American Music - Shallow?

Mark L wrote (in an private note):

> Why is American music seem to be shallow, compared to British? What do you
> think? I'll tell you my feelings on it (if you want to know, that is) after
> you've answered. I have some ideas...could be right, could be wrong...and
> could perhaps be a good thread for the Digest. What do you think?

Great question! I'm not sure I entirely agree with the premise, but I think I 
understand where you're coming from.

I tend to believe that almost everything good we hear today still has its roots 
partly in the Delta. There's very little I've ever heard in the Blues which I would 
consider shallow. Some of the greatest Blues songs, while lyrically simple, have a 
lot of hidden layers of meaning - sexual and political innuendo or whatever. Robert 
Johnson is a great example of this.

I think a lot of British musicians, Pete plus Clapton and Jagger/Richards in 
particular were very influenced by and attuned to that. Pete and Eric have also 
experienced a lot of angst in their lives, which has come out in their writing. I 
don't want to forget the late Steve Marriott either, even though he lost the plot way 
back in the 60's.

Another, later, Brit I would cite is Paul Weller - he may not be as well known in the 
US, but his writing is superb and full of angst, very Pete influenced.  Then there's 
Elvis Costello and Ian Dury - does Ian Dury mean anything in the States?

On the other hand, there are some Brits; Winwood, Zeppelin, etc whose music is great, 
but IMHO have a lot less to offer lyrically. From the American side, I'd put some 
people I greatly admire: SRV, Allman Bros (dare I mention them, Mark :-)), Carlos 
Santana etc right into the same camp although their priority has always been 
instrumental rather than lyrical expression.

Not-lyrically-shallow Americans, for my money, would include people like Curtis 
Mayfield, Bonnie Raitt, John Hiatt, Lou Reed, Patti Smith all of whom are talented 
songwriters in every sense. Hiatt wrote a song you may have heard called "Memphis in 
the Meantime". It's about two separate traditions he perceives in American music, 
represented by Memphis and Nashville. I think he meant that for him, the great stuff 
is "Memphis" and the shallow stuff is "Nashville".

Then you have crap "industry" music. IMHO This can be found in equal measures on both 
sides of the pond. After all, Phil Collins is British :-). Occasionally I hear a crap 
album from one of my heroes, which I can only think has been released for the 
purposes of contract fulfillment. The industry (especially in the US) surely puts a 
lot of pressure on all musicians, and exerts a lot of negative influence. Everyone is 
now expected to be EmptyVee, or at least VH-1 friendly. Maybe the American market 
finds British eccentrics more acceptable than domestic ones?

I realise I haven't yet mentioned The Beatles. I've never been a great fan but 
recognise that their influence was and is colossal. They were unique right from the 
off. Pete Townshend is of course unique. Clapton and the Stones are not so unique but 
has been tremendously influential. America has mould-breakers like Dylan (great 
songs, shame about the voice) and Hendrix. Between them they are perhaps the main 
icons of their generation and will stand the test of time. I think the jury is still 
out on subsequent generations - punks, new romantics, Britpoppers, et al.

Just my opinions, of course - I'd love to know what you think.

Cheers,
Mark T.