as common as perhaps the fiddle; certainly they were more expensive of the two.

It is accepted that the music we now know as piobrach (so closely associated with the highland bagpipe) comes from a much older line of inheritance and some would argue that its origins lie with the clarsach or harp. Interestingly, Mr. Norman points out that his reference for the piobrach on this album comes from the Dow collection. A substantial source of the music in that collection was Rory Dall O'Cahan (sic), an Irish harper active around the halls of some of the large Gaelic families. Scottish Gaelic music had much more in common with the Irish idiom then than it does now. Arguably the flute was virtually unheard of in Gaelic society until the soldiers of the Black Watch for example brought them home. Also it is plainly obvious that many of the collectors and transcribers of the day notated tunes to suit their own purposes and tastes, both deliberately and unconsciously. It is almost impossible to say that the music played today from these collections accurately reflects the nature of the beast as it was then, but people do try, which is one reason why traditions survive.

Mr. Norman writes "The Caledonian Flute was a labor of love for all involved, and should be viewed as an initial shot across the bow in a relatively unexplored realm of Scottish music. Few recordings that I have been involved with over the past 17 years have received more consideration than this one." Of this I have no doubt and do concede that, in the broader context, my review does seem harsh but it is not without well-deserved compliment either. Mr. Norman raised a very good point with his term "Scottish music". This covers all music in Scotland from lowland parlour tunes to the symphonies of Edinburgh and the skirl of the highlands. In a modern context, it would also include AC/DC, the Bay City Rollers, the Eurythmics and Simon Thourmire's jazz explorations on the concertina. It is impossible to define Scottish music yet certain elements in it's older form separate it from other traditions and are apparent to the ear. Nobody knows what this music really sounded like in the 1700s, but there has been an unbroken inheritance of dance and parlour music performance from that time on various instruments including pipes and fiddles that offer a glimpse of how it was.

Burns trawled through Oswald's collection to provide melodies to his songs, melodies which survive intact today. This is why I described Chris Norman's efforts as revisionist; he admits himself that liberties were taken. I argued that much of the treatment was not to my liking (in my review, I also stated that some of it was), but I would consider myself a traditionalist. He is right in saying "the balance of Mr. Simmonds' comments and statements reveal him as out of touch with the subject matter at best, to flat out ignorant...." I have no standing in the hallowed halls of music and can only peer through the cracks occasionally. Perhaps I was the wrong person to review this work so, in order to redress the situation, I would like to invite him to guest on my weekly radio show dedicated to the traditional musics of Ireland, Scotland, Canada, and beyond to discuss the album (I have played tracks off this CD on numerous occasions since receiving it), and also to invite him to my session at Dora Keogh's excellent hostelry where instead of discussing the music we can actually sit down and play it.

Despite the fact that I found this album not particularly suited to my tastes, it does not detract from the fact that it is an important release, something I omitted to say in my review and Chris Norman is right to raise this issue. Mr. Norman has conducted a distinguished career as one of the pre-eminent flutists of recent times and his work is a testament to this as one can read in other reviews of his releases in this organ.

I might add that Jack Campin hosts a Web site dedicated to the Scottish flute and older music in general where one can purchase various CD-ROMs of the material in question here and much more.

Respectfully, Pat Simmonds

Cat,

I was doing an English translation of the liner notes for Knut Buen's new CD and wanted to double check the spelling of Steintjønndalen (Google is the greatest spelling checker). The Steintjønndalen family were among the top makers of Hardanger fiddles from around 1860 to about 1950, and some people in the US own them (although not myself). I thought the writer might know a friend who had one. Or based on the context of the story, I thought the writer might possibly have seen an ordinary violin made by a Steintjønndalen (although those are extremely rare). But as you thought, the writer probably did see a reference on either a Nordic or maybe even a Celtic CD; a few Celtic fiddlers have dabbled in the hardingfele (perhaps Aly Bain, he is/was married to/living with Hanne Kjersti Yndestad, Knut Buen's ex-wife).

Browsed your site briefly this morning, extremely nice looking, great information, good writing! Good stuff on Norwegian folk music too.

Best wishes, Loretta

Hi there Pete

I just wanted to offer a big thank you for the great review that you have given our recent CD Alive and Kicking -- really pleasing to know that you liked it so much. I just hope others will feel the same!!

By the way, might we be able to use extracts from your review -- especially the last part from 'anyone who is a fan…' to the end -- in the limited publicity material that we use at dances? Once again, I really appreciated your review, many thanks.

Regards, Neil Stuart (for John Bull Music)

Peter Massey responds:

Hello Neil,

Thank you for your kind words, it's nice to be apreciated. It is okay to use extracts from the review for your Web site and/or publicity as long as GMR is credited and linked (if you put it on your forthcoming Web site).

All the best to you, look forward to seeing you play live one day.

Regards, Peter Massey

Dear Peter,

I have just read your review of our CD Alive and Kicking on the Green Man Web site, and I just had to write to say a big, heartfelt "thank you" for a fantastic review! I still find it difficult to believe that there wasn't a single negative comment about the CD, and I naturally found your comments about the engineering and mastering extremely gratifying (but then I would, wouldn't I?). Your comments about "Joseph Baker" were also very welcome.

