Music vs Lyrics

In episode 10 of our podcast 1000 Greatest Misses, Christopher Grey and I discuss music and lyrics, and whether one is more important when falling in love with a composition.  I concluded that with some exceptions, music is most important to me, and that as long as a lyric isn’t overtly lame (“Hey baby let’s go out tonight, Hey baby, I’m feeling alright”) a good melody will carry the tune to the finish line for me.  But a lyric that’s embarrassingly bad will often ruin an otherwise good song.

A few weeks ago, John McWhorter of the New York Times reviewed an upcoming book called Quantum Criminals: Ramblers, Wild Gamblers and Other Survivors from the Songs of Steely Dan, and concluded that the book “is a reminder that one can be massively fulfilled by language one doesn’t fully comprehend.”  I love this summation because it perfectly captures my sentiment for a band like Yes, whose lyrics are complete nonsense to me, but that still manage to be profoundly evocative.

Consider a song most everyone knows: “Roundabout.”  The lyric of the chorus is:

In and around the lake
Mountains come out of the sky
And they stand there

Nothing crazy there. Kind of poetic, maybe.  But nothing overtly comprehensible.  Now imagine if singer Jon Anderson had instead leaned on rock and roll’s worst lyrical instincts and composed the following over the same melody:

I’ve got to see you, babe
You know you’re all I crave
In the evening

Not exactly what I’m looking for in a song! And surely “Roundabout” wouldn’t be a classic if its lyrics were such garbage. It’s the same reason why a band like The Babys are hard for me to listen to. An otherwise competent song like “Every Time I Think of You” isn’t helped when John Waite sings:

People say a love like ours will surely pass
But I know a love like ours will last and last

Ugh, who farted, right? And the Babys actually outsourced this tune, written by Jack Conrad and Ray Kennedy. You’d think someone could have come up with a better lyric. Terrible.

But then you’ll get words that are kind of lame but are backed up by such a terrific groove, that it hardly matters what’s being said. I think of a song like “New Sensation” by INXS.  I dig this song despite its lyrics:

Live, baby, live
Now that the day is over
I got a new sensation
Mm, perfect moments
That's so impossible to refuse

Somehow, this works for me. I can’t explain it, and I certainly can’t defend it. But I really like the song.

Of course, the best result is the perfect marriage of music and lyrics, an alchemy that’s rarely achieved, but when it happens it can move me to my core, and it’s why I admire artists like Jackson Brown, Randy Newman, Bruce Springsteen, Rickie Lee Jones, Paul Simon, etc. When Jones sings “And I can hear him
In every footstep's passing sigh/He goes crazy these nights/Watching heartbeats go by” or when Springsteen sings “There were ghosts in the eyes of all the boys you sent away/They haunt this dusty beach road in the skeleton frames of burned-out Chevrolets”…well, damn. I’m all in. Tears, every time.

For my own compositions, just as I try to avoid musical clichés, I try to avoid pedestrian lyrics. Occasionally, I hit the mark, combining melody, harmony, groove and words that convey an emotion together that could never be achieved by their separate parts.

The beauty of song.

The Secret Life of Groceries: a book review

On a whim I picked up Benjamin Lorr’s investigative journalism book, The Secret Life of Groceries: The Dark Miracle of the American Supermarket, and walked away with a newfound respect for the people who allow us the modern miracle (dark as it may be) of having almost unlimited food options in every grocery store in the western world. We forget that the grocery store as we know it is a fairly new invention, coming into being last century and used as propaganda to bolster support for capitalism. That food is as inexpensive and as abundant as it is, is indeed a miracle when considering the course of human history.

But oh, the price we pay for such convenience and abundance. Lorr doesn’t resort to preachiness, pointing an accusatory finger at greedy Americans. In fact, he willfully acknowledges all the benefits of today’s grocery stores, while highlighting many of the downsides of the grocery industry, particularly as it pertains to the challenging lifestyles of many of the people who devote their careers to meeting consumer demands. Lorr spends significant time with the people who make it all possible: the founder of Trader Joe’s (Joe Coulombe), a Whole Foods employee manning the seafood counter, a female long-haul trucker, an entrepreneur trying to get a new condiment onto grocery store shelves, a man who’s spent years on a shrimping boat. Lorr shines a light on the people we take for granted, and does so in a caring, meaningful way. Hearing directly from his subjects as they share stories about their often-difficult lives, I felt not only sympathy for them, but gratitude that they make my comfortable life possible.

