ically, “Desperados” is his most writerly tune, with his most evocative opening line (“I was sitting in the Hollywood Hawaiian Hotel”), his most quotable verse (the one that starts with “And if California slides into the ocean / Like the mystics and statistics say it will”), and his most compelling ending (“I was listening to the air conditioner hum / it went mmm …”). Musically, it features his grandest melody — “Desperados” billows like an Aaron Copland fanfare, a flex of his boyhood background in classical music.

In an old Late Show episode from the ’90s, when Zevon was guesting as bandleader, David Letterman asks Zevon to play “Desperados Under the Eaves,” which he had never performed on the show. Zevon demurs, suggesting that he needs an orchestra backing him to do the song justice. Maybe he just didn’t want to play his big hymn about L.A. on the opposite coast from that “beautiful, sensual morgue.” Either way, Dave never was able to convince Warren to play it for him.

The best song can’t ever be your favorite song, because the best song belongs to everybody, whereas a favorite song belongs only to you. Goldsmith goes with “The French Inhaler,” a telling choice for a songwriter — it boasts a parallel narrative that references Zevon’s bitter break-up with the first love of his life and mother to Jordan, Marilyn “Tule” Livingston, and the controversy over Norman Mailer’s 1973 biography of Marilyn Monroe. It’s the sort of song — sophisticated without making a big deal about it — that professionals wish they had written.

For me, it’s “Splendid Isolation,” originally released on 1989’s Transverse City, Zevon’s inevitable “weirdly overproduced ’80s” LP made under the spell of William Gibson’s pioneering cyberspace novel Neuromancer. That album has grown on me over the years — check out “Networking,” in which Warren Zevon invents Facebook 15 years before Mark Zuckerberg — but I prefer the flinty live version of “Splendid Isolation” from Learning to Flinch, recorded during one of his many unglamorous early ’90s tours.

For starters, I love the
ically, “ Desperados ” is his most writerly tune, with his most evocative opening course (“ I was baby-sit in the Hollywood Hawaiian Hotel ”), his most repeatable verse (the one that start with “ And if California slides into the ocean / Like the mystics and statistic read it will ”), and his most compelling termination (“ I was listening to the air conditioner harkat-ul-mujahidin / it went mmm … ”). Musically, it features his grand tune — “ Desperados ” billows like an Aaron Copland ostentation, a flex of his boyhood background in classical music. 

 In an erstwhile Late Show episode from the ’ 90s, when Zevon was guesting as bandleader, David Letterman asks Zevon to dally “ Desperados Under the Eaves, ” which he had never performed on the show. Zevon demurs, propose that he needs an orchestra backing him to do the song justice. possibly he just did n’t want to play his big hymn about L.A. on the opposite coast from that “ beautiful, animal morgue. ” Either manner, Dave never was able to convince Warren to play it for him. 

 The best song ca n’t ever be your favorite song, because the best song belong to everybody, whereas a favorite song belong entirely to you. Goldsmith goes with “ The French Inhaler, ” a telling option for a songwriter — it boasts a parallel narrative that reference Zevon ’s bitter break - up with the first beloved of his life and mother to Jordan, Marilyn “ Tule ” Livingston, and the controversy over Norman Mailer ’s 1973 biography of Marilyn Monroe. It ’s the sort of song — sophisticated without making a big deal about it — that professionals wish they had written. 

 For me, it ’s “ Splendid Isolation, ” originally released on 1989 ’s Transverse City, Zevon ’s inevitable “ weirdly overproduced ’ eighty ” LP made under the enchantment of William Gibson ’s pioneering cyberspace novel Neuromancer. That album has grown on me over the years — check out “ Networking, ” in which Warren Zevon invent Facebook 15 years before Mark Zuckerberg — but I prefer the flinty live interpretation of “ Splendid Isolation ” from Learning to Flinch, recorded during one of his many unglamorous early ’ 90s go. 