Many thanks again for your generous comments.

Regards, Robin Boyle (The John Bull Band)

Peter Massey responds:

Hello Robin,

Thanks for your email. There was nothing negative I could find to say about the album. If the album's good ... well, the album's good! I only speak as I find! I enjoyed it and I am sure others will, too. I thought I would mention the engineering and mastering as this is difficult task to do properly, especially if you are performing on the tracks as well.

All the best, Pete Massey

Hi!

Just to inform you: the last sentence, mentioning that Momo is left to the pages, is incorrect. There are actually two films: Momo by Johannes Schaaf (1986) -- film in German and Momo by Enzo d'Alo (2001) -- animation film in Italian and German. If people like the book -- and I certainly think there is a need for this book in the US -- maybe someone could synchronize one or both of the films. Both follow the book closely (not like the Neverending Story film).

Greetings from Vienna, Austria,
Michael

Hi Craig,

Thanks very much for letting me know about the review of Angel Sparks. It was not only very kind, but extremely well-written and insightful as well. It's heartening to see that caliber of music writing nowadays, in that the mainstream outlets have more or less become channels for recycled press releases. I'm sure there are many more like myself, who appreciate your bucking the trend of complacency, and striving for something more meaningful.

Thanks, Glenn Phillips

Peter,

Just wanted to say, "Thanks," for your review of First Time 'Round -- much appreciated. I have to apologize for not saying so sooner but I have been very busy and in/out of town often.

Thanks again, and we'll be reading you along the way. Be safe. Cheers.

Down the road, Michael

Peter Massey replies:

Thank you, Michael, it is a good album, and I really enjoyed writing about it. Nice to hear you are getting plenty of gigs. Live music is always the best.

Regards, Peter Massey

Green Man Review --

I was just on your Web site reading the review about the band Cuillin. I saw them the summer of 2000 and was wondering if they're still together. Any info you have would be great; I went to their Web site, but it wasn't it.

Thanks, Claudia

Cat Eldridge responds:

Good question. Cuillin was the band that came from the band formed in part from the wreckage of MacKeel, a great Celtic rock band. A member of the latter band told me two years ago that MacKeel was releasing a new album, but I never saw it. Unfortunately for you, Cuillin followed the same path as did MacKeel: one CD and no more, as the band broke up.

Hello Gary,

I just wanted to drop you a line to let you know how much I enjoyed and appreciated your review of the CD, Everybody's Tuned to the Radio in Green Man Review. You did a wonderful job of conveying what the project is all about. As you mentioned, serendipity was indeed at work when I was putting it all together.

By the way, the reason the title sounds like a master's dissertation is because that's exactly what it is! I was fortunate while in grad school to have a thesis advisor/mentor who indulged and supported my idea of producing this CD in lieu of writing a more traditional thesis.

Thanks again.

All the best, Mick Buck (AKA, James Michael Buck)

P.S.: Do you mind if I add a quote or two from your review to the Center for Public History's Web site? We'll be sure to credit you and the GMR.

Gary Whitehouse replies:

Thanks for writing, Mick, and thanks for putting together such a cool CD. I have no problem recommending this one to our readers. Feel free to quote from the review, as long as you credit Green Man Review.

Gary

I was just wondering why you overanalyzed the movie? It's supposed to be a movie to delight the whole family, and it did. It brought families together and let little children dream. It's a fantasy film, it doesn't have to be realistic or true to Irish lore; it made people smile, made them happy, and made a lot of people fall in love with Ireland!

I thought the story line was great, you could even call it a Dramatic Comedy if you want to get touchy on the whole comedy/serious aspect of the film. As for the soundtrack, the music is beautiful, calming, and peaceful. The song "We Can Fly Away" by Emma Townshend is a big hit; people are searching everywhere for a copy of it. I, myself, would love to have that song played at my wedding.

So to conclude my letter, I would like you to stop overanalyzing movies and see them for the true joy and magic they bring, happiness. That is generally why we see movies in the first place!

Thanks, Shalane Clark

Maria Nutick responds:

Dear Ms. Clark,

I am as ready to shut down my brain and watch a silly movie for fun as the next person. But when we review material -- whether it be film, music, or literature -- we have a responsibility to judge the quality of the material. While mindless entertainment has a place in our world, at Green Man we concern ourselves with plot, theme, character development, attention to detail, and, most especially, with how an item treats the mythical and folkloric aspects to which it claims to be heir.

Certainly we have nothing against those who wish to be lulled by pretty blather; we write critical reviews for those who would prefer their entertainment to engage the mind and, consequentially, the heart. Pabulum has its place, but we won't be having a Mary-Kate and Ashley movie marathon in the Green Man screening room at any point in the future.

Maria Nutick, Book Editor

Hello David,

I read your great review of Big Mama Thornton on Vanguard Recordings' three-disc set. I was wondering, do you know of a song she has called "Handyman" or a song that has something about a handyman in the lyrics? I heard a song, and I thought the name was "Handyman," and I thought it was by Big Mama herself, but I could be mistaken.

Either way, great review, and thanks for your input.