Surprisingly, The Secret Life of Groceries isn’t a call to action in the obvious sense. Lorr doesn’t end the book with “five things American consumers should be doing to make the world a better place.” He actually does the opposite, offering little more than a shoulder shrug at our current plight, conceding that there is virtually nothing consumers can do in their purchasing habits to change the system. Rather, “any solution will have to come from outside our food system, so far outside it that thinking about food is only a distraction from the real work to be done. At best, food is an opening, like any maw, that might lead us inside.”

What about buying organically certified foods? Or products produced from cage-free chickens? Or going vegan? Of this, Lorr writes that seals and certifications “promise us that moments of individual action can create a type of change that in reality only institutional forces like labor laws, unions, and trade deals can begin to approach. They allow us to purchase our ideals from others without ever having to enact them on our own.”

Perhaps not the message readers would like to hear, but also kind of refreshing. It’s not going to stop me from buying 100% recycled paper or using canvas bags, but I get it: my actions aren’t solving the problem; they’re making me feel good. Lorr concludes, “…we have got the food system we deserve. The adage is all wrong: it’s not that we are what we eat, it’s that we eat the way we are.”

If for no other reason than to get a better understanding of all that’s involved in the global industrial food complex, I highly recommend this book.

The Cheap Trick book, This Band Has No Past

It’s been a long time since my last post, but I’m ready to get things rolling again.

Last spring I wrote about Brian Kramp’s run-in with the Recording Industry Association of America (RIAA), a short-sighted entity who temporarily shut down his music podcast, Rock and/or Roll. The silver lining in this fiasco was that it freed up Kramp’s time to complete This Band Has No Past: How Cheap Trick Became Cheap Trick, available now at Bookshop.org, Barnes and Noble, and other bookstores. I am not a die-hard Cheap Trick fan by any means, though I do think that Dream Police and In Color are nearly perfect power pop albums. Beyond that I’m a modest fan at best. Nonetheless, I found Kramp’s 300-plus-page read to be a delightful trip to the world of live music in the Upper Midwest during the 70s, and a meticulous record of how this band earned their success. If the book can capture the interest of a casual fan, I think that hard-core Cheap Trick followers will be ecstatic.

Kramp conducted more than eighty interviews for the book, including particularly insightful contributions from original drummer Bun E. Carlos and band manager Ken Adamany. The other original band members – Tom Petersson, Rick Nielsen and Robin Zander – didn’t participate, but their words are well-documented from past interviews, and I didn’t find their lack of direct input to be a drawback. If anything, it may have helped to keep the book focused and allow for more contributions from other players in the band’s history.

This Band Has No Past, a title taken from the mock-biography included in the band’s debut album, meticulously covers the origins of Cheap Trick from its modest roots in Rockford, Illinois, with forerunning bands such as The Grim Reapers, Bo Weevils and Fuse, to the recording of the wildly successful Cheap Trick at Budokan, the album that finally garnered the sales that eluded the band through their first three releases. You might be asking, “How the heck can a 300-page book only cover the band’s first few albums?” Kramp does this in a multitude of ways, all of which I found appealing.

First, he put the band’s evolution in context with contemporaneous events like the Vietnam War and the releases of Jaws and Star Wars, plus events that played tangential roles in band members’ lives, such as the details of the Richard Speck murders (which would inspire the song, "The Ballad of TV Violence") and the story of the plane crash that took the lives of Otis Redding and six others in 1967. As it happened, future band manager Ken Adamany owned the Madison, Wisconsin club where Redding was to appear that night, and Rick Nielsen’s band, The Grim Reapers, opened for what turned out to be somber occasion.

