Richard Goldstein's The Poetry of Rock

by Richard Goldstein's

Poetry of Rock

Genres: Poetry, Music

160 pages, Mass Market Paperback

First published January 1, 1969

Reviews

[Mike Futcher · Rating 4 out of 5]

An interesting and mostly successful attempt to identify the poetry in rock lyrics of the Sixties. As in just about any selection, there are notable omissions (no Rolling Stones - what about 'Ruby Tuesday? - or Jimi Hendrix - 'Castles Made of Sand'?), but a number of the chosen songs do look particularly fine when rendered on the page ('In My Life', 'Darling, Be Home Soon', 'Suzanne', 'White Rabbit' and 'The Sound of Silence' in particular).

It is a limited book: to my disappointment, author Richard Goldstein didn't try to show how pop lyricism is a continuation of the traditional poetic form - placing words and meaning into metre and rhythm. Indeed, the earliest poets like Homer and Sappho composed in metre as the poems weren't written down; the song structure helped them to remember. Whilst this may not be immediately apparent in a modern culture that still sees poetry as something written by Wordsworth or Tennyson, it is worth remembering that conventional poetry and song lyrics share a common ancestor.

Rather, Goldstein has a very Sixties view of pop culture (the book was written in 1969) and I can't help but feel he sees rock music as separate-but-equal from conventional poetry; its specialness defined by its newness and countercultural advocacy. This struck me as a rather limited approach; in fact, rock lyricism as poetry has outlasted and outgrown the Sixties counterculture, as shown by the lyric songs of the likes of Tom Waits and Nick Cave.

Nevertheless, Goldstein's advocacy of pop lyricism as poetry is well thought-out: he acknowledges that some songs don't translate well to verse, as there is a strong sense of "sound-as-content" in the form (pg. 4) - i.e. that rhythmic grunts or 'sha-la-las' might be integral to a song but look silly on the page. His argument is based around the strong notion that whilst "all rock lyrics are altered by versification... not all suffer castration as well" (pg. xi). He argues, rightly, that the "impressive awareness of language and a profound sense of rhythm" (pg. xii) evident in some pop lyrics validates them as an art form. Like any medium, rock music can produce both "art and drivel... The crucial factor is not the style [form], but those who choose to work in it" (pg. 6). The great Sixties artists were not conventional 'poets' but the likes of Dylan and Lennon/McCartney - in avoiding written poetry in favour of a electric guitar and a raucous backbeat, they were the latest inheritors of a lyric tradition that had evolved and endured for millennia.

[Sansan Gilbreath · Rating 3 out of 5]

It’s interesting to go back in time and look at the songs that the author chose and to read the narrative although I believe it’s very outdated . The narrative doesn’t really hold up so well with the passage of time .. I’m still glad I read this book

[Jim]

Read in the 70s

[Brent · Rating 4 out of 5]

I loved this little anthology because it collected so many song lyrics in short, approachable form.
Worth seeking in used copies and libraries: recommended.

[Mike Walter · Rating 4 out of 5]

Interesting book that was published in 1969 (his reference to Jackson Brown as a “beginning songwriter” made me chuckle) Music critic Richard Goldstein offers some quick analysis of certain song lyrics then reprints them in whole. It’s a stark reminder that while lyrics can be poetic, they often lose their true power when separated from the music. I was actually surprised Goldstein didn’t spend more time talking about how melody and rhythm and beat can change the meaning of certain words. Maybe someone should do a book about that . . .

Goldstein is a great writer and he shows that off in numerous spots here. Calling Johnny Cash “Dylan without metaphor” was genius. But sentences like this: “In the tradition of metaphysical poetry, the Beatles invest implements of everyday existence with an overwhelming sterility.” went way over my head.

Enjoyed this book and it turned me on to some songs I was not heretofore familiar with. My favorite of these was “Sally Go Round the Roses” by the Jaynetts which Goldstein said could be interpreted as being about a lesbian affair and I see no other way to hear it.

[Tom · Rating 2 out of 5]

Interesting as an artifact of the paperback age. I guess radio listeners might not be able to read lyrics from the liner notes (were there liner notes for 45s?). As much as I love some of the music of this era, I think the music is transcendent more so than--and sometimes despite--the lyrics. The author's commentary is a hoot and a half, but the mini posters in the middle of the book are the real selling point here.

[Richard O. · Rating 3 out of 5]

Goldstein was a teacher of mine who praised one of my pieces, so I'm not impartial. He wrote one of the best pieces about Dylan in New York Magazine I've ever read. He also felt Beegees First was better than Sgt. Peppers. This feels like a rune from the Sixties. Dylan said they were songs meant to be sung, not poems on the page. Lyrics lack a singer's phrasing, musical emphasis, rhythm, tempo, arrangement. At best the singer is the song.

[Stevie · Rating 3 out of 5]

Seems like writing a book of other people's lyrics is cheating but I guess some sucker might read it.

[Simon Sweetman · Rating 3 out of 5]

A strange relic now - but to think of when it came out...some nice commentary and interesting selection of rock lyrics presented as poetry.

[D.J. Desmond · Rating 2 out of 5]

it's mostly the lyrics themselves, but it's a nice lil walk through the 60s rock scene

[Kevin Braswell · Rating 3 out of 5]

Just a fun little vintage paperback presenting popular lyrics as poetry.

[Hansen Wendlandt · Rating 3 out of 5]

If you complain about lyrics today, or in the 1950's, this collection might give you some nostalgic pride in America, music and poetry. Richard puts an impressive flow together, or as he says, "Without this heritage, Rock is a bushel of pretty leaves pretending to be a tree." The scope goes from Elvis and Johnny Cash ("Dylan without metaphor), with Chuck Berry and Aretha, through Beatles and Simon & Art, to Townsend and Morrison, Dylan and Donovan, with plenty of more obscure poets between. This book will not only educate you, but probably teach you a few new great songs, like The Byrds' "Everybody's Been Burned", and lyrics, like "Super-powered, de-flowered, over-eighteen Irene" (Moby Grape's "Motorcycle Irene").

[Richard Downey · Rating 4 out of 5]

This is quite an old book. It asks us to look at rock lyrics as possible poetry. Goldstein makes a good case and there are obvious choices and a few that you wouldn't especially think of. His explanations for inclusion do make sense. As I said, it's an old book and there are no lyrics newer than about 1969. Even so, it makes the case for a closer reading of what was going on in the music scene in the 50s and 60s that can be extrapolated into the present. Although you could argue with his lyric choices, he makes his case and I enjoyed the journey very much.

[Charles · Rating 2 out of 5]

I'm afraid it goes to show what I've always thought, most song lyrics really suck as poetry. It gets 2 stars because it has several really good sets of lyrics, but the description of the poems is kind of over the top. I don't think these songs were quite as earth shaking for their lyrics as is suggested here.

[Robin Martin · Rating 3 out of 5]

Assembled in 1968 or 9. Fabulous display of period vernacular in the narrative makes it fun to read, perhaps even more so than the lyrics themselves, some of which I'm really not sure why were included. Like "Get a Job." You know, "sha na na na sha na na na na Sha na na na na na na na na yip yip yip yip yip yip yip Get a Job." Classic rock song, maybe. Poetry?

[Lysergius · Rating 4 out of 5]

An interesting look at a selection of rock music lyrics as poetry.

[Carol Rose Stark Neal · Rating 4 out of 5]

helpful analysis of rock lyrics

[Laura · Rating 4 out of 5]

strange young girls colored with sadness
eyes of innocence hiding their madness
sweet soft and placid
offering their youth on an altar of acid

rad as hell