The title is more than perfect—it speaks to Hilburn’s ambitions as much as Newman’s. The portrait he draws is of an artistic citizen, a critical patriot, a singer and composer taking the First Amendment not as a grant of the freedom to speak, but as the obligation to speak...
Thanks for this piece. I can’t wait to read the book. Bad Love certainly does deserve a 33 1/3 book, not that it will get it. “Shame” is as supreme an expression of the Trump type as there could ever be. It sums the moment up perfectly.
…offers itself not merely as a text but rather as a dialogue with the American consciousness. The relationship between Randy Newman and his craft is psychoanalytically rich, akin to the process of free association in which the creative frustrations and aspirations bleed, uncensored, onto the page—a testament to Hilburn’s adroit interviewing skill. Here, one encounters a Newman who is both artist and citizen, caught in the perpetual tension between self-expression and societal reflection.One might argue, one might appreciate, that Newman embodies the paradox of the melancholic optimist, crafting his songs as a means of wrestling with the discontents of civilization as Freud would have it. Hilburn meticulously portrays how Newman steps beyond the pleasure principle of traditional American music, pushing to articulate what others dare not voice. This endeavor transforms songwriting into a form of cultural psychoanalysis, unpacking the American Id, Ego, and Superego…Perhaps he would identify an inherent ideological fantasy at play, one in which Newman’s role as a “critical patriot” risks becoming a symbolic function, a stitch in the very fabric of the American cultural hegemony he aims to critique. Newman’s music, then, becomes not only a manifestation of the American dilemma but also a sublimation, offering the pleasure of insight without the pain of transformation. In seeking to embody the voice of American conscience, Newman risks reinforcing the very ideologies he critiques by placing himself as a necessary savior figure. The melodies may sound revolutionary, caution against mistaking the act of singing about freedom for freedom itself. The seductive dream of a critical patriotism runs the risk of anesthetizing the very discomfort it seeks to elicit, more compassionate, would see in Newman a faltering but genuine attempt at self-clarification—an artist reflecting a nation’s ambivalence about its mythology. Newman, as he delves into the ballads of America's psyche, erects narratives that do more than entertain; they confront, albeit imperfectly, the unsaid and the unsayable.In the prose of Hilburn, Newman emerges not just as a musician, but as a cultural analyst, wandering the landscape of American dreams and nightmares, orchestrating a score that resonates with the timeless echo of humanity’s divided self. In confronting the symbolic order, one must be vigilant not to become its author…
Randy Newman's quirky, satirical take on American life provided a fresh twist on the blues, one nestled comfortably in the suburbs, far from the heartaches of the Mississippi Delta but still resonating with a universal sense of irony and existential humor. His songs, with their wry commentary and keen observations, shone a light on the mundane, everyday struggles, much like Johnson's did but with a different setting and narrative style. Where Johnson's work was steeped in the raw, unfiltered essence of southern blues, Newman's suburban blues captured the ironic tragedy and comedic absurdity of modern life. Songs like "Sail Away" and "Political Science" combined whimsy with a biting wit, making listeners reflect on cultural and societal issues against a backdrop of rich, melodic tunes. The beauty of Newman's style lay in his ability to weave stories that felt both personal and universally relatable. He took the ordinary man’s blues to new heights, wrapping them in layers of irony and wit that resonated deeply with audiences. Each track was a vignette, a glimpse into the lives of characters caught in life's complexities, delivered with a smirk and a piano melody that echoed in the hearts and minds of listeners. Much like Johnson, Newman understood the power of storytelling in music, and he wielded his pen with precision, crafting lyrics that could make you laugh, think, and feel in equal measure. His suburban blues didn't shout or wail; they whispered truths wrapped in humor, offering a mirror to society that was both endearing and unsettling. In this way, Randy Newman and Robert Johnson, despite their differing styles and eras, connected at an emotional and thematic level, exploring life's inevitable ironies through their unique musical lenses. Whether singing about forgotten dreams or delusions of grandeur, Newman held a wry understanding of the human condition, embodying Waronker's title in unforgettable, melody-driven narratives.
When was Randy Newman last relevant? The works quoted are all from long in the past and the last few decades have seen Newman taking up the family business of being a Hollywood hack. Never liked him anyway as he comes off as the smartest guy kinda guy, smug, condescending, lacking real warmth or empathy for his subjects. Can't rock. Or roll either.
Hmmm. Ever hear a song called “Gone Dead Train”? Rocks pretty well. Would you consider a song as beautifully turned as “When She Loved Me” as Hollywood hackwork? Randy Newman is a genius.
I agree with Brian. You don't have to write someone off to affirm you don't like them. I also disagree with your dismissal of Newman as a hack for Hollywood. I believe that at his best, Newman subverts any claim to the kind of lyrical smugness or condescension you refer to by disappearing into his own songs and inhabiting his characters in ways that feel as though he were giving them voice rather than merely inhabiting them. Maybe you're not a fan of 12 Songs, but for me hearing that album was all I needed to know that Newman could indeed rock and roll.
Thanks, Greil. Great review as always! I had tickets back in 1978 to see Randy at the Oklahoma City Zoo Amphitheater. I went to pick up my date at her house and she was not there. Not to be deterred, I headed towards the OKC Zoo only to hear on the radio that Randy had cancelled the show. Never got to see Randy in concert and never went out with my date again either! Anyway, I have the book and can't wait to dig in!
