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The Art of Noise: Conversations with Great Songwriters Kindle Edition
THE ART OF NOISE offers an unprecedented collection of insightful, of-the-moment conversations with twenty-seven great British songwriters and composers. They discuss everything from their individual approaches to writing, to the inspiration behind their most successful songs, to the techniques and methods they have independently developed to foster their creativity.
Contributors include:
Sting * Ray Davies * Robin Gibb * Jimmy Page * Joan Armatrading * Noel Gallagher * Lily Allen * Annie Lennox * Damon Albarn * Noel Gallagher * Laura Marling * Paul Weller * Johnny Marr * and many more
Musician-turned-author Daniel Rachel approaches each interview with an impressive depth of understanding—of the practice of songwriting, but also of each musician's catalog. The result is a collection of conversations that's probing, informed, and altogether entertaining—what contributor Noel Gallagher called "without doubt the finest book I've ever read about songwriters and the songs they write."
The collected experience of these songwriters makes this book the essential word of songwriting—as spoken by the songwriters themselves.
- LanguageEnglish
- PublisherSt. Martin's Griffin
- Publication dateOctober 7, 2014
- File size7.1 MB
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Editorial Reviews
Review
“Rachel's brilliant tome is as far from the snotty, gossipy stereotype of music journalism as it's possible to get....His style is respectful (he writes generously about parts of the careers of Sting and Oasis that many would consider best forgotten) but never bland. Instead, the introductions and the questions that follow reveal real insight....It's one hell of a look back.” ―The Guardian
“Uniformly interesting...A splendid treat for music aficionados.” ―Kirkus Reviews
“These are fans notes that will appeal to those obsessive about the details of songwriting.” ―Publishers Weekly
“This is without doubt the finest book I've ever read about songwriters and the songs they write. Fantastic, insightful interviews. I remember being interviewed for it at the time and thinking, 'I wish all interviews were like this.' ” ―Noel Gallagher
“A great set of questions. I'm proud to be a part of this project.” ―Ray Davies
“Rachel is a really intelligent, clued-up, and musically astute interviewer and his book is worth more than its hefty weight.” ―Daily Sport (UK)
“Impeccably researched, thoughtful, and well-angled…ART OF NOISE is an insightful read. Rachel gains the confidence of his subject and, in doing so, hundreds of engaging thoughts on individual process emerge, amounting to the essential word on classic British songwriting.” ―Mouth Magazine
“Daniel Rachel's ART OF NOISE (St. Martin's Griffin) is made for sipping slowly…Rachel has an insider's advantage and his shrewd questions draw fascinating insights from reliably analytical characters.” ―Dorian Lynskey, The Guardian
“Rachel's interviews are enthralling and vivid. Our senses are excited, our consciousness heightened and our mind's utterly captivated…Rachel has delivered a true moment of glory with this Bible for music fans.” ―J. Rodger, Balthazar Review
“Rachel's questioning is sharp and well informed…It's a fascinating read that any musician or songwriter would find both helpful and thought-provoking, as would anyone with an interest in pop culture. After reading the interviews I guarantee you will listen to these artists with fresh ears, renewed interest and fresh appreciation. A remarkable achievement.” ―Duncan Fletcher, Subba Cultcha
“The interviews…are as in-depth as you could possibly hope for…ART OF NOISE is an outstanding book that will appeal to all kinds of discerning music lovers – and to songwriters of all persuasions.” ―Russell Deeks, Songwriting
“A superb new book…Rachel has managed to bring together a truly impressive ensemble of British tunesmiths…The results are hugely enjoyable.” ―Thomas McGrath, Dangerous Minds
“Documenting fifty years of British songwriting through unique personal insights and an impressive wealth of knowledge, this is a beautiful book.” ―Emma Parlons, Life of Yablon
“Rarely has this thought-provoking subject been tackled in such an engaging and insightful way.” ―Jocks and Nerds Review
“ART OF NOISE offers a fascinating glimpse into the mind of a songwriter.” ―Campbell Miller, The List
“What a collection…it's absolutely fantastic.” ―Janice Long, BBC RADIO 2
“A fascinating book.” ―Miranda Sawyer, LOOSE ENDS BBC RADIO 4
“Never less than illuminating.” ―Belfast Telegraph
“It's a fascinating insight into songwriting.” ―Robert Elms, BBC LONDON
About the Author
Excerpt. © Reprinted by permission. All rights reserved.
