|
Browse categories
|
 |
|
|
|
|
 |
|
|
 Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
|
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
|
|
|
 |
|
The Music Management Bible
Usually dispatched within 1-2 business days
*Best price found from Amazon Marketplace seller
|
*Amazon: £8.34
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
A great resource from the music management industry, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
A great guide to the workings of the management business, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
|
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
A great resource from the music management industry, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
A great guide to the workings of the management business, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
Excellent buy - all you need to know about music business!, 16 Sep 2001
A very comprehensive and easy-to-read book about the whole process of marketing and promoting an album/single including detailed step-by-step info about the choice (cost-benefit) to market/promote via radio, print media, MTV and retail display. From its title, I was expecting an only in-depth about the marketing & promo AFTER an album is produced, but the authors also cover the decision-making BEFOREHAND - how an atist is signed up, determination of how to package, image...the bigger picture, ie. Also how to get good distribution, including non-traditional methods like direct mailing. And a whole chapter on new media - the internet and how one can by-pass traditional channels to get one's music out there.. The chapter on artist royalty calculations provices one of the simplest and most easy to understand explanations about the complex calculations adopted by the major labels...I have read explanations given in other so-called "beginner's guides" and made no sense, and this is by far the best.. Lastly, the authors provide lots of real-life anecdotes about how the labels/artists themselves do it - a diverse range of examples - George Winston, Aerosmith, Fugazi, etc Very entertaining and dare I say it, riveting! Highly recommended for anyone who wants to succeed in the music business, whether an artist, marketer or label management
|
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
A great resource from the music management industry, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
A great guide to the workings of the management business, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
Excellent buy - all you need to know about music business!, 16 Sep 2001
A very comprehensive and easy-to-read book about the whole process of marketing and promoting an album/single including detailed step-by-step info about the choice (cost-benefit) to market/promote via radio, print media, MTV and retail display. From its title, I was expecting an only in-depth about the marketing & promo AFTER an album is produced, but the authors also cover the decision-making BEFOREHAND - how an atist is signed up, determination of how to package, image...the bigger picture, ie. Also how to get good distribution, including non-traditional methods like direct mailing. And a whole chapter on new media - the internet and how one can by-pass traditional channels to get one's music out there.. The chapter on artist royalty calculations provices one of the simplest and most easy to understand explanations about the complex calculations adopted by the major labels...I have read explanations given in other so-called "beginner's guides" and made no sense, and this is by far the best.. Lastly, the authors provide lots of real-life anecdotes about how the labels/artists themselves do it - a diverse range of examples - George Winston, Aerosmith, Fugazi, etc Very entertaining and dare I say it, riveting! Highly recommended for anyone who wants to succeed in the music business, whether an artist, marketer or label management
canny booklet, 21 Jan 2008
this is an okay little book. filled with info. It could have been explained a little more straight forward in areas such as cantracts etc. but apart from that... oh & it could have stuffed lots of contact details in it such as vinyl brokers etc. but apart from that its an essential peice of kit. Best of a big bunch.
very clear and helpful, 24 Dec 2006
this book is great if you really dont have any idea about starting a label. it explains each step you should take in order to set up a successul label, and also some steps you should avoid. the writer clearly knows what works and what doesnt.
it also educates you on some must-know information, such as copywright and royalties. BUT it doesnt make it confusing at all and lets you know where you stand.
it also makes the thought of starting a label less daunting.
again, if your in the UK then alot of this book is based on the US laws, but it can be worked around. the fundamental info it offers is invaluable.
Brilliant, 21 Feb 2006
I thought this book was amazing, I've just recently started my own independant label, and this is great for telling me exactly what i need to start. Although, it would be good to find a UK book like this, as this book does not mention stuff like PRS MCPS and copyright for the UK. It does mention however a lot of US information. But the book is still useful. It also goes into details about contracts, and where to obtain them for cheap prices, which is also another brilliant factor of the book. Overall i would say the book gave me a good introduction understanding of the music business, and how to gain progress in a newely starting independant label.
