Gershwin's "Home Blues" & An American In Paris- Revisited

   As the perfect mood setter and to help the reader more fully experience the spirit in which this article is presented, please click on the following title, sit back, listen & enjoy.

"An American In Paris"

And now...

"Home Blues"

Singer Todd Duncan (the original "Porgy" in Gershwin's Porgy and Bess) once recounted a conversation he had with his dear friend George Gershwin, in which George lamented to Todd his deep longing to return home to New York City and resume composing symphonic works--works such as what Gershwin had in the past, thrilled, electrified and moved audiences to tears with... the Rhapsody In Blue, An American In Paris, Second Rhapsody, Concerto in F, Cuban Overture and Porgy and Bess. Focusing solely on these types of works now, was what George felt he wanted to do more than anything--anything other than painting as George was also a skilled painter who loved this art form. To the deep regret of the music world, family, friends and  fans around the world, George Gershwin never got that chance to return to his beloved City. When he made this statement to Todd Duncan, George was working in Hollywood on what would turn out to be his last film (The Goldwyn Follies-released 1938). He was trying to earn enough money to sponsor himself in what he considered then to be, the creation more serious musical works. George's brilliant life and career ended on July 11th 1937 in Hollywood California. He was only 38-years old.

George Gershwin

George Gershwin was the quintessential New Yorker of his times. He loved New York City. And with a unique ability to create incredibly steely and memorable melodies, with song after song, Gershwin in essence painted an expansive musical portrait of the city that he loved...the place he called home, New York.

Few other composers have been able to capture in music, the energy, mood, character...even nuances of  New York City as George Gershwin has. Thus, the Gershwin name has really come to be synonymous with NYC when you think of music.  Gershwin seems to have been born at just the right time and in just the right place.  A dyed-in-the-wool New Yorker, he was constantly drawing inspiration and energy from NYC and didn't like being away from the city for long stretches of time.  George would find himself being stricken pretty badly with homesickness while in foreign places--something I can completely identify with.

 33 Riverside Drive 

(The West Side address where George and his brother Ira shared a penthouse apartment)

The idea of home can mean very different things to different people. Whatever home personally means to you, whether it is being in a certain place or being with a very special person, whether home is a different time to you, or a personal comfort zone, whether you define home as being safe from those who hurt you, or as having wealth or power, being asleep or awake, being with G-d in His dwelling place, being miles away from your pain-in-the-neck mother-in-law, et cetera, et cetera, not being there in that secure place you feel is home, can create a deep longing and put one on a path of continuous emotional pursuit.  For some, this becomes a life-long quest.

In 1928 George Gershwin composed what was to become, one of his most well-known and widely performed works, a symphonic tone poem entitled "An American In Paris". George's purpose was to "portray the impressions of an American visitor in Paris as he strolls about the city, listens to the various street noises and absorbs the French atmosphere." George had visited Paris two years before, in 1926, and, based on his own tour of the city, absorbing sights and sounds, had composed a piece entitled "Very Parisienne".  He then presented this earliest musical fragment of An American In Paris as a gift to his Paris hosts, Robert and Mabel Schirmer. (Any music students out there? If yes, then you probably have at least one Schirmer practice exercise book amongst your volumes.  Maybe Hanon? Well this is the same Schirmer music publishing family that George visited, Robert Schirmer.)  Building upon this early fragmented piece, George was to later fashion his complete symphonic tone poem.

As our American visitor in Paris (presumably, George) begins his stroll through the city, he starts out with quick-stepped, upbeat gaiety. This is heard in the early repeating theme during part I of George's tone poem. (An interesting thing to note about the first part of An American In Paris, is that while in Paris, George searched for and carefully selected authentic taxi horns to use as part of his orchestration. Listen to the very beginning of this symphonic tone poem and you will hear these horns.) 

