Wednesday, August 11, 2010

Top 5 horror novels (you've probably never heard of)

Picking up where I left off with my last post, here's my list (in no particular order) of the top five horror novels you've probably never heard of.

Again, no zombies.

Thomas M. Disch - The M.D. (1991)




If John Irving ever decided to write horror, he might come up with something like this.

Thomas M. Disch started his career as a fairly celebrated author of "outsider" science fiction back in the 1960s (The Genocides and Camp Concentration being his two most well-known books) before switching to horror in the 1980s and 1990s and penning an equally celebrated quadrilogy of novels set in his native Minnesota.

The Businessman (1984) is the first and probably the best known of these, but he really hit his stride with The M.D.. It's a bizarre Magnificent Ambersons by way of Stephen King sort of book that follows a young boy named Billy Michaels from his Kindergarten days up through his teen years and ending with his massive success (and downfall) as a celebrity doctor.

Early on, Billy meets a figure that appears to him as Santa Claus but later reveals himself to be the Greek god Mercury. Mercury gives Billy a caduceus -- a twig wrapped in snakelike vine, with a mummified bird tied to the top -- that grants him the power to heal. The catch is that for ever person he heals, Billy has to recharge the caduceus by causing someone else harm.

The M.D. is at once epic and deeply intimate, and the details of Billy's life and his eccentric, dysfunctional family are finely drawn. It's also a viciously cynical book that alternates between some truly disturbing images and ideas, unexpected pathos for the characters, and Disch's razor-sharp and sometimes cruel sense of humor. The inevitable tragedy in the last third of the book is Shakespearean in proportion, but you never lose the sense that Disch is cackling all the way to the last page.

Ramsey Campbell - The Doll Who Ate His Mother (1976)




Campbell is a British writer who is absolutely revered by horror fans and virtually unknown by everyone else. The Doll Who Ate His Mother is his first novel, and not his best. But there's something about the youthful naivete behind the prose that is fascinating and more than a little disturbing. Campbell comes up with some pretty squalid ideas and images here, and he doesn't quite seem to realize it. I don't know why, but there's a certain charm in that for me.

The story concerns a young Liverpudlian woman, Clare, who is involved in a terrible car accident. Her brother is killed, and a mysterious figure runs off into the night with his severed arm.

Later, a sleazy true crime writer who believes the arm snatcher to be a former childhood friend of his aproaches Clare and enlists her help in tracking the man down.

This story is structured more like a mystery, but there's something weird and feverish about the prose that elevates it to the realm of dark fantasy, and the details as we learn them grow increasingly nasty, definitely tipping the scales toward horror. This isn't a particularly gory or violent book, but there's something pervasively icky about it all the way through. "Quiet depravity" is the best phrase I can think of to describe it.

Jack Ketchum - The Girl Next Door (1989)





I don't usually recommend this book, for fear that people will lay siege to my house with pitchforks and torches.

A fictional retelling of the Sylvia Likens story, The Girl Next Door is one of the most brutal, violent, and harrowing books I've ever read. It's like American Psycho if Patrick Bateman was a 12-year-old kid and without all that business about expensive shampoo, fancy restaurants, and Whitney Houston.

What makes this novel so effective, however, isn't the depravity (which Ketchum actually toned down a bit from the true story) but the seething sense of outrage that boils beneath Ketchum's matter-of-fact prose. Ketchum explained in the forward to the novel's reissue that he rarely writes supernatural horror because people are what scare him, and that his response to being scared is to get mad. When you read The Girl Next Door, you'll believe it. As vicious as it is, there's nothing exploitive about it. And when -- preceeding a particularly nasty bit of violence -- the narrator breaks the fourth wall and tells us that he simply can't bring himself to describe what happened, you get the sense that it's Ketchum addressing us, not the character.

Phil Rickman - Curfew (1993)





Known as Crybbe in the UK (I guess the publishers thought American audiences wouldn't go for a book titled with some strange Welsh word), Curfew is one of those pretty classic "strange shit happens in a rural town with dark secrets" sort of stories that horror novelists have been milking at least since the days of H.P. Lovecraft.

Crybbe is a little Welsh backwater nestled mere kilometers from the English border. The only distinguishing features are the Tump, a prehistoric man-made mound of indeterminate purpose, and the odd ritual of ringing the bell in the church tower every night to signal an ancient curfew.

Max Goff is a ruthless and impossibly rich record producer from London who descends upon the town with two ambitions: to resurrect the ancient standing stones that have been methodically removed over the centuries and to stage a huge, kickass rock concert celebrating the spirit of the Earth or some other such New Age bullshit.

Goff hires a local dowser to find the original locations of the standing stones. When the dowser is killed in a mysterious car accident near the Tump, he proceeds undeterred. The townspeople grow more and more nervous as the concert date approaches.

And then, of course, hijinks ensue.

What sets this book apart from all the others like it is the way Rickman, a truly masterful writer, evocatively draws us into the world of the Welsh/English borderlands and lets us get to know its many dour inhabitants before ever-so-slowly ratcheting up the creep factor to near excruciating levels. This is one of those long, rich books that you can just live inside of for weeks.

T.E.D. Klein - The Ceremonies (1984)





T.E.D. Klein is a semi-mysterious and somewhat legendary figure in the horror world. He is strikingly non-prolific, having published only two books, The Ceremonies in 1984 and a collection of novellas titled Dark Gods the following year. He's also really, really, really damn good.

