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1993 CambridgeUniversityPress
Resistingsongs: negative
dialecticsin pop
TERRY BLOOMFIELD
14
TerryBloomfield
Resistingsongs:negativedialecticsin pop
15
bourgeois ear. But it ought to have been obvious then that there was no simple
'soul' to be uncovered, forthe renderingof the lied to an audience requiredat least
three preconditionsto be met: the text, often fromone of the (minor) German
Romanticpoets, the musical version fromthe composer, and the voice and piano
keyboardwhich 'realised' this hybridbeforethe listeners.So whose was the interiorityexteriorisedin a lieder recital? To that question there can be no simple
answer. The song of that period was a complex constructwhose threeenmeshed
layersrequireda fourthforits actualisationin performance:the activeparticipation
of the listenerin its formsand conventions.
But in a sense it is the composer of the classic lied whose creativitywas
paramount: without him the sentimentsof the poet did not often reach similar
heights of expression. The question of the role of the singer is a differentone.
Clearlyin some sense a particularsong - and we are speaking of the 'artsong' here
- is the same song regardlessof who sings it, even though the divergencebetween
a greatand an indifferent
performancemay be immense. But thereis a sense too in
which the singercarriesthe weight in his or her reading of a vocal part. Even 100
years beforethe emergenceof the musical commodityas we know it singerswere
beginningto acquire some of the characteristicsof the star.Criticalassessment of a
recitalfocused on the singer's giftof interpretation,
his or her abilityto convey the
heightened sensibilityof the best examples of the form.
In the centuryand a halfsince the dawn of the Romanticpreoccupationwith
self-consciousnessand subjectivity,the triumphof individualismin late capitalist
and selfsocietyhas extended and consolidated the development of self-identity
awareness as a near-universalconcern,across class boundaries. And the complexities of the early modern song I have referredto were removed at a strokeby an
explosion in production and consumption of the products of that creationof the
1960s: the singer/songwriter.
Artistslike Bob Dylan and JoniMitchellcompressed the
multi-layeredlied into the body of a single star. They wrote the words and the
music of the song, sang it and played any musical accompanimentrequired. So
what is now to stand in the way of the listener'sAl Green fantasybeing realised?
Do not the culturalobjects made by the singer/songwriter
in actualityopen up the
interiorworld of the artistforour own individual gratification?
16
TerryBloomfield
Resistingsongs:negativedialecticsin pop
17
18
TerryBloomfield
Resistingsongs:negativedialecticsin pop
19
20
TerryBloomfield
ground and Patsy Cline's 'Walking AfterMidnight'. This indicates the terrainthe
Junkiesset out to conquer: the sentimentalsong awash with feeling(not 'Sweet
Jane',but thatis anotherstory).The problemwiththe originalsand othercovers of
themwas seen as theirobvious sentimentality,
so gross as to cause most listenersto
wince ratherthan identify.Now Margo Timmins' singingis oftenexquisite,often
desolate, almostabsentin its tone, but all thisis only to travelfartheralong the road
of greaterauthenticity,
a road to nowhere. Her brothersand the othermusicians in
the band make no secretof the musical ethos theywant to establish:backings are
often cluttered with swooning guitars and a blues harmonica is thrown in
wheneverthereis space. We are back to the tiredold clichesofthe blues, used once
again as ready-madesignifiersof real 'raw feeling'.
The next LP The CautionHorsesboasted a new 'dirtyrealism' of daily life in
songs like 'Sun Comes Up, It's Tuesday Morning'and 'Cause Cheap Is How I Feel',
both lyricsnicely evoking the tawdrymundanities of love lost and betrayed. But
saturatedas theyare withbluesy instrumentation,
theyno more succeed in resistdid
their
than
the
commodified
predecessors. One track- 'Witches' song
ing
shows how breathtakingMargo Timmins' barely-pitchednear whisper can be
when sparely accompanied by an acoustic guitar. There are more covers on this
album too, a routinesong by Neil Young, and the finaltrackwhich I want to save
fordiscussion later.
