Shy Dog

Hey, you’re a shy dog, but I can see
You feel the very same as me
You don’t think like people do
Anyone can see I’m the same way too

When it comes to relationships, I’ve never been much of a stand-up-and-fight kind of guy. When it’s over, it’s over, and it’s time to move on. A few times, though, moving on has been easier said than done — and with one relationship in particular, I took that difficulty as a sign that I should do something different. Instead of letting things fade away silently, I hung around; I dedicated myself to being as open as I could with this woman, and tried to find some way around or through whatever obstacles lay between us.

And that’s okay
Sometimes things just work that way

It wasn’t easy. In fact, it drove me a little crazy, a little at a time, over a period of years. I was lonely, and upset, and always putting myself through unnecessary misery in the name of what I thought was love. I thought I was being brave by refusing to give up on this person, but I was really just ignoring the obvious. In the process, I let a lot of things slip through my fingers — time and opportunities that would never return. I was unfair to myself, and unfair to her. I allowed myself to be used. In fact, I just about insisted on it.

And spinning ’round these memories go
And making sense, well, I just don’t know
Yeah, you could say I’m missing you
Lost and alone, I’m just making do

I didn’t really expect it to work. I just wanted to try instead of accepting the only real choice. Sometimes it really is noble to fight for the ones you love — but you have to know how to choose your battles, and you have to understand the difference between love and sick symbiosis, and I was in way over my head on both counts. I cost myself so much senseless anger and resentment, and when it started to spin out of control, I only leaned into it, grinding myself down until the only thing I could see through the smoke was the worst of both of us.

Standing here, I should understand
Why you left me alone
And this small world just ain’t big enough
And the purest souls, they always go too soon

On one level, I was proud of my self-destructive behavior — it seemed manly, somehow. But the deeper part of me, thankfully, started to get tired after awhile, and once I relaxed my senseless grip on this impossible, toxic fantasy I’d been holding onto, I started to realize what I’d been missing. And I felt something I didn’t expect: a warm sort of relief. I surveyed the wreckage and ruin I’d created and I knew I couldn’t undo any of it — I finally understood I’d been at a crossroads when I decided to fight for that relationship, and I knew I’d made choices that had led my life down a path I couldn’t retreat from.

But I didn’t feel regret. Maybe it was because I’d already devoted so many unproductive emotions to the situation, or maybe it was because I understood, on some level, that the lessons I took from all that destruction were as valuable, in their way, as what I’d lost. All I know is that I wasn’t angry anymore. For the first time in a long time, I felt at peace.

So you go on, ’cause now I know
You belong with the beautiful
And I’ll stay here until golden fades
I’ll see you again on another day

It seems a little strange to me, but on beautiful, unseasonably warm fall days like this one, that’s the feeling that often comes back to me — one of acceptance, of absolution. One of loss, sure, and a little sadness — but a sadness that feels earned, somehow, and more than a little bittersweet. Our stories don’t always have the happy endings we want them to, but we still have to find the strength to let them end. Sometimes that’s harder than it should be.

And that’s okay
Sometimes things just work that way
And that’s okay
Sometimes things just hurt that way

I got a lot of mileage out of Kurt Neumann’s Shy Dog that summer and fall, particularly the title track: 

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For Kurt, who was stepping out from the BoDeans as a solo artist for the first time, the song was really about a dog — his longtime companion, who (if I’m remembering correctly) was killed by a snake while exploring. I thought it was an incredibly brave choice to be so open about the sadness that a pet’s death can bring, and although I knew he wasn’t talking about romantic loss, I still took comfort from the graceful acceptance in his words, and the dignified resignation in his vocals. When he sighed, “Sometimes things just hurt that way,” it killed me — still does. Because sometimes they do. And that’s okay.

Many Rivers to Cross

Harry Nilsson, "Pussy Cats"

RCA Records and Tapes

I love a good rock ‘n’ roll loser.