I actually prefer Dark Gods to this book, so if you're interested check it out here. Regardless, The Ceremonies stands tall as one of the few unacknowledged masterpieces of "literary" horror.

The book is split into two parallel stories. The first follows Jeremy, a graduate student in literature who moves to a seemingly idyllic town in New Jersey dominated by a strange religious cult to work on his thesis. The second concerns Carole, a naive young woman trying to make her way in New York City. Both characters are linked by an odd and menacing little old man named Mr. "Rosie" Rosebottom.

Over the course of more than 500 pages, the two stories gradually (excruciatingly so, some might say) converge as we come to learn more about Rosie's demonic agenda for both Jeremy and Carol.

Klein is a deliberate and understated writer whose work echoes not only Lovecraft, but the classic dark fiction of authors like M.R. James and Algernon Blackwood. If you're looking for quick and cheap scares, this isn't the book for you. But Klein's prose has a way of burrowing slowly and surely under your skin. The only other writer I can think of who does this better is Patrick McGrath. You'll find, as you turn the pages, that it's the smallest little details that make your skin crawl, and it's the accumulation of these details that eventually builds into a surprisingly affecting novel that is bound to stick with you.

So long as you stay with it, that is.

Honorable Mentions:

Thomas Tryon - Harvest Home
Fritz Leiber - Our Lady of Darkness
Poppy Z. Brite - Drawing Blood
Thomas Tessier - Rapture
Kim Newman - Jago
John Skipp and Craig Spector - The Scream
Joe R. Lansdale - The Nightrunners
Dan Simmons - Carrion Comfort
Bari Wood - Doll's Eyes
Robert Marasco - Burnt Offerings

Monday, August 9, 2010

Top 5 horror stories (that don't have any zombies in them)



Seriously, can we stop with the zombies already?

Don't get me wrong. I love zombies. Night of the Living Dead and Dawn of the Dead are my two favorite movies. But -- somewhere between 28 Days Later and Shaun of the Dead -- zombies became the "it" horror movie monster and the stories lost most of the gritty, apocalyptic power that animated the genre.

That's not to say I hate everything new that's zombie related. Shaun of the Dead is brilliant. Zombieland was pretty fun, even if it did reduce my beloved carnivorous undead to a silly gimmick in what's essentially a teen nerd comedy. And, of course, I enjoy A Modern Girl's Guide to Surviving the Apocalypse, an always funny blog written by some friends of mine (look for the TV version soon).

But, exceptions aside, I want it to stop.

The zombie plague has not only infected our cinemas and TV screens, but our bookstore shelves as well. I stopped at Borders earlier today and decided to peruse the horror section. It's been awhile since I've done so, and I was dismayed to discover that virtually every new book that wasn't a Stephen King or Dean Koontz reprint was some variant on a zombie story.

I picked one up -- a zombie-themed short story anthology with absurdly cheap-looking cover art -- and thumbed through it.

Here's the first sentence that my eyes landed upon: "The thing advanced slowly and she screamed loudly."

Really? Two adverbs in one sentence, one of which is completely redundant. I groaned and put the book back on the shelf.

So in the interest of trying to stem the zombie (and terrible writing) tide, my next three blog posts are going to be about the type of horror that I want to see make a resurgence. I'm going to follow this one up with my lists of the top five horror novels you've probably never heard of and the top five horror movies you've probably never seen. You didn't ask for it, but I'm gonna give it to you anyway.

But first, the short stories.

Most of my sensibilities as a writer grew from reading classic horror short stories as a kid, most of which were written between roughly 1940 and the mid 1980s. That's around when the splatterpunks took over and horror fiction became about shoving as much fucked up shit into as small a space as possible.

I have nothing against sex, gore, or fucked up shit, but to me the best horror stories should cut like a scalpel rather than bludgeon like a hammer. As Stephen King once said, if a novel is like long love affair a short story is like a kiss in the dark from a stranger.

So, in reverse chronological order, here's my list of my top five favorite horror short stories, none of which feature zombies:

Stephen King - "You Know They Got A Hell Of A Band"


Where you can find it: Nightmares and Dreamscapes (1992)




I'm cheating a bit here, because the two Stephen King stories that actually spooked me the most are "Children of the Corn" (in Night Shift) and "Gramma" (in Skeleton Crew). But I'm going with this one, because it's the most unlikely.

A variation on King's oft-explored "weird little town" genre (see "Children..." and "Rainy Season"), "You Know They Got A Hell Of A Band" follows a bickering married couple as they make their way through rural Oregon on their way up to Seattle. They take a wrong turn, stumble on a bad patch of road, and then find themselves in a picaresque, Rockwell-esque little town called Rock and Roll Heaven.

They stop at a local diner, where they meet a waitress who passes a note telling them to get out while they still can. The proprietor of the place happens to look just like Janis Joplin. The cook's a dead ringer for Ricky Nelson. Roy Orbison and Buddy Holly pop in for a bite.

And then things get really weird.

This is a strange and potentially silly setup for a horror story, but King plays it straight and puts his thumb right on the demonic and otherworldly quality that defines our rock and roll stars. And, in so doing, he takes us through a version of Hell that you'd probably never considered before.

And I will never be able look at a picture of Buddy Holly again without imagining his eyes filling with blood.

Clive Barker - "In The Hills, The Cities"


Where you can find it: The Books of Blood: Volume One (1984)





Clive Barker gets a lot of the credit (or the blame) for kicking off the splatterpunk genre in the mid 80s. And it's true, his earliest short stories (compiled in the Books of Blood series) were pretty transgressive for their time. But the rawness of his imagination outdid that of any of the imitators that followed.

