who grew up on Fats Domino-against an array of instrumental settings that on this record range from rock to bottleneck to various shades of jazz. Newman's music counterposes his indolent drawl-the voice of a Jewish kid from L.A. Speaking through recognizable American grotesques, he comments here on the generation gap (doomed), incendiary violence (fucked up but sexy), male and female (he identifies with the males, most of whom are losers and weirdos), racism (he's against it, but he knows its seductive power), and alienation (he's for it). Newman's truisms-always concise, never confessional-are his own. 3 A-Īs a rule, American songwriting is banal, prolix, and virtually solipsistic when it wants to be honest, merely banal when it doesn't.
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