#441: Suicide, "Suicide" (1977)

for Frankie Teardrop

Angie Angel and me was selling broke down trivia machines back then, not such a bad deal if you can get it. Ain’t so hard neither, just get a fellah to sit down there a spell and he’ll sure enough be hooked. Trivia machine ain’t just got trivia you know, but all kinds of games for folks of any sort of persuasion. Say he’s a real sharp kinda guy, a real brainiac type, well then maybe he’ll like the trivia for a while, but when he get tired of playing that they got all sorts of other words games and such, mixing up words and that sort of thing them guys like. Then there’s them other kinda folks ain’t so keen on words and such, so you got some games that can be real entertaining, real fun diverting type games. Like they got one with this crazy old polar bear playing ball with a fish! Hard to believe, I know, but I tell you I play that one sometimes myself and I get a real kick out of it. If you get tired of it, they got some pirates or something and you run a hamburger store and make sure all the folks is happy and got their burgers on time. That’s pretty nice too.

We got the work just kinda by falling down into it. Angie Angel’s daddy ran a side business in jukeboxes and sundry, he picked up a load of broke down old trivia machines from a fellah in some bulk arrangement and there I was back there tinkering around in the warehouse and it just turns out that I got a knack for making them suckers work again. God’s will, I says and Angie Angel’s daddy agreed. Problem is, once a spot got one trivia machine, they ain’t got much use for another, so we was moving around a lot always on the look out for new buyers and whatnot, Angie Angel and me, traveling the countryside pawning them off. I was feeling pretty good about it, both the machines and being with her out there on the road. Angie Angel did too, I just know it.

I got me a right fine automobile—’72 Ford LTD convertible, darn near mint. I saved up since I was 11 years old, chucking my soda pop money in a jar with her picture pasted on the side. Cherie’s her name and, besides my Angie Angel, ain’t nothing in the world as special to me. Not a finer sight than Cherie hauling a trailer filled up with trivia machines and us and the highway, the hot wind blowing up on our faces. We didn’t have no car radio though, so Angie Angel would make do by singing those songs of hers, which I like better than even Travis Tritt. There she’d be next to me, hair flying up all over the place, and singing out like one of them mermaids on a rock in the middle of the ocean and that’s what it felt like too, alone with each other and her song in the wind. Angie Angel could carry a tune real good; I often thought that if we’d ever get into the karaoke machine business she could give a real dynamite example to them buyers about what it was they was buying, you know? She was about the prettiest thing too, my mermaid singing all the while. I bought me some fine new shades from the rack in the Sunoco cause with the sun and her song it was like our future was so bright.

Yes sir, that girl was something else. All the boys back in school were always pawing all over her, tripping over themselves asking her to dance and such. You could tell that look in those boys’ faces like I had something holding over them, on top of them, you know, like Angie Angel was my girl and alright, maybe they get a dance or something one day, but I was the one that get to pick her up for school in the mornings she wanted to go and take her home in the evenings she didn’t have no cheerleading or extracurricular activities or meeting with Mr. Saunders, who she was often fixing to see. I guess that biology was a real bear. Sometimes even if she did have cheerleading at least, I’d just sit there on the bleachers by the field waiting for her to be done with her practicing so I could take her home then. I’d see her down there on the field and sometimes her friends would be pointing up at me and laughing and such and then I’d see Angie Angel setting ‘em right, saying about how I was her boyfriend and they best not be pointing or messing around none. Even that Joe Rogers on the ballfield too, except not with the cheerleaders but with the football team ‘cause he was our quarterback. Yeah, sometimes Joe Rogers would talk to Angie Angel and I’d watch them up from the bleachers and I’d see Joe Rogers leaning in close and Angie Angel laughing, you know, probably about what kinda dumb stuff that Joe Rogers talking.

Standing on her momma’s porch clutching a grip of white flowers and her momma answer the door and her momma saying honey don’t you know Angie Angel ain’t here she gone off the city with her cousin ‘till the weekend and I’m sorry honey let me get some water for those pretty flowers and do you want a nice cool glass of sweet tea and thank you ma’am but I oughta be heading off and Angie Angel not saying a word about it when it is I see her next neither, the white flowers I know her momma keep in a vase waiting for her to get back from the city which she did after a month of time when them poor flowers already dead.

I guess when I think back on it was when Cherie broke down and I was fiddling with her engine that things went amiss. Angie Angel was in the ladies and disappeared for longer than I thought requisite and I start getting a little itchy about it, you know, even her not coming back after I found the troubles and fixed it up easy which must have took a half hour at least and still she wasn’t back yet. I went poking around the racks of potato chips and seeds and whatnot looking for her but she wasn’t there neither so I ask the fellah behind the counter if he seen Angie Angel and he give me a funny look and say no he ain’t and I say thank you sir and he say ain’t nothing son and kind of laughs like a horse and I just keep on poking around. I was getting might frantic by this time as you can well imagine so when I got back to the car darn near give up on her and Angie Angel is sitting shotgun humming a tune like nothing at all and I ask her where you been and she don’t say nothing but give me that sweet grin like she did way back when, like she used to when she was just a girl, like she always done, you know, and what am I to do but get in the car and keep on driving what with a trailer full of merchandise. Trivia machine don’t sell itself.

I get back to the car and Angie Angel sitting there looking just about sweet as ever, so what am I supposed to do, throw some kinda fit or something? I just flip down my shades and drive off into the sun, Angie Angel not saying much of anything but crunching on some sugar candy. We was driving and I put my hand out the window and felt the hot air against it, Angie Angel humming all along. Short time thereafter I felt the blade pushing up on the back of my neck. I could tell in the rearview he was a big mother-effer, and I ain’t a big guy no but I been in a couple few scrapes in my day and I ain’t afraid, but he had that blade and me driving, what am I gonna do? He tells me real rude to pull over so I does. When I look over at Angie Angel he tells me all cussing to look straight on again but I don’t listen right away and there she is sitting there with a sugar candy in her teeth, won’t even look back at me. I try to tell her something then but the guy presses the blade into my neck nicking me some and tells me to get the eff out the car so I does. I take off my shades and squint into the dust Cherie kicks up as Angie Angel and the fellah drive off in my vehicle and my trailer full up of machines, half of which I ain’t even got around to fixing yet. I stood there for a while looking on down after them, then I put up my thumb and got a ride back into town whereabouts I bought me a bus ticket home.

—Erik Wennermark

#442: Devo, "Q: Are We Not Men? A: We Are Devo!" (1978)

> WELCOME

> WHAT IS YOUR NAME?

Brian

> WE ARE GLAD YOU HAVE ARRIVED, Brian

> WHAT WOULD YOU LIKE TO DO?

Go back to sleep

> UNABLE TO COMPLETE REQUEST

> HERE, LET US HELP

1. Put on attire
2. Make sustenance
3. Relieve self
4. Watch television news

Breakfast

> YUM

> WHAT DO YOU WISH TO MAKE?

Oatmeal

> OATMEAL INTAKE SUCCESSFUL

> OATMEAL IS VERY HEALTHY

> WHAT WOULD YOU LIKE TO DO?

Put on clothes

> WHAT TYPE OF ATTIRE DO YOU WISH TO WEAR?

Business clothes

> GOOD CHOICE, BUSINESSMAN

> BUSINESS CLOTHES SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Go to work

> HOW WOULD YOU LIKE TO GET TO WORK?

Walk

> SORRY, UNABLE TO COMPLETE REQUEST

> LET US HELP

1. Personal automobile
2. Public underground transportation
3. Commuter bus

Car

> GREAT

> PERSONAL AUTOMOBILE REQUEST SUCCESSFUL

> WORK ARRIVAL SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Input data

> EXCELLENT

> DATA INPUT SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Take smoke break

> UNABLE TO COMPLETE REQUEST

> YOU MUST WORK MORE FIRST

> WHAT WOULD YOU LIKE TO DO?

Input data

> EXCELLENT

> FURTHER DATA INPUT SUCCESSFUL

> YOUR EMPLOYER HAS COMPLIMENTED YOU!

> WHAT WOULD YOU LIKE TO DO?

Take smoke break

> UNABLE TO COMPLETE REQUEST

> HERE, LET US HELP

1. Thank employer
2. Compliment employer’s choice of tie
3. Inquire about employer’s stance re: sports team
4. Crack wise re: female co-worker

Compliment tie

> YOUR EMPLOYER HAS THANKED YOU

> YOUR EMPLOYER HAS MADE COMMENT RE: WIFE

> WHAT WOULD YOU LIKE TO DO?

Laugh

> LAUGH SUCCESSFUL

> YOUR EMPLOYER HAS GIVEN YOU A RAISE!

> WHAT WOULD YOU LIKE TO DO?

Take smoke break

> SMOKE BREAK SUCCESSFUL

>WHAT WOULD YOU LIKE TO DO?

Go back to sleep

> UNABLE TO COMPLETE REQUEST

> WHAT WOULD YOU LIKE TO DO?

Invite female co-worker to lunch

> UNABLE TO COMPLETE REQUEST

> HERE LET US HELP

1. Input data
2. Converse with male co-worker re: college
3. Shoot paper ball at trash can
4. Relieve self

Relieve self

> RELIEF SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Input data

> FURTHER DATA INPUT SUCCESSFUL

> YOUR DATA INPUT APPARATUS HAS STALLED!

> WHAT WOULD YOU LIKE TO DO?

Pretend to input data

> FALSE DATA INPUT SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Talk to male co-worker

> CONVERSATION SUCCESSFUL

> YOUR MALE CO-WORKER HAS GIVEN YOU NOSTALGIA!

> WHAT WOULD YOU LIKE TO DO?

Cry

> UNABLE TO COMPLETE REQUEST

> WHAT WOULD YOU LIKE TO DO?

High-five male co-worker

> SLAPPED HANDS SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Go home

> HOW WOULD YOU LIKE TO RETURN HOME?

Memories

> UNABLE TO COMPLETE REQUEST

> HOW WOULD YOU LIKE TO RETURN HOME?

Car

> PERSONAL AUTOMOBILE REQUEST SUCCESSFUL

> RETURN HOME SUCCESSFUL

> WELCOME HOME, Brian!

> WHAT WOULD YOU LIKE TO DO?

Watch television news

> WATCHING TELEVISION REQUIRES A BEVERAGE

> WHAT BEVERAGE WOULD YOU LIKE?

Ice water

> SORRY, UNABLE TO COMPLETE REQUEST

> HERE, LET US HELP

1. Fermented ale
2. Rye whiskey
3. Vodka martini
4. Light fermented ale

Beer

> BEVERAGE INTAKE SUCCESSFUL

> TELEVISUAL ENJOYMENT SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Kiss wife

> UNABLE TO COMPLETE REQUEST

Kiss children

> UNABLE TO COMPLETE REQUEST

Call mother and father

> SORRY, UNABLE TO COMPLETE REQUEST

> LET US HELP

1. Watch sports
2. Pleasure self
3. Debate strangers on Internet re: female physical attributes
4. Eat baked corn snacks

Pleasure self

> GREAT

> PLEASURE SUCCESSFUL

> YOUR ENERGY HAS DECREASED!

> WHAT WOULD YOU LIKE TO DO?

Go back to sleep

> SLEEP REQUEST SUCCESSFUL

> WOULD YOU LIKE TO CONTINUE PROGRAM?

No

> UNABLE TO COMPLETE REQUEST

No

> SORRY, UNABLE TO COMPLETE REQUEST

> LET US HELP

1. Yes
2. Yes, tomorrow

Tomorrow

> TERRIFIC

> SEE YOU TOMORROW, Brian

>

>

>

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

> WELCOME, Brian

> WHAT WOULD YOU LIKE TO DO?

Delete program

> UNABLE TO COMPLETE REQUEST

End program

> SORRY, UNABLE TO COMPLETE REQUEST

> LET US HELP

1. Put on attire
2. Make sustenance
3. Relieve self
4. Watch television news

Watch TV

> TELEVISUAL ENJOYMENT SUCCESSFUL

> YOU HAVE LEARNED WEATHER!

> YOU HAVE LEARNED TRAFFIC!

> WHAT WOULD YOU LIKE TO DO?

Go to work

> TO GO TO WORK YOU MUST PUT ON ATTIRE

Pants

> PANTS SUCCESSFUL

Clothes

> ATTIRE PLACEMENT SUCCESSFUL IN TOTALITY

> ARRIVAL AT WORK SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Leave

> UNABLE TO COMPLETE REQUEST

Go home

> UNABLE TO COMPLETE REQUEST

> HERE, LET US HELP

1. Input data
2. Relieve self
3. Converse with female co-worker re: weekend plans
4. Converse with male co-worker re: weather

Talk to female co-worker

> CONVERSATION SUCCESSFUL

> YOUR FEMALE CO-WORKER HAS NO WEEKEND PLANS

> WHAT WOULD YOU LIKE TO DO?

Input data

> UNABLE TO COMPLETE REQUEST

Talk to male co-worker

> UNABLE TO COMPLETE REQUEST

> HERE, LET US HELP

1. Invite female co-worker to dinner
2. Touch female co-worker on shoulder
3. Crack wise re: female co-worker’s appearance

Invite her to dinner

> DINNER REQUEST SUCCESSFUL

> YOUR FEMALE CO-WORKER HAS DENIED YOUR INVITATION!

> WHAT WOULD YOU LIKE TO DO?

Input data

> DATA INPUT SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Take smoke break

> SMOKE BREAK SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Step onto busy highway

> UNABLE TO COMPLETE REQUEST

> WHAT WOULD YOU LIKE TO DO?

Input data

> FURTHER DATA INPUT SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Go home

> WOULD YOU LIKE TO RETURN HOME IN YOUR AUTOMOBILE?

Yes

> RETURN HOME SUCCESSFUL

> WHAT WOULD YOU LIKE TO DO?

Go to sleep

> SLEEP SUCCESSFUL

> WOULD YOU LIKE TO CONTINUE PROGRAM?

Tomorrow

> TERRIFIC

> SEE YOU TOMORROW, Brian

>

>

>

—Brad Efford

#443: Cheap Trick, "In Color" (1977)

It was summer and the koi were dying. Almost before we realized we were losing them, they were gone—in a metaphysical sense, that is, because the truth is they lingered terribly, “like an ex-boyfriend,” Cam said, popping her gum. She’d know, because her mom, Ms. Stacy, had three, and an ex-husband too.

We were kneeling at the edge of the koi pond Daddy and I dug before he left, staring at their bloated corpses, shining like the nibs of old highlighters beneath a layer of grief and scum.

“Shit,” I said, and that just about covered everything.

*

We broke the news to Mama in the worst way possible—with a rusty shovel handle through the gut of her favorite gnome. We’d been levering the soft bodies in a fugue, sweating from the sun and their curious weight.

