Tag Archives: music

The Long Coda

No mistake — we
will end in Music.

Take the full journey
to how we got here

and whether we start
back at First Drum (maybe

when feet shook the earth
while running or maybe

when stick hit stick or log
or rock hit rock — or skull)

or at First Song (maybe
with first imitation of wind or bird

or maybe when prehistoric lovers’ voices
pleased each others’ ears and 

repetition led to connection) we ran it in Music
and we will end in Music.  

We will end in Music,
blood singing through us.

We will end in Music,
wind in our hair.

We will end in Music,
hearts stepping down.

We will end in Music,
our lyric closing as we close.

If we were anything, ever,
we were Music — there was always

melody within, harmony to be 
sought and struggled for, rhythm

to frame it all; and when we’re gone
our survivors shall sing us home.

We end in Music 
which itself never ends, and 

perhaps that has been the nature
of God all along: the continuing Song

going on and on. The coda
of Beginning. The last lingering Chord.


Better Than Bullets

Snarls and wars and small divides
grown canyon wide and canyon deep;

scent of blood and old chains
not yet rusted through. Songs

are clashing; rough beats thump
artillery, soul wails sling arrows.

It’s late. Do you know where your children are
and what they’re listening to?

Pray they have fallen in love with dangerous
music. To slide into sleep

on a comfortable lullaby is a sure path to 
waking up in hell.

Don’t trust
those who say music should be harmless.

There’s a war on and songs
are better ammunition 

than bullets. Songs
change their targets. Songs

sluice their way
through far more than flesh,

cut deeper, break more walls,
tear down more defenses.

What are your children listening to?
If it doesn’t scare you, 

they are almost certainly
doing it wrong.


Crossroads

Buddy Guy watches Jonny Lang
play a traditional constipated blues face solo.

Buddy Guy watches Ronnie Wood sliding, slinging,
posing wide armed at the end of his bars.

Buddy Guy praises them both
as he steps to the microphone:

“I don’t know how you feel
but I feel like I’m in Heaven.”

As for me, I feel like I’m seventeen again,
the age I was the first time I saw Buddy Guy

with Junior Wells: Junior all menace
and black leather, briefcase full of harps

not meant for Heaven; Buddy a benevolent
living example of why not everyone

needed a meeting at the crossroads
to tap into the Source. Still got it, too: that smile,

soft as a backwater in August. Those hands,
coaxing out a steady rain. I feel like

I’m in Heaven after having been mistreated
as he lays me to rest.


Don’t Write When Listening To Music

don’t write when listening to music
in case you get stuck on a phrase
and have to listen to more to get unstuck
and don’t know if you should re-listen
to the same music or perhaps
change genres completely, maybe switch
from swift stream jazz to more angular
metal or a blues stomp that releases you
from expectation because
so much could come from that
but then you’ll have to live up to it
and maybe the best you can do
is try to live up to it knowing you’ll fail
because all you have is a box of nested words
and the music has all the sun and moon and stars
and blood and pulse and if you have to ask what else
it’s beyond you
and with it being contained in one note
it’s beyond you
and without you being able to respond
without song yourself and you can’t
SING
it’s beyond you
so don’t write when listening to music
you’ll feel your fool coming out
you’ll feel your frail coming on
you’ll feel and have to stop
perhaps for good or perhaps for ill
but you’ll have to stop
you feeble frail fool
you’ll have to stop
and maybe not write again
until you are silent within
and with this song being
as large as the
supermoon stars and 

galactic sun drops on 
icy blue paths through
whitespace

that
won’t
easily
happen


The Broken Nail Song

A broken nail
changes the way a string
moves, the way it sounds.

I change everything about
my attack upon the guitar
to try and make up for it.

