Gretsch Drums: The Legacy of "That Great Gretsch Sound"

Rating:
Summary: Why does the author keep arguing with reviewers?
Review: Am I the only one who finds it worrying (and worrying on a number of levels) that the auther of this book feels the need to a) be the first to review his own book and, b) that the author argues with a review he finds less than flattering? Maybe just a little controlling, huh? Maybe just plain creepy. Maybe just unpleasant.

Rating:
Summary: Author¿s comment on customer¿s review
Review: Certainly everyone is entitled to his or her opinion, but before an Amazon customer relies too heavily on Tom's (of Pawtucket, RI) review of my book "Gretsch Drums, The Legacy of 'That Great Gretsch Sound,'" he should be aware of a few inconsistencies in the review. Though it is true that I have bought into the myth that "the only good Gretsch drums are old Gretsch drums," I share that belief with not only many contemporary drummers, but the old guard as well. In my interviews with many jazz legends, I found their beliefs substantiated my claims. Tom also notes that "there's really not a heck of a lot of difference in sound between a drum from 1965 and one from 1995." Then in the next paragraph sights "absurd design flaws (I recently saw a drum technician struggle to fit a standard head on a mid 1970's brass snare - all the time cursing how they were ALL like that)." This contradiction aside, I believe I was clear in my book that the best Gretsch drums were made in the early 50's when they were manufactured with three-ply shells. Again, veteran jazz drummers are quoted sharing the very same view. Finally regarding the thickness of the book, I was not my intention to "fill a LOT (of) pages" but to simply tell the story of the Gretsch Drum Company through research and interviews of former employees and endorsers. If you read the excerpts of comments made by both artists and critics quoted in my first editorial review I believe I succeeded.

Rating:
Summary: Artists and critics both agree on "Gretsch Drums."
Review: Critically acclaimed as the reference book on Gretsch Drums, read what artists have to say: Louie Bellson: "I am deeply honored to be a part of this wonderful book." Elvin Jones: "Thank you for this wonderful walk through the legacy of 'That Great Gretsch Sound.' It is a document of immense cultural value." Don Lamond: "This book is a work of art." Nick Fatool: "You did a great job...(it) will bring back many memories to a lot of people." Charlie Persip: "Thank you for your dedication to the instrument that we love." Charlie Watts: "Thank you for a wonderful book." Phil Grant: "You did a miraculous job recreating the history of Gretsch drums and 'That Great Gretsch Sound.'" Morris Lang "Congratulations to Chet on the publication of beautifully written and produced book." Critics agree: Modern Drummer's Rick Mattingly: "well researched...it adds up to an affectionate look at some classic drums and the musicians who played them." Percussive Notes' George Frock: "Gretsch Drums contains a wealth of historical data...(it) should be a valuable source for the studio teacher and for music libraries." Rhythm Magazine: "Chet's really done his homework...a very interesting read...to date the best produced of all the vintage drum books." Not So Modern Drummer's John Aldridge: "I came away with a much better picture of Gretsch's place in drum history, with several personal 'mysteries' solved...I would heartily recommend to any serious collector of vintage drums, Gretsch or otherwise." Noted drum historian Harry J. Cangany: "It's beautiful and thoroughly researched....the labor of love shines through." The Old Drummer's Club Dave Seville: "Unmissable."

Rating:
Summary: Another review
Review: I have read and re-read Chet's book with great pleasure. I'm actually new to the Gretch world and really appreciate the effort he took in recording this rich history.

Now that I own a Gretch kit, it's sort of like being plugged into the lineage.

The "best" issue referred to in the first two reviews (see bottom of thread) is in the ear of the beholder.

Rating:
Summary: Another review
Review: I have read and re-read Chet's book with great pleasure. I'm actually new to the Gretch world and really appreciate the effort he took in recording this rich history.

Now that I own a Gretch kit, it's sort of like being plugged into the lineage.

The "best" issue referred to in the first two reviews (see bottom of thread) is in the ear of the beholder.

Rating:
Summary: Why does the author keep arguing with reviewers?
Review: If you're a fan of Gretsch drums and want a one-stop source for the company's history, this book is the only game in town. There are lots of cool photos and it's always great to read the insights of musical legends. If you read this book, you can learn a lot. That said, it could have been MUCH more.

The first concern is that author buys into the myth that the only good Gretsch drums are old Gretsch drums. Since the company has used the same shells, lugs, and rims for the past 40 years or so, there's really not a heck of a lot of difference in sound between a drum from 1965 and one from 1995. An objective observer would also probably have to admit that the lacquer finished drums from the 1970s look a lot better than the older drums wrapped with generic plastic sparkle or pearl wrap. In recent (as in the past twenty) years, the company has made, with varying success, efforts to modernize its mounting hardware and cymbal stands. Despite this, the book only spends about a dozen pages on the last thirty years of the company (and those pages aren't very complimentary).

