On Words and Music Into the Future: A Songwriting Treatise and Manifesto
“An incendiary, vigorous, well-written critique of the sorry state of today’s popular songs...It’s a much needed warning, a real wake-up call!” — Tom Lanham, San Francisco Examiner
“At various points, Words and Music Into the Future is hilarious, it’s thought-provoking, and it’s infuriating. All of which—even that last one—I mean as big positives.” — Jeff Miers, Buffalo News
“Erudite, eloquent, sometimes even downright funny... It actually makes me re-think many of my own assumptions—and I’ve been on the air here for over 30 years!” — Michael S. Stock, WLRN Miami
You’re also invited to email me
with comments, arguments, CD
orders, suggestions, whatever...
I like hearin’ from people.
(address: Michael@MichaelKoppy.com)
A ‘Book Report’ on my recent book, which I hope you may find of interest:
There’ve been many interesting, and largely positive, reactions to Words and Music Into the Future: A Songwriting Treatise and Manifesto since it was released many months ago. (Coming out in lockstep timing with the onslaught of Covid-19 was, er, well—‘interesting’ as well, certainly.) Several professional reviews show strong support for the work, and some comments from those appear farther down. Emails with favorable reactions come in with some frequency too, along with in-person acknowledgments and comments—all welcome, of course.
Some of the feedback is variations of 1.) “After reading your book, I find myself listening a lot more thoughtfully”, 2.) “Having Dylan’s writing demolished so completely was hard to accept at first, but now it feels like a weight’s been lifted”, 3.) “Wow, I presumed I was the only one who thought so many critically praised songs were just stupid!”, 4.) “I never gave much thought to what a song said before, and now realize how important it actually is”. Along with similar. And, of course, reactions like these are exactly the kind of awakenings and re-evaluations I hoped to help engender. Very early on, one correspondent suggested that Words and Music Into the Future resembled Tom Wolfe’s The Painted Word; and while one can understand why the comparison might be made, I assert a critical difference is that in the former, and not the latter, positive examples and ‘ways forward’ are also on offer. So it’s not just across-the-board criticisms of current practices and work without there also being recognition of occasional positive efforts, accompanied by potentially helpful directions toward creating better work generally. (Wolfe’s thinking there—and elsewhere, on other topics—is essentially a simplistic and reactionary diatribe: entertaining, yes, but ultimately pointless. See, similarly, UK King Charles’ cheaply nostalgic architectural castigations or Wolfe’s own From Bauhaus to Our House, on the same topic from the same bankrupt impulse. “Sturgeon’s Law”—90% of everything is crap—is a more succinct and intelligent foundation for a viable critical foray. Guys, start with something like that as your a priori shot if you’re confident in your wholesale dismissals—but then work forward. Eh? But I digress...)
Also regularly arriving is someone simply declaring, apparently in shrugging regard, that he or she has “never seen a book like this before”. Good enough for me—it’s a start.
Yet it’s often the truly negative reactions and what’s left unsaid in those detracting remarks that’ve been equally gratifying to receive, as they inadvertently affirm the analyses and conclusions in the book. (More on that below.)
