69 Love Songs by LD Beghtol

Michael Keefe

The album this book profiles is imperfect, yet astounding.

Magnetic Fields' 69 Love Songs: A Field Guide (33 1/3)

Publisher: Continuum
ISBN: 0826419259
Author: LD Beghtol
Price: $9.95
Length: 157
Formats: Paperback
US publication date: 2006-12
UK publication date: 2007-02

As a collection of books, Continuum's 33 1/3 series is remarkably free of continuity. And that's one of the qualities that tend to make these pocket-sized profiles of great albums equal to their subject matter. Some are detailed examinations of the music, others place the release in the context of the times, and still others create dictionaries from the words found in the record's lyrics.

Okay, that last example isn't exactly typical. This particular method of exploration is favored perhaps only by LD Beghtol and his wonderfully loopy, word-obsessed plundering of 69 Love Songs, the 1999 triple-album by the Magnetic Fields. Occupying the first half of the book, Beghtol's "All his little words" is no ordinary lexicon. But, then, the root material is far from ordinary, either. Spread across a trio of CDs, the record's three-score and nine cuts are an amazing assemblage of finely crafted pop tunes dedicated to the myriad facets of love. Since its release, Stephin Merritt, the principal architect of this mind-bogglingly accomplished record, has received his due recognition as one of the best songwriters of his generation.

But is Stephin Merritt truly of his generation? In some ways, absolutely. Rodgers and Hart never would have issued a ditty dubbed "How Fucking Romantic". And a song like "Underwear", in which both the sexes are fetishized by a male singer, would never have landed in a set by Ol' Blue Eyes. On the other hand, many of Merritt's melodies are hugely inspired by an age gone by. Look under the letter B in Beghtol's lexicon to find "Berkeley, Busby 'Buzz' (1895-1976), famed director-choreographer", who, in Merritt's lyrics, inspires dreams of dancing, both "on whirling stages" ("Busby Berkeley Dreams", natch) and among the stars ("The Way You Say Goodnight"). Beghtol digs into less specific subjects, as well, offering humorous definitions that Webster's has likely never considered. The pronoun "we", for instance, is cited as appearing in three 69LS numbers. Beghtol then goes on to reference its use in the pronoun "The Royal We" (you know, that insufferable form of the first person wherein the speaker assumes the status of a single-minded collective; like the Borg, only pompous), writing: "Some say this archaic nominative nicety should be extended to pregnant women, persons with dissociative identity disorder, and the hosts of tapeworms".

Aside form the "All his little words" lexicon, the other substantial chunk of 69 Love Songs: A Field Guide is occupied by "These familiar things", a track-by-track annotation of the album accompanied by interviews. So, in addition to the duration, tempo, time signature, key, and featured vocalist of each song, we are also treated to a handful of quotes about the writing, context, production, performance, or impression of each entry. Since LD is, himself, a featured vocalist on the album, he includes his own select quotes, as well as those from the rest of the Magnetic Fields gang of Merritt, Claudia Gonson (keyboards and vocals), John Woo (banjo, guitar), Sam Devol (cello), Daniel Handler (aka, Lemony Snicket; accordion), and a host of others. As but one example of the extra tidbits provided in this section, did you know that, as Stephin explains, "Sweet-Lovin' Man" was a "programmed synth pop tune originally meant for The Wayward Bus"?

Reading 69 Love Songs: A Field Guide, you will learn all sorts of minutiae you never knew before. Few of these trivia items will give you a more well-rounded picture of the world or help to heal your soul. Perhaps other 33 1/3 books possess greater emotional weight. But few could encourage as much active listening to the subject matter as this volume does. (And do any others contain a crossword puzzle?!) The album this book profiles is imperfect, yet astounding. Only a few blips here and there (see the "bottom ten 69LS songs" section of Appendix D for the key offenders) keep 69 Love Songs from being a masterpiece. All the same, it was voted the second best album of 1999, according to the survey of critics conducted for the once mighty Village Voice's Pazz & Jop Poll. It remains my favorite from that year. Regardless of your appreciation for the music, LD Beghtol's book is a fun, passionate, and wonderfully peculiar dissection of the excellent album it lovingly explores.

In Americana music the present is female. Two-thirds of our year-end list is comprised of albums by women. Here, then, are the women (and a few men) who represented the best in Americana in 2017.

If a single moment best illustrates the current divide between Americana music and mainstream country music, it was Sturgill Simpson busking in the street outside the CMA Awards in Nashville. While Simpson played his guitar and sang in a sort of renegade-outsider protest, Garth Brooks was onstage lip-syncindg his way to Entertainer of the Year. Americana music is, of course, a sprawling range of roots genres that incorporates traditional aspects of country, blues, soul, bluegrass, etc., but often represents an amalgamation or reconstitution of those styles. But one common aspect of the music that Simpson appeared to be championing during his bit of street theater is the independence, artistic purity, and authenticity at the heart of Americana music. Clearly, that spirit is alive and well in the hundreds of releases each year that could be filed under Americana's vast umbrella.

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The Best Country Music of 2017

still from Midland "Drinkin' Problem" video

There are many fine country musicians making music that is relevant and affecting in these troubled times. Here are ten of our favorites.

Year to year, country music as a genre sometimes seems to roll on without paying that much attention to what's going on in the world (with the exception of bro-country singers trying to adopt the latest hip-hop slang). That can feel like a problem in a year when 58 people are killed and 546 are injured by gun violence at a country-music concert – a public-relations issue for a genre that sees many of its stars outright celebrating the NRA. Then again, these days mainstream country stars don't seem to do all that well when they try to pivot quickly to comment on current events – take Keith Urban's muddled-at-best 2017 single "Female", as but one easy example.

