I agree that this is a masterpiece. I also agree on the night club scenery but there is more to it. You see, JJ is a genius who does not like his songs to be pinned down on a meaning. At the concert I attended this weekend, he emphasised Junky Diva is not about Amy "F...ing" Winehouse. But listen to the song, and it is hardly open to a different interpretation. I think JJ is sometimes lying to protect his music from being pinned down on one single meaning.
Now my theory:
In his blog you can read that JJ aspires for the words to fit the music like a glove. I am questioning whether something as trivial as the loud noises of some NY gay club can ever match the astounding music of this ballad. The answer is simple: because this ballad is on a deeper level about mourning, death and loss of love. The music tells us as it builds to outbursts of sorrow, a longing for something that simply cannot be attained. Supporting evidence:
First: find the words of the play "The Morning Bride" by William Congreve. The very first lines are: "Musick has Charms to sooth a savage Breast". Now "Breast" is oft misquoted as "Beast".
Second: besides the striking similar wording, you will find that the rythm of the frases fit Slow Song like a glove, right up to "O force of constant Woe!
'Tis not in Harmony to calm my Griefs" (in my mind inevitably followed by: "to pick me up and carress me")
Slow Song addresses the same themes as the opening of the play. Loss, mourning and the consolation music can offer, but not always does as there is just too much grief.
Note how the lyrics of Slow Song go from "we" (the obvious night club scenery) to "I". Why can't "I" even hear you? Is it the loudness of the music, or is it because "you" are gone, yet still "I want to be near you".
@balrimple I'd never thought of "Musick has Charm to sooth a savage Breast" consciously. But now that you mention it, yes. You've tapped into something hiding in plain sight. (I'll return to that image in a moment.)
@balrimple I'd never thought of "Musick has Charm to sooth a savage Breast" consciously. But now that you mention it, yes. You've tapped into something hiding in plain sight. (I'll return to that image in a moment.)
I've no more direct evidence than you do, but I'm struck by your idea JJ's lyrics continue in the rhythm and form of Congreve's (play, yes, but, here, his) lyric poetry.
I've no more direct evidence than you do, but I'm struck by your idea JJ's lyrics continue in the rhythm and form of Congreve's (play, yes, but, here, his) lyric poetry.
A lyric or poem about loss of some kind is so prevalent among those to which I'm attracted that it also didn't occur to me to nail down that theme...
A lyric or poem about loss of some kind is so prevalent among those to which I'm attracted that it also didn't occur to me to nail down that theme in Slow Song. It's one of the many aspects of the song lyric that work in contrast with each other: The blooming of romance and the end (loss) of a classic romantic night out; the end (loss) of courting with a Slow Song beginning closer physical/emotional contact and possible/likely physical relations.
My intent on bringing up the gay romance in my first comment is precisely to bring up a key lyric meaning that is also hiding in plain sight. Joe doesn't draw attention to his sexuality in his music ever, even when he eludes to it in a twist on the cliche of a strong and silent man, as a "strong and silent sound" (chills!) in the central metaphor of Slow Song, "a strong and silent sound / To pick me up and undress me", or comments on gay stereotypes, as in Real Men and other songs.So, I'm absolutely in agreement with you asserting that he does not want his lyrics to be pinned down as to meaning. Heck, I'm reasonably confident that his personal sexuality and gender identity itself is more fluid (not to be pinned down) than either / or, black or white.
But some songs, people would do well to at least become aware of the probably gay influence, gay experience, that inspires and inform the important talented songwriters who embraced and embrace the value of writing songs for everyone rather than follow the completely unremarkable and not remarked upon songs written so often by boys for girls, by men for women, using male and female pronouns, compared to the disproportionately few songs with same-sex pronouns. Like i said, it hides in plain sight, deserving of being outlined and seen as part of the tapestry of songwriting.
I agree that this is a masterpiece. I also agree on the night club scenery but there is more to it. You see, JJ is a genius who does not like his songs to be pinned down on a meaning. At the concert I attended this weekend, he emphasised Junky Diva is not about Amy "F...ing" Winehouse. But listen to the song, and it is hardly open to a different interpretation. I think JJ is sometimes lying to protect his music from being pinned down on one single meaning.
Now my theory:
In his blog you can read that JJ aspires for the words to fit the music like a glove. I am questioning whether something as trivial as the loud noises of some NY gay club can ever match the astounding music of this ballad. The answer is simple: because this ballad is on a deeper level about mourning, death and loss of love. The music tells us as it builds to outbursts of sorrow, a longing for something that simply cannot be attained. Supporting evidence:
First: find the words of the play "The Morning Bride" by William Congreve. The very first lines are: "Musick has Charms to sooth a savage Breast". Now "Breast" is oft misquoted as "Beast".
Second: besides the striking similar wording, you will find that the rythm of the frases fit Slow Song like a glove, right up to "O force of constant Woe! 'Tis not in Harmony to calm my Griefs" (in my mind inevitably followed by: "to pick me up and carress me")
Slow Song addresses the same themes as the opening of the play. Loss, mourning and the consolation music can offer, but not always does as there is just too much grief.
Note how the lyrics of Slow Song go from "we" (the obvious night club scenery) to "I". Why can't "I" even hear you? Is it the loudness of the music, or is it because "you" are gone, yet still "I want to be near you".
@balrimple I'd never thought of "Musick has Charm to sooth a savage Breast" consciously. But now that you mention it, yes. You've tapped into something hiding in plain sight. (I'll return to that image in a moment.)
@balrimple I'd never thought of "Musick has Charm to sooth a savage Breast" consciously. But now that you mention it, yes. You've tapped into something hiding in plain sight. (I'll return to that image in a moment.)
I've no more direct evidence than you do, but I'm struck by your idea JJ's lyrics continue in the rhythm and form of Congreve's (play, yes, but, here, his) lyric poetry.
I've no more direct evidence than you do, but I'm struck by your idea JJ's lyrics continue in the rhythm and form of Congreve's (play, yes, but, here, his) lyric poetry.
A lyric or poem about loss of some kind is so prevalent among those to which I'm attracted that it also didn't occur to me to nail down that theme...
A lyric or poem about loss of some kind is so prevalent among those to which I'm attracted that it also didn't occur to me to nail down that theme in Slow Song. It's one of the many aspects of the song lyric that work in contrast with each other: The blooming of romance and the end (loss) of a classic romantic night out; the end (loss) of courting with a Slow Song beginning closer physical/emotional contact and possible/likely physical relations.
My intent on bringing up the gay romance in my first comment is precisely to bring up a key lyric meaning that is also hiding in plain sight. Joe doesn't draw attention to his sexuality in his music ever, even when he eludes to it in a twist on the cliche of a strong and silent man, as a "strong and silent sound" (chills!) in the central metaphor of Slow Song, "a strong and silent sound / To pick me up and undress me", or comments on gay stereotypes, as in Real Men and other songs.So, I'm absolutely in agreement with you asserting that he does not want his lyrics to be pinned down as to meaning. Heck, I'm reasonably confident that his personal sexuality and gender identity itself is more fluid (not to be pinned down) than either / or, black or white.
But some songs, people would do well to at least become aware of the probably gay influence, gay experience, that inspires and inform the important talented songwriters who embraced and embrace the value of writing songs for everyone rather than follow the completely unremarkable and not remarked upon songs written so often by boys for girls, by men for women, using male and female pronouns, compared to the disproportionately few songs with same-sex pronouns. Like i said, it hides in plain sight, deserving of being outlined and seen as part of the tapestry of songwriting.