Rating: WORTHY!
Read nicely by Dion Graham - although I could have done without his singing and his attempts to portray a woman speaking - this audiobook looks at how hit songs are made. It covers a wide variety of topics and a lot of the history of hit-making, but its focus is largely on the last few years, and I have to say there seems to be a strong bias toward recent solo female artists, for some reason, and I mean bias in coverage, not in praise.
One problem with the coverage is that it's very tabloid - we get sketches with some detail here and there, but never anything in any real depth. The author writes for a magazine and for all I know these chapters are merely a collection of articles he wrote which have simply been shuffled together for this book, but the result - however it came about - is like a bubblegum song version of the music industry - light, shallow, frothy, without too much musical depth.
For all that, I was entertained and informed by it, but there were times I wanted better, less shallow, and less one-sided coverage than I got. It felt like he was trying to keep the hit-makers happy and cared little for the singers. On the other hand, I must confess I have little regard for those who can only sing. I much prefer an artist who can write and play, as well as belt out the finished song, but those people get scarce coverage here.
It's bothering that an older white guy who seems very retro in his social attitudes, is so up in the business of female artists of color, often denigrating them in the process, while seemingly fawning over the record producers - the ones with the real power these days, who are also all guys, often white guys from Sweden. Apparently this system works because we read that 77% of the profits in the music business go to 1% of the artists. This explains a lot of very rich artists these days, but whether that's what the world wants or needs is another matter. It's disturbing that far less than 1% of the songs that are out there in any given year are the ones that bring in nearly all the revenue.
The book also covers the changing landscape of hit-making from when a talented artist wrote, played and sang their own material to the modern era where hits have become as much science as art, and where as many as half-a-dozen or more exerts are brought in to craft various portions - even tiny ones - of what's essentially a scientifically-designed song. The bulk of the book is about that latter part, and there's heavy coverage of white producer "Doctor Luke," who admittedly has generated a lot of hits.
Of course not all hits are made that way and I wish this book had covered a wider variety of songs, producers, and artists than it does, but it was nevertheless an interesting story as far as it went, and certainly an educational one for me. That said, coverage of the topic is in many ways almost random and quite spotty, and it's largely of the reporting kind - there's no real analysis of the material going on here, and as is often the case in works of fiction produced in the US, this non-fiction book produced in the US is pretty much all USA all the time. It really doesn't recognize that there are other places in the world - except in process of mentioning the Swedish producers who have influenced US music. That said, the US music business is a huge portion of those billions I mentioned earlier.
From the nineties to the twenty-teens, world-wide revenue from the music business plummeted from almost thirty billion dollars to about half that. This book examines the reasons for that slide, not least of which is of course Napster and subsequently its business replacement, Spotify. Apple's iTunes did the same thing back then to music, that Amazon has since done to fiction, which is crashing the price of a work down to 99 cents. So was it Napster which did the damage, or Apple's rock-bottom prices, or both, along with other causes? Probably a mix.
Of course the problem with putting out an audiobook of this nature is that it begs to have the songs - or at least snippets of them included for listening, especially if it's a song you may never have heard, even if you've heard of the song. Why that wasn't done I do not know, but in a sort of a 'review' book like this, I doubt it was a copyright issue. You don't need to include all of the song, and fair use certainly should permit a snatch of some music when you're actually writing about how it came to be.
But then this book is what it says it is: it's about the hit-makers, not the hits, so I guess you take it or leave it, but with these caveats, I commend it as a worthy listen. If you have access to Netflix, there's a very short series on there titled 'This is Pop' which has nothing to do with this book, but which covers some contingent topics and which makes a great companion listen, broadening your scope a lot.