The Art of Noise
Conversations with Great Writers
By Daniel RachelSt. Martin's Press
Copyright © 2013 Daniel RachelAll rights reserved.
ISBN: 978-1-250-05129-5
Contents
TITLE PAGE,COPYRIGHT NOTICE,
DEDICATION,
EPIGRAPH,
INTRODUCTION,
RAY DAVIES,
ROBIN GIBB,
JIMMY PAGE,
BRYAN FERRY,
JOAN ARMATRADING,
CHAZ JANKEL,
JOHN LYDON,
MICK JONES,
PAUL WELLER,
STING,
ANDY PARTRIDGE,
CHRIS DIFFORD AND GLENN TILBROOK,
MADNESS,
ANNIE LENNOX,
BILLY BRAGG,
JOHNNY MARR,
NEIL TENNANT AND CHRIS LOWE,
LEE MAVERS,
DAMON ALBARN,
NOEL GALLAGHER,
JARVIS COCKER,
LILY ALLEN,
LAURA MARLING,
ACKNOWLEDGEMENTS,
LIST OF ILLUSTRATIONS,
BIBLIOGRAPHY,
PUBLISHING CREDITS,
INDEX,
ABOUT THE AUTHOR,
COPYRIGHT,
CHAPTER 1
RAY DAVIES
Behind Ray Davies is the celebrated British music hall tradition: an era of song, laughter and alcohol. Music hall was riotous and unconstrained by the Royal Patent which regulated legitimate theatres, and its songs told stories in the folk tradition. Rogues, wastrels and criminals were remembered and even celebrated on the Victorian stage, like 'Sam Hall' or George Leybourne's comic character 'Champagne Charlie'. The created persona is also a characteristic of Ray Davies's songwriting. Just as the revered Vesta Tilley was the first music hall star to dress as a man, so 'Lola' was the first male pop character to dress as a woman. The molly houses of eighteenth-century London streamed with cross-dressers and effeminate masculine personalities. Following in the tradition, music hall stars were able to offer a contrast to contemporary prudishness just as modern pop can challenge archaic attitudes. Hoxton-born Marie Lloyd sang the saucy 'She'd Never Had Her Ticket Punched Before'. This story of a naive country girl arriving wide-eyed in London has echoes in the Davies ballads 'Big Black Smoke' and 'Polly'. His songbook runs riot with sexual ambiguity as well as an eye for male vulnerability: 'Out Of The Wardrobe' and the more directly gay and fancy-free figure of 'David Watts'. The Kinks, as their name suggested, played theatrical camp.
The London of 1860 had conspicuous parallels with the world Ray Davies would mirror in song a century later. More than 50,000 prostitutes were earning a living on the streets of the capital. The city was rife with disease and filled with an awful stench from the Thames, and tens of thousands of families lived packed into one-room tenements. Charles Booth's study of the working class revealed that almost a third of Londoners were living on or around the poverty line. In 1966, at the height of the media-proclaimed Swinging Sixties, the disparity between excess and bare existence was equally shocking. When England lifted the World Cup at Wembley the nation's number one singalong was 'Sunny Afternoon'. Davies had conceived the song in stark contrast to the mood of the age. Behind the knees-up rousing chorus the song attacked in subtle, cutting verse the big fat momma, symbol of an all-consuming, taxing government, and the drunkenness and cruelty of a broken-down aristocrat. 'Dead End Street' reflected the country's failings with equally devastating observation, referring to a crack up in the ceiling and family nourishment limited to bread and honey. The song was reminiscent of Fred W. Leigh and Charles Collins's standard 'My Old Man', which told of a couple fleeing from the burden of unpaid rent. Davies's compositions offered musical gaiety to sweeten bitter tales. The naked E major descending scale of 'The Money Go Round' robed itself in vaudeville delivery whilst attacking the theft of intellectual property. 'All Of My Friends Were There' described a disguise of shame with a worn moustache and parted hair. Out of the circus rhythm, falling notes in F major release the song's joviality into a beautifully segued half-time melancholy. Wit was a Davies tool of anger handled with precision blows.