I fail perfectly. A new sound, 
a new song comes out of
the ragged touch of the one

I was attempting to play.
I like it better, better 
for now, at least — I may never play it 

this way again, but glory’s happening
tonight. Things happen;
glory comes from them, music

happens. I’m glad for
the broken nail song, the attempted 
redemption psalm, the make-do symphony,

for it’s there, in the silence between
the changed, strange notes,
that hope rings out.


Mashup

His mashup 
core’s two songs
run together a love song
and a death song and
how those beats collide
collude and now he is
one then another and
the mashup reminds him
of all the songs he is not 
so what the memory does
is originates and
a new bit of beat and
big tears is made from 
mashup a mix a pastiche
of what is heard over
a year or ten and now
until so many bits and beats
smash into born again and
again the yet incomplete 
core of him tells a mistake 
story and a moral is not
anything more than imposition
of a unity among elements
never meant to be found
in the same place and all this
before he gets out the door
first thing on his way to
the singular nature of
his job. On the way to work
he plays the radio because
he likes to take a risk and perhaps
add a little season to the stew
the mash the hash within and
they won’t know him maybe this time
and he’ll go through the dirty glass
of the lobby into the cubicles 
not looking like
the same guy and he’ll be 
tossed out for not matching
his ID pic and so get to go
home and this time
no radio as he has chosen not to
have ears anymore
in a bid for healing an end to 
the mashup he carries
at his core and stop
in a field and let the noise
settle long enough
as he lies there on the grass
trying to remember his name if
nothing else not caring how it is
pronounced as it can be
pronounced anyway
he wants if he can’t hear either that or
how another responds
and right now this stone
of silence sounds
pretty good.


Voicings

On TV
Annie Clark of St.
Vincent
playing and explaining
jazz voicings with a
vintage junk chic
Harmony electric
guitar

The host 
a fine player
is attempting to
play what she is playing
on a vintage not junk
Dan Armstrong
Lucite electric 
guitar but

can’t quite follow what
she’s doing to make
that slab ring and
sting such odd
angles in the air

She patiently explains
and demonstrates
for him again
and when he at last
gets it she
riffs against what he 
is playing

Guitars and
guitarists wincing
with glad effort 
Expecting nothing of music
but to be there as
music expects
something 
of oneself
to be paid before
offering any greatness
in any increment
no matter how
small

A bounty from each according to 
first ability and then 
need


Authenticity

Say

do you have a banjo I could borrow 

I sold mine
to the grocer’s son  

He said

he could afford a new one
but preferred to own 
one with a history  

I told him

everything I knew about mine
how it had been 

unplayed for years
sat
in a closet in my uncle’s house

My uncle didn’t know where
it had come from either
and gave it to me

It hung on 
my family room wall for 
a while before I put it in
the yard sale

It had the name “Buckbee”
stamped in the neck — manufacturer’s 
name
I looked it up once
It was
nothing special
They were not great instruments
A door to door
sales force
sold them in the 
1890s
Cheap instruments made
for folks who couldn’t afford
more — oh

the grocer’s son loved that
and gave me a lot more money for it
than it was probably worth

I don’t play
he said
but this way I’ll learn
on something authentic
thank you
thank you thank
you

so
getting back to the point

do you have a banjo I could borrow

I’d like to see if it’s something
I could learn to play but I’ll be damned
if I’ll spend money on something
I don’t know if I’ll keep doing

Be a shame to have it end up
in a closet somewhere
for the next grocer’s son to buy
years and years from now

If I like playing I’ll get my own

and that way the only history
it would have
would be ours
If you ask me

you can buy the banjo but
the history between player
and played
can’t be bought

but then again I’m not
a grocer’s son


Maestro, Virtuoso, Aficionado

Originally posted 10-26-2011.

Maestro, play on

In the hands of a virtuoso
even a decayed instrument,
ignored for years, attic-bound,
can make a music strong enough
to bend walls.

Maestro, my maestro, play on 

I don’t claim the title for myself 
but my age being its own reward
and punishment at once,
I live toward the words — maestro, virtuoso  — 
as if they were mine to use.