“These fish wouldn’t make it to the underworld,” Cam said. I turned to squint at her through the triangular window at the top of my shovel. Over her shoulder I could see Ms. Stacy’s lace bras drying on the line in the next yard over.

“Whattaya mean? We’re putting ‘em in a hole, aren’t we?”

“Not that kind of underworld.” She sloshed a fish into the grave we’d dug, wrinkling her nose at the squelch. We’d soon churned up a muddy broth in the basin, splashing a terrible soup over the fish in our haste to unburden ourselves. “In Ancient Egypt, they weighed your soul against a feather. If it weighed more than the feather, you didn’t get to go to heaven.”

“They had heaven back then?” I asked. I was pretty sure we’d learned something very different in church, but Mama always said the Bible was open to interpretation. She said “Jesus Christ” when she saw the shattered gnome, and started tutting at us, until I showed her the grave. Then she said “Oh, baby girl.” She let Cam stay for dinner.

*

The truth was, I wasn’t very interested in the underworld, koi or no koi. The pond had been Daddy’s idea; he said fish were “grounded.” I think that was a joke, because it always made Mama laugh when he said it. I’ll bet neither of them ever pictured those great wet beasts in dirt.

Cam and I preferred heights, because Daddy was a climber. Not a social climber, like Ms. Stacy was always chatting on about becoming, but a real one. He travelled all over the world conquering mountains, and then he’d come back to us, wind-chapped and lean all over, like a wolf. Wolves eat fish, I think, but he loved these koi. He said they looked like the sun did shining down on you when you were close enough to touch. He said the sky was just an ocean, and you could swim up it, and break the surface. “Up there,” he’d told me, “all you breathe is stars. That’s all you need. Just starlight.”

*

Mama let Cam stay past dinner, too. We put in a movie, the latest “chick flick” Ms. Stacy brought by. She was always trying to get Cam to wear prettier things, and to go by her given name, Camilla. “Because you’re my perfect baby,” she’d coo, which always made Cam blush, then scoot, faster than any fish I’ve seen driving for the shallows.

The film wasn’t too good. It was called 10 Things I Hate About You, and we ran it on the VCR, the dark, translucent reels feeding sluggishly through the ancient player we’d wired beneath the T.V. That machine was just as likely to eat your tape as it was to play it, though if you wanted to watch a movie, you had to risk it. There was no way out but through.

Well, I sat through it, all right, but things didn’t get interesting until the end, when the man and the woman are kissing outside the car and everything’s lit up in that koi gold, and the music is swelling and you know it can’t last forever, but even just a little while is good enough. Then the camera jumps, and this band, Letters for Cleo, is playing high up on a rooftop, and my heart started thumping, because I knew Daddy would like that, all those people making music up where the air’s so thin.

After Mama found us with the fish she called Mr. Hollander’s garden shop, where we’d bought them. According to his son, who ran the shop when Mr. Hollander was ill, our koi must have suffocated, which is a fancy way to say they drowned. He told Mama they got too big for the pond, so they used up all the oxygen. I wish I’d never seen her face, when she heard that.

*

“Bill,” she’d always say to him. “Bill, you take care out there.” At this point, she was usually crying. Daddy would take her long blond hair and run it through his fingers, so it split into beautiful golden strands, like beams of light.

“I promise.”

“I just worry,” she’d sniff. “I miss your voice. How can you call for help up there? The air’s so thin. You couldn’t even—oh, baby,” she’d sigh. “You couldn’t even call for me by name.”

Then he’d heft her up, like she couldn’t weigh more than a feather, and tumble her into his arms. I knew if anyone was getting into heaven it was those two. But I was so worried they wouldn’t wait for me. They were two balloons, ready to float off the moment you dropped their strings.

*

“Let’s put rocks in her pockets,” Cam said when she woke up and found me crying. “Dirt in her shoes to weigh her down. Your Dad’s too, when he comes back. Where is he now? Peru? I don’t think they’ve got mummies in Peru.”

They don’t. What they have got in Peru is mountains.

We snuck downstairs to the den, where the T.V. screen had lapsed to blue, painting the whole room like it was underwater. Cam and I crouched before the VCR to roll the tape back by hand. In the screen’s blue wash I restrung time in reverent loops and whorls. When we’d gone far enough, we tipped the flap, inserted the tape, and played the final song again, this time silently.

Letters to Cleo were rocking out on a rooftop to “I Want You to Want Me,” while a camera slow-panned past Seattle to the sea. The lead singer tossed bleach bright hair to a soundless rhythm, twitching around in a little black dress Ms. Stacy would’ve killed for.

Even though the T.V. was muted, I could hear her clearly. She was strutting her stuff, working this gorgeous wail, and above her the sky was this wave of color and light. Suddenly, I got the feeling she could see us—that even from her terrible height she knew the dirt under our nails was fresh from burying. She had seen us in our unspeakable hours. She had to know, I guess, but there she was, still singing.

“Hey,” Cam said, after a little while, when the tape had run down again. “You wanna bury me?” She crawled up onto the couch and showed me how the mummies from Egypt lie, and how they cross their hands over their hearts like they’re cold or something. I felt a pang for those dumb fish, without hands or heartbeats or anyone to sing at their funeral. And the one person who loved them so far away he couldn’t hear anything but maybe his own thoughts.

When I knelt over Cam I could feel her stomach trembling, and she was breathing funny, something drawing out of her like a riptide.

“I don’t think I can lie as still as them,” she whispered. The mummies or the koi? But I didn’t ask.

“Stop trying,” I said instead, and squashed down beside her. If I closed my eyes I could pretend the darkness was really dirt, closing us in its warm fist. “We’re safe now.” But inside all this I could feel my heart beating, wild and scared as any dying thing.

—Eve Strillacci

#444: War, "The World is a Ghetto" (1972)

Kept alive only by his alternately strengthening and unraveling adrenaline, Armand has barricaded himself inside the bar. Like a couple of last-call drunks too gone to make it home on their own, two vinyl booths thankfully unbolstered to begin with now lean against the windowless wooden front door. Armand has seen enough movies: he’s made sure the door opens inward, and he’s stacked every box of backstock liquor on the booths until they’ve made a tower he prays is strong enough to last. Daylight struggles through the old tinted windows, enough that he doesn’t need the lights on, enough to sit motionless beneath a table but for the crying and the heaving that every now and then overtakes him.

It’s mostly quiet outside. No: it’s entirely quiet. Eerily quiet. Like, sure, yes, wind, if you listen hard enough, but even that could all be in your head. Armand is past the point of hearing anything at all. Or, conversely, all he hears is wind, constant gusting against his eardrums. He can’t be sure. He tries not to think too much about it. The floor is sticky and his neck is numb from its turtled positioning. His legs are drawn up into an awkward pretzel and after thirty fruitless minutes of hunting for the shotgun he assumed the owner of this bar must have somewhere, anywhere, he is now hugging tightly the aluminum bat he settled for instead. He is too afraid to move, not even to shut off the music. Besides, by now it’s become just another part of his psyche, the soundtrack to his unlikely, hysterical demise.

Either in the process of the end or sometime before the end began, the bar’s CD player was placed on single-song repeat. Who even uses CD players anymore? And who even uses the single-song repeat function? Whose maximum enjoyment can only be achieved with the assistance of a hands-free reliving of one song over and over and over and over and over and over and over and over and over and over and over and over and over and over again? These are questionsand there are a hundred more just like themwhich Armand stopped pondering hours ago. By now, this song simply is. It no longer angers him, or tires him out, or has him wondering if all of thisif any of itis real. He does not know what the song is called, but “Where Was You At” seems like the best guess: the line’s repeated at the end of each verse and several times again during the chorus. The drums are a 1-2 kick-snare devotion to generic beat-keeping. It’s a drum part that would hypnotize you if you weren’t careful; Armand is aware of this possibility because several times since last night it became a reality. There’s a harmonica solo that reminds him of Sesame Street, a memory to which at one point he latched on in a desperate bid to find some semblance of meaning in his situation. It’s kind of a funk song, and kind of a slice of white bread. Somewhere in between.

Armand is very cognizant of the fact that the song is the least of his problems. But again, no: problems have solutions, or are meant to. This is not that. The world outside the bar no longer resembles any sort of world Armand once knew. To say hellspawn now inhabit its terrain is maybe only partially correct. To say everything logical, safe, expected has ended is entirely the case. Armand watched the ground split and watched unspeakable acts occur and watched himself react thanks only to his sometimes strengthening, sometimes unraveling adrenaline.

So he found the bar, made it in, and in the bar he sits. Waits. Clutches the bat. Listens to the maybe-wind behind the song that will never quit recycling.

He must have fallen asleep, exhaustion the only possible explanation, because a sound like a car wreck awakens him. He moves too quickly, slams his head on the underside of the table, stifles a yelp. “Where was you at?” the song keeps asking. “Where was you at?” Armand has no clue for a moment, then remembers. There it is again: the sound, echoey, metal on metal, near the front of the bar, everything much darker now as the day mutates into night. He whimpers and leans forward just enough to catch in his sight the edges of the booths keeping at bay whatever lies beyond the door. Then the bang again, and yes, he confirms it: the booths rattle, shift from their places just a little. The harmonica solo is ending. The drums are not drums, but his heart starting to seize. He can’t tell if his pants are wet or his legs asleep; he isn’t really thinking about it.

The bang, the booths shift, the two false starts to signify the song has begun anew. Where was you at? If Armand were a bolder man, a person with gumption, he’d shake himself loose from under the table, take the bat firmly in both hands, and await the inevitable on his feet. He could run, toothe levels of valor are flexible, and survival would seem to mean just about everything in situations like this. If he were bolder, better, unstricken.

No. Armand is not prepared for this. The world has already ended. He is too late. Where was you at? Where was you at? Where was you at? Where was you at? The door finally comes apart to one last deafening crash and our hero still hasn’t quite figured out the answer.

—Brad Efford

#445: Steve Miller Band, "Fly Like an Eagle" (1976)

Before we took the money, before we ran, the days floated along hazy-like. We got high in Billy Joe’s parent’s basement and drank cans of Schlitz that we nicked from his dad’s side of the fridge. We cut school and played records: Alice Cooper, Ramones, the Stones. We watched TV: All in the Family, Baretta, Columbo.

In the basement, homemade orange and brown plaid curtains hung on either side of the glass door that led to the backyard and we closed them against the view of dead grass, the tiny bit of sky beyond the fence. We liked the way the Texas sun glowed through the curtains and made the room hot. We baked in there. We held lukewarm cans of beer against our wrists, our foreheads, our necks. We kissed the salt off each other’s top lips. We played the same records again and again. Our weeks went by in lazy orbit.

Then one day, we decided to cut loose.

Billy Joe’s dad was asleep on the couch upstairs and we crept past him, slipped his car keys off the hook near the front door. We got into the old GTO and the sunbaked leather burned the backs of my thighs. Billy Joe started the car and we cranked the windows down. The scrub brush and cracked ground blurred on either side of us and I put my fingers out the window, let the wind whistle through them. When I looked over at Billy Joe, he was smiling down the highway and I could see the chipped tooth that made his smile look like it was winking.

*

We ended up in El Paso, in one of the richie-rich neighborhoods on the outskirts of town. We drove through the mansions, the manicured lawns, the fountains with open-mouthed stone swans spurting water. I knew that people lived like this, lived like kings and queens, but knowing that and seeing it were two different things. A small dog on a chain barked at us as we drove past as if he were protecting his castle from us, two dirty bums in a borrowed GTO. That little dog probably ate out of a silver bowl. I bet his hair cuts cost more than mine.

When I squinted my eyes down the row of mansions, they blurred together and looked like blinding icebergs in the sun. We were adrift, Billy Joe and I, floating between them, looking for our own little island where we could land and make a life. Since I could remember, I had been anchored in a dusty patch of nothing. “Billy Joe,” I said, “We’re not going back.”

He looked at me, and the flash of surprise in his eyes hardened into something I’d never seen before. He pulled into the next driveway and cut the engine. “Whose house is this?” I asked.

“I don’t know. All these castles are the same. They all probably stuff their pillows with hundred dollar bills.” He leaned over me and I could smell his skin smell: sweat and dust, marijuana and something a little bit fruity—strawberry, maybe. He opened the glove compartment and took out a gun. Before I could say his name or ask what he thought he was doing, he had the gun tucked into the waistband of his jeans and he had opened the car door and started walking toward a mansion. I watched the back of his white t-shirt, the muscles rippling beneath it as he clenched and unclenched his hands into fists. He approached the door and, to my surprise, the knob twisted and gave. He disappeared into the open door’s dark mouth.

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

Even with the windows open, the GTO grew hot quickly. When I shifted in my seat, the backs of my legs squelched against the leather. I reached up to the rearview mirror and adjusted it so I could see out behind me. The neighborhood was still in the stifling midday heat. Minutes passed. I held my fingers on the burning dashboard until they blistered.

Then I heard the gunshot.

*

I barely saw the heavy curtains, hardly felt the plush carpet sponging my footfalls as I ran through the house, looking for Billy Joe. I finally found him upstairs, still and silent, before an open safe tucked back in a closet. I whispered his name and walked up to his back. His shirt was drenched with cool sweat. When he turned to look at me, he was shaking. The gun was still in his hand. “What did you do?” I asked.

He shook his head and turned back toward the safe. I looked inside and covered my mouth with my hands. Money stacked like bricks reached all the way to the back of the safe, just like on TV. I had never seen so much money in my life. I hadn’t known that stacks of bills like this really existed. “Oh my god,” I said.

A siren keened above us and I heard Billy Joe swear under his breath and start pacing. I could feel his frantic energy searching for a way out behind me. He didn’t realize the answer was right in front of us.

My hands tingled and I started grabbing money and stuffing the bills into my pants. I worked quickly, steadily. I stuffed money into my boots, and then I gathered all I could in my arms and started running for the front door. I heard Billy Joe murmuring a steady stream of “Oh shit, oh shit, oh shit” behind me, but his words gave way and soon all I heard were the sirens and my boots clacking against the concrete as I ran for the car.

When I reached the GTO, I opened the door, and threw the money inside. I looked back and saw Billy Joe standing at the threshold of the mansion. He shook like a small, scared animal. “Get in the car,” I screamed. I dove into the driver’s seat and revved the engine. Billy Joe still wouldn’t move. I banged the wheel with my open palms and yelled at him. “We have to go.” My heart pumped so fast I felt like my head was going to pop off. I could barely catch my breath. I looked at the pile of money beside me on the passenger seat. Then I looked at Billy Joe and shook my head. I put the car in reverse and started backing down the driveway, never taking my eyes off him. The sirens echoed across the valley. Any second now we would see the flashing lights. I reached the end of the driveway. I saw Billy Joe look in the direction of the sirens and his knees began to buckle. Before he fell to the ground, he caught himself and ran toward the car. I opened the door and as he slammed it back shut, I pounded on the gas and we screeched away.

