With so many great books about and by musicians on the shelves, it’s difficult to gauge which ones will make the read as compelling as the music. Here, Ryan Bell reviews one of his favourites…
David Byrne: How Music Works
David Byrne’s How Music Works is much like his music. Whether it’s his solo work, his collaborative recordings with Brian Eno or St Vincent, or as the frontman for influential art-rock group Talking Heads, he is a consistent creator of music that is ambitious and intelligent yet enjoyable, and his foray into the world of music literature is no different.
Similar to the genre fusions found in the music of Talking Heads, Byrne chooses not to craft a by the numbers autobiography, instead he flirts between the role of rock raconteur, music history professor and pop culture sociologist, amalgamating observations, anecdotes, ideas and concepts gathered from his thirty plus years in the music business. Whilst this could result in the book becoming arrogant or rambling, his writing style is informative yet conversational, with a great sense of “believe me, I’ve seen it and done it” authenticity and an enthusiasm that can rarely be doubted, leading How Music Works to be a surprising breath of fresh air to read.
This can also be attributed to the nonlinear structure of the book, with each chapter focusing on a different musical talking point such as technology, collaborations, live performances, etc. Byrne states in the preface that he feels there is still a certain rhythm to the book, though acknowledges the merit of allowing for reader permitted chapter hopping, appealing to those readers with a shorter attention span. David Byrne writes attractively throughout, however I am such a reader, and the option to jump to learning about the recording of Remain in Light over Byrne’s thoughts on music industry finances, without the result of a jumbled narrative, was refreshing.
Naturally, you would pick up the book because of the name attached, Byrne has made a career out of being one of pop music’s most revered auteurs, and some of the most enjoyable parts of How Music Works come from his success in pairing his music history research with his own personal observations. Reading about the televangelists who inspired the Talking Heads hit Once in a Lifetime, or his time spent watching Japanese theatre for the infamous “big suit” from the legendary Stop Making Sense live shows is enthralling, particularly after witnessing his spectacular American Utopia show, which only wet the appetite to learn where he gathers his inspirations from.
As well as these, Byrne is fascinated by the wider context of how shapes sound, how geography and performance and listening spaces can affect and influence the sonic nature. He describes the uneven wall, scattered furniture pieces and low ceiling that gave legendary punk club CBGB a “remarkably good sound” and how the percussive character of African tribe music would have turned to “sonic mush” in the stone walled gothic cathedrals of the west in the middle ages.
The book is typical of Byrne, as whilst other rock/pop musicians might opt for the sexy warts ‘n’ all page turner, his eyes and ears are tuned, almost academically, towards the physics and working parts behind music’s past, present and future. Knowing that some might scoff at the idea that by doing so he is ridding the art of its enjoyment, he insightfully remarks in the preface that “knowing how the body works doesn’t take away from the pleasure of living”.
There is a wide range of ground covered in How Music Works, which at times can leave it feeling a little uneven and scattered, but it’s rarely pretentious, he never gives the impression he is writing about anything for any reason other than it fascinates him. Its structure is particularly suited for travel reads or coffee table pick-me-ups, with his knack for great pop song writing translating into cushioning the trickier moments with anecdotes and titbits, and the musical wanderlust shown throughout his career making his search for the mechanics of sound eclectic and colourful.
Words and photo by Ryan Bell
16th May 2019