1989
No Myth
Michael Penn
So these posts I’ve been writing are documenting a project: A playlist that gets to the core of how I’ve experienced music in my life—one song for each year I’ve been alive. As I’ve been going through the process, I noticed most of the songs I chose are from foundational artists with long careers. Most of these artists have multiple songs and albums that are special to me. And I’ve had a REALLY hard time picking just one song and one year to represent these them.
But “No Myth” by Michael Penn isn’t really that. It’s just a great song that haunts me. A song that felt formative in my life, even if I never really cared about anything else he did. I mean, it’s nothing personal. Michael Penn has had a long and fruitful career. He’s released multiple critically acclaimed albums. He’s the brother of famous actors Chris and Sean Penn. He’s married to one of my all-time favorite songwriters, Aimee Mann. He’s been a prolific film and tv composer.
So while It’s accurate to say “No Myth” was his only Top 40 hit, I don’t consider Penn a one-hit wonder. Still, that’s kind of what he is for me. I’ve heard a bunch of his other stuff, and it’s fine. But I only liked this one song.
But, damn, what a song.
The insistent marching drums (for which the album is named). The oblique, literary lyrics. The hummable, descending bass line in the verse. The exquisite Lennon-esque vocal melody over a simple, driving acoustic guitar. Hearing this song is when I started to figure out what I love about music. And when I started to write my own songs, I was trying to build songs like this.
But I said haunting, and what haunts me is the Chamberlin organ the song uses to augment its god-tier guitar solo. As I learned from MTV, Harry Chamberlain’s invention was a precursor to the Mellotron: an analog electric keyboard that played short tape recordings of music each time you pressed a key. Essentially, it was a machine built to play back samples of music before samplers or synthesizers existed.
The sound of the Chamberlain undulating beneath the lead guitar is intoxicating. And for a long time after hearing this song, it became what I demanded when I sought out new music. I wanted guitars and keyboards, but I no longer wanted songs that sounded like the bright synths and super-compressed lead guitars of the 80s. I wanted stuff that evoked the Beatles and Stones. Stuff that sounded like classic rock but also sounded new. Back then, I would describe this as “organic,” years before organic food was really a thing. I was probably reading too much music criticism (I definitely read too much music criticism).
Fave Lyrics:
Some time from now you’ll bow to pressure Some things in life you cannot measure by degrees I’m between the poles and the equator Don’t send no private investigator to find me please ‘Less he speaks Chinese And can dance like Astaire overseas (okay)
P.S. Lots of people I know love the rest of the album. They love multiple Michael Penn albums. But, as I said, I only really like this one song. I made a whole other playlist of songs that are like this for me. Not necessarily one hit wonders. Most of them aren’t hits at all. They’re just songs by artists both obscure and well-known where, for whatever reason, only one song ever did it for me. The playlist is called The Sound of One Song Hitting.