If you are a poet or someone who enjoys blues music, you’ll appreciate Mike Mattison and Ernest Suarez’s book, Poetic Song Verse. As a teen, I took piano lessons from a blues pianist. Up until then, my lessons had been focused on classical music. I grew out of playing those songs and wanted to learn something more my style. I was interested in rock and roll. When I sat down on the bench in my new teacher’s studio, he began talking to me about his band. He revealed to me that he wrote and played blues music. I curled my lip a little. This was not the type of music I wanted to learn. Then he played me a piece, and I lit up with excitement.
When I was contacted about posting an author interview between Mattison and Suarez, I was intrigued to read their book. I’ll have a review posted in the coming months, but for now, let’s see what motivated the two authors to write such a unique book.
What is poetic song verse, and how has studying and writing about it changed your appreciation of the artists who practice it?
We use the term “poetic” to describe lyrics that have literary intent and that consciously strive for aesthetic impact: linguistically rich compositions that operate on many levels simultaneously, incorporating image, metaphor, narrative, and play in ways that often deliberately correlate to broader cultural conversations. We’re talking about lyrics that seek to transcend the grasp-and-release mechanism of pure entertainment, lyrics that prick our curiosity and invite repeated visits and renewed scrutiny. Poetic song verse isn’t poetry set to music, like the Beats’ poetry with jazz accompaniment, but it sometimes takes a hybrid form in recordings like Gil Scott-Heron’s or Leonard Cohen’s. The distinction we draw rests on the symbiotic relationship that most often occurs when potent lyrics and sonics are developed together. By “sonics” we mean every aural dimension of song, including voice, instrumentation, arrangement, and production. In poetic song verse, sonics combine with verbal techniques often associated with poetry—imagery, line breaks, wordplay, point of view, character, story, tone, and other qualities—to create a semantically and emotionally textured dynamic.
The book argues that artists like Dylan, Joni Mitchell, and Jimi Hendrix were transformative in the development of poetic song verse, but there were allusions and poetic phrasing in lyrics long before them. What did they do that wasn’t being done previously?
Songs from many periods and in different styles contain compelling verse, but in the late fifties and the sixties blues-based popular music and the new American poetry—especially the work of the Beats—came into close contact, resulting in a concentration of songwriters who transformed songwriting from entertainment to art-that-entertains.
Poetic song verse sprung from a confluence of the blues and contemporary poetry. Both forms emphasize the sound of the human voice. Poetry’s turn toward more accessible language and the blues’ origins in the sound of the human voice helped rock absorb poetic language and techniques, and provided a catalyst for Dylan and others to change rock into a more lyrically and sonically sophisticated art form. Think about it this way: If you were a reasonably intellectual young musician who had been turned on to the blues, traditional metrical verse, or high modernist poetry such as T. S. Eliot’s The Waste Land, this might provide an idea of how to use allusions in a song, or provide strategies for intermingling certain types of imagery (as in some of Dylan’s, Van Morrison’s, and Joni Mitchell’s verse). But the language in most traditional and modern poetry tends to be very different from the type of language that characterizes blues-based popular music. However, when that same blues-enthralled young musician heard Howlin’ Wolf or Willie Dixon and read and heard Beat and other contemporary poets, he or she was exposed to rich, sophisticated language based on rhythms of speech (i.e., material that could serve as a powerful source for lyrics). With different twists and turns this essentially was the case for Dylan, Mick Jagger, John Lennon, Paul McCartney, Jim Morrison, and many others. By examining the confluence of blues and poetry in various artists’ work, and by considering the creative practices of various seminal artists and the cultural conditions and landscapes in which they worked, we identify a relatively specific subgenre of song that’s also a form of literature.
What role did the coffee houses of the 50’s play in creating this genre? What does instrumentation add to the artform?
In the late fifties and the sixties Beat coffee houses, bookstores, and nightclubs sprang up across the United States and spread to Western Europe. Bob Dylan, Mick Jagger, John Lennon, Paul McCartney, Jimi Hendrix, Van Morrison, Jim Morrison, Joni Mitchell, David Crosby, Neil Young, Stephen Stills, and others embraced the blues and Beat coffeehouse culture, where they encountered contemporary poetry, rural blues, and folk music. After putting rock ’n’ roll of their youth aside for a handful of years, many sixties songwriters returned to the rebellious rhythms of fifties rock ’n’ roll and wedded it with verse inspired by contemporary poetry. In the mid-sixties Dylan’s rock ’n’ roll–Beat poet persona strengthened his already active sense of the possibilities between poetry and music and led to Bringing It All Back Home (1965), Highway 61 Revisited (1965), and Blonde on Blonde (1966), albums that ignited an explosion of poetic song verse. Instead of portraying themselves as the descendants of Woody Guthrie, Bukka White, and Pete Seeger, artists returned to the theatrics of Chuck Berry, Little Richard, and Jerry Lee Lewis but retained the cerebral, self-consciously artistic emphasis that characterized songs and poetry in Beat coffeehouses. This combination released Dylan and others from songwriting conventions that ranged from the length of individual songs to how albums were conceptualized, recorded, and produced. In essence, the Rolling Stones, the Beatles, the Doors, the Who, Jimi Hendrix, the Kinks, and others followed Dylan’s lead and expanded fifties rock ’n’ rollers’ sounds and emphasis on performance, assuming often extravagant yet artistically resonant personae that resulted in songs and albums replete with ambitious wordplay and sonic arrangements.