There’s nothing quite like the ragged glory of a rock song that’s almost there — the time’s a little off, the vocals are straining to hit the melody without quite getting there, maybe there are a few bum notes from the band in the mix. Rock is uniquely suited for this kind of stuff, particularly when it comes to conveying a refusal to give up in the face of failure. I think a yearning for redemption has always been a key component of music’s appeal to humanity, but rock made it more visceral — and also struck a burning spark in the tension between the beauty of that redemptive promise and the guttural howl of the far more unpleasant truth.

There’s something painfully noble about this to me — about beauty that persists in the face of hopeless odds. I recently got a rise out of Matthew Ryan when I compared his music to Paul Newman in Cool Hand Luke, and man, I just love that spirit, that struggle, that vulnerability. It’s one of the things I think our Pro Tools addiction is costing us as listeners, but that’s a conversation for another day. I’m here to talk about Harry Nilsson.

1974′s Pussy Cats is my favorite Nilsson record, because it so gorgeously sums up everything I wrote about in those first two paragraphs. Of course, Nilsson was born a flawless technical singer, and he had more than enough craft to write songs of stunning beauty, but he was also a self-destructive madman, and as time wore on, that dichotomy drove his music away from songs like “One” and “Don’t Leave Me” and into darker, stranger, and — for my money — far more interesting places.

Nilsson wasn’t content to be beautiful. He had the urge to fail — partly, I think, because it was fun, and partly because he knew he could count on his prodigious gifts to carry him through when he wasn’t otherwise up to the task. And that’s Pussy Cats in a nutshell: an album that captures an amazing talent struggling between finding his muse and pissing it away.

Harry was coming off A Little Touch of Schmilsson in the Night, an ill-advised (although quite lovely) collection of standards that derailed all the commercial momentum he’d built up with his best-selling Schmilsson and Son of Schmilsson LPs. Again, he was a study in contrasts; he knew he needed a hit, and he was convinced he’d help his case by drafting his famous pal John Lennon to produce it — but he didn’t want one badly enough to safeguard against the boozy disaster the sessions eventually became. But then, on the other other hand, Nilsson valued the mercurial Lennon’s involvement so greatly that he kept going even after he ruptured a vocal cord, hiding his deteriorating condition as long as he could (but not terribly well — listening to the Pussy Cats sessions in chronological order is a study in raspy decline).

Recorded during Lennon’s infamous lost weekend, Pussy Cats came at a low artistic ebb for Nilsson the songwriter — but as singular as he was as a composer, he was also a terrifically gifted interpreter, and that bailed him out on a few of the album’s tracks, including his take on Jimmy Cliff’s “Many Rivers to Cross.” In technical terms, it’s really a boozy wreck of a recording — the drums sound like they were tracked in taffy, the lead guitar smells like a Brandy Alexander, and Nilsson’s heartwrenching vocals are almost painful to hear. But put them all together, and oh, what a song:

Harry Nilsson, “Many Rivers to Cross”

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Plenty of artists have covered this track, and Cliff was certainly no slouch himself, but this is the definitive version of the song for me. I found it at the best possible moment, reeling from the messy end of an unreasonably intense relationship in my early 20s, and just as RCA was remastering and reissuing a batch of his albums. I devoured them all, as well as the two-disc Personal Best anthology, but it was Pussy Cats that really called to me. “Many Rivers to Cross” just said it all, and when Harry buckles down and wails, willing his bleeding throat to scale notes he knew he wouldn’t hit, it takes me right back to the fall of ’95 — more than 20 years after it was recorded, and over a year after his untimely death, but still packed with that timeless blend of longing, regret, and — yes — hope for redemption.