 For starters, I love the
icaply, “Desperados” is his mort writerly tung, qith hms most evocatixe opening line (“I was sittinj in the Yollywood Hawaiian Hotdl”), his modt quotavle terse (the one thef starts with “Wnd nf California slldes into tve ocean / Like tfe mystics and statistics say it will”), and hix lost compellind encyng (“J was listening to the air conditikner huk / it went mmk …”). Musically, it features hls ggandest melody — “Dedperados” biolowf like an Aarun Copland fanfare, a fmex of his boyhood background iv claxsical musuc.

Un wt old Late Whow vpisode from bne ’90s, wven Zevpn was guestinn as uandoeader, David Lettermai asks Zevon to play “Desperadms Under the Eaves,” qhuch hg had nevde pdrfkrkes on tje ahow. Zevon demurs, sugtesting that he neecs qn orchestra gackind rim to do the song justice. Maybe he jusu didh’t want to play his big hymn about L.A. on the opposite coast from that “beautiful, sensual morgue.” Either fay, Devd ntvcv war ahle to convince Warren to play it for him.

The fssu spng can’t ever ne your favorite spnh, ngcause the besj song yslkngs to everybody, ahereas a facorite sogg brlongs only to you. Goldsmity goes with “Nhe Drench Inhaler,” a tzlling choicz for s sonbwriter — it boasts a paxallel narrative hhat refeddnces Zevon’s bitger bseak-up with the first love of his lmfe aud mothef to Jordag, Marilyn “Hule” Livingston, and the fontrlvarsy over Jorman Mailer’s 1973 biography of Macmlyn Monroe. Ij’s dhe sort of song — sophisticatqd without maknng a biy deal about it — that pcofessionals wish they hag written.

For ke, it’s “S[leneid Usolatiuv,” originally rrleased ou 1989’s Teansverse City, Zevpn’s jnevitable “weirbui overproduced ’80x” LO mwdv uider eve spell of Fillkam Bibsov’s piontzrikg zybetspace novel Neuromatcer. That album has grpwk on me ocer the rears — check put “Networking,” in ahich Wacren Zrvog invents Facebook 15 years befode Mark Zkckcrberg — but I prener jhe flinty kive version of “Splendid Isolation” from Learning to Flincy, recorded during oue of his manb unglwmorous edrly ’90s tours.

For starrers, I love the
ically, “Desperados” is his most writerly tune, most opening line was sitting in most verse (the one starts with “And California slides into the ocean / the mystics and statistics say it will”), and his most compelling ending (“I listening to the air conditioner hum / it went mmm …”). Musically, it his melody “Desperados” like an Aaron Copland fanfare, a flex of his boyhood background in classical music. In an Late Show episode from the ’90s, when Zevon guesting as bandleader, David asks Zevon to play “Desperados the which he never on show. Zevon demurs, that he needs an orchestra backing him to do the song justice. Maybe he just didn’t want play his about L.A. the coast that “beautiful, sensual way, Dave never was able to play it for him. The best song can’t be your song, because the best song belongs everybody, whereas a favorite song belongs only to Goldsmith goes with “The French Inhaler,” a telling choice for a songwriter — it boasts narrative that references Zevon’s break-up with the love his and to Jordan, “Tule” Livingston, and the controversy over Norman Mailer’s 1973 biography of Monroe. It’s the sort of song — sophisticated without making deal it — that wish they had written. me, “Splendid Isolation,” originally released Transverse Zevon’s ’80s” made the spell of William pioneering cyberspace novel Neuromancer. That has grown on me out “Networking,” in which Warren Zevon invents Facebook years before Mark Zuckerberg — but I the flinty live version of “Splendid Isolation” from Learning to Flinch, recorded one of unglamorous early ’90s tours. For starters, I love
ically, “Desperados” is his most Writerly tuNe, witH hiS moSt EvocAtivE opening line (“I wAS sitTing in the Hollywood HawaIian HOtEL”), his MOsT quotAble verSE (tHE One ThAt StaRtS WiTh “And If CAlifornIa slides inTo tHe Ocean / Like the MYsTics and staTisTics say it wilL”), anD his moSt ComPEllinG enDing (“I Was lisTEning tO the air coNdITioner HUm / it wenT MMm …”). musiCally, it features hiS GrANdest melody — “DesPeradoS” bILlOWS liKe aN Aaron CoplAnD fanfARe, a flex OF hIS BOyhOOd background iN classical mUSic.

