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One of the all-time greats in Canadian music recounts his life and times in the business from the 1960s to the present. Whether acting as a producer, record label owner, or manager of great singer/songwriters and bands, Bernie Finkelstein, recipient of the 2006 Juno Special Achievement Award, has played a pivotal role in bringing great Canadian music to the rest of the world.
Bernie Finkelstein has been a prominent figure in the Canadian music industry for nearly five decades. Now, a couple years after selling his beloved True North label and only recently stepping down from his role at MuchFACT, which has given out more than $63 million in grants to Grammy-winning acts like Sarah McLachlan, Nelly Furtado and Arcade Fire, Bernie is finally ready to talk. In this wildly entertaining and outspoken memoir, the producer, label owner, and artist manager opens up about his childhood, breaking into the Greenwich Village scene with The Paupers at age 19, discovering Bruce Cockburn, producing the "loudest band in the world," Kensington Market, managing and producing Murray McLauchlan, Blackie & The Rodeo Kings, and Rough Trade, winning 40 Junos, and much more.
- Published on: 2016-03-22
- Released on: 2016-03-22
- Original language: English
- Number of items: 1
- Dimensions: 8.00" h x .80" w x 5.20" l, .81 pounds
- Binding: Paperback
- 304 pages
Review
• "A powerful testament to two things: the importance of timing and the difference one person can make. . . . Irresistible, and [Bernie] tells it all like a born raconteur." -- Montreal Gazette
• "A modest, candid and lively memoir. . . . A true Canadian, he lets his failures shine as brightly as his triumphs." -- Maclean's
• "[A] funny and fascinating new memoir." -- National Post
• "[Bernie Finkelstein] takes readers on a fascinating tour inside his career and his professional relationships." -- CTV News
• "Bernie Finkelstein's latest 'gift' to the music business is the release of his book." -- Cashbox Magazine Canada
About the Author
BERNIE FINKELSTEIN has been a prominent figure in the Canadian music industry for over 40 years. In 1969, Bernie founded True North Records (now Canada's oldest and longest-running indie record label) and The Finkelstein Management Company. Since its inception, the label has sold more than 40 gold and platinum records and received more than 40 Junos. Throughout his career, Bernie has been known for nurturing and managing career artists including Murray McLauchlan, Barney Bentall, Dan Hill, and Blackie & The Rodeo Kings. Bernie is also still active as the manager of legendary Canadian artist Bruce Cockburn. In 1984, Bernie co-founded MuchFACT, a fund backed by MuchMusic and MuchMore that provides grants to Canadian artists like Arcade Fire, Sarah McLachlan, Nelly Furtado, and k-os. He is a member of the Order of Canada, and an inductee of the Canadian Music Industry Hall of Fame.
Excerpt. © Reprinted by permission. All rights reserved.
It was early March 2009 when the ring of the phone shook me from my daydream. I’d been staring out the window of our little library at the farm my wife and I had bought in Prince Edward County a few hours east of Toronto, deep in Ontario’s newest wine district.
I’d been watching the birds hopping around on the ground and eating at the feeders I’d put up. Grosbeaks, blue jays, and the occasional brilliant red cardinal. They were strikingly beautiful against the snow. It was easy to get lost in watching them, and why not? I’d sold True North about eighteen months earlier and had gone from being involved in twenty-one acts to only working hands-on with one, Bruce Cockburn.
Luckily for me, Bruce had decided to take off some time just around the period I had made the sale. So I had time on my hands, and I was spending a whole lot of it looking out this window, and a few others in the County, and I was loving it. I knew it was just a matter of time till things started to happen again, but I also knew it would never be the same.
When I picked up the phone, it was Michael Cohl on the other line. Michael Cohl. If I could be considered successful at all then Michael was Croesus himself.
Was it really forty years ago that we had casually smoked a joint together in Yorkville? Things were different then. We both were getting started in Toronto’s Yorkville district. While I had already been managing two bands, the Paupers and Kensington Market, there was no question that Michael was going to become someone special. And he certainly did. In 1989, he bought the rights to, and produced, the Rolling Stones’ Silver Wheels tour, which went on to become the world’s most successful tour to that date.
Receiving Michael’s call startled me. As much as I’d liked him, we hadn’t stayed in touch. He told me he was going to produce a show at New York’s Madison Square Garden to celebrate Pete Seeger’s ninetieth birthday on May 3 and wanted to know if Bruce would like to participate. The only other act he’d booked at the time of the call was the other Bruce – Springsteen – but he was now working on the lineup and it promised to be a good one. After a quick call to Cockburn, who was more than happy to do the show, I called Michael back and confirmed.