Virtuoso, I am aficionado
Maestro, I am waiting 

What do I call myself now
when, with my instrument
all but played out,
I choose to seek clarity
by using a single string?

Ossessionato
I am obsessed with the hunt

Maestro
I am forsaken

I’ve been told
that nothing made on the single string
is performable,
but here I find myself committed to the single string,
facing an audience
who expects performance.

Maestro, I am the impression of you only
Aficionado
Ossessionato

In command of the single note.
In command of the silence around it.  

Can one perform silence?  

On stage, now, I do nothing,
yet the audience
expects something;  
but what could possibly replace 
the joy of doing 
this, just this, only this, only
this one pure thing?

Maestro, I am aficionado
But I am no virtuoso
and I cannot stop this

though I would not stop this
even if I could


Seafoam Green

ANCIENT poem, probably from 1998 or so; appears in an early chapbook.  First time posted online, I think.

All I have is 
residual calluses and
bright memories of
the cool musty leaf funk 
of an October garage,
of my seafoam green
knockoff guitar —
double cutaway
six in line tuners,
triple toaster pickups, 
a cheese-whiz whammy bar–
memories of my first band
and of Janie watching me —
Janie, first girl I ever loved;
and I knew I had it all 
with her there — 
even when Jay 
sang in all the wrong keys,
even when the kick drum
fell off the pallet and sheetrock riser,
even when Tommy put down the bass
mid-song to grab a Coke,
even when my amp clipped 
and broke up in the wrong places
I knew, I knew, I knew
she was watching me,
me and my sea foam green guitar,
my chemical plant dream green guitar,
my Hendrix would have gone for the lighter early
if he’d seen the green of that guitar —

here we were
the only band in history to fuck up “Wild Thing”
and I was still sure she was watching me
as we fucked up “Wild Thing,” 

and then it was over.

Janie went her way
and like a poet I cried epics for her,
like a prog rocker I cried concept albums,
and I put that guitar away until one night
a few years later, late night college radio,
my old guitar felt like a talisman reborn
and “Wild Thing” felt like a tamed thing reborn — 
and now
I wanted to play it
the way Billy Zoom would play it,
the way Joe Strummer would play it, shit,
I’d even play it the way Patti Smith would play it —
figured any hot guitar hung low
and played high and hot
made anyone more

male.

But all these years later,
all these bright memories later,
it feels like that dream is changing —

my daughter’s drawn
a lipstick challenge on her belly,
talks about Sleater-Kinney
the way I talk about Clapton,
daydreams the lyrics
of Bikini Kill and Cheesecake,
lies on her bed in headphones
with that old guitar of mine; meanwhile
the milder man in me
stares at old Martins instead,
listens to Kottke and Fahey
when I should be sleeping
and daydreams
my fingers into full bloom
while my wife
lies dreaming 

of…dreaming of…

Watching my daughter
struggle
with the feel
of her clench
on the neck

of my old knock off guitar,

I’m beginning to think
that a seafoam green
knock off guitar
has little to do with love,
a little more to do with lust, 
everything to do with freedom…

and I’m beginning to think differently 
of all my bright memories,

and beginning to think
that maybe, just maybe,
Janie
wasn’t 
watching 
me.


Max Roach, Greg Corso, And Me

Originally posted 4/6/2013.

Used to tell myself

stop listening to Max Roach,
stop reading Greg Corso;
you’ll never

have Max’s singing rhythm, 
never match Corso’s mad flow.

Today I say shut up,
stop yourself, self.

The joy of Max’s silky beat,
Corso’s rough banging, tongue hanging words —

good enough for me
without looking for more now,

for now I know who I am —

I write like a plowhorse plodding.
I never could figure 
one end of a drum stick from another.
Already in the “where are they now’ file.
Already deep in the winding down — 

I know who I am.

Hearing Max Roach without envy,
reading Greg Corso with no lust to best him?