We must look elsewhere formoves to destabilise or undermine the formal
stereotypesof singingthan this much-praisedband (now signed to and promoted
by RCA). Four other recent debuts show a few things that can be done. Firsta
group called Area - threeperformersfromthe US mid-Westwho have a collection
of twelve numbers fromthe past few years available in Britainon Agate Lines.
voice by Margo Timmins' standards,but
Singer Lynn Canfield has a veryordinary
the way thatit is used and the materialthataccompanies it makes some moves in
the rightdirection.The lyricsto all the songs are profoundlyunfocused. There are
no narrativeshere: only phrases or sentences thatevoke emotionalmanoeuvres in
relationships (perhaps sinking at the occasional weak moment into near
psychobabble). 'Filled' - 'the unfinished part has been filled with fury',with a
shockingand unique intensityon the last word - has a solo piano withit,but most
numbersreiterateshortguitarlines amongstlongerfloatingmelodic sequences, all
intertwinedwith the voice. There are not even many 'tunes' as such: the tracksare
mostlycirclingmeditativeloops of words and music that at theirbest escape the
banalities of emotional expression while spinning haunted webs of sound and
imagery.
With a shiftof perspectivethe issue of authenticexpression transmutesinto
the question of the representation
ofdesire.For Etheridgeits signifieris oftenfullthroatedattack,while Timminsexploitsmore subtle conventionsof sexual expressivity. Betteryet, in Canfield's vocals encircled in undulating sounds, desire is
turnedinward, back on itself(except forthe strikingmomentnoted above). In the
album SheHangs Brightly
Mazzy Star's Hope Sandoval sings with a weird blankedout sensualitythatseems almost to leak round the edges of her flatvocal dynamic
which descends at timesinto a sullen monotone. This is a true negationof the soul
renderingof sexualitywhere desire is thrusting,ecstatic,ornateas ifattemptingto
break the bonds of the commodityit is snared in. Her performancesare not the
oppositeof soulfulas Margo Timmins'are at theirnuanced best (forhersingingand
a soul renditionare surely the two faces of the same reifiedcoinage). It is in the
Resistingsongs:negativedialecticsin pop
21
22
TerryBloomfield
style with His Name Is Alive's tapes is pure diamond, if a rough one. The two
voices on it are hyperreal:
Karin sings like a chorister,and both voices are, so to
speak, This-Mortal-Coil-ed;thatis, highlightedin the fullglareof echoing sibilants.
This blinding clarityof vocalities is offsetby a repertoryof weird noises, strange
samples and outburstsof drumming.The glorious voices engender expectations
only to shatterthemagainst bizarrephrasingwhere musical beat and verbal metre
are at odds. And the music repeatedly slides away from'the big tune' the vocal
stylesseem to demand, so thatthe singerssound, paradoxically,ever at the point
of reallyburstinginto song.
A second LP Home is in Your Head (1991), again mixed by Ivo, goes even
furtherwith twenty-threenumbers in which instrumental cacophony rubs
shoulders with 'angelic' fragmentsof song. On the opening trackKarin's unaccompanied voice asks 'Are you coming down this weekend?' three times over,
then 'Are you coming down at all?', in effectcontainingits own answer: the tale of
an affairin decline sketched in just seventeen seconds. In these two albums the
voices and guitars have an hallucinatoryheightened reality. It is as if we are
of the singer
gripped in a ghastlynightmarethat parodies just the fantasy-reality
that conventionalsongs presuppose.