Of course we would do the show. It was a no-brainer. What a great way to start things rolling again, and the concert was a natural fit. This would not be the first show we had done to celebrate the great Peter Seeger. Bruce had done a concert in Philadelphia on May15, 2005, to acknowledge Pete’s fifty years of writing the “Appleseeds” column in the venerable folk magazine Sing Out! That concert, at the 1,400-seat Keswick Theatre, included Judy Collins, Natalie Merchant, Janis Ian, and Pete himself. But now that Michael had become involved, the event had moved to the 18,000-seat Madison Square Garden. When I mentioned this to Michael his modest response was, “That’s what happens when you have Bruce Springsteen involved.”
The show ended up with more than fifty artists on the bill, including Dave Matthews, John Mellencamp, Joan Baez, Emmylou Harris, Kris Kristofferson, and Ani DiFranco, just to name a few. PBS signed on to broadcast the concert across the United States and then to release it on DVD. Because of the number of acts on the show, various artist pairings and ensemble numbers were going to be set up.
Everyone was to do one or two Pete Seeger numbers, or at least songs associated with Pete over the years. We had requested that Bruce do “Turn, Turn, Turn,” a song he had recorded on a Pete Seeger tribute album, Where Have All the Flowers Gone, in 1998. But when Roger McGuinn from the Byrds was added to the show, naturally he was given the song that the group had taken all the way to number 1 in 1965.
But all’s well that ends well. Bruce was paired up with his friend Ani DiFranco to do the old union working song, “Which Side Are You On?” His other number would be done with the only other Canadians on the show, Kate & Anna McGarrigle, and Kate’s children, Rufus and Martha Wainwright. They chose to perform “Dink’s Song,” which is also known as “Fare Thee Well.” In fact, Fred Neil’s version of “Fare Thee Well” is one of my all-time favourite records. Check it out if you can. Sadly, the performance at Madison Square Garden would be one of Kate’s last public performances before she passed away from a rare form of cancer.
It was an amazing evening. Both of Bruce’s “duets” were remarkable and extremely well received. The tickets had sold out in a matter of minutes and the love and respect for Pete Seeger throughout the backstage area and the entire audience was palpable. At ninety years of age, his performance and energy were enough to give you hope for the aging process.
Every inch of the backstage area was crawling with people I’d met and worked with over the past forty-five years, from Steve Earle to Taj Mahal to Billy Bragg to Joan Baez. The music director for the evening was Torontonian Bob Ezrin, whose production credits included Pink Floyd, Alice Cooper, and Peter Gabriel. I had worked with Bob back in the eighties on a Murray McLauchlan album. I spent some time talking to Danny Goldberg, former president of Warner Records and currently Steve Earle’s manager. I had first met Danny when he owned Gold Castle Records, the American record company that had released Cockburn’s Stealing Fire with the hits “If I Had a Rocket Launcher” and “Lovers in a Dangerous Time.”
It was a bit like an old-fashioned school reunion. The neat thing was that just about every conversation had something to do with music and songs, which was a refreshing change from the current ongoing dialogue that seems to always revolve around bandwidth, piracy, or some other tech issue. Important stuff no doubt, but in my life there was nothing more important than a good song, and it was good to be somewhere where that was the main topic. Everywhere I turned there was an artist whom I had either toured with or presented in concert at one time or another. And with them came their managers, agents, and others, many who’d become my friends over the years. Lots of great – and occasionally not so great – memories.
The show was a signal to me that although I had left the record business, I hadn’t left the music business, and it represented a fine re-entry into the hustle and frenzied world of management, something I had seemed to have a knack for and hadn’t yet lost.
Most helpful customer reviews
0 of 0 people found the following review helpful.
Brilliant cover photo. Good book.
By VG
I guess it’s somehow appropriate/amusing/sad that this book has attracted so little attention at Amazon.com, and received only a tiny handful of reviews. After all, Bernie Finkelstein devoted his entire professional life to finding, developing and promoting Canadian music, first and foremost for Canadians, but also, with very partial success, for the US market. Finkelstein is a Canadian success story, and a worthy one, but he never managed to quite break it south of the border.
The book describes how Bernie Finkelstein, 50s base brat at the old Downsview Air Force base in Toronto, became the best-known and most successful independent record producer in Canada, starting off in 60s Yorkville until the time he sold his business – True North – in the first decade of the 2000s. It’s a good, quick read, and is especially interesting if you have any familiarity with that old Toronto scene.