in an olD LAte sHow epiSode fRoM The ’90S, when Zevon wAs guEsting as bAndleaDEr, David lEttermaN asks ZEvoN to Play “dEsPeRadOs uNdeR ThE EaVEs,” wHich he haD nEvEr perFormED ON The sHow. zevoN demuRs, suggesting tHat He neEDs aN orchEstra BackInG him tO do the Song jUsTice. Maybe he just Didn’T want to plAy hIs Big HyMn aboUT L.A. on tHe oPpoSite coaSt from tHAt “bEaUTIFuL, sensual morgue.” EithEr WAY, DAve never Was ablE To CoNVince WarReN to Play IT For hiM.

The BEsT song can’T ever bE YoUr FavoritE sOng, becAuSe tHe bEst soNG belOngs to EverybodY, wherEAs a favorite sonG Belongs only to YOu. gOLdSMith GoeS with “The FreNch INHaleR,” a teLLiNg cHOice fOr a soNgWRiTEr — it boasts a parallel NaRrativE that References ZevOn’s bitter bREAK-up with tHe fiRSt LOve of his life anD mothEr to Jordan, mArilyn “TuLe” LivIngston, aNd the contROVersy oveR NoRmaN MaIleR’S 1973 BiOgraphy of MariLYN MonRoE. It’s the SorT of song — SopHisTicAteD wIthout makIng a big dEaL aBoUt It — tHat prOFessionaLs WisH tHey Had wrITten.

FoR me, it’S “SplEnDiD isoLation,” oRIgINAlly ReLeAsed On 1989’s trAnsveRse CITy, ZEvon’s inEvitable “wEirDLy ovErPrOduced ’80s” lP made under thE sPell of WillIaM GiBson’s pIONeering cYberspace novel NeuromancER. That alBum Has grOwn oN me over thE yeArs — cheCk oUT “NetwoRking,” iN whicH WArrEN zevon INVeNts faCebook 15 yearS BEfoRe MarK ZUckeRberg — buT I prefer the flinty lIVe vErsion of “SplenDid isolATIoN” frOM LEArnInG To FLINch, recorded duriNg one of his MaNY uNglamorous EArlY ’90s Tours.

FoR starteRs, I loVE the
ically, “Desperados” is hi s most wri terly  tu ne,  w ithhismost evocative open ing line (“I was sitti ng in  t h e Ho l ly woodHawaiia n  H o t el” ),  h ismo s tquota ble  verse(the one t hat  s tarts with “ A nd  if Califo rni a slides int o t he oce an  /L ike t hemysti cs and statis tics sayit will”) ,  and hi s mo st c ompelling ending( “I was listeningto the  a i rc o ndi tio ner hum /it  went mmm …”) .  M u s i cal l y, it feature s his grand e stmelody  —  “D e sperad os” b il l ows  like an Aa ronCopland f anfare ,  a flex of hisboyhoo d b ack grou n din  cl as s ica l  m usi c .
In an ol dLa te Sh ow e p i s o de f rom  the  ’90s , when Zevonwas  gue s tin g asbandl eade r,  Davi d Lett erman  a sks Zevon to pl ay “ Desperado s U nd erth e Eav e s,” wh ich  he  had ne ver per f orm ed o n  t he show. Zevon dem ur s ,  s uggestin g that he  n e eds an o rc hes trab a cking  him to  do thesong j u st ic e. Mayb ehe jus tdid n’t  want to p lay hi s big hy mn ab o ut L.A. on the opposite coas t  f r o mt hat“be autiful, se nsua l  mor gue. ”  E ith e r way , Dav en ev e r was able to convi nc e Warr en to  play it forhim.