"In the Hills, the Cities" is another one of those weird little town stories (this town happens to be in Yugoslavia), but it manages to be one of the strangest short stories I've ever read. The less I say about the plot the better, but rest assured the central concept is so strikingly bizarre that dozens if not hundreds of horror writers have been trying to top it ever since.

And the fact that the two main characters are a gay couple -- presented realistically and without caricature -- was far more daring for its time than any of the gore or weird sex that you'll find throughout the rest of the books.

Richard Matheson - "Born of Man and Woman" (originally published 1950)


Where you can find it: here.





"This day when it had light mother called me retch. You retch she said. I saw in her eyes the anger. I wonder what it is a retch."

Richard Matheson went on to write I Am Legend, The Incredible Shrinking Man, Stir of Echoes, and about a million screenplays and Twilight Zone episodes, including "Terror at 20,000 Feet" and "Duel."

But he started his career with the words I quoted above. It's the opening paragraph to his first published short story, a horrid little gem called "Born of Man and Woman." The story is brilliant in its simplicity. It's also about a page and a half long.

Read it and see if you don't get a shiver up your spine.

Theodore Sturgeon - "The Professor's Teddy Bear" (originally published in Weird Tales, 1948)


Where you can find it: good luck





I really wish I could remember more about this one. I used to have it in some cheapo compilation I picked up at Waldenbooks or something way back when I was in high school, and I remember that (second only to "In the Hills, the Cities") it was just about the weirdest thing I had ever read. It was also very spooky and made me look at my teddy bear (yes, I still had a teddy bear in high school, fuck you) with suspicious eyes.

I lost the book years ago, and I've been looking for the story ever since. If anyone has ever run across it, please let me know.

H.P. Lovecraft - "Pickman's Model" (originally published in Weird Tales, 1927)


Where you can find it: probably just about any of the hundreds of Lovecraft compilations out there.





You can't make a list like this without talking about H.P. Lovecraft (although I almost did...I was sorely tempted to go with Daphne Du Maurier's "The Birds" or "Don't Look Now"), and you could just about pick any one of his stories at random.

I considered "At the Mountains of Madness," which is my personal favorite. But it's really more of a novella than a short story. So "Pickman's Model" it is.

"Pickman's Model" tells the story-within-a-story of Richard Upton Pickman, a half-mad artist in Boston whose paintings are so graphic and horrifying that he has been shunned by the art community. He leads the narrator on a tour of his gallery and shows him a particular painting of a strange humanoid creature eating what appears to be a person.

Then there's a weird noise ... and I guess you probably know where this is going.

"Pickman's Model" isn't really one of Lovecraft's more famous cosmic horror stories. It falls more in line with what I'd call the "subterranean horror" of something like "The Rats in the Walls." These were always my favorites. They're grittier, slimier, pulpier, and far less concerned with making you wonder what's out beyond the stars than in making you afraid of what might dwell in the hidden caverns under your feet.

And Lovecraft is helped by his stylistic experimentation here. By framing the story as a casual conversation between the narrator and the unnamed listener (us), he avoids the sometimes impenetrable excess that characterizes so many of his other stories.

Honorable Mentions

"The Book of Irrational Numbers" by Michael Marshall Smith
"Children of the Corn" by Stephen King
"Nadelman's God" by T.E.D. Klein
"The White People" by Arthur Machen
"The Night They Missed the Horror Show" by Joe R. Lansdale

Saturday, August 7, 2010

Inception (2010)



Warning: Mild Spoilers



I had to think about this one for awhile before I wrote about it.

Say what you want about Christopher Nolan's new epic Inception. Bloated, sure. Confusing, absolutely. Overcooked, probably. Does it all work? No.

But you can't deny the ambition behind it. It's a film that was clearly made by an intellectually curious mind genuinely trying to discover something new. For a Hollywood summer blockbuster with a budget topping out at $160 million in this age of megastupid crap like G.I. Joe and Transformers, that's damn near miraculous.

I'm not even going to try to sum up the plot, because to do so would be an act of pure futility. Most of you, if you haven't seen it, probably already know the basics: Cobb (Leonardo DiCaprio) is a Man With A Past who makes a dubious living hacking into the dreams of corporate scions and stealing information. This heist-of-the-subconscious is called "extraction." But then he's made an Offer He Can't Refuse by a Japanese energy tycoon (Ken Watanabe) and assembles a team to do the seeming impossible: hack into the dreams of the heir (Cillian Murphy) to a rival corporation and plant an idea rather than to take one. This is called, predictably enough, "inception." So Cobb hires an architect (Ellen Page) to design the dream, and a bunch of other dudes to do some other stuff. And we're off to the races.

Nifty idea, right? And kind of unworkable, when you get right down to it. In the hands of a lesser talent (say, oh, I don't know, Michael Bay), it would have been a big steaming mess. But going in I knew that if anyone could make sense of this, it would be Christopher Nolan.

Rather than try to dissect what this movie's doing or make sense of it (which, until I see it about eight more times, would be pretty much impossible), I'm just going to list what I thought worked and didn't work.

1. Dream Reality

Some critics are knocking this movie for not really pulling off the "dream logic." I think this is kind of a bullshit criticism, to be honest. Dreams are inherently impossible to capture within a narrative, filmic context. As soon as the imagery is made literal by a camera, the whole thing falls apart. The only two films I can really think of that come close to capturing the sheer insanity of what a dream actually is are Adrian Lyne's Jacob's Ladder and David Lynch's Lost Highway. All the other attempts I can think of have always felt overly schematic to me.

