Mr Kohler presents two hundred and fifty covers (from his large collection) which he rightly thinks show the best of album design in the early years of the LP. He features eight artist/designers who created some of the most distinctive work in cover art. Two of them are my favorites, David Stone Martin who gave Norman Granz's Clef label some beautiful cover illustrations (twenty are shown) and Reid Miles who created the east coast look to Blue Note Records. Unfortunately only four of his covers are shown but you can see dozens more in the two books by Graham Marsh , 'The Cover Art of Blue Note Records'. The other six designers range from the unique illustrations of RCA's Jim Flora to the work of Swiss born designer Erik Nitsche and his semi abstract work for Decca. Record companies are also featured and you can see the beginnings of the Capitol Records house style, I think they were the only major company to produce consistently well designed covers with excellent photography and typography.

Though all these covers are interesting to look at I don't think too many work as complete design units, that is image and text complement each other, mostly they are images with text added later. One cover that I like is on page eighty-one, it shows a file-card box and the albums title, 'Guide to Jazz' is typed on a card which is resting against the box, the tabs of the other cards have musical instruments on them, a simple creative idea that works. Strangely the designer is unknown.

I doubt you will see as good a coverage of the early years of the LP as this (well produced) book but have a look at two books that concentrate on jazz covers from the fifties and sixties, 'Jazzical Moods' by Naoki Mukoda and 'Jazz West Coast' by William Claxton and Hitoshi Namekata. Both books have dozens of examples of creativity on paper twelve inches square, somehow CD covers just can't compete with that.

Being a music lover, I've never been partial to one type of music only--I have a passion for everything from rock to classical, pop to country, even from jazz to techno. Something in all of these styles intrigues me. And how intriguing is this incredible book by Eric Kohler. I never thought I'd "get into" a book dedicated solely to album covers from 1940-1960, but I was wrong. The music lover in me kicked in, and I found myself fascinated with the glorious color photos, the revealing and well-researched text, and with the artists themselves. This album cover artistry really has diminished with the advent of the much-smaller compact disc (which is a truly disappointing fact), but Mr. Kohler's book rapturously captures the vividness of the times, the artists, the moods, and the music of those two decades. It took me back to the time when I myself used to stare at the covers of my records for hours while playing them over and over again - this classic book uncovers that wonderful feeling inside you once more. And to top it all off, Mr. Tony Bennett himself writes an introduction that's both classy and sentimental. This is a great book for any music lover with a coffee table -- and an open mind towards how art has influenced music (and vice versa) in so many ways.

As a graphic designer, I get so flustered when I see the same old CD covers now: a photo of the artist or band, and their name scribbled on top, or a really un-inspired text treatment, most likely using some wretched Photoshop tool like, alien skin or eye candy- blech! Perhaps modern day CD's skimp on the design work of the covers because they are so much smaller now. But back in the days of LP's and 45's art was generously splashed on covers. Full-colored, stylized and oh, so hip! Each one fit to be framed and displayed. "In the Groove: Vintage Record Graphics, 1940-1960" effectively chronicles the history of this long, lost art-form in a picture-book style. I say picture-book, because of the lack of background information on many of the pieces, in fact there are quite a few pieces that are listed as "unknown designer", how unfortunate! Some poor old designer dedicated his or her life to creating some stunning art to attract music lovers' eyes to this or that particular record, and now they're the "unknown designer". Eric Kohler did his best grouping together styles of record graphics, so seeing the evolution of style was very nicely mapped-out. Nice quality paper, nice printing... would've been nicer in hardback. Still, this is one of my favorite books!

This is a wonderful coffee table book full of Tony's (Anthony Benedetto's) beautiful art and lots of personal "asides" that we fans all appreciate. Well done!

Mr Bennetts and Mr Wheeler chronicle the unique world of island life with a gentle touch of objectivity whilst acknowledging the charm of 'place' and the potential of subjective reaction by a reader. This book is a beautiful reminder that there are places other than your workstation -bigger skies than the ceiling grid and underfoot textures more surreal than nylon carpet. ENJOY!

beautiful photographic documentation of a nation that may soon be lost to global warming. an intimate portrait of a country and its people, culture and spirit.

