Listen to this track by Indiana-born and bred heartland troubadour John Mellancamp, aka Johnny Cougar, aka John Cougar, aka John Cougar Mellencamp (whew!). It’s “Jack and Diane”, his enormous 1982 number one hit single as taken from the album American Fool, his fifth.
The song had enormous impact not only on the charts, but on pop culture during a time when music was becoming more and more stylistically ghettoized. As popular as it was, and is, there’s just something about this one that set it apart, seeming to have a cinematic quality that very few songs at the time contained. By 1982, “Jack and Diane” sounded like a progression for Mellencamp, who was then gathering momentum for a classic run of singles during the eighties and into the early nineties.
“Jack and Diane” concerns itself with two American kids growing up in the heartland and unsure of their places in the world. And yet, as with so many records that help define the times in which they’re released, there is an ocean of meaning underneath the scant story presented here. And ironically, much of it only comes to light as one gets older. Read more
Listen to this track by self-professed old-school singer-songwriter and AM radio fan from way back Ron Sexsmith. It’s “Radio”, the first single off of his 2017 record The Last Rider.
The album was the first record cut with his long-time touring band playing all the parts in an expectedly musically simpatico manner. This includes drummer and singer Don Kerr, with whom Sexsmith also produced the record on the shores of Lake Ontario at The Bathhouse in Kingston, Ontario. This is a bona-fide homegrown album in many respects, then.
Maybe that’s why the album sounds so warm and contented with Bill Withers meets Gordon Lightfoot meets The Kinks textures a-plenty. Sexsmith is known for those kinds of textures and moods through out his incredibly consistent discography. Yet on many of his releases this decade, some of his disdain for recent industry trends and his frustrations with the increasingly complicated game of putting out music in the way he wants to has definitely seeped into his optimism-under-pressure songwriting worldview.
Representing some of that soft-spoken ire is this song, “Radio”. On the surface, this song really does seem of the “things just ain’t what they used to be” variety that finds the narrator scratching his head as the clowns take over the circus and as the show becomes run of the mill. Yet here beneath what seems to be a complaint about the state of the world, there’s greater dimension to be found. Read more
Listen to this track by mighty Motown hit machine Diana Ross & The Supremes. It’s “Someday We’ll Be Together”, a smash hit single from 1969 and found on their LP Cream Of The Crop.
The song has the distinction of being the last number one single on the R&B charts of the 1960s, while also being the first number one single of the next decade, too. It was also the group’s swan song, with Diana Ross leaving for a solo career by 1970. This gave the song’s refrain a kind of weightiness that seemed to go beyond the story depicted in it.
The song had actually been recorded previously in 1961 by doo-wop group Johnny (Bristol) & Jacky (Beavers), the team who also wrote it. Bristol oversaw the Supremes recording too. You can hear him singing backup, although that session was meant to be a demo with Bristol’s interjections as vocal encouragement in order to get the right take. When Motown honcho Berry Gordy heard it, he liked Bristol’s backing that offset Ross’ lead voice. Ironically for a swan song of a massive pop group like the Supremes, or “Diana Ross & The Supremes” as they became known, Cindy Birdsong and Mary Wilson aren’t featured on the track. This was indicative of the state of the union of the group at the time. Besides that though, this song always struck me as a swan song of another kind; that of childhood itself. Read more
Listen to this track by soft-spoken singer-songwriter from Louisiana and then Memphis, Tennessee who made Montréal his home for many years, Jesse Winchester. It’s “Sham-A-Ling-Dong-Ding”, a track taken off of his latter day album Love Filling Station in 2009.
The reasons for his stay in Canada from 1967 onward were less than ideal. The Vietnam war was ramping up, and Winchester was a pacifist. This meant taking refuge in Canada to avoid the draft like so many of his generation. But what it also meant was meeting with The Band’s Robbie Robertson, who would produce his self-titled first album in 1970, complete with the sepia-toned cover shot that made Winchester look like an outlaw on the lam, which in some respects I guess he actually was before President Jimmy Carter pardoned him in 1977, along with all other American conscientious objectors, after which he could finally tour the States. He stayed in Canada anyway until 2002.