Nolan -- as schematic a filmmaker as has ever existed -- knows this, I think she he's not really going to try. Inception doesn't attempt to capture the chaos, absurdity, surrealism, and naked emotional force of our most powerful dreams. Rather, he presents an off-kilter constructed reality more similar to what we get in The Matrix. And this is the point. These aren't "dreams" as we're accustomed to thinking of them. They are created, by the characters and for a very specific purpose. We are given levels within levels within levels of reality, one inside the other like those Russian nesting dolls, as we descend deeper into Murphy's (and, simultaneously, DiCaprio's) subconscious.

It's no accident that the whole concept of "architecture" plays a major thematic and narrative role here, and the constant imagery of stairs and elevators reinforces this. It's not about experiencing a dream-state, but rather deconstructing the very idea of reality, time and perception, and in an analytical way. This has been Nolan's obsession (even in the Batman films) since he began making movies. Go back and rewatch Following if you disagree.

2. Story Structure

This is where Nolan really lives and breath, and in that sense the screenplay to Inception is meticulously crafted. It's not really a puzzle movie the way Memento is, but it's incredibly dense and has about a million moving parts to keep track of. It's pretty amazing how clear Nolan is able to keep everything. Unfortunately, the only way he seems to be able to do this is to resort to a nearly constant stream of exposition. But whatever. Like he himself said recently in an interview, heist films are the only types of movies where the excitement itself comes from the exposition. It's about knowing the details of how everything's supposed to work, and then seeing it all fall apart. And at it's heart, Inception really is a heist movie.

3. Character Development

I -- and many others -- have always said that this is Nolan's weakness. A Christopher Nolan film is all about the ideas, and the characters sort of exist to further those ideas. As such, they are often only half-alive. In Inception DiCaprio's main personal motivation mirrors that of Leonard (Guy Pierce) in Memento. Each man is trying to deal with the grief and the guilt of losing his wife (Jorja Fox in Memento, Marion Cotillard here). In both films, the emotional resonance of the personal tragedy is subsumed by the need to use the tragedy to propel the plot.

Personally, I'm okay with that. I give Nolan a bit of a pass here. I don't go to one of his films expecting to have my heart strings plucked. His movies are about the head and not so much about the heart.

What saves him is his ability to attract top-notch actors who manage to pull what heart they can out of the thin writing. Pierce managed to turn in a pretty devastating performance in Memento that builds slowly over the course of the film. I'm always surprised every time I watch it how affecting it actually is.

The same is true here. DiCaprio doesn't have the light touch Pierce did. He broods, Christian Bale-style, pretty much from the first frame, whereas Pierce made the more interesting choice to play laconically against Leonard's inner turmoil, thereby making the moments of intensit, where the turmoil manifests itself pop that much more. But DiCaprio brings an intensity to his best work that can be utterly gripping (see The Departed and Blood Diamond), if a little one-note. I would have preferred something a little less scowly -- less Marlon Brando and more Robert Mitchum -- but overall I'd say it mostly works.

Cotillard, in the thankless role of the dead wife who exists only in Cobb's mind, manages to be incandescent in every scene, and with very little to do. I have to admit I fell in love with her a bit myself here. It's because of her that this movie is as powerful as it is.

I also have to give a shout-out to the future Mrs. Scotty Milder, i.e. Ellen Page. I've pined for her pretty much since Juno (I know, I know. At least I didn't say Hard Candy). Her character here is pure plot, but she still provides that light touch that is so sorely missing from DiCaprio's performance. Long story short, I love her. The end.

Everyone else is uniformly strong, particularly Tom Hardy (Bronson) as the most roguishly charming of DiCaprio's fellow dream hackers. The only disappointment for me was Joseph Gordon-Levitt. He's okay, but I've become so accustomed to him being great in things like Brick and The Lookout that he underwhelmed me.

4. The Special Effects

What can I say? The Dark Knight really established Nolan as a A-list action director, and it did so with a refreshing dirth of "look at me Ma!" CGI. There's more in Inception, but Nolan wisely keeps it to a minimum. Many of the most impressive set pieces -- the fight in the rotating hallway, the van plunging into the water, the avalanche -- were done practically.

When Nolan does go for the big CGI sequence, he goes all out. We've all seen that shot of Paris folding up on itself in the trailer (which is too bad, really, because it kind of takes away from the "wow" factor when you actually see the movie). The ruined city-scape toward the end is truly mind blowing. And there's one shot involving a train (if you've seen it you know what I'm talking about) that actually made me recoil in my seat. But he uses this stuff only when he has to. Nolan has proven himself to be a real visual stylist, and he knows how to use his big bag of tools effectively and sparingly, to propel his ideas rather than simply show off.

5. The Music

I'm usually not a fan of huge crashing soundtracks. I may be the only person on earth who kind of can't stand John Williams' score for Star Wars. So I was surprised by how effective I found James Horner's work here. Once the movie really gets going the music never lets up, which normally would drive me batshit, but for some reason it actually added to the experience here. I can't really say why. I have a feeling, though, that it might irritate me on repeat viewings.

So that's my very broad take on Inception. I don't think it's the ground-breaking, awe-inspiring masterpiece that so many people claim it is. I also don't take the contrarian view that it's an overblown piece of shit (sorry Dusty). In the end, if I was to grade it, I guess I'd give it an A-, with several points added for the sheer balls it took to get it made in this environment. This is a huge summer movie that you can actually talk about once it's over. I'll give my kudos for that every time.