Considering talents of both Tony Bennett and Will Friewald,I was very disapointed with such a feather-light collection of show-biz anecdotes.Bennett is a classy singer whom I really appreciate,with both taste and style,while Friewald already stunned me with his books about Jazz singers and Frank Sinatra.... its a little,tiny,short book that strangely lacks any personal comments and views - not different from Duke Ellington's famous autobiography in which he mostly lists his "dear friends and colleagues" with short anecdotes about how he met them,but no opinions whatsoever.Bennett goes into detailed count of every piano player in his long career,but some important points of his life (wife,children,divorce,drug addiction) are mentioned briefly and in one sentence.While counting backing musicians perhaps shows good nature and warm personality,both Ellington and Bennetts books are too breezy considering they are coming from music giants - just another proof that not every talented musician/singer/actor is capable of writting a interesting book.

There's a Bennett anecdote I remember hearing reported on local (San Francisco) radio back in the early '60s: A local woman, gardening in her backyard one Saturday afternoon, was listening to Bennett's then-new "I Left My Heart In San Francisco;" suddenly, she realized, the singing had become somehow stereophonic. Looking up, she found Tony Bennett grinning at her over her backyard fence. In town for an appearance at the Fairmont Hotel, Bennett had been out for a walk; hearing her phonograph, he'd been unable to resist . . .

This is the Tony Bennett you get to meet in the pages of "The Good Life." If you're a fan, nothing in this book will change your mind. If you're not, well then, despite the fact that there does appear a certain sense of "glossiness" in his account of his life, loves, marriages, etc., you may well find yourself coming to nonetheless admire the man.

A word about that "glossiness": It may well arise from nothing more than a yearning towards fairness (and not only to himself). He discusses failed marriage, for example, as well as his work-induced absences as a parent, taking responsibility for his actions without -- on the one hand -- pointing out that it "takes two to tangle," or -- on the other -- seeking to overly justify his absences as the price of building a successful career. He also talks of his marijuana use (as first disclosed by his exwife, years after they'd split) in an explanatory tone, with regret, and without seeking to justify that use. Again, there is a sense of fairness about him, even as he talks of a fairly prevalent drug use among musicians of the era. In his desire to explain the musician's life and its pressures and demands, there is what some may (wrongfully)interpret as an impulse to self-expiate. This is wrong, as evidenced, not only by his own mea culpa approach, but by his account of a conversation with longtime friend -- and onetime collaborator -- Bill Evans, shortly before the latter's death.

This fairness carries over in his account of his early disputes with then-Columbia Records A&R head, Mitch Miller (best remembered today, probably, for his subsequent "Sing Along With Mitch" records and TV series of the late '50s). By all accounts, Miller was -- to say the least -- dictatorial and patriarchial in his belief that he knew what was best for the artists under his control. Bennett could have savaged the man in this account (and justifiably); after all, Miller's long gone from the scene, others have already reminisced about his iron-handed control; so what stops Bennett . . . save for a humanistic impulse toward fairness?

For me, one of the most telling portions of this autobiography occur in Bennett's recounting of his World War II experiences as a G.I. in the European theatre. Without self-aggrandizement, he talks -- movingly so -- of what he saw, and how those horrors turned him against war for all time; strikingly, it is this same absence of 'been-there-done-that' self-absorption that colors (and which underplays) the reminiscences of his considerable involvement in the early-60s civil rights movement down in Mississipi-Alabama. If he avoids the urge to expiate himself, he likewise eschews the temptation towards self-canonization.

From his August 3, 1926 birth (one day too late, by the way, to be my twenty-years-older "birthday twin"), through the intervening years including his "renaissance" for yet future generations via MTV, Bennett presents himself in this autobiography as a man who caught more than his share of lucky breaks (and who, inferentially, made a few more of his own, although you won't get him to admit it, at least in this book) on his way to (as in the title of one his best-known songs) "The Good Life."

Thank you Tony - for your great story! Well written & well told, never a dull moment. What a warm, wonderful & multitalented man! I agree with the reviewer from NY, Tony's story would make an excellent movie. God Bless you, Tony, & keep those glorious albums coming.

Australia and Australians are truely unique to the world. They see things differently, express them differently and seem as laid back as their accent. This book lets you share in the Australian lifestyle and through images produced with Tony Bennet's words you can see, touch and taste the Australian lifestyle. Everyone should experience a little of the Land Down Under and if you can't afford the plane ticket this book is the next best thing. Sit back in a comfortable chair, take the phone off your hook and get lost in Australia. Share a few hours with the regular Aussie and relax.

A glib account of the history of the museum, written in easi-Foucault language which simply adapts the traditional 70s sociological model of 'social control' - museums form part of the bourgeois plot to control the people, along with schools etc. In the end, the account is nothing more than conspiracy theory.