thanks for the information
richard
registered: 2025.03.01
>>As far as the style of "The Toughest Whore" goes, I was >>trying for German cabaret, rather than the British >>variety. Trying and failing, I presume, since absolutely >>noone has recognised the source, ie the sardonic pop of >>Brecht and Weill.
Thanks for answering my question...if you're familiar with any of the British Caberet/Vaudeville (Noel Coward, Oscar Wilde etc), it's not that separate from the German variety. Obviously there will be a slight variation in content and cultural reference, but it's like comparing Texas and Chicago blues - the purists could talk for hours on the differences, but both groups are trying to say the same thing.
>>In terms of how long it takes to write a song, it really >>varies (but) I absolutely do not think that "songs >>are just hanging there waiting to be discovered" , and >>the only writers I know who actually do think that, >>rather than just say they do are either very young or >>imbeciles of the highest order.
So which category would you put Bob Dylan into ? =o) (Apart from `genius`?!) I heard a story of how he met Leonard Cohen in Paris and they were forming their own mutual admiration soceity. Dylan said how he admired `Hallelujah` and Cohen said how he admired `Jokerman`...Dylan asked Cohen how long it took to write `Hallelujah` and Cohen replied "about 2 years, on and off" and when Cohen asked Dylan about `Jokerman` it apparently took him 15 minutes to write.
Not that that's any excuse for aspiring writers to try and nail all their songs in 5 minutes flat, but surely the transcendental nature of the IMO `great songs` (such as `Crazy`, `Don't Think Twice, It's Allright`, `A Day In The Life`, `My Funny Valentine` etc etc etc) seem to come from `way out there` so why try and play down or fob off that mythology?
Yours Thoughtfully,
Richard
>>As far as the style of "The Toughest Whore" goes, I was >>trying for German cabaret, rather than the British >>variety. Trying and failing, I presume, since absolutely >>noone has recognised the source, ie the sardonic pop of >>Brecht and Weill.
Thanks for answering my question...if you're familiar with any of the British Caberet/Vaudeville (Noel Coward, Oscar Wilde etc), it's not that separate from the German variety. Obviously there will be a slight variation in content and cultural reference, but it's like comparing Texas and Chicago blues - the purists could talk for hours on the differences, but both groups are trying to say the same thing.
>>In terms of how long it takes to write a song, it really >>varies (but) I absolutely do not think that "songs >>are just hanging there waiting to be discovered" , and >>the only writers I know who actually do think that, >>rather than just say they do are either very young or >>imbeciles of the highest order.
So which category would you put Bob Dylan into ? =o) (Apart from `genius`?!) I heard a story of how he met Leonard Cohen in Paris and they were forming their own mutual admiration soceity. Dylan said how he admired `Hallelujah` and Cohen said how he admired `Jokerman`...Dylan asked Cohen how long it took to write `Hallelujah` and Cohen replied "about 2 years, on and off" and when Cohen asked Dylan about `Jokerman` it apparently took him 15 minutes to write.
Not that that's any excuse for aspiring writers to try and nail all their songs in 5 minutes flat, but surely the transcendental nature of the IMO `great songs` (such as `Crazy`, `Don't Think Twice, It's Allright`, `A Day In The Life`, `My Funny Valentine` etc etc etc) seem to come from `way out there` so why try and play down or fob off that mythology?
Yours Thoughtfully,
Richard
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