|Benny Goodman and Gene Krupa|
As I mentioned in my comment on O’Neil’s post, I think there’s a lot of good music before rock. I love baroque music and well, that’s a hell of a long time before rock. But mostly I’m talking here about the swing/big band music of the 1930s and 40s. I love a lot of that music.
I’m a rock n roller, love to sing it, play it, not saying I’m any good, just like to do it. I grew up on it. And when I was a kid and teen it was all I wanted to listen to. My dad liked classical music and swing and if we were in the car and he put those on I would gag. But somehow, as I got older I began to appreciate other genres of music besides rock. I think partially because I was exposed to it as a kid—very much against my will—and also because I like/d old movies from the 1930s and 40s and was exposed to that music in them as well.
Duke Ellington - Take the A Train
When I was a kid, I got to see Benny Goodman play. And I hated it. I didn’t appreciate it. I feel like an idiot saying that today, but it is what it is. That said, I can still say I saw him. These days, I love his music, especially Sing Sing Sing, and wish I could have seen him again as an adult.
Benny Goodman - Sing Sing Sing
A very long time ago, my friend Linda (who’s also into old movies, old music and old L.A., like me), and I would cruise around L.A. and see various swing bands and singers. It was long enough ago that we actually got to see some of the performers from the 30s and 40s, who were still around. We saw Tex Beneke leading the Glenn Miller Orchestra. We saw Bob Eberly and Helen O’Connell, who, when they were with the Jimmy Dorsey band (one of my favorite big bands), sing their hits Brazil and Tangerine. You might recall an instrumental version of the latter wafting in from down the street in Double Indemnity.
Bob Eberly and Helen O'Connell - Tangerine
So, even though I loved—and still love—rock ‘n’ roll, my musical horizons expanded quite a bit as I got older. I found there was a lot of great and sinuous music pre-rock. Just listen to Sing Sing Sing, or Duke Ellington’s Take the A Train or Artie Shaw’s Frenesi and so much more.
There’s also been some great musical moments in film noirs:
Elisha Cook in Phantom Lady
Louis Armstrong in The Strip, and Mickey Rooney drumming his heart out in that.
And the jazz scene in the original D.O.A.
But the point I’m leading up to is that, as a writer, my story/novel titles are often inspired by music and songs. Mostly rock, because they’re mostly set in the rock era, but sometimes swing. The title of my upcoming novel, The Blues Don’t Care, is inspired by a Nat King Cole song. And a story I did many years ago, Sleepy Lagoon Nocturne, takes its title both from the infamous Sleepy Lagoon incident in L.A. during World War II and the song of that name, which inspired the name of the lagoon in that incident. My story title Born Under a Bad Sign is inspired by the blues song of the same name that was originally recorded by Albert King and covered by Cream, so it hits two genres of music.
Nat King Cole - The Blues Don't Care
Some of my story titles inspired by music are: Endless Vacation (Ramones), Poison Heart (Ramones), Deserted Cities of the Heart (Cream), and more. In fact, I just finished a story called Can’t Find My Way Home (Blind Faith) and another, Nowhere Man (the Beatles). Music is everywhere in my writing.
I sometimes write things set in the past. The Blues Don’t Care (coming out in 2020) is also set on the L.A. homefront during World War II. It’s largely set on Central Avenue, L.A.’s swing and big band center. And the music of that era wafts sensuously around and through the plot. Doing the research for that was so much fun that getting any writing done was difficult. (I’ll be talking more about this book closer to its release. But right now I’m just talking about the music.)
Many of my characters also listen to music, and sometimes play it, like Ray Hood, the lead character in Dead Man’s Curve, named after the Jan and Dean song. P.I. Duke Rogers (from my novel White Heat and its sequel Broken Windows, both set in the 1990’s), listens to a variety of new wave and alternative music, everything from k.d. lang to Portishead and even some Eric Clapton. His less open and less tolerant partner, Jack, only listens to classical and cowboy (not country) music, which he thinks are the only pure/legitimate forms of music (and I like those genres too). He calls Duke’s music “space case” music in Broken Windows. But the music isn’t there only to help define their characters. I use their musical tastes to highlight the difference between the two characters and their contrasting personalities.
Music is a big part of my writing, helping express character and mood, though sometimes music can be difficult to express in a “two-dimensional” medium. It’s a bummer we can’t have a soundtrack to our stories/novels, but I’m sure that’s coming with e-books, if it isn’t already here.
I often listen to music while I write and most often it’s the kind of music that can get me in the mood for what I’m writing. So if I’m writing something set during WWII I listen to big band, if I’m writing something more contemporary, I listen to one kind of rock or another. You get the idea.
Today I’m listening to Benny Goodman and Duke Ellington and who knows what stories they might inspire or how it will affect what I’m working on right now. That’s one of the great things about music, it can inspire you in so many ways and bring out emotions, thoughts and feelings that we sometimes stifle in our everyday lives—and it can do the same for our characters. And remember, it don’t mean a thing if ain’t got that swing.
And now for the usual BSP:
Don't forget to check out Broken Windows, the sequel to my Shamus award-winning novel, White Heat. Betty Webb at Mystery Scene magazine says: "Broken Windows is extraordinary."
Click here to: Subscribe to my Newsletter