Since that period, he recorded his own albums and penned songs for other artists as well. By 2009, he was not exactly a household name, and his output had slowed considerably. But this tune demonstrates the depths of his talent that remained undiminished, and reveals something about the passage of time and the ways we perceive things as we get older. Read more
Listen to this track by bespectacled beloved entertainer Declan Patrick MacManus, AKA Elvis Costello. It’s “Veronica”, a hit single from 1989’s Spike. This is one of a number of songs Costello wrote with Paul McCartney by the end of the 1980s, in the beginning of his post-Attractions phase. Several of these songs would appear on the records of both men from the late eighties into the early-to-mid nineties. In this case, McCartney plays his trademark and iconic Hofner bass on the track. Also, this tune was arguably the most personal track they wrote together, and among the most personal songs in Costello’s catalogue on the whole.
The song was inspired by Costello’s grandmother, who suffered from Alzheimer’s Disease, with a vibrant life, a carefree mind of her own (and a devilish look in her eye) behind her that could only be recalled by her in brief moments of lucidity. In some ways, McCartney was the perfect collaborator on a song like this, having a solid track record even when he was in The Beatles in writing songs about women and the pressures and stresses they must endure.
As far as Costello’s part, and beyond the disease aspect of what inspired this tune, there is a series of wider themes that are served by it; human dignity, vulnerability, memory, the nature of old age, and of identity itself. Read more
And now, good people, a special treat. Writer and music collector/appreciator Bruce Jenkins guests on the ‘Bin about one of his favourite songs, and albums and in the popular style of this humble blog, no less …
Listen to this track by self-revealing songwriter and one-time ‘Next Bob Dylan’ Loudon Wainwright III. It’s “The Here and the Now”, opening song on his 2012 album Older Than My Old Man Now. This autobiographical collection showcases the wry wit and sly humour of a man whose fame peaked with the unexpected Top 40 novelty hit “Dead Skunk” back in 1972.
With a CV that includes over two dozen albums, several marriages, a couple of musically gifted children (daughter Martha and son Rufus) and a considerable amount of therapy, you would imagine there was abundant material for an entertaining memoir. But no. Rather than typing 350 pages of reminisce, LWIII set himself the challenge of encapsulating his life in a 3 1/2 minute song. And he gets familial help. Read more
However young and agile we are, there will come a time when both youth and vitality will fade. There’s no way around it, people. We’re getting older.
There is a process of coming to terms with one’s own sense of mortality which hits everyone sooner or later. Usually, this comes out in the form of shifting perspectives on the nature of life and might also have an element of reflecting over times past in ones’ own life to discover what remains to be truly valuable, and what doesn’t. Often too there are feelings of regret, maybe because of the fact that the marrow of life could have been more enthusiastically relished during one’s youth. Sometimes people make embarrassing attempts to compensate for burgeoning age with sports cars and affairs with younger partners. Sometimes, we end up feeling that we’re just doing time.
Even when we’re young, we think about what it will be like to be grown up, and free of the shackles of school and home life with our parents. And there are moments even in childhood, where it suddenly feels silly to still be thinking about ‘kid stuff’, realizing that our interests suddenly and mysteriously lie elsewhere.
Everyone is aging, even now, no matter how old they happen to be. And once again, popular song steps in as vehicle for these kinds of thoughts common to all, young and old. Here are 10 songs about growing up, getting on, growing old.