Regards, Michelle Brooks

David Kidney replies:

Thanks for your note. It's always good to know someone is reading these things we write! I don't think Big Mama Thornton ever recorded "Handy Man" (or "My Handy Man"). There are several versions of this blues ("He threads my needle, he creams my wheat..."), most famously by Ethel Waters (before she devoted herself to gospel singing), Alberta Hunter, and Victoria Spivey.

Enjoy! David

Totally agree. The Hard Way is totally amazing: great playing, production, singing, and overall vibe. If you get a chance, check out Tinsley's new band live. I saw them in Atlanta, playing tunes from The Hard Way. I was blown away; one of the most powerful bands I've ever seen live. Way beyond the blues. This music is its own monster. All the players besides Tinsley are from Memphis, and it sounds like it. The evil one + two new guys. The most powerful drummer I've ever seen; sounds like Bonham. Keyboard, organ, sings his ass off. Check 'em out. Tinsley's on a new level now.

I'd like to thank Kate Danemark for her kind review of Off Limits: Tales of Alien Sex. It was the follow-up to Alien Sex, my anthology that was wildly successful (within anthology standards), having sold all over the world and staying in print for several years after its [hardcover] and [paperback] publications. Unfortunately, Off Limits didn't do as well and so I'm glad to see that it's still being read every once in awhile -- and appreciated.

Thanks for a great site. You always have interesting reviews of my work.

Ellen Datlow, Fiction Editor, SCIFI.COM

Dear Mrs. Nutick,

I must oppose upon your opinion of Fire Bringer. I think that it is a most excellent book, and I have nothing bad to say about it. I found myself, near the end, quite sad that I was done with it, and thoroughly enjoyed it. It was an excellent book and I have read it at least five times.

Please, I don't mean to be rude, and I know perfectly well that you had some excellent comments about it, but I have to disagree with the bad parts. So, if you are willing, and if you have any contact at all with Mr. Davies, could you tell him that I loved his book? And would you please ask him if is going to write any more?

Thanks, Anonymous

[Editor's note: I replied that we have no contact with the author, but that he has written another book, The Sight.]

Hi David,

I am the editor of the Neil Young quarterly Broken Arrow. I enjoyed reading your review of the Stephen Stills CD [Turnin' Back the Pages], and wondered if you would mind me running it in my next issue? I think my members would enjoy reading it. I carry stuff on all the members of CSN&Y from time to time, although of course we are mainly dedicated to Mr. Young.

Thanks, Scott Sandie

David Kidney replies:

As long as GMR is mentioned as the source, this is permissible.

David

Cat Eldridge,

Our aim is to shine a spotlight upon artistic and creative endeavors that have both feet planted solidly in the world of common folk, while reaching for the beauty that enlivens an otherwise mundane existence.

Since your "aim" quoted above is a near-perfect description of the art of William Morris of Kelmscott Press fame, I added a copy of Inkling Books' More to William Morris. It combines in one inexpensive volume two Morris classics: The House of the Wolfings and The Roots of the Mountains. If I weren't fresh out of copies, I'd also send On the Lines of William Morris, which combines his The Well at the World's End and The Wood Beyond the World. All four books either are or will soon be available separately in hardback and paperback.

Hope you enjoy them!

Mike Perry, Inkling Books, Seattle

Greetings! My friend Scott Gianelli sent me word of your Hellboy review, so I thought I'd check it out. (I've read all the Hellboy comics, and I wrote movie reviews for the site Rant N' Rave until the site thoroughly crashed.)

I liked the movie Hellboy, but I'd describe it more as a solid, decent movie than fabulous. Ron Perlman was great, bringing the ideal voice, attitude, and physique to his character. David Hyde Pierce's voicework was a pleasant surprise for Abe, and Kronen was a wonderfully creepy villain. (A wind-up Nazi ninja!)

That said, there were plenty of flaws with the movie. In the original comic (the movie is closest to Seeds of Destruction), the action takes place at and under a crumbling house. The fish-monsters are actually the transformed members of an Antarctic expedition, whose members found and revived Rasputin. There are ghosts, the monstrous statue that Rasputin wishes to bring to life, and far more for Liz to do. The movie substituted fairly standard monster action, with the fish-critters doing nothing but hopping, attacking, and replicating. Rasputin seemed too subdued to be an effective villain: nonchalant about everything (especially for a high priest of an evil entity), without any uniqueness or style. And considering that Hellboy's supposed to be an investigator, he let himself get led around pretty easily. (I was amazed when Rasputin tells Bruttenhold that he'll lead Hellboy into a trap, and Bruttenhold just accepts it.)

Hellboy was a decent movie, but not an outstanding one. If they do a sequel -- and they certainly have enough material in the books to keep it going -- I'd hope for more subtlety and atmosphere next time.

Jim Lynch

P.S. I've met both Mike Mignola (and chatted with him) and Ron Perlman (extremely briefly -- long line). If you ever get the chance, they're both great folks to see live.

P.P.S. Ron Perlman is a dead ringer for Tom Waits, both in appearance and voice. Ron knows this, as at the signing he kept calling people by shouting, a la Waits, "Step right up!" And when we first see Hellboy in the movie, the instrumental music is the start of the Tom Waits song "Heartattack & Vine."