Is poetic song verse a uniquely American invention? How did America’s history of slavery, Jim Crow, war, and sexism affect its creation?
Poetic song verse sprung from a confluence of the blues—a quintessential American art form—and various types of contemporary poetry that developed in the United States. That said, artists around the world quickly started to write songs in this mode, largely due to blues artists’ popularity in England and other countries, and to Dylan’s influence on the Beatles, the Rolling Stones, and others.
The history of slavery had a profound influence on the blues, which grew out of nineteenth-century spirituals and work songs, much like those styles grew out of various African musical traditions. Nineteenth century work songs and blues songs written during the era of Jim Crow often contained “coded” lyrics that indirectly commented on topics that would have raised the ire of their oppressors. This practice melded with techniques employed by contemporary poets in the work of songwriters from Dylan to Joni Mitchell to Marvin Gaye to Bruce Springsteen to Grandmaster Flash to Lucinda Williams.
The War in Vietnam also had a strong influence on many songwriters. They often combined surrealistic imagery that they encountered in contemporary poetry with imagery from various African and Western metaphysical traditions. This combination led to songs like the Stones’s “Gimme Shelter.”
What artists do you see as the contemporary and future upholders of this new tradition?
Lucinda Williams, Steve Earle, Kendrick Lamar, Norah Jones, Dave Grohl, Fiona Apple, Lorde, Aimee Mann, Fantastic Negrito, Josh Ritter, Lyle Lovett, Luther Dickinson, Jason Isbell
Advanced Praise for Poetic Song Verse: Blues-Based Popular Music and Poetry
“The concept of great songwriting seems to live in between worlds. Is it literature or music? Even with Bob Dylan winning the Nobel Prize in 2016 there is still an uneasiness with what falls where. Mike and Ernest’s work takes that discussion quite a few steps down the road and makes a strong case for the poetic song form as its own unique genre. From W. C. Handy and Langston Hughes to Bob Dylan and Leonard Cohen to Marvin Gaye and beyond, they follow the roots and evolution of this relatively new art form. And like Robert Palmer’s seminal work Deep Blues the exploration of the book’s subjects only enhances your love and interest in it. I’m excited to dig into many of the songs and albums that they discuss with a new-eyed appreciation and understanding. ” —Derek Trucks, Tedeschi Trucks Band
“Poetic Song Verse is a persuasive argument for the existence of a new galaxy of literary and sound expression; a legal brief of facts, purpose, and context; and a riveting narrative that is both enlightened and inspiring. It is a new way of looking at the development and consequences of twentieth-century popular, contemporaneous music just when you thought that ground reraked, overplowed, and consigned to academia. In this book the music lives again and is forever new. ” —John Snyder, five-time Grammy Award winner and founder of Artists House recording company
“Poetic Song Verse by Mike Mattison and Ernest Suarez exposes and critiques how and why time runs the bloodline of American music—blues, folk, rock ‘n’ roll, R&B, pop, funk, rap, and hip-hop—as it travels the world. And race and racism are not sidestepped in this heartfelt query. The authors not only know and show, but also feel the music; they cinch up all connections, detailing the cross-pollination, as well as venture behind the scenes timely, and existentially. Poetic Song Verse reveals the artist reckoning with music in language, whether seeking atonement or praise. ” —Yusef Komunyakaa, Pulitzer Prize–winning poet
“Poetic Song Verse secures the blues and rock ‘n’ roll lyrics’ signature place in history as a literary genre. Mattison and Suarez unravel the threads linking Orpheus, Rimbaud, Walt Whitman, Emily Dickinson, Bessie Smith, Robert Johnson, Charlie Parker, Bob Dylan, Mick Jagger, John Lennon, Jimi Hendrix, Nina Simone, Bruce Springsteen, Joe Strummer, Lucinda Williams, Grandmaster Flash, and many other artists. During the twentieth century, the United States’ oral history was sung, not spoken; it was written in code and camouflaged by melody and rebellious rhythms that influenced artists around the world. This book translates the people’s story as told by artists. Symbolism in work songs of the enslaved and ties between bebop and beatnik jive; between 1950s rock ‘n’ roll and segregation; between poetry and psychedelic imagery; and between soul, street funk, and rap battles are peeled back and situated in their cultural contexts. The quest for freedom is never-ending—and artists’ efforts to break down barriers and influence the world has never stopped adapting and evolving. ” —Luther Dickinson, the North Mississippi Allstars
“A deep delve into the influence of blues on poetry and songwriters, Poetic Song Verse makes a meaningful contribution to both music and poetry. Mike Mattison and Ernest Suarez explain the roots of poetic song verse and connect the past and future, outlining how poets and songwriters have influenced each other over the years. A must-read. ” —Charlotte Pence, editor of The Poetics of American Song Lyrics
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