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Summary: Compelling history of the growth of rock as a megabusiness
Review: A rock history like none ever written, Fred Goodman traces the growth of the music business from the Newport Folk Festival in the summer of '65 when folkie Dylan turned into a rocker before a disbelieving horde of instant ex-fans (and an apoplectic Pete Seeger) through the sale of David Geffen's music properties in the late eighties, in effect making him rock's first billionaire. Goodman is a remarkably fluent and entertaining writer who tells the story of how rock's biggest stars learned to balance artistic integrity with making obscene amounts of money, and the lesser known managers, agents and record company executives who took them to school. It's great story piled on unforgettable, right-on quote, with lots of great side trips. Are you one of many readers who couldn't stand ambitious, self-righteous record reviewers like Landau and Marsh in the early 70s? Let's just say Goodman's book will give you plenty of ammunition to rekindle your disgust
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Summary: outstanding book for those interested in the music industry
Review: although i, being a musician, found this book interesting, it may not appeal to those who are not interested in music, or specifically rock and roll. but for those who are, this book is fascinating. it is the first novel i have read that gives readers a full understanding of the rock and roll industry. i hope to find more books like it!
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Summary: An interesting but ultimately unsuccessful history
Review: Goodman clearly means to give us the story of rock's decline as a cultural, as opposed to financial, force. In many ways he succeeds and he also succeeds in laying the blame where it probably belongs--with businessmen who cared more about profit than music. There are some problems with his story, though. In particular, his treatment of Jon Landau seems unfair at times. For instance, Goodman uses the story of the MC5's decline to illustrate a loss of artistic and moral purpose that he attributes Landau's machinations. But the band's political philisophy was formed by their association with the White Panthers, whose ideas were pretty buggy. Landau may have failed them as a record producer, but intelligence and maturity would probably have moved them beyond their original ideas. The illustrations that Goodman uses to show us Landau's egoism and ambition in his handling of Bruce Springsteen could as easily be interpreted as protectiveness towards his client. It's obvious that Landau had a strong influence on the artistic direction Springsteen's career took, but it's just as obvious that he saved his client from being taken advantage of by some of the sharks in the music business. The characterizations of Dave Marsh, David Geffen and others are interesting and warrant a qualified recommendation of this book.
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Summary: The rock business is even worse than you think
Review: I bought this book because I was mildly interested but before long I was sucked into the tale about how the money talked louder than any musician's ability. This is story of how several clever people took the talent-driven music of the mid to late sixties and gradually turned this into a money-driven enterprise where all the artist needed to do was keep the gullible public into believing that "it's all about the music, man!" The book covers some of the major players like Bruce Springsteen's manager, Jon Landau, and record mogul David Geffen, along with the artists they were involved with like Dylan, Neil Young, the Eagles, and plenty more. The book shows how the industry evolved from Warner Brothers execs (in WB blazers) signing the Grateful Dead (and being scared to death of being given LSD) - to the CBS policy of the mid-eighties of taking acts that the company wanted to succeed and have them make a few low-selling albums and play live gigs so they would have more credibility with record buyers. The execs were every bit as exotic as the artists they represented, and thought nothing about double-dipping their clients' earnings even though they were already assured of millions. I was astounded to learn that at the height of the Eagles' success they went out on tour and got NINETY-SEVEN AND A HALF PERCENT of the receipts, leaving the venue with just two and half percent. Essential reading for anyone interested in the music industry, especially people trying to break into the scene. Check your integrity at the door, because it will just be an impediment otherwise.
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Summary: Engrossing, yet frustrating
Review: I found Goodman's book eminently readable, and at times difficult to put down...yet, when I took a step back at the end, there was less there than it seemed. One big problem...from reading the Notes, it becomes clear that none of the "main" characters in this book...that is, Geffen, Landau, Springsteen, Dylan, Grossman, or Young, actually spoke to Goodman. Which means that our insights into them are being filtered, not only by Goodman, but by the people Goodman did talk to...many of whom carry some grudges. Yes, it's likely that these grudges are well earned, and believe me, I have no sympathy for Jon Landau or David Geffen, and yes, there is a printed trail that follows them, but the book suffers from the absence of their voices is a problem. In the case of Springsteen, it's less than fair (and I'm not a fan). Goodman also jumps around too much, and leaves several threads dangling...the LA performers all disappear as soon as they split with Geffen. And, he buries one of the most compelling stories in the book...the meteoric rise and fall of Peter Frampton.