Second, Kramp’s devotion to details that other author’s may have deemed unimportant give the story its scope and vibrancy, such as the story of Chris Crowe, a graphic artist who created the band’s logo, the inclusion of setlists from various shows, and an in-depth analysis of which of the debut album’s sides was supposed to be played first (it’s not as obvious as one would think). Kramp scoured seemingly every publication that included even a passing mention to the band – the Racine Journal Times, the Rockford Register Republic, Estherville Daily News, etc. Seriously, I admire the efforts it must have taken for Kramp to amass so much information and portray it in an entertaining fashion. Hell, he included two pages worth of adjectives that various publications used to describe Cheap Trick, and another two pages of adjectives used to describe at Rick Nielsen. Kind of crazy, but really rewarding!

Which brings me to the third point: just as Kramp appears to have worked tirelessly to write This Band Has No Past, the book highlights just how hard-working the members of Cheap Trick and a multitude of other bands were at the time, playing show after show after show at tiny venues throughout the Upper Midwest, from bowling alleys to high school dances to clubs to festivals. The book serves as a time capsule of the gritty but vibrant live music scene during the 70s, a scene that modern day musicians can only long for. While most of the venues were foreign to me, I have to imagine that anyone from the area who came of age during the 70s is going to be thrilled with this trip down memory lane.

Most illuminating for me was the realization that Jack Douglas, the producer of Cheap Trick’s debut album, hand-picked the songs for that 1977 release, overlooking tracks that would later prove to be very important to the band’s success, most notably “I Want You To Want Me” and “Surrender.” And it’s mind-boggling to me that “Hello There” wasn’t chosen to open the first album; it would have rivaled other great debuts such as “Welcome to the Working Week,” “Let the Good Times Roll,” “Chuck E.’s in Love” and “Runnin’ with the Devil.” A fan of alternative history might ponder what would have transpired if these songs had been released earlier. Perhaps success would have come sooner, but perhaps Budokan wouldn’t have become phenomenon it became

Somehow it all worked out. And thanks to Kramp, much of it has been documented in an enjoyable read, and the book itself is an attractive, sturdy publication with color photos and appealing typesetting, making it well worth the price.

Memories of At-Home Fatherhood

In Meg Wolitzer’s insightful and punctilious portrayal of at-home mothers in New York City, The Ten-Year Nap, she writes of an at-home father:

…his appearance at the school in the afternoon was confusing; it threw off theories about how the world worked.  You were initially pleased by him, but then after a short while you felt slightly annoyed.  He seemed like a loiterer here in the world that the women had formed for themselves.

I read this with a nod of recollection.  It’s now been 24 years since my wife and I made the decision to have me stay at home with our twin daughters while she continued her career in human resources.  As I wrote in my song, “Daddy’s at Home”: 

I remember the time
When I found this wife of mine
Was earning more than I ever would
And as her due date arrived
We needed to decide
Which one of us would stay home for good
I wasn't tied to the workday that took me from nine to five
But now I'm wishing I could just rest my eyes

This song highlights the joys of at-home fatherhood – many of my songs do – and I unequivocally stand by the decision to stay at home and raise the kids.  I wish I could do it all over again.  I loved being a dad to young children.

But there was also a flip side to the journey: being an at-home father was often isolating, particularly on the East Coast where people are less open and tougher nuts to crack in general, but even in the friendlier Midwest.  And while one could theorize about why this was the case, I think Wolitzer offers a plausible explanation: because women were dubious about this interloper, a man entering a world that had been reserved for them.  I wasn’t invited to join their walks, their coffee outings, their phone call chats – and really, I shouldn’t have been.  I see more clearly now than I did then just how presumptuous it was for me to think that I should have been treated as a colleague. 

When I first took my twins to preschool in Illinois, many of the moms viewed me as a novelty, and I was able to establish a rapport with some of the friendlier ones.  Looking back now, I’m grateful for the few mom friends I made, who occasionally took my phone calls to chat about which park district program we were signing up for or to just unload about the trivial trials that parenting includes.  During dark winter days, when parenting could feel like a life sentence, these phone calls were a lifeline for me.  

