"If you can make a living by
writing, recording and performing songs in Australia you are very
fortunate" says John Schumann. The more common scenario is for
singer-songwriters to augment their income by other means. It is a myth that
recognition by the media confers instant fame and fortune!
But there is a "huge
obligation" on the singer who does make a living from his/her songs.
"This is why", said John, "I write the songs I do. People like
me are supported by society, whether that society is structured for good or for
ill. Therefore there is an obligation on us to contribute seriously and
intelligently to improve the conditions under which we live." Phew - a
tall order!
Even the standard love song is
"politically active because it takes our minds off injuries, inequities,
oppression and war" in our society and in the larger world. The song
writer has "an obligation" (that word again!) to use his/her
creativity to change the world for the better - the "I Love You,
Baby" song "disguises the true state of the world."
John said that he would not record any
INXS material (for example) - "it's just not very useful; in fact it's
counterproductive in the final analysis." Yes, INXS and many similar
groups are well off. Yes, they are creative and they do work very hard. But
their songs divert attention from the issues we should face!
John was willing to concede that not all
songwriters should strive at social commentating, churning out politically or
environmentally aware lyrics. It's just that there is such a huge imbalance -
99% of singers are content with nothing but the "I Love You, Baby"
stuff. John recounted an amusing instance where he was "recognised"
by an air hostess as he boarded an aircraft. "I know you!', she burbled,
"you're the guy who writes about death, war, cancer and all that
stuff!"
John has "a strong commitment to
Australian lyrics and the Australian accent" in contemporary music. He
confessed that he was astounded at how much his voice sounded American in early
home recordings. He still assails the notion that you "should only sing in
an Australian accent if you are singing about cows and sheep"! Why is it
that so many writers think their song will only grab attention if it's about
Hollywood Boulevard rather than, say, North Terrace, Adelaide?! John has
consistently reacted against this cultural self abasement, injecting
"Australian placenames, idiom and accent in my songs" - as his many
followers will happily attest. Goanna, Midnight Oil and Paul Kelly are others
whose lyrics unashamedly celebrate the country in which they live. He pointed
out that many US performers touring Australia seek out "homegrown"
recordings - Eric Bogle, Judy Small et al - which clearly indicates that we do
have something original and valuable to offer.