Informative, 20 Jan 2006
I do have to say i wish people from the british side could write a book with this information i have yet to find one. The information here is good, sometimes a bit hard to follow due to being about us music but useful. I will say the author refers to law a great deal but having found out about working in the industry it is a very important part of the industry and particuarly important from a label side. A good read for more than basic information.
|
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
A great resource from the music management industry, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
A great guide to the workings of the management business, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
Excellent buy - all you need to know about music business!, 16 Sep 2001
A very comprehensive and easy-to-read book about the whole process of marketing and promoting an album/single including detailed step-by-step info about the choice (cost-benefit) to market/promote via radio, print media, MTV and retail display. From its title, I was expecting an only in-depth about the marketing & promo AFTER an album is produced, but the authors also cover the decision-making BEFOREHAND - how an atist is signed up, determination of how to package, image...the bigger picture, ie. Also how to get good distribution, including non-traditional methods like direct mailing. And a whole chapter on new media - the internet and how one can by-pass traditional channels to get one's music out there.. The chapter on artist royalty calculations provices one of the simplest and most easy to understand explanations about the complex calculations adopted by the major labels...I have read explanations given in other so-called "beginner's guides" and made no sense, and this is by far the best.. Lastly, the authors provide lots of real-life anecdotes about how the labels/artists themselves do it - a diverse range of examples - George Winston, Aerosmith, Fugazi, etc Very entertaining and dare I say it, riveting! Highly recommended for anyone who wants to succeed in the music business, whether an artist, marketer or label management
canny booklet, 21 Jan 2008
this is an okay little book. filled with info. It could have been explained a little more straight forward in areas such as cantracts etc. but apart from that... oh & it could have stuffed lots of contact details in it such as vinyl brokers etc. but apart from that its an essential peice of kit. Best of a big bunch.
very clear and helpful, 24 Dec 2006
this book is great if you really dont have any idea about starting a label. it explains each step you should take in order to set up a successul label, and also some steps you should avoid. the writer clearly knows what works and what doesnt.
it also educates you on some must-know information, such as copywright and royalties. BUT it doesnt make it confusing at all and lets you know where you stand.
it also makes the thought of starting a label less daunting.
again, if your in the UK then alot of this book is based on the US laws, but it can be worked around. the fundamental info it offers is invaluable.
Brilliant, 21 Feb 2006
I thought this book was amazing, I've just recently started my own independant label, and this is great for telling me exactly what i need to start. Although, it would be good to find a UK book like this, as this book does not mention stuff like PRS MCPS and copyright for the UK. It does mention however a lot of US information. But the book is still useful. It also goes into details about contracts, and where to obtain them for cheap prices, which is also another brilliant factor of the book. Overall i would say the book gave me a good introduction understanding of the music business, and how to gain progress in a newely starting independant label.
Informative, 20 Jan 2006
I do have to say i wish people from the british side could write a book with this information i have yet to find one. The information here is good, sometimes a bit hard to follow due to being about us music but useful. I will say the author refers to law a great deal but having found out about working in the industry it is a very important part of the industry and particuarly important from a label side. A good read for more than basic information.
Good read, 29 Sep 2007
This is a good read for musicians and producers alike. It gives an insight into the prospects of the future of music, but it lacks the practical advice of The Future of the Music Business.
The most interesting and informative book about the future of the music industry, 05 Feb 2007
I made my final thesis for my school(Tampere Polytechnic university of art & media)about web 2.0 and the future of music. This book was the best I could find that covered every aspect of the music business and answered all of my questions. Gerd Leonhard's and David Kusek's thoughts and ideas for the future of the music business are brilliant and I recommend this book for everyone who is in the music business or plays in a band. It's a MUST.
