Wednesday, April 25, 2012
"April is the cruellest month," according to the first line of T.S. Eliot's 1922 poem The Waste Land, but that's when M. Ward of She & Him chose to release his new solo album A Wasteland Companion. While it would be a stretch to say that the album was inspired by Eliot's poem, Ward says Eliot wasn't far from his mind. "I'm a huge fan of T.S. Eliot," Ward told Austinist, "and I probably first heard of that 'wasteland' idea reading T.S. Eliot in high school; to me, it's a pretty useful term, because it can be applied to someone or something in many different situations."
Ward recently told the New York Times that in addition to Eliot, his favorite writers include Virgil, Homer, and Dante. "I’ve been reading The Inferno for a long time," he says. "I’m a huge fan of that book."
For more music influenced by The Waste Land and other works by T.S. Eliot, check out these previous posts.
Wednesday, April 18, 2012
The last line of F. Scott Fitzgerald's classic 1925 novel The Great Gatsby--
So we beat on, boats against the current, borne back ceaselessly into the past.
--provides the chorus and the title of Eric Carmen's song Boats Against the Current, as well as the title of the 1977 album it appeared on. The song wasn't directly inspired by the book, however, but by a falling out Carmen had with his record producer.
On his website, Carmen describes the origins of the song:
It came, music and lyrics, at four in the morning out of a sound sleep. I wrote it down as fast as I could. It came all at once—the first two verses were completely written. The lyric was originally inspired by the breakup of myself and Jimmy Ienner, my producer. It was written about a friendship that had reached a point where we both knew we had to go our separate ways for a time....As is sometimes the case with me, my very best song will come last, when I don't need it anymore. I just happened to be finishing The Great Gatsby the day I had written the verses of "Boats Against The Current," and that one paragraph was exactly about what the song was about. So I sat and read it and I thought, "Tomorrow, we'll run a little bit faster, tomorrow…" I was on that last page when I said, "Here's the chorus and the title of my album."
Carmen describes "Boats Against the Current" as "my favorite song that I've ever written."
Tuesday, April 3, 2012
Novelist Harry Crews died last week at the age of 76. In an obituary in the New York Times, Margalit Fox wrote that Crews's novels "out-Gothic Southern Gothic by conjuring a world of hard-drinking, punch-throwing, snake-oil-selling characters whose physical, mental, social and sexual deviations render them somehow entirely normal and eminently sympathetic. . . . Despite their teeming decadence, or more likely because of it, Mr. Crews’s novels betray a fundamental empathy, chronicling his characters’ search for meaning in a dissolute, end-stage world. His ability to spin out a dark, glittering thread from this tangle of souls gave him a singular voice that could make his prose riveting."
Crew's novels include The Gospel Singer (1968), Naked in Garden Hills (1969), Car (1972), A Feast of Snakes (1976) and The Knockout Artist (1988), among other works of fiction. He also wrote a celebrated memoir called A Childhood: The Biography of a Place (1978).
Crews and his work have been embraced in various corners of the music world:
The website for the band Men Without Hats features a quote from Crews's story The Hawk Is Dying: "Find what was real in the world and touch it, that was what a man ought to do." The band's 1991 album Sideways includes a track called "Harry Crews," but, the website states, "the links between Sideways and the author run even deeper. Like Crews, the album is characterized by this search for what is real and meaningful, and is bound to real places, people and memory, offering a new perspective to those who think they know Men Without Hats…. Sideways is a testament to a way of life championed by the Bukowskis and the Crews of the world--that is, the idea of living life and music by the moment." Lead singer Ivan Doroschuk sums up Crews's writing style by saying, "He's really real. . . . He wrote a lot of things for Playboy magazine and Esquire and he's just real--like Bukowski's Barfly."
Season to Risk has a song called Snakes on their self-titled first album, released in 1993. The song is inspired by the Crews novel A Feast of Snakes, which centers on the bizarre ritual of the annual Rattlesnake Roundup in a small Georgia town. Another band, Drag the River features a song called Mr. Crews on their 2006 album Its Crazy. The lyrics begin: I was a gospel singer feasting on rattlesnakes, and continue with a grab bag of Crews references. The song also captures the spirit of Crews's work with the lines: I never seen this kind of beauty before/Mud, blood, lost love, liquor, guns, whores.
