Best Music Writing 2009 (Da Capo Best Music Writing)

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

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

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Sample text

These become windows onto the intensity of his craftsmanship. By picking up certain threads, you can track his moves. ” That was a good verse. That was snappy. Eddie and Oscar, a polished, almost formal country-blues duo out of North Carolina (Eddie was white, Oscar was black), had already copied that. Johnson probably heard it from them. But when he went— When the train, it left the station, With two lights on behind, Ah, when the train left the station, With two lights on behind, Well, the blue light was my blues, And the red light was my mind.

It doesn’t make mistakes like that. Her old man has died, as he seems to have expected—the first three verses establish this, in tone if not in utterance. Now the song moves into a no-man’s-land: she’s lost. ” The daughter didn’t listen, and now it’s too late. She wanders. ” Where does she have to get to so badly she can’t wait for another train? There’s a clue, because she’s still talking to him, or he to her— one isn’t sure. “When you see me coming, look ’cross the rich man’s field,” if I don’t bring you something, I’ll bring you something else, at least that much was clear—and part of an old story: If I don’t bring you silver, I’ll bring you gold, etc.

I called him back at the appointed time. “Man,” he said, “I can’t tell what she’s saying there. ” “Shit, I don’t have any fucking idea,” Fahey said. “It doesn’t really matter, anyway. ” That seemed to be the end of our experiment. Fahey said, “Give me about an hour. ” I took the tape the magazine had loaned me and went to my car. Outside it was bleak north-Mississippi cold, with the wind unchecked by the slight undulations of flatness they call hills down there; it formed little pockets of frozen air in your clothes that zapped you if you shifted your weight.

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