I drove as fast as I could. When I looked over at him, Billy Joe was sliding his fingers along the edges of the stacks of money. I knew that he was thinking about the person he left in the house, the person he left dead. “Hey,” I said, “I love you.” He glanced up at me then, with the newly hardened eyes that I hoped time would soften once again. God knows they changed quickly enough the first time.

This day began the same as our days always did, and then we altered our lives so fast we didn’t have time to think about it. We didn’t plan, we didn’t strategize, we didn’t think of the repercussions. We could only let the blazing sun burn black stars into our eyes as we followed it down the highway. We could only let ourselves be drawn by the magnetic pull of gun to flesh, of fingertip to money. More than anything, we could only sync our strange and beating hearts together, take hands, take the money, and run.

—S. Price

#446: MC5, "Back in the USA" (1970)

We all shared a love of hot rods and big-assed engines.

Wayne Kramer, Please Kill Me

I’m a regular guy, ya know. I want to find a pretty girl. I want to play great music. And I want a fast car.

Dennis Thompson, Detroit Rock City

 

I. HOT RODS

Cars are sex: Pistons, oil, leather seats, grinding gears. Glass, steel, electricity. Gas up, turn on the lights, top down, an orgasmic screech of tires. Cars are America: Industry, chaos, and speed. Some of the greatest American songs about cars are not about cars at all, but about sex (“Little Red Corvette”), some of the greatest American songs about sex sound like they were written to sound like cars (“Lust for Life”), and some of them are quite unapologetically very much about both (“Paradise by the Dashboard Light”).

I don’t know how you could listen to MC5’s Back in the USA and not hear two things: sex and automobiles. The music coming out of Detroit in the late 1960s and early 1970s was conceived in the back seat of a Cadillac; it was the sound of rubber tires on asphalt, hubcaps shining and spinning: the automobile and the road and the slick of oil, dark and foreboding. This is a cleaner album than its predecessor, Kick Out the Jams, more compact and self-contained. Jon Landau’s heavy production hand is obvious, and the band ended up sounding like the engine of a Corvette shoved into the body of a Chevette. It belies the music at its heart, that powerful engine and thrust of the distortion at its lowest end. Listen to live versions of the same songs that appear on Back in the USA“Tonight” or “Teenage Lust” as recorded at the Saginaw Civic Center, January 1970, for example, or Wayne Kramer’s guitar wailing on “Looking At You”and you can hear the release, the shift to fifth gear, the cracked glass, the bending steel. Listen to the live versions and you can hear the entire engine-revving soul of Detroit blowing up and burning out.

The whole album is only 28 minutes long: fast and furious. Like a hot rod. Like a drag race. Like an assembly line. Like a quick screw in the backseat of a car. I mean, holy shit, that’s Detroit.

Holy shit, that’s America.

Illustration by Lena Moses-Schmitt

Illustration by Lena Moses-Schmitt


II. THE AMERICAN RUSE

The American dream being sold in the mid-20th century was the ideal of a family, a house, and an American-built car. Detroit fed that dream off the assembly line, and as MC5 (which, fittingly, started as Motor City 5, the most Detroit of Detroit band names) had front row seats for the exposure of the man behind the curtain as they watched the auto industry crumble around them.

In the 1950s, automobile jobs started to be shipped overseas, and the mostly white middle class fled the city to the suburbs. They left behind a city they considered to be broken, and the remaining citizens were considered to be casualties. This, when combined with the civil rights movement (culminating in the 12th Street riot in 1967, during which 43 citizens were killed and more than 7,000 arrested) and growing frustrations with politics and war, left a city scarred by fear and destitution throughout much of the 1970s and 1980s. The country was on the verge of deficits, industrial meltdowns, inches away from an oil crisis that would put the final nail in the coffin on Detroit’s industry, and the weakening of unions during the 1980s. Detroit was a microcosm of American issues, the canary in the coal mine. And “The American Ruse” was that canary’s song.

“The American Ruse” is about civil rights and war and awakening, but it was fed directly by the Detroit metamorphosis from capital of industry to impoverished rust belt city.

Sixty nine America in terminal stasis
The air's so thick it's like drowning in molasses

I'm sick and tired of paying these dues

And I'm sick to my guts of the American ruse

Phony stars, oh no! Crummy cars, oh no!
Cheap guitars, oh no! Joe's primitive bar, nah!

Rock 'em back, Sonic!

MC5 themselves would eventually be swallowed up by the ultimate loss of the American dream: the heroin epidemic, that potentially deadly hangover from the drugged-up 1960s that would eventually tear the band apart.

The wheel well was beginning to rust, eating away at that beautiful hot rod left out in the rain.


III. BACK IN THE USA

The album is notably flanked by two covers: a fast, balls-out rendition of Little Richard’s romp “Tutti-Frutti,” and Chuck Berry’s “Back in the USA” closing out the album. It’s an odd song to end the album: a feel-good song, jingoistic. Though I can’t help but think that it’s tongue-in-cheek: Rob Tyner singing I’m so glad I’m living in the USA amidst the riots and the poverty and the corruption is a giant sad wink at where the country seemed to be headed; listing those cities that had been duped by the American dream - Detroit, Chicago, Chattanooga, Baton Rouge - was like calling out the names of the dead or dying.

Underneath the wink, however, these songs are driving the band’s engine: to MC5, they're the classic cars, the rides they coveted as kids. When MC5 made a little money, they all bought themselves the dream: a classic American-made car. According to Wayne Kramer in Legs McNeil’s account of the birth of punk, Please Kill Me, Fred "Sonic" Smith “bought a used Corvette, Dennis [Thompson] bought a Corvette Stingray,” and bassist Michael Davis “bought a [Buick] Riviera.” (Kramer’s own dream car was a Jaguar XKE; obviously, he didn’t buy into the ideal enough to deny himself a British import.) This act got them tossed out of the White Panther Party, the anti-racist, socialist party the band belonged to, which had been co-founded by the band’s manager, John Sinclair; buying fancy cars went against the party’s socialist beliefs.

But they wanted their classics, their very own “Maybelline.” To deny them that would be un-American.


IV. KEEP ON ROCKIN’

The city of Detroit partially left behind its car obsession, but it’s still humming underneath the hood: Detroit’s not dead. Detroit today, depending on who you talk to, is a once-vibrant city trying to climb back again, an urban prairie, a blank canvas for foreign investors, home to a revitalized stretch of hipster restaurants, an experiment in urban development, a haven for artists and writers, the carefully tended garden plot of a community of volunteers, a rainbow of colorful paintings on abandoned houses, the hardened and determined faces of those who stuck around.

Detroit is being rebuilt. You can still hear the roll of the wheels out there on the road, like a heartbeat, its soul, not yet lost, not yet rusted away on cinderblocks in the front lawn. Still purring away.

—Zan McQuade

#447: Stan Getz and Joao Gilberto, "Getz/Gilberto" (1964)

“Smooth” is a pejorative word in jazz. It’s what we call the numbing muzak in our elevator purgatories. It’s what we call Kenny G and John Tesh, who have inexplicably made careers by making music no one likes. It’s the stereotype, the simulacrum, the straw man for people who hate jazz, or don’t know jazz, or once heard a song with too much horn when they had a headache and thought will someone please turn that shit down.

But what else is there to call Getz/Gilberto, the landmark 1964 album by an unlikely team of collaborators, but the birth of smooth? Stan Getz’s tenor sax melodies are so slurred and reedy that he wills us into a Don Draper lounge fantasy. Antonio Carlos Jobim’s piano chords are legato, coy. The sparse drumming by Milton Banana (what a name!) is wispy, incidental, barely there. Joao Gilberto weaves the whole thing together, as his inimitable guitar comping supplies our only semblance of a bass line and propels each tune’s distinct Latin rhythm. His vocals, and that of his wife Astrud—an intuitive and airy singer—unify each musician’s efforts and solidify the album’s sexiness, even though their heavy Brazilian accents render certain lyrics unintelligible.

Getz/Gilberto might be the only record on earth where there isn’t a single song, not one track, that you can crank. Someone would tell you it didn’t sound right. Someone would tell you to turn that shit down.

*

We played no jazz during the first two years that I was a member of my high school jazz band. Having switched school districts just weeks before I started ninth grade, I flocked instinctively to the small cadre of misfits who used the ensemble structure as an excuse to noodle and jam. Whenever a school concert loomed, we’d get our collective act together and pick the least offensive charts out of the school’s sheet music cabinet so we could play two or three tunes—mostly pop-rock songs from the seventies—for our parents. I don’t remember much of my first year apart from wishing that the guitarist would hurry up and graduate so I could take his place and make the switch from trumpet, an instrument on which I came to project my frustration with my own musical limitations. My most vivid memory from my second year is the session where I had to explain over and over again that I would never get the Shaft riff to sound right because I didn’t own, and couldn’t afford, a wah pedal.

It wasn’t until my junior year that the school hired a young Marine trumpeter to serve as a part-time jazz instructor. His presence, coupled with my switch to bass, gave me my first real taste of jazz from someone who had a working knowledge of, and passion for, the genre. Most of us heard Miles Davis and John Coltrane for the first time. Our drummers experimented with brushes, while our horn players explored how to manipulate their sound with mutes and plungers. Vindicated, our urge to rock roared out when we traded eights on “Watermelon Man,” which was our reward for muscling through Brubeck’s “Take Five” in its quirky 5/4 time signature. After years of music education in the public school system, this crash course in jazz was finally teaching me the power of subtlety, the nuance of tone, and the importance of responsiveness. Our jazz man only lasted one year (Was the pay too low? Did that party where he let us watch Stripes get too rambunctious?), but my conversion was complete. While the Jansports genuflecting before narrow lockers wore patches for Cake and Garbage and Third Eye Blind, I spent my senior year consecrating a new catechism. Wes Montgomery. Herbie Hancock. Sonny Rollins. Stan Getz.

*

When did the sixties begin? 1959 sank and 1960 dawned, sure, but for those of us who didn’t live through those years, it’s hard to reconcile the tumultuous political upheavals and hippie clichés that eventually emerged with the bobbed hairdos, bikini beach blasts, and bubblegum doo-wop that bled over from the previous decade, oblivious to our fiction of time. I suspect that the Kennedy assassination in 1963 was the chief catalyst for the various social and aesthetic transformations now thoroughly engrained in our national iconography and myths.

On March 18th and 19th, eight months before that grim day in Dealey Plaza, Getz, Gilberto, and Jobim sat in a cramped New York City studio and made a jazz masterpiece in 48 hours. The lone black-and-white photo gracing the album’s inner sleeve captures the scene: three clean-shaven men in early-middle age with dark cropped hair and collared shirts. Getz is the only one without a tie. They look like accountants at tax season who, working late one evening, took an impromptu break to relieve their mounting stress.

In the original liner notes, Getz wrote that “unpretentiousness, spontaneity and the poetry of honest emotion belong back in jazz.” Read in context, it’s clear that he’s grinding against the impulse for harder bop and stargazing improvisation. The critic Gene Lees remarked with prophetic authority in these same liner notes that the record captured “a strangely appropriate blend” and that “anything so valid had to survive.” Even though it arrived during a smallish bossa nova fad, the purposefully sensual ambiance of Getz/Gilberto rejected the larger trajectory of the moment in which it was made, and its very rebelliousness make it a sixties record. And yet, its reinvigoration of the simpler melodies and relaxed tempos that marked cool jazz nearly a decade earlier make it nostalgic for post-war normalcy. Like all great art, Getz/Gilberto defies easy categorization and remains a kingdom unto itself. Like all great art, I marvel that it exists.

*

One Saturday morning I refused the groggy pleas for cartoons. My young sons—then two and four—sensed in the pre-dawn haze that I was hardly vertical, and that anything I said was likely to come out as a growl. My wife, obliterated and finally sound asleep, had been ripped awake a half-dozen times throughout the night, cajoling our little tussler to quit whimpering and please, give it up and rest. So we three boys exchanged nothing but a few telegraphic whispers. I turned the blinds for light that wasn’t there. I lit some candles. Lucky Charms. Orange juice. My mug made dull clinks as the coffee spoon swirled cream and sugar into steam. Standing by my clunky, gargantuan turntable—the one my father bought from his father, a Sears salesman, before I was born—there was only one record I wanted. I wanted it low, barely audible, an atmosphere. I wanted its warm hiss to bring us back.

—Adam Tavel

#448: The Police, "Synchronicity" (1983)

I know a thing about obsession, and the kind of love a person should be embarrassed to admit to. I know about being eviscerated, those selfsame rhythms, offering myself up again and again. I know a thing about confession.

A couple weeks ago, I stayed up with someone I love, and when it got late enough, the snow that was supposed to come started falling. We watched it caught in the porch light through his kitchen window. I stood in front of the table by the window and he stood beside me, and we didn’t touch and neither of us spoke, and what I felt in that moment was the most tenuous sort of awe, at how perfect that moment was, and that night, and how sad it was that it would pass. How sad, how sad: all the things we cannot keep.

“Every Breath You Take” is one of the first songs I remember being confused by. I couldn’t figure out if it was romantic or unnerving, and I got the feeling, as I listened, that the singer should be embarrassed by the force of his desire. It seemed, certainly, like a love song, but not one I’d like to have sung to me, or one I’d like to sing myself. I couldn’t tell if we were supposed to identify with or feel sympathy for or pity or fear him—the answer, I realize now, is yes. Yes and yes and yes.

When we write, when we create, we both are and are not ourselves. We could never fit all of life onto a page or into a song: tensions are identified, amplified, and a character is built, and an arc is chosen, and then the art takes on its own dimensions and its own identity. We understand: love, sometimes, makes stalkers of us, and this is the story of the song but it’s not the whole story.

Last night, I smoothed his hair across his forehead, and very, very softly, I insisted: You can’t hurt me anymore, when you say you don’t want me I simply won’t believe it.

I know this is, in some ways, deranged, but is it not also human, to sometimes be unhinged by the strength of one’s own feeling, and what is love if not a kind of faith, and is there anyone who truly knows where lies the line between faith and delusion?

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

I spent a lot of time wondering about love before I ever loved anyone, and I’ve spent a lot of time wondering about love after having loved, and I spend a lot of time wondering about love when I’m in love, and when I think of people, of human nature, of the grief and the solace at the center of our lives, I think of love. I wonder if this is absurd. I wonder if this is a character flaw. I wonder why it is, that I’ve always seen the world like this: there is the love, and there are the things we do to fill the space around and between the love. It is the love that pains us, but it is the love that makes us whole.