The great British songwriting legacy is traditionally in defiance of the establishment. Like Jagger and Richards, the outspoken Davies paid little heed to convention. A century earlier Harry Clifton had accepted payment from factory owners to write songs encouraging employees to graft, but 'Work, Boys, Work and Be Contented' reflected a very different mood from the industrial world of the Sixties. Davies voiced the grievances and plight of the neglected working man. His songs recognized the hardship and struggle at the propping-up end of society. '(Wish I Could Fly Like) Superman' was a song of escapism from strikes and bills, whilst the celluloid dreamer of 'Oklahoma USA' asks all life we work but work is a bore, if life's for livin' then what's livin' for? Davies's songbook is a chronicle capturing the pulse and heart of the British working man. His stories show the realities with telling insights from everyday life, and his observations blend quaint and humorous storytelling with damning indictments of authority. He tells of prosaic characters and their everyday rituals, such as taking afternoon tea or roast beef on a Sunday, watching football or negotiating the weights and pulls of emotional attachment. His words are accessible and easy to understand, and there is a magnetism in the song construction that is deceptive in its simplicity. One of The Kinks' greatest achievements was The Village Green Preservation Society, celebrating a nostalgic image of a disappearing world. The village green acts as the focal point for the characters of 'Walter' and 'Johnny Thunder', representing a decaying of innocence. But it was not just a fondness for the past and the last good old-fashioned steam-powered trains that informed the album. There was an underlying sense of hope, determination and an ache for change. As the Seventies dawned, Davies would take these desires and re-examine his relationship to pop music.
The fountainhead of Ray Davies's imagination is London. 'Waterloo Sunset' conjures the unique atmosphere of the city's famous river. It is the nearest pop music has to Impressionism in art. The paintings of Whistler and Monet depict the fog of London shrouding the Thames, and Davies too draws the dirty old river with strokes of enduring symbolism. His eye for detail came from an art-school background. As a student at Croydon Art College he regularly crossed Waterloo Bridge, and this, coupled with a brief period as an in-patient at St Thomas' Hospital where he was able to watch the river flow, provided the idea for the song. His simple storytelling and eye for life's everyday detail bring to mind Hogarth's paintings and the fiction of Charles Dickens. Davies, though, connects with his audience via the highly accessible channel of popular melody. 'Waterloo Sunset' rests on three sets of five-note melodies working their way lazily down one octave. Another inspirational Londoner, William Blake, published in 1794 his collection Songs Of Innocence And Of Experience. The poems juxtapose the contrary states of humanity that interest Davies: good with corruption; childishness with adulthood; sexual purity with lust and jealousy. Two centuries may divide the writings, but the common ground is clear. Like Blake before him, Davies is keenly attuned to the city and the human beings who inhabit it.
In 1964, the newly elected Labour government, the first in thirteen years, boasted a straight-talking prime minister with a Yorkshire accent. The Kinks, too, traded on accent. Davies sang in his natural north London voice, establishing a semi-spoken delivery. Equally characteristic of The Kinks' early releases was the group's instrumentation. The sound of Dave Davies's guitar on 'You Really Got Me' and 'All Day And All Of The Night' was revolutionary. Both songs rested upon raw driven chord movement, abrupt key changes and fierce staccato. Fifty years later Metallica re-recorded 'You Really Got Me' for Ray's collaborations album. It represented a homecoming for heavy rock's founding influence. Before the invention of foot pedals to change frequency dynamics at the press of switch, Ray's younger brother experimented by skewering a knitting needle into his eight-amp guitar speaker. Dave's home-modelled Green Amp, once fed through a Vox AC30, emitted a cacophonous distorted effect. It was ahead of its time and defined the early Kinks sound.
