David Hajdu

Patti Smith’s Duet with the Devil
May 27, 2011

I had pleasantly not thought for years about that ghastly song “You Light Up My Life,” until this week, when I heard about the suicide of its writer, Joe Brooks—a hack of genuinely monstrous proportions, who was awaiting trail for charges of drugging and sexually abusing more than a dozen young women lured to his apartment on the pretext of helping to fulfill their young dreams of careers in show business. I will admit to being disappointed by the news of his death; I would have preferred for Brooks to have been tried and, if convicted, sentenced.

David Hajdu on Music: The Afterplace
May 19, 2011

Paul Simon So Beautiful or So What It appears that Paul Simon has been thinking about going somewhere unlike all of the many lands around the globe that he has visited over the years in search of musical inspiration. He is giving thought to the final expedition, the big trip across the divide to the only place that even he cannot plunder. Simon will turn seventy in the same year as both Art Garfunkel, the creamy-voiced journeyman who stood placidly at Simon’s right side for years, and Bob Dylan, the peer of Simon’s whose towering specter has always hovered near Simon’s other side.

The Dream Music of a Nightmare Time
May 13, 2011

Few things of meaning come across as more meaningless than another person’s dreams. Everything that makes a dream fascinating to the dreamer—the confusion, the illogic, the mercurialness of time, place, and identity—seems like little more than random weirdness when the Id involved is not our own. As a means for making art, moreover, dream-telling is treacherous for all but the most artful of tellers. I recall myself having written short stories that ended with the cheat of an explanation that all that I had described was really just a dream. I learned to do better at the advice of Mrs.

The Beauty of Unrecorded Music
May 06, 2011

The machinery of contemporary culture is programmed to treat occasions as events—to freeze moments in digital permanence, to spread the local and the intimate to everyone everywhere. Much has been made of the instantaneousness of communication in the wireless age. But the documentation of every instant does not simply privilege the moment of experience; it also denies the power of experience itself. Not every occasion is an event, and the fleeting, ephemeral nature of some kinds of experience—including certain kinds of musical experience—is the source of their power.

Whatever Happened to Phoebe Snow?
April 29, 2011

The fact that there was a good answer has nothing to do with the fact that the standard question about Phoebe Snow is a bad one. Snow, who died this week (at age 58, she would have said, or 60, as The New York Times reported), made eleven studio albums, as well as live records and compilations, from the time she started recording, in 1975, until 2010, when she had a devastating stroke and fell into a coma. Eleven albums is a solid body of work, exactly the same number of studio records Randy Newman has made.

Why Are There No Great Easter Songs?
April 22, 2011

Although I don’t have time to count them, since life expectancy in the United States is only 78.2 years, I suspect that the number of winter holiday songs—and I refer ecumenically not only to Christmas music but to tunes broadly celebrating the wintery season—must be around a zillion kazillion. From the morning after Halloween until New Year’s Day, they are inescapable, and singers in innumerable styles (and of varying religious and cultural backgrounds) keep making CDs of songs still widely thought of as Christmas music.

Grammys: 31 Gone, 78 to Go
April 15, 2011

In the music business, as in government finance, partial fixes are not fixes at all, but, more often, appeasements and, sometimes, impairments. Last week, the National Association of Recording Arts and Sciences (NARAS), the industry body that runs the Grammys, responded to pleas from its appropriately panicked membership and announced a plan to improve the awards through consolidation. NARAS eliminated 31 award categories—nearly one third of the 109 categories honored in past years.

Phil Ochs, There But for Fortune
April 08, 2011

Thirty-five years ago this Saturday, Phil Ochs, the earnest singing polemicist of the 1960s, hanged himself. He suffered from depression and other emotional problems, as his father had, and he drank too much. I was thinking of Ochs earlier this week, when I was with a group of legal scholars at a conference on “Bob Dylan and the Law” at the Fordham University Law School.

Remembering the Forgettable Nick Hathaway
April 01, 2011

Jameson “Nick” Hathaway, the Tin Pan Alley tunesmith who died this week at age 96, is most memorable for his forgetability. Among song composers of the pre-rock era, Hathaway was such a marginal figure, even in his time, that his name long ago drifted off the margins, off the desktop, out of the room, and took a drive to a place populated only by minor academics, nostalgaists, and other people like me.

Sending Out the Unmusical Elizabeth Taylor
March 25, 2011

Elizabeth Taylor had nothing to do with music—or, more accurately, nothing to do with the formal standards of technique that traditionalists still conflate with musicality—and that fact has led me to realize something about Frank Sinatra. In all the encomia to Taylor in all the media this week, one of the few aspects of her career spared inflation was her brief and tenuous but illuminating dalliance with theatrical song in the film version of Stephen Sondheim’s A Little Night Music, produced in 1977.