If I sing about desired social change, can the revolutionary image ride on the music, command the air, and flood everyone’s consciousness willy-nilly? In Thunderclap Newman’s “Something In The Air,” Speedy Keen’s straining high vocal touchingly expresses the wish that it could be so:Ĭompare how The Beatles in “Revolution” (1969) are not announcing revolution but pushing back. So: air is one of the main reasons you have to be ready for anything. And when there’s a message, you have to respond. It sure wasn’t going to ward off music.īest or worst of all, air lets messages get through. He complains that it hits you in the face when you run. “Air can hurt you too,” David Byrne points out in “Air” on Fear of Music (Talking Heads, 1979). It animates it: what is only waiting, as air, becomes what is churning and surging. It fills it: what is empty, as air, becomes bracingly full, as music. Music makes an amazing air journey to your ears from any kind of source and it’s virtually unstoppable, because your ears (along with your nose, skin, and lungs) are already locked into the air conspiracy.įurther, music commands the whole air-environment that your ears monitor or that your ear-imagination enacts. Music is airborne, which means a lot of things.
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