Top 11 songs about heartbreak

I was in Los Angeles about a week ago and I rented a car. I forgot to bring my auxiliary cable for my iPod, so until I was able to make it up from Culver City to the Radio Shack in Hollywood, I was stuck listening to LA radio.

Whoever had the car before me left it on some hip-hop/R&B station. I don't remember much about the song, but suffice it to say that it featured an Usher clone going on and on about how he wanted some girl back who he had screwed around on. The song was so syrupy, sophomoric, and overproduced as to be laughable, and it reminded me of this:

NSFW due to David Cross ass at the end, among other things


I giggled all the way up La Cienega to 3rd Street, at which point Kanye came on and I shut the radio off. But that song -- along with my earlier post about the five albums that changed my life and my newly rekindled obsession with Jim Croce -- got me thinking about hearbreak songs, and how hard they are to do well. No genre of popular music is more susceptible to cliché and unintentional hilarity.

Occasionally, however, a musician manages to find that nerve and work it like a boxer working a kidney. You try to resist, but by the end you're reduced to a blubbering mess.

So here, in no particular order, is my list of the heartbreak songs that actually kinda work:

Jim Croce - "Operator (That's Not The Way It Feels)"





I already talked at length about Croce in my last post, so I'll try to keep this short. What makes this song so effective is the specificity of the story. It's just a guy talking to a telephone operator and wanting to place a call to his ex-girlfriend. We don't know anything about their relationship, other than that she ran off with his "best old ex-friend Ray." We don't know what happened or who was at fault, so we're able to imprint our own experiences onto the back story. Meanwhile, we're just left with this guy, standing in a phone booth and trying to talk himself into making a call that, deep down, he knows he doesn't want to make. He wants to wish her well, let bygones be bygones, but he just can't do it.

"Operator, can you help me place this call? Because I can't read the number that you just gave me," he says. "There's something in my eyes, you know it happens every time."

We've all been there, in some fashion, I would guess.

In the end, he tells the operator to forget it. "You can keep the dime," he says. No lyric has ever summed up the resigned defeat that follows a nasty breakup better than that.

Johnny Cash - "If You Could Read My Mind"





Sometimes it's really not the song itself, but rather the person singing it and what their own story brings.

Just before he died, Johnny Cash recorded this cover of Gordon Lightfoot's...uh...classic from the early 1970s. The lyrics are interesting, but are the sort of abstract singer-songwriter stuff you found a lot of in that time.

But if you listen to this and remind yourself that Cash was nearly blind and bedridden when he recorded it, a broken man who was still mourning the death of his wife of 35 years, June Carter Cash...well, worlds open up.

The delicate guitar, the plaintive strain of his haggard, old man voice ... Don't tell me that when he sings "But stories always end/And if you read between the lines/You'll know that I'm just trying to undersand" he's not thinking about June and his own imminent death.

The Ramones - "The KKK Took My Baby Away"





And now for a change of pace.

This is another one where the song itself is really secondary to the back story. Anyone who knows anything about the Ramones knows that uber-leftie Joey and super-rightie Johnny really, really, REALLY hated each other. They hated each other pretty much from the start, but things only got worse after Johnny stole Joey's girlfriend. So Joey wrote this song out of revenge. And Johnny knew it. And they stayed in the band together for years afterwards.

This isn't one that's likely to make you misty eyed. But imagine these guys onstage at CBGBs doing this song and staring daggers at each other, and at the very least it should make you pretty uncomfortable.

Nick Cave & The Bad Seeds - "Still In Love"





This is the second creepiest song that's going to be on this list (wait for the next one). It starts with a mournful, tinkling piano and a droning guitar, and then Cave comes in with this:

"The cops are hanging around the house/ Cars outside look like they've got the blues/ The moon don't know if it's day or night/ Everybody's creeping around with plastic covers on their shoes..."

Um, what?

The song goes on for awhile, and then we get to the chorus -- "you might think I'm crazy/ but I'm still in love with you" -- and that's when you realize the song is about a murder-suicide.

And then you go take a hot shower.

Moving on...

Pink Floyd - "Don't Leave Me Now"





If that last one didn't give you the shivers, this one (off of "The Wall") is bound to.

Coming after the shrieking rock-star freakout of "One Of My Turns," we find Pink (Bob Geldoff in the movie, probably Syd Barrett in real life) begging his girlfriend (or wife, maybe) not to leave him.

The music drones and drones and drones, and Roger Water' warbles lines like "Oh babe...don't leave me now...how could you go...when you know how I need you...to beat to a pulp on a Saturday night...OH BABE...WHY ARE YOU RUNNING AWAY?"

I can't think of another song that feels like a more thorough portrait of insanity. I'm guessing that Mel Gibson can relate.

Brenda Lee - "I'm Sorry"





This one is kind of hard to explain. It's definitely schmaltzy. But something about the combination of her voice, the crooning chorus behind her, and the melancholy violins just sort of plucks at my heart strings. What can I say?

I also find it interesting that it's pretty clear in the subtext that it's about how she screwed around on somebody. That seems kind of daring for a pop song of that era.

Lefty Frizzell - "Long Black Veil"





Country music offers some of the worst offenders in the cheesy/clichéd heartbreak genre. It almost seems as though a secret cabal in Nashville issued a decree sometime around 1953 that no songs would be allowed that didn't involve a cowboy crying into his beer and/or moaning about how his woman done him wrong. All other ideas are penned up and shipped off to the musical equivalent of Siberia.

