American - Writer | October 17, 1961 -
A few days after 9/11, I put the old cassette of 'Born in the U.S.A.,' twisted and worn, on the car deck as I drove past West Point, across the Bear Mountain Bridge, along the Hudson River. It was the perfect moment to hear it.
David Means
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I was a kid who was born and raised on Johnny Cash. My father played 'At Folsom Prison' constantly. Cash was the only thing I remember coming from our big, warm stereo console. Even then, I knew Cash was uncool. I knew he was an unhip Republican.
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'The Rising' isn't Springsteen's masterpiece.
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From George Martin's classically inspired production of the Beatles to Peter Gabriel's early solo masterpieces, to Stereolab's beautiful loops and blips, U.K.-based bands have often found a way to squeeze warmth and compassion from the stone-cold - especially now that the tubes are gone - machinery of the recording studio.
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In 'Kid A' and 'Amnesiac,' Mr. Yorke's lyrics were often unfathomable, moaned and mumbled and forced beneath the surface of the music. In 'Hail to the Thief,' most but not all of the words can be decoded after a few listens.
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What I appreciate about Radiohead's work - and it's most evident in 'Hail to the Thief' - is how the juxtaposition of narratives on the band's albums somehow creates a sense of wholeness.
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The more you know about Bob Dylan, the less you know. A truly enigmatic artist, Mr. Dylan's work and life offer vaporous handholds, explanations, and instructions. Attempt to grasp them, and they will only dissipate and re-form into another contexture or idea.
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A good folk song tells you something you already know, in a form you're already familiar with, on terms that were set down long before you were born - when the country was primarily windblown dust, open wagon trains, and dysfunctional towns like Deadwood.
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Folk songs, whatever else they might be, are mainly craft.
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In the days following 9/11, when we were reeling and disoriented, there was a kind of solace to be found in old recordings, and even pseudo-folk singers like James Taylor seemed to be safeguarding something, drawing back bygone days.
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I think that those moments before a performer plays are the moments when the potential for something to be created may - or may not - arrive.
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Every interaction with another person involves a dance of expectation, even when you're just passing someone in the street. Inside those moments - however brief they may be - there is a kind of anticipatory silence.
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