Resident Hellboy expert Jack Merry replies:

Odd that you found flaws in the film as Mike Mignola certainly has not expressed any such reservations. In one interview he noted '...it's not 100% like the comic, but it's very true to the spirit of the comic.'

Certainly I -- unlike Mia Nutick, who had not read the source material and thus enjoyed it on its own merits, like the vast majority of movie goers -- found that it did a very good job of capturing the feel of Seed of Destruction. Yes, things got changed: the Abe as depicted in the series doesn't look like the Abe in the Hellboy film, nor do they deal with the back story of how the frog monsters came to be. (That is rumoured to be in the Director's Cut of the film.) But, like Mignola, it felt like Hellboy to me!

But I do have a question for you. Did you bother to pay any attention to the telling of the story? I don't think so because you'd have known that there was no Antarctic expedition, as it has 'an expedition to the top of the world' noted in Chapter Two (frogs) of Seed of Destruction. Yes, Seed of Destruction, not Seeds of Destruction. If you're going to be a fanboy, get things right.

Sheesh!

Maria,

I wanted to extend many, many thanks for such a wonderful review of The Ironwood Tree and the best Web site around! You've really gone above and beyond for Spiderwick... thank you!

I also read in your bio that you live in Portland, which makes me nostalgic because I lived there a few years ago for a bit and loved it. Yes, I do love New York City but seriously miss the camping, hiking, climbing, berry picking, natural-food-eating, lush-green lifestyle of that city. Please say hello to Mount Hood for me.

Best,
Alexis Burling, Publicist
Simon & Schuster Children's Publishing

Maria Nutick responds:

Thank you, Alexis, for providing us with Holly's latest. Holly Black is by far one of the best new authors to arrive on the scene in the past couple of years, and we at Green Man are very happy to have discovered her!

And if you happen to come back to Portland to visit, drop me a line and we'll have coffee!

Mia

Hi, I am Gene Serene,

I am desperately trying to contact SPike with regards to a track I have done. It's really important to me and makes a huge difference to my little world. Could you pass on my details and ask him to contact me?

Yours sincerely, Gene Serene

SPike replies:

Gene,

Dave tells me you wanta talk to me! Wot can I do f'ya?

SPike

Gene Serene:

Hey SPike,

Yes, I do want to talk to you and I hope you can help me. I saw on your site that you produced the "Da Da Da" track by Trio. You see, I am trying to find out who owns the master(piece) and am trying to get a contact for them. I have written a song ("Give it to Me") and the a cappella has been "mashed up" (as they term it) with "Da Da Da."

I am a singer-songwriter currently performing my material in London and Berlin. There is a lot of interest in "Gimme Da Da" from Europe and there is a big opportunity for me, but we cannot find Trio to check out how they feel about it. Can you help?

When I found you, it was strange because I looked and saw that your site had only been up 24 hours or so and it was my first search (my publishers have been looking). I thought what beautiful synchronicity, and then I thought I will write on the off chance, as I believe in synchronicitous events. When you replied, it was wicked.

Anyway, I checked out your site and I am really impressed--it looks like you have had some incredible times and worked on some great projects. I would love for you (if you have time) to have a look at my Web site and, if you can, listen to my music which is under "Media." Your opinion of my work would really mean a lot to me; it would also give you a bit of insight as to where my soul's at. I really hope to hear from you soon.

Respect, light, and love, Gene Serene

SPike:

Gene,

Thanks f'the note, luv! I think you misunderstood...I did not produce Trio's "dadada" song! Wot I wrote wuz that Dave's office has a print hangin' in it that wuz done and signed by Klaus Voormann, an' that he, in fact, produced Trio!

Herr Voormann has his own Web site wif contact information. Try it.

(By the way...Ms. Serene also has a tremendous version of the Clash's "Should I Stay Or Should I Go" on her Web site!)

Thank you for posting the review of my recent CD Avenue of the Saints. I find it well-written (of course, since it was a favorable review), and insightful. My only comment is that I strongly feel I should be in the Singer-Songwriter section instead of Country and Bluegrass, since this is exactly what I am and what I do. I have very little affinity with the latter and all my peers and touring circuit is with the former. Let me know your thoughts.

Thanks kindly, Dana Robinson

Grey Walker replies:

Dear Dana,

We usually make our genre indexing decisions based on the opinions of the editor and reviewer of each album. However, we're always delighted when an artist can give us some insight into his/her own perception of what genre the music fits into. I'll happily cross-index your album under singer/songwriter. Thanks for writing in.

All good things,
Grey Walker, Indexer

Peter -

I've been meaning to email you - just want to say thanks for your review of my Sky Geezer album on the Green Man Review Web site. I think your review hit the album right on, and I particularly appreciate your description of the lyrics as "very profound contemporary."

Thanks, man. Hope all is well over there in England.

Dan

Peter Massey replies:

Hi Dan,

Thanks for your email, I am glad you liked the review. It is always easy to write a review about an album you really like and can identify with. I have played the album to a few friends who have never heard of you and they all said they liked it too.