Let us now returnto the final cover version on the Cowboy Junkies' The
CautionHorses. It is of fellow-TorontonianMary MargaretO'Hara's 'You Will Be
of its
Loved Again': a desolate song that, in the end, reaches forthe affirmation
title. Margo Timmins uses the techniques we are familiarwith fromher other
recordings.Her finevoice is a drained monotone, near speech at times (the line
'When you're so broken') but she is plagued by a syrupyguitarand, I am afraidto
say, a blues-harmonicainstrumentalin the middle. Mary Margaret's original is
utterlyspare: the sole accompanimentis an acoustic bass which outlines hesitant,
descending figurations.Her (also beautiful,it should be said) voice is vulnerability
incarnate,in constantdanger of collapse: breathingand vibratoseem out of control
and the voicing itselfis at timesbarelysustained. It makes the hairs on the back of
the neck stand on end. In contrast,Margo Timmins sounds like a professional
singerusing all the tricksof her trade to the desired end.
These distinctionsmay be fine,and the intrinsicinadequacy of words about
music does not help. Nevertheless,I believe thatwe are here close to the heartof
the matter of what counts as a criticalcultural object. As the pop song has
burgeoned over the past thirtyyears, therehave developed sets of vocal conventions fordifferent
genres: forlove songs, basic rock'n'roll,in 'dance' voices and so
has its own signifiersof emotion. But underlyingall these, as a
of
which
each
on,
of the song in Westernmodernityis what we mightcall - for
kind of deepstructure"
want of an existingterm- a phonology
of vocalities.It is this system that governs
vocal productionas suchand thus underpins the illusorypresence of the singerin
the song. While a Timminsmay stretcha particularcode of emotional expression
(this is what we mean when we say a performanceis subtle or nuanced, for
instance) the form itself and its underlying assumptions are safe. It takes an
O'Hara, heart-stoppingly
teeteringat the edge of feasiblevocalisation,to threaten
the fundamentalphonology itself.
Resistingsongs:negativedialecticsin pop
23
24
TerryBloomfield
Resistingsongs:negativedialecticsin pop
25
26
TerryBloomfield
persona that has been constructedis blocked and the voice stands back withinits
own subjectivity,Other and unavailable forour needs.
The vocal performanceson the earlyrecordsby New England band Throwing
Muses were rivetting:KristinHersh's repertoireof vocal mannerisms and her
bitingintensitycut throughany mainstreamconventionsof how to sing. The song
'Fear' fromThrowingMuses - theirfirstLP - shows the band at theirdevastating
best ('I Hate My Way' is close behind). 'Fear' begins withthe sound ofhootingand
wailing horns over a hard, franticbeat, and Kristinenters enunciatingthe lyrics
with a sullen, emphatic growl which now and then breaks into an hysterical
vocalise: 'Fear ah-ah ah-ah ah-ah ah-ah looks like me. Nothing ever works ...
This is a state of shock'. Later, on a sudden shiftto a slow pounding bass, Tanya
Donelly comes in, all breathyintimacy:'Up to your face, up to your cheeks, up
throughyour eyes -' at thispointpushed under by KristinHersh's incantation,the
edge of the voice growing razor sharp: 'Give me what I want and all that I can
thinkabout is losing it/I'mlosing it. I hurt. Look at me run away. You hurtme/
Dry-y-y-y-y-y!' This last raised to screaming pitch, the song cuts off dead.
The track is astonishinglyraw, totally beyond stereotypes of the song-aboutextreme-experience.
Most Muses' songs featureabrupt contrastsbetween a driving,pounding
anxietyand quasi-lyricalepisodes. Dream images abound in this music and the
words formno sequential narrative;instrumentalqualities stand out - a distinctive
quasi-militarydrum sound, a loping yet pounding bass line and the sharp angular
guitar playing of the two vocalists. But what ignites the blue touch paper - and
thereis no safe distance to retireto - is Kristin'svocalising: her whoops, swoops,
cries, shrieks, shakes, stuttersand gurgles; a display of spasms and tics that do
constant battle with the voice's tendency towards a lyricismthat is alternately
sharp-edgedand plangent. It is out of all thisthatis conjured the pall of dread that
hangs over theirfirstLP.
