What Writers Can Learn from Bob Seger

It’s almost a cliché to state that, as you get older, you re-evaluate a lot of things you liked in your youth. Often (alas), you discover that the books you read, the music you listened to, and the movies you listened to when you were in high school really weren’t that great—with a few exceptions. Also, as you age, you sometimes discover that something you didn’t pay much attention to when you were young is actually pretty frickin awesome.

That happened to me recently with this song, “Still the Same,” by Bob Seger. For some mysterious reason, the song popped into my head about a week ago and wouldn’t leave. Maybe I heard it on the speakers at the grocery store; I don’t know. But for some reason, I kept hearing it, and I couldn’t stop thinking about it.

This was even more strange considering that, as a kid, I didn’t really groove to much of Seger’s music. I mean, I liked his stuff, especially “Night Moves.” And his songs were all over the classic rock station that me and my friends listened to, so I knew all of them by heart, almost, and I admired them. Ironically, though, the one Seger-hit that didn’t register on me at all was “Still the Same.” 

Until now. I found myself looking it up on Youtube, playing it, then playing it again. I really listened to the lyrics for the first time, and I was totally blown away by them. On the surface, it’s another one of those mythopoetic songs about dark, conflicted hipsters in the 1970s (Steely Dan wrote some great ones, too). In this case, the narrator sings about a gambler—who could be a man or a woman—with whom he was friends but now rejects because they’re “still the same.” That is, despite enormous talent, intelligence, and self-control, the gambler is essentially dead, emotionally and spiritually. They’ve achieved the kind of life they always wanted, but they are basically at a dead-end. A corpse. 

Of course, the mere act of describing the song makes me want to hear it again. After all, Seger says everything I just did, but in poetry. Take the first verse: 

You always won every time you placed a bet
You’re still damn good, no one’s gotten to you yet
Every time they were sure they had you caught
You were quicker than they thought
You’d just turn your back and walk

Imagine how many more words a bad writer would need to say the same thing with much less effect. “You were consistent in your skill and ability, winning all the time. And you have maintained that skill, somehow, despite the fact that you are a lot older now. Both in the past and now, your rivals always underestimated you. On each occasion when they thought you were beaten, you managed to simply get up and leave as if nothing had happened.

Blech! 

As a writer, I find myself in awe of the economy and density of Seger’s lyrics. There is one line in particular—“You still aim high”—that I find heartbreaking, even though it’s only four words (four beats) long. Somehow, it encapsulates all the admiration, even love, that the narrator still feels for the “gambler.” (I put it in quotes here because I believe that “gambler” is really just a metaphor for some kind of hustler, male or female, who gets by on their smarts, charm, looks, and daring. E.g., almost everyone in Hollywood.) The narrator still loves the gambler (perhaps they were lovers, once?), even though he now sees the gambler as a bit pathetic. “Still the same,” but no better. Stuck. Stagnant. In another of Seger’s hits, he describes a “beautiful loser.” In this song, he describes a beautiful winner—who wins the world but loses their soul. 

In other words, the song is a great 70s rock tragedy, in the same vein as “Layla”, “Dreams”, and “Free Bird”. 

Maybe I should go back and re-listen to those songs, too.

Friday Night Rock-Out: “Setting Sun”

If you were a software developer in the late 1990s (which I was), and if you spent many an evening working overtime (which I did), and if you needed some heavy electronic music to go along with your Nth cup coffee to get you going (which I still do), then your go-to groups were probably The Prodigy and The Chemical Brothers

I still love both bands (and not just when I need waking up). In fact, I love Big Beat in general. Just as the second generation of great grunge bands like Bush and Stone Temple Pilots began to taper-off, the electronic barrage of Big Beat pumped new energy into the music scene. Like, a million volts of energy. 

I’ve already devoted one Friday-Night rock out to The Prodigy, so I am overdue to do one on The Chemical Brothers. Here it is, my favorite song of theirs, “Setting Sun.”

Rock on.

Friday Night Rock-Out: “Song 2”

A few days ago, I saw a tweet (yes, damn it, a tweet) pointing out that the iconic song “Feel Good Inc” is now twenty years old. It’s amazing how much that song has permeated popular culture in those two decades. I first heard it in the excellent film The Big Short, where it featured prominently on the soundtrack. It’s one of those songs that, once heard, one never forgets. 

However, there are a couple of things people might not know about the electronic band Gorillaz, who, with some help from De La Soul, created the song. First, they are a virtual band, meaning that the members seldom meet in person. Instead, they compose and record via the internet. One could write a whole book on the way the internet has changed music—and many already have—but the rise of virtual bands is a seldom-discussed sub-topic.