Yes, some very peeved, furiously indignant denunciations do come in via emails and comments—don’t doubt it. Oh my god. “I strongly disagree with what you write about (this song, or that ‘artist’, or fill-in-blank-aspect-here)! How dare you say X, Y or Z! You’re just plain WRONG!” (But that’s the more coherent ones.) Not often, but sometimes, I’m addressed as “Jerk!”, “Idiot!”, “Moron!”, “Lowlife!”, “Asshole!” or similar—not too unexpected given the many sacred cows barbecued in the book and how desperately devoted the occasional fan can become. (In all-caps, though, so lemme reconstruct those more faithfully: “JERK!”, “IDIOT!”, “MORON!”, “LOWLIFE!”, “ASSHOLE!”—maybe appended with an evocatively graceful “FUCK YOU!”. This kind of thoughtful commentary doesn’t arrive often, and more enraged incomings tend to be particularly bunched up immediately following a write-up or a radio interview; which figures.) On the other hand, occasionally a ballistic detractor will veil his or her visceral angst in painstakingly crafted imperiousness, which is actually somewhat flattering if one thinks about it. And then there’s the random critic or editor simply (and understandably) uncomfortable with being challenged so forcefully about the wholesale poverty of what he or she’s assigned to cover every single day. Like it or not, working in the milieu makes one invested in the milieu. Along the lines of ‘This is a book for a think-piece somewhere, maybe, but not really what our readers (or we?) want to be confronted with.’ (cf. Rolling Stone, Mojo). Alternatively, it can be incorporated into a kinda veiled, but more discreetly worded, variation of ‘Well who picked YOU, Mr Koppy—Mr Complete-Nobody-No-One-Has-Ever-Friggin’-Heard-Of—to decide what’s wrong with pop songs? It might be different If You Were Somebody Important—or a Celebrity! But NO!’ (cf. The Los Angeles Times).
Hafta laugh to keep equilibrium, but we do Live In Vividly Vacuous Times; with Empty Notoriety Our Guiding Light.
This is all fine, honestly—or well, at minimum, not surprising, certainly—but I’m neither condescending nor disingenuous reporting that I sincerely welcome intelligent criticism and disagreements, no matter how they’re presented. The book is a carefully reasoned, inquisitive, considered treatise and manifesto, after all; not an embittered ego trip or fly-by-night drunken rant. So much of what’s advanced is the result of long conversations and written exchanges over many, many years with serious, informed and perceptive people—and from reports, Words and Music Into the Future does indeed break new ground. (If that’s truly the case, then good.) An unexpectedly great additional serendipity was that by posting the evolving thinking, the evolving manuscript, on this web site many, many corrections, arguments and comments came in from outa the blue—from other serious and perceptive people—as well as the occasional flailing castigation, of course, from ardent fans of this or that ‘unfairly maligned’ pop star deity. (By the way, if one can do it, I highly recommend the procedure to anyone else preparing a book. Post it publically, invite and eagerly encourage comments. The new thinking that comes in, along with simple new factual information, can be stunningly constructive. It’s like having several thoughtful editors, researchers, critics and co-writers—co-conspirators, really—all working toward the same end; and precludes a lot of oversights, miscalculations, ill-considered analyses, embarrassing mistakes, mental lapses and wasted time. Of course, it also brings in some inanely ridiculous ‘contributions’ from clueless drones that you might otherwise first encounter after you’ve gone into print—but this allows the opportunity to forthrightly expose the speciousness in those offerings directly, right away, in the evolving manuscript. No, one can’t anticipate every dumb notion that’ll sooner or later come along—and keep in mind that sometimes a uniquely brilliant insight can arrive from someone who’s otherwise totally lost. But the more confused judgments that are cleanly obviated—disposed of in plain sight—the sturdier the conclusions that remain. And the occasional incisively perceptive divergent views that are fully engaged as well—accounted for, debated, even deferred to in some cases—obviously strengthen the global thinking immensely. Think of it all, perhaps, as a messy de facto pre-publication ‘peer review’, the issue-by-issue results of which are now there in the completed manuscript for public consideration.)
