Welcome to DigitalDin.com - thanks for visiting! close ×
+

Lyrical Genius, Part II – Ben Folds

It’s a shame, but it seems to me that a lot of songwriters don’t really work as hard on their lyrics as they do their music. Granted, there are exceptions, but so much of – particularly popular – music is made up of utter dreck, lyrically speaking. (Of course, a lot of the music blows, too.)

Even most of the words that are well-written are pretty lacking; they don’t really mean anything.

So I present the second in a series on songwriters that I feel deserve mention for the profundity that they display in their lyrical output. Enjoy!

BEN FOLDS

Ben Folds is considerably more well-known than my previous entry; he’s had several songs hit on the radio (“Brick” was a pretty major hit) so you’ve probably heard of him, even if you never heard of Kevin Gilbert. But perhaps in all the upbeat, rockin’ piano jammin’, you never noticed what an incredible storyteller he is? The aforementioned “Brick” is a very good example; a (fictional?) story about a couple of teenagers who go to the women’s clinic the day after Christmas is not actually a pro- or con- argument for abortion, it’s instead a powerful statement on loneliness, “status quo” relationships, and honesty, among other things. And it’s told in the context of a story so simply told – few words, but words well chosen – that one can hardly have trouble identifying with the “character” in the song.

It’s a skill that Ben has in spades. Another very good story told, from the “Ben Folds Five” album, is “Boxing.” It’s a story about a boxer who’s well past his prime, yet still boxing because it’s all he knows. It’s sung to his manager, Howard, and the most goosebump-raising line is at the tail end of each chorus:

Boxing’s been good to me Howard
But now I’m told, I’m growing old
The whole time you knew, in a couple of years I’d be through
Has boxing been good to you?

Damn, that gives me chills just typing it.

Then there’s the amazing “Fred Jones Part II” from “Rocking the Suburbs”:

Fred sits alone at his desk in the dark
There’s an awkward young shadow that waits in the hall
He’s cleared all his things and he’s put them in boxes
Things that remind him: ‘Life has been good’
Twenty-five years
He’s worked at the paper
A man’s here to take him downstairs
And I’m sorry, Mr. Jones
It’s time
There was no party, there were no songs
‘Cause today’s just a day like the day that he started
No one is left here that knows his first name
And life barrels on like a runaway train
Where the passengers change
They don’t change anything
You get off; someone else can get on
And I’m sorry, Mr. Jones
It’s time

An incredible story, told incredibly simply. You relate, you understand – it’s an amazing skill, and one that I hope to develop in my own songwriting.

To steal Kevin Gilbert’s phrase: To be simple, yet profound.

I’ll close with lyrics from “The Luckiest” – an amazing (perhaps a little sappy) song that my wife and I made “our song” at our wedding and for always. It has the amazing distinction of this great moment: When we played it for my Mom (who we lost in April) the first words out of her mouth after she heard it for the first time were, “You know you have to play that at your wedding, right?” (This was before we were even engaged.) Amazing song, amazing lyrics: Note – I typed from memory, prose-style, so the line spacing may not be as Ben Folds originally wrote ’em.)

The Luckiest (from “Rockin’ the Suburbs”)

I don’t get many things right the first time
In fact, I am told that a lot.
Now I know: all the wrong turns and stumbles and falls
Brought me here.
And where was I before the day
That I first saw your lovely face?
Now I see it every day.
And I know that I am the luckiest.

What if I’d been born fifty years before you
In a house on a street where you lived?
Maybe I’d be outside as you passed on your bike…
Would I know?
And in a white sea of eyes, I’d see one pair
That I recognize
And I know that I am the luckiest.

I love you more than I can ever find a way to say to you.

Next door there’s an old man
Who lived to his nineties
And one day, passed away in his sleep
And his wife, she stayed for
A couple of days and passed away
I’m sorry, I know that’s a strange way to tell you
That I know we belong…
And I know, that I am the luckiest

Share : facebooktwittergoogle plus
pinterest

Lyrical Genius, Part I – Kevin Gilbert

It’s a shame, but it seems to me that a lot of songwriters don’t really work as hard on their lyrics as they do their music. Granted, there are exceptions, but so much of – particularly popular – music is made up of utter dreck, lyrically speaking. (Of course, a lot of the music blows, too.)

Even most of the words that are well-written are pretty lacking; they don’t really mean anything.

So I present the first in a series on songwriters that I feel deserve mention for the profundity that they display in their lyrical output. Enjoy!

KEVIN GILBERT

Here’s a guy who was troubled, for sure. And like many troubled, somewhat misunderstood artists, he was taken from us far too soon. But most of what he left behind was so deep, so powerful… his influence on me, my songwriting, my lyrics – it simply cannot be overstated. He is, for all intents and purposes, my musical hero. His music was original, yet hooky. His engineering and production skills were legendary among his peers. But I’m especially drawn to what he said.

His lyrics could be pensive, powerful, snarky, optomistic, intellectual, sarcastic, honest, simple, and profound – often all in the same song. There is so much to be read between the often simple lines of prose; you can tell he was well-read. He was a master of allusion, wordplay and clever puns.

Here, a few of my favorite stanzas.

from Goodness Gracious (from “Thud”)

Goodness Gracious my generation’s lost
They burned down all our bridges
before we had a chance to cross
Is it the winter of our discontent or just an early frost?

Goodness Gracious of apathy I sing
The baby boomers had it all and wasted everything
Now recess is almost over
and they won’t get off the swing

Goodness Gracious we came in at the end
No sex that isn’t dangerous, no money left to spend
We’re the cleanup crew for parties
we were too young to attend
Goodness Gracious me.

from Waiting (from “Thud”)

I’m waiting in the shadows with a chain around my wrist
I’m waiting with my best friend held firmly in my fist
I’m waiting for my heroes to tell me what to dream
I’m waiting for my neighbors to tell me what’s obscene
I’m waiting for the apple, I’m waiting for the fall
I’m waiting for a renaissance to electrify us all

from City Of The Sun (from “The Shaming of the True”)

The attendant at the Texaco saw the guitar case in my back seat
and decided to impart his tragic tale
He said: “I used to play in a band like you,
we even made a record too”
and sang a bar that hardly rang a bell
Now I’m not one to make a lot
of omens and premonitions and fleeting thoughts
but I must admit that I tried to avoid his stare
‘Cause I didn’t want to see him see himself in me
with the look of an extinguished flame that might be lurking there


Kevin Gilbert was a multi-instrumentalist and songwriter, singer and audio engineer/producer. He was one of the founding members of the “Tuesday Music Club” which was the foundation for Sheryl Crow’s breakout record “Tuesday Night Music Club” which won accolades and awards (though Kevin saw little positive effect of Sheryl’s ascent to fame). He also worked with Madonna, Michael Jackson, Keith Emerson, Spock’s Beard, Jonatha Brooke, and many others. His solo release “Thud” is an amazing album even today (having been released over a decade ago) and his posthumously released rock opera “The Shaming of the True” is an under-recognized masterpiece. I urge you to check out his work. Now.

Share : facebooktwittergoogle plus
pinterest