But occasionally a good one kind of sneaks in under the fence and makes a break for it.

The neat trick of this one is that it's a ghost story, and the heartbreak isn't the narrator's (he's dead), but rather belongs to the woman he left behind. He looks on from up above (or from down below...he did screw his best friend's wife, after all) and relates the story with a cool, wistful detachment that somehow makes the tragedy hit home that much harder.

It's Frizzell's laconic delivery that makes the song work. I've heard covers -- even Johnny Cash's -- which play toward the melodrama rather than against it. Frizzell just gives us the facts, and in doing so he manages to craft a song that is both creepy and strangely powerful.

Charley Pride - "Does My Ring Hurt Your Finger"





Here's another one, like the Jim Croce song, where the simplicity of the story really works in this song's favor. And, like Frizzell, Pride's uninflected vocal performance gives it a weary, almost cynical edge that plays nicely against the minefield of clichés that accompanies all of these country ballads.

The National - "Sorrow"





"Sorry's my body on the waves/ Sorrow's a girl inside my cave/ I live in a city sorrow built/ It's in my honey, in my milk..."

That kind of achingly twee sentiment could have made this song go horribly awry, but when coupled with the minimalistic approach to the music and singer Matt Berninger's softly rumbling baritone, the feeling the song evokes is of the quiet hollowness that accompanies heartbreak rather than the drama of the heartbreak itself.

The central idea is summed up in the chorus -- "I don't want to get over you" -- and the music builds to just enough of a swirl around it to drive that sense of loss home, while keeping restrained and staying just a few steps shy of sentimentality.

Altogether, this is one of the most beautifully rendered sonic portraits of a man lost in the sea of his own regrets that I can remember.

The Beatles - "Rocky Raccoon"





This may seem an odd choice. I think most people look at this song as a gentle parody of the type of cheeseball country ballad I was lamenting before.

But, like the Brenda Lee song, there's just something about McCartney's voice and the simple, melancholy guitar that makes this one resonate for me in a way that even McCartney himself probably didn't intend. He pretty much drops the satire as soon as he stops aping Merle Haggard after the first few verses and slides effortlessly back into his trademark falsetto. As goofy as it is, this manages to be a weirdly affecting song about a poor kid who tries to stand up for the woman he loves and gets a bullet in the side for his trouble.

The Pogues - "Fairytale of New York"





I don't think I even need to say anything about this song. It's essentially perfect. I could listen to this, and only this, for the rest of my life and be perfectly happy.

Wednesday, August 4, 2010

In Memoriam: Edwin Houston Harrison, 1908-2010



Hey, guys. I hope you'll indulge me a little bit here.

My grandfather, Edwin Houston Harrison, passed away last night at the age of 102.

I kind of wanted to say a few things about him. Okay, a lot of things. This is sort of a weird venue, I guess, but it's the only one I have. So here goes.

Like most people, I imagine, I didn't really know that much about my grampa when I was a kid. He had lived several lifetimes before I was a speck on anyone's horizon. By the time I came along he was retired and motoring around the country with my grandma in their old silver pickup truck and travel trailer. The earliest memory I have of him is being up at Vallecito Lake outside of Durango, Colorado. He was talking to my brother (who was probably 13 or 14 at the time; I might have been two or three) while loading fishing poles into the back of the truck. I didn't even really know what the poles were for, but I knew it had something to do with fish and I remember being really mad because I couldn't go with them.

My grampa was the strong and silent type. Grandma was as vivacious and bubbly as could be. She talked a mile a minute, usually at top volume, and she had an infectious laugh that rolled out of her like the tide. So Grampa probably just figured he'd let her do most of the talking and keep himself to himself.

Consequently, I never really heard all that much about him or what had gone on in his life before I showed up. I knew he had been born on a farm in Oklahoma, and that his first wife had died shortly after giving birth to my Uncle Eddie in the 1930s, and that somehow he and my grandma had ended up in Los Alamos during WWII and that he had something to do with building the roads.

That was about it. To me he was just my grampa.


I don't know why I'm making that face

He was 16 years older than my grandma, so when she passed away back in 2006 I think he was more shocked than anybody. That was the first and last time I ever saw my grandpa cry. It was also, incidentally, the only time I remember him telling me that he loved me. I didn't mind. He wasn't a demonstrative guy, and I guess it had always been understood.

After Grandma died I decided I wanted to get to know Grampa a little better. So I borrowed a camera from a friend and I recorded about seven hours of interviews with him about his life.

Grampa's earliest memory, he told me, was living in a half-dugout on his parents' farm outside of Olustee, Oklahoma. His dad was a homesteader. They had 160 acres that they had to make workable ("proved up," as my grampa said) before they could own it outright. In the meantime, they lived in a one-room cabin, half dug out of the ground, with wooden planks for walls, thatch for a roof, and blankets and old newspaper for insulation.

One winter, when my grampa was about two, they had a nasty blizzard and his dad had to bring the chickens and one of their calves into the dugout so they wouldn't freeze to death. Grampa -- who was about 98 at the time he told me the story -- said he clearly remembered the icicles hanging from the calf's eyelashes.


That's him on the right.

Grampa was the oldest of nine kids (all but his youngest sister Johnny have passed away). He had the misfortune of trying to go into farming himself just as the Dust Bowl and the Great Depression hit. He married his high school sweetheart, Verna, rented a tractor and a plot of land south of Olustee, and got to work.

But it was no good.