So, embracing intelligent input, I almost always diligently, innocently—eagerly—respond to someone claiming to disagree, asking for specifics on how his or her contrary opinion derives. (Yes, usually even to those who toss in well-polished insults.) And along the way I’ve learned there are topics in the book that, while factually unchallenged, perhaps would’ve benefitted from being addressed more comprehensively or more precisely. (For instance, in an eventual Revised and Expanded Second Edition I’ll note examples of true poetic use of language—which is regularly implied or alluded to presently, yes, but perhaps a bit glossed over. I mentioned a well-appreciated line in Dolly Parton’s “9 to 5” in a recent radio interview, for instance, which excellently illustrates what might be called ‘applied nonliterality’. [Recommendations of other particularly brilliant lyric passages to possibly note are welcomed—please send suggestions.] Another area for more in-depth exploration is the line between plagiarism and ‘allowable incorporation’, where it may be helpful to discuss classical music historical conventions and some examples from that milieu for consideration. There I’m thinking of looking at Joaquin Rodrigo’s Fantasía para un Gentilhombre, Aaron Copland’s Appalachian Spring, perhaps Ottorino Respighi’s Ancient Airs and Dances, and maybe Ralph Vaughn Williams’ Fantasia on a Theme by Thomas Tallis. [As all those are from the era 1910–1960, going farther back for an earlier piece or two may add to the deliberation. Suggestions and thoughts welcomed here as well.] A third matter that might prove enlightening may be to assay a popular song or two that was, surely and clearly, carefully worked at—so not at all ‘tossed off’ like so many that end up properly deserving derision. One possible example that offers fertile ground for examination is “Bridge Over Troubled Water”, by Paul Simon, as it provides both positive and negative insights. Adding a note or two about his earlier “The Dangling Conversation”, might further things here as well. These are all aspects of the book that have been brought to my attention by helpful correspondents since publication. [I’ve also been apprised of typos, misspellings and similar, of course—along with the occasional comment on my admittedly but advisedly idiosyncratic orthography. There are also 50+ editorial and ‘writerly’ adjustments already slated—with more to come, certainly—following the over 350 that were made between the advance review edition and the published edition.] Fun comments include two writers complimenting the index [which was incredibly tedious and taxing to build] and another offering that “Appendix III is worth the price of admission on its own”. Laughing good-naturedly here, but with sincere appreciation and thanks to everyone who aids in the continued, refined exploration.)
Occasionally, I’m innocently asked an opinion on this or that songwriter or performer. “So what do you think about Tom Waits, Taylor Swift, Kendrick Lamar, Joni Mitchell, Ed Sheeran, Whoever-Else?” Or (sometimes with irate indignation here) a particularly boosterish fan asks why the book doesn’t even mention this or that act at all, “HEY! Why didn’t you talk about [fill-in-blank-here]?!? He/She/They are GREAT!!” But this really misses the point—or perhaps more accurately: obtusely, lazily, evades the point. ‘Who do ya like?’ talk quickly—well, easily—devolves into trivial superficialities; gossipy broad-brush ephemera; singularly subjective self-indulgences. Fan crap. Oh sure, that is, of course, the Very Real Essence of what’s actually being cynically promoted and marketed. No question!
But I think in most serious circumstances—not all, perhaps, but certainly most—it’s more productive, more consequential, to address specific work, not a personified œuvre: an Act. So no, I’m not in the least interested in this or that transient pop music career, or celebrity eminence—subscribe to The National Enquirer for that stuff, if one must. Or, in the UK, maybe pick up The Sun....
Words and Music Into the Future is cultural criticism; so the songs, songwriters and attendant aspects examined in it were simply and specifically picked to help illuminate the much larger popular music creative issues, cultural concerns and potential correctives.
And the overarching resultant message, really, is that we deserve a whole lot better. Along with its corollary: that you and I, Mr or Ms Listener, should demand a whole lot better—both of what’s provided, and of ourselves in how we indulge it or not.