Another thing people might not know is that lead singer and founder Damon Albarn is also the mastermind behind the (even older) British band Blur, which blew people’s minds back in the 1990s. This song, especially, was hugely popular and influential. Entitled “Song 2” but almost universally known as the “Woo-Hoo Song,” it came out way back in 1997. And, for a few months, it was all you heard streaming out of people’s car radios (yes, we still had car radios, back then).

Rock on….

Friday Night Rock-Out: “Mexican Radio”

If there is one song that can instantly evoke memories of the early 1980s, when me and friends stayed up all night watching MTV, it’s this one, “Mexican Radio.” It’s a very strange little song by a very strange little band, Wall of Voodoo, but it perfectly captures the “collapsed-time” vibe of the Reagan era. The suppressed but inescapable feeling that American culture had somehow degraded (“de-evolved,” as the band Devo put it) to a state where it was totally insane, vulgar, and incomprehensible. 

The same sort of black humor, satirical zeitgeist was immortalized in film two years later, in 1984, when Alex Cox’s Repo Man came out. That movie’s soundtrack included many fine punk and post-punk bands like Wall of Voodoo—but without Wall of Voodoo. Oh, well. The movie could have given the band some much-needed exposure. They never did get the respect they deserved. 

But for a while, they really did shine.

(Fun fact: I always thought the band’s name was a reference to a spell in Dungeons & Dragons, but I was wrong. It was, in fact, inspired by the brilliant madman Phil Spector and his famous Wall of Sound effect on the songs he produced in the 1960s. Go, figure.)

Rock on…

What I’m Reading – “Dont Stop: Why We (Still) Love Fleetwood Mac’s Rumours”

I finally moved out of my parents’ house when I was twenty-two, when I embarked on a cross-country move to Tucson, Arizona. I had enrolled in an M.F.A. program at the university there, and I arrived knowing not a single, living soul. Once I found a place to live and acquired a U-of-A ID card, I spent my evenings going to the small, student gym in the basement of the football stadium, where I and a few other lonely souls (all dudes) worked out until the lights went off. 

I vividly remember my first night at that gym. There were radio speakers in the ceiling tuned to the local F.M. rock station. That night, as it happened to be running an hour-long special devoted entirely to one rock album: Fleetwood Mac’s Rumours. The show included a few tracks off the album along with interviews with Lindsey Buckingham, Stevie Nicks, and Christine McVie. (For some reason, Mick Fleetwood and John McVie were left out.)

By this time, Rumours had already achieved legendary status of the sort afforded very few pop-music albums. (Sgt. Pepper’s Lonely Hearts Club Band is perhaps the only other.) Today, many years after that first night in Tucson, the album’s popularity and reputation has not diminished. If anything, it has increased. It’s gone from being a recognized artistic masterpiece to a timeless cultural colossus. As each new generation of music fans and musicians have discovered Rumours, an entire legendarium has been constructed around it. 

Entire books have been devoted to the months-long, tortuous period in 1977 when the album was recorded. Two of the band’s members, John and Christine McVie, were in the midst of an ugly divorce. Two other members, Stevie Nicks and Lindsey Buckingham, were in the midst of an ugly breakup. And the remaining member, drummer and band leader Mick Fleetwood, was on the verge of breaking up with his famous wife, Jenny Boyd. The five members alternated between screaming obscenities at each other and slipping into effortless, soulful harmonies, all while drinking heavily and vacuuming titanic amounts of cocaine up their collective nose.

At one point late in the process, the album’s producer, Ken Caillat, was horrified to discover that the master recording tapes were literally flaking-out. They had been re-run through the mixing machines so many times that the metal-oxide strip was coming loose from the plastic, threatening to lose all the work he and the band had done. A technician from the manufacturer was flown in to manually transfer the recording onto a new tape before disaster struck. 

In short, the fact that Rumours was made at all seems like something of a miracle.

Continue reading “What I’m Reading – “Dont Stop: Why We (Still) Love Fleetwood Mac’s Rumours””

Friday Night Rock-Out: “Zombie”

I’ve been saddened by the deaths of many famous people, but only three genuinely depressed me. Like, for a good while. These were Robin Williams, David Bowie, and Dolores O’Riordan

Everybody remembers the first two, and I would bet that many people shared my crestfallen reaction to those two deaths. But relatively few will recognize the third. Unless, that is, you were alive in the 1990s and listening to alt-rock. 

