What O’Hara’s memoir does well is give a vivid and musically technical account of the music business as it was in the 1980s and very early 1990s. She is very good at bringing the reader into the recording studio to experience what it was like to be in the studio, recording and shaping the sound of the 1982 album Too-Rye-Aye and its follow-up, Don’t Stand Me Down. O’Hara has had a remarkable career, but her story isn’t as well known as it should be. Hopefully, this book will go some way towards rectifying that.