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Summary: Excerpts and audio clips from this book are available online
Review: I found out about "The Mansion on the Hill" while visiting Music Central (http://musiccentral.msn.com) on MSN. The Microsoft Network and Music Central are serializing exerpts of the book for the next month in four weekly installments. If the first installment is any indication, the next three should be great. In addition to getting the inside story on rock's icons like Dylan, Young, and Springsteen, one can also access RealAudio clips of songs such as Hank Williams' "A Mansion on the Hill" and Dylan's "Like a Rolling Stone". The exerpts also provide extra biographical information that isn't included in the print version. The online serialization is a great way to check out the book before throwing down $22.50
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Summary: An important and revealing book
Review: If anyone has any doubts that the record industry--in its modern, corporate incarnation--has essentially destroyed the public's ability and desire to hear edgy, experimental, and true music, than this book just might erase them. It covers the business side of things more than the musical, showing how money, agents, and moguls had their influence to different degrees on artists like Bob Dylan, Neil Young, and Bruce Springsteen, among others. What the book doesn't cover, and probably doesn't need to, is how the business dealings and marketing schemes that were initiated during the time period covered here laid the groundwork for the overwhelming McDonald-ization of the music industry that has come to fruition today. In the modern music scene, iconoclasts and visionaries are pushed aside to relative obscurity, in favor of 'fast food' music, music that is consumed precisely because it's unsurprising and doesn't challenge its audience, an audience that prefers safe choices to something different. Goodman subtly shows this shift, which changed the industry from a place where Dylan and Young could become superstars, to a place where they'd be outcasts. And survival for a musician like Springsteen meant compromises and handing over his career to businessmen. An essential read for those interested in how the music industry pushes our buttons.
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Summary: It's a good starting place
Review: If anyone reads this book and is confused about Bruce Springsteen's relationship with his first manager; Mike Appel, then you can get Mike's book, written by Marc Eliot; "Down Thunder Road", ISBN 0671789333 for the real story complete with verbatim copies of the contracts that are signed by Bruce and Mike at the very beginning. If anything "Down Thunder Road" The making of Bruce Springsteen is too complete, too thorough, it reveals the whole truth of the matter and leaves no room for confusion. As such I came away from it much less of a fan of Bruces', so beware...you may loose alittle of your fondness for an artist who was simply in need of a "Father figure" but also someone who could make a second rate band sound first rate with advice on musicianship. Both Mike Appel and Jon Landau were guys who for one reason or another tried to be rock musicians but, like 99% of such, just didn't quite have what it takes...so they found an alter-ego, and supplied the needed business acumen. The winner of the contest of who was gonna be Bruces manager/confidant/advisor/father, turned out to be the guy who could spend the most time being his buddy. That's not quite the way it's supposed to be, that's why there are such things as contracts. Bruce didn't live by his contract, he betrayed Mike Appel because he was guided by Jon Landau. He simply couldn't think for himself. "It's all in the percentages."
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Summary: "Money doesn't talk - it swears!"
Review: In the words of Bob Dylan, one of the main artists highlighted in this book, we can see exactly what is meant when he says "money doesn't talk - it swears". This book illustrates graphically how a musical form that began as a rebellious and riotous yawp against numbing conformity and blandness, was co-opted almost entirely by the powers-that-be. From the idealistic beginnings of the 60's folk boom to the frantic money grabbing of the 90's corporate recording industry mergers, we can watch the power and financial stakes growing. Amidst all of the down-and-dirty money deals, Goodman shows us several high-visibility "musical artists"(primarily Bob Dylan, Neil Young, and Bruce Springsteen) as they walk the tightrope between integrity and the marketplace. As the book makes perfectly clear, it is nearly impossible for the artist to maintain any kind of purity or innocence when dealing with the juggernaut of big business. Those artists unable to protect their interests or find someone to do it for them, are quickly chewed up and spit out by the music industry in the constant "dog-eat-dog" race to find the next money-maker. Goodman tells several somewhat sordid tales of managers and agents all doing battle to come out on top, often at the expense of the artists they are supposedly representing. I found this book incredibly helpful in understanding what it really took to get any kind of "honest, truthful music" into the marketplace in the last 30 or 40 years. And I feel it is a glowing testament to the artists who managed to actually "say something" with their music, while they danced (like Shiva) on the skulls of financial moguls and corporate robber-barons.
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Summary: More of a collection than a full story
Review: Mansion on the Hill purports to tell the story of how rock music became absorbed by the moneymen and in the process lost its meaning, but it succeeds only intermittently. Goodman has done a superb job of gathering anecdotes and facts (especially considering he never spoke to any of the principals) but he hasn't fully shaped them into a coherent thesis, so that this reads more like a collection of interesting stories rather than a seamless whole. But what stories! Peter Frampton's story is one of the most memorable, especially because even at the height of his success he comes off as little more than an innocent bystander to his own downfall. The evisceration of Jon Landau as a relentlessly greedy careerist will startle many Springsteen fans (and lead some to think that Bruce may have simply traded one shark-Mike Appel- for another). Dave Marsh isn't spared either-his shilling of artists that he has some personal or professional stake in undercuts his claim on integrity. (It's kind of sad when David Geffen, of all people, isn't the most venal or opportunistic person in the book.) If Goodman were to construct a more cohesive argument (and prune some unecessary sections) this book would rate 5 stars. As it stands, it's the kind of the book that is best dipped in and out of rather than read from start to finish.
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