- Gebundene Ausgabe: 608 Seiten
- Verlag: Simon & Schuster (19. Februar 2013)
- Sprache: Englisch
- ISBN-10: 1476714789
- ISBN-13: 978-1476714783
- Größe und/oder Gewicht: 15,2 x 4,6 x 22,9 cm
- Durchschnittliche Kundenbewertung: Schreiben Sie die erste Bewertung
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The Soundtrack of My Life (Englisch) Gebundene Ausgabe – 19. Februar 2013
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“The Midas Touch. Until now, no one has written a book that reveals as much about the industry as Mr. Davis’ book does. It is hard to imagine a better survey of popular music during its 50 year commercial peak than this one.” (The Wall Street Journal)
"The pages of The Soundtrack of My Life are filled with fantastic scenes and revelations." (The Los Angeles Times)
“His enormous success comes from luck and a phenomenal gift for recognizing, nurturing and selling talent. His drive helped make him one of the most visionary music men. In his memoir, The Soundtrack of My Life, the man who guided stars from Springsteen to Houston shares the secrets of his success.” (People)
“Who put the bomp, Barry Mann asked in his 1961 single, in the bomp bah bomp bah bomp? Mr. Mann wanted to shake that person’s hand. For much of the 1960’s, 70’s, 80‘s 90’s and 00’s, a pretty good answer to that existential question was Clive Davis. As the head of Columbia Records and then Arista, the label he founded, Mr. Davis had a knack for introducing good singers to good material. The results tended to be explosive, as if he were dropping packages of Mentos into two-liter bottles of Diet Coke.” (The New York Times)
“There are so many incredible stories; this book is literally a walk through musical history.” (Ryan Seacrest)
Über den Autor und weitere Mitwirkende
Clive Davis is the Chief Creative Officer of Sony Music. He has worked with innumerable musical stars and media personalities. Born and raised in Brooklyn, he attended New York University and Harvard Law School.
Anthony DeCurtis is a contributing editor at Rolling Stone, where his work has appeared since 1980. He has written for numerable music and entertainment magazines and newspapers. A former on-air correspondent and editorial director at VH1, he has contributed to a myriad of television specials and programs. DeCurtis holds a Ph.D. in American literature from Indiana University and he teaches at the University of Pennsylvania and the Gradudate School of Journalism at the City University of New York.
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1) name dropping - when you're a man of his stature and worked with countless people, of course your'e going to see more than a few names mentioned. It's part of the music industry. He pats himself on the back and criticizes himself.
2) He's basically kind to everyone in the book - there are some criticisms of a number of people in the book, they come across as constructive. It's not a sleazy or gossipy tell all book.
3) Parts of it are a bit "dry" but that's part of his biography. He's talking about the music business. As someone who teaches business (would love to have my students read this book!) there are many lessons in it.
4) He seems to be honest and objective about his personal life regarding his divorces and his upbringing. The man is self made. I find it amazing how someone raised in lower middle class Brooklyn became a lawyer and then ran several music businesses. Some readers think he's an egomaniac. I'm sure he has a good sized ego (he's entitled as he's had a lot of success). (Maybe those people that gave the book one star are jealous?) The man is over 80 and still very sharp.
5) He's a contemporary person, realizing what the trends are and how to harness them. He's well attuned to what's going on today with the American Idol generation as well as an understanding of the business of music - from the artistry to the production to the marketing. It is a business.
I highly recommend the book for anyone who wants to know about the music industry over the past 50 years. I found it very entertaining, informative. I enjoy detail, others may wish to skim over it.
I wouldn't begrudge Clive Davis his place in pop music history, but wow, does this guy think he is the cat's meow.
First of all, Clive is not, and was not ever a proper musician who took part in the creative process. Unlike other legendary music moguls- for example, Jerry Wexler (who produced records) or Ahmet Ertegun (who wrote songs)- Clive's primary contribution to the music of our lives (told in long, drawn-out accounts in this book) seems to be vague suggestions for finishing touches on songs, editing (he tells us it was HIS edit of Big Brother & the Holding Company's "Piece of My Heart" that made Janis Joplin a star, lest we think that anyone else is responsible), decisions about lead-off singles, etc. He can claim propelling of two artists to big time stardom, Barry Manilow and Whitney Houston. Okay, and Kenny G.
Oh, and he has one songwriting credit in his entire career. On an Air Supply song.
That's about it.
So, being a businessman and not an artist, it's hard to enjoy some of his stories of "directing" and "making suggestions" to the artists under his Arista wing. He has this massive issue with artists writing their own songs. He is still clueless as to why Barry Manilow would have an issue recording a song he DIDN'T write called "I Write the Songs".