I want to apologize for my romanticism; this is how I’ve always been. My happiness is unbearable and my loneliness is unbearable and my boredom is unbearable, and sometimes I hate my own extremism, my dramatics, my sensitivity, my inability to maintain an even keel—but it is, mostly, I think, a blessing, to feel so much. To be vulnerable and to be alive.

I wonder, even now, if I’m misreading the whole thing—if I identify with the song but shouldn’t, if I feel a pang of recognition at that ugly sort of desperation that I shouldn’t feel or, if I feel it, admit to. But we all hold within us some ugliness and some desperation and a good deal of fear, and there is comfort in that, I think, to identify with one another through our imperfections. And it’s a good thing, the art that unnerves us because we recognize our own flaws within it. That community is a comfort: if we must sometimes be ugly and desperate, we must sometimes be ugly and desperate. Let us admit it. And so we forgive ourselves, and forgive the ones we love, and forgive the world for its difficulty and forgive our lives for their countless imperfections and we go on and on hoping for the best and the good things come and the bad things come and the good things come again.

—Katelyn Kiley

#449: Big Star, "Third/Sister Lovers" (1978)

I.

…that night, David came home and watched his brother shoot up. It wasn’t David’s intent to watch Chris shoot up, he simply came home, walked into his brother’s bedroom and saw what he saw—the end of a rubber strap in his brother’s teeth, the needle breaking skin. In such a situation, what can a brother do? He can let it happen then send his brother away, to France, to…

II.

…broke up before naming the album. The album is an orphan: nameless, bandless, and with no true track listing. Some say it’s Alex’s solo album, and maybe they’re right. It’s a lost album, born of booze and pills, deemed uninteresting and unmarketable by all the labels who heard it. Deemed too grim, too disturbing until it was found and disseminated four years later by…

III.

…that Chris left Big Star because of the frustrating failure of #1 Record, which, despite positive reviews, was a commercial flop. Chris breaks down. There are fist fights, attacks, broken windows. When the dust settles, Chris is at Mid-South, psychiatric and rehab, and Big Star is…

IV.

…sings, “Jesus Christ was born today / Jesus Christ was born,” and it isn’t quite a Christmas song, and it isn’t quite southern religion, and nobody quite knows what to make of it, but there it is, smack dab between “Big Black Car” and…

V.

…meets with Alex, wants to help his old friend fix the wrecked album that nobody wants to release. Maybe a new running order, brighter production, a few swapped-out songs. Chris and Alex also talk about maybe collaborating together, again, but…

VI.

…is sixteen, he records “The Letter” with The Boxtops. In 1967, the song becomes a massive hit around the world. See him lip-synch on Up Beat, that tambourine, heartthrob thigh-slap. See his sly smile, acknowledging the absurdity of the non-performance. See that sultry-eyed, pout-sing of angular face—more twenty-six than sixteen—framed by waves of brown hair. In the eyes of the marketplace, this is his peak. A few years later, Alex leaves The Boxtops and meets Chris at Ardent, in Memphis, who…

VII.   

“…night I tell myself
‘I am the cosmos, I am the wind.’
But that don’t get you back…”

VIII.

…convinces the members of Big Star, excluding Chris, to reunite for a convention of music critics. Richard Melzer introduces the band: “Well, puke on ya momma’s pussy! Here’s Big Star!” And the critics adore them. And Big Star is reborn. When the band goes to work on what will become Radio City, there are songs that belonged to Chris, they are absorbed...

IX.

...unfortunate, and jarring use of “holocaust” as an adjective, as if that word somehow hadn’t been imbued with horrific connotations by the weight of history. He sings, “You’re a wasted face, you’re a sad-eyed lie / You’re a…”

X.

...the time David flies Chris to Europe, he has already recorded “I am the Cosmos” and “You and Your Sister,” the latter of which includes contributions from Alex on backing vocals. Most of the rest of what will eventually become Chris’s posthumous solo album, I Am the Cosmos is recorded on this trip, at the Chateau D'Herouville in France. Maybe Chris knew that, back home, back across the Atlantic, Alex, too, was recording new songs, that, too, wouldn’t be…

XI.

…records songs obliterated on whiskey and Mandrax then comes back to the studio in the middle of the night to fuck with what he’s recorded. His girlfriend is a senior in high school. She helps write, records some vocals, most of which are long gone. Sometimes the couple’s fights turn physical. One night, they are found…

XII.

…songs are a mix of sad-sack, songs of unrequited love, sad-sack breakup songs, sad-sack songs about depression, and not-so-sad-sack songs about spiritual salvation. “Look up, look up,” Chris sings, “He’s the light.” Chris sings, “Waiting to love you / Waiting to…”

XIII.

…there was the tour that prefaced the recording of Big Star’s third album, the East Coast tour where the gigs that weren’t cancelled were barely attended, and Alex…

XIV.

…of accidents happen within a mile of one’s home or…

XV.

...a big year for fans of Big Star, as it saw the release of an alleged, “intended” version of the album, now called Third/Sisters Lovers, as well as the release of Chris Bell’s I Am the Cosmos, two albums, lost and failed, tentative and parallel, drowned in the murk of whatever foul hex hung over Big Star and Alex and Chris until market forces and time allowed

XVI.

…the “album’s” release, Chris wraps his Triumph TR-6 …

XVII.

…sings, “Get me out of here / I hate it here.” On “I Am the Cosmos,” Chris sings, “I’d really like to see you again.” On “Big Black Car,” Alex sings, “Driving in my big black car / Nothing can go wrong.” On “There Was a Light,” Chris sings…

—James Brubaker

#450: Jackson Browne, "For Everyman" (1973)

For Everyman opens with a small surprise that time has sharpened: a cover of the Eagles’ “Take It Easy.” Not a cover, exactly, since Jackson Browne co-wrote it with Glenn Frey and was entitled to joint custody. But the Eagles had already hit with it, and the verdict of four decades has made it even more emphatically theirs. So now it is a pleasant change of pace to hear Jackson’s version, even if the song doesn’t quite fit him. Lighten up while you still can? Don’t even try to understand? That’s not what we look to Browne for. We want him to take it seriously, think deeply about it, and turn it into easy (but not too easy) listening. And so he does. His version of the song is more taut, less exuberantly soaring. Those Eagles three-part harmonies are gone, replaced by two-part harmonies on the chorus that are full of open-sounding fourth and fifths and that feel less confidently jubilant, more anxious. The minor chords sound more prominent here, and the giddy, banjo-fueled coda of the Eagles’ version is gone, replaced by a slow fade that doesn’t quite fade but instead segues into the next song. The two songs overlap, in fact, although they were apparently recorded separately, with different musicians. It’s a neat trick, one Browne repeats at the end of the album.

That second song inhabits more familiar Jackson Browne terrain. “Our Lady of the Well” finds him measuring the distance between himself and Mariaan ex-lover?between his life and hers, his country and hers. She is presumably Mexican; he has come across the sand to find her among her “people in the sun / Where the families work the land, as they have always done.” He views her life sentimentally but realizes that his “heart remains among” the people he has left behind, and he must return to them. Not that we expected him to stay and work the land. Still, we are glad he has gotten some perspective on his life, and the song ends with a promise to show her what he has made: “It’s a picture for our lady of the well.” All’s well that ends well.

Or not quite, because the next song opens with an ominous, modal-sounding, sequence and our hero seems to be trapped in some kind of dreamscape (“Picking for a coin / Many other tiny worlds / Singing past my hand.”), or maybe still in Mexico (he says goodbye to Joseph and Maria at one point, suggesting some connection to the previous song). I can’t make much sense of all this, but the chorus is pretty, and Don Henley contributes some lovely high harmony. He is buried in the mix, however (revenge?), so that one cannot recognize his distinctive voice.

Next comes “I Thought I Was a Child,” which opens with a delicate piano solo by Bill Payne of Little Feat, joined eventually by David Lindley’s guitar. When Browne enters, however, his vocal sounds flat, both in terms of pitch and emotion. One notable feature of Browne’s pre-Pretender albums is how little reverb there is on the vocals. It is as if, striving for directness and honesty and bareness, he has eschewed all studio trickery. But here the vocals could stand a little beefing up, and anyone who knows Bonnie Raitt’s slightly slicker cover of this song (also 1973) feels again the inferiority of Browne’s versionor, perhaps, feels the absence of a producer on For Everyman.

Side one closes with a statement of sorts, a version of “These Days,” written by Browne at age sixteen and first recorded by Nico in 1967. On her Chelsea Girl it is an arty, folky ballad, with finger-picked guitar, a string quartet, and Nico’s flat, affectless delivery. That brittle take on the song is replaced here by a slower, more soulful arrangement that the album announces is “inspired by Gregg Allman.” Allman had covered the song on his 1973 solo album Laid Back, and I guess Browne liked the arrangement and copied it. It doesn’t quite come together for me as an anthem, although the interplay between Browne’s voice and Lindley’s slide guitar is compelling–something like what you get with Ron Wood and Rod Stewart on Rod’s first few solo albums. And the song moves prettily, poignantly back and forth between its major and minor chords. The best moment, though, comes with the song’s last words: “Don’t confront me with my failures / I had not forgotten them.” But the final minute and a half of slide-guitar noodling is anti-climacticpure self-indulgence on Lindley’s part.

Side two kicks off with “Redneck Friend,” one of what Nick Hornby has called Browne’s “limp, hapless, thankfully rare attempts to rock out.” I find this rocking out perfectly convincing, however. Jim Keltner is unimpeachable on drums, and Elton John (a.k.a. “Rockaday Johnnie”) does his best Jerry Lee Lewis impression. Lindley’s slide guitar is laid on thick, but it doesn’t weigh things down, and Browne plausibly simulates someone capable of shaking, rattling, and rolling on down the line. Like Springsteen’s “Rosalita” (also 1973), the song invites a young lady to escape from her stifling parents and take off with the singer. I have some fears that “Redneck Friend” is an allusion to Browne’s penis“Rosie” on Running on Empty shows how he enjoys a penis jokebut maybe it’s just an invitation to hang out with Don Henley.

At this point, the rocking out ceases and we are back in mellow-ville. “Afternoons of smoke and wine” is a phrase from Browne’s first album, but I always associate it with “The Times You’ve Come.” This is another song that takes stock of an off-and-on romantic relationship; the details are not important. What matters is the bridge, in which suddenly Bonnie Raitt appears and harmonizes on the following lines: “Everybody’s going to tell you it’s not worth it / Everybody’s got to show you their own pain.” The final verse takes (again) a displeasingly post-coital turn (“Now we’re lying here / So safe in the ruins of our pleasure”), and one begins to suspect a pun on “come.” Yuck.

The puerility of such a pun, if there is one, sets the stage for “Ready or Not,” Browne’s supremely callow ode to an unplanned pregnancy. I hope the callowness is deliberate or “ironic,” but I doubt it. Still, the song stands as an artifact of casual seventies sexism and as proof that, even in the year of Roe v. Wade, abortion was not a viable outcome for characters in pop songs. Fortunately, the woman ends up “feeling better about it all the time,” and she willingly exchanges “all of her running around” for “some meaning.” By the song’s end, even the singer, who identifies himself as “a rock-and-roll band man,” is “thinking about settling down.” Isn’t that big of him?

From the ridiculous to the sublime. For Everyman’s penultimate song is my favorite. It’s the shortest song on the album, and it is somewhat overshadowed by the title track into which it segues, but it is a marvel of quiet intensity and aching lyricism. The ominous, brooding opening sounds a bit like that of “Darkness on the Edge of Town,” and while the song mostly just moves back and forth between two chords, the textures and flourishes are gorgeous. Is it just a coincidence that Joni Mitchell and her sometime-bassist Wilton Felder are playing on this cut? No. Her sinewy, barely audible electric piano is an essential dramatic element, especially at 2:22 when the song introduces a surprising new chord, and Joni provides a sly, ascending line to ornament it. She steals the show.

For me, at least, though probably not for every man. When an album’s last cut is its title track, you know you are in for a Statement (e.g., “The Pretender”). “For Everyman” provides it, one of Browne’s several meditations on the imminent earthquake/apocalypse (see also: “From Silver Lake,” “Before the Deluge,” “The Fuse”). It’s a nice mid-tempo number, with beautifully understated harmonies from the redoubtable David Crosby, and cascading drum fills from Russ Kunkel (we’re deep in James Taylor country here, with Leland Sklar on bass as well). What is the song’s, the album’s message? Something about everyman. Unlike in the medieval morality play of that title, Everyman here is more of a messiah figure than a representative of you and me. Or maybe they are one and the same? If he were writing for every man instead of waiting for him, it would make more sense. But when we’re easily listening, we care less about the sense than the sound.

Will Pritchard

#451: Amy Winehouse, "Back to Black" (2006)

I can’t think about Amy Winehouse without thinking about relapse and that terrible, rotten word, “potential,” a word I learned by context and repetition as my mother would shake her head in rueful wake of her marriage to my father. “He was really just so full of potential,” she would say, and press her lips together in a grimace shaped like a smile. “It’s really such a shame.”

Writing about addiction sucks. It’s a disease rife with campy sex appeal, a black star for dabbling survivors and the minimum amount of fodder that might make someone feel like they’ve got a real story to tell. And a rock star? A tragic love for that strung-out, cat-scratched husband? It’s the trifecta of cliche, nothing but booby traps. Because to talk about Amy Winehouse isn’t just to talk about her rich, dark voice, a sound all fire and smoke. She wasn’t as obsessed with her voice as we are: there’s endless footage of her producing a sound that would be face-flexing, soul-emptying, scrambling-the-cosmos kind of work for Adele, Beyonce, Sarah Vaughan. But she standsor, more often than not, sitswith that tiny, jerky jig in her shoulders and looks, on good days, bored; on bad days, comatose. Talent wasn’t her whole story.

There’s a school of thought that believes in parsing the artist from the art, and there are times when you’ll find me really digging in my heels on that side of the fence. But if there was ever an appropriate time to conflate a personal life with an album, it is Amy Winehouse’s Back to Black.

The album wrote itself, she said, amidst the wrenching ache of her not-yet-husband leaving her for his former girlfriend. She wanted to die. The songs cover the range of an off-and-on, drunken love: the messy spectrum of emotions, the contradictory ebbs and flows, all with a striking mix of a poet’s economy and precision for language. Lines that demand “What kind of fuckery is this?” and announce that “nowadays you don’t mean dick to me,” blend seamlessly into gut-wrenching soul even if the lyrics stand stark on the page. They’re honest, blunt words, exactly the sort you would use in the throes of reconciling a complicated break-up on the phone with your friends. Slang wedded with Motown, with a fresh R&B sound could be cheeky, if it wasn’t for the palpable anguish. “He left no time for regrets / kept his dick wet / with the same old safe bet,” opens the title track, a song that cuts to the quick for anyone who’s been left before. In the pause preceding the chorus break, with percussion like a heartbeat, she sings, “You go back to her / and I go back to black,” repeating “black” with the haunting resignation of someone realizing her own worst fears about herself. I’m gutted every time I hear it.