Over time, some of the relationships I established graduated to in-person gatherings.  I think that what I had going for me more than anything else was a nonthreatening quality, some sort of signal that read, “I am not going to make a move on you.”  In a way, I preferred these relationships to any I could have established with fellow fathers.  Too often, I found dads to be a bore.  If you weren’t talking to them about sports, finances and home improvement, the conversations dried up.  The women I became friends with were more interesting, unafraid to express regret and uncertainly.  They were more self-effacing and more empathetic.  More human.

As my kids grew older, I saw other fathers walking their kids to and from school.  Most were working in some capacity, either out of the home or on odd shifts, but there were a few of us full-time stay-at-home dads roaming about.  It became less of a thing.  Less novel.  More accepted.  A quarter of a century later, I like to think that I helped them along in some small way.

Book Review: Don't Make Me Pull Over

It wasn’t so long ago that if a family embarked on a vacation, driving was the only feasible way to do it.  I took my first flight (alone, no less) when I was thirteen years-old in 1981, and if memory serves, the ticket for me to fly to San Francisco and back cost around $350, a sum that made a visit to the West Coast impossible not only for my family – hence the solo venture – but for most families at that time.  Vacationing meant driving, which often meant cramming into an unreliable car without air-conditioning, DVD players, phones or hand-held electronic games, and arguing about who controlled the radio and who got to play the Hi-Q peg game next.  Sound like hell on Earth?  Well, it certainly had a few downsides, but traveling by car in the 1970s was actually a lot of fun, and in Richard Ratay’s Don’t Make Me Pull Over: An Informal History of the Family Road Trip, he takes the reader on a pleasant Sunday afternoon’s drive through our nation’s love affair with hitting the highway.  It’s a terrific read that offers equal parts nostalgia, history and hilarity.

I had expected Ratay’s book to read more like a memoir, and although we do get to know his family – often with comedic results – Don’t Make Me Pull Over is first and foremost a history book, and Ratay deftly introduces sundry topics in an entertaining way.  We learn about the U.S. Interstate, the birth of the garish Holidome, speed limits, the advent of the speed gun and the equalizing force of the Fuzzbuster, the use of TripTik booklets (remember those?), video games, car games, restaurants and the creation of drive-through windows, an achievement Ratay is certain his father would rank as one of the greatest advancements of the twentieth century (well above personal computers, but not quite as high as graphite-shafted golf clubs).

Despite the ample history that’s packed into this entertaining read, the star of the book has to be Ratay’s father, a no-nonsense kind of guy who wants to “make good time” whatever the cost, who bargains with hotel clerks over price, and who settles disputes in the backseat by detaining the offender with his right arm while maintaining control of the steering wheel with his left.  In one hilarious chapter, Ratay tells of his father’s insistence on driving the car for as long as possible before refueling (“No sense stopping sooner than we have to.  We’ll lose twenty minutes just getting off and on the highway.”).  You can guess where this leads, but the results aren’t any less slide-splitting.  Ratay’s portrayal of his father reminded me a lot of David Sedaris’s father in his terrific memoirs, both idiosyncratic but likeable guys who’d probably make great supporting characters in a 1970s sitcom.

Ratay also writes about the experience of traveling as a child, and he fondly recalls the freedom that riding in the backseat used to entail:

After finishing my meal, I’d grab a pillow and retire belowdecks to the floorboard, where I stretched out for a nap on the warm and comfy shag carpet, positioning my belly just so over the hump of the transmission housing.

This stirs my own memory so well that I can almost feel the rumble of the wheels vibrating against my chest.

Because the book is a look back, it naturally leads to a final chapter that accounts for what we’ve lost along the way, and Ratay’s argument isn’t without merit.  He writes about his family’s first trip taken via air in 1981 (the year of my first flight), and laments that they’d taken a trip but hadn’t made a journey.  “The plain fact was that other than purchasing our plane tickets, we’d made no real effort to reach our objective…There’d been no hardships, no squabbles, no hours of tedium, not even a worry that we’d missed a turn…Our flight had allowed us to soar over all the things that once made a family vacation…a family vacation.”  There’s something to this, I think, and add to that technological advances and our desire to be entertained, even those of us who still take road trips may not experience them together as much as individually, each family member glued to his or her own device.

Don’t Make Me Pull Over is a great read by a very capable author.  I’ll be curious to see what Ratay comes up with next.