Of all the acts Bernie promoted, Bruce Cockburn was by far the most successful. Bruce is known to everybody over 30 in Canada, and he has a largish international following. He’s one of my favourite artists, and so Finkelstein’s book was interesting just to learn more about how the two slowly rose to prominence. It would have been better, of course, if we could have had more financial detail. That was really the chief drawback of the book – lack of financial detail. I realize that Finkelstein can't go around divulging the financials of all his artists, but it would have been nice to have a notion of the amounts. It would have been great if he could have taken just one of Bruce’s early albums, or one of Murray McLauchlan’s and just laid it all out: studio time, producers, editing, studio musicians, production, distribution, promotion, and the resulting tours – musicians, trucks, plane tickets, ads, gate receipts, record sales, etc. How much does the artist get? How much for True North? How much for CBS or whomever? For a smallish company like True North, how often do the numbers simply come up negative? That sort of info would have made this book monumentally interesting. Also, airplay, Much and MTV: what’s the financial situation there? How does it work? Who gets what? For insiders, it’d be old news maybe, but for a shmuck like me, it’d be great reading. Finkelstein almost gets into it a couple times but shies away immediately. Instead, we get a sort of herky-jerky biography, soaked in drugs, heavy on amusing anecdote, but short on figures.
Finkelstein probably wouldn’t agree. He spends a significant amount of time in the book talking about various financial pressures and about various organizations or committees who financially helped or hindered Canadian artists. From his point of view, I’m sure, he delivered great dish on industry financials, and he’s certainly to be admired for all of the work he did to get funding and attention for Canadian artists. But I don’t think that’s what readers really want to read about. I’d like to know, for example, all of the costs and revenues of a Bruce Cockburn tour of Japan. Or who got what when Wondering Where the Lions Are finally broke big worldwide. Or what kind of money Rough Trade was able to generate. Again, I realize it’s tough to divulge dollar figures, but without any of this info, the book keeps the reader on the outside – we feel almost that Finkelstein is giving us maybe 25% of the full story.
And that 25% isn’t bad. It kept me reading to the end, but the end comes quickly, with little fanfare. Finkelstein parts with McLauchlan, splits with partner Bernie Fiedler, signs a few other acts and the book quickly wraps. Again, no details about the financials of the split with Fiedler; in fact, the whole thing is over in a page. He supplies zero detail on the sale of True North, apart from telling us that he received a 7-figure amount for the business and that a bank teller was unimpressed when he deposited the cheque. It almost felt as though Finkelstein lost interest once the book got to page 200 and so he just quickly zipped through the 90s and 2000s and got it over with in another 80 pages.
Too bad. There’s a lot more to be told, I’m sure. I’d love to see a follow-up where each of Finkelstein’s main acts gets 20 pages to pen their own account of working with True North. I’m sure that would be absolutely fascinating. Maybe I’ll pitch the idea to a Canadian publisher…. and watch their eyes roll into their heads while they prepare to promote a special Madonna retrospective illustrated with scandalous new photos ;-)
Anyway, I’d give it 3.5 stars, so round it up to four.
2 of 3 people found the following review helpful.
Music World Inside The Ropes
By AREADER
TRUE NORTH: A LIFE IN THE MUSIC BUSINESS
by Bernie Finkelstein
McClelland & Stewart
Right from childhood Bernie Finkelstein was his own man with a love of music and a romantic's curiosity about the people who made it. Though he spent his formative years in Britain his heart was back in North America with Rockabilly, Blues and the emerging genre of Rock and Roll. There was never any question about what he would do when he grew up; he was going to be in the music business. The fact that there was no music business in Canada at the time was no impediment to his goal. He made it up as he went along.
The story begins with the early years of Folk at it's most innocent and follows along as things get political and then morph into a psychedelic rejection of the Establishment. People were lost along the way but Finkelstein managed to make it through, somehow recognizing when it was all getting a little too "out there". Despite whatever was going on around him, and he did participate, he manages to maintain a focus on what really mattered most: the music.
Finkelstein broke ground and forged a path for his artists who themselves were groundbreakers. He had a natural gift for recognizing talent and then fought to get others to see what he saw -- hear what he heard. And he gave back to the business that he'd help create, devoting much of his time to the industry organizations that would work to protect the ground that had been gained. His efforts have been recognized with numerous awards over the years.
Finkelstein tells his tale with humility, which according to those who know him, is not the first quality that comes to mind when they think of him. He's quick to recognize the contributions of others and downplay his own efforts with a "right place, right time" kind of off-handedness. This is the story of a life well lived and enjoyed
2 of 3 people found the following review helpful.
A good "music biz" read
By Greg Ward
He managed & produced many good & great Canadian singers, songwriters & groups! Travelled with them, arranged (& attended) concerts & such. Enjoy!
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