This is a classic children’s song about childhood and the nature of growing up. The song is a folk favourite, a story of a boy and his dragon, which is really a metaphor for childhood itself. There is a certain melancholy here, a sadness that when a child gets to be of a certain age where the once cherished silliness and imagination of childhood become sources of embarrassment, or simply get pushed aside due to developing interests in other areas of life, something about that child which had been so intrinsic to their personalities becomes less easily seen. In some cases, it disappears entirely. This to me is what this song is about; that as we grow, we add to our own experiences and pick up treasures along the way. But, much which is just as valuable is often lost too.
Peter, Paul, and Mary’s version is probably the most famous. I wonder if in this context, that the song couldn’t be applied to the changing times of the 1960s, the era in which it was first recorded by the group. Even if times were getting better in many ways with civil rights and the women’s movement, there must have also been an aspect that a nation was losing its innocence too, with the Norman Rockwell world of America slowing slipping into the aspect of a myth, even to those who held it up as fact. Maybe in this context, this version of the song was meant to soothe the thought that change was a threat, and not just a part of a nation’s maturity.
I remember being very young and wondering what it would be like to be a grown-up. One of the key thoughts I had was fairly common, I guess; that grown-ups are free to do whatever they want. I think Brian Wilson was hinting at this with his paean to teenage love, “Wouldn’t It Be Nice” from the landmark Beach Boys album Pet Sounds. The idealized vision of adulthood here is about romance, a time when goodnight kisses on the porch wouldn’t be the end, but would rather be a start to life together. In this song, age is hoped for because it allows the narrator to believe that there will be a time when one is free of obligation, and is also free to live the way one feels life should be lived with the ideal partner.
This song could well have gone on my 10 Songs of Optimism list, of course. Love and marriage are not that simple, and with some freedoms won, there are many more obligations and responsibilities which come with those freedoms. Yet, this song even when it was written was not about that perspective; it is about capturing the essence of how it feels to be young, hopeful, and hungry for the future in the same way many yearn for the past. Being together in a partnership with someone you love and who loves you is what defines freedom in this song. If only we could retain this child-like wisdom, when our connections with those we love are often taken for granted.
Sometimes, the young are very much aware of the passage of time, just because such awareness is made pretty evident by what was once called the “generation gap“. This was a phenomenon mostly centered around the 60s and early 70s, when the social norms of parents and those of their children were so disparate that it made it seem like one generation thought the other had gone “a bit mental”, to use the psychological term. So, it wasn’t just that people were getting older, the whole world was, culturally speaking. Morality, gender roles and identities, sexuality, and many other areas of life were all being revised and experimented with by the baby boomers. And like a lot of times of growth, or in times of such experimentation which leads to it, it was a painful period for many.
David Bowie’s 1971 song “Changes” from his superlative Hunky Dory album touches on this phenomenon, among others. If anyone could talk about change, it was Bowie, who experimented with personas, and cast them aside just as easily as they suited his purposes. Another thing he touches on of course is that “time may change me, but I can trace time”. Once again, personal history here is a powerful force, even if the past is pushed aside to make way for a self-determined future. And he leaves us with a musical warning to those who think that things will last forever – “Look out you rock n’ rollers/pretty soon now, you’re gonna get older…”.
There is an odd paradox which often happens as one gets to the point where they reckon their lives are half over. There is a drive to recapture youth by embracing it in the form of a younger lover. Yet, when the pursuit of this bears fruit, it’s often realized that the attempt to recapture youth by entering into a tryst with someone half of one’s age actually makes one feel even older. That’s what’s happening here in Steely Dan’s “Hey Nineteen”, the biggest hit off of their 1980 Gaucho album.
In this song, all of the cultural reference points the narrator holds dear is completely lost on his 19 year old lover. And there is subtle sadness here, a kind of tragedy maybe either that he is very lonely in not being able to share what is important to her, or that there is a shade of a hint that the person who might have shared his love for “the Queen of Soul“back in the days when he was “the dandy of gamma chi” is long gone, maybe because he never took the time to foster a lasting relationship. Of course, this being Steely Dan, we’re not shown the whole story. This is just a snapshot of an aging philanderer, and his brief flirtation with the idea that his once-charming womanizing is turning him into a cartoon of himself as he gets older. This is one of the many effects the passage of time has on us; it often gives us a kind of clarity which is often not welcome, causing some to retreat even further into self-delusion, and self-parody.