The beginning theme of An American In Paris is so lighthearted and effervescent, it seems as if the visitor is skipping rather than walking along. Anyone who is familiar with Gershwin's life will immediately recognize how this theme characterizes the optimism and gaiety of the young composer himself. It's easy to envision George on this walking tour of the streets of Paris. 

A theme from George Gershwin orchestral composition, An American in Paris

Soon he passes a cathedral, slows down at this point, in what we then hear as a reverent-like theme. George Gershwin's approach to a religious or spiritual theme here, was with a gentle, almost child-like serenity. I have long felt that the "Cathedral Theme" in An American In Paris is the most curious and remarkably insightful theme of this tone poem. For if you listen carefully, you can hear harmonic progressions in this cathedral theme very similar to those that would show up years later in Gershwin's  grand opera Porgy and Bess (1935).

Midway through An American In Paris we hear Gershwin's famous blues theme. Here, this highly expressive theme adds lush, colorful richness to the story-like structure of An American In Paris: He laments. The American visitor is suddenly overcome with pangs of loneliness. He hears a distant song...a siren 'blue' song that calls him back...back across the seas to his home.

An American In Paris would not be the first work Gershwin was inspired to compose by the sights and sounds around him. Regarding his Rhapsody In Blue, George had been similarly inspired. He conceived of the idea for the rhapsody from beginning to end during a train ride to Boston. He said of it...

"with its steely rhythms, its rattlety-bang . . . I suddenly heard - and even saw on paper - the complete construction of the rhapsody from beginning to end. I heard it as a sort of musical kaleidoscope of America - of our vast melting pot, of our unduplicated national pep, of our blues, our metropolitan madness."--George Gershwin

Gershwin's "Home Blues" theme in An American In Paris has been the most popularized and widely performed theme of this work.  The 1951 MGM Musical film An American In Paris, starring Gene Kelly and Leslie Caron with Oscar Levant and Georges Guetary, was set in Paris and featured a 16-minute jazz ballet with Kelly and Caron, which included a romantic sequence for the "Home Blues" theme.

An American In Paris MGM 1951 Gene Kelly, Leslie Caron 

Video Clip

In 1929 Ira Gershwin, in collaboration with Gus Kahn, penned lyrics for the "Home Blues" theme of An American In Paris.  The Gershwin brothers were providing songs this time for the 1929 Ziegfield musical "Show Girl". Show Girl ran at the Ziegfield Theater for 111 performance, starred Ruby Keeler, Jimmy Durante and Eddie Foy Jr., and included such Gershwin songs as "Liza", "Lolita" (My Love), "So Are You".  The "Home Blues" song under that title, was recorded and released in 2003 as a ballad performed by singer/songwriter Michael Feinstein and can be sampled:

                            "Home Blues" (performed by Michael Feinstein)

Inspired by the theme of the "Home Blues" (the idea of one longing for home), I decided to try my own hand at writing a verse for the popular refrain of the "Home Blues" song of 1929. I decided to match each line I write, to Ira Gershwin's own original lyrics for the verse for this song exactly--syllable for syllable.  What I came up with is an original lyric verse which can be sung to the music of the verse of "Home Blues".  And what I also tried to do is to make my own original lyrics for the verse of this old Gershwin song more relevant for today with a universal meaning.   You can see my original verse for "Home Blues" below, and be the judge to if I succeeded. Remember as you read it that these lyrics I wrote are to the verse of "Home Blues", not the refrain.  As I don't have copyright license to reproduce the "Home Blues" song lyrics here, I can suggest if you want to hear the entire song, to use the link I posted above featuring Michael Feinstein  in a recording of it.

 

"VERSE"

By SDG DiamondHead

(as inspired by the original Ira Gershwin song lyrics for "Home Blues" 1929)

There's an old familiar saying

That I've come to know--

A simple proclamation to--

Which a debt I owe.

'Says that, "Home is where the heart is".

This I can't deny.

For there's a place that I've been longing to see--

For now my heart's a-yearning, saying to me--
"Home you'll go,

Wanderin' days are through."

"You should know, 
There's a better place for you."

