Packs A Wallop by Doug Edwards

Apocalypse by Harry Lorayne
Volume 16, Number 4 April 1993
Page 2197 et seq.

Personal Comment: This is fun. Easy to do and it has all the little things a good card trick needs. Some animation, some goofiness an nice twist in the end. The actual selection ending up in the box. Little setup (Ace on Top) and quick. I like it. Might even do it when I'm in a bar setting as this trick seems to be the perfect fit for that. And this is one of those tricks that you cannot forget how to do. There is nothing to be remembered. Just do it!

Difficulty 2/5

Triskaidekaphobia by Tom Daugherty

Apocalypse by Harry Lorayne
Volume 16, Number 3 March 1993
Page 2191 et seq.

Personal Comment: Kinda interesting if you are interested in mathematical principles. Otherwise really boring... But honestly I think this is a great trick to teach those kids who really beg you to teach them a trick. And I say this having two reasons in mind! 1st: Kids seem to love doing tricks where they don't really know why it works. It leaves some sort of mystery. 2nd: It's very rewarding for a kid to do that trick and have others not knowing how this is done, without the fear of somebody already knowing. Even among magicians this principle is pretty unknown. So this is a great trick for kids. Not for magicians I might add.

Difficulty: Self Working

The Invisible Card by Gerald Deutsch

Apocalypse by Harry Lorayne
Volume 16, Number 1 January 1993
Page 2171 et seq.

Personal Comment: Works with any card... but preferably the card named by the spectator is near the center if you are using the method suggested by Gerald Deutsch. Of course if you can cull and palm any position is fine... but it isn't about the control. It's about the plot of doing stuff to an invisible card. I can see the right audience for that and the right moment. And when the time and the place is right I will definitely use it. I also love the fact that the work is done way before the actual reveal, giving you time misdirection that makes it hard for the audience to backtrack what has been happening.

Difficulty 3/5

Triple Card Production by Jeff Ezell

Jeff Ezell's Close-Up and Parlor Magic
Page 4 et seq.

Personal Comment: If I can improve on an effect's structure seconds after reading it, it is not worth publishing.

Difficulty 2/5

Back They Come by David Regal

Apocalypse by Harry Lorayne
Volume 16, Number 1 January 1993
Page 2170 et seq.

Personal Comment: Reminds me of a backfire matrix done with coins for some reason. In fact I think that this trick might be combined with a matrix routine and both could benefit. This truly has potential. Personally I would switch two cards in the beginning making another clean phase possible. So if you are creative and really love the matrix effect (not me) then go for it. The magic doesn't have to be all about the coins.

Difficulty 1/5

Bargain Four by Mike Bornstein

Apocalypse by Harry Lorayne
Volume 16, Number 1 January 1993
Page 2165 et seq.

Personal Comment: Pretty to look at. Easy to do. The discrepancy is minor and the setup is bearable. What's not to like?

Difficulty 2/5

Hull-Quik by Jon Racherbaumer

Tri Psi by Jon Racherbaumer March 2000
Page 5 et seq.

Personal Comment: Based on the plot by R. W. Hull this version has one card mentally selected and one for real. What makes this version kind of noticeable is the fact that it is impromptu and doesn't use a duplicate. And the fact that the spectator is right and the magician wrong is a nice nod towards the spectator that should not be underestimated.

Difficulty 1/5

Reds and Backs by Bob King

Apocalypse by Harry Lorayne
Volume 7, Number 9 September 1984
Page 970 et seq.

Personal Comment: As much as I would like to dislike the routine I cannot help to notice that it is a damn practical method. Only bad thing... you need to decks. Which most have anyway.

Difficulty 4/5

Back To Aces by Steve Beam

The Trapdoor by Steve Beam
Issue 1, 1983
Page 6 et seq.

Personal Comment: Practical! But personal. I can see this being a pet routine of Steve Beam. And I see why lot's of magicians seem to have requested to see this one during conventions as Steve claims in the Issue. SO I won't use it... but everyone can make up his own version. With as many "displays" as one likes.

Difficulty 3/5

The Healers by Jerry Sadowitz

Cards On The Table by Jerry Sadowitz, 1989
published by Martin Breese
Page 42 et seq.

Personal Comment: The method seems unique. And it is practical. But as Sadowitz says in the book. If you have your own method, don't bother... but it's easy!

Difficulty 2/5

Thanks To Hofzinser by Jerry Sadowitz

Cards On The Table by Jerry Sadowitz, 1989
published by Martin Breese
Page 37 et seq.

Personal Comment: Sadowitz himself states that he isn't sure if he is the first one to come up with a version of the Everywhere and Nowhere plot structured around the signature and not around the card's identity. I'm not sure either. It seems so obvious, yet is such a great routine. Works from a shuffled deck in use with no preparation at all. What more could you ask for? I can see this as the end to an Ambitious Card routine. And there is even a nice reason to "not" have the spectators card signed. Because it already has a signature and the magician could have made a copy by that point in time. Now the cool thing is that you would eventually end up with a card that is signed on both sides by the spectator. That is a nice give away near the end.

