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To Hell With Cool: Eddie Money Was Always Good

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I’ve come to despise the entire concept of “cool.”  I think too many people waste their lives (well, let’s face it: their youths) in a quest to discover what is, espouse, follow, or be “cool.”  But cool is very much a concept with a best-before date, and it expires quickly.

I remember when I was in high school and the coolest kid in my grade – and my authority on what music was and wasn’t cool – came to class one day raving about this cool new singer, Eddie Money.  He adduced as evidence the song “Two Tickets to Paradise.”  Well, I listened to it, and, damn, it really was cool.

Best Before. . . .

So imagine my surprise when I discovered, some years ago, that Eddie Money was no longer cool – and, in fact, I couldn’t find anybody who would admit to ever having liked him.  What the hell?  Then who bought the millions and millions of singles and albums that he sold in the seventies and eighties?  Who made songs like “Baby Hold On,” “Maybe I’m a Fool,” and “Take Me Home Tonight” radio hits?  I am well aware that coolness and sales are antithetical; however, I find it puzzling that he seems to be held in such disregard, even sometimes contempt, when he was once such a popular musician and is just so damned good.

To Hell With Cool

I say it again.  Sure, he was a commercial singer – and I know that’s a sin, because musicians don’t deserve to make money, right?  Sure, his music is very much of its age – but that’s also a good thing, because it sounds like the nascent FM rock radio of the late seventies and early eighties.  Just listen to a few of those old hits, including my favourite, “Trinidad,” and see if that gravelly voice and superbly played pop-rock doesn’t make you want either to redefine cool or actually be proud to be uncool.


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