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Best Music Writing 2009 (Da Capo Best Music Writing)

Best track Writing has faithfully accumulated the year’s so much compelling writing on song for a decade now, so it’s applicable this distinctive variation be guest-edited via one of many best-known writers on song and pop culture, Greil Marcus, writer of Lipstick Traces, Mystery Train, Like a Rolling Stone, and different groundbreaking tours into the very cloth of track, the USA, and past. As constantly, sequence Editor Daphne Carr has culled an impressively wide variety of essays, profiles, information articles, interviews, inventive non-fiction, fiction, booklet stories, long-format stories, web publication posts, and magazine articles on song and tune tradition, from rock and hip-hop to R&B and jazz to pop, blues, and extra.

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For my students, Lil Wayne is good times and good memories, and enduring hometown pride. All they ask of him is to keep making rhymes, as triumphant and strange as the city itself. 23. EVER SINCE I WAS LITTLE, I LIVED LIFE NUMB Michael stopped coming to school. His mother told me, “He’s a man now. ” 0306817823-Marcus_Layout 1 8/17/09 12:55 PM Page 14 14 I WILL FOREVER REMAIN FAITHFUL Darius got kicked out for physically attacking a teacher. I have lots of happy stories, so I don’t mean to dwell on these two, but I guess that’s just what teachers do in the summer months, replay the ones that got away.

FEED ME RAPPERS OR FEED ME BEATS Lil Wayne mentions Katrina in his songs from time to time. He has a track that rails against Bush for his response to the storm. But, to his credit, he doesn’t wallow in his city’s famous tragedy. The world needs to be told, and reminded, of what happened here. But New Orleans is bigger and more spirited than the storm. So its favorite son can be forgiven for refusing to let it define him. For my students, Lil Wayne is good times and good memories, and enduring hometown pride.

Likewise with the song’s chords: “Last Kind Words Blues” opens with a big, plonking, menacing E but quickly withdraws into A minor and hovers there awhile (the early blues was almost never played in a minor key). The serpentine dual-guitar interplay is no less startling, with little sliding lead parts, presumably Elvie’s, moving in and out of counterpoint. At times it sounds like four hands obeying a single mind and conjures scenes of endless practicing, the vast boredoms of the medicine-show world.

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