This book also gives superficial treatment to the fact that Gretsch is a somewhat "unusual" company. How is it that the drums have high levels of craftsmanship and very expensive parts, but seemingly absurd design flaws (I recently saw a drum technician struggle to fit a standard head on a mid 1970's brass snare - all the time cursing how they were ALL like that). When Gretsch had its offices in Ridgeland, South Carolina, the building was nothing but a fairly modest (I don't dare say dumpy, but some might) warehouse with a sign that looked as though it had been amateurishly hand painted on surplus plywood (if I didn't see it with my own eyes, I wouldn't have believed it). What was up with that? Nowadays, even the drum magazines comment on the company's reputation for notoriously bad customer service. It's almost as if Fred Gretsch doesn't care if he ever sells another drum. Heck, you have to PAY to get a catalog. What's up with that? Does Fred Gretsch have a plan? Is the sales volume and profit margin of the imported guitar line going to eventually lead to the demise of the American-made Gretsch drum? Anybody who knows about Gretch knows about at least aome of these things. It would have been very interesting to read more about them.

Finally, you don't get a lot of book for the money. Thirty five bucks is a hefty price for a paperback with less than 150 pages. Did the page size make the book more expensive? It couldn't have been due to photo rights - most of the pictures come from the author's personal collection (but I give credit where due - there are some fantastic photographs here). I'm not making a quantity over quality argument here, but how can Jay Scott put an extra hundred quality pages in his book on Gretsch guitars, but charge the same thing? The potential buyer should know that the steep admission price gets you a book that's thinner than the average issue of Vogue. I guess the worst part of it is that the author probably knows (and could have written) enough to fill a LOT more pages, but chose, for whatever reasons, not to share the information with us. So much for the legacy of "That Great Gretsch Sound".

Rating:
Summary: Not Bad, But Leaves A LOT to Be Desired
Review: If you're a fan of Gretsch drums and want a one-stop source for the company's history, this book is the only game in town. There are lots of cool photos and it's always great to read the insights of musical legends. If you read this book, you can learn a lot. That said, it could have been MUCH more.

The first concern is that author buys into the myth that the only good Gretsch drums are old Gretsch drums. Since the company has used the same shells, lugs, and rims for the past 40 years or so, there's really not a heck of a lot of difference in sound between a drum from 1965 and one from 1995. An objective observer would also probably have to admit that the lacquer finished drums from the 1970s look a lot better than the older drums wrapped with generic plastic sparkle or pearl wrap. In recent (as in the past twenty) years, the company has made, with varying success, efforts to modernize its mounting hardware and cymbal stands. Despite this, the book only spends about a dozen pages on the last thirty years of the company (and those pages aren't very complimentary).

This book also gives superficial treatment to the fact that Gretsch is a somewhat "unusual" company. How is it that the drums have high levels of craftsmanship and very expensive parts, but seemingly absurd design flaws (I recently saw a drum technician struggle to fit a standard head on a mid 1970's brass snare - all the time cursing how they were ALL like that). When Gretsch had its offices in Ridgeland, South Carolina, the building was nothing but a fairly modest (I don't dare say dumpy, but some might) warehouse with a sign that looked as though it had been amateurishly hand painted on surplus plywood (if I didn't see it with my own eyes, I wouldn't have believed it). What was up with that? Nowadays, even the drum magazines comment on the company's reputation for notoriously bad customer service. It's almost as if Fred Gretsch doesn't care if he ever sells another drum. Heck, you have to PAY to get a catalog. What's up with that? Does Fred Gretsch have a plan? Is the sales volume and profit margin of the imported guitar line going to eventually lead to the demise of the American-made Gretsch drum? Anybody who knows about Gretch knows about at least aome of these things. It would have been very interesting to read more about them.

Finally, you don't get a lot of book for the money. Thirty five bucks is a hefty price for a paperback with less than 150 pages. Did the page size make the book more expensive? It couldn't have been due to photo rights - most of the pictures come from the author's personal collection (but I give credit where due - there are some fantastic photographs here). I'm not making a quantity over quality argument here, but how can Jay Scott put an extra hundred quality pages in his book on Gretsch guitars, but charge the same thing? The potential buyer should know that the steep admission price gets you a book that's thinner than the average issue of Vogue. I guess the worst part of it is that the author probably knows (and could have written) enough to fill a LOT more pages, but chose, for whatever reasons, not to share the information with us. So much for the legacy of "That Great Gretsch Sound".

Rating:
Summary: That Great Gretsch Book!
Review: Mr. Falzerano, THE authority on Gretsch Drums, has written a wonderful book giving the history of the Gretsch Drum Company, and featuring interviews with many Gretsch endorsers of the past.

Great graphics, photos, and quality paper.

Thanks Chet!