Laterwork fallsback fromthe emotionalpeaks reached in 1986-87,thoughin
The Real Ramonafrom1991 there is a welcome returnto (a somewhat changed)
vocal
form.Things are less raucous, less riotous, but Kristin'sever-idiosyncratic
the
run-of-the-mill
of
song. The
mongering
style stilldefies the fantasy/phantasy
is
what
of
is
aware
(not) going on in the
(somewhat incoherently)
singer herself
her
of
consumption
songs:
to do with.It seems
thatanyoneshouldhave anything
I certainly
don'trepresent
anything
to be, if I say thatthishappenedto me, and these are the realisationsthatI came to
- you careaboutmyemotionsinvolvedin thissituation- and that'suseless,
understand
that'sbullshit!The song ... takesyou to thoseplaces byyourself,
you know.(Hersh1991;
emphasisadded)
To end this explorationof recent songs that kick against standard formsI
returnto the UK indie scene, to a much-respectedlive band thatattacksthe musical
commodityon both levels of sung words and the instrumentalsthat surround
them. Half the strengthof A C Temple - a band based in Sheffield- lies in their
detunedguitars.Initiatedby foundermemberNoel Kilbride,theyare guitarstuned
album the actual tunotherwisethan to the standard EADGBE. On the Blowtorch
ings are given forthe two guitarsused: forexample in the arresting'I Dream of
Fraud' one is tuned to DDEEBA and the otherto DADF$ F$. In the staticpoise of
the slow introductionto the song, guitar motifswind around Jane Bromley's
Resistingsongs:negativedialecticsin pop
27
Conclusion
It is time to draw togethersome threads. This articlehas taken as its focus the
outcome of the insertionof the song forminto the formationsof productionand
consumptionin late capitalism.The present-daypreoccupationwith marketingfor
'lifestyle'- much analysed by theoristsof the postmodern- claims to provide a
range of goods through which the consumer can satisfyhis or her particular
individual needs. Shoppingbecomes the activitythroughwhich personal identities
are constructedand maintained. There is good reason to thinkthatthe song as we
generallyview it - as a vehicle forpersonal emotionalexpression- is by no means
universal but rather a special development in Western modernity. So for late
capitalismthe recorded song has been the perfectcommodity:it conceals its own
realityby seeming,inherently,to carryaccess to the artist'ssubjectivity,the promise of intimacywithanotherhuman personality.At the core of the music industry,
then,is a manufacture
ofillusion:a masquerade ofauthenticitywhose main elements
are drawn fromthe Romanticconceptionof art.
Direct political action against capitalism has failed. For a time in the early
28
TerryBloomfield
decades of this centuryit seemed possible to many that the system could be
overthrownand indeed when it was, in the creationof the Soviet Union, massive
artisticexperimentationflourishedfora time. Now, with the dismantlingof the
communistregimesin (what was) Eastern Europe and the break up of the Soviet
Union itself,the position of a world capitalist system seems secure. On a very
limited scale, attemptshave been made to wrest the control over music out of
capitalistformations.The great punk outburstin the UK of 1976-77 was spearheaded by the Sex Pistols who had a complex relationshipto that bastion of the
music industry,EMI, but many offshootsfora timedeveloped alternativemodes of
production(see Savage 1991). In the UK new small recordlabels were established
in the wake of punk, some of which have lasted, where the maximising of
exchange value - that is, the production of hits - did not always supercede the
pursuitof musical values. For a briefperiod in Los Angeles in the early 1980s, an
underground culture flourishedwhere the cult of professionalismwas despised
and the distinction between author-reader and performer-audiencelargely
abolished (see James1988). It was inevitablyshort-lived;its radical practicessoon
'recuperated'as more permanentbands emerged,untilthe fatalsigningto a major
label took place. The punk band X, forexample, emergedout ofthe scene to sign to
Elektraand promptlylose theirintransigence.
