Scott Walker’s versions of Jacques Brel’s songs combined a big pop sound with some very un-pop sensibilities.
The plots of musical are preposterous. That’s the point of them. They’re about bringing the impossible to life.
The man who wrote the Cream song I’m So Glad recorded 30 country songs for Paramount as a young man, never saw a cent for them, and disappeared for three decades. But Skip James’ archetypal story earned him a second act in the 1960s.
Songs exist in time, poems exist in space. And other thought on words and music from Pete Atkin.
Aretha brought gospel into popular music—and with it the whole history of Black America. On that lies her claim to greatness.
In their different ways, Gershwin’s Rhapsody in Blue and Bernstein’s West Side Story are the sound of 20th century New York.
The playwright Alan Plater drew on jazz to inspire and improve his own writing. Some notes on his book Doggin’ Around.
Writing and playing punk songs about normal teenage dreams in the heart of the city under military occupation was a radical act.
David Bowie became a star in eighteen months. He spent the rest of his career trying to refuse the narratives of stardom.
The American songwriter Jackson C. Frank’s only record was produced by Paul Simon and had Al Stewart on second guitar. His life was tragic, but his song Blues Run The Game is now a folk standard.