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

We have established specific methods with which to talk about love in songwriting, and Amy Winehouse ignores them completely. There is no timelessness, no buffing out details to make anything more universally relatable. My favorite example of this is “Just Friends,” a song that makes no strides to clear up the exact nature of a relationship that seems to involve at least another woman (“the guilt will kill you / if she don’t first”), and several people in the same living space (“it’s always dangerous when everybody’s sleeping”). But for anyone who has ever struggled with establishing a platonic nature with someone “off limits,” there are multiple parts of this short song that ring utterly on-point: diction about “safety” and “danger” when the stakes are simply whether or not to have sex; the seemingly conflicting but not mutually exclusive sentiments of “I’ll never love you like her” and “I wanna touch you; but that just hurts.”

Winehouse’s inclusion of drugs in her songwriting isn’t exactly flipping the bird at popular songwriting law, but it is certainly notable. Neither party favors nor jokes, drugs are the domestic stuff of her life, both the basis for a fundamental crack in the foundation of a relationship (“I love you much / it’s not enough / you love blow and I love puff”) and as ubiquitous and expected as furniture. In“Addicted,” we have a woman defiantly embracing her loneliness, in a classic stage in any burned lover’s recovery arsenal: to seize one’s abandonment and make it a choice. But she’s not really alone, not when she’s got something more potent and satisfying than any man had ever been: “Don’t make no difference if I end up alone / I’d rather have myself a smoke / my homegrown / it’s got me addicted / does more than any dick did.” Here, drugs aren’t just props; they’re supporting characters.

She’s been labeled a diva because to hear her sing is to be in the presence of a glorious,  all-powerful queen: she is Aretha, Etta, Galadriel. And that teased-out, streetside Cleopatra look? I can see how you could read it all as ego. But the truth is she really didn’t give two fucks about fame. She was increasingly flippant about her talent, acknowledging it as any domestic party trick, like being able to fold a fitted sheet into a perfect square. She didn’t seem to realize or care about the heft of the commodity she possessed—even half-pissed and wearing the same ratty ballet flats and street clothes she was photographed in for a week, she could stand up on stage next to Mick Jagger and be a typhoon of sound. Drug use is supposed to catalyze confidence: how many times have we heard a celebrity on a substance-fueled rant about how critical they are, how vital! Doesn’t the high make you immortal, light all your fires of self-importance? Blaze all the guns and beat every drum to the endless beat of yes yes yes. But when asked if she would be sorry to give up touring and making records in a 2007 Rolling Stone interview, she only shrugged: “I don’t want to be ungrateful. I know I’m talented, but I wasn’t put here to sing. I was put here to be a wife and a mom and look after my family. I love what I do, but it’s not where it begins and ends.”

A few weeks ago, my high school crush blew up Twitter with news of his overdose. I hadn’t kept up with him personally, but I watched the TV show he wrote for and cheered every time his recurring character, a dopey caricature of the sweet stoner boy I used to know, came on screen. In the days following his death, interviews surfaced where he spoke candidly about his addiction: it wasn’t a secret, featuring heavily in his standup material, but the interview I listened to was during a season of sobriety, humorless and straightforward. “I’m still trying to value my life,” he said. It’s almost surreal to hear someone say that so candidly, particularly someone whose life seems to overflow with everything we consider valuable: talent, success, fame, a thousand Twitter followers. But for me to assign worth to what I think did and didn’t matter in his life is insanewe each have a list of what enriches us, what makes us whole, regardless of what anyone else might value on our behalf. And to add a substance dependency into the mix is to throw the whole game into wild terrain. “The thing that happens with opiates if you stop taking them is you get fucking sick,” the interview ends. “...Now it’s like, oh I have to do this, I have to take drugs, or I’m not well.” To dismiss this as some weakness of character, some lack of discipline, is a reckless affront to our humanity.

What I hate about this notion of mourning the loss of someone’s potential is the idea that we as collective strangers could decide anything about this one woman’s life trajectory. It’s an infinitely judgemental way of dismissing the most straightforward and bald facts of a human reconciling her own existence, her own way. To say it’s such a shame that a woman who could do one thing well didn’t do it for fifty more years is to dismiss the work she has produced, not to mention her individual life as she lived it, her own loves and needs and struggles. “I wish I could say ‘no regrets’ / no emotional debts / and as we kiss goodbye the sun sets / but we are history,” she wrote, a comment on the endless forward momentum of living that feels, in the wake of her death, apocryphal. Maybe it’s a kind of coping, to lament the loss of this talent. But I also suspect there is a grain of deep disrespect for an individual’s immense and whole self, all the parts that swell and recede, that break and sometimes don’t repair. We cannot mourn the loss of some cloud-vision of what a million strangers have for an individual’s applied talents, not when we have albums like Back to Black to take us in, and cover us up.

—S.H. Lohmann

#452: John Prine, "John Prine" (1971)

           2. May, 2011 / Missoula, MT

We all eventually become whatever we pretend to hate.

—Chuck Klosterman

 

There is much more preparing to be done than you once would have expected. Here is what you once expected: to move delicately and with nothing but triumph into graduate school straight from your small southern undergraduate haven. To get into a top-tier writing school. To, you know, have it made the way you wanted it made.

But there is much more preparing to be done, now that the last rejection letter has arrived. I.e.: plan B. I.e.: who knows what now. You start at the basics: you’ve lived in the spectacular, confused Commonwealth of Virginia your entire life up to this point, so maybe it’s the right time to split. To get some perspective. You apply to occupations in all the places that seem the most opposite while remaining U.S.-bound (for family, significant other, fear of the foreign, name it): Washington, Idaho, Wyoming, Montana. Phone calls, applications. Two months later, you’re landing in Missoula, starting work next week.

You don’t know a soul; your roommates come care of Craigslist, the kind you might speak to on the phone just once before agreeing to the lease. Which you know a little about, because that’s what you’ve done. The airport taxi driver’s kindhe reminds you that this city’s the eleventh most difficult in which to find a job right now. But, he saysbut!when you visit, you might not leave. This man’s warped optimism is intriguing. You’re nervous for this new weird part of life, but still it feels right. Maybe necessary.

Missoula proves to be wide open and astounding, a city nestled on all sides by mountains that loom but welcome with gracious simultaneity, a college town that somehow avoids making year-rounders feel overrun. The strangest part is ironically the most familiar: a hungry, healthy music scene that’s all Appalachia, banjos and mandos and jaw harps. There’s an annual folk fest, local bars with house bands that don’t need amps. For you, right now, living this life, it’s everything you needed without ever imagining you might.

At this point, your own time in a band has come grinding to a halt. You had had differing ideas from your best friend and bandmate, and handled it poorly. He is still making music, album after album of smart, meaningful folk-rap recorded in analog and distributed hand-to-hand, but you don’t regret your absence. You can’t. You weren’t right for where it was headed; in the time since, you’ve taught yourself some hybrid of fingerpick ukulele-style guitar and you sing country songs sometimes on your porch like a stereotype and you’re content. Missoula, too, is perfect for this different kind of worthless noise, this sending soft acoustics into the big sky and thinking about a whole slew of nothing.

Illustration by Lena Moses-Schmitt

Illustration by Lena Moses-Schmitt

It’s unexpected, the way this becomes the perfect place to discover all the songs you once believed you had no space to take in. That is to say, all your dad’s old music: John Prine, Marty Robbins, Jackson Browne. Tapes he’d burn through in the Saturn, which turned into discs he kept his fat leather CD wallet meticulously stocked with. You’d slip your Discman on as soon as you were able to, in those years, turn the punk rock up to drown out “Sam Stone.” Why, then, is the song so wrenching to you now? Why, now, does your father’s life’s soundtrack come drifting to you? Who have you become?

For one, you catch on quick to John Prine being punk rock in ways people never admit but everyone who takes the time to pay attention understands. That is to say, in the same ways Dorothy Parker and Randy Newman and Stephen Colbert are punk rock: sneering, sarcastic, deceptively formulaic, still somehow thoroughly appealing. Prine’s first album seems like a bunch of country-folk Gram Parsons stuff, and from the outside, that’s precisely what it is. The thing’s predominantly acoustic; there’s pretty much no drums. Dude’s in all denim, sitting on a haystack on the album cover. For years, it pretty much screamed DAD. But listen closer, and the songs are rotten from the inside out, all wasted promises and heroin addiction and old folks left to die alone. The record’s biggest love song is mostly about masturbation. It doesn’t take long to get it: this guy’s pissed off, desolate, and holy shit is he a damn fine songwriter.

Your dad’s a good man. Chatty, easygoing, and above all else, more and more supportive as the years go on. You don’t really need Prine in the way some sons or bitter writers might need a connector to get closer to their fathers; as your Virginia-bred father’s father might put it, y’all solid. But all the same, you’ve come to the music when it seemed to suit you best. It feels like home, like memory embodied in a single nasally voice, like all the time you spent blocking things out you only wasted. When you’re home from Montana for Christmas, you tell your dad you’ve burned some of his CDs and can’t stop listening. Oh yeah? he says. I love that stuff. Simple as that.

Late spring in Montana is early summer elsewhere. The snow’s mostly melted by Memorial Day, and though the nights still bluster, it’s a far more familiar flannel-and-jacket kind of chill, warm enough at least to have a beer on the back deck and pick at your guitar. Which you know a little bit about, because it’s exactly what you do. Your roommates, four women, current or ex-trail maintainers for the state’s Conservation Corps, very funny, very badass, want you to play something they can sing. No, not just something: John Prine’s “Paradise,” a sort of “Big Yellow Taxi” for the far more jaded. Someone brings out her laptop to get the chords and lyrics just right, another her mandolin to play along. You don’t like to sing, hardly play music for anyone in any form much anymore. But this is a good song and these are good people. The backyard chickens peck at the ground, the housecat stalking them with questionable intentions. By August you’ll be gone, back in Virginia at summer’s end, and yes, it’s true: grad school bound. But wouldn’t it be nice to stay like this forever? Sitting here, ensconced by mountains, stumbling through folk songs and turning slowly, happily into your father? Wouldn’t it feel right to keep growing old forever?

—Brad Efford

#453: EPMD, "Strictly Business" (1988)

  1. October, 2004 / Annandale, VA

There is much more preparing to be done than you once would have expected. You’ve rewired a half-busted mid-size Marshall so you can play a mini practice amp straight through it. This is to say, when you modulate the smaller unit’s treble knob, the sound emanating from the Marshall is a dying ghost horse, a 5-0 cruiser with a shattered siren, an infant from the seventh circled recesses of Hell. Amp-fed feedback driven in a loop through a series of cords you have to diagram to be able to have any chance of replicating. It’s Metal Machine Music with some semblance of slight direction: you tie a rope onto the practice amp so you can sling it around your neck and play it like a bona-fide instrument. Like a real musician. You try it out, twist the knobs, revel in the squealing, invent your own kind of rock star, be him for a minute.

The show’s outside on a cold Friday night in November. Some senior with a back deck and parents in absentia. Like usual, there’s no game plan. You’ll go, improvise noise, get the crowd writhing, shout non-sequiturs through a microphone. Your crew’s got certain prereqs that have led to certain notorieties: always play first, never play for longer than fifteen minutes, let join anyone who wants to, make a lot of fucking noise. The other bands on the bill are both local and visiting, a mix of the familiar and unknown, which means half the kids here have experienced your shows before, and half have no clue what they’re in for.

For what it’s worth: Ol’ Dirty Bastard has just died of an overdose of cocaine and tramadol. You are sixteen years old and spend most of your time either working at a record store, buying CDs, or poring over liner notes. Sometimes, you make lists of your favorite albums or manipulate walls of feedback in your room until your stepmom pounds on your door. You’ve discovered Merzbow and Captain Beefheart, Ayler and Fahey and Kool Keith. And 36 Chambers. You debate the verses every chance you get, pick apart ODB’s the most. His death is unsurprising but enormous. It leaves a hole that you know can probably never be filled; such is the way with iconoclasts.

Illustration by S.H. Lohmann

Illustration by S.H. Lohmann

You’re new to hip hop, but gobbling it quickly, finding the pockets that stick with you the most. Post-Rakim crews and duos, mostly, EPMD to Tribe to the Pharcyde. Very soon, your band will largely forsake the trappings of noise for turntables and samplers and a used 808, sometimes writing rhymes, sometimes improvising for the hell of it. You will never excel at thisat any of it. You’ll think back fondly to the anarchy of this show, of tonight.

There is no beginning, in any logical sense of the word, to tonight’s performance. A guitar is strummed to make sure the amp’s on. You push a button on the toy casio you’ve been assigned for the night to get a generic pre-programmed drumbeat going. It might sound something like a samba in any other context. Someone’s on the amp-to-amp feedback machine you helped craft just nights beforeit starts up, and the volume is enormous, almost hair-raising, undeniably electrifying. You’ve taken over the high back deck while the crowd mingles on the lawn below, some laughing, some strained, some slamming together in some semblance of a mosh pit. For the next ten minutes, you will change the drumbeat with no discernible pattern and play notes when or if ever you feel like it. What you do, mostly, is irrelevant, though necessary, the structure of the band such that the only implied rule is to do before thinking, to follow the stream in any direction. For a sixteen-year-old, it’s nothing less than magic. And somewhere around the midpoint of the show, the rabbit’s pulled straight from the hat.

It begins benignly enough. A new beat has settled in behind glistening guitar feedback and a running tape of animal sounds, a slower beat, if not danceable then definitely, maybe, grooveable. Your best friend and frontman gets on the microphone. All right, so you know that this is all about ODB, he intones, pausing only long enough for you to catch the invisible cue to start playing a worthless two-note keyboard riff. So we’re gonna rip up one of his joints right now.

He gives it another beat, leaves the crowd waiting—most trying to decipher what he was saying through the cacophonous mash, perhapsthen starts in viciously on “Shimmy Shimmy Ya.” From any other angle, it must make no sense: a band of unshowered high school no-ones either utterly without talent or the desire to use the talent they do possess toward anything resembling artistic linearity somehow drawing cheers from a crowd by covering a forgotten semi-hit from an early nineties hip hop collective spinoff who had all but become a depressing clip-show joke before dying far too young only days earlier. And it works somehow. And it makes no sense.