Nonetheless, there are many fine country musicians making music that is relevant and affecting in these troubled times. There are singers tackling deep, universal matters of the heart and mind. Artists continuing to mess around with a genre that can sometimes seem fixed, but never really is. Musicians and singers have been experimenting within the genre forever, and continue to. As Charlie Worsham sings, "let's try something new / for old time's sake." - Dave Heaton

10. Lillie Mae – Forever and Then Some (Third Man)

The first two songs on Lillie Mae's debut album are titled "Over the Hill and Through the Woods" and "Honky Tonks and Taverns". The music splits the difference between those settings, or rather bears the marks of both. Growing up in a musical family, playing fiddle in a sibling bluegrass act that once had a country radio hit, Lillie Mae roots her songs in musical traditions without relying on them as a gimmick or costume. The music feels both in touch with the past and very current. Her voice and perspective shine, carrying a singular sort of deep melancholy. This is sad, beautiful music that captures the points of view of people carrying weighty burdens and trying to find home. - Dave Heaton

9. Sunny Sweeney – Trophy (Aunt Daddy)

Sunny Sweeney is on her fourth album; each one has felt like it didn't get the attention it deserved. She's a careful singer and has a capacity for combining humor and likability with old-fashioned portrayal of deep sadness. Beginning in a bar and ending at a cemetery, Trophy projects deep sorrow more thoroughly than her past releases, as good as they were. In between, there are pills, bad ideas, heartbreak, and a clever, true-tearjerker ballad voicing a woman's longing to have children. -- Dave Heaton

8. Kip Moore – Slowheart (MCA Nashville)

The bro-country label never sat easy with Kip Moore. The man who gave us "Somethin' 'Bout a Truck" has spent the last few years trying to distance himself from the beer and tailgate crowd. Mission accomplished on the outstanding Slowheart, an album stuffed with perfectly produced hooks packaged in smoldering, synthy Risky Business guitars and a rugged vocal rasp that sheds most of the drawl from his delivery. Moore sounds determined to help redefine contemporary country music with hard nods toward both classic rock history and contemporary pop flavors. With its swirling guitar textures, meticulously catchy songcraft, and Moore's career-best performances (see the spare album-closing "Guitar Man"), Slowheart raises the bar for every would-be bro out there. -- Steve Leftridge

7. Chris Stapleton – From a Room: Volume 1 (Mercury Nashville)

If Chris Stapleton didn't really exist, we would have to invent him—a burly country singer with hair down to his nipples and a chainsaw of a soul-slinging voice who writes terrific throwback outlaw-indebted country songs and who wholesale rejects modern country trends. Stapleton's recent rise to festival headliner status is one of the biggest country music surprises in recent years, but his fans were relieved this year that his success didn't find him straying from his traditional wheelhouse. The first installment of From a Room once again finds Stapleton singing the hell out of his sturdy original songs. A Willie Nelson cover is not unwelcome either, as he unearths a semi-obscure one. The rest is made up of first-rate tales of commonality: Whether he's singing about hard-hurtin' breakups or resorting to smoking them stems, we've all been there. -- Steve Leftridge

6. Carly Pearce – Every Little Thing (Big Machine)

Many of the exciting young emerging artists in country music these days are women, yet the industry on the whole is still unwelcoming and unforgiving towards them. Look at who's getting the most radio play, for one. Carly Pearce had a radio hit with "Every Little Thing", a heartbreaking ballad about moments in time that in its pace itself tries to stop time. Every Little Thing the album is the sort of debut that deserves full attention. From start to finish it's a thoroughly riveting, rewarding work by a singer with presence and personality. There's a lot of humor, lust, blues, betrayal, beauty and sentimentality, in proper proportions. One of the best songs is a call for a lover to make her "feel something", even if it's anger or hatred. Indeed, the album doesn't shy away from a variety of emotions. Even when she treads into common tropes of mainstream country love songs, there's room for revelations and surprises. – Dave Heaton

From genre-busting electronic music to new highs in the ever-evolving R&B scene, from hip-hop and Americana to rock and pop, 2017's music scenes bestowed an embarrassment of riches upon us.

60. White Hills - Stop Mute Defeat (Thrill Jockey)

White Hills epic '80s callback Stop Mute Defeat is a determined march against encroaching imperial darkness; their eyes boring into the shadows for danger but they're aware that blinding lights can kill and distort truth. From "Overlord's" dark stomp casting nets for totalitarian warnings to "Attack Mode", which roars in with the tribal certainty that we can survive the madness if we keep our wits, the record is a true and timely win for Dave W. and Ego Sensation. Martin Bisi and the poster band's mysterious but relevant cool make a great team and deliver one of their least psych yet most mind destroying records to date. Much like the first time you heard Joy Division or early Pigface, for example, you'll experience being startled at first before becoming addicted to the band's unique microcosm of dystopia that is simultaneously corrupting and seducing your ears. - Morgan Y. Evans

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Which is the draw, the art or the artist? Critic Rachel Corbett examines the intertwined lives of two artists of two different generations and nationalities who worked in two starkly different media.

Artist biographies written for a popular audience necessarily involve compromise. On the one hand, we are only interested in the lives of artists because we are intrigued, engaged, and moved by their work. The confrontation with a work of art is an uncanny experience. We are drawn to, enraptured and entranced by, absorbed in the contemplation of an object. Even the performative arts (music, theater, dance) have an objective quality to them. In watching a play, we are not simply watching people do things; we are attending to the play as a thing that is more than the collection of actions performed. The play seems to have an existence beyond the human endeavor that instantiates it. It is simultaneously more and less than human: more because it's superordinate to human action and less because it's a mere object, lacking the evident subjectivity we prize in the human being.

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