As a new fan of American Idol and as a fan of the irascible and erudite Simon, I just loved this book. It gives an invaluable insight into, not just the contemporary pop music industry, but also what it takes and makes to become a famous and talented pop star. One of the wonderful attributes about Simon is that in hard times has constantly kept his focus and drive, and he has never “sold out” to the industry or compromised his standards. He has spent years honing his skills as an A & R Consultant, and it shows; his skills at picking talent and being able to spot the “X factor” are formidable. I don’t think Simon is actually rude; he just has an acerbic wit, and a wicked sense of humor, which some overly sensitive people may interpret as rude. He really is just brutally honest and candid, and I don’t think there’s anything wrong with him telling the truth about what he doesn't like. As he often says on American Idol – there are a lot of self-deluded people out there.
The first half of the book is very interesting, as he recounts his childhood in England, his frustrations at having to follow “a normal” career path, his days in the mailroom at EMI records and his efforts to come influential in the recording industry. He talks about the way he first insulted his glamorous mother, criticized of his first grade teacher, and was rather obnoxious to his first employers. The Second half of I Don’t Mean to be Rude… is really an expose on the development of American Idol, from its conception and pitch to the networks in the United States, to the final episodes of season two where Ruben and Clay go head to head.
Throughout the book Simon drops lots of hints about the styles of music he likes and hates, and the singers that he thinks have made a success of their lives, including Madonna, Justin Timberlake, and Kylie Minogue etc. This book is nothing but fluff, and I’m glad it isn’t too long. But even though it is fluff, I still enjoyed it. And I would certainly recommend this book if you want to be reminded of some of the greats of British pop music and also for a quite attention-grabbing insider's account of the competitive contemporary music industry.
Michael