Economicallytriumphant,the capitalistmode of productionsoon co-opts the
autonomous enclave intended to oppose it. So the enduring struggleis on the
terrainof culture itself. The 'high art' of the bourgeoisie was essentially classbound in its development,though late capitalistmarketingprocesses have broken
down the distinctionsto some extent (the audience for opera, for instance, has
broadened considerablyin the past decade or so). In class-riddenBritainthe subculturalrevoltsof youth since the 1950s have been directednot only against 'official' popular culture but against 'approved' lifestylesas a whole: the broader
meaning the term'culture'must properlyhave.12 In the presentstudy I have tried
to show that within what may be loose subculturalmilieux with a commonlyshared lifestyleoppositionalitythereare sites of alternativeformationsof productionand receptionwhere culturalobjects circulatethatactivelychallenge the forms
of the pop song as commodity,even to the point where the processes of vocalisationitselfare jeopardised. Some of the techniquesinvolved will be familiarto those
aware of the musical avant-gardein the twentiethcentury.For instance, the performanceof vocalist Roy Hart in Hans WernerHenze's Essay on Pigs could teach
Kathleen Lyncha thingor two, and perhaps the audience foreithermay be equally
small, equally marginal.However, the subversions of singingand playinginstrumentsthatstillallow (in some sense) a song to be made - what I have called 'living
the contradictions'- can impingeon substantialnumbersofpeople. Sinead O'Connor, forexample, can only be described as a superstarwho fillslarge concerthalls
and tops the charts.While her popularityderives fromsongs like her Number One
hit'NothingCompares to U' (fromI Do Not WantWhatI Have NotGot),amongsther
work are radical trackslike 'Troy' (fromher debut album TheLionand theCobra)or
the single 'Jumpin the River' that have been heard by millions. Our onlyoptions
are to be found withinlate capitalistsocial relations:the full-blowntechniques of
the modernistavant-gardelead merelyinto a cul-de-sac,a culturalghetto.13But the
essential modernistinsightthat Adorno had stands, I believe, as the pointer to
what is to be done: the songs thatbest resistcommodificationin late capitalismare
those thatresist,in one way or another,the formof the song itself.
Resistingsongs:negativedialecticsin pop
29
Endnotes
1 The main texts by Baudrillard, Lyotard, etc.
are too familiarto requirea readinglist. For an
informativeromp around the territory,see
Hebdige (1988).
2 I am not alone in wantingto press Adorno into
service in the analysis of cultural objects he
would have detested; see James (1988) and
Gendron (1986).
3 Raymond Williamshas always insisted on the
need foran analysis of specificmodes of production and consumption within the overall
capitalist mode of production; see Williams
(1989).
4 JiirgenHabermas mounts a stout defence of
the continuingrelevance of the termsof posttraditionalsocietyin Habermas (1985). See also
Dews (1987).
5 For an examinationof this process in relation
to rock music since the 1950s, see Bloomfield
(1991).
6 Jacques Lacan circles around the definitionof
thisconcept in Lacan (1977). See also entriesin
Laplanche and Pontalis (1973).
7 There are exceptions, notably the version by
Liz Fraser (of the Cocteau Twins) of 'Song to a
Siren', on It'll End in Tears,with its unearthly
grace notes. (For the Cocteau Twins see the
Discography.) On many tracksby This Mortal
Coil, too, the 'unreal' clarityof the voices, the
sharply-focusedguitar solos and the grave
lines forviolin and cello have littlein common
with the yuppie wallpaper of, say, a Sade.