Thank you so much for stopping by and until next time, hope you are happy and *home*

and...

May happiness chase you--

May it outrace you--

Then turn, and embrace you.
 --diamondhead

An Addition for July 5th-- Gershwin's Concerto in F-(an expressive performance)

 While browsing YouTube for Gershwin, I came across this interesting performance of the first movement Gershwin's Concerto in F performed by Chris Reeves (at the piano), with the Orchestra of the Pines under the direction of Gene Moon.   This was a college performance done at Stephen F. Austin State University.  

What I like about this performance of Gershwin's Concerto is the expression the pianist Chris Reeves brings to this performance.  Moreover, the orchestra he performs with maintains this same expressiveness throughout the work.   I think Reeves did a very good job in bringing real emotion to, and capturing essence of Gershwin in this performance.  There are a few clunkers here and there in this first movement, and the pianist seems to lose some steam at the end, but what he lacked in technique I believe he made up for in his musical interpretation. This is one of the more expressive performances of any movement of the the Concerto in F that I've heard. Surprising too that it was done at a University.   

Gershwin was on the receiving end of much criticism over his structure of his Concerto.  Some people in the classical music field didn't think at the time, that Gershwin could produce a "genuine" long classical work.  I disagree.  Structurally, Gershwin's Concerto is worked differently than the works of most other classical composers, but so what?  That doesn't mean that his work is without merit.  The Concerto in F has been called "dull" by some critics.  Again I strongly disagree.  I think the Concerto is anything but dull.  All of Gershwin's works whether they were songs or long classical works or opera, were very, very melodic and thematic.  Those were  Gershwin's strongest points. Yes, there were nuances of jazz even in his longer classical works.  But that was Gershwin for you.  Anyway, who wrote it in stone that a long classical orchestral work has to play like Greek tragedy?  You can listen and be the judge to whether you like it or not, because liking it, as they say, is the bottom line in the business.  Liking it means buying it. Whatever those stuffed shirt poop-a-doops may even be saying today about George Gershwin's "lack of" ability to compose longer classical works, the Gershwin estate is nevertheless still laughing all the way to the bank.

"They all laughed at Christopher Columbus when he said the world was..."....yadda-yadda-yadda...

Chris Reeves in a performance of Gershwin's Concerto in F with the Orchestra of the Pines under the baton of Gene Moon.

(further reading on Gershwin:  http://www.classical.net/music/comp.lst/works/gershwin/concerto.php )

Beyond Dictionopolis

 "YOU CAN TOUCH THE SKY, MILO"

Words...

Words ARE important.  

They are the substance of life and the things of which we live by, and die by, and are remembered by or forgotten--if left unspoken. 

They are the things with which we build others up or heartlessly tear them down.  They are the things rejected and reviled or the things anticipated and longed for.  

They are the things boldly spoken... 

...or fearfully withheld.

Writers love them. 

Words are the things that we cherish, or that which is ridiculed.  Some cling tenaciously to the words of others, eagerly anticipating each new utterance. While others talk, talk and talk... 

...and no one seems to listen. 

Words are the things carefully listened to or that which falls on deaf ears.

Words can at times be precarious.

Words sometimes offer mixed messages...a double entendre.

Words are the things which we live by.  They are the part of things which people hate...(fascism)
and that which they love...(freedom).

Words can be both a pleasure or a pain; they can charm us or harm us.

Words make fortunes for some. 

Words can be immortalized...

("Take your stinking paws off me, you damn dirty ape!")

...even when we want  to forget them

("Our enemies are innovative and resourceful, and so are we.  They never stop thinking about new ways to harm our country and our people, and neither do we."--George W. Bush 8/2004)

...  ("There's an old saying in Tennessee--I know it's in Texas, probably in Tennessee--that says, fool me once, shame on--shame on you.  Fool me--you can't get fooled again."--George W. Bush 9/2002)

Ask any journalist about the power of words, and he will tell you that "The pen is mightier than the sword".

