Kasha-Hirshhorn Tome Teaches Songwriting
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Book Review 11111,,,,1,,,,,,1,11,,,,,111,1111,,,,cullmIll,,,l,c1,,,1,,,11 Kasha-Hirshhorn Tome Teaches Songwriting By DAVID FINKLE of various formulas; and surely flow of sincere passion that an And also don't as Kasha and If there is one thing most peo- they are right as far as they go. off -rhyme lets out. Poppycock! Hirshhorn do, tell songwriters ple on God's green earth think What they don't mention is the Yes, when rhyme muddles sense, aiming at Broadway that they'd they can do, it's write a song. importance, once the would-be it is superfluous and often de- better use rhymes because the Therefore the market for anec- tunesmith has learned the rules, structive, but a disregard of rhyme standards are higher; it's a flimsy dotes, articles, magazines and of rule -breaking, how often it is can be seen just as frequently not means to an uncertain end (two especially books on how to pen the avoidance of the mold that as honesty but as laziness, a of the acclaimed scores of recent that unpenned ditty-and then leads to success for the best com- thumbed nose at the listener that years, "Hair" and "A Chorus sell it-is what might be called posers and lyricists. One thinks, sends the message, "Why should Line," have entirely different wide; and over the past 50 years for example, of the story Bernie I bother to write more carefully; philosophies about the use of (at least) publishers have not Taupin and Elton John tell of what do they know out there rhyme). been reticent about leaping into writing what they thought, judg- anyway?" Great songs have been So perhaps "definitive" is not the breach. Of the continuing ing by what had gone before, the written without neat rhyming, but quite the word wanted here (it's line of breach -fillers the newly public wanted but only found don't ask any consumer to buy a word needing forced retirement issued "If They Ask You, You something to entice the public "together -forever" or time -mine" anyway), but "helpful," "inform- Can Write a Song" (Simon and when they decided to forget as indications that someone with ative," "necessary" and even Shuster, $10.95) by Al Kasha and what they'd been told and write Abe Lincoln's probity is at work. "all -but -perfect" certainly apply). Joel Hirshhorn is one of the best; to please themselves. Kasha and indeed, one is tempted to forget Hirshhorn do mention the need Concert Review about hedging bets and throw in to find a "voice," but what they with Marvin Hamlisch, who is don't underline is that the pur- quoted at the top of the dust - suit of the voice as top priority Joni Mitchell Impresses at Forest Hills jacket as saying, "the definitive is what separates the front -rank NEW YORK - Over the last band (Pat Metheny, bass; Lyle book on songwriting." songwriter from the workman, a four years and three albums, Mays, keyboards; Jaco Pastorius, Kasha and Hirshhorn, who have type of practitioner their book Joni Mitchell's creative instincts bass; Michael Brecker, tenor and been writing and selling songs runs the risk-through oversight and artistic inclinations have soprano sax; and Don Alias, per- together for the better part of two -of perpetuating. gradually drifted away from the cussion), collectively and as in- decades and have two Oscars Rhyming pop music mainstream. But dividual catalysts or embellish- apiece to show for it (which they Something else perpetuated Mitchell's performance at Forest ments, pumped new vitality into do, also on the dustjacket), have here is less threatening but an- Hills last Saturday night (August each. evidently taken copious notes noying nonetheless, and it has to 25) indicated she is still able to On consecutive numbers like about their experiences; their do with rhyme. It has become powerfully merge the aesthetics "Paprika Plains" and "Free Man guide, which is narrated breezily fashionable, if not cliché, to of her present craft with the con- In Paris," Mitchell expertly juxta- by Kasha, is a division of these think of rhyming as a symptom temporary sounds that made posed her free -form jazz poetry of a dishonest lyric: the notes into chapters on how one implica- much of her past work so appeal- (held together by the fiery rhythm tion is that goes about getting the song out forcing something ing. section) with her passionate pop into a rhyme means stopping the of one's head and onto records, Standing centerstage with her melodies (sparked by Brecker's turntables, stages and screens. It electric guitar, which she compe- soulful tenor solo). Then, armed is highly possible-so thorough Infinity Sets LPs tently chorded and impressively solely with her most powerful have the authors been that - NEW YORK Gary Mankoff, picked throughout the evening, instrument, her voice, Mitchell there is no stone along the rocky - vice president of marketing/ Mitchell opened with a striking launched into an inspired "Sweet road to pop music -writing suc- finance for Infinity Records, has set of "Big Yellow Taxi," "Just Sucker Dance" from the "Min- cess that Kasha and Hirshhorn announced Like This Train," and "In France gus" album, as if possessed by have neglected to turn over; for the release of five al- bums in October. They Kiss On Main Street;" al- Charlie's spirit. This first taste of instance, I fell out of my reading - The five releases include: ways sounding like her latest inac- chair when their lust after com- the confident project, termed "Partners In Crime" Rupert albeit youthful waif of her cessible by many, was prehensiveness led, in the chap- by earlier greeted Holmes; "This Is Even ter "Demo Power!," to this piece Our Night" by career. though these songs wildly by the audience; partly Bishop & Gwinn; and self -titled were played true to their original because of the sheer power of advice: "Occasionally a musi- of albums by Dobie Lia, cian you've booked won't show Gray, Orsa arrangements, Mitchell's superb its lyrical content, but mostly due and Native Son. utilization of her up. Panic! The absence of a pian- stellar touring to Mitchell's tremendous vocal ist or guitar does cause a gaping range and inflections, her fluid hole, especially if you've hired REO at The Omni body movements, and affecting only a quartet, but if another hand gestures. player isn't available in time, you As the concert progressed, a have to do some fast reorganiz- well orchestrated flow was ing. Maybe the piano can con- strongly evident as each musician tribute a rhythm that will com- was featured in a succession of pensate for the guitar's absence. intermittent solos and jams. After Maybe a more moving bass line an eerie "God Must Be A Boogie can do the drummer's work for Man" the Persuasions (they it. You'll be astounded how fluid- opened the show with their ly your mind functions under unique a cappella energy) joined these crisis circumstances after a Joni for a do-wop "Why Do Fools while." Fall in Love" with Mitchell's agile Kasha and Hirshhorn, then, lead sending goose bumps out en have thought of every practical masse. maneuver the aspiring songwriter As she played the last verse of needs to know-not to mention "Woodstock" (her second en- a few that many professionals core) over and over again while Epic recording group REO Speedwagon may not have thought of. recently played a sold out show at Atlanta's backstage Omni as part of the group's extensive tour in support of their latest album, "Nine and out of sight, It's in the realm of the imprac- Lives." Pictured backstage following the show are, from left: (front) Kevin Cronin, REO; Mitchell reinforced the feeling L:cal where one might fault the Harvey Leeds, assoc. dir. national album promotion, E/P/A; (rear) Ron McCarrell, VP that her music, wherever it goes, team. They look at songwriting marketing, E/P/A; Kevin Beamish, engineer on "Nine Lives"; Alan Gratzer and Bruce will always strike that awesome Hall, REO; Drake Hall, Program Director, WLRS, Louisville; Neal Doughty, REO; as systematic, as a process that Ritch Bloom, regional album promotion manager, E/P/A; Bob Feineigle, dir., national responsive chord. can album work if one follows any one promotion, E/P/A, Gary Richrath, REO; and John Baruck, manager. Joseph lanello 64 RECORD WORLD SEPTEMBER 22, 7979 www.americanradiohistory.com.