Search results for 'brilliant Songs'

I learned the Australian folk ballad “Waltzing Matilda” so early in my elementary school years that I don’t remember very much of the life I led before it became one of those anthemic tunes that courses through my blood with ease and gladness whenever I find myself suddenly singing it in the shower or out on a bike ride in the sun-splotched innocence of a spring day.

So the genius of Eric Bogle’s “And the Band Played Waltzing Matilda” is that it uses the freewheeling joy of the original as the backdrop for a deep lamentation on the devastating losses of war. Bogle frames those losses not in the realm of great battles and territory surrendered or annexed, but in the individual persons (young men in this case) with families, friends and romances waiting for them at home, and a future that will never be realized.

The setting is World War I, perhaps the most nonsensical war of all the nonsense that lies deep ...

Artists often reflect ancient conundrums. To varying degrees, the driving force of their work consists of seeing the world as few others do—more deeply, with greater sensitivity, more laden with feeling, judgment, nuance, beauty, curiosity, obsession, mystery.  A common refrain: they feel in the world but not of it, with warring impulses to hold it close and finally break its code or push it away as something alien and irredeemable.

The classical (Romantic Era) composer Frédéric Chopin, born in Poland in 1810, embodied all these conundrums and more in a life often compromised and ultimately cut short by tenuous health that saw him dead at age 39 from multiple complications of tuberculosis.

But like many artistic geniuses almost bouncing out of the cradle eager to begin dropping their works into posterity (he wrote his first polonaise, a traditional Polish dance form, at age 7), Chopin at 20 was alrea...

We suffer, in this world, though it may seem absurd to say so, from an overabundance of supremely talented singer-songwriters. Yeah, I know—nice little problem to have. So many You Tube clips, so little time…

The downside of this decidedly First World problem likely falls most seriously on the supra-talented artists themselves. Most of them labor too long and deeply in relative obscurity, jostling for exposure, name recognition, gigs and income in all the ways artists have always struggled to continue answering the siren call of their art.

Answering it, of course, without wearing themselves out in day (or night) jobs driving cabs or giving music lessons to kids who are often resentfully there under the watchful eyes of parents dead-set on them developing their “artistic side.”

What he’s after is the essential truth over which a thousand theologies trip, stumbling over their dogmas, creeds and codes while...

Hymns and anthems don’t generally make for great poetry of the kind we are accustomed to from poetically inclined songwriters such as Bob Dylan, Joni Mitchell, Leonard Cohen, Cole Porter, et al. (When you’re done here, click on this for a fun discussion on NPR of “10 Nobel-Worthy Lyricists Who Aren’t Bob Dylan.”)

The churchy and/or patriotically laden lyrics of hymns and anthems usually get too flabby with arcane devotional language and banal nature references stripped of any surprise imagery, intriguing word combinations or fresh metaphors that make good poetry shine.

So I will begin the 35th rendition of this “Brilliant Songs” series with the caveat that “Hawai’i Aloha” is not per se a brilliant set of lyrics worthy of a place in some Songwriters Hall of Fame, which I didn’t know existed until I looked it up just now.  (It’s in Nashville...

Tommy Prine is sad about something. But it’s not an indulgent, wallowing, “poor me” kind of sadness. What saddens him is just a fact of life, and he knows it has to be that way. He can’t change it, so all he can do is acknowledge it, live with it, accept it for what it is.

Oh, and one more thing: He can write a song.

The tune is “Ships in the Harbor,” and it became the 26-year-old Prine’s debut single when it was released in September, prelude to an album set for release early in the new year.

Part of the song’s brilliance is its simple, sorrowful take on the basic human experience of departure.

Prine distills the sweet sorrow inherent in every departure  with a winsome tone in his voice and guitar, totally devoid of artifice.

All our lives, we wash in and out of others’ lives like the tide, sometimes in with them for just minutes or hours before washing back out to sea for days, months, years, maybe fore...