Search results for 'brilliant Songs'

The best music always crawls right under your skin, raising a few goosebumps along the way as it wends its way in short order to your heart. And so it was the first time I came across Jean Sibelius’s “Finlandia,” on an LP I picked up used in a dusty music store in Santa Monica, California just about a half-century ago.

I’d taken a music appreciation class in college, inspired partly by my mother, who grew up around classical music in her native Hungary and had exposed me to it along with Nat King Cole and a few other stalwarts of the era. So I had taken to scouring music stores to score used albums that looked intriguing enough to justify the fifty cents or dollar they would set me back.

I remember getting the Sibelius back home to play on my $99 record player (with detachable wired speakers!), and being absolutely floored by its beauty, the lush evocative melodies taking me through heights and...

“Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.”
—From T.S. Eliot’s “The Sacred Wood” (1920)

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When writers and critics cite T.S. Eliot’s maxim above, they often stop with the deadpan funniest/cheeky part: “Immature poets imitate; mature poets steal.” It’s a great line, suggesting a mirthful larceny far at odds with the preternatural sobriety and moral seriousness of Eliot’s best-known works—“Four Quartets” and “The Wasteland” perhaps premier among them.

But the maxim’s second part elaborates a valuable guidepost for how all writers and artists should approach and pay homage to the history of their craft.

What Eliot suggests at a much deeper level is that no artist creates in isolation, without standing on the shoulders of all who have struggled in the same way t...

Waiting for the consummate rootsy-bluesy singer-songwriter Chris Smither to come on stage last weekend at Durham’s Blue Note Grill, we greeted our friend Michael the Sound Board Guy, who noted with a kind of respect-just-this-side-of-awe in his voice that the packed crowd was absolutely crawling with local musicians. Little wonder, given the “musician’s musician” label that Smither, now 76, has earned over a half-century of crafting songs that combine lyrical depth, humor, virtuoso guitar picking and a driving beat he keeps going with the slightly amplified foot-tapping that serves as his own rhythm section.

“I can’t not do it,” he once told an interviewer regarding his footwork, which involves both feet, heel and toe, tapping out the often syncopated rhythms that are but one of the qualities that give his music its distinct, “Oh, that must be Chris Smither” feel.

But as good as the pur...

Last week, a plumber digging a trench by which we will be running electricity and water to a backyard shed-glorifed-into-a-library was backing his truck up the incline of our driveway, the back weighed down by the trailing ditch witch behind him and rather severely scraping the gravel, producing a sound that reminded no one of, say, Judy Collins. Nor, indeed, of any singer in the known universe this side of…Tom Waits.

Upon reflection, I could almost see Waits in the driver’s seat, his slightly askew pork pie hat protruding from the window, backing that baby up while low-growling in accompaniment, relishing the fingernail-dirtying work awaiting him on a cloudy fall morning.

Not for him the refined beauty of a choir voice, the easy swing of Sinatra, the pretty balladry of Paul Simon.

Waits never flirted with pretty, the ditch witch and its excavated mud far more his metier than is a glorious floral arrang...

Sometimes a particular piece of music hits you as so insightful, so acutely reflecting the issues of your time, that the songwriter seems to be channeling some urgent message the gods require in order to restore a measure of balance and perspective to the insanity that abides, on the events of your historical moment that leave you shaking your head and wondering, “How can this be happening?”

And then, in a kind of doubling down on the songwriter’s vision, the message of his or her song in a subsequent era, rather than fading into irrelevance, instead achieves even more urgency, as the forces that helped shape the original message grow only more dominant and oppressive over time.

And then, as if anticipating the far more divisive and nativist rhetoric that would sprout from the seeds planted in the Bush era, McMurtry scores with this bull’s-eye painted with eerie prescience right on the back of the ...