There was even a critic who claimed the book was just an attempt to hype my own work; and so he wouldn’t report on it. Not to get in too deep here, I hope, but he apparently didn’t notice that in the very determined attempt to preclude potential for such confused cynicism there’s no author pic or biography in the back, no ‘also by this author’ page in the front, the dedication isn’t to some calculated ‘career stepping stone’ (or even to a special loved one), and there’s an abject laughing-at-myself dismissal of my own songs in the Introduction (on page 31). The only substantive self-hype is some press quotes about previous work on the back cover, the place a book is expected—traditionally required, really—to sell itself to a potential reader. (And frankly, those quotes also help preempt petulant whining of the ‘All you do is criticize! YOU try writing a song, pal!’ variety.) If necessary here (is it? really?) it might be further noted that success in the entertainment industry, arguably more than anywhere else, requires flattery, ingratiation, cajoling, schmooze—and lots more flattery. Were one trying to gain favor with Various Powers That Be, a book this resolutely in-your-face dismissive of many lionized ostensible ‘Great Songs’—and brazenly scornful of pretty much the entire déclassé pop music machine, including the sizable percentage of critics who unfortunately act simply as eager industrial publicists—sure ain’t the way to go. (And now also, inevitably, my own next creative efforts will be subject to much stiffer critical receptions as well, or spitefully ignored. C’est la vie.) Altogether, certainly not very smart ‘self-hype’, eh? But waddaya gonna do. (Okay, okay, end of rant....)
Back to primary matters: one charitably surmises this probably well-intentioned critic, like many others, has become so jaded by the onslaught of military-industrial strength promotion with which he’s constantly bombarded that serious examination of truly foundational issues is a rather odd, indeed even quite suspect, idea. And that oft-encountered very aversion to engaging fundamental intellectual inquiry is part of what we’re fighting when swimming against the torrential tide of trendy trifles, robotically mechanized celebrity-worship and the continual dumbing down that so pervades current culture. Ultimately, you can’t make someone—anyone—deal with actualities. But you can do everything you can to open some eyes—and to forthrightly Speak Remedial Truth to Calcified Power.
Okay, so what about those ‘inadvertently affirmative’ reactions that were mentioned up above?
Well, they come from the fact that so many who claim to vehemently disagree are actually misstating their take entirely, and whether they realize it or not.
Disagreement obviously implies substantive contrary determinations, based on facts and considered analyses, divorced from impertinent peripherals, subjective preferences and simple indulgences. Yet that’s exactly what’s missing from those occasional angry or otherwise negative outbursts—and what I subsequently try to tease out in my reply. The project is a genuine, categorical effort at consistent intellectual integrity, nothing other.
But only rarely is that ball hit back across the net. Why not? Well, it seems they plainly can’t really provide a factual, reasoned rebuttal to the statements and conclusions they find so objectionable. That even goes for the occasional professional critic who registers an amorphous ‘disagreement’ or vague ‘reservation’. There’ve even been a few folks, courteous yet adamant that they disagree, who I’ve persistently importuned—pretty much badgered, really—for explanations of what, exactly, they reject and why. One clearly intelligent fellow wrote early-on that the book is “80% wrong”—yes, 80%. Yet he wouldn’t/couldn’t cite even one instance of that purported “80%”, and despite repeated appeals to please do so. In the end (and perhaps obviously?) he’d in fact simply been abruptly unhorsed by what he’d read—forced to accept that many happy illusions, long held, were no longer tenable—and due to that, he was really just 100% rattled. A quite different matter. (I’m surely plainspoken enough to demolish anyone’s ‘afraid to hurt his feelings’ qualms—if such exist—in expectation they get the intent here is to learn and weigh every specific, thoughtful, substantive disagreement that’s out there, or that anyone can think up. Hell, even including the eye-rollingly harebrained ones—so ‘disagreements’ neither ‘thoughtful’ nor ‘substantive’ at all. For reasons noted about those earlier, bring ’em on!)
It’s from study, debate and analysis, after all—dispassionately weighing competing insights and new facts—that we arrive at compelling, serious, potentially valuable resolutions. Words and Music Into the Future is—and despite the purposely idiosyncratic, conversational delivery—a rigidly serious exploration.
And look, if someone can’t provide an intelligent, informed counter-argument, this person really isn’t ‘disagreeing’ at all, right? In reality, he or she is simply disliking. Obviously, that’s an entirely different circumstance—one of zero consequence, zero concern, requiring zero deference. (I mean, get real. Who cares? So what?...)