Stay lucky, Cheers 'n' Beers, Pete Massey.

I was doing a search on Google or Yahoo! for a Fairport Convention or Sandy Denny CD (I can't remember what CD it was) to either find a mail order source or more info on the CD itself, when I saw, on the search engine, a review on the CD I was interested in. I clicked on the link and found myself on your Web site for the next four hours. It's been one of my favorites ever since.

There are so many Brit Trad CDs that it really helps to read a review before buying. I also learn of CDs and books, on your Web site, that I didn't know existed. Green Man Review is an essential resource for a Brit Trad folkie.

It also helps that we have almost identical taste in books and music. My musical faves are Fairport Convention, Sandy Denny, Martin Carthy (solo and with Swarb), and older Steeleye Span. My favorite author is De Lint ever since I read The Little Country, but my favorite book of all time has to be Emma Bull's War for the Oaks. I just love it when traditional musicians save the world!

Just got Fairport's new CD, Before The Moon. It is like having Sandy in the same room. To hear her quick one liners with the audience, and her relaxed conversation, gives the CD an intimacy that no other Fairport recording has. It's much more laid back than Live/Movable Feast or House Full. It's wonderful also to hear different live arrangements of the songs we know so well. It may be the most important Fairport release since the band left the Island label. I'll have to visit your site to see what you think of it.

Tom

Dear Cat Eldridge,

Loved the recent letters pages. Mind you, a chap who calls himself James D'Arienzo, Jr. is kinda asking for it! Also amazed by the range of the reviews (which I've only just started reading, as you are a new discovery to me). Asimov's Azazel to Beowulf, Greg Bear to John Fowles, even a Hardy almost unknown book I read in my youth.

And Pullman, of course. Could be a problem there--I don't agree at all with the dismissal of the final volume (although I do agree that the didacticism does get a bit out of hand at the end, and did that ending have to be quite so cruel?). And my own novel, Fisher of Devils, also takes a few liberties with Christianity, although my God's a rather nice feller, and I wouldn't dream of bumping him off!

Best wishes, Steve Redwood

Hi David,

Just a note to thank your for your review of my book. On a couple of the "disagreements" you have with me, I don't think we really disagree. I do say that white people brought a different perspective to bear on blues, but I don't think that is a criticism of modern, white fans -- it's just a description. I'm one of them, after all, and I don't think I've done the blues any harm by loving it. I also did not intend the title to mean that Johnson invented the blues. I tried to cover both Johnson and the various "inventions" of the blues, from W.C. Handy's to the Rolling Stones'.

As a music, blues certainly developed, as you write, but as a concept it was invented and reinvented. I would argue that the music of Bessie Smith has continued to develop, and is heard on R&B stations every day, but it is not called blues anymore, and what is called blues is something very different, and has hardly any black audience. That fascinates me, but is not an insult either to the musics or the audiences.

All the best, Elijah

David Kidney responds:

Elijah:

Thanks for your note. I actually enjoyed most of your book. I am a little tired of the tone of modern biographies, which seek to smash myths, etc. I sort of enjoy having a hero. So when I read your book I probably brought that personal prejudice with me. Pearson & McCulloch's book on Robert Johnson was far more guilty of that than you were. As far as my comments on the sub-title go...writing a review requires a hook of some kind and I was happy to be able to use that one. I've always thought it a bit ridiculous that W.C. Handy could be credited with inventing a music that he says he took from someone else.

Music is such a dynamic, organic thing...you can see links everywhere. It must be why I continue to be fascinated by it (in all its forms).

David

Elijah Wald:

Dear David,

I enjoyed your review of my book, though obviously we don't agree about everything. I did want to correct a couple of misimpressions, though. First, I have nothing against the white blues audience; I am part of it myself, as are almost all my audiences, and I completely agree that we have extended the life of the genre. I only point out that our approach is different from that of the black audience of the 1930s -- hardly a controversial statement -- and that this has had varying effects on the music. Also, the book title -- which was something of a compromise between me and the publishers -- is not meant to imply that Johnson invented the blues. Obviously, I believe nothing of the sort.

In any case, thanks for your attention, and all the best, Elijah

Hi Guys

Thank you so much for the great review of Southern Lights. I really appreciate your attention to details, making this one of the best written reviews we have received. As a magazine publisher myself (Gritz), I see all kinds of writing and yours is very good. Not just because you liked my CD, but because of your style. The Web site is awesome looking, too. Thanks again.

Michael Buffalo Smith

David Kidney responds:

You're very welcome.

It was great to hear Bonnie again, but I liked the mix of gospel and southern blues, too. The sound of the band, and all those guitars were excellent.

We're having a discussion right now about whether or not reviews sell product. One writer claims that he sold one extra book because of a review, so reviews are worthless. I know for myself, that reviews have sold me an inordinate number of albums and books. Many of which I never played again, I might add.

David

Michael Buffalo Smith:

Bonnie is great. Did you get her "comeback" CD last year? All torch stuff. She is working on a new rock album now.

Reviews help me a lot. I post them on my site and send them out to my mailing list, etc...

