Every great song has a fascinating backstory. In Anatomy of a Song, based on the ongoing Wall Street Journal column, writer and music historian Marc Myers brings to life five decades of music through oral histories of forty-five transformative songs woven from interviews with the artists who created them.
Bringing readers inside the making of a hit, Anatomy of a Song includes the Isley Brothers' memorable song "Shout," Led Zeppelin's "Whole Lotta Love," Janis Joplin's "Mercedes Benz," and R.E.M's "Losing My Religion." After receiving his discharge from the army in 1968, John Fogerty does a handstand and reworks Beethoven's Fifth Symphony to come up with "Proud Mary." Joni Mitchell remembers living in a cave on Crete with the "mean old daddy" who inspired her 1971 hit "Carey." Elvis Costello talks about writing "(The Angels Wanna War My) Red Shoes" in ten minutes on the train to Liverpool. And Mick Jagger, Jimmy Page, Rod Stewart, the Clash, Jimmy Cliff, Roger Waters, Stevie Wonder, Keith Richards, Cyndi Lauper, and many other leading artists reveal the emotions, inspirations, and techniques behind their influential works. Anatomy of a Song is a love letter to the songs that have defined generations of listeners.
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Marc Myers is a frequent contributor to the Wall Street Journal, where he writes about rock, soul, and jazz, as well as the arts. He is the author of the critically acclaimed bookWhy Jazz Happened, and posts daily at JazzWax.com, winner of the 2015 Jazz Journalists Association’s award for Jazz Blog of the Year.
Keith Richards on “Street Fighting Man”
"Early on, when I had played the tape of my melody for Mick, his lyrics were about brutal adults. We recorded them and called the song, 'Did Everyone Pay Their Dues?' But we weren’t that crazy about the results, and the lyrics underwent several rewrites once we saw what was going on in the streets in London and Paris in 1968. While we were in the studio, Mick had been at a huge demonstration against the Vietnam War in London’s Grosvenor Square in March. And we were both in Paris in May during the violent protests by students demanding reforms. The French cops were pretty nasty about it.
As we traveled around, Mick and I would look at each other and realize something big was happening in two major capitals of the world and that our generation was bursting at the seams. Mick knew that 'Dues' needed a lyric overhaul that better matched what was going on. I came up with the line 'What can a poor boy do' and threw it out to Mick. He completed the thought with '’Cept to sing for a rock ’n’ roll band.' He wrote the rest of the new lyrics in the studio. That’s often how we worked. One of us would have a piece of a lyric that sounded interesting, then hand it off to the other to get things going."
Joni Mitchell on "Carey"
"I had my dulcimer with me from the States. I used it to write “Carey” over a period of weeks in different locations in and around Matala as a birthday present for Cary. My lyric, “Oh Carey get out your cane” referred to a cane Cary carried with him all the time. He was a bit of a scene-stealer, and the cane was a theatrical prop for him."
Stevie Wonder on “Love’s in Need of Love Today”
"It’s about creating a marriage of all the instruments and vocals, bringing them together to make a statement . . . Whether it’s the Beatles, Sly Stone, Prince or Ed Sheeran, you start with an idea or vision and bring what you hear in your mind to reality. When I’m doing this, I become all the different musicians and approach the song from each musician’s understanding."
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