8 In the Chomskian sense of a systemthatgener-
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1976. Introduction
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Reader,ed. A. Arato and E. Gebhart(New York)
1979. DialecticofEnlightenment
(London)
Bloomfield,Terry.1991. 'It's sooner than you think,or where are we in the historyofrockmusic?', New
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Bradley, Dick. 1980. 'The cultural study of music: a theoreticaland methodological introduction',
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Chomsky,Noam. 1957. SyntacticStructures
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Harron, Mary. 1990. 'McRock: pop as a commodity',in FacingtheMusic: Essayson Pop, Rockand Culture,
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Discography
A C Marias, One Of Our GirlsHas GoneMissing.Mute STUMM 68, 1989
A C Temple, Blowtorch.
Blast FirstFU 6. 1988
Sourpuss.Blast FirstBFFP 45. 1989
BelindaBackwards.Blast First.1991
Area, AgateLines.ThirdMind TMLP 59. 1990
Blast FirstBFFP 50. 1989
Beme Seed, TheFutureis Attacking.
LightsUnfold.Blast First.1991
Bleach, Eclipse.Way Cool Records Way 8. 1990
Snag. Way Cool Records Way 10T. 1991
Blur,'There's no otherway'. EMI FOOD 29. 1991
Dedicated DEDLP 001. 1991
Chapterhouse, Whirlpool.
Cocteau Twins, Garlands.4AD CAD 211. 1982
Head OverHeels. 4AD CAD 313. 1983
Victorialand.
4AD CAD 602. 1986
Blue BellKnoll.4AD CAD 807. 1988
HeavenOr Las Vegas.4AD CAD 0012. 1990
Cowboy Junkies,TheTrinitySession.Cooking Vinyl011. 1987
TheCautionHorses.RCA PL 90450. 1990
Anxious ANX T. 1991a
Curve, Blindfold.
Frozen.Anxious ANX T 30. 1991b
Cherry.Anxious ANX T 35. 1991c
'Fait accompli'. Anxious ANX T 36. 1992
Melissa Etheridge,Melissa Etheridge.
Island 9879. 1988
Hans WernerHenze, VersuchfiberSchweine.DGG 139 456. 1970
His Name Is Alive, Livonia.4AD CAD 0008. 1990
HomeIs In YourHead. 4AD CAD 1013. 1991
Hugo Largo, Drum.Relativity88561-8167-1. 1987
Mettle.Land 005. 1989
Lush, Scar. 4AD JAD 911. 1989
Mad Love.4AD BAD 0003. 1990
Sweetnessand Light.4AD AD 0013. 1991a
BlackSpring.4AD BAD 1016, 1991b
Spooky.4AD CAD 2002. 1992
Rough Trade 158. 1990
Mazzy Star, SheHangs Brightly.
Resistingsongs:negativedialecticsin pop
Creation CRELP 040. 1988a
My Bloody Valentine,Isn't Anything.
You Made Me Realise.Creation CRE 055. 188b
Glider.CreationCRE 73. 1990
Tremolo.CreationCRE 085. 1991
Loveless.CreationCRELP 060. 1992
Sinead O'Connor, TheLionand theCobra.Ensign CHEN 7. 1987
'Jumpin the river'.Ensign ENY 618. 1988
I Do Not WantWhatI Have Not Got. Ensign CHEN 14. 1990
Mary MargaretO'Hara, Miss America.Virgin2559. 1988
Slowdive, Slowdive.CreationCRE 093t. 1990
JustFora Day. Creation CRELP 094. 1991
Swirl,Fall. PlaytimeAMUSE 009T. 1990
This MortalCoil, It'll End in Tears.4AD CAD 411. 1984
Filigreeand Shadow.4AD DAD 609. 1986
Blood.4AD DAD 1005. 1991
Muses. 4AD CAD 607. 1986
ThrowingMuses, Throwing
TheFat Skier.4AD CAD 706. 1987
ChainsChangedEP. 4AD BAD 701. 1987
TheReal Ramona.4AD CAD 1002. 1991
Velvet Underground,TheVelvetUnderground.
PolydorSPELP 20. 1969
VU. PolydorPOLD 5167. 1985
31