And ask G-d about the power of words, and He will tell you that in the beginning there was the Word...

"In the beginning was the Word, and the Word was with God, and the Word was God."--John chapter 1 verse 1

Lyrics Are Words Too...

Song lyrics can be such a wonderful form of expression! By writing in rhyme you can say things sublime, and using charm and wit, you can make music fit.   This was part of the standard formula of the classic pop songs of the golden age of songwriting.  Wit and charm and clever rhymes were the trademarks of these songs. But I think lyricist Ira Gershwin summed up perfectly the joy and art of lyric writing when he wrote...

"I love to rhyme--
Mountaineers love to climb--
Criminals love to crime--
But I love to rhyme."
-----------------------
"I love to rhyme--
And wouldn't it be sublime
If one day it could be
That you rhyme with me?"

(Ira Gershwin excerpts from "I Love To Rhyme")


 
Certain things about lyrics can never change, such as their ability to convey sentiments in styles that are approachable or easily sung.  Lyrics must roll off the tongue in a way that makes the song singable. But in a world that is so much more sophisticated and knowledgeable than it was in years past, I see an opportunity for the lyrics I write to really hone in on this social "upgrade", while still maintaining a musical style of the classic pop songs of yesteryear that I love so much. (In the months to come I hope to share with you here on my blog, recordings of my completed songs--musical performances--for the lyrics you see presented here. So please stay tuned!)   

Meaningful lyrics are more than a mere "hanger" for a melody to hang its notes on.  It is generally accepted by aficionados of classic pop songs/standards, that the best examples, are songs where music and lyrics are both good, and interact harmoniously with one another. But this is often not the case. All too often the melody is the star player that "is up to bat", while the lyrics just, well...sort of warm the bench. I'd like to see the lyrics get off the bench, up to bat and hitting home runs.  Because now, in this age of information and perhaps more than ever before, words are that important.
And lyrics are words too.

--DiamondHead

"You Should Know"

lyrics by DiamondHead

Verse:

There's nothing I can say
You haven't heard before,
And little that I can do--
To impress someone like you.
Polished-- 
And refined
Are the thoughts that fill your mind--
But,
Of all the knowledge you possess--
Here's one thing you would never guess--
Yet none the less--
You should know...

Refrain:

Someone loves you...
Loves you so.
Someone loves you...
You should know
The tenderness he (she) feels--
The yearning he (she) conceals;
Someone wants to hold you close
And never let you go--
It isn't hard to understand
My darling,
You should know.

Bridge:

That we--
Could be--
A pair who'd never part;
Is just--
A thought--
I give with my heart.

Someone's waiting patiently
Hoping he (she) can show,
That I'm for you--
And you're for me--
My baby,
You should know.

-End

Copyright  Year of Publication 2011 SDGDiamondHead - All Rights Reserved

Thanks for stopping in and until next time...

May happiness chase you--

May it outrace you--

Then turn and embrace you.

Original Lyrics--> "It Can Happen" by SDG DiamondHead

"It Can Happen" is a song lyric I wrote with a particular singer in mind.  And that is Mr. Tony Bennett.  I consider Mr. Bennett one of the great singers of our time, and a singer who is so well-seasoned in what he does, that his style and approach to a song seems almost effortless.  It's refreshing to see a singer like Tony who is never given in to struggling with a song.  He knows his way around song arrangements and because he's so relaxed in the way he delivers a song, his audience is also at ease, relaxed and they probably obtain more enjoyment from his performances.  And by the way, this style comes through in his recordings also.  A style like this usually comes with time and lots of experience which Mr. Tony Bennett has.  He's a delight to listen to and I'm sure he's a delight for songwriters to work with.  So, this song lyric I wrote with him in mind, taking into consideration his ease in delivering a song, and the way he phrases and even the types of words you might expect to hear in a Tony Bennett song.  In short, I tailor-made these lyrics for this great singer.  And, as you read the lyrics if you listen closely, you might even be able to hear in your inner ear, Mr. Bennett singing this song.  In other words, you might be able to picture him singing this song if you heard it complete with the music.  I want to also add that in the style of the classic pop songs, I've included a verse to this song lyric--as I usually do with my other songs.  Verses are a good way to introduce the refrain and I'm as fond of song verses as I am of refrains.  So, here now is my original lyric styled for Tony Bennett entitled "It Can Happen" lyrics by DiamondHead.