Best. MBS

Dear Craig:

While shamelessly searching the Internet for references to my book, as I sometimes do, I came across your recent review.

At risk of being unprofessional and thanking a supposedly impartial reviewer for a stellar critique, I want you to know that not only do I appreciate the kind words, but I'm so glad you enjoyed the book. When fans of this much-maligned genre respond to my work like you did, it makes it all worthwhile.

Thanks again.

Best regards, Adam Rockoff

Thank you for the nice review of Live Turkey. Just thought I'd clarify a couple of things for future reference. Schooner Fare is spelled Fare. Actually Tom Rowe, Steve, and Chuck Romanoff "fronted" the group - each being equal. Tom died from a fatal heart attack although was being treated for throat cancer. No one was aware that he had heart problems but an autopsy showed a major artery blockage and an enlarged heart. The assumption is that the intensive chemotherapy regime he was undergoing caused additional stress on the existing problem.

Turkey Hollow will go on as will Schooner Fare - each as a duo. Tom's life was music and certainly what he would want. By the way, Dave Rowe is Tom's son, not his brother.

My husband and I few to Maine from Wisconsin to attend Tom's memorial service at the Bates College Chapel in Lewiston, ME on Sunday. It was a perfect memorial - a mix of music, laughter and tears. One of the hardest things for me was seeing Steve, Chuck, Denny, and Dave together but without Tom.

Tom, Denny, and Dave were working on a studio recording. I do not know if that project will go on and include the songs with all three of them or... There will be more recordings though and I will be sure to send them along. Thank you again.

Kathy Schultz, Turkey Hollow Management

John O'Regan replies:

Dear Kathy

Thank you for your mail re: Turkey Hollow. Firstly, please accept my condolences as regards Tom Rowe's death. When I wrote that review I was not aware of either his illness or his death. So please accept my sympathies.

Also, please excuse my mistakes in the review--thank you for your corrections on these and I appreciate you taking the time and effort to reply.

Yours sincerely, John O'Regan

David,

I just read your review of On the Other Hand and I feel compelled to offer my thanks. Your support is so sincere and your love for the `ukulele is so heart warming. Thank you for (once again) giving the `ukulele such a welcome boost! Best of luck with your own strumming and I look forward to keeping in touch.

Sincerely, James

Dear Christopher White:

My name is Evan Reeves. I am the producer for Kreg Viesselman's material. I'm writing to thank you on behalf of Kreg Viesselman for the wonderful review in Green Man. To date, that is the most in depth review of Kreg's CD. Much appreciated. Hope all's well.

Cheers, Evan

Christopher White replies:

Dear Mr. Reeves;

Thank you for your response to Kreg Viesselman's CD. It is always a pleasure to discover a musician I was previously unaware of.

All my best, Chris White

Hi Craig,

I'm not sure how long ago you wrote it, but I just found your review of Tooth and Claw, Volume One on Green Man Review and wanted to thank you for your kind words about my story, "Scavengers." I'm glad you enjoyed it, and I greatly appreciate your comments, especially since "Scavengers" was my first ever story sale.

Thanks again, Roger Range

David,

James Hill here from Vancouver. Just wanted to drop you a line to say hello and hope you're doing well. I remember trying to get in touch with you quite a while ago (after I read the wonderful review you posted of my first album) but it seems as if we never really connected.

Thank you so much for the kind words -- I posted a quote from you on my Web site and linked it to your page. Things have been busy lately with the release of a new album of mainly original material for the ukulele and performances both here in Canada and abroad. If you'd like me to send you a copy of the new release I'd be happy to.

Again, thank you for your support and I look forward to keeping in touch.

All the best, James Hill

Matt,

Please read other reviews on Woodbyrne: The Fallen Forest and then scroll down to the bottom to read my comments. Remember, this is a book geared towards young adults. 7th grade to about 12th grade.

[Editor's note: Due to space limitations, the plethora of positive reviews contained within this letter has been removed. Please feel free to surf to the Press Room page of Mr. D'Arienzo's publisher, Moo Press.]

Nice try, Matty. Do me a favor, send me your address, and I will mail you back your money.

Matthew Scott Winslow replies:

Mr. D'Arienzo,

Thank you for taking the time to comment on the review I wrote of your novel. One of the principles I live by was put well in an email to me on a list I'm on: "I am always positively delighted to get feedback, even if it starts by identifying me as mud-sucking pond scum in the opening sentence." I've always gotten a chuckle out of that, but never did I expect it to become a reality.

To the gist of your comments, I'd like to refer you to a letter we received from Ian McDowell, the author of Mordred's Curse. Mr. McDowell states that "a writer should ignore all reviews, even the good ones, since if you give any credit to the raves, you have to do the same with the inevitable pans." I think there is much wisdom in those words. Of what value are all those positive reviews if you dismiss the negative reviews? Many of the review comments you sent me were sensationalistic in nature, which is all fine and well, but am I to ignore my own opinions in light of other opinions? If the positive opinions--opinions made without reference back to the text--are of value (as you feel them to be), why then would my opinion, which I backed up with quotes from the text, be of lesser value?

