This entry was originally posted on the Baron S. Cameron Blog 13/11/2008. I was just giving it a read and thought I’d throw it back out there. BSC.
“Leave the gun; take the cannoli” is possibly the greatest throwaway line ever. Delivered beautifully by Richard S. Castellano, as the affable but deadly Peter Clemenza in The Godfather, I consider it to be one of the best lines in the history of American Cinema. But what does it mean, and, perhaps more importantly, why would I bring it up in an article about live music?
When Paulie, Vito Corleone’s ex-driver, is murdered, Clemenza and his cohorts don’t dwell on it. Paulie is never mentioned again except when Clemenza lets Sonny know that the job is done: “Paulie? You ain’t going to see him no more.” Essentially, the dirty work is behind them; they move on. The gun is the awfulness of the immediate past. The cannoli is the anticipation of a sweet future.
As a medium, live music can be as exciting as it gets. There is a thrill of instant creation, a rush. It may not easily liken itself to skydiving or bungee jumping, but there is still the anxious possibility of a moment of glory and, equally, of a mistake. Luckily for musicians, such mistakes are rarely physically fatal. The death of one’s career, however, is sometimes a very real possibility. Unlike NASCAR though, very few people attend live music shows just to see if someone fucks up; they go to see a performance. And, provided that the mistakes are small enough, people rarely notice them. It is usually the solo burden of the musicians who are often the only ones in the room who know that something has gone awry. They should never be too hard on themselves though. We, the audience, are waiting for the next note, and, perhaps more importantly, we are waiting for the musicians to supply it, which they won’t if they are dwelling on the note that didn’t quite make it.
It is physically impossible to play the same song twice performing live; humans are not exact enough to do it. Even if a song could be perfectly replicated, the live moment originally accompanying it would be gone. The art of creating is fleeting. The effect or result of the moment of creation can be recorded in some fashion (tape, canvas, ink) but the actual moment is gone forever. It is a point in a dynamic process that exists for an instant and is then disappears to whatever realm it was pulled from in the first place. Creation moves forward. Where we were is not as important as where we are going and this is why live music forgives our little mistakes: what’s done is done and rarely remembered as it actually happened. Humans are also pretty lousy recorders of history, especially when our passions are aroused. So unless the DAT’s rolling, don’t sweat it. This of course is not to say that a musician doesn’t need to try on the previous note, only to make it up to us with the next one – we’re talking about small mistakes here, not shoddy musicianship. Also, if you really can’t play, you’re doomed. “They suck” is a pronouncement more difficult to revise than “murderer” or “whore.” Changing a crowd’s mind is simple enough with some practice but getting a crowd out to see a band that “sucks” is nigh on impossible.
But the mistakes can be glorious too. Most scientific discoveries don’t happen with a “Eureka!” but with a “How the hell did that happen?” Take Radiohead’s “Creep” for example: the seemingly out of place guitar crunches before the chorus are, as guitarist, Ed O’Brien, explains, “the sound of Jonny [Greenwood] trying to fuck the song up.” In the final cut, however, it is Jonny Greenwood’s “fuck ups” that end up being the most memorable part of a very memorable song.
So here is wisdom: If you flub a note, don’t sweat it. We’re waiting for the next one. In short, “Leave the gun; take the cannoli.”