The show itselffour or five bands on the bill, at the start of the eveningis over after all of ten minutes. The cops have circled the neighborhood a couple times and are now at the front door. On the tape, afterward, you will listen again and again to the chaotic winding-down of this moment. Two squad cars just drove by, someone says, the sound of his voice mostly masked by a gauze of noise. Turn it off. Then suddenly frantic: Turn it off! You try, but hit the wrong button on your Casio, accidentally initiate a telephone-ringing sound effect. The other instruments are quickly shut down, but the telephone keeps ringing; you can’t figure out how to silence it. A bandmate, mic in hand, latches on, hollers, Hello? Hello?! Is this the five-oh?!

The absurdity of it hangs in the air. Kids laugh: the ones on deck and those bound to the lawn below. The party’s host is now inside conversing with uniformed officers, and it feels good to let the squealing after-effects of the last ten minutes nestle into your ears and just laugh. Later, years later, you will flex DJ leg-work on a level beyond improvisation, scratching and sampling and listening again and again to all the old albums that continue to shake your brain, never quite succeeding, having the time of your life despite it all, but tonight will always be a monolith. The night you brought back ODB, brought tumult to the suburbs, blue fuzz and all.

—Brad Efford

#454: Alice Cooper, "Love It To Death" (1971)

It would be nice to walk upon the water, to talk again to angels on my side.

Alice Cooper, “Second Coming”

My grandfather once told me about trick or treating when he was a child. There was one house that gave out king-sized candy bars, and the way he tells it, he and his friends would spend Halloween night changing from one costume to another so they could keep going back to that same house. The way I imagine it, he has to walk up and down the sets of rolling hills that characterize Cincinnati—butterfly hills, I used to call them, for the feeling they made in my stomach. I can picture my grandfather at twelve, trudging up hill after hill, carrying a plastic pumpkin just like I used to, filling it with king-sized candy bars. First he’s a pirate and then he’s a ghost and then he’s a mummy and then he’s a farmer. At the end of the night he has twelve costumes and twelve candy bars. I wonder why the people at this house never noticed it was the same person returning again and again, but maybe the point is that they did notice, and they didn’t care.

My cousin drowned when he was nineteen. It was Halloween night, or, to be more specific, the early morning hours of the Day of the Dead, and he jumped into the Mississippi down in New Orleans, where the river is so wide it carries ocean-faring ships and is hardly recognizable as the same river that flowed past my house in Minneapolis when I was growing up. Sometimes, in my head, he jumps off a bridge that looks suspiciously like the Golden Gate. Sometimes, he runs along a rickety dock and dives off the end. An old man is fishing, and stares after him in surprise. At this point, I no longer remember which of these scenarios—if either—is correct. I know that he had taken acid. I know that he had given his dog to a friend to take care of. I know that I was in eighth grade and had just come home from school when I found out. I was eating the last of the fall crop of raspberries off the bush in the backyard, and my mother came outside and told me. I had a raspberry in my mouth, and I started crying, and even as I cried, there was a part of me that thought how interesting it was that I could go from one emotion to another so quickly, that a person really could suddenly burst into tears.

I visited the ruins of Troy, in Turkey, when I was in college. The ancient city is more like a town, with crumbling walls overrun by grass and weeds.  A large wooden horse stands near the visitor’s center. It has a house on its back with windows, like a tree house, and children clamber up and down the wooden steps and wave from the windows to their parents. I wonder what the Trojans would think of the joking way we refer to their plight. A man approached me as I was standing outside the gift shop, getting ready to leave. I’d become distracted by the litter of stray kittens climbing in and out of cracks in the stone walls. “Excuse me,” he said. “Excuse me! I heard you speaking English.” This is what I hate most about traveling, I have found: the men who will use any excuse they can find to tell women of their beauty, to ask for their number, to ask for their hand in marriage. I prepared to ignore him and walk away. “Excuse me,” he said again. “I am hoping you can help me. You speak English. I have always wondered—what is it, the difference between ‘Oh my God’ and ‘Oh my gosh?’”

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

Maybe there’s some sort of lesson here, about trusting strangers, about not closing yourself off to an experience before it’s occurred, about how reality doesn’t always match up with what you imagine. When I imagine my grandfather, when I imagine my cousin, I’m nowhere close to what actually happened. And when I think I know what a stranger is going to say, there’s always room to be surprised. Maybe this is what life is always trying to tell me, and I should listen more closely.

I watched a video of Alice Cooper performing during their Love It to Death tour in 1971. The video quality was poor, the picture grainy, with static bursts every few seconds that broke up the chords. When he sings “Second Coming,” Alice braces himself against the stage wall. His mascara creates tears on his cheeks, and he holds one hand to his head, as though he can hardly bear what is happening. “Have no gods before me, I’m the light,” he cries, his voice barely audible over the guitars, and then he staggers back from the microphone, his hands pressed to the sides of his head. He stumbles off the stage, almost falling, looking as if something inside of him has broken. When he returns, he’s in a straitjacket.

I don’t remember what I told that man in Troy. I probably said something about how saying “Oh my God” can be considered taking the Lord’s name in vain, and so people use “gosh” instead, out of fear of offending someone, be it God or a human being. That, I feel, is a fairly accurate answer to his question. But I wish I hadn’t explained that. I wish that I had told him that there is no difference, that they are both ways of evoking the sacred, of marveling at or bemoaning life and its always-fluctuating circumstances. I wish I had told him that it didn’t matter.

The closest I’ve ever come to walking on water is over frozen creeks and lakes. In places, the water freezes so clear you can see through to the rocks that line bottom. You can see weeds, suspended in ice, looking as if they might break free at any moment and continue to bend and sway with the current. It’s disconcerting, and sometimes, if I stare too long, it makes me dizzy.

I am not a person who searches for the larger meaning in the things that happen to me. I don’t read the myths and apply them to my own life. Because the fact is, the city of Troy would have had a sentry set up at night, and he would have noticed the Achaeans climbing into that wooden horse, and he would have woken someone up. And maybe my grandfather did return over and over to one house in search of king-sized candy bars, and maybe it’s just a story he told us because we were children and would believe anything. The cold, hard facts are that my grandfather will not live much longer, and the city of Troy is in ruins and I no longer can remember what I thought of as I toured it, and I will never be able to appreciate Alice Cooper the way people say I should.

But what I have instead is this: one of the last times I saw my cousin, we were in the Colorado Rockies. We climbed up a small mountain, one of the mountains with a wide path and steps carved into its side, with lines of people making the trek from a visitor’s center just a few hundred feet below the summit, up and back down in the span of an hour. My cousin would be dead just four months later, but of course we didn’t know it then. There’s a picture of him and me and my younger sister at the summit, all giving each other bunny ears, my sister and I on tiptoes to reach the top of my cousin’s head. Shortly after the picture was taken, at my cousin’s suggestion, we ran back down the mountain. We leapt down the shallow steps, let the air rush past us, traveling at top speed from above the tree line to just below it, from thin air at altitude to a place where there was oxygen aplenty, past tourists who waited until the last minute to leap out of the way, our mouths open and the wind carrying away our laughter, and when we reached the visitor’s center, for a few minutes, none of us could breathe.

Oh my God, we said. Oh my gosh.

—Emma Riehle Bohmann

#455: Los Lobos, "How Will the Wolf Survive?" (1984)

Maybe there was such a thing as pure lust. Ally’s heart had been broken and she would never love again—never!—but there was no getting around the almost surreal fineness of Tito, the grill guy at Burger King, where she worked. He was tall and thin with black almond-shaped eyes, long eyelashes, and a long thin nose. His hair, suppressed under his BK hat, was black and wavy. He had a perfect ass and the way his forearms rippled when he flipped the burgers made Ally understand the cliché about going “weak in the knees.”

He didn’t talk to anyone much and was two years older than her—he should have been a senior but had dropped out of high school the year before, gotten a GED and was now taking some classes at a community college. He called her Little White Girl when he talked to her, which wasn’t often until she figured out his weak spot, which was a white cassette tape that he kept every day tucked into the back pocket of his black work pants. She spent a fair amount of time staring at that particular spot and one day she made out the lettering across the top of the tape: SLASH.

“SLASH Records?” she said, jamming a bunch of medium lids into the medium lid holder.

It was her first night to close, her first night to see him take off his brown and orange polyester work shirt to reveal a gray T-shirt with the arms cut out down to the waist so that she could see the muscles all the way up his arms and the way his ribs gave way to stomach muscles that actually rippled—they rippled!—under his soft brown skin when he poured hot water over the grill and pulled the water down the surface and into the drain with a steel squeegee. He stopped and glanced over at her. “What?”

“Your tape says SLASH. That’s rad. X is on that label, and the Germs and the Blasters. What’s the tape? Violent Femmes? Del Fuegos?”

He pulled it out of his back pocket and rounded the corner to the manager’s office.  She heard Monique yell at him, but he returned with a tiny boom box that he plugged in and set atop one of the fryers. “Los Lobos,” he said, popping in the tape.

“I’ve heard of them,” she said.

“Really?” For the first time, he looked straight at her and took her in, what there was to see. She was exactly what he called her, a little white girl, scrawny and sixteen, barely five feet tall with no boobs, a bad perm, and bad skin. She squirmed under his gaze—he was even hotter when he looked her in the eyes. She had told her friends, Shandra and Meg, about him and they had embarrassed her by coming in last week and leaning over the register to get a look at him on the grill to the left of the front counter. If he’d noticed their giggles, he hadn’t let on. “You know you’re hot when you look good in brown and orange polyester,” Shandra said, while Ally, mortified, had shushed her and begged them to leave.

“It’s so weird the way they put SLASH and SST records in the import section—I buy anything on those labels. I’ve looked at How Will the Wolf Survive? a couple of times.”

“Well, now you can check it out.” He hit play and a straight-ahead, thumping groove spilled into the room. Tito’s right foot tapped as he scoured the grill. The chorus reassured her,“Don’t worry baby, it’s going to work out fine.” A positive sentiment? She wasn’t used to hearing anything like that, and since the lead singer’s buttery, amber voice immediately ventriloquized Tito for her, she pretended that sweet, comforting line was Tito himself taking an interest in her well-being, even thought she knew it wasn’t true.

Los Lobos were MUSICIANS, like, for real. It was no part attitude, no part fashion, it was all music, and as the tape played on, its sound tinny and small on the cheap boom box sitting on the fryer, she grew quietly impressed with the band’s range. There was pure rock, some country stuff, bluesy stuff, even mariachi music. They sang in English and Spanish. They rocked out with an accordion—an accordion—which seemed like the aural equivalent of Tito looking hot in brown and orange polyester. By the time she Windexed the windows, she had given in to a little hip sway.

“You like it, huh?” Tito grinned at her. He was even hotter when he smiled. “Imagine it on a good stereo system,” he said. “What would that be like?”

She gave him a thumbs up, her stomach flipping too hard for her to trust herself with speech.

That night, after they hit the lights and headed out the side door, with Monique griping at them about food costs, Tito, wearing a black motorcycle jacket, walked over to a brand-new red 1985 Z-28 that had been parked in the side lot for almost a week. He peered in the windows.

“It’s so weird he hasn’t come back,” she said. She had watched the Z’s owner, a guy in his twenties who had just ordered a shake in the drive-thru, jump into a car with a girl and ride away.

“Having a good time, I guess.” Tito strapped his shiny black motorcycle helmet under his chin and walked toward his motorcycle, parked next to her cheap tin can of a car by the back dumpsters. “It’s got a sweet stereo.”

After the restaurant closed the next night, Tito got out his Los Lobos tape again and they listened while they went through their closing duties. They didn’t talk, but she felt enveloped in the music with him. She sat on top of the drive-thru counter while he mopped. At one point, he looked up at her and said, “This one’s about you.”

She nearly stopped breathing. What part, what line? It was about a girl named Evangeline. Was it a compliment or not? As if he knew what she was thinking, he sang out loud the line, “She is the queen of make believe, Evangeline.”

Illustration by Lena Moses-Schmitt

Illustration by Lena Moses-Schmitt

She thought about it and decided he knew she had a crush on him and thought it was cute, the way little girls dreaming of handsome princes is cute. She kicked the stainless steel cabinets with her heels and looked out the drive-thru window at the red car glinting under a streetlight. She would never love again—never!—but if Tito would take her seriously—oh, Tito. It could never work. He was a high school dropout and she was on the honor roll, but his blinding hotness was something she sat in school and looked forward to all day long. She had volunteered to close on the nights he closed just so she could see him in his gray T-shirt with the sleeves cut out. If only she could do something to convince him she wasn’t a child. Then she had a thought, clear and simple as two plus two is four. “We should break into that Z,” she said.

He leaned against his mop and laughed. “You’re a little bandita, huh?”

“You said it has a great stereo.”

He stopped mopping and stared past her, out the window at the shining hood of the car. “You know how to hot-wire a car?”

Ally laughed. “Right.”

“I do,” he said, and gave her a wild, conspiratorial grin that caused her to slide off the counter like her bones had all turned to mush. He drew close to her and whispered, “Tomorrow night, bandita!”

The next night they waited until they saw Monique’s Cutlass disappear into traffic, and then they crossed the lot to the car. Tito pulled out of his jacket an unbent coat hanger and a couple of other mysterious pieces of metal whose purpose she couldn’t visualize. “You keep an eye out,” he said, bending to his task. She stood on the other side of the car and watched the traffic rushing by on the street outside. In the distance, she could see the state capitol, a pump jack lit up on its lawn, bobbing up and down through the night. She was paralyzed with a strange expectation, part fear, part wild joy. In a few minutes, he was in the car. She stayed outside watching until she saw the tail lights come on, then she jumped into the passenger seat. He ejected a tape and set it on the dash. She looked at it. “Gross,” she said. Quiet Riot.  

Los Lobos kicked in and filled the car. Tito fiddled with a magnificently complex-looking equalizer lit up like a spaceship until he had lifted the bass and done something to the treble so that the guitar work came toward them like delicately wrought suspension bridges glowing in the dark air. But something had happened to her the moment she slid into the car. Bandita, she thought. Not me. She was thinking about how Tito knew how to break into and hot-wire a car, how surprisingly unsexy that was, almost as unsexy as being a high school dropout. He smiled in the dark, looking out over the dash at the vacant lot next door. Closer to him than she had ever been, she smelled the animal fat in his clothes and studied his sublime profile. When he turned to look at her, she realized he was about to kiss her. She felt her jaw lock and her throat close. She didn’t want him to—she didn’t know why, but there it was. “I can never love again,” she said out loud.

He hesitated a moment, shaking his head.  Then he popped the tape and stuck it in the inside pocket of his jacket.  They had barely gotten through the first song. He reached down below the steering wheel, feeling for the wires, and the car went dark and still. “We should go,” he said. “I work a double tomorrow.”

