R: Sinister: Evaluation scale of lyrics (was: Guy Chadwick)

[Giuseppe Gregorini]

Andreas wrote:

>My only reaction at the publication of "Shine on" was indifference
>(remember that non-english speaking people are forced to write e-mails in
>their native language, which sounds pretty much like English anyway)

But the average listener doesn't understand the lyrics and a good evaluation
is impossible ( not many bands, especially the so-called indie, include a
lyrics sheet ).

>Actually I'm aware of many foreign P!O!P! enthusiasts who tend to put the
>lyrics at the top of their evaluation scale, including Italians ...
>naturally the music makes an artist interesting in the first place, but
>following that I for one consider the lyrics as the most important issue.
>The House Of Love never passed the first threshold ... but sometimes
artists
>like, for example, The Legend! compensate the weakness at the first
>threshold by writing excellent lyrics ... talking about B&S content. §;^D

That's an interesting issue.
 I tend to look at pop songs as simple levers: at the right there's music,
at the left the lyrics.
The ideal pop song is the equilibrium position.
BandS are the perfect equilibrium, so the Smiths and not many others.
Anyway, when you have very good lyrics and fetid music, my lever's mental
image has a balloon saying: why don't you write a book? Do you really think
you're giving more power to your words with those farts?
The other extreme is more unfathomable.I still listen to beautiful songs
with ridiculous text.
I can't remember songs that made pop music history with very good lyrics and
poor music, while the contrary is true. Maybe it's in the pop song's ability
to freeze an instant, a sensation, the zeitgeist whatever you want to call
this magical connection to something important and meaningful for many
people.

Er, I swear I'm not a case of delirium tremens.

Bye, Giuseppe





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