Learning Today: May 20th 2011. Celebrating The Proud And Invisible Professional Songwriters

Eg White. Al "Shux" Shuckburgh. You've heard their music in your car, hummed along to their words in the shower. Just who are they again?

These men are professional songwriters. Pop stars--it turns out--don't actually have enough time to write their own material, so they hire other people to do it for them (a lovely example of the increasing division of labor, by the way.)

No doubt it' efficient. Here's the wonderfully named Eg White on his process.

Sometimes I get two hours. Someone comes over at three, we have a cup of tea, chew the cud for a bit, go: 'All right, shall we write a song?' And by six, they've gone home and we've fucking done it. Chasing Pavements, that took two or three hours.

Efficient, sure. But there's something dreadfully unsatisfying to know that many of the songs making up the soundtrack to our lives were made this way--like work. We want our art to be the product of pure feeling, not the product of a guy trying to get a paycheck. When the market gets involved, we feel like our art has been compromised somehow.

Tangent time. This is one of the reasons for the snobbery of modern art. There's plenty of fantastic and appealing commercial art. But since it turns a profit, we're hesitant to call it real art--'high' art. True art is the art that could not survive the market--the art that must be supported by museums and art schools, rather than by people actually buying it and hanging it on their walls.

Well I think that's an awful way of looking at art. The test of art is in our experience of art--how we hear the song, how we see the painting, how we read the novel.

So tonight when you open up iTunes, raise your celebratory beverage of choice to the invisible professional songwriters, those shadowy men who make the music we hum along with.

Source: "Write me a hit by teatime: the world of professional songwriters." The Guardian, May 17th. Via Mefi.

What Makes A Compulsive Song Compulsive?

Right now I am listening to Okkervil River's Calling And Not Calling My Ex from their latest album, the Stage Names. (The embedded YouTube vid above is, in fact, a live recording of the song.) I have been listening to this song a lot. And by a lot I mean maybe three, four, five times a day, whenever I find a spare moment.

Now it doesn't take a Master's in psychology to figure out the etiology of this compulsion. I have been thinking a lot about an ex of my own. But we might find some interest in the details. What first drew me to the song was the line "I'm feeling pretty stupid now for ever having said goodbye." Which is exactly how I feel when I'm feeling, well, however it is that I feel. The sympathy I felt at that line made me stop, rewind the song, and start to listen again. Now, one way of explaining great art says that great art expresses what we otherwise find inexpressible. That great art alone can express these feelings because those feelings are too refined to be explained by our own poor powers of expression. But the emotions I find reflected in the song remain unexpressed by me, not because they are too ineffable or complicated, but because they are too cliched, too mawkish. I miss you. I never wish I said goodbye to you. The beauty comes from a simple sentiment, expressed simply, but a sentiment that if I actually said it would encourage my friends wonder whether I had turned emo on them. (Maybe, perhaps, I have.)

This has led me to think about obsessional songs. My housemate is currently listening over and over again to a verse by the British hip-hop legend Jehst (his verse starts at 1.10). In my sophomore year of college I listened to Mirah's song Mt St Helens every single morning when I woke up, much to the chagrin of my roomate, who at first hated the song, then grew to despise it, silently, while still in bed, trying to sleep, every day. (The song's first lines, "From the morning when I rise from my bed / to the evening when I lay my head in slumber" outright encouraged obsession--indeed, the song was compulsive because it was about compulsion. I blame you, Mirah, for mornings of moody music-listening, and for the discomfort you caused my roomate.)

These songs, I think, are just proxy obsessions: in my case, I am trying to find some way to channel my care for girls who, for whatever reason, are far away from me. In my housemate's case, he listens to Jehst ten times in a row because he is obsessed with the sheer skillful exuberance of the English language, with hip-hop, with speech.

Which is a little healthier, perhaps.

I don't know if what I'm talking about here is the already much talked-about earworm, but I suspect there is some difference. The earworm comes into your head unbidden. These songs, you invite them in.

I had first planned these paragraphs as an introduction to an open thread, and so will conclude:

TL;DR: What songs are you obsessed with, and why?

Scratched the surface of the treasure trove.

I have a strange hobby. Now, it's less of a hobby and more a potential for a hobby-an interest I have which I've only surreptitiously and half-heartedly started to follow. I love vintage music. Especially pop music. Hearing the worn-out strains of 1920s popular songs on my iPod is such a magnificent confusion. The songs seem so immediately familiar in their usual poppiness, but they sound like pop from another world, from a distant America, which is true, they're from a completely different America, one we can never know, a passed, strange America which wore hats.

All this is an introduction to today's find: two large treasure troves of vintage music (via WFMU's Beware of the Blog).