Oh and sure, there are also sometimes gripes about ‘tone’—the book is Just Not Nice, Too Darn Mean and Demanding, Disrespectful of the Celebrities whose work is exposed and eviscerated as emblematic of all that ails. They’re big stars, after all! (Laughing again here—and also again, in those same two words: Who Cares? Good work can stand on its own; bad work—and cynically indifferent, phone-it-in creators—deserves ridicule. Perhaps note the subtitle? It’s “A Manifesto”, not “Pangloss Was Right!”.) And, on the other hand, there’s occasionally someone declaring the take-no-prisoners style to be welcome, or refreshing—one wrote “invigorating”. So there you go—take your pick either way, or neither way, and fine.
The serious, substantive result of all this, though? The Thinking, Arguments and Prescriptions Presented in Words and Music Into the Future are Effectively Sustained.
All in all, from one response after another—positive or ‘negative’—the book seems to be performing a legitimate cultural service. It took a lot of time and work to write, yes, but someone had to challenge somnambulant prevailing conventions. And then, critically—and perhaps even more importantly—to build onwards with positive, constructive suggestions on how we all might do better and, in turn, be better served.
So yes, maybe it’s indeed serving the important, tangible, positive purpose of stimulating some serious discussions—at least here and there. Again, if that’s the case, then good.
The book might be priced a bit lower than it should (or so was suggested by a book biz guy) but the objective is To Get The Thinking In It Out There. And consistent assorted royalty checks arrive monthly—the biggest was for several hundred dollars from Amazon US sales just two months back. There are additional monthly royalties from Ingram US (so bookstores and non-Amazon sales)—as well as smaller ones, frequently or sporadically, depending on from which country, from various different Ingram affiliates and Amazon branches around the world. Big bucks? Nah. But enough to keep a six-pack in the fridge, six strings on the guitar, and some gas in the old ’59 GMC.
It’s also gratifying to know Words and Music Into the Future is now circulating in nearly six hundred (yes, 600) public libraries all across the United States, from Bangor to Honolulu, Fairbanks to Key West—and in lots of college, university and music school libraries as well. The book and the ideas in it are slowly, sloggingly, inexorably finding their way out into the wider world.
But even though your local library may have it, I’d still really appreciate it if you, Dear Current-Website-Visitor-And-Unquestionably-Oh-So-Irresistably-Attractive-Physical-Specimen, bought a copy, okay? A brand new shiny one! (And maybe an extra as a gift for Mom? Dad? A couple for the folks next door? The mailman?...) Thank you.
Click HERE to get the book through your local independent bookstore in the United States.
Click HERE to get the book through your local independent bookstore in the United Kingdom or Ireland.
Click HERE to get a copy through your local independent bookstore in Canada.
Click HERE to get a copy through your local independent bookstore in Australia.
Click HERE to get a copy through your local independent bookstore in South Africa.
Click HERE to get a copy through your local independent bookstore in New Zealand.
(Or click HERE to get the book through Amazon, if you must.)
Write if you have any questions, comments, suggestions—or whatever. I hope the above report has been interesting, worthy of your time, and perhaps occasionally even illuminating. Thanks.
A revolution begins with a spark...
A cranky, obsessive, and altogether brilliant work of cultural criticism that might change the way you think about popular music... It’s an altogether astute indictment of the know-nothing culture that elevates the loud and the overt, that indulges in reality television and cable news and dismisses anything difficult as pretentious... Words and Music Into the Future is a terrific book.
— Philip Martin, Arkansas Democrat-Gazette
Provocative is a big understatement, but his assertions are so well considered and well-structured that we’re forced to look harder at the music we allow into our lives, and ultimately agree with him on so much of what he exposes... Even the voluminous and often very entertaining footnotes continually expand the conversation with new revelations and further thinking... Intriguing, challenging, funny—an enjoyable, enlightening read.
— Tom Ryan, American Hit Radio
At various points, Words and Music Into the Future is hilarious, it’s thought-provoking, and it’s infuriating. All of which—even that last one—I mean as big positives.