I was in the early stages of a career at the time, writing code for a series of software companies, and I was always amazed at how many macho, tech-bros I met were also huge fans of The Cranberries, the band that O’Riordan joined when she was eighteen years old and soon made famous. The band’s first mega-hit, Linger, is also their best song. It displayed O’Riordan’s unique genius—her amazing, Irish voice, alternating between dreamy-and-angelic to fierce-and-vengeful. And the lyrics! Even as a teenager, she could really write! The song’s tale of a woman who has been deceived by the one she loves is sad but not sentimental. Never weepy. Rather, it surges forward with tremendous power.

But it was this song, Zombie, that proved how powerful the band—and O’Riordan—could hit. It’s a protest song, but like all good protest songs, it works both as a political statement as well as a kick-ass song. Some have called it the definitive grunge-rock song. I don’t know about that, but it’s damned good.

Interesting fact: The music video was partially filmed on the streets of war-ravaged Belfast. The kids (and the soldiers) are real folk, for better or worse.

Rock on…

Friday Night Rock-Out: “Hunger Strike”

Gainesville has a famous bar called The Salty Dog Saloon, across the street from the University of Florida and just two blocks away from Ben Hill Griffin Stadium. Back in the 1990s, I spent many an evening at The Salty Dog, shooting pool, drinking beer, and inhaling so much second-hand smoke that, as I soon discovered, I could smoke an entire cigarette without coughing, even though I had never officially taken up the habit.

The Salty Dog also had a great jukebox (maybe it still does). And, this being the height of the grunge era, my friends and I played a lot of Nirvana, Soundgarden, and Pearl Jam. Somehow, a joke started among us that the next Godzilla movie should be set in Seattle, where the great kaiju would be battled (and, no doubt, defeated) by the likes of Chris Cornell, Eddie Vedder, and Kurt Cobain.

It was a dumb joke, but it struck a chord. These guys were the superheroes of rock, cultural warriors that always seemed brilliant, dedicated, and brave. So, in 1993, when two of three, Vedder and Cornell, teamed up to form a super-group called Temple of the Dog, we should have been ecstatic. It was like Batman and Superman joining forces to fight evil (if not Godzilla).

In fact, the band—which was formed by Cornell as a kind of tribute to his late friend and lead singer of Mother Love Bone, Andrew Wood—made very little impact on us. Except for one song: “Hunger Strike.” For a few weeks, it was the practically the only thing on the radio (yes, we still listened to radio in those days). An unlikely duet between Cornell and Vedder, it shows off the vocal strengths of both men, whose voices complement each other in kind of harmonic unity not often heard in alt-rock (and especially not in grunge). I love how Cornell’s magnificent tenor soars high above Vedder’s mournful baritone, which seems to anchor it.

Somehow, through the alchemy of art, the song becomes less of a dirge than a jubilant cry of defiance.

Rock on…

Friday Night Rock-Out: “Why Can’t I Be You?”

Everything you need to know about alt-rock in the 1980s can be learned from listening to four bands: The Smiths, Echo & the Bunnymen, Siouxsie and the Banshees, and The Cure. I’ve featured all of these bands except The Cure, so it’s about time, especially considering that they were, in some ways, the most innovative and versatile of the four.

Most people know the song “Just Like Heaven“, and they should because it’s a masterpiece. But I love this song, too, because it’s so strange and powerful. With Robert Smith singing on the edge of his vocal range, his voice breaking and whinging like the embodiment of every teenage neurosis you can think of, “Why Can’t I Be You?” is the ultimate song about Nerd Love.

It’s also a great dance song. (Yes, a danceable goth-rock song. Who knew?) And the horn section is epic. (A goth-rock song with horns? Yes, again!)

Rock on..

R.I.P. Chris Rea

The brilliant singer and musician Chris Rea has passed away. I remember when I first heard this song (my favorite of his). I was in grad school in Tucson, Arizona and had a summer job teaching English at Pima Community College. I was driving there one day in July when the temperature hit 117. My little car started to overheat so I turned off the A/C, rolled the windows down, and hoped for the best. Then this song came on. It had such a great groove to it that I almost forgot my miserable circumstances. Almost.

It was also so very, very appropriate. Still is, even in winter.

Friday Night Rock-Out: “My Body”

I had never heard of Young the Giant until a few months ago, when this song, “My Body,” popped up on the playlist at my gym. I liked the groove so much that I paused my incredibly wimpy set of curls (“Hey, I’m going for tone, dammit. TONE!”), went to my locker, got out my phone, and Googled it. 

The rest is history…

People have compared Young The Giant to The Cure, but they remind me more of Coldplay, but with more of a rock-edge (not to mention a bit more soul). 

Rock on…