They say that parenthood changes everything, and it does. This is often meant as a condemnation, that the wild impetuous things which concerned you when young are instantly swept aside, and middle age and middle class sets in. But in this song by Joni Mitchell originally recorded for her 1982 album Wild Things Run Fast, these kinds of things are only part of the story, with the narrator musing on how everything changes in any case, that it’s difficult to make connections when things shift so quickly, and more difficult still as one gets older. In the song, her ‘child’s a stranger’ to her, the children of her former partner-in-crime are ‘growing up straight’, and both ‘look like their mothers did now, when we were those kids age’.
The world which is shifting into the future is becoming more and more alien here. This leads the narrator to think about how it was when she was younger, when songs on the jukebox meant the world, and thoughts of age were as just as alien as the unfolding world will become to her in the present. This song is about how disorienting the passage of time can be, that the wildness and cocksure attitudes one had when young are so easily lost before one knows they’re gone. This is a darker side to the idea that one gains wisdom as one ages. This is more about being tamed than it is by becoming wise. As such, there is an element of tragedy in this song, that somewhere along the line, elements of the narrator’s personality have been misplaced.
This song was re-recorded for Mitchell’s 2002 album Travelogue, with a 70-piece orchestra backing her. So, the song itself has aged, ironically like a fine wine, much like Mitchell’s beautifully coarsened voice.
Much like Mitchell’s tune, this is a song about becoming a new person simply by getting older and gaining some new perspectives. Perhaps this is the lighter side to Mitchell’s musings on middle-age, when “17 has turned 35”. You get the impression that in this song, taken from Mellencamp’s 1987 album The Lonesome Jubilee, the narrator is shaking his head in awe at how far he’s come, amazed the “we’re still livin'”. There is a declaration of nostalgia for times past, when “sports were sports” and “groovin’ was groovin'”, a time to be treasured no matter how old one gets, with memories of friends making the best of life by getting into trouble framed here like memories of the garden of Eden. The conflicts of the past are things which can be laughed about as the years roll forward, making light of old rivalries, and also of foolhardy choices.
The last verse of course reveals that the narrator is now a dad himself, still finding that on some days he still has to muddle through his new role, with his children amused at the thought that he was once their age, doing the things which they may well be doing themselves. Because of this, this song is about the irony that the rambling troublemaker now has the responsibilities of an adult, of a father. Sometimes the most important jobs go to some of the most unqualified (on paper at least…) candidates. Yet, perhaps here, the clarity of times past and lessons learned cast a light on the path forward.
Life is busy for the involved; work to do, people to meet, places to see, causes to defend. Bruce Cockburn is one such individual, diversifying his career as a singer-songwriter-guitarist by traveling the globe and investigating socio-political events and the people who are directly affected by them. For all of the activity though, there still appears to be a sense of waiting as described in an earlier song from his 1979 Dancing in the Dragon’s Jaws album called ‘Hills of Morning’; “underneath the mask of the sulphur sky/a bunch of us were busy waiting.” Yet in this song from 1997’s Charity of Night the waiting is something he does alone; “Sometimes you feel like you’ve lived too long/days drip slowly on the page/and you catch yourself pacing the cage”.
In this song, it becomes evident that in the flurry of activity which can dominate our lives, it’s easy to find oneself trapped in moments when it feels like those activities become blotted out by an overwhelming sense that one is just running to stand still (as another group of songwriters once put it, although in another sense…). The passage of time only adds to the yearning one feels for knowing the reasons for living, the old-fashioned hunger for the meaning of life. This is prime Cockburn introspection, an attempt to navigate the murkier waters of human experience which only seem to get murkier as time passes. Yet, by the end of the song, he discovers that “sometimes the darkness is your friend”, that mystery and yearning are an intrinsic part of the package.
