DK goes song-by-song thru Madness and Morals: Polytoxic

Honestly, folks, I don’t know if discussion of the origins or inspirations for these songs is the least bit helpful.  Some critic once stipulated that the author’s intention is neither available nor useful.  Nevertheless, I derive double pleasure, selfishly, from these postings.  First, I enjoy recollecting the process of composition.  Secondly, and I hope more importantly, I enjoy contributing my special insight as composer and, along with the magnificent artists with whom I collaborate, performer.  That is, I hope to add to the world’s reception of certain artworks, which happen to be humbly my own and my band’s.  Unfortunately, my reminiscing over the genesis of the songs exposes me as a quiet, bookish, somewhat depressive scholarly type alongside the loud, boisterous, obnoxious rocker of the public persona that I do indeed wish to project.  It’s not that one is the real me and the other a falsehood; rather my true character is fractured and, um, variegated.  Not necessarily in a pretty way.  So, when I tell the truth, I use 5-dollar words and worse, drop names.  Many of my dear readers probably regard the mentions of Manet and Wilde and Keats, to say nothing of Hendrix and Pink Floyd and Robert Johnson, as showing off or parasitism.  On the other hand, if I’m truthful, I must attribute my creativity to these great masters, of whom I am aware and my awareness of whom I can’t just put away.  So anyway, “Polytoxic.”  See, I have to name Keith Richards and James Joyce.  Sorry. Continue reading