Ever wondered why there are always these clever new tunes all the time by young upstart composers? I got to thinking about it last week after downloading venerable old rocker Neil Young’s latest album, Fork in the Road.
I’ve been a fan of Neil Young ever since I gave Harvest to my friend, David Swihart, for his twelfth birthday in 1975. I figured if the ultra-cool Dave liked it then it must be good, so I got a copy for myself. Most people think 1972’s Harvest is Young’s greatest album, and I would agree. I played the proverbial grooves off of it. He was 26 when he wrote most of the songs, and they remain as fresh as ever today.
Not so for his new album. I can’t hear anything remarkable about it, except for some of the cloying “creativity” about green automobiles and such like that’s positively cringe-worthy. He sounds like he’s just going through the motions, forcing himself to compose and release material even when a good friend probably would have told him not to.
Why is it that so often the new musical ideas come from the young? You would think it’s the other way around, since older musicians will have built up a greater bank of knowledge therefore, one would think, should be less prone to repeating the past.
For sure, there are great exceptions. U2 still creates fresh, new, catchy material. Beethoven was in his fifties when he was composing his ninth and final (and some say best) symphony. I picture the MacCrimmons being pretty old geezers at their compositional peaks. On the other hand, the Rolling Stones, Bob Dylan and Paul McCartney haven’t written a memorable song in 30 years, yet keep pushing out derivative stuff. I keep hoping beyond hope that they somehow return to the freshness they displayed in the 1960s and ’70s. And through the history of pipe-music publishing, the popular productivity of prominent composers usually dwindles once they turn 40.
I used to work at composing pipe-tunes. A few of them appear in the collections of friends, and I would say that two or three of them might be worth playing, although there’s nothing really remarkable about any of them. But I haven’t composed anything for at least 15 years and have little desire to try again, even though I constantly have ideas for doing things with existing music by others.
The idea that I’d really like to pursue is a study of the ages of pipers when they composed their most successful material and had their greatest output-volume. I’d be willing to bet most of piping’s greatest compositions were from those younger than 30. (If anyone wants to tackle that project, drop me a line.)