— Jeff Miers, Buffalo News
Words and Music Into the Future has a spine of considered thought and persuasion, with an often penetrating analysis of the lyrics examined... There’s an air of outrage and mission, written in a voice by turns declamatory and folksy, self-effacing and strong-minded—but always with a larger, more substantial agenda at work: this is a book about ideas.
— Steven Winn, San Francisco Chronicle
This is no small accomplishment... It’s a conversational, occasionally even laugh-out-loud funny tour-de-force of steadfast passion for all that constitutes proper English, good writing, and worthwhile creative expression... Koppy builds a strong case, and his penetrating thinking about popular music ultimately makes a lot of sense... The book is disciplined criticism, with a sharp wit and a wealth of informative citations, displaying impressive erudition. Yet despite the solid intellectual foundations, the easy-going style makes for an accessible, entertaining read—and he’s on the right side, fighting the good fight!
— Gregory van Zuyen, Language Magazine
A tour-de-force! Part Christopher Hitchens, part Denis Leary, Koppy’s writing combines the intellectual discipline of an academic with the raw candor of an insult comic. Erudite yet unpretentious, he leverages his masterful writing as a critical heavyweight, striking with maximum force and precision... Intelligent readers will find delight and insight in this book, which is nothing short of an insurrection against the tepid status quo of popular songwriting, calling out what many of us have intuited but never dared to say: so many of the emperors of songwriting truly have no clothes... Words and Music Into the Future superbly elevates words and substance over tone and style, and it’s a captivating cultural proclamation delivered in a consistently detailed, entertaining presentation.
— Rolf Hendriks, Elmore Magazine
Right up my alley... Well researched and well written, with provocative, vividly articulated critiques of songs and songwriters used as examples.
— George Varga, San Diego Union-Tribune
An incendiary, vigorous, well-written critique of the sorry state of today’s popular songs... It’s a much needed warning, a real wake-up call!
— Tom Lanham, San Francisco Examiner
I’ve never seen anything like this before. But so much of what he addresses are suspicions every intelligent listener has entertained, so it’s wonderful to see them so ably presented... Koppy’s an original thinker, and this is a great book!
— Phil Redo, WGBH Boston
I highly recommend this book. It’s remarkable—original, thought-provoking and filled with solid insights and keen critical observations on the too-often and too-easily overlooked world of popular song lyrics... Both bomb-throwing and solidly constructive, he builds an excellent case throughout.
— Michael Krasny, KQED San Francisco / KQEI Sacramento
Eye-opening and uncompromising... Koppy’s plain-spoken determination to make both creators and consumers of popular music engage more meaningfully with what they write or listen to is awe-inspiring, thought-provoking—and often quite entertaining!
— Patrick Dennill, Participate Magazine
A remarkably bold and well-written book... It’s a superb descriptive dissertation that is both objective and unrepentant, and it’s clear that the upstart approach is aimed at those who are similarly willing to shed preconceived notions of what defines great song craft. To that end, the literate prose brings his insights home in ways both enlightening and entertaining... Koppy’s tenacious tone may shock some, but he’s clearly erudite and informed, and there’s an assumption that readers will be as willing as he to delve in detail objectively, dispassionately... Words and Music Into the Future covers the basics of popular music, but goes well and far beyond. And while many books have been written on the subject, this is easily one of the best.
— Lee Zimmerman, Goldmine Magazine
Erudite, eloquent, sometimes even downright funny... It actually makes me re-think many of my own assumptions—and I’ve been on the air here for over 30 years!
— Michael S. Stock, WLRN Miami
Thank you, once again, to all the folks who emailed in and those who continue to do so, offering advice, corrections, suggestions, countervailing views. This effort really is something of a ‘community project’—not crowd-funded, no, but very much ‘crowd-debated’.
And the debate continues. Whether you agree with propositions put forth in the book or not, the point of it all is providing solid directions for creating better popular songs, works that respect and engage our intelligence rather than cynically try it.