"It Can Happen"
lyrics by SDG DiamondHead

(mood slow, jazzy)
Verse:


Just yesterday,
I used to say
That love would never, ever come my way.
Somehow I couldn't perceive it--
Somehow I wouldn't believe it.
Then suddenly,
From the blue
I am head over heels in love with you.
Now,
If I were a doubting Thomas before,
(spoken: I can tell you)
I'm not doubting anymore--
For...

Refrain:(slow & jazzy)

Now I can see
That it can happen.
Now I believe
That dreams--
They do come true.
I didn't think a miracle
Would come
From above,
But just the same
That miracle came
And it has given me your love.
Oh...

Now I can touch
What I once could only dream of--
What my doubting heart
Thought fate would never do.
For now,
At last,
I am in love with you.

(Instrumental)

Oh...
Now I can touch
What I dared to only dream of--
What this foolish heart
Thought fate could never do.
For now,
At last,
I am in love...
For now,
At last,
I'm so in love...
For now,
My baby
I'm in love...
With...
You (hold)

--End

Copyright  Year of Publication 2011 SDGDiamondHead - All Rights Reserved

Gershwin, Lyrics and Other Wonders

Hello Everyone and Welcome to my new place on the internet.

 
Introduction...

This is an introduction to my blog and what its all about, but before I go on, I'd simply like to thank everyone who has taken the time to stop by and sample this work in progress.  Thank you so much!

 Gathering from its title, you may have some idea of what this blog is about.  My site is all about words...words as lyrics and the power of lyrics to transform the individual through their ideas.  My intention is that Original Lyrics-->Classic Pop Style will become an online journey into not only a deeper study of lyrics, but that it will also be my own personal tribute to an era of songwriting that to this day remains unmatched for the timeless quality of the songs it produced.   In addition, from time to time I will be including some of my own original song lyrics that I have written in the style of the American Classic Pop songs.  

I would also like to offer personal reflections on the various lyrics penned by lyricists who I have come to admire and draw inspiration from.  Part of what I write here will also be background stories on various classic pop songs, along with my own personal anecdotes on lyrics, songs and music.

Some visiting this site may already be familiar with classic pop songs.  But for those visitors who may not be familiar with them,  American classic pop songs are, simply put, among the most well-crafted, timeless and beautiful songs ever written.

"The songs of classic pop may also be said to possess certain ineffable qualities, including but not limited to an ease and memorability of melody, along with wit and charm of lyric."--Wiki

The genre of classic pop predates the advent of rock and roll by nearly half a century.  Starting around the time of World War I and up until the 1950's, classic pop drew material from the early songwriters of Tin Pan Alley, then songs created for the stage (George White's "Scandals", Ziegfield's "Follies'), for Broadway and film. Some of the songwriters who originally got their start, having become well-known stage composers, eventually headed out to Hollywood to write for film.  Scoring for film then was financially lucrative and a big enticement to Broadway composers back East.

  Examining songs from film here is one example of one of the most beautiful songs ever written for a film.  It is a 1950 song entitled "Invitation"  with music by Bronislau Kaper and lyrics by Paul Francis Webster.  A truly fascinating song, this hauntingly beautiful melody was equally matched by beautiful, mysterious lyrics...lyrics which seem to tell of a romance not in the present, but somewhere in the future.  The lyrics of this enchanting melody anticipate a romance yet to come.  The song has an almost surreal, dreamy feel to it. Listening to it, the vibes that I get from this song are distinctly different than what I usually get from other songs. The song somehow has a special quality to it that sets is apart from most other film songs.  And in my opinion, the only way to fully appreciate this special song as a vocal, is simply to listen to Rosemary Clooney's rendition of "Invitation".  The richness and mature sound that Rosemary brings to "Invitation", along with Nelson Riddle's perfect arrangement, makes this the best vocal rendition of "Invitation" that I personally, have heard. 

