Ode to Doomed Youth

In response to yesterday's blog on the Zombies' album Odessey & Oracle--one of the great albums of the 1960s--my friend Tim Lucas wrote a comment in which he asked me about my thoughts on what I think is one of the most important cues on Odessey & Oracle, "Butchers Tale (Western Front 1914)," written and sung by the band's bassist and one of their chief songwriters, Chris White. Tim wrote:

Situated in the middle of the second side of such a melodic and love-oriented album, I find it essential to the album's strength and character. I admit that it took some getting used to, but now I feel musically moved by its shrill, dissonant qualities as the singer describes the French response to the coming first World War at ground level.

Rather than reproduce them below, the lyrics to "Butcher's Tale (Western Front 1914)" can be found here. The short answer is that I think the meaning of the song can be found in the lingering influence of the poetry of British poet Wilfred Owen (1893-1918), perhaps the best of all the War Poets and a major poetic figure killed in action in 1918 just before the World World I Armistice. Owen, who hated war but who acted with heroism on the battlefield, had a special gift for being able to grasp the individuality and the reality of selves totally distinct from his own, a famous poetic example of which is his poem "Strange Meeting," about the meeting in some strange afterlife of two dead soldiers who had fought as enemies on opposite sides. I think "Butcher's Tale" also has a contingent connection to Owen's fine poem, "Anthem for Doomed Youth," as well (Owen's reference to boys "who die as cattle" may well have served as one of the inspirations for Chris White's lyrics). In the context of the 1960s and the Vietnam War, anti-war songs were not unusual, and in this sense "Butcher's Tale" is typical. "Butcher's Tale" is musically similar to songs such as the Association's fine anti-war tune, "Requiem for the Masses," the final cut on side 2 of Insight Out (1967), although I'm not sure whether this album had been issued when "Butcher's Tale" was actually recorded. But I agree with Tim that "Butcher's Tale" is one of the essential cuts on a very fine album.

What I find remarkable is that both Tim and I have concluded that Odessey and Oracle is one of the finest albums of the 1960s--this without any prior discussion of the album, hence without any intersubjective influence. But what is the origin of this shared subjective impression? Why do great albums seem so difficult to find in the first place?

Where we differ at all, I suppose, is in the subjective emotional impression the album leaves us, which while being love-oriented as Tim observes, nonetheless leaves me as being overall the expression of a deep longing. If the Beach Boys' Pet Sounds (1966) is, as Brian Wilson has characterized it, "a teenager's hymn to God," then Odessey & Oracle is an invocation of the Grail Myth, that is, its vision is not that of a cornucopia, but rather a deep longing. Listen to the album while contemplating these famous lines by W. H. Auden:

The glacier knocks in the cupboard
The desert sighs in the bed
And the crack in the teacup opens
A lane to the land of the dead

Perhaps they weren't named the Zombies for nothing.