Tony Visconti: the Autobiography: Bowie, Bolan and the Brooklyn Boy

A terrific book, although distinguished more by the light it shines on Visconti's impressive career than for its illumination of the work of Bowie and Bolan, Visconti's best known clients.
Visconti's childhood, adolescence, and first ventures into the music business are fascinating. He had an old-school musical education - right down to a heroin habit. When he came to London his talent for arrangements, and general musicianship, were equal, or perhaps superior to any of his peers (he also was in the right place at the right time).
In some cases the stories we hear in this book are familiar ones, but Visconti's insights into Marc Bolan and David Bowie are always interesting. Sometimes I wondered whether the fact that Bowie comes out so much better is due to the fact that Mr Bowie also offers the prospects of future employment... but on balance his account rings true.
There are a few copyediting errors, and I could have done without the story of forgotten albums by artists like the Boomtown Rats. But this is a must-have for Bowie freaks, if not Bolan fans, and anyone who's more interested in an artist's studio activities than their sexual proclivities.

High hopes... (6/8 people found this helpful)

Being such a fan of the major records produced by Tony Viconti, I was really looking forward to this book, to get an insight into his production and hear his many interesting tales of the artists he has worked with. Unfortunately, what I got from this book was a rather dull rant about how brilliant Bowie was, how awful Bolan was, and how he was the angel caught in amongst all of this.

I am quite sure Bolan could be a pain in the backside, especially when drugs were added to the equation, but the whole thing smacked of 'he's not here to defend himself so let's let rip'.If he was that bad, why was tony such a friend to him? It bugged me. And David Bowie was a saint in comparison according to tony- funny that, because the two fell out massively in the 80s which is not mentioned at all here, and his glowing praise for David seemed to be mr. visconti sucking up.

Tony visconti unfortunately, to me, came across as, although very talented, rather 'bitchy' and boring. The story of his life has intereseting moments, but it is not written in a fluent or easily followed style. I would reccommend listening to the amazing work he has produced, and not read his biased, rather dull, and frankly egotistical autobiography.

Life is Strange (2/2 people found this helpful)

I enjoyed reading this, however, it does tail off after the first couple of hundred pages. As a previous reviewer notes, the 80s until now is almost presented in list form.

I would have liked to have read Visconti's views on some of the technical aspects of the records he produced, and some of the details of the recordings of the Bowie and Bolan material is limited to material which has been covered before. Indeed he has disclosed more information in interviews for publicising the book than sometimes appears in it! (And material such as Bowie's displeasure with Visconti due to an 80s interview is not mentioned at all.)

It is an enjoyable and easy read, but it seems like an overview. I gained little insight into his production techniques and what he brings to records he produces. It is no fluke that he has worked on some seminal works, so what are his philosophies and techniques?

There are occasional insights which are interesting and it is nice to hear some of his views, and he comes across as a flawed but likeable character, it is a shame that not all of the many stories he must have make it onto the page.

A man with a hundred tales to tell (4/4 people found this helpful)

Having been a music fan virtually from the first time I heard I Wanna Hold Your Hand crackling from my parents transistor radio I have stumbled across Tony Visconti's name so many times it's almost spooky. Whatever your particular musical bias there's a fair chance that the man will have touched your life at some point, whether through his work with happening sixties groups like Procol Harum and The Move, the seventies glam of T.Rex, the prog rock of Gentle Giant, the hard-hitting rock'n'roll of Thin Lizzy, or even the pseudo punk of Hazel O'Connor. And all this before we even begin to mention his on/off relationship with Bowie from the Mercury days onward.

I've waited a long time for this book to come out, believing that Visconti must have a hundred tales to tell, and for once it's a boo that lives up to all expectations. Candid, humorous and well-written, the only danger with this book is that you can easily lose a few hours simply through being unable to put it down. What's more, by a wonderful stroke of luck Visconti is a keen amateur photographer too and the previously unseen pictures included here are almost worth the purchase price in themselves.

If, like me, you thought you'd read everything about Bowie you'll be amazed at how much more you learn from Visconti's accounts of their work together. If, on the other hand, you simply enjoy a good read, written by someone who has, musically, tried it all and come out smiling, then this book is equally fulfilling.

Good story - badly told (4/5 people found this helpful)

Tony Visconti has a unique perspective on popular music given his work with artists ranging from Bolan, Bowie, Morrissey, U2, Thin Lizzy, Paul and Linda McCartney, OMD, Bob Geldof etc so this book should have been an amazing insight into his experience - and it is.... at the beginning of the book. The problem is that although the story starts off well - describing his early career in the 60s and 70s - particularly the Bowie and Bolan bits - suddenly, in about 1980 (half way through) the book bombs - I struggled even to get through the last few pages they were so dull. The book becomes, more or less, just a list of people he worked with - including many many bands you've never heard off whose music he got enthused by.

The description of his own life outside music is limited to his seemingly manic obsessions such as with martial arts, quasi-religious business gurus and (surprisingly) the Alexander Technique plus descriptions of his failed marriages - all littered with references to his, and others, experiences with drink and drugs. If this bit of the book were well written the second half of the book could have worked - but the writing is very pedestrian (what did the guy who helped him write the book contribute I wonder?).

Perhaps because of the writing style, Visconti comes across as a likeable but somewhat shallow individual - however, the book does convey the fact that he is clearly a great record producer and the detail of some of his recording techniques could be interesting to anyone who understands music recording technology.

Tony Visconti: the Autobiography: Bowie, Bolan and the Brooklyn Boy

Tony Visconti

Reader Reviews:

A rare view behind closed doors. Studio doors, that is. (1/1 people found this helpful)

High hopes... (6/8 people found this helpful)

Life is Strange (2/2 people found this helpful)

A man with a hundred tales to tell (4/4 people found this helpful)

Good story - badly told (4/5 people found this helpful)

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