In your letter there seems to be an implicit assumption that because I am not a published author my review and opinions are of a lesser value. However, such reasoning would also invalidate all the other comments you sent me. If it is any consolation, though, I can provide some of my credentials, including graduate study in medieval languages and literature, as well as spending most of my professional career editing books. But somehow I don't think that would help any.

In closing, I truly do wish you all the best in your writing career. I would hope that my review will be taken to heart and my criticisms considered. There is always room for improvement in one's writing and it is usually the adverse comments that help the best.

Sincerely, Matthew Scott Winslow

James D'Arienzo replies in turn:

Matt,

I really don't mind if people don't like my book. But try to be a little constructive instead of just aiming the cannon and taking a cheap shot. Your comments were not valid, but you used the "big" words very nicely.

You called the book cliché but were appalled by the aspects that I made different. I intentionally made the prince call his father "dad" and his mother "mom." To me, it gave the reader the idea that, although this is a royal family, they are in touch with the common people. They act like common people because that is what I wanted. That is why the queen was helping with the decorations. They are supposed to be a hands-on family who earned their status. You don't need some goof-ball degree in medieval languages and culture to know that a traditional royal family would not talk like that. That is why it is called fantasy. I see no need to follow the rules of every other book or "real" cultural history.

My idea was to take a black and white storyline and give it a few twists from the norm to attract readers who never really thought of reading fantasy. You people think that if a writer puts a dragon in modern day Cleveland and is killed by a priest who realizes he is really an ancient knight of the round table, yet he molests boys, they are doing something magical. Give me a break. I think going back to a traditional story with characters that are a little different and colorful is breaking away from the norm these days. And all art is a form of escape. What the hell else could it be? It's the artist (writer, painter, moviemaker, etc.) showing the audience his/her world. Telling their story. That's all it is. So, yes, it is my escape from modern times. Again, that is why it's fantasy. It's not real.

And it is so annoying to hear and read the word "cliché" all the time. And not just for my work, but for so many works out there. Hell, after The Hobbit and The Lord of the Rings, to me, everything is a cliché. Does that mean we should stop writing what we love? As for the blood and gore, I had to fight to keep it in. Big deal. I also like to read some horror and wanted to put it in my story. I guess that's just another cliché.

And ignoring reviews is a huge lie. Everyone wants to read reviews. If you think you can bash me and get away with it, you don't know me. I don't like to follow rules and I certainly don't like to do what people expect me to do. So I will not bend over the chair for you. Sorry. If you gave me a bad review that actually pointed out real problems with the story, I would have sat back and thought about it. But, honestly, you wrote an asshole review. And I called you on it. You probably felt nice and smug and safe after writing it. So go back and edit books and read and destroy works you hate. Feel good about putting others down instead of creating something. Be proud. I don't need your best wishes. I see through it. I know you don't mean it. I don't want you to mean it either. I want you to want me to fail.

James

Matthew Scott Winslow:

Mr. D'Arienzo,

As much as you seem convinced otherwise, I want you to know that I do not bear any malice or spite to you. This all stems merely from the fact that I did not like your book and wrote a review to that effect. As a book reviewer, my job is to give my opinion on a book. Most of our readers realize this and understand it. One of the things I like about GMR is that it does not have a policy of "only positive reviews." That does carry with it, however, the risk of any book submitted for a review (as yours was) receiving a negative review.

I did indeed mean it when I wished you all the best. I so much like the idea of small presses that I've been thinking of starting one to help encourage first-time authors to make the "big leap" into print.

One thing that we also encourage at GMR is open discourse between readers and reviewers. As such, we have a letters column. At times, authors take the opportunity to provide feedback on reviews. I have asked the editor-in-chief, and he would love, with your permission, to run this exchange.

Matthew Scott Winslow

James D'Arienzo:

I guess your opinion is your opinion, but I still think you have some responsibility to be as professional as possible. A few days have passed and I am over the initial shock. You totally hated the book. Fine. So many more have loved it. That's fine, too. You have my permission to post this exchange... I guess. But I hope that I am not made to look like a jerk to the readers of the Web site. Or some idiot wannabe author. I hope that you even post the good reviews that I sent you, which I tried to hold up as a shield against your onslaught. I don't know.

I also believe that any form of media or press is good press. But it was like a punch in the stomach when I saw that review. When attacked, attack back and win or die. That's usually how I see things. I just can't believe you really think the book was that bad. All right, before I get all worked up again, I'm done replying to messages. Time to move on. Later. I guess you can at least tell me when/if this exchange gets posted.

James

Maria Nutick adds her comments:

We must address two comments in this exchange which we often hear when we publish an unfavorable book review. The first is the idea that a book should be judged less critically if it is intended for young readers. We hope that any reader with children, or who remembers reading as a child, will recognize the lunacy of the suggestion that "age appropriate" and "badly written" are interchangeable! Secondly, we lend as much credence to the idea that only a published novelist is qualified to critique a novel as we do to the idea that only a farmer is able to recognize a fresh steaming pile of manure. We presume that our discriminating readers, very few of whom are likely to have written a novel, share our view that reading good writing is what qualifies one to recognize good writing -- or bad writing.