All the ambition and strain has fallen
completely at last away. 

I’m not rattled
or on fire anymore.
I can 
finally hear
and be at peace.


Corresponding With Herons And Sonny Rollins

Originally posted 2/23/2011.

Left the radio on
and fell asleep; 
woke before dawn
to Sonny Rollins.

So this is why
I corresponded all night
with herons!
I recall long letters
written in dark ink
on creamy paper
with quills lent to me
by green herons

and great blues.

No, that was
a dream, 
says the 

daylight — 

Sonny says,
who you gonna believe?
Sonny says

go back to sleep,
seek the herons’ counsel;
this argument will keep
as I play: first, a song to accompany
a deep wading into 
night’s marsh;

then, a song
to fly by.

 

Aftermath Song

Originally posted 1/27/2014.

A seashell just cracked.
A boulder has rotted apart.
Whole mountains have begun to slipslide;
trees have started to sink
into pits below their roots.

Music’s revealed
in this decay:
beats and rhythms of course
as everything tumbles,
but behind that a melody
made of minimal rise and fall;
a note, perhaps two, three at most.

We can flee it with hands on ears
or dance with it
or join in like kids turned loose
in a broken studio full of broken instruments.

New world coming, new tunes humming —
or more likely, a recovery
of an old book of common song.

Shaped note singing.

Small intervals, easy to pick up.

Inherently ours.


In This Way Is Disco A Form Of Blues

Originally posted 10/5/2012.

Sylvester on the radio sings,

“…YOU MAKE ME FEEL MIGHTY REAL…”

Sylvester is dead. For real.
God only knows how real he now feels.

I am not dead
but I will be sooner rather
than later, 

for real. Getting comfortable with that
is my number one job these days;
I wish I was mighty ready 
to be alone in the night with it. 

When people danced to this
back in Old School

they often danced hand in hand
with Mighty Real Death;

it is in this way
that disco
is a form of blues.

Wish I was ready to dance naked and alone
in the kitchen RIGHT NOW,
but I am neither mighty enough
nor real enough yet,
so back to bed I go to write about realness,
like a damn fool — 

because this is not
how one should die,

flat on a fat ass,
on a bed,
banging a laptop.

“…YOU MAKE ME FEEL MIGHTY REAL…”

This will have to do
until the day when
I finally find myself
dancing into a mirror,

pointing at the sad sack
I’m dancing with, the dance partner
I’ve had all my life, the one 
pointing back at me from the mirror, 
each of us laughing this song
out of our terrified mouths 

as loudly as we can:

“…YOU MAKE ME FEEL…MIIIIGHTY REAL…”

and not stopping
until we fall.


Meet The New Boss

I know neither song nor band
on the radio right now —
thank you, Universal Mind,
for New Boss.

This book, this building,
this line of argument, this
theme under review — thanks be
for the New Boss, for pushing

classic rock and kid cartoons
hard away from the tenuous hold of my
weakening brain cells. Thank you
for my hatred of nostalgia 

as a way of life, for never believing
the old days were better when they were
clearly just more days of bad and good, as
at least within my memory things

are both better and worse
and exactly the same as ever,
and much of what my peers hold sacred
seems now as dumb 

as all the old stuff we once sneered at.
Nothing’s original, really.  Not even
this thought’s original.  Especially not 
this thought, perhaps; there’s someone

out there in an office who counts on that
to grease the palms of all those they serve;
they count on the spiral turning back
upon itself and the Old becoming New again,

all the better to sell the Old
as better than New to some
and the New to Others as so much better
than the Old, when in fact it’s all

the Same — it’s all the Same:
the sales pitch, the hook set, the smile
behind the salesforce veil.  Knowing that,
I still thank you for the New Boss, Universe, the New

that isn’t New.  At least I’ve got Hope,
as false as it is, that I’m not Old myself
as long as I think for a second that things
might change. I’ll take whatever Hope I can get — 

but you knew that, of course.