In 1989, Kim Gordon (of Sonic Youth), Lydia Lunch, and Sadie Mae formed a band called Harry Crews and released one album, a collection of live performances, called Naked in Garden Hills after Crews's novel. As Spin Magazine points out in a review, "lyrics to some of the songs—notably 'The Knockout Artist,' 'The Gospel Singer,' and 'Car'—are inspired by Crews's stories, though the connection is loose, a sort of Cliff's Notes/free-association combo. Once in a while the lumbering brake-shop squall of the music suggests something of Crews's stories…."
If Spin did not embrace the album--"The stated good intentions of the project (promoting Crews's work and reading in general) count for something, but more effort should have gone into composition and execution"--Crews himself was even more dismissive: "Anybody that thinks this album in any way illuminates my work or is somehow related to my work except in instances lifted out of my books—my reaction is that whoever thinks that, they have misread me," Crews told Spin. "I wish [the band] well. But my feeling is, if you want to do something with your life, that's great, but don't jack around in mine."
One other related note: Thurston Moore, Kim Gordon's Sonic Youth band mate and husband, provided a blurb for Crews's short novel An American Family: "God bless Harry Crews, America's best writer. He'll break your heart but he'll always bring you love. They just don't make 'em like this anymore."
Sunday, April 1, 2012
WHY ARE VETERAN ROCK STARS RETHINKING, REWRITING,
OR RENOUNCING THEIR CLASSIC SONGS?
A few days later, Paul McCartney heard Live and Let Die on his car radio and was "stunned" by the lyrics. "All this time I thought it was 'Live and Let Live,'" said McCartney, who has been performing the song for the last 39 years. "'Live and let die' is not the kind of message I want to send to young people today," he told friends, who assured him that young people don't listen to his music. But he was dumbfounded when pressed about the Beatles song Happiness Is a Warm Gun. "You sure about that?" he said.
Meawhile, Paul Simon was at work updating his 1973 hit Kodachrome. "The advent of the digital camera has rendered it an anachronism," Simon said. "I'm changing the title to 'Mem'ry Card,' so now the fade-out goes:
Mama don't take my mem'ry cardMama don't take my mem'ry cardMama don't take my mem'ry card awa-a-a-ay
"I'm still stuck for a rhyme for 'pixel,' though."
These incidents, seemingly unrelated, proved to be harbingers of an inexplicable and disturbing trend that has shaken the music industry to its core, as growing numbers of veteran rock stars rethink, rewrite, or renounce their classic songs.
Gene Simmons, lead singer of Kiss, was next. Simmons was studying his tongue in a mirror when it occurred to him that the band should stop performing their signature tune Rock and Roll All Night (and Party Every Day). "Such a schedule is unrealistic," he said. "It doesn't allow for sufficient sleep, an essential part of a healthy lifestyle. Nor does it leave time for other rewarding activities, such as reading, gardening, and spending time with friends."
Bob Dylan came forward to reveal that his classic album Highway 61 Revisited is a lie. "I've never even been on Highway 61. It's all been a sham," Dylan told Rolling Stone. The magazine, being inanimate, just lay there on the coffee table and didn't respond.
Considered individually, these incidents don't amount to much. When viewed as part of a larger pattern, it becomes clear that the cumulative effect is potentially devastating for rock and roll.
"This type of second-guessing is typical of artists in middle-age," said Dr. John, Counselor in Residence at the Mr. Mojo Risin Center for Getting Your Head on Straight, Man at the Rock and Roll Hall of Fame in Cleveland, Ohio. "It reflects an unconscious desire to remain relevant--to be what Freud called 'hep' and what Jung referred to as 'with it.' B.F. Skinner preferred 'fly,' but these are merely clinical terms for what you and I would call 'cool.' Underlying this desire, of course, is a repressed fear of mortality."
This last theory was borne out by a panel of aging rock stars who appeared on "Piers Morgan Tonight" to discuss why musical icons would disavow their own work.
- • Blue Oyster Cult's Eric Bloom told Morgan why he no longer performs Don't Fear the Reaper: "I'm a lot older now. Man, I'm terrified."
- • Roger Daltrey expressed similar sentiments about the Who standard My Generation: "I never really wanted to die before I got old. Also, I don't stutter."
- • Bruce Springsteen admitted he had second thoughts about his iconic hit Born to Run: "I get winded pretty easily these days, so I’m reworking it as 'Born to Mall Walk.'"