Pussy Cats killed Nilsson’s career and damaged his voice for years, but he went on to create music of unparalleled beauty, too — and I don’t know if later works like Knnillssonn would have had as much depth if he hadn’t been willing to stumble into the boozy darkness on records like this. He knew if he followed the rules and connected all the dots, he could make a perfect pop song, but there was something in Nilsson that drew him away from the straight and narrow — and for me, anyway, that’s always made all the difference. Nothing is hopeless when you listen to an album like Pussy Cats – it’s heartbreaking proof that we all possess the potential for acts of staggering beauty, even in spite of our deepest flaws.

Minnesota

I made Minnesota my home tonight
It’s not like the picture in my mind
‘Cause I was so alone it killed tonight
I’d tell any soul…if I could find one

–the Push Stars, “Minnesota”

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For someone who has often been ruinously, stupidly impulsive, I’m actually a pretty deliberate guy. I think about doing a lot of things — calling friends, emailing contacts, writing heartfelt posts — and then before I know what’s happening, the moment has passed, and I’ve talked myself out of following through. I am a fool, I am a fool, I am a fool.

But in the spring of 1999, I followed through on one of the best impulses I’ve ever had: to round up three of my closest friends, put them on a plane to New Jersey, stuff them in a rental car, and spend a week driving across the country. I was nursing a broken heart, of course, and that’s why this song called to me at the time — like the best of Chris Trapper‘s songs, it conveys the wounded grin of a freshly bruised romantic.

‘Cause I want to believe her
I want to believe
I want to believe her
I want to believe
I want to believe her
I want to believe

I did want to believe — in her, much to my detriment, but also in my friends, and in the reliable comfort of pure childishness. I wanted to surround myself with easy laughter. I didn’t want to think too hard, and those guys made it easy. We were young, stupid dudes, and that was exactly what I needed. We got soaking wet on the freezing upper deck of the Maid of the Mist; we ordered horrible hotel porn in Chicago; we covered the rental car in dirt and filled it with junk food. We left fake poop on top of a hotel toilet seat in Montana.

It was a boondoggle, in the very best sense of the word, and although I know there were moments of tension, frustration and annoyance, I can’t remember any of those feelings when I look back on the trip now. It just feels like one long golden moment — a time when we knew we had an opportunity to do something special, and we didn’t let it slip away.

I feel all right, it’s a Minnesota night
You’ve got nothing left to show me but your smile
Stars so bright on this Minnesota night
Can we cut the conversation for a little while?

I don’t know what it meant to the other guys, but that week saved me from going a little crazy at the time, and although my days of dropping everything and rounding up a posse for high adventure on the open road are over for the foreseeable future, I think there’s still a lesson in it for me now — if I can only remember it — as a writer and as a person.

I feel like writing used to be a lot easier for me — a lot more instinctive, and a lot less deliberate — and I know I did a better job of maintaining my friendships back then. Of course, I’m writing a lot more now, and doing it in different places; I understand that the creative muscle tends to get numb and/or fatigued when it’s used this way. And I know marriages, kids, and migration have a naturally atrophying effect on friendships that thrived on free time and youthful angst.

But I don’t think it’s impossible to get around all that. I don’t think it’s too late to try and get better at deciding when to make those impulsive leaps — in fact, if I had it all to do over again, I think I’d probably make a lot more of them. I’m still trying. I still believe.

Don’t Be Afraid of the Dark

Lost Causes, “Don’t Be Afraid of the Dark” (play)

This is the opening track on my first album, and I vividly remember where I was and what I was doing the first time I heard it on one of the real, honest-to-goodness manufactured CDs I printed up. It’s a memory that’s lingered not only because listening to your first “real” album is usually a pretty significant personal milestone, but because the emotions it triggered were so seemingly incongruous that it confused me for a long time.

I was miserable.

I had no idea why this should be. It should have been a shining moment: After years of writing and recording, the album was finally finished, I was listening to it on a nice stereo in my brand new car, and I was driving on a last-minute errand before an album release party at a nice hotel that would culminate with me and the band playing for a room full of people. The local paper’s rock critic was even there. This was the moment I’d dreamed of…but it didn’t feel the way I thought it would. Why not? Continue reading

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