The Davies brothers were born at 6 Denmark Terrace, Muswell Hill. Raymond Douglas arrived on 21 June 1944 as British troops advanced through Italy. Three years later David Russell Gordon completed the family of two boys and six girls. 'Come Dancing', written by Ray four decades on, and adapted in 2008 as an award-winning off-West End musical, nostalgically revisited his childhood memories: his sister dancing at the local Palais and he the unseen observer at the window watching two silhouettes saying goodnight by the garden gate. Tragically, on the eve of Ray's thirteenth birthday, his older sister Rene collapsed on a West End ballroom dance floor and never recovered consciousness. Her present to him was a Spanish guitar. It was the birth of Ray's complex relationship with music. The front room of Denmark Terrace offered a new space for night-time revelry. It was the home of the family piano and later the gramophone, and the room of entertainment, particularly when the boys' father came home drunk from the pub over the road. The finger-picking country-and-western-styled two chords of 'You Really Got Me' were radicalized with dramatic key shifts and repetition on the front-room upright. Davies would increasingly construct ideas at the piano. He told Melody Maker in 1966, 'The chords come first. The lyrics grow from fitting words to sounds I'm not a good piano player. If you are reasonably good on an instrument and use it to compose on then you tend to get too complex — and that doesn't work in pop music.' Ray and Dave had served their apprenticeship in north London free-and-easies. In 1960 The Ray Davies Quartet, augmented by school friend Pete Quaife, performed their first shows, playing local dances. The band name changed from The Ramrods to The Boll Weevils to The Ravens until a settled line-up with the addition of Mick Avory on drums signed to Pye Records as The Kinks on 23 January 1964. Within a year the quartet was celebrating a trio of number-one singles.
For the next four years Davies's rapidly developing conversational tone demanded centre stage. Band arrangements become subservient to narrative storytelling. 'Where Have All The Good Times Gone' recalled Daddy didn't have no toys and mummy didn't need no boys; 'Well Respected Man' reflects Fifties conformity and class, but the main character secretly adores the girl next door 'cause he's dying to get at her; 'Dedicated Follower Of Fashion' points to the writer's interest in subterfuge: they seek him here, they seek him there; 'Situations Vacant' addresses upward social mobility and 'Mr Pleasant' superficial domestic happiness. Ray was the cruel observer with a fragile vocal delivery: if I can't have you to myself / set me free. The writing revelled in the elasticity of language: my poor rheumatic back / yes, yes, yes it's my autumn almanac and was sparing in the use of the word love. Davies brought an emotional and intellectual core to popular music delivered with subtle satire and social commentary. His trick was to favour imagination over reportage. Unfortunately in 1966, the American Federation of Musicians of the United States withheld permits, preventing The Kinks from touring the country. The Davies brothers' historical infighting on stage had fallen foul of an Anglo-American union agreement. In 1969 Ted Dreber, assistant president of the Federation, told Rolling Stone magazine that although there was no reference to the band on file the 'reciprocity agreement allows either union to withhold permits for a group if they behave badly on stage or fail to show for scheduled performances without good reason'. In 'Americana' Davies described the problem slightly differently: the English beat group known as The Kinks are banned from America / Their licence to perform has been revoked indefinitely, before centring the disagreement on an altercation with a television union representative: You with your red hunting jackets and your yellow frilly shirts you're never gonna work in America again. For Ray it was a disastrous and at the same time pivotal moment in his career. He responded by going underground. What emerged was exploratory and adventurous writing rewarded with commercial wilderness. Spirituality undercut 'God's Children'. Loss, depth and maturity blessed the endless and sacred 'Days'. The successful writer 'Sitting In My Hotel' dressed in satin strides and two-tone daisy roots writing songs for old-time vaudeville revues was a sumptuous piano ballad with unexpected movement of chords and melody. As the Seventies began the American ban was lifted but Davies has always felt that The Kinks were denied their greatest opportunity. The country would embrace the band again, culminating with a performance (including the appropriately titled 'Give The People Want They Want') to a sold-out Madison Square Garden in 1981, but the momentum of the Sixties had been irrevocably crushed.