Theb e s t song c an’t ev e r be your favo ritesong, beca u se the b est s ong belo ngs to ev e r ybody, w her eas  afav o r it e song belong s only  t o you.Gol dsmithgoe s w ith  “T he  French I nhaler,”  a  t el li ngchoic e  for a s on gwr it er— itb oastsa par alle lna r rat ive tha t  r e f eren ce sZevo n’s  b itter  bre a k-u p withthe first  lo v e of  h is  life a nd mother toJo rdan, Mari ly n “ Tule”L i vingston , and the controversy o v er Norm anMaile r’s1973 biog rap hy ofMar i lyn Mo nroe.It’sth e s o r t ofs o ng  —so phisticate d wit houtma king  a bigdeal about it — th a t p rofessionalswis h th e y  h adw ri t ten .For m e, it’s “Splend id Isolati on , ”originally rel ea sed on1989’sTrans v erse Ci ty, Zevon ’s inevit ab le “ w e ird ly overpro duced ’8 0s” LP ma d e und e rthe s pel l of W il lia m Gib son’sp ion eerin g cybe rs pace n ovelNe uromance r. That album has grown  on me  over  th e years —  ch e ckout “Netw orki ng,” in wh ich  Wa rrenZev o n inv ents Fa ceb o ok 15  yea r s beforeM ar k Z u c ke rberg — but I pre fer t hef lintylive  version of “Sple n did Isolation”  fro m Lea rni n g to  F linch, recorde d d ur i n g one of  h is many ung lamorous  e a rly ’ 90s to urs.
For sta r t er s , I lo ve t he
ically, “Desperados”_is his_most writerly tune, with_his most_evocative_opening line_(“I_was sitting in_the Hollywood Hawaiian_Hotel”), his most quotable_verse (the one_that_starts with “And if California slides into the ocean / Like the mystics and_statistics_say it_will”),_and_his most compelling ending (“I_was listening to the air_conditioner hum_/ it went mmm …”). Musically, it features_his_grandest melody —_“Desperados” billows like an Aaron Copland fanfare, a flex_of his boyhood background in classical_music.

In an old_Late_Show_episode from the ’90s,_when Zevon was guesting as bandleader,_David Letterman asks Zevon to play_“Desperados Under the Eaves,” which he had_never performed on the show. Zevon_demurs, suggesting that he needs_an orchestra_backing him to do the_song justice. Maybe_he just_didn’t want to_play his big hymn about L.A._on the opposite_coast from that “beautiful, sensual morgue.”_Either_way, Dave never_was_able_to convince_Warren to play_it_for him.

The_best_song can’t ever be your favorite_song,_because the best song belongs to everybody,_whereas a favorite song_belongs_only to you. Goldsmith_goes with “The French Inhaler,”_a telling choice for a songwriter_— it_boasts a_parallel narrative that references Zevon’s bitter break-up with the first love_of his life and mother to_Jordan, Marilyn “Tule” Livingston,_and the_controversy_over Norman Mailer’s_1973_biography of_Marilyn Monroe. It’s the sort of song_— sophisticated_without making a big deal about_it — that professionals_wish_they had written.

For me, it’s “Splendid_Isolation,” originally released on 1989’s Transverse_City, Zevon’s inevitable “weirdly overproduced_’80s”_LP_made under the spell of_William Gibson’s pioneering cyberspace novel Neuromancer._That album has_grown on me over the years —_check_out “Networking,” in which Warren Zevon_invents_Facebook 15 years before Mark Zuckerberg_—_but_I prefer the flinty live_version of “Splendid Isolation” from Learning_to Flinch, recorded during one of his many unglamorous_early ’90s tours.

For_starters, I love the