By Isa Jones
By Mary Willson
By Brian Turk
By Drew AIles
By Taylor Boylston
By Bree Davies
By Emerald O'Brien
The 9/11 effect has touched plenty of other tunes, too, spawning releases or reissues that have attempted to walk the line between soothing folks and exploiting them. Objectively speaking, few of these offerings are very good, and many are laughable -- or they would be, if laughing about such subjects hadn't become so politically incorrect. But the success of so many of the songs is intriguing for what it tells us about the ways in which we're attempting to come to terms with new realities. Moreover, the reappearance of long-players that until recently could be dismissed as either unintentionally silly or overtly jingoistic suggests that many of us have only the vaguest notions about how to exhibit patriotism in a post-terrorist society.
Country cuts directly or indirectly touching upon our ugliest current events have been more explicitly boosterish than their pop counterparts, with the relative subtlety of Alan Jackson's sentimental but sincere "Where Were You (When the World Stopped Turning)" -- in which the singer emphasizes the love of the Christian God instead of the hatred of Islam -- proving to be a rarity. Aaron Tippin's "Where the Stars and Stripes and the Eagle Fly," a two-year-old tune Tippin brushed off for the occasion, sports you-and-what-army couplets such as "I pledge my allegiance to this flag/And if that bothers you, well, that's too bad," whereas Brooks & Dunn's "Only in America" opens with a New York City school-bus driver imagining the mainly promising futures of the youngsters he's transporting. More likely, such a driver would be busy imagining what he'll scream at the next kid who throws something at him.
In contrast, neither Enrique Iglesias's "Hero" nor Five for Fighting's "Superman (It's Not Easy)," two notable pop entries, tackle the topic of patriotism specifically. The former is a drippy love song ("Would you tremble if I touch your lips?") that happened to have the right moniker at the right time, whereas the latter is approximately the trillionth musical dissection of the Superman myth, and possibly the most simpering ("Even heroes have the right to bleed"). But both were featured in widely seen telethons -- America: A Tribute to Heroes and The Concert for New York City, respectively -- that lent them an importance they otherwise would have lacked. The same is true of Enya's "Only Time," the aural equivalent of comfort food, which attained hit status largely because of its frequent use as background music for network-news montages of shell-shocked mourners.
So it's no surprise that music companies have been actively seeking ways to capitalize on what's seen as Americans' renewed devotion to their country. Manhattan Records recently put out "God Bless America," a single by Daniel Rodriguez (a New York City cop who sang at numerous memorials and last year's World Series), and is scheduled to follow up with a Rodriguez long-player next week. Meanwhile, Legacy, the reissue arm of Columbia Records, checked in last month with two Johnny Cash platters from the early '70s, America: A 200 Year Salute in Story and Song and Ragged Old Flag, and the independent imprint MPI unearthed 1973's America: Why I Love Her, a recitation by none other than movie cowboy John Wayne.
The Rodriguez single, whose profits have been earmarked for the Twin Towers Fund, would never have been released under more peaceable circumstances. Executives would have known that even people wowed at the ballpark by Rodriguez's earnest but untutored Mario Lanza impression probably wouldn't plunk down several bucks at the CD store for a copy to spin at home. As it stands, the package is primarily a curio, with Rudolph Giuliani's melodramatic monologue ("As the storm clouds gather/Far across the sea/Let us swear allegiance/To a land that's free") as an introduction to a rendition of Irving Berlin's chestnut that could have been cut in 1941. Not nearly as sturdy is the next song, "We Will Go On," which pulls out every stop by means of lapel-yanking lyrics (it begins with "For those we lost, we must be strong") and lachrymose production (mournful piano, supportive background vocalists) that leave Rodriguez mired in a puddle of sonic goo. He must be a very brave man.
Cash's salvos make more of an impact, even though neither comes close to the quality of his best work. America, from 1972, links together songs about historical incidents, such as the Johnny Horton favorite "The Battle of New Orleans" and Ramblin' Jack Elliott's "Mister Garfield" (about President James Garfield's assassination), with narration by Cash that tracks the country's growth. Not all of the individual parts are especially impressive, but "Paul Revere" is jaunty fun, and Cash deserves kudos for giving Abraham Lincoln songwriting credit on "The Gettysburg Address." You rock, Abe.