—Constance Squires

#456: Marvin Gaye, "Here, My Dear" (1978)

At a pivotal moment in the great horror movie Pontypool, protagonist Grant Mazzy asks, "How do you take a word and make it…strange?" Our question now is similar but with a twist: how do you take a pop album and make it bad? I don't mean Marvin Gaye has made something unlistenable with Here, My Dear, but that the album sets itself the task of being otherwise than a pleasant or delightful, fun listening experience. It's complicated even to say what I want to say about it—that it's "bad" and therefore great—and already I have wandered dangerously into the territory of the "so-bad-it’s-good" crowd, so I will tread carefully.

Perhaps it's best to start over: Marvin Gaye makes a divorce album. It is "about" the end of his marriage to Anna Gordy Gaye. It is also a fact of that relationship, as he would have to give half the royalties from the album to Anna as part of their settlement. An album of defeat, but one of ruthless experimentation. You can't do much reading about Here, My Dear without running across the glorious couplet "Somebody tell me please / why do I have to pay attorney fees?" It's as if I could stop there and that's, as Keats says, all ye need to know.

But I haven't even begun. Calling the album, as I started by doing, "bad," seems to be a provocation, and it's an old tale told every time someone has a bone to pick about cultural capital. You throw your favorite thing into the mud, really grind it down, then pull it out and in the course of several paragraphs clean it off so it glimmers, authentic as the monument you have now proved it to be. I don't like this kind of writing about things because it's as dishonest as it is ubiquitous. I like Here, My Dear because it seems to be about that very kind of "dishonesty," in a different register, a pop song register, where Gaye doesn't seem to trust the kind of song he is so good at writing to affect anyone anymore. Gaye looks out at the world and sees only himself, consumed as he is by a divorce, and like Catullus mourning the loss of Lesbia, he can only write about sparrows. Well, one sparrow.

The album is myopic, wandering, lazy, monotonous, and far too long to listen to in one go. I've done it twice today, and I don't want to do it again. But an album can do that on purpose, can't it, and what do we do, how do we account for that without first saying, "This thing that seems like trash, it is actually glorious and authentic!" How indeed. To start with, we might invoke Marvin Gaye's previous works, albums further down on the RS500 list and with much more cultural clout, albums like What's Going On, that establish him in the public imaginary as a truly great musician and artist. And I mean, he is, listen to him sing. But there is not so much vocal dexterity or even artfulness of arrangement or anything really as complex as the hits Gaye has produced on Here, My Dear. It is straightforward, with repetitious instrumentations and vocals dubbed presumably to hide the fact that they are half-hearted and wounded-sounding, they sound like a wound, that is, Gaye sounds less like he is singing about being in pain than he does like he is actually in pain. And this is what is exciting about this "bad" album: it is "bad," it is all the things I've said in the preceding paragraphs, because it grasps fairly astutely the structure of feeling of going through a tremendous, relationship-ending process like divorce. Gaye sings, not just "about" divorce, but in a manner adequate to the banality of heartbreak.

Illustration by S.H. Lohmann

Illustration by S.H. Lohmann

I should probably explain myself. Much typing has been expended on what is basically the sublimity of popular music, the way it invigorates and thrills, all that stuff—sound familiar? So does most pop music. I'm not in the business of making moral judgments, but I'm trying to make a distinction. Here, My Dear sounds like this, and it doesn't. It starts off with the slow build, the layering of instruments, the vocal tracks coming in slowly, the harmonies that devastate and remind you this is the guy who sang "I Heard It Through the Grapevine" and "I'll Be Doggone." But it doesn't have a narrative, it doesn't go from point A to point B and grow and swell and explode and simmer and fade out. It just starts, and then it stops. It calls attention to its plasticity rather than the swooping swerve of Being; it's Apollonian rather than Dionysian, a beautiful and crafted record even as it sets out not to be a pleasant one. And this moves me, and it stays with me, because it makes for a listening experience that makes one uncomfortable and bored, even frustrated, with the artist. It does not ask for sympathy or identification, just time. And when you're done, it's not like you have gone on some kind of redemptive journey. You listened to the album, and there you have it. Glad that's over with. Now what? Gaye refuses even the subtlest hints of narrative, so that the tracks do not develop, they accumulate. Heartbreak, pain, does not have a narrative. It just repeats. That seems to be the great insight here, and it lays bare the repetition at the heart of pop music while turning it against itself by making of that repetition an instrument of antagonism (by the artist, toward the audience) rather than one of pleasure and easy listening. And when I say this, I don't mean that this is a "deep" album, requiring intense and art-competent listening. I mean that it is actually difficult to listen to, the experience of listening to it takes effort and gives little in return. All the fantasies of the enlightened and thoughtful listener are set aside. It just happens, and keeps happening.

Maybe there isn't any good way to write about Here, My Dear without sounding like I'm puling about authenticity. Gaye doesn't bother to put on an act, he doesn't affect feeling, because he knows that doing that would only make it an album about the act he put on, rather than the actual feeling. It's hard to talk about dissimulation in an album so self-involved as to worry about how its maker won't get any of the royalties because of the divorce. What's the point? asks Gaye, with none of the grandiosity of punk, or the sly hopefulness of the 1960s. At the end of Pontypool, Grant Mazzy intones dramatically, "It's not the end of the world. It's just the end of the day." Imagine Mazzy's talking about heartbreak and you've got a good summary of Gaye's album.

—David W. Pritchard

#457: My Morning Jacket, "Z" (2005)

My name is Z. I have been here some years. I cannot say how many revolutions. There was a time when I counted those things.

If one’s life is a series of ripples radiating outward from, and back into, an original centerpoint—that is, a series of widening circles drawn around a dense and mysterious core, some “I” that blossomed forth from an unknown origin-point in the cosmos—I am now walking the outermost, and widest, circle. Beyond it, there is an unknown space, darkness raveling out into more darkness. That same darkness out of which I emerged, in the beginning.

I came here for the azure sky, the winter light. When a man undertakes silence, he needs a great deal of distance into which he may cast his thoughts, as casting a line into the sea.

The thoughts are not bait, not a hook. They are the line, reeling out, nearly invisible against the blue. There is nothing to catch. It is merely the action of casting and reeling that interests me.

I remember a day long ago, before I came here, when I was very ill. It was a cold, bright day. I was walking down the street. There was a man I came across, in faded denim, hair to his shoulders. He asked me for money and I gave it, knowing as I placed the coins into his palm that I could never repay him for the blue of his eyes, that flood of desolation. What was washed clean inside of me.

I would that I could become threadbare and held to the light, that the light might strike my skin as a golden husk.

I have been thinking of the fields of goldenrod in August, the corn huskers lotion that my father used on his face and hands, his worn flannel shirts. The smell of leather, the horse’s hair pulled taut and bowing across a fiddle’s strings. The sun that struck the horse’s mane, the dust of barns, and of the grain silos filtering almost vertical beams of light through golden wheat. Unless the grain of wheat falls into the ground and dies, it remains alone. But if it dies, it bears much fruit.

There are so many selves, each one peeling away, translucent as the skin of a snake. I no longer remember who I was, if remembering is re-inhabiting, which it isn’t. Remembering is trying to apprehend the form of a ghost in one’s house. It is peripheral, sliding along at the edges, the sensation of something behind you, a shift of the air. Let us not say remember, then. Let us say that the past is a presence of a different substance, an unusual quality of light.

Past selves are smaller circles within the radiating ring of circles that make a life. All of the past is encompassed, then, within the present. Between each circle there is a distance (a death?). An axis (+) that transects each circle at four points; these are paths that lead into and out of each circle. One cannot travel these paths, from past to former self, with the corporeal body. One must travel these paths as a spectral form of light. One must travel the dark tunnels of time as a ghost travels up and down a hallway.

When the sun begins to sink in the evening, I have to be out in that light, moving across the ridge. I like to see the distances closing in, pale yellow washing the horizon, bright flare of orange, that fast slip of light in the West. (Do the distances close in or grow greater?) I walk, watching the vesper sky, until dark, when diamond stars begin to shine forth as dancers leaping onto an empty stage, and seeing becomes a kind of listening. Coming back across the ridge, I hear the sound of my boots against the frozen earth, as a shadow in my ear, cracking.

In the winter of his 35th year, severely ill, Vincent Van Gogh went to the south of France for refuge, to the city of Arles. He was enchanted by the light of Arles. He washed the somber earth tones from his palettes and mixed new colors. There, out moving in the light each day, he painted his most illuminated pieces, dappled in yellows, mauves, and ultramarines. Van Gogh wanted his work to lead to God.

I wonder if he heard a great silence, before severing his left ear with a razor.

Afterwards, at the asylum in Saint-Rémy (a former monastery), in the last months of his life, he composed his heart’s masterpiece, “The Starry Night,” that painting with so much darkness and music in it.

I want to point a finger at the moon, then cut my finger off.

Nights, I dance with the paradoxes. Dawn is as a great weight pressing down upon me— I struggle mightily under it.

This winter my thoughts have turned to the sea. Once, when diving at the old shipping port, off the coast of where I lived for a time, I saw an eel hunkered beneath the concrete wall of the port. I descended towards it. It crept out, moving like a slow tremor. It looked at me, swaying back and forth like an electric wire ungrounded. Its eyes were the black sparks of the sea. The eel and I looked at each other for long minutes there, a kind of silent music between us, far under the shimmering surface, where tumultuous light was breaking among the waves.

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

Van Gogh wrote to his brother: “I am seeking. I am striving. I am in it with all my heart.”

I should like to revisit the sea, to submerge myself in the salt water. To hear, again, that rhythm, the steady swell and break, earth’s metronome, as an uninterrupted and endless sigh. I remember long winter days at the shore spent swimming. Not swimming but floating on top of the rising waves. How I was lifted up and over them, the weightless drift of my body. A continuous effortless motion. And inevitably, when the tides began to shift, how I would find myself suddenly swept into the trough of a wave, how the body would struggle for one brief moment against it then give itself over to the pull. It was a blinding surrender that was not without fear but was surrender nonetheless. How the body, then, would be taken away—to give in to that, how I would lose myself completely to the wave, to be rolled and rolled into it, that ecstasy of union, to lose my footing, my direction, then to be pummeled and knocked against the sand, to come up on the shore breathless, as so much seafoam.

I have not, as some say, abandoned the world, but in fact am plunging myself deeper into it.

Van Gogh’s paintings from Saint-Rémy, his last and most beautiful paintings, were full of swirling. The edges of the individual, separate marks of color that distinguished his earlier paintings began to soften, swirls of light merging into darkness. Boundaries between cypress, field, mountain, and sky became blurred. He painted what he could see from the cell windows of the asylum: golden fields of wheat with skies of blue above, birds flocking. He wrote to his brother: “I do not need to go out of my way to try to express sadness and extreme loneliness.” Also that he was entirely absorbed “in the immense plain against the hills, boundless as the sea.” He died soon thereafter.

It is said that no man is an island.

On my walks in the evenings, when yellow light is seeping in behind the bare branches of the woods, I have seen an elk hulking between the trees, standing still, brown as the bark on the tree trunks. I have seen the elk as one sees an elk in the trees: as a remnant, or future, self.

I am the alpha and the omega. But there is something else: a movement that precedes the first letter, a shadow trailing off behind the last. Something at the edges, wordless.

Another memory of long before I came here, before I took the vow: walking in the back alley, where starlings would gather in the tree of heaven, quiet as seedpods rustling on the branches. When I walked underneath the tree, how they would disperse on the air in one great tumbling wave, rolling across the sky, all together, as if swaying to some silent music. How they plunged and swirled into circles and arcs, and I would feel the trembling of the air on my upturned face. Their small singular bodies formed a swelling symphony the beauty and grace of which even they could not understand, and I knew then that the world was not just graffiti and couches with broken springs and the pungent juices fermenting in the bottoms of garbage cans but that it was this, too. This swarm of wings, held together and cleaved apart in each moment by something unseen, unknown, mysterious.

I feel I am coming to the end. I do not consider myself at the edge of the world but rather in the dense center of it.

—Holly Haworth

#458: Elton John, "Tumbleweed Connection" (1970)

Are you kidding? You’ve placed Tumbleweed Connection above Armed Forces and I Want to See the Bright Lights Tonight? You’d take Tumbleweed Connection rather than Elton’s own Caribou or Don’t Shoot Me? Who loves this album? None of its songs are on Elton’s Greatest Hits (#138 on the Rolling Stone 500), and none of them get played on classic rock stations. Somebody somewhere must have strong feelings about this album, though, and had I owned it at a more impressionable age (I picked it up in my twenties), I can imagine it would be dearer to me than it actually is. I love Elton John more than you do, but even I don’t think this a terribly successful album.

At what is Tumbleweed Connection trying to succeed? It seems to be a loose “concept album,” the thematic thread being westerns or perhaps the Confederacy. Various phrases evoke a nineteenth-century American setting: “chain gang,” “kin,” “Deacon Lee,” “river boat,” “New Orleans,” “Yankee,” “cornfield,” “East Virginia,” “stagecoach.” The shadow of the Band looms large. “Country Comforts” (singled out by some as the album’s standout song) revisits and sentimentalizes the uneasy small-town encounters of “The Weight.” Crazy Chester has turned into Old Clay, and “The Weight”’s alienation and sense of burden have turned into an uncomplicated yearning for “any truck that’s going home.” “The Night They Drove Old Dixie Down” gets rewritten as “My Father’s Gun,” and a line from “Across the Great Divide” (“bring your children down to the riverside”) resurfaces almost verbatim in “Burn Down the Mission.”

There is so much of this that one is tempted to suspect parody. Perhaps Tumbleweed Connection, released in October of 1970, was a satiric spoof of recent back-to-the-country albums like The Band (September, 1969), CCR’s Willie and the Poor Boys (November, 1969), CSNY’s Déjà Vu (March, 1970), and the Grateful Dead’s Workingman’s Dead (June, 1970). The cover art suggests this possibility. In sepia tones it depicts Elton on the cover (and Bernie Taupin, lyricist, on the back) waiting at a deserted train station that seems to possess that “old-fashioned feeling” he sings about in “Country Comforts.” Looking closer, however, we see that the old-timey placards on the walls of the station advertise British products: Cadbury’s chocolates, Mazawattee Tea, Huntley & Palmer’s Ginger Nuts. Perhaps, then, we will be getting a deliberately British and ironic take on Americana, as we would the following year with The Kinks’ Muswell Hillbillies (1971)?