If you wish to share your reactions, suggestions, flaming denunciations, questions and/or contesting opinions, please do so. Email me with your thoughts; I’ll surely respond in a timely manner.
A cranky, obsessive, and altogether brilliant work of cultural criticism that might change the way you think about popular music... It’s an altogether astute indictment of the know-nothing culture that elevates the loud and the overt, that indulges in reality television and cable news and dismisses anything difficult as pretentious... Words and Music Into the Future is a terrific book.
Provocative is a big understatement, but his assertions are so well considered and well-structured that we’re forced to look harder at the music we allow into our lives, and ultimately agree with him on so much of what he exposes... Even the voluminous and often very entertaining footnotes continually expand the conversation with new revelations and further thinking... Intriguing, challenging, funny—an enjoyable, enlightening read.
At various points, Words and Music Into the Future is hilarious, it’s thought-provoking, and it’s infuriating. All of which—even that last one—I mean as big positives.
Words and Music Into the Future has a spine of considered thought and persuasion, with an often penetrating analysis of the lyrics examined... There’s an air of outrage and mission, written in a voice by turns declamatory and folksy, self-effacing and strong-minded—but always with a larger, more substantial agenda at work: this is a book about ideas.
This is no small accomplishment... It’s a conversational, occasionally even laugh-out-loud funny tour-de-force of steadfast passion for all that constitutes proper English, good writing, and worthwhile creative expression... Koppy builds a strong case, and his penetrating thinking about popular music ultimately makes a lot of sense... The book is disciplined criticism, with a sharp wit and a wealth of informative citations, displaying impressive erudition. Yet despite the solid intellectual foundations, the easy-going style makes for an accessible, entertaining read—and he’s on the right side, fighting the good fight!
A tour-de-force! Part Christopher Hitchens, part Denis Leary, Koppy’s writing combines the intellectual discipline of an academic with the raw candor of an insult comic. Erudite yet unpretentious, he leverages his masterful writing as a critical heavyweight, striking with maximum force and precision... Intelligent readers will find delight and insight in this book, which is nothing short of an insurrection against the tepid status quo of popular songwriting, calling out what many of us have intuited but never dared to say: so many of the emperors of songwriting truly have no clothes... Words and Music Into the Future superbly elevates words and substance over tone and style, and it’s a captivating cultural proclamation delivered in a consistently detailed, entertaining presentation.
Right up my alley... Well researched and well written, with provocative, vividly articulated critiques of songs and songwriters used as examples.
An incendiary, vigorous, well-written critique of the sorry state of today’s popular songs... It’s a much needed warning, a real wake-up call!
I’ve never seen anything like this before. But so much of what he addresses are suspicions every intelligent listener has entertained, so it’s wonderful to see them so ably presented... Koppy’s an original thinker, and this is a great book!
I highly recommend this book. It’s remarkable—original, thought-provoking and filled with solid insights and keen critical observations on the too-often and too-easily overlooked world of popular song lyrics... Both bomb-throwing and solidly constructive, he builds an excellent case throughout.
Eye-opening and uncompromising... Koppy’s plain-spoken determination to make both creators and consumers of popular music engage more meaningfully with what they write or listen to is awe-inspiring, thought-provoking—and often quite entertaining!
A remarkably bold and well-written book... It’s a superb descriptive dissertation that is both objective and unrepentant, and it’s clear that the upstart approach is aimed at those who are similarly willing to shed preconceived notions of what defines great song craft. To that end, the literate prose brings his insights home in ways both enlightening and entertaining... Koppy’s tenacious tone may shock some, but he’s clearly erudite and informed, and there’s an assumption that readers will be as willing as he to delve in detail objectively, dispassionately... Words and Music Into the Future covers the basics of popular music, but goes well and far beyond. And while many books have been written on the subject, this is easily one of the best.
Erudite, eloquent, sometimes even downright funny... It actually makes me re-think many of my own assumptions—and I’ve been on the air here for over 30 years!