The sounds of nature became the first music heard on this planet. As Homo sapiens emerged and evolved, we added to the symphony. By uttering sounds in rhythmic sequences, early man created songs to express his range of emotions. As time went on, he developed crude instruments, such as drums made of animal skins, to accompany his sounds and make them more enjoyable. People in some parts of the world refined their instruments, while some still clung to their aboriginal versions, such as the Australian didgeridoo. Regardless of the locale, music has the power to transcend cultural, racial, and other superficial differences. Thus has it come to be known as the Universal Language.
Covering the full gamut of human emotions, music communicates everything from love, both returned and unrequited, to hate. It is used to inspire, celebrate life’s big moments, honor one’s nation, and mark the beginning as well as the passage of life. It has been used to tell stories, as in opera, and for sheer entertainment, as in live concerts. Music has become as intrinsic to us as breathing; yet, it also changes with time and culture. The history of music starts with Tribal and graduates to Symphonic, Classical, Inspirational, The Blues, Swing, Jazz, Pop, Rock n’ Roll, Country, Bluegrass, Soul, World Beat, Hip Hop, Rap, and more, with each change telling its own story. Every genre boasts it artists: musicians, singers, songwriters, arrangers, sound engineers, and producers.
“Beauty is in the eye of the beholder” and so is music, because we make very personal choices as to what we wish to hear and/or dance to, and leave other genres to their own admirers. In other words, every generation has it favorites. I guess I fit into the “Golden Oldies” era when life moved a little slower and chivalry was alive and well. I enjoyed Swing and danced to the music of the Big Band Era. Songs like Tuxedo Junction, Summit Ridge Drive and Pennsylvania 6-5000, among others remind me of World War II.
Much American music, in fact, reflects the history of our nation. For example, George M. Cohan wrote the music that ushered America into World War I. The story goes that he was awakened by a phone call from President Woodrow Wilson, requesting that he write a song to inspire our troops marching off to war in Europe. Cohan’s response was, “Mr. President, your request is my command.” On a train from New Rochelle to New York City, he wrote the melody and lyrics to Over There, the song that became the battle cry of the Doughboys.
During the same era, Cohan wrote other patriotic songs, including It’s a Long way to Tipperary. Years later, on June 29, 1936, President Franklin D. Roosevelt awarded George M. Cohan the Congressional Gold Medal for his contributions during World War l. He was the only entertainer to achieve this distinction.
A musical composition commemorated another historical event, when President John F. Kennedy was laid to rest on national TV after his assassination. Adagio for Strings was a haunting tune befitting an entire nation in mourning. At JFK’s funeral, I found the song extremely emotional. However, when I heard it played under different circumstances, I found it quite beautiful.
Music has also been used to entertain the masses; Hollywood’s film scores are most notable in this vein. Theme songs for many movies gained positions on the charts and generated sales via music lovers. A few that come to mind are the themes from Goldfinger, Butch Cassidy and the Sundance Kid, Lawrence of Arabia, Chariots of Fire, Out of Africa, and Forrest Gump. And let’s not forget the music from Jaws that had audiences sitting the edge of their seats, waiting for the monstrous Great White to strike.
In the field of Pop music, many classical tunes, used with different lyrics, have made the Hit Parades. These include You’re Breaking My Heart, sung by Vic Damone and others. And in the 1960s, Beethoven’s rousing Ode to Joy was embraced by commercial radio audiences.
In reading this article, you can probably calculate the age of its writer. Now that I’ve shared with you some of the selections that I have enjoyed, I ask that you leave a comment here as to the music that has touched your life. If you know the artist or band, please include his, her, or their names also. Thank you.
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You’ll be sorry you asked. My musical background spans numerous genres and artists, far to many to mention here in toto. A small smattering includes Italian opera, almost anything Motown and Soul, especially Aretha, Marvin Gaye, Stevie Wonder, and Gil Scott Heron (check out the latter’s incredible song, “The Bottle”). Ray Charles. Anyone who ever stepped up to a mic and faced an audience after hearing Brother Ray sing anything has a phenomenal pair. The Rolling Stones, who set my standard, at the age of nine, for bluesy rock. The Animals. Not The Beatles (too tame and cartoon-y for me, even in childhood). Janis Joplin, Led Zepplin, Neil Young, The Band, Bob Dylan, James Taylor’s quintessential ode to personal loss, “Fire and Rain”, Carole King, U2, The Waterboys, World Party, The Alarm, Santana (“Black Magic Woman” is a legal recreational drug), Steve Winwood in his many incarnations, particularly “Gimme Some Lovin'” with the Spencer Davis Group, “I Can’t Find My Way Back Home” with Blind Faith, “While You See a Chance (Take it) as a solo artist, and “Low Spark of High Heeled Boys” with Traffic. Jimi Hendrix’ “Little Wing”: perfection, period. Clapton’s exquisite “Layla” — the original, recorded version, not the lifeless unplugged version. 10,000 Maniac’s “Verdi Cries.”
Steely Dan’s “Deacon Blues” from the Aja album (I wore out one LP, burned holes in two tapes and am now on my CD version). Bowie and Freddie Mercury on “Pressure”; Bowie and John Lennon’s brilliant, cutting “Young Americans.” Peter Gabriel’s “In Your Eyes.” Counting Crows’ “Omaha” and “Rain King.” Almost anything by Van Morrison. Hear his “Queen of the Slip Stream” and weep with joy. Robbie Robertson’s sensual yet subtle “Somewhere Down the Lazy River.”
Springsteen: how do I choose? I’ll narrow it down to “Prove it All Night”, “Youngstown,” “Badlands”, “Atlantic City”, and “Land of Hope and Dreams” Keb Mo’s “The Itch.” Hear that, and you will, in the dead of night when you can’t run from yourself. Michael Penn, so underrated as a songwriter; love his “No Myth” and many more. Leonard Cohen’s “Suzanne.” “Billy Joel’s “The Stranger:” Guns N’ Roses “Sweet Child of Mine” (I think the world at large forgets what a phenomenal guitarist we have in Slash). Billy Idol, when I want my engine revved (I hear “Rebel Yell” live, die, and go blues heaven; yeah, the live versions are blues!). Anything by Taylor Hicks sends me, particularly his own original music, including “Somehow”, “In Your Time”, “The Deal”, “West Texas Sky”, “Maybe You Should”, and “Indiscriminate Act of Kindness.” If you hear that last song and don’t sob, somebody robbed your soul. And I hate like hell to admit this, but I like LaRoux’s “Bulletproof.” It’s like a wormhole. I don’t want to go there, but I got sucked in anyway.
Another great article from the master, Tommy P.! “In the Mood” does it for me, Tommy. Reminds of when I was young and frisky. Tossing girls around the dance floor like rag dolls. Flying skirts, flying limbs and a whole lot of fun. No other dance came close to jitterbugging. Ah, the good old days! 🙂
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