Difficulty 4/5

Das feine Gefühl by Jochen Zmeck

Zauber-Abc (German book) by Jochen Zmeck
Page 124 et seq.

Personal Comment: Finding gold in a book on magic for children is always something special. You can actually stack conditions over conditions on this trick. You can be far away as the shuffling happens. You body could be examined for extra cards before, in the middle and after the trick. The hat and everything is ungimmicked. The cards pulled out of the hat were actually inside the deck. Hell... you could even have a bunch of cards being signed in the beginning, then lose them in the deck and then pull them out. You don't even have to use the hat. In fact the book suggests a simple grocery bag.

Do I like this trick? You bet I do. And guess what, the trick is self working. If you think about the theatric of this trick you will see that it is gold. It is a stage card trick (and we know how rare they are) not being a glorified force. It has a motion and sound, the possible element of fail, the many condition that you can include and many other little components that make this a great stage trick. It packs flat, yet plays big. The cloth adds a touch of old school mystery and you can frame it any way you like.

This is seriously good. Even though a kid could do it.

Difficulty: Self Working

The Backward Card Trick by Jerry Sadowitz

Cards On The Table by Jerry Sadowitz, 1989
published by Martin Breese
Page 20 et seq.

Personal Comment: This is what my girlfriend calls a "mindfuck". It's this good. The structure and the plot makes this trick great. Also the actual method is so darn practical. This is a demonstration piece of well done structuring. Bravo Jerry Sadowitz, Bravo!

Difficulty 3/5

Fetch! by Jerry Sadowitz

Cards On The Table by Jerry Sadowitz, 1989
published by Martin Breese
Page 3 et seq.

Personal Comment: This is good. Animation is always entertaining and funny. Also, the first trick in the book. I love it! Here is a tiny problem: Fanning the cards so the Ace of Spades won't show up too early is kind of a knack thing. Here is way to get around it. Buckle the Ace of Spades, then angle jog it to the right, right before you do the fan. That way it cannot show up and it is already lose with little chance of getting stuck.

Difficulty 2/5

Second Deal Demonstration by Jim Abrahams

The Lecture That Has Never Happened by Jim Abrahams
Page 12 et seq.

Personal Comment: Easy to get into and for the right audience this is killer. For the rest... meh

Difficulty 4/5

Fifth Twist by Mirko Ferrantini

Apocalypse by Harry Lorayne
Volume 7, Number 6 June 1984
Page 934 et seq.

Personal Comment: There is only so many times a weak method can withstand repeat. And this routine shows the same cards a little too often so it will become obvious to some spectators. So is this a good routine? No, not really! The kicker in the end of a card vanishing could be solved as convincingly with a simple palm, or a duplicate. So this is effort wasted in my humble opinion. There are way better "twisting" methods out there and even better climaxes. Why did I add this then... because it uses a nice subtlety by Ed Marlo. That might be of use for some. Btw: there is actually an error in the description by Harry Lorayne. If you do it like it is written you will have "three red cards" as the final display. So here is my little tip... When you get to the point in the text, DO put the card to bottom, don't pretend to. Then cut the two bottom cards to the top. Then go on as suggested.

Difficulty 3/5

Change All by Jeff Altman

Apocalypse by Harry Lorayne
Volume 7, Number 5 May 1984
Page 920 et seq.

Personal Comment: Nice and actually not too much of a setup. In fact often I find myself with the needed cards in the deck anyway (usually for Red Hot Mama/Chicago Opener) so why not go for that one a little later in the show?

Difficulty 2/5

Identity Crisis by Jim Abrahams

The Lecture That Has Never Happened by Jim Abrahams
Page 11 et seq.

Personal Comment: It mighty be obvious to magicians what is going on, but never forget that non magicians have never seen the items needed for this. So what would be exposure in most case becomes an effect in this case. And I love in how many ways you can spin this. It could be a mental piece by never revealing what the spectators sees, applying the dual worlds principle or maybe a fusion of two cards. Another neat thing: The necessary thing can be in the deck the whole time acting as a locator card making switches and such more easy. I love ideas involving the same thing many times in the routine used for different purposes. That is commercial.

Difficulty 2/5

Choice Sandwich by Justin Branch

Apocalypse by Harry Lorayne
Volume 7, Number 2 February 1984
Page 884 et seq.

Personal Comment: As much as I love sandwich effects I don't like this one. The reason: The method is needlessly complicated. And I personally think that giving the spectator a choice doesn't matter in this case. But I know that this somehow seems to matter for some magicians. Me disagreeing with them should not stand in the way to showcase the effect here on my blog.

Difficulty 3/5

Ein König dreht sich by Jochen Zmeck

Handbuch der Magie (German book) by Jochen Zmeck
Page 97 et seq.

Personal Comment: This is only interesting from a technical point of view. The same effect can be achieved even easier with the cards counted in "Biddle Style" But of course this kills in a real performance. Actually I did it today and the color change in the end got me a reaction I was not prepared for. So I recommend the effect, but not the method.

Difficulty 3/5

Verliebt Verlobt Verheiratet by Jochen Zmeck

Handbuch der Magie (German book) by Jochen Zmeck
Page 128 et seq.