No, that’s not what’s happening here. After the weak drug pun of the title (weed connection), there is not a joke in sight. It is the self-seriousness of Tumbleweed Connection (I keep wanting to call it Tumbleweed Junction) that most clearly distinguishes it from the effervescent work Elton would soon produce. Compare the earnestness of “Talking Old Soldiers,” a dramatic monologue in which “old mad Joe” shares his tragic, drunken wisdom to another fellow in the saloon, to Don’t Shoot Me’s satiric “Texan Love Song,” in which a redneck rails at the hippies with their “communistic politics and them negro blues.” It’s easy to blame the somber tone on Bernie Taupin, but it’s also true that Elton had not yet learned to imbue Taupin’s more soppy and sentimental lyrics with his own campy sensibility. He also had not yet assembled the crack band of his 1972-1975 heyday: Davey Johnstone on guitar, Dee Murray on bass, Nigel Olsson on drums. On “Amoreena,” where three quarters of that lineup is in place, things rock much more persuasively. Much of Tumbleweed Connection now sounds overproduced, however, burdened by lugubrious strings, cumbersome background singers (couldn’t they have found something better to do with Dusty Springfield?) and even an occasional oboe.

Still, this is Elton approaching his prime and therefore not to be sniffed at. Along with “Amoreena,” the best cut on the album is “Burn Down the Mission,” which closes side two. The last-resort agricultural incendiarism of this number again echoes the Band (“King Harvest Has Surely Come”) and CCR (“Effigy”), but the music is wholly original and unexpected. Bassist Herbie Flowers (he of “Walk on the Wild Side”) plays on this track and commands attention. Drummer Barry Morgan contributes stirring fills on the chorus and fuels a couple of manic interludes between verses. Most of all, Elton has given the lyrics a complicated, florid musical structure that they hardly ask for. The song opens with Elton’s solo piano moving (twice) from G major to E minor to an unexpected Bb major. The verse repeats this trajectory, then leading us through Eb major and eventually back to G. Next comes what appears at first to be the chorus (“Bring your family down to the riverside”), which follows a well-worn harmonic course: F major, C major and back to G major. That section ends with the return of that odd Bb major chord, on which we linger for a couple of measures, until we reach the actual chorus and are sent soaring with a glorious and unexpected Db major chord (“Burn down the mission!”). Db major is as far as you can get harmonically from G major, but the song makes it feel as joyous and liberating and necessary and inevitable as an act of arson. Nothing on the album is more satisfying that moment, and nothing could be.

—Will Pritchard

#459: The Drifters, "The Drifters' Golden Hits" (1968)

There are ways the world can slip up from underneath you and then, you know what I mean, a regular Saturday morning with your son in his Batman costume, shrieking at his own shadow, and your husband grumbling at the TV, turns sideways and then all the way upside down—you're a bat now in your own life and it's wonderful. 

Your family’s apartment is every song sung by the Drifters that you ever loved. The furniture itself and all the empty spaces between are filled up with the whole sound of the Golden Hits album.

    Everything I want I have
         whenever I—

You stretch, accidentally burn your wing on the hot plate of the coffee maker, but the sudden delight of wings and your super sensitive giant bat ears make the burn so forgettable. Pain is trivial when you can fly, when you look like a mouse married a dragon and delivered you into the universe: a bat.

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

    Everything I want I have
         whenever I—

You open the refrigerator for eggs and milk, let the shame and pleasure of this much plenty flicker through you like electricity or the sick feeling after a hundred bowls of your favorite ice cream. The music keeps playing. The rubber seal of the refrigerator door pulls open and the light comes on in its cold interior like a lit stage. Dare anyone to believe that the neighbors can’t hear it, too, the refrigerator singing,

    the ferris wheel ride isn't turning around anymore
        but I've still got some sand in my shoes
    

You reach for the old loaf of sourdough bread, crack the eggs into a wide bowl, add milk, vanilla, and cinnamon. Stir. The routine of it comforts. The whisk slaps through the eggy mixture. Frustration starts melting away or dissolving into something else. You’re making French toast, but this Saturday morning feels like when you put the sugar and the water in the saucepan on the stove and stir to make caramel.

    There’s some kind of wonderful.     

You want another sip of your coffee, but don’t reach for the mug because maybe actually you don’t want it. Your son somersaults across the length of the rug. Your husband’s still growling at the news. You reach for your coffee. You’re still not used to your wings, your furry feet, your little paw claw. You spill your coffee.    

    your shoes get so hot you wish your tired feet were fire proof

You say something vile at the TV, something that expresses vehement agreement with your husband. You don't do it because you agree or even because you want to be agreeable or make his day. You're going for the startle effect. You're hoping he'll grin. Or better: he'll giggle. Or better still: he’ll like you more.

Why? Because you called that TV talking head a nasty word and because you're a bat now. People love bats. They’re enchanting. Your son knows where he came from—part man, part bat. None of it is costuming. Your family is a team sport and you’re all starters. There is no bench. Like the cheerleaders in your high school used to chant at pep rallies, “You gotta want it to win it. And we want it bad.”

“Don't curse,” says your husband. And now you're like the sugar and the water in the saucepan when it gets too hot, been in too long, not stirred enough. You’re burning. You’re burnt. You’re somebody’s ruined dessert.

Don't curse? As though you couldn’t have said something so much worse. You could have asked him why he was too tired last night, again. Started that fight in front of your four year old. If you wanted a man to lecture you, you’d get divorced and go be single again, spend your Saturdays at coffee shops on blind dates listening to some stranger go on about brake fluid, and your husband could sing “I Count the Tears” to himself,

    na, na, na, na, na, na, late at night

You whisper in your husband’s ear something even more vile than what you said to the TV. You intend for there to be a joke in your voice, an unmistakable playfulness.

Instead it comes out like you mean it or maybe, best case scenario, it sounds sarcastic, acerbic. Then you start thinking maybe that’s what you’ve become—a complete miscommunication. A failed joke. You’re not even funny. You’re mean. Disingenuous, on a good day.

Don’t go there. Stop the thought loop before it starts.

Still, when did you become so full of rage and judgment? Strangers deserve respect. Don’t be cruel. Anything else is better. Be didactic, moralistic, silly, sentimental, gross, whatever—be anything else. Don’t invent strangers just to be condescending to them. Your car seems like it really might need new brake fluid. Your husband disagrees, probably just to be disagreeable. There you go again. Throwing rocks. Is that who you are? A rock thrower?

This is supposed to be a wonder-filled upside down Saturday. Stop ruining it. Sing “This Magic Moment” to yourself. Or hum it, at least. Cut another piece of bread off the loaf, and slice right back through all that self-involved I’m-so-terrible talk, find your way to your own beating bat heart and the lovely angry man in front of you.

Illustration by Annie Mountcastle

Illustration by Annie Mountcastle

“I didn’t mean it like that,” you say. You wait a moment, over-soaking the French toast, and it occurs to you that maybe he meant what he said as a kind of joke, too, and you didn’t get it, didn’t want to hear it, chose not to. Maybe you’re both doing the same thing—flipping flirting into fighting like two people stuck in a lazy old habit. “Still, don’t tell me what to say,” you say to him.

He looks over from the TV. He could laugh the whole thing off, but why? You slide the soggy French toast onto the griddle and listen to it hiss.

“We want it bad,” he says and laughs.

Oh. We’ve had this argument before, been all the way upside down and laughing. You flap your bat wings and give that man a kiss, while your shrieking son pounds his fists on the floor and roars for the two of you to tell him and tell him now, “What are you guys talking about? And why are you so loud?”

Your husband makes up an answer as each of you balance a breakfast plate on your head. You and your baby Batman son take your husband by either hand, and the three of you fly away from the broken news on TV to eat breakfast up on the roof. Rise up above all that rat race noise, the tired beat feeling, the stale heat of it all, and head to the only place I know where you just have to wish to make it so. We’re almost there, now. I hope I made enough toast. Everything I want I have whenever I—. Our neighbors have found their way to the rooftop, too, thank God.

You better believe the sun is shining, and the day is good. Each of us sings to the others, darling, you can share it all with me. We cozy in, rest.

—Annie Mountcastle

#460: Hole, "Live Through This" (1994)

Where the fuck was she, anyway? If Tess were home, Lauren would be hearing Live Through This coming from her bedroom at the end of the hall, but all was quiet. There was no way she overslept—Tess was a strangely early riser for such a partier, and it was already 9:00. Lauren opened Tess’s bedroom door and peeked in, saw a hairy leg hanging over the bed, and closed the door. If she was sure it was Keith, she’d wake him up, but with Tess you could never be sure, and that could be embarrassing, calling to the wrong dude. Lauren hoped the sound of the shower would wake whoever it was and he would be gone before she emerged from the bathroom.

She had just finished rinsing the shampoo from her hair when she felt the blast. The sound had jagged edges that ripped the air like tissue, shook her eyes in their sockets, instantaneously liquefied her bowels. She leapt from the shower to the toilet while her and Tess’s toiletries flew from the shelves. Baby powder, toothbrushes, and two pink birth control cases fell on her head. The medicine cabinet flew open and aspirin and vitamin bottles dropped into the sink. Then it was quiet. She wrapped herself in a towel and turned off the shower. She looked out the bathroom window, fully expecting to see a passenger plane sticking out of the ground in her backyard.

She heard a knock at the bathroom door. “Lauren?”

“Keith. Are you okay?”

“What the hell was that?”

“I don’t know. Where’s Tess?”

“She took my Bronco.”

“Where?”

“She needs a copy of her social security card before she can start the new job today. I’m not sure where you go to do that.”

“Downtown,” she said. “The Murrah building.”

*

That night it rained. The bombing site was lit up like ten football fields and its light poured down streets and alleyways like a spreading infection. A helicopter thumped overhead. Keith sat in the passenger seat unfolding his rain poncho and wrestling with it as he pulled it over his head. Lauren parked in the empty parking lot behind the First Baptist Church of Oklahoma City, a few blocks away from the Murrah building. The tall, stained glass windows of its sanctuary had been blown out, and from the sidewalk, Lauren could see the shadowy ceiling of the inside of the church, unprotected. Glass crunched beneath their feet as they walked, jewel-toned shards glittering like a bloody ocean under moonlight. A police car appeared from an east-west road a couple of blocks down and came toward them. They ducked behind a dumpster and waited for it to pass.  “We’ve got to be careful,” Lauren said.  They peeked out from behind the dumpster and continued on, dashing from parked cars to recessed doorways to stay hidden until they found the perimeter, yellow tape stretched as far as they could make out. On the other side of the barrier, they saw figures on guard. “I feel like a criminal,” Kevin whispered.

“We just need to know,” Lauren said. “If your car isn’t there, we’ll know she’s okay.”  Lauren thought of all those times Tess had come close to starting a real job—getting some credit in the straight world, as the song said—only to panic and take off, sometimes for a day or more.  One time, Tess had taken the bus to Dallas to see Pavement instead of starting work at a vet clinic. Let it be something like that. All day long, as the body count climbed on the news, and national news crews streamed into the restaurant where she worked, she told herself that Tess had just flaked out again. So they would have a look around, they would satisfy themselves that Keith’s Bronco was not there, and they would go home and wait for Tess to return from whatever wild-hare adventure she had taken.

They rounded a corner and the building came into view a half a block away. “God!” Keith grabbed her by the shoulders and turned her into his chest. She pushed away and turned to look. She had seen it on television a hundred times that day, white and torn and crumbling, like a layer cake that someone has ripped in two with bare hands, and she recognized what she was seeing as the same sight she had beheld all day on screen, but there was no comparison. The addition of depth made the sight hard to take in, hard for the mind to assimilate. The visual field regressed into the bowels of the building, into exposed rooms and dark crannies behind overturned desks and dangling potted plants. What looked like crumbs hanging from cake on television, were car-sized chunks of concrete in real life, straining to fall toward the crater in the middle of the building. Despite the rain, the building still appeared to be smoking. Was it steam? Whatever it was, it gave the wet concrete debris the look of a live animal, a being whose entrails steamed and strained to fall even further from the shattered shell of the body that had held them. Her body quailed as she tried to pick out where the floors had been, looked into the rooms imagining the fate of a tender human body amongst all that hard matter. Tess could be in there. The floors of her mind crashed in on themselves and she bent over and vomited. Keith had turned away from the sight of the building, his hands over his eyes.

Illustration by Lena Moses-Schmitt

Illustration by Lena Moses-Schmitt

“What floor was the social security office on?” Keith asked in a tight voice that she could barely hear over the loud hum of a nearby generator truck.

She wiped her mouth with the bottom of her poncho. “I don’t know.”

“Let’s not do this,” he said. “Let’s go back.”

The building was lit up like the middle of the afternoon. She could see every zit and hair on Keith’s face, his eye sockets cast in shadow. “Come on,” she said.

Through burned air, they walked toward the building, moving through groups of fast-moving people wearing ponchos and other rain gear, FBI and ATF logos everywhere apparent. Police cars, Red Cross, and news trucks crammed the space. A crane towered overhead. The building was writhing. She squinted to understand what she saw. As she drew closer she realized that it was crawling with rescuers, people moving inch by inch through the rubble, looking under every piece of debris. As they approached what had been 5th Street, she began seeing cars. Some were burned out. Some were melted. All were covered with a layer of cement dust, now wetted to mud. She nearly stepped on a big man sitting on a curb, weeping, his shuddering back to her. As they passed him, Lauren felt ashamed for intruding into the work of dying that was going on under that rubble, so private and unexpected, for intruding into the taut and fragile headspace of these rescuers who, on television, seemed like people far out over a mental tightrope suspended above deep space, people who could be knocked off their thin wire of duty and purpose by the slightest disruption to their concentration, and who, Lauren could see now, were victims themselves, in the middle of a catastrophe that was ongoing.

“This way,” she said. Keith nodded and pushed ahead of her, but suddenly she had to put out her hands to keep from running into him. He had stopped. She stepped up next to him and saw what he saw. She couldn’t make out the green paint under all the debris that had piled on top of it, but the boxy shape was right and through the open space where the windshield had been she could see the shark tooth necklace that always hung from his rear view mirror. It was Keith’s Bronco.

*

They were silent most of the way home. As Lauren turned into her driveway, she said, “She could be alive. They’re still searching.”

Keith nodded. “Remember last week? The one-year anniversary of Kurt Cobain’s death, how sad everyone was?” He laughed. “One guy. A suicide. I don’t mean to say it wasn’t sad, but—” he sucked his teeth.

“I know,” she said. Death. Death. Death. “Let’s get fucked up.”

At the front door, she saw a light inside that she didn’t remember leaving on. Then she heard something. Behind her, Keith made a choking sound. She turned the key. Yes. Fucking Hole. Fucking “Doll Parts.” Someday you will ache like I ache. She flung the door open and they rushed into the living room, looking down the dark hallway to the source of the music. Then light flooded the hall as a door was flung open. Tess shuffled into view, scratching her head. “Hey baby,” she said, looking up at Keith. “I’ve got some bad news about your car.”

—Constance Squires