 Well-known songwriters such as Jerome Kern, Irving Berlin, George & Ira Gershwin, Harold Arlen, Yip Harburg, Vincent Youmans, Cole Porter, Hoagy Carmichael, Billy Strayhorn, Jule Styne, Bert Kalmar & Harry Ruby, Richard Rodgers & Lorenz Hart and Hammerstein, Duke Ellington and Count Basie are incredibly among just a small sampling of the many composers and lyricists who contributed to this golden era of songwriting. The question is sometimes raised about female songwriters of this golden era of songwriting.  Why do we always hear about male songwriters but hardly ever about female songwriters?  This is a good question.  Although women were in the distinct minority during this era, there are in fact a few who are included in the golden era of the classic pop songs.   Ann Ronell wrote the well-known standard some of you may have heard of "Willow Weep For Me", and lyricist Dorothy Fields wrote "I'm In The Mood For Love".   In addition, Kay Swift  gave us the song, "Can This Be Love".  Until the age of rock and roll, songwriting did remain for the most part, a male-dominated field.  This isn't surprising for the times however.  This was also a time when most orchestras nationwide were male-dominated.  Still, it remains a mystery as to why more talented women didn't assert themselves more and push themselves into this male-dominated "songwriters club".

One of the reasons why classic pop songs remain popular even among some contemporary performers of today--artist such as Linda Ronstadt, Harry Connick Jr., Rod Stewart, Queen Latifah and Diana Krall--just to name a few--is simply because of the way these songs from the past were written. In an interview Linda Ronstadt once compared the strength and quality of Gershwin melodies to being like steel legs that could lift themselves up and walk on their own without accompaniment.  And she was absolutely right!  Gershwin melodies are so strong, that a performer would have to be pretty lousy to mess up a Gershwin song.  Even a performer at a microphone with a big fish hanging out of his mouth would sound good singing "S'Wonderful".  That's how good a Gershwin song is.  A professional singer would have to be a real Shmuck to mess up Gershwin--and should probably get out of the business.

 Gershwins, Lyrics, and Other Wonders...


When composer/songwriter George Gershwin died suddenly in 1937, his brother and lyricist, Ira Gershwin was left with the task of completing the song that the two of them had been working on together for the film, The Goldwyn Follies.  The song is "Love Is Here To Stay".  Over the years, many people have described "Love Is Here To Stay" as being Ira Gershwin's tribute to his brother George.  And it is certainly that.  But I feel it is so much more.  Since the time of the Gershwin song hit "Swanee" which launched George's songwriting career, "Love Is Here To Stay" is the most significant bookend of this great composer/songwriter's career.  I feel this way about "Love Is Here To Stay" not because of what financial success the song has had, but something more than that.  The wisdom of this song, with its deeper meaning and relevance even for us today, is so clear and was written with such beauty and with so much heart and soul, that this song is one of the most important songs of the Gershwin Brother's life-long collaboration, and certainly one of the most meaningful songs ever written by any songwriter.  It is a definitive song which reflects upon the distractions and troubles of this world in which we live, yet concludes this life with a universal message of something deeper and more meaningful than the "passing fancies" of the crazy world around us.  That message is the affirmation of eternal, undiminished love. The song also seems a fitting tribute to an amazing artistic collaboration between the two brothers.  Every time I listen to a vocal rendition of "Love Is Here To Stay" I am compelled to reflect upon its meaning...the words of Ira spoken so gently in this song. 