Hey, if it's a hit, who cares? Right? He complains about Melissa Manchester wanting to write her own songs and even mildly insults her songwriting abilities as he tries to transform her from an introspective, mellow artist into a generic dance diva. The sad thing about both of these issues is Manilow and Manchester are both well-respected songwriters with multiple classics to their credit. .
BUT, Clive wanted a hit, so suddenly Melissa is dancing and doing "You Should Hear How She Talks About You" on Solid Gold.
As for any other singer who dares state they want to write their own music, he browbeats them into submission (like how he triumphantly confesses that Whitney relented and agreed never to dare put pen to paper), and he scolds those who were too stubborn to listen to him (like Taylor Dayne- "oh, if only she had listened to me and didn't try to grow as an artist, we might be releasing a Greatest Hits Volume 2"!)
The one exception to the songwriting rule was Angela Bofill, whom Clive allowed to continue writing tracks for her albums, but the trade-off was that he pulled her away from the Jazz/R&B/Latin fusion that had won her fans on her GRP Records albums. He woos her with promises of pop stardom and signs her to Arista. She manages one bonafide Dance/R&B smash- "Too Tough", and a few smaller hits. Angela became "a Dance and R&B star", as Clive puts it, but he fails to say anything else, nothing about how she was pushed further and further down the dance diva path, with diminishing returns, until she was unceremoniously dumped from the label in 1986, as Whitney's star was rising.
He complains about Phyllis Hyman not wanting to record stuff he chose for her- he doesn't mention any other possible reason for their differences, but it's been written in other publications that it was much deeper than song choice. He thought it was a mistake for her to go on Broadway in Sophisticated Ladies, which would've denied her one of her biggest triumphs. Instead of singing the gorgeous love songs she excelled at, he thought she was better off singing garbage like the dance track "Riding the Tiger". Hey, it might be a hit, right?
Clive pats himself on the back for his other, lesser discoveries (regardless of his degree of involvement- Expose is a perfect example). He talks about Air Supply like he had discovered Simon and Garfunkel, and he dismisses criticism of their work because, they sold records and that's all that matters, right? He also pats himself on the back for changing some lyrics to one of their songs (I think it was "All Out of Love", but it might've been "The One That You Love". How much difference was there, anyway?) and now suddenly he's writing hits! Hits hits hits!
The Air Supply fawning came to mind late in the book when he discusses Maroon 5's rise to stardom. He objects that they are initially marketed as a Modern Rock band instead of pop. It is explained to him that they wanted the band to crossover from rock to pop without losing their credibility, but he can't comprehend why a rock band would be concerned about credibility, as long as they're having hits, right? This from the man that brought us Air Supply, folks.
He grumbles that they ended up leaving J Records and then went through a "long cool period" in their career before "Moves Like Jagger" (perhaps he overlooked the #1 smash "Makes Me Wonder", or maybe it just didn't fit into the narrative, so why not pretend it never happened?).
He loves rescuing past-their-prime stars like Dionne Warwick and Carlos Santana (oh, let's not forget the Santana comeback- Clive talks like he cured the common cold with that one), and he even threw poor Manilow a bone later on. Pray saints.
There's a final chapter which quickly discusses his private life and sneaks in the "oh yeah, I became gay in the 80's" as an afterthought. His personal life actually seemed much more interesting than hearing how he shot off long letters with lists of "suggestions" for the film The Bodyguard, because the film would've been a monumental flop were it not for his input.
Thank you Clive, I don't know how pop music could've stumbled through the last 4 decades without you. We are all eternally indebted.
At least that's the way it seems I should feel after reading your book.
The problem with the book is that once you get roughly halfway through this very lengthy book (just over 550 pages, excluding the index), the stories begin to sound alike. "And then I met...", "The next stage of my life...", and so on. There is a sameness to all of his stories, whether they concern raging success or disappointing failure. So at the end of the day, I'd have preferred some more judicious editing that would have made each of the "tracks" of his "soundtrack" a bit more significant instead of blending together like one big tub of margarine.
I also found it a bit odd that in the last 10 pages of the book he suddenly brings up his separation from his second wife, who goes largely unmentioned for several hundred pages (the oddness stemming, in part, from the fact that he talks quite a bit about his upbringing and his first wife early in the book, making it seem as though his second wife was peripheral to his existence), and then talks about his discovery of his bisexuality. This is not a criticism of his biesexuality - it's just that if it's an important aspect of his later life, as he suggests, why deal with it as if it's an afterthought?
I read this shortly after reading Tommy Matolla's autobiography and found this to be a great combination book. Tommy's book is shorter and a lighter read. This book is longer and much more involved. They are both exceptional!
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