The British Music Hall Society motto, 'cherishing the jewels of Britain's musical past but actively supporting the interests of the future' might have been created for The Kinks. Much of the extensive commentary on the band's work would have you believe that Davies's writing career halted abruptly sometime around the end of the Sixties, then briefly reappeared in the early Eighties, before conducting a valedictory tour in the 2000s. Music chart statistics do a great disservice by suggesting that success is directly linked to artistic achievement. The songwriting of Ray Davies dispels this notion single-handedly. After a breathtaking run of magnificent singles in the Sixties, he began to look outside mainstream expectation. A series of records investigated the possibilities of the long-player and its relationship to popular music. They were bold and daring explorations. Soap Opera addressed the privileges of fame, using spoken-word links. Schoolboys In Disgrace was a collected song cycle examining education whilst Preservation I and II took Davies's theatrical leanings into scripted character parts. The release of Arthur (Or The Decline And Fall Of The British Empire) in 1969 coincided with The Who's rock opera, Tommy. The two albums, though vastly different in conception, embraced a thematic song cycle reminiscent of Italian cantata. But whereas Pete Townshend began to sidestep the structures of the popular song, verse, chorus, middle eight, Davies remained episodic, allowing each song to work independently within the greater theme. In his twenties Davies had taken orchestral lessons and their influence has affected various of his projects since. A commissioned piece, Flatlands, in the early Eighties, recorded with the Britten Sinfonia, used a choral offering to evoke the atmosphere of the Norfolk landscape. The Kinks Choral Collection in 2009 allowed long-forgotten gems such as the yearning 'Celluloid Heroes' and the suburban conformity of 'Shangri-La' to be arranged for the Crouch End Festival Chorus. Noel Gallagher employed the same voices in his debuting Noel Gallagher's High Flying Birds in 2011. It was a clear tribute and a reminder of a 66-year-old's influence in the new millennium.
In conversation Davies has consistently and perhaps deliberately given his songs ambiguous interpretations. X-Ray: The Unauthorized Autobiography was a master class in veiled truths and opacity. He is like a crossword: the pleasure is found in the challenge, not the personality of the game-setter. Meeting for our conversation was a flirtation of phone calls, theatre visits and backstage bonhomie. Ray has a kind, inviting manner and is a tease when explaining the songwriting process.
Carol Ann Duffy suggested in an interview that words take on a greater value when they are typed because in print they seem more glamorous and important.
Strangely enough, thinking back to 'Dedicated Follower Of Fashion', that was typed out, first draft, never changed a word, as was 'Come Dancing'. I use a pen quite a lot. I do like to write things out. I keep lots of notes. She's absolutely correct. It's maybe an age thing, but if I see something typed out on a screen I can only really evaluate it when it's in hard copy. So I'd go one step further: they have more power when you see the hard copy and even more value when they've been chiselled out in the lithograph.
When you have ideas how do you remember or capture them?
I've gone through periods of not writing anything down, believing if the idea is good it will stick. It's a really good question: whatever it takes. I literally do use serviettes in restaurants. I carry a bag round with me sometimes with various quite thick notepads. I've been a bit slack this year; I've only used two notepads up. There's always a few sheets of paper in my pocket.
When you're pulling ideas together do you need certain circumstances in which to write?
I remember writing when I had my first marriage. I had the television on. I was playing music. The two kids were crawling around the floor. All right, I was twenty-two years old, but I could work better in that situation than in silence. I liked being bombarded with external sources. My theory at that time was, if the idea's good it can survive all these onslaughts from the outside world.
(Continues...)Excerpted from The Art of Noise by Daniel Rachel. Copyright © 2013 Daniel Rachel. Excerpted by permission of St. Martin's Press.
All rights reserved. No part of this excerpt may be reproduced or reprinted without permission in writing from the publisher.
Excerpts are provided by Dial-A-Book Inc. solely for the personal use of visitors to this web site.
Product details
- ASIN : B00IQNYUOK
- Publisher : St. Martin's Griffin (October 7, 2014)
- Publication date : October 7, 2014
- Language : English
- File size : 7.1 MB
- Text-to-Speech : Enabled
- Screen Reader : Supported
- Enhanced typesetting : Enabled
- X-Ray : Not Enabled
- Word Wise : Enabled
- Print length : 835 pages
- Best Sellers Rank: #962,886 in Kindle Store (See Top 100 in Kindle Store)
- #35 in Music Essays
- #93 in Music Composition (Kindle Store)
- #120 in Music Songwriting
- Customer Reviews:
About the author

Musician-turned-award-winning-author, Daniel Rachel wrote his first song when he was sixteen and was the lead-singer in Rachels Basement.
