Careless Love

His fans include Stephen King, Michael Connelly, Tess Gerritsen, Ian Rankin, and Louise Penney. He has won acclaim and numerous international prizes and awards, including the Edgar. Now celebrated New York Times bestselling author Peter Robinson, one of the greatest suspense writers of our time, demonstrates his mastery once again in this powerful mystery in which legendary detective superintendent Alan Banks is confronted with a pair of perplexing crimes. Two suspicious deaths challenge DS Alan Banks and his crack investigative team. The body of an attractive young woman dressed in evening attire is found in an abandoned car on a country road. The death looks like suicide, but there are too many open questions for Banks and his team to rule out foul play. The car didn’t belong to her—it was badly damaged in an accident involving the vehicle’s owner a week earlier in the same spot. So how did the dead girl get inside the car? Did someone place her there, and if so, why? Where—and when—did she die? While Banks attends the postmortem, DI Annie Cabot is at the scene of another death. A well-dressed man in his sixties has been found in a gully high up on the wild moorland. His injuries were fatal and consistent with those sustained in a fall. Was it an accident—did the man get too close to the edge and slip? Was he pushed? The man was wearing an expensive suit. What was he doing in a rocky spot popular with hikers? There are no signs of a vehicle near where he fell. How did he get there? Banks’s and Cabot’s cases share a few curious similarities. Both of the dead were found in the same area of the moorlands. Both were elegantly dressed. The timing of their deaths coincided. And neither carried identification. As the police uncover who these people were and begin to look into their lives, inconsistencies multiply and the mysteries surrounding the two cases proliferate. Then a source close to Annie reveals a piece of information that rocks the Eastvale detectives working both investigations. An old enemy has returned in a new guise—a nefarious foe who will stop at nothing, not even murder, to get what he wants. With the stakes raised, the hunt is on. But will Banks and his crack squad be able to find the evidence to stop him in time?

Doctor Sly Coombs, plastic surgeon extraordinaire, lives life in the fast lane, experimenting with drugs. Now he’s on a one-way ride to hell. Bodine Marshall can see where he’s headed. She, too, knows the siren call of drugs. Only together can they face the twin demons of addiction and abandonment and find their way to true love.

Thomas Hall, a young nineteenth century Bostonian and idealistic newspaperman, is fascinated by Wild West shows and dime novels. He boards a train bound for the West and goes as far as New Mexico. Hall's journey helps him learn that the truth isn't always what is printed in black and white.

This thorough, well-researched exploration of the origins and development of a rich and varied African American musical tradition features authentic versions of over 40 folk songs. These include such time-honored selections as "Wake Up Jonah," "Rock Chariot," "Wonder Where Is My Brother Gone," "Traveling Shoes," "It's Getting Late in the Evening," "Dark Was the Night," "I'm Crossing Jordan River," "Russia, Let That Moon Alone," "Long John," "Rosie," "Motherless Children," three versions of "John Henry," and many others. One of the first and best surveys in its field, Negro Folk Music, U.S.A. has long been admired for its perceptive history and analysis of the origins and musical qualities of typical forms, ranging from simple cries and calls to anthems and spirituals, ballads, and the blues. Traditional dances and musical instruments are examined as well. The author — a well-known novelist, folklorist, journalist, and specialist in African and African American cultures — offers a discerning study of the influence of this genre on popular music, with particular focus on how jazz developed out of folk traditions.

Celebrate the fiftieth anniversary of the most popular and enduring band ever: “Even the most hardcore Deadheads will be impressed by this obsessively complete look at the Grateful Dead’s lyrics” (Publishers Weekly). The Complete Annotated Grateful Dead Lyrics is an authoritative text, providing standard versions of all the original songs you thought you knew forwards and backwards. These are some of the best-loved songs in the modern American songbook. They are hummed and spoken among thousands as counterculture code and recorded by musicians of all stripes for their inimitable singability and obscure accessibility. How do they do all this? To provide a context for this formidable body of work, of which his part is primary, Robert Hunter has written a foreword that goes to the heart of the matter. And the annotations on sources provide a gloss on the lyrics, which goes to the roots of Western culture as they are incorporated into them. An avid Grateful Dead concertgoer for more than two decades, David Dodd is a librarian who brings to the work a detective’s love of following a clue as far as it will take him. Including essays by Dead lyricists Robert Hunter and John Perry and Jim Carpenter’s original illustrations, whimsical elements in the lyrics are brought to light, showcasing the American legend that is present in so many songs. A gorgeous keepsake edition of the Dead’s official annotated lyrics, The Complete Annotated Grateful Dead Lyrics is an absolute must-have for the fiftieth anniversary—you won’t think of this cultural icon the same way again. In fact, founding band member Bob Weir said: “This book is great. Now I’ll never have to explain myself.”

A woman in the audience once handed Elvis a crown saying, “You’re the King.” “No, honey,” Elvis replied. “There is only one king — Jesus Christ. I’m just a singer.” Gary Tillery presents a coherent view of Elvis’s thoughts through such anecdotes and other recorded facts. We learn, for instance, that Elvis read thousands of books on religion; that his crisis over making bimbo movies like Girl Happy led him to writers such as Gurdjieff, Krishnamurti, and Helena Blavatsky; and that, while driving in Arizona, an epiphany he had inspired him to learn Hindu practice. Elvis came to believe that the Christ shines in everyone and that God wanted him to use his light to uplift people. And so he did. Elvis’s excesses were as legendary as his generosity, yet, despite his lethal reliance on drugs, he remained ever spiritually curious. When he died, he was reading A Scientific Search for the Face of Jesus. This intimate, objective portrait inspires new admiration for the flawed but exceptional man who said, “All I want is to know and experience God. I’m a searcher, that’s what I’m all about.”

The Bluegrass Picker's Tune Book is a must for all bluegrass pickers! Included are the melody line and chords to over two hundred favorite gospel and bluegrass songs. Detailed information about the origin and performers is given for each song as well as the history and development of the bluegrass genre. the lyrics are large and easy to read during a performance.

The book Jazzmen (1939) claimed New Orleans as the birthplace of jazz and introduced the legend of Buddy Bolden as the “First Man of Jazz.” Much of the information that the book relied on came from a highly controversial source: Bunk Johnson. He claimed to have played with Bolden and that together they had pioneered jazz. Johnson made many recordings talking about and playing the music of the Bolden era. These recordings have been treated with skepticism because of doubts about Johnson’s credibility. Using oral histories, the Jazzmen interview notes, and unpublished archive material, this book confirms that Bunk Johnson did play with Bolden. This confirmation, in turn, has profound implications for Johnson’s recorded legacy in describing the music of the early years of New Orleans jazz. New Orleans jazz was different from ragtime in a number of ways. It was a music that was collectively improvised, and it carried a new tonality—the tonality of the blues. How early jazz musicians improvised together and how the blues became a part of jazz has until now been a mystery. Part of the reason New Orleans jazz developed as it did is that all the prominent jazz pioneers, including Buddy Bolden, Bunk Johnson, Louis Armstrong, Sidney Bechet, Johnny Dodds, and Kid Ory, sang in barbershop (or barroom) quartets. This book describes in both historical and musical terms how the practices of quartet singing were converted to the instruments of a jazz band, and how this, in turn, produced collectively improvised, blues-inflected jazz, that unique sound of New Orleans.