|
|
|
 |
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking still). Anyway, was delighted with the thoughful gift and read it in a day and a half. My simple summary of this book is that this woman is trying to convey a warning to any young girls aspiring to be that video vixen they see on the tv, however in reality she writes as if she revelled in her nickname 'Supahead', she put up with 'beating's' and improper sexual encounters because she was getting money for it but she would have you believe that this was her 'only' way of getting on in life. Eh, sorry love, get yourself a proper job, sure the money wouldn't be the same but self respect would be there and I believe strongly that your son would have respect for you when he comes of age had you gone about things differently. Dedicating this hooker story to your son is nothing short of insulting to him and there is no way in his life will he EVER think you did right by him. If you're going to write a book, write it honestly and call yourself a hooker/prostitute/call girl whatever but be honest. It is clear you did not view yourself this way and that in itself will never change you in the deep profound way you claim writing your story has. Your story is nothing short of a kiss and tell that is diguised as a 'victim's tale'. You're not a victim honey, you made your choices, you made your bed, you lay there quite comfortably and did your thang 'cause you were 'SupaHead' and you loved every minute of it!!!!!
Not a Great Read, 16 Nov 2007
When i intially heard of this book i truly thought it would dish the dirt
on the famous hip hop and r'n'b stars that we know and some of us love.. in
stead karrine trys her best to JUSTIFY her actions by blaming everyone
else for the way she is and not admitting to herself she has issues
that she has to deal with rather than putting the blame else where.
Instead of making a life for her and her son she partys binges on drugs
and sex and realise's this is bringing her no happiness she resorts to
self harm, but still she contuinues to live her life in this way. When
her son gets older what is he going to think of his mother.. will he
think of her as the head of the household who went out and provided for
her family and was there every night to eat dinner round the table with,
or will it be a case of my mother was a hoe and every one that wanted to
ran up in her??? All in all it was a face paced read...could at times be
eye opening but most definitly not the best of reads i will not be
purchasing the squeal.
A trollop is as a trollop does..., 07 Mar 2007
This is a very sad story of someone who never got their
life together. Life is not one big continuous party and it's
unfortunate that Supahead probably still does not
understand this. I started this review stating that it is a
very sad story. However, I don't find the story sad
because of the trials of Ms. Head. I find it impossible to
feel sorry for someone who makes the same mistakes
again and again.
This story is sad because I feel very sorry for the child
that was birthed by this woman. I won't
say...raised...because a woman who would
leave her child at the doorstep of a physically abusive
father or leave for days and even weeks at a time on
X-tab binging parties is not a mother. I found Supahead's
behavior in regards to her child reprehensible. But what
can you expect? A trollop is as a trollop does.
Euftis Emery
Author of Off the Chain
Misunderstood, 27 Oct 2006
When I first heard about the book, I thought what everyone else thought, she just being a skank hoe. Then I started reading the book and could not put it down. Yes she has done some degrading things and she has slept with alot of men, but what women hasn't? The only differnce with her is that she was getting paid for it.
I feel her absent father was part to blame for her antics. She reached out to these men thinking they could give her the attention that she was missing from her father.
She may have done sinister things but at least she's alive to tell the story and I know she has learnt from it.
The book could've been longer, nevertheless it was an intriging read.
Keep strong Karrine!!!!!
Must Read For Young Girls, 03 Sep 2006
This book should be a required part of any curriculum for young African American girls coming of age. But it should be discussed with them because some may read it and aspire to be the next Superhead. I don't think that this is the message that is trying to be conveyed. However, in this celebrity crazed society, I can easily see young girls arriving at that conclusion.
A great resource from the music management industry, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
A great guide to the workings of the management business, 26 May 2004
I have read a few books on the music industry, in particular the artist management side of things, and this is by far the best resource I've found. There are sections explaining the workings of a management contract, contract length, fees, trial periods, etc. These are covered in great detail, and leaves none of the technical points un-explained. This is not the book to read if you are a band who want to get signed, because that's not the point of it!
The only problem that I have with this title is the fact that it is literally the newest edition of the MMF's guide to professional music management. Much of the text, if not all, is the same, the main difference being the updated directory of MMF managers. So if you have the Guide, don't bother with this one. I have both so was a little disappointed to find that I'd spent £11.00 on something I already had, and that the MMF is marketing the same book under two titles.