"I made good crops down there, but you just couldn’t sell them," he told me. "I sold cotton for six cents a pound and wheat for 31 cents a bushel. That doesn’t even pay to harvest it. I had to give that up.”

in 1933 Verna gave birth to one son, Jimmy Dean, who died at birth. My uncle Eddie was born in 1936. The (possibly apocryphal) story my grandma told me when I was a kid was that two weeks after the baby was born Grampa went into town to buy her a pair of slippers. He came back to find her dead, probably of a blood clot.

I tried to ask Grampa about that when I interviewed him. He just grimaced a little and said "I don't really want to talk about that." So we moved on.

The farm went belly up, and Grampa bounced around for a long time looking for work. His family took in Eddie while he was out on the road. He started with construction in Oklahoma, mostly on roads, and before long this took him all over the Southwest doing contracts, mostly for the military, as the country geared up to enter WWII. He worked in Roswell for awhile, and El Paso, and in 1940 he found himself in Gallup building concrete "igloos" for the armory.

One day, during his lunch break, he met a pretty young waitress at the local Greek restaurant named Paula "Polly" Gonzales. She was 18. He was 34.

Grandma and Grampa both told me the story of their meeting about a year or so before she died. Unfortunately this was before I had the idea to put this stuff on film, so I don't remember all the details. The one thing I do remember was thinking that it sure sounded like he was dating someone else at the time. Grandma called this mysterious other woman his "friend".

When I pressed them on it, they just kind of gave each other a sly little look and laughed.

At any rate, they were married a few short months later on December 9, 1941, two days after the attack on Pearl Harbor.


Grandma and Grampa with my Uncle Ron


And years later

My Uncle Ron was born in Gallup. The three of them moved around for awhile, landing again in Roswell, then moving onto Hobbs, Ft. Sumter, back to Oklahoma. They were living in Albuquerque when a friend of his from his time in El Paso told him about a mysterious new government job up in a place north of Santa Fe.

There wasn't a lot of housing up in Los Alamos at the time, so Grampa went into a bank in Santa Fe and got a loan for $1,500 to buy a travel trailer. They towed it up the hill in their Buick sedan, and they lived in that trailer for several years.

Grampa was one of the first eleven civilians to work in Los Alamos during the Manhattan Project. He started in the auto pool as a mechanic.

I asked him what he thought the Trinity test and Hiroshima and Nagasaki. Did he have any inkling of what was brewing up there?

He didn't seem to understand the question. "Didn't think anything of it," he said. "We all just did our jobs."

Los Alamos ended up being the place where they would stay. After the war my Grandma gave birth to my mom (they were still living in the trailer at the time). They sent for Uncle Eddie, got themselves a house, and Grampa started working with the Zia Company building the roads all throughout town. He retired in 1973 as Superintendent of Roads, Labor and Mechanics.



Once retired, he and Grandma bought themselves another travel trailer and hit the road for about fifteen years or so. I came along in 1977. By then they had pretty much decided that Vallecito Lake was their favorite spot, and in the mid 1980s they sold the travel trailer, bought a mobile home in a little retirement community near the lake, and settled there permanently.

I've never talked to my brother or my cousins about this, but I would hazard a guess that my experience with my grandparents was very different from theirs. I'm the youngest. They're all sort of clumped together in age, and I was a late comer by about a decade. Grandma and Grandpa were traveling a lot when they were kids, and since there were so many of them they had to share.

By the time I wasn't still peeing my pants or eating the Play-Doh, they were pretty much settled in Colorado. I sort of had them to myself.


Yep, that's me again

I used to go up there for a few weeks every summer, either with my parents or by myself. I remember how cool it was, even in July, surrounded by all those pine trees. I remember the sound of the birds, always there, and how I used to sleep out on their covered porch and lay awake at night and watch for raccoons.

My grandma used to take me to Bingo with her once a week down at the little community center in the trailer park. I won $5 once. I think that was the happiest moment of my life up to that point.

I remember that they used to have a drag show once a year, believe it or not. I only saw it once, I think. All the old timers would borrow their wives' dresses and scarves and gloves, throw on a wig and put on stockings and rouge and ruby red lipstick, and then go strutting their stuff on the catwalk. The old ladies would hoot and holler and throw things and generally laugh themselves silly.

When my grampa came out from the back, wearing a purple dress and a long blond wig and two bright dangly clip-on earings, my eyes were the size of cookie tins and my jaw hung wide and loose like a trap door. This was my grampa, after all. A man's man through and through. I knew he was supposed to be part of the show, but I don't think I believed it until I saw it.

Grampa saw me sitting there in my grandma's lap, my face agog and full of naked wonder, and he smiled a crooked little smile that let me in on the joke. "Can you believe I'm up here in this ridiculous get up?" that smile seemed to say.

And then he tipped me a wink. I just about died of laughter.



Mostly, though, I remember the fishing.

Yep, I finally made it out there on the lake with him. By this point my brother was off at college or maybe living in Albuquerque, so it was usually just the two of us. He'd wake me up unceremoniously well before dawn. I'd groan, then smell the eggs or the toast that my grandma had made for me, pull myself out of bed, wipe the sleep from my eyes, and stumble into the kitchen to have a mostly silent breakfast with the two of them. Then my grampa would say something like "best get to it now," and my grandma would give me a thermos with hot chocolate when I was younger, coffee when I got a little older, and a plastic baggie full of her homemade chocolate chip cookies (the best I've ever had, let me tell you) and banana bread.