Daniel is the author of Isle of Noises: Conversations with Great British Songwriters – a Guardian and NME Book of the Year
Walls Come Tumbling Down: the music and politics of Rock Against Racism, 2 Tone and Red Wedge - WINNER OF the Penderyn Music Book prize.
Don't Look Back in Anger: The rise and Fall of Cool Britannia - an Evenign Standard and Metro Book of the Year
Like Some Forgotten Dream:What If The Beatles hadn't split up?
Daniel has also co-authored:
I Just Can't Stop It: My Life in the Beat with Ranking Roger - Vive Le Rock Book of the Year
When Ziggy Played the Marquee by Terry O'Neill
David Bowie: Icon
Oasis At Knebworth with Jill Furmanovsky (A Sunday Times bestseller)
One For The Road: The Life & Lyrics of Simon Fowler & Ocean Colour Scene
www.danielrachel.com
www.facebook.com/danielrachelbooks
@danielrachel
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- Reviewed in the United States on October 7, 2014Great book on songwriters and their methods and writing techniques. If you need some inspiration there's plenty here to read and draw from each interviewee. Good going Daniel.
- Reviewed in the United States on February 15, 2018Fun read. Clean/no damage
- Reviewed in the United States on August 18, 2015At first I thought Daniel Rachel had written a book all about the avant-garde synthpop group big in the 1980s. While that would no doubt be interesting, this is much more substantial.
Essentially, it is a collection of interviews of songwriters as the title implies.
Rachel begins each chapter with an essay leading into the interview.
Who is interviewed? Mick Jones from the Clash, Annie Lennox, Jimmy Page, Sting, Ian Dury, Robin Gibb, Ray Davies and so on. Each is around 20 pages, give or take, with each Q/A a paragraph or two. In other words, each writer is given an opportunity to explain his or her process.
I enjoyed the ones for Jimmy Page and Robin Gibb most. This might be because I know their catalog so much better than the rest, or because maybe that's how I'd like to approach song writing.
Not all are disciplined writers and, instead, draw ideas from random places at random times. Others are extremely disciplined, with careful notes regarding chords and harmonies. That's all part of the story.
Rachel did his homework and obviously has an educated curiosity about how great song writing happens. He refers frequently to the rest of the canon throughout, and asks intelligent questions.
This is a good book done well, insightful in both its content and the musical history it presents. I fully recommend, "The Art of Noise: Conversations with Great Songwriters" by Daniel Rachel.
Anthony Trendl
anthonytrendl.com
- Reviewed in the United States on July 6, 2017I happen to know this bloke. He’s a mild mannered gentleman at the least, and I was thoroughly delighted to discover he carried that demeanour into the room when interviewing some of Britain’s biggest musical fish. I was particularly impressed with the Sting interview; a giant of a man, who doesn’t suffer fools lightly, seems to genuinely enjoy being interviewed by the humble and curious character that Daniel is. This book is a must for songwriters, and fans curious of the maths behind the magic.
- Reviewed in the United States on August 10, 2015Great book. I teach songwriting and music production and I got a lot out of it.
Top reviews from other countries
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タマキソ・スカイウォーカーReviewed in Japan on March 20, 2019
5.0 out of 5 stars UKロック・ポップスのソングライターに対する作曲のインタビュー
海外のミュージシャンのアルバムに対するインタビューだったり、生い立ちに関しての話は Wikipedia なんかを読めば大丈夫でしょう。
しかし、作曲に対するインタビューはなかなかありません。
本書はこの項目をカバーしてくれます。
なんといってもメンバーが凄い。
・スティング
・ノエル・ギャラガー
・デーモン・アルバーン
・ジョニー・マー
...
これでも一部なので、ファン垂涎の一冊です。
全編英語ですが、そこまで難しくないのでゆっくり読めば十分理解できます。
- Sir PaulReviewed in Canada on September 16, 2015
4.0 out of 5 stars SO THIS HOW THEY WROTE HITS !
Great book..a must for all songwriters looking to write a hit!