Excellent buy - all you need to know about music business!, 16 Sep 2001
A very comprehensive and easy-to-read book about the whole process of marketing and promoting an album/single including detailed step-by-step info about the choice (cost-benefit) to market/promote via radio, print media, MTV and retail display. From its title, I was expecting an only in-depth about the marketing & promo AFTER an album is produced, but the authors also cover the decision-making BEFOREHAND - how an atist is signed up, determination of how to package, image...the bigger picture, ie. Also how to get good distribution, including non-traditional methods like direct mailing. And a whole chapter on new media - the internet and how one can by-pass traditional channels to get one's music out there.. The chapter on artist royalty calculations provices one of the simplest and most easy to understand explanations about the complex calculations adopted by the major labels...I have read explanations given in other so-called "beginner's guides" and made no sense, and this is by far the best.. Lastly, the authors provide lots of real-life anecdotes about how the labels/artists themselves do it - a diverse range of examples - George Winston, Aerosmith, Fugazi, etc Very entertaining and dare I say it, riveting! Highly recommended for anyone who wants to succeed in the music business, whether an artist, marketer or label management
canny booklet, 21 Jan 2008
this is an okay little book. filled with info. It could have been explained a little more straight forward in areas such as cantracts etc. but apart from that... oh & it could have stuffed lots of contact details in it such as vinyl brokers etc. but apart from that its an essential peice of kit. Best of a big bunch.
very clear and helpful, 24 Dec 2006
this book is great if you really dont have any idea about starting a label. it explains each step you should take in order to set up a successul label, and also some steps you should avoid. the writer clearly knows what works and what doesnt.
it also educates you on some must-know information, such as copywright and royalties. BUT it doesnt make it confusing at all and lets you know where you stand.
it also makes the thought of starting a label less daunting.
again, if your in the UK then alot of this book is based on the US laws, but it can be worked around. the fundamental info it offers is invaluable.
Brilliant, 21 Feb 2006
I thought this book was amazing, I've just recently started my own independant label, and this is great for telling me exactly what i need to start. Although, it would be good to find a UK book like this, as this book does not mention stuff like PRS MCPS and copyright for the UK. It does mention however a lot of US information. But the book is still useful. It also goes into details about contracts, and where to obtain them for cheap prices, which is also another brilliant factor of the book. Overall i would say the book gave me a good introduction understanding of the music business, and how to gain progress in a newely starting independant label.
Informative, 20 Jan 2006
I do have to say i wish people from the british side could write a book with this information i have yet to find one. The information here is good, sometimes a bit hard to follow due to being about us music but useful. I will say the author refers to law a great deal but having found out about working in the industry it is a very important part of the industry and particuarly important from a label side. A good read for more than basic information.
Good read, 29 Sep 2007
This is a good read for musicians and producers alike. It gives an insight into the prospects of the future of music, but it lacks the practical advice of The Future of the Music Business.
The most interesting and informative book about the future of the music industry, 05 Feb 2007
I made my final thesis for my school(Tampere Polytechnic university of art & media)about web 2.0 and the future of music. This book was the best I could find that covered every aspect of the music business and answered all of my questions. Gerd Leonhard's and David Kusek's thoughts and ideas for the future of the music business are brilliant and I recommend this book for everyone who is in the music business or plays in a band. It's a MUST.
Interesting subject deserves a better biography, 09 Aug 2004
I wouldn't rave about this book to be honest. I've read it several times over the years since it was first issued, and I just find the saccharined, twee prose style more irritating on each re-reading. One can't help wondering how much of the text is based on fact and how much is conjecture, and Repsch is especially coy regarding Meek's sexuality, giving no insight into how difficult life was for gay men in the repressive Britain of the time. A recent essay on Meek by Jon Savage covers this ground far better and includes references to Meek's contemporaries (Joe Orton, Ken Williams et al). And another book, "Creative Music Production", has much more technical info for those interested in knowing more about how RGM created those home-made hits - as far as anyone can remember or even knew in the first place.
A much needed biography for 1960s Music historians, 06 Aug 2001
This is very readable, yet detailed and fair. Biographies tend to either be hagiographies or character assasinations, especially of larger than life characters such as Meek. But Repsch steers clear of making much of easy targets such as Meek's sexuality or his depression and suicide. He concentrates on the music and career with insights into the troubled life that created them. The discography at the back might need updating now, with the later Meek discoveries being released on C.D., but for a chronicle of his chart career it's invaluable.