In many of the songs so far, age is a thing which sneaks up on you; suddenly, you’re older and the world ceases to make sense in the same way that it once did. But in Pulp’s 1998 song from their album This is Hardcore, the realization that the light of youth is constantly dimming is played out by the portrait of someone still relatively young recognizing that the elderly once got up to the things which he and his contemporaries get up to – “drinking, smoking cigs, and sniffing glue”. The song starts out by the the titular request, which seems banal and trite until you realize that the request to help the aged is ultimately about the fear of age, that one day the narrator will need the compassion and sense of dignity which is often lost when one reaches their “sunset years”.
It’s when the song starts talking about this fear of age, that ‘nothing last forever’, that things really take flight. The terror of a young person looking “behind those lines upon their face/you may see where you are headed/and it’s such a lonely place” is palpable, even if the song has a certain levity to it as well. It certainly frames the excesses of youth in a certain light, the embrace of those things which make us forget that we’re not going to stay young forever.
The song’s title is actually a reference to a charitable organization. Help the Aged is a British charity, with chapters all over the world including here in Canada.
As a companion piece to the Pulp song, this tune by John Mayer is a less subtle, less satirical take on the fear of aging. Yet in some ways, it’s a more respectful view of age and the aged in a misplaced sort of way. This is the point of view of one who realises that getting old isn’t for wimps, that it takes guts which he’s not sure he has. Taken from his 2006 album Continuum, the terror of age is not so much about the vanity of youth, but is rather about feeling overwhelmed by the pace of the world, which burns youthful energies at a faster rate than the narrator is prepared for.
When musing on the lyrics of this song, I can’t help but think that the sentiments can be applied to our culture as a whole, that we are plagued by a fear of the future, no longer knowing whether we’ll gain the wisdom to be able to deliver ourselves from the foolishness of history – wars, greed, religious tension, and environmental degradation. In some ways, we have a basis to fear growing older as a species, and it seems that we have a tendency to retreat to mythologised ideas of home to be found somewhere in what we think is the past, while neglecting the work to be done by building the real thing in the present.
A song by Ron Sexsmith, this one from the 2007 release Time Being, is the perfect way to conclude this list, being as it is (like most, if not all, of Sexsmith’s work) rooted in intelligent and respectful optimism. In this song, the reality of age, and of change is not something to be feared, just something to be accepted as it is. The fear of aging, and ultimately of death too, is all-too present in this song as it is in real life. But, here that fear is eradicated by love which is rooted in the here-and-now. The song acknowledges the mercurial nature of time, that “it’s a fool who reaches out to the hands of time”, that the mysteries to be found in the true nature of time are ultimately unreachable. But, that’s not the end of the tale.
What is the emphasis here is what does remain within our grasp; the love of another, the celebration of friendship as we move through the years together, and the liberation from grief by allowing ourselves to say goodbye to those we lose as we get older, finding acceptance in the loss all of those things which pass away as a matter of course. In Sexsmith’s song, it’s the present that counts – the movement of a “snow white hand in mine”, the palpable substance of inhabiting the moment as opposed to worrying about the future.
Time, as the poet Alan Parsons once said, keeps flowing like a river, and we’re left to make of it what we will. This elicits all kinds of human emotions and expressions of character – fear, acceptance, humility, and sometimes even wisdom. All of these states of mind can be found in popular song, each musical example itself often resting in an eddy of time, coated in memories of times past. Yet the kernel of truth can be found in the simple expression that unpredictability and change are the only things we can really count on until we board the Mystery Train, sixteen coaches long. Until then if we’re smart, we hold the hands of those we love, we spend time with our kids and enjoy every stage of their lives, and we keep a sense of perspective that if life is short and youth passes away, then our currency of years is best spent on that which gives us the most joy in the present.