Leonard Cohen used to speak self-deprecatingly about his sole ‘chop’ – that mesmeric, circular minor-key guitar pattern deployed on so many of his earliest and greatest songs. It was a classic Cohen humblebrag, the implication being that, in popular music, practical competence at just one thing was acceptable – but any artist with multiple ‘chops’ was to be viewed with great suspicion.
The slightly strange notion that anyone peacocking their technical mastery is covering up for some other inadequacy – usually a lack of heart or, worse, of ‘authenticity’ – has found widespread acceptance in the field of music criticism over the years. It’s hard to think of another art form where being very good at what you do is regarded as a negative, but then rock discourse, particularly in the UK, loves to fetishise the idiot savant. Too much knowledge is a dangerous thing – or, at least, doesn’t make for good copy.
Chris Robinson sings like a man tied to the stake with fire lapping at his feet
Well, be warned: the Black Crowes have more ‘chops’ than a black belt in Shotokan.
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