Author: Nick Hornby
My favorite book I read last year was Ten Years in The Tub, Nick Hornby’s collection of columns from The Believer detailing his book reading and purchasing each month. Being a huge music fan as well, I was eager to read Songbook(originally published as 31 Songs, then rereleased with a few bonus essays) Hornby’s collection of essays on various songs and albums. Apparently when this book was first released, a few versions of it came with CDs containing either 11 or even 18 of the 31 songs, so readers could hear these mostly obscure songs that Hornby has chosen to write about. However in the distant future of 2017, readers can now just log on Youtube and listen to every song or album discussed in this book while reading the corresponding chapters.
I’m a pretty big music junky, but apparently my knowledge of Hornby’s favorites was lacking as prior to reading this I only knew the following tracks:
· “Thunder Road” by Bruce Springsteen
· “I’m Like a Bird” by Nelly Furtado”
· “Heartbreaker” by Led Zeppelin
· “Samba Pa Ti” by Santana
· “Mama, You Been On My Mind” by Rod Stewart
· “Rain” by the Beatles
· “Smoke” by Ben Folds Five
· “Caravan” by Van Morrison
· “Puff the Magic Dragon” by Gregory Isaacs (I think we all know the original, but I was unfamiliar with this version)
· “Late for the Sky” by Jackson Browne
That’s only ten of thirty one tracks, so I’m going to assume that part of Hornby’s goal was to focus on music that isn’t already known by the masses. I faired much better on his discussion of albums, owning all of the ones he discussed in depth except for a Steve Earle album, and I’ve got a few others by that artist. On a related note I enjoyed the album chapters the most, although if you told me up front Nick Hornby would spend a few pages discussing Nick Cave, Aimee Mann or Blink-182 I could predict with absolute certainty that I would enjoy it.
I wish I could say I fell in love with several new songs by reading this book, but the songs I was unfamiliar with were all pleasant enough but not so amazing that I had to go out and purchase on my own. The one exception was “Frankie Teardrop” by Suicide, which was an exception because it wasn’t pleasant but instead a curiosity on unpleasantness stretching out for 10 minutes.
Right away I guess this book loses points compared to Ten Years in the Tub, as I discovered several books and authors I loved from reading that, whereas my musical horizons were not expanded by Songbook (in terms of knowledge, yes, but as of yet no new favorites). As for the writing itself, this is a very quick read with typically 5 to 7 not particularly dense pages about Hornby’s relationship to each song (how he discovered it, how often he listens to it, how it compares to other music he enjoys). My favorite music criticism tends to involve some use of the first person as music is very subjective. In order to trust somebody else’s opinion on music I need some assurances that they have good taste. When I was through with this I had a good understanding of Hornby’s musical tastes in relation to my own styles of enjoyment.
I suspect the most common criticism of Mr. Hornby’s music writing will be his preference for songs that conform to the pop style and format. The final chapter in the book is a review of the top ten albums of the previous year, and Hornby’s critiques of Destiny’s Child, Blink-182, Linkin Park, P. Diddy and others shows a definite preference for music that would be classified as “dad rock” or “oldies” by many people under the age of 30 or so today. I’ll go on record as saying that I didn’t care for a lot of those albums when they came out as well, but I can recognize that several of them resulted in tracks that are still radio favorites 15+ years later, while Hornby’s only song he really appreciated from the list was “Falling” by Alicia Keys.
The real joy in reading this book is in Hornby’s conversational style and charming anecdotes that reveal more about him than the music he is writing about. Hornby’s openness about the challenges of dealing with an autistic child, the changing perceptions of his work once he became famous and his habits upon purchasing box sets stand out in terms of enjoyable sections the reader will take away and retain. Much like Fever Pitch or Ten Years in the Tub, Hornby is upfront that the writing is autobiographical and I suspect readers familiar with his other writing will have a similar reaction (positive or negative) to his work in Songbook.