Essential reading for anyone remotely interested in 60's mus, 26 Jan 2001
Eagerly awaited by thousands of Meekophiles, the reprint has finally arrived. Let's put the big glasses on and see what's on offer...The text is largely the same as the original book which is fascinating, but there are extra pictures and a new discography of releases since Meek's death. The cover is also different with a strange colour shot of Mr Meek. The interest in Meek has grown in the last few years, and fans have sought the original book unsuccessfully. I recommend this book, and warn that with a print run of 2000,it will become as sought after as the original print-run.
|
|
|
 |
|
|
 |
|
|
Customer Reviews
Full of facts but a bit repetitive..., 24 May 2008
If you have your own project studio then this book will be invaluable. Lots of advice on equipment, mics etc. However, unless you are about to buy one, constant advice about £1000+ microphones soon palls. The author asks virtually the same questions of thirty-odd producers, which is great inasmuch as you can readily compare their answers but it does not make for an enjoyable read. If you read this book all in one go then it soon becomes like reading a technical manual - full of useful information but not a lot of fun. If you are more interested in the subject as a whole I can highly recommend Good Vibrations by Mark Cunningham, a history of record production that is chock full of anecdotes, interviews and is unputdownable! Beware - book extremely dull., 29 Aug 2006
I was very excited when the book popped through my letterbox and couldn't wait to get stuck in, but to be brutally honest, it is dull as dishwater. Although the people interviewed are undoubtedly fantastically inspirational producers, the interviews reveal mostly "well it depends on the song" type answers which reveal very little about technique or approach. There are a few genuine insights, but mostly it is extremely general advice and nothing you don't get in any studio based magazine - but in much more palatable doses. It also feels out-of-date to me - so much has happened since 2000. So to sum up, save the money for a new microphone or two and spend the reading time in the studio. Fantastic, 05 Jan 2004
A work of collected wisdom which is insightful, fascinating and inspiring. If you are into recording music of any kind I can't recommend it highly enough. Strong on techniques and anecdotes, 27 Feb 2002
Great book - couldn't put it down read it on planes, hotels and trains. Strong on mic and compression techniques and advice. Also strong on anecdotes and artist managemnet techniques. Packed with sensible and yet creative advice from some of the top USA and European producers and engineers. Touching interview with Brian Wilson of the Beach Boys - funny stuff about Prince and studio rocking chairs also female engineers who have lovingly recorded guitar speaker stacks being shoved over cliffs and into the sea ! John Lennons 'Flashing Esssess' mic sibilance aproach..... its all here except Trevor Horn, Chris Kimsey, Chris Potter and Steve Hillage, and the Chemical Brothers all of whoom I would have like to have been interviewed alongside Thomas Dolby. This is a gripping book for serious studio owners and operators, full of thought provoking comments and discussion. Bedroom PC soundcard recordists making Acid loops probably wont enjoy it for the simple reason that they wont understand the references to records such as AJA by Steely Dan and might find the references to 2 Inch analaogue and tape compression difficult to relate to so I'd say its a book for the 30 plus market who are really into recording quality rather than sound cards. Nice one Mr Massey can we have some more please(with Thomas Dolby included)? I thorougly recommend it for inspiration !
A brilliant account of the best producers and their tips, 24 Jan 2001
This book is probably one of the most interesting books I've ever read. Containing interviews with giants in the music industry such as George Martin and Phil Ramone who share their knowledge and experience with the reader. It is easy to read as each interview is a digestible length. I would say it is essential reading for anyone interested in the music industry, but also would encapture the interest of any other reader. Behind the Glass shares the stories behind some of the biggest hit songs and albums in popular music history by artists such as David Bowie, The Beatles, Pink Floyd and Alanis Morrisette. I was recommended this book by a music industry executive, and it has been possibly the best advice I could receive as a songwriter trying to get into the music business.
Quit your self pity Karrine, 10 Jan 2008
I've wanted to get this book for a while now and on Christmas morning '07, there it was in my stocking (I know, I have a christmas stocking s | | |