Anyone who knows or who has learned about the Gershwin brothers, is probably aware of their relationship.  Ira Gershwin adored his younger brother George. Quiet and being somewhat shy, Ira was content to remain in the background and simply watch his brother George bask in the spotlight--something that George did naturally and willingly.  George was a very extroverted, natural showman and a very skilled pianist.  Nowhere was this more apparent than at parties the brothers attended, where George would be seated at the piano before anyone could blink an eye, and have the whole room of people suddenly gravitate towards him surrounding the piano.  At one such party at West 8th Street in Greenwich Village, at the home of Lou & Emily Paley (friends of the Gershwins), playwright S.N. Behrman reflects...

"I know nothing, technically, about music.  But when I heard him, I found that I had intuition of my own, as a listener.  I felt when on the instant he sat down to play, the newness, the humor--above all, the rush of the great heady surf of vitality.  The room became freshly oxygenated; everybody felt it, everybody breathed it.  I knew from the first Saturday night at the Paleys' that I was having the best time I'd ever had in my life." S. N. Behrman from Fascinating rhythm: the collaboration of George and Ira Gershwin By Deena Rosenberg

I've always believed that great songwriters teach as much as they entertain.  Through setting an example of what  can be accomplished in writing, they teach others.  And no one quite taught like the Gershwin brothers.

In song, lyrics are often thought of as occupying the subordinate place with the music having top billing. Songwriters used to joke that the music (of a song) is the husband, while the lyrics are the wife.  Kinda sexist, don't you think?  But this is due, in part, to the obvious fact that instrumental renditions of a successful song do not rely upon the lyrics of the song in performances, and can be financially lucrative apart from the lyrics.  Some may think it's because people don't pay as much attention to the lyrics as they do the music and they might therefore be led to assume that the lyrics of a song are not as important as the melody.  However, as seen in the Gershwin song "Love Is Here To Stay", you can see the important role lyrics can play in songs.  The days of "moon", "spoon" & "June" have long since been over (not that I don't appreciate them).  And even with the intelligence and sophistication in lyrics that has come out since, there is still this lingering perception of the melody being the true "substance" of the song while the lyrics play second fiddle.  Some songwriters have internalized this perception of lyrics to the point of caring so little for the lyrics of a song, that they write lyrics that seem like total nonsense--so long as the melody is marketable.  The best example however, of a good, even great, song, is a song where both the music and lyrics stand out and compliment one another--sort of like a good marriage.  These are the type of songs...the sort of lyrics that I'm drawn to--lyrics that dig down deep and bring to the surface whatever beauty or  emotion that is there.  And in such lyrics, there is no place for "political correctness" which represses creativity.

Political correctness be damned-type lyrics are most often associated with songs in and beyond the era of rock and roll.  Such bold lyrics can be found in musica  genre including rock, folk, soul, heavy metal and in Hip-Hop and rap.  Songs from the classic pop era were most often know for their wit, charm, romance and sweetness as these songs were created for stage and film.   At times when the lyrics of these songs squarely took on taboo issues (as in the case of the Rodgers & Hammerstein song "You've Got To Be Carefully Taught" from the musical South Pacific) they were met with resistance or efforts to either change or eliminate them. 

Critics of this South Pacific song wanted Richard Rodgers to remove the song from the show.  He adamently refused to do so.  And the show continued to be successful despite critic's grievances against this important song. 

It can be said that "You've Got To Be Carefully Taught" was an early "theatrical protest song", which helped pave the way for future protest songs.  Having gone well beyond "moon",  "spoon" and "June", songs like "Love Is Here To Stay" and "You've Got To Be Carefully Taught" and others, demonstrate the impact that carefully considered song lyrics can have on people.  As in other artistic and non-artistic areas of communication, where thoughts and ideas can be expressed verbally, there is always going to be the challenge to defend freedom of expression, as well as the opportunity to raise the bar.  I believe that this is where you will find the true heart and soul of lyrics, music and the spirit within the creation of its songs. 


--DiamondHead

Hi There!  

I just opened up and still setting things up.  So please stay tuned!

--DiamondHead