Maria Nutick, Book Editor, Green Man Review

David,

I've enjoyed reading many of your Green Man reviews, and I think you might enjoy my new CD, Einstein's Brain. I mailed 2 copies to Kim Bates in December, so I imagine she has them by now. I'd be more than happy to send you a copy if you're interested.

I notice from your bio that you are a former Staten Islander who moved to Canada. I am a Canadian who recently moved to Staten Island. I agree, the air is much fresher up there.

I look forward to hearing from you.

Nathan Caswell

Grey,

I found your review of Beyond the Beanstalk. What a neat magazine, miracle of miracles...love the Green Man. I live in a "Green Man" house, a "modern" 1950's house set in little gardens and lots of statuary that has Green Men on them. He blesses almost every corner of our small property.

Do you know the book Green Man: The Archetype of our Oneness with the Earth by William Anderson (Harper Collins, 1990, ISBN 0-06-250077-9)? More reviews on my Web page but I haven't updated it for ages--been too busy doing "the work".

Many thanks for your kind words re: Beanstalk. The only place to get it is to order it from Heinemann (1-800-793-2154).

Lynn Rubright

Grey Walker responds:

I'm so glad you found the review, Lynn, and thanks for the information about how to find the book. I haven't heard of Green Man by William Anderson, but it sounds like the sort of thing we like to review here, so I'll pass the information along to our new book review editor, Maria Nutick. Thank you for writing in.

All good things, Grey Walker

Hey Folks

Thanks for reviewing Captured Alive and for alerting us to its publication. I am not sure that everyone out there "gets" what we do. Obviously David Kidney does.

I am intrigued by the comment that "One More Night" reminds him of the Folksmen -- in what way? (By the way, don't you just love A Mighty Wind?)

Cheers, Al Parrish, Tanglefoot

David Kidney replies:

It reminded me of the train wreck song that the Folksmen do on the [A Mighty Wind] soundtrack album--nice harmonies, nifty guitar rhythms, and a story about coal--"Blood On the Coal". I know, it's weak, but what can I tell you? That's what it reminded me of. It's not a bad thing. Plus, Tanglefoot obviously possesses a sense of humour about this music we call "folk."

David

Grey Walker,

I was reading your review for the album Pleasure by Malcolm Dalglish, and while appreciate that there are other people in the world who enjoy his music, I was truly surprised to come across criticism for the song "Fount." While I understand that the song deviates from Robert Robinson's original lyrics, in my opinion it is far from "the one weak song on the album." For years, "Fount" has been one of my favorite pieces of music (I found your Web page actually because I was idle on the Internet and searched for "There's no final destination"), and while it may be a liberal derivative of another artist's work, I feel it remains a powerful piece, beautifully composed and artfully performed.

"Paradise" from Hymnody of Earth is my favorite song. While I am a thoroughly atheistic person, the musical phrase "By faith my journey I'll pursue/Heaven on earth thy will to do" makes me stop whatever I'm doing that I might listen unfettered. I stop too, to listen to the two soloists in the fifth verse of "Fount," and I never cease to be amazed by the lovely synergy between the bold soprano and serene alto. I feel (and this is about as subjective as one dares write) that the abovementioned phrase, along with the other from "Paradise" are some of the best choral writing that Dalglish has ever done.

Overall, I welcome your review, but I simply had to write to defend one of my favorite songs.

Adrian LeCesne

Grey Walker replies:

It's a delight to hear from someone who appreciates Dalglish's music so much that he'd write in to defend his favorite song!

Grey

Steve Willis here, a US citizen in Canada. I came across your Green Man site and spent a good amount of time reading a number of the reviews and histories. Recently I got a couple of Taj Mahal best ofs, as well as a couple of Warren Zevon CDs which feature some hot slide players. I opened John Hiatt's Tiki album and will have to chase down Sonny Landreth now. I've been trying to get on CD a couple albums I had back in the '70s by Jesse Ed Davis. Somewhere around here I have a tape I made of Taj Mahal with Ryland P. Cooder and Jesse Ed Davis on guitars. I may have to break down and get your Rylander magazine featuring David Lindley. Tell me more.

A comment on the Stones. You mentioned their appearance on the Dean Martin show. I don't remember that performance, but I do remember when I saw them on the Red Skelton show. I wasn't into the Stones then. I remember that Red was putting some rock stars on his show (to raise ratings?). One night I saw a group of five guys, most were wearing suit jackets, but one was jumping all over the place and he was wearing a sweat shirt. I thought it was Skelton's spoof of a rock group. Nope, it was the Stones.

Eventually I started figuring out the different tunings and number of strings used by Richard/Richards, and have taught it to a number of people. At some point, I started listing all the variant tunings I came across in articles or on albums. I had about 70 for guitar, and a few for bass and banjo. That list and a notebook-archive I used in teaching is still in a box from my move to Canada in 1994. I'm just not sure where it is in the house.

Now, if I could just get my 1959 Les Paul with a Bigsby back which was stolen in 1969 or '70...

Steve Willis

David Kidney responds:

My story mentions that Dean Martin was the host of Hollywood Palace, when the Rolling Stones played...not the Rolling Stones on the Dean Martin Show!

D