Michael Mary Murphy’s new book hails the managers who have steered U2, Hozier and The Beatles to the top of the charts
for the fun and the art of it. Having an album reach number one can mean the difference between being admired and being adored. So how does getting to the top spot work? Can you do it on your own? Do you need a group of people to get you there or do you need just one other person: a manager who knows how to clear the hurdles and win the race?
“He thought his guys were good enough to be their own mini Brill Building,” Murphy says, referring to the New York hit factory where professional songwriters helped to create the soundtrack of the 1960s, “and he was going to protect them from anyone who said they weren’t good enough.” “Songwriters are often very sensitive souls, so they need protection, a sense of security,” Murphy says. “You can’t force them to write hit after hit, even though their record label would love that.”, her autobiography, that Rothberg was the best manager and the best friend anyone could have. “She’s not out to make money with me at all. She really believed in my talent and wanted me to do whatever I could in the most comfortable and best circumstances available.
“Paul McGuinness is very much Ireland’s Brian Epstein. Both had a sense of sophistication that their bands admired, and they viewed film, the visual experience, as a way to make their bands iconic. Also, both of them stayed away from the artistic side of things; their role was strictly business.” “McGuinness borrowed some money from his film colleagues Seamus Byrne and Tiernan MacBride, while the remainder was borrowed from the band members’ parents. The ability to access funds without dealing with the London publisher probably saved the band millions of pounds.”McGuinness also hired a string of brilliant women, Murphy points out. “U2’s management team has always been overwhelmingly female. This prevented their image and self-presentation from ever becoming too overtly masculine.
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