Then I'd pull on my shoes and trudge out after him to that old silver truck and we'd drive the couple miles or so down to the lake, neither of us talking much but Grampa occasionally singing a little bit under his breath. I'd sit next to him and yawn happily and watch as the sun started to peek its head up over the rim of the mountains.

We would get to the wharf, and Grampa would josh a little with the guys there, and one of them (usually a kid) would go out there and tow his boat back to the dock. We'd climb in, and I'd always be a little bit scared when I'd put my foot onto the bottom of the boat and feel it rock a little on the water. But Grampa always put a thick hand on my shoulder to steady me, so that was all right.

Then we'd charge out to the middle of the lake, and when he decided we were far enough out we'd let our lines out. I'd stare at the reel as the line unspooled into the water, making a soft and reassuring whir-whir-whir sound as it went. It was lead line, color coded by the number of feet. First blue, then red. When it would get to the yellow I'd thumb the catch and it would stop.

Grampa would shut off the motor and we'd sit there waiting. And waiting. And waiting. He always let me sit up at the front of the boat, so I'd lean back in my seat and put my feet up on the middle bench and just watch the line as it twitched a little, teased by a twig or maybe a slow current under the glasslike surface that I couldn't see.

After awhile, Grampa might start singing a little. I usually couldn't understand what he was saying. His Okie accent was so thick as to be almost a caricature, and whenever he sang he'd exaggerate it a little. But I loved the sound of his voice.

Sometimes we'd talk a little bit. He'd tell me about the different kinds of fish: Coconi salmon, rainbow, brown trout, the occasional pike near the shore that could cut your line with their sharp little teeth. He'd tell me how the fish got there, and how he knew what part of the lake to go to each morning to get the maximum number of bites.

Sometimes he'd tell me stories. I think it was out there on the lake when he first told me about Monkeyjack and Rawhide and Bloody Bones -- who came to snatch little boys out of their beds when they're bad -- thereby scaring the bejeezus out of me but also probably inadvertently helping spur my lifelong love of monster stories.

One day he taught me how to yodel. There was no one else out there, so there was nobody we could bother. We sat there, shouting "yodel-i-oh-i-oh" at the mountains, daring each other with each yell to be just a little bit louder...a little bit louder...and hearing our voices rocket back at us across the water. I remember thinking it was kind of like magic.

Then we'd get a bite. "Heyup!" Grampa would say, and I'd bounce up and down in my seat, full of excitement and always for the first few seconds not quite remembering what to do, and then I'd grab my pole and start to reel in. Grampa would coach me, tell me to ease up when I needed to and let that sucker think he was gonna get away, tell me when to pull and when to let him swim. I'd watch the line change from yellow to red and finally back to blue, and then the clear leader would emerge with the shiny spinning lures (Grampa called them "twizzlers"), and after that, by golly, there'd be a daggum fish!

"There it is!" I'd shout, and Grampa would grab the net and I'd try with all my might to fight that thing up to the surface. Sometimes the fish would get away. But usually not. Usually Grampa would just scoop it up and drop it to the floor of the boat, and we'd watch it flop around there for a bit before throwing it into the cooler. Then Grampa would fix my bait and fire up the engine, and we'd let the line out and do it all over again.

Let me tell you one of life's great secrets: Nothing tastes better than a fresh fish you pulled out of the water yourself.

Eventually, as the years went on, it got harder and harder for them to stay up in Colorado. The closest hospital was over in Bayfield, which was twenty minutes away. Grampa fell off the roof one winter while clearing snow and banged himself up pretty good. He wasn't seriously hurt, but I think that was what convinced him and it wasn't too long after that they decided to sell the trailer and head back to Los Alamos. My Mom and Uncle Ron bought a little house for them.

Without a lake nearby, he was pretty much done with fishing. So he took to doing work on the house instead. He was in his late 80s or early 90s when he built the back patio, mostly by himself (Uncle Ron and my cousin Kenny helped with the roof). He was losing a lot of his strength by then, so he devised a system of pulleys and levers to help lift and move things. That still blows my mind.

After the patio was done he got to work on his garden. He was in his mid 90s, I think, when he really tackled it in earnest. When we were preparing his 100th birthday party two years ago, I put together a little video slideshow to show to the guests. The only picture he cared about was this one:


That's the patio he built

When my Grandma died, it was a shock to all of us. She had been in great health, still walked a mile every day, and seemed to be bouncing back nicely after surgery on her knee.

This is the story that I remember hearing. I might not have all the details right, but I think I got the gyst.

Early one morning, while it was still dark, Grandma woke complaining of a strange pain and a feeling of heat in her shoulders. She and Grampa discussed what they should do, whether they should call the ambulance or maybe call my Mom to take her to the hospital. But they decided they didn't want to bother anyone. Grandma drank a ginger ale, thinking that would make her feel better, and they went back to bed.

When my Grampa woke up later, Grandma was in the bathroom. Grampa went into the kitchen, fixed himself something to eat, and talked to my Uncle Ron (who was by then living in St. George, Utah) on the phone for a bit. After getting off the phone it occurred to him that Grandma had been in the bathroom for an awful long time.

He went to check on her and found her slumped against the door, blocking it so that he couldn't get it open.

He called my mom, said something to the effect of: "Your mama fell down in the bathroom and I think she's dead."

I was interning at LionsGate in Los Angeles at the time. My dad called me and told me what happened, that my Grandma Polly had passed away. It sounded like a heart attack. This didn't seem possible; before I left two months earlier she had seemed as bubbly and vivacious as ever. I immediately booked a flight home.

When I made it up to my grandparents' house