Personal Comment: This is cute and kills. Hard to believe I know, but I tried it. People seem to dig this cute story. Personally I would change the method drastically, but the book that this is in was written for laypeople ergo this is simplified. The routine has a fulfilling climax and could be a neat encore trick.

Difficulty 2/5

The Ultimate Rip-Off by Paul Harris

Art of Astonishment Vol 1 by Paul Harris Page 113 et seq.
also Close Up Fantasies by Paul Harris Page 3 et seq.

Personal Comment: Uh boy, this is bad. Not as bad as The Torn as Restored Routine by Blake Vogt, but still pretty bad. In Close-Up Fantasies the lead in to this trick is that Paul says that he originally thought this would be a "good stand alone one trick seller", that the basic modus operandi was so freaking new and original that this would justify being sold individually. When reading this it comes across as a gracious gift by him to include this in Close-Up Fantasies. What a load of BS.... it sucks.

If you wanna know a really, really good Torn and Restored trick... Drawing Room Deceptions is your choice. More about that later.

Difficulty 2/5

Card Through Handkerchief

Personal Comment: There you see the worst possible condition for that trick. Still it works. It's a classic and a good one. In fact done at a place where there is no wind this is quite a good trick. And if you hold the bag in front of your body the whole trick is even angle proof. I see this effect being dismissed because it is old. But this is a great ending to an ambitious card. I've never seen anybody do it. Be the first!

Difficulty 2/5

Hyper-Twist by Richard Vollmer

Apocalypse by Harry Lorayne
Volume 6, Number 7 July 1983
Page 791 et seq.

Personal Comment: This is a beast. Thirteen effect in 2 and a half minutes, that is about one effect per ten seconds. And again as with most routines, this is all a question of taste. I sort of like it, but cannot see myself in a situation where this is suitable. But others might. So I leave it at that. Good, but not for me!

Difficulty 3/5

Incorporated Color Control by Karl Fulves

Pallbearers Review by Karl Fulves
July 1967
Page 111 et seq.

Personal Comment: Just another application of Gilbreath I assume, that I wouldn't use to bore my audience with, but damn it is so much fun to do it to yourself. Of course if the mathematical principle is something you don't care about you better skip this one.

Difficulty Selfworking

Order in The Court by Dai Vernon

Pallbearers Review by Karl Fulves
December 1966
Page 67 et seq.

Personal Comment: This is based on Noel Stanton's card trick he called "1,2,3,4,5" which appeared in The Gen in June in 1965. Apparently there was a bit of a controversy around this trick when Vernon published it, as it seemed like Dai Vernon came up with the plot. Even today the common knowledge is that the "Order in the Court" plot was originated by Dai Vernon. This is not true. But aside from that the effect is nice and to mix it with some sort of gambling theme might be beneficial to the trick. Who knows. In terms of reaction: Mixed! Somehow the plot seems to be great for one kind of audience and really boring the the other kind. The first one also seems to enjoy "Oil and Water" make of that what you will.

Difficulty 2/5

Necronomicron by James William Sarles

Pallbearers Review by Karl Fulves
Issue 1, Number 1 November 1965
Page 1 et seq.

Personal Comment: First entry in Pallbearers Review and a good one. If you would put the in one of the common dealers advertisements you would say: Prediction is actually written down before the spectator picks a card, no force, impromptu, no switch of the billet. While I don't see this in the repertoire of a full time pro I can see this turn into gold in a hobbyist act. I sort of like it. J. W. Sarles is the mentor of Karl Fulves and having this being the first trick in the series is a great little thank you towards his teacher.

Difficulty 1/5

CTP by Jim Abrahams

The Lecture That Has Never Happened by Jim Abrahams
Page 10 et seq.

Personal Comment: Usually mixing plots creates a horrible creature. But this is a crowd pleaser. Not easy to do as it involves a lot of palming, but I think the timing for those is just right to get away with it for real people. I tried it many times and it was good. In case you have not noticed. CTP stands for Cannibals To Pockets.

Difficulty 4/5

Flushed Collectors by Murray Bonfeld

Apocalypse by Harry Lorayne
Volume 7, Number 3 March 1984
Page 891 et seq.

Personal Comment: Actually fun to do, Fun to watch is another story. I guess if gambling themes are yours this might be for you. Not for me, but it was fun to do. And the setup is bearable too.

Difficulty 3/5

Oil & Water Rides Again by Michael Skinner

Classic Sampler by Michael Skinner, 1996
Page 9 et seq.

Personal Comment: If I had to go for an oil and water routine, I would go for this one. It is practical, has only three phases, has a climax, is easy to remember and there is a margin of error that is not crucial...
But I don't have to.

Difficulty 3/5

The Mona Lisa Card Trick by Michael Skinner

Classic Sampler by Michael Skinner, 1996
Page 4 et seq.

Personal Comment: Just a card change, but the presentation and the revelation makes it seem much more than it is. The actual magic moment is so disconnected from any possibility of sleight of hand, that it turns this simple card change into a piece of art itself. I am full of praise for this one. And compared to all the recent visual card changes this stands out as something beautiful. I like it very much.

Difficulty 1/5