Thanks for this piece. I can’t wait to read the book. Bad Love certainly does deserve a 33 1/3 book, not that it will get it. “Shame” is as supreme an expression of the Trump type as there could ever be. It sums the moment up perfectly.
…offers itself not merely as a text but rather as a dialogue with the American consciousness. The relationship between Randy Newman and his craft is psychoanalytically rich, akin to the process of free association in which the creative frustrations and aspirations bleed, uncensored, onto the page—a testament to Hilburn’s adroit interviewing skill. Here, one encounters a Newman who is both artist and citizen, caught in the perpetual tension between self-expression and societal reflection.One might argue, one might appreciate, that Newman embodies the paradox of the melancholic optimist, crafting his songs as a means of wrestling with the discontents of civilization as Freud would have it. Hilburn meticulously portrays how Newman steps beyond the pleasure principle of traditional American music, pushing to articulate what others dare not voice. This endeavor transforms songwriting into a form of cultural psychoanalysis, unpacking the American Id, Ego, and Superego…Perhaps he would identify an inherent ideological fantasy at play, one in which Newman’s role as a “critical patriot” risks becoming a symbolic function, a stitch in the very fabric of the American cultural hegemony he aims to critique. Newman’s music, then, becomes not only a manifestation of the American dilemma but also a sublimation, offering the pleasure of insight without the pain of transformation. In seeking to embody the voice of American conscience, Newman risks reinforcing the very ideologies he critiques by placing himself as a necessary savior figure. The melodies may sound revolutionary, caution against mistaking the act of singing about freedom for freedom itself. The seductive dream of a critical patriotism runs the risk of anesthetizing the very discomfort it seeks to elicit, more compassionate, would see in Newman a faltering but genuine attempt at self-clarification—an artist reflecting a nation’s ambivalence about its mythology. Newman, as he delves into the ballads of America's psyche, erects narratives that do more than entertain; they confront, albeit imperfectly, the unsaid and the unsayable.In the prose of Hilburn, Newman emerges not just as a musician, but as a cultural analyst, wandering the landscape of American dreams and nightmares, orchestrating a score that resonates with the timeless echo of humanity’s divided self. In confronting the symbolic order, one must be vigilant not to become its author…
Randy Newman's quirky, satirical take on American life provided a fresh twist on the blues, one nestled comfortably in the suburbs, far from the heartaches of the Mississippi Delta but still resonating with a universal sense of irony and existential humor. His songs, with their wry commentary and keen observations, shone a light on the mundane, everyday struggles, much like Johnson's did but with a different setting and narrative style. Where Johnson's work was steeped in the raw, unfiltered essence of southern blues, Newman's suburban blues captured the ironic tragedy and comedic absurdity of modern life. Songs like "Sail Away" and "Political Science" combined whimsy with a biting wit, making listeners reflect on cultural and societal issues against a backdrop of rich, melodic tunes. The beauty of Newman's style lay in his ability to weave stories that felt both personal and universally relatable. He took the ordinary man’s blues to new heights, wrapping them in layers of irony and wit that resonated deeply with audiences. Each track was a vignette, a glimpse into the lives of characters caught in life's complexities, delivered with a smirk and a piano melody that echoed in the hearts and minds of listeners. Much like Johnson, Newman understood the power of storytelling in music, and he wielded his pen with precision, crafting lyrics that could make you laugh, think, and feel in equal measure. His suburban blues didn't shout or wail; they whispered truths wrapped in humor, offering a mirror to society that was both endearing and unsettling. In this way, Randy Newman and Robert Johnson, despite their differing styles and eras, connected at an emotional and thematic level, exploring life's inevitable ironies through their unique musical lenses. Whether singing about forgotten dreams or delusions of grandeur, Newman held a wry understanding of the human condition, embodying Waronker's title in unforgettable, melody-driven narratives.
When was Randy Newman last relevant? The works quoted are all from long in the past and the last few decades have seen Newman taking up the family business of being a Hollywood hack. Never liked him anyway as he comes off as the smartest guy kinda guy, smug, condescending, lacking real warmth or empathy for his subjects. Can't rock. Or roll either.
Hmmm. Ever hear a song called “Gone Dead Train”? Rocks pretty well. Would you consider a song as beautifully turned as “When She Loved Me” as Hollywood hackwork? Randy Newman is a genius.
I agree with Brian. You don't have to write someone off to affirm you don't like them. I also disagree with your dismissal of Newman as a hack for Hollywood. I believe that at his best, Newman subverts any claim to the kind of lyrical smugness or condescension you refer to by disappearing into his own songs and inhabiting his characters in ways that feel as though he were giving them voice rather than merely inhabiting them. Maybe you're not a fan of 12 Songs, but for me hearing that album was all I needed to know that Newman could indeed rock and roll.
The song “Wandering Boy” on his last album. Dark Matter, is chilling. One of his best. Don’t write him off.
Thanks, Greil. Great review as always! I had tickets back in 1978 to see Randy at the Oklahoma City Zoo Amphitheater. I went to pick up my date at her house and she was not there. Not to be deterred, I headed towards the OKC Zoo only to hear on the radio that Randy had cancelled the show. Never got to see Randy in concert and never went out with my date again either! Anyway, I have the book and can't wait to dig in!
Finally got to see him live at Hardly Strictly Bluegrass for free, yet
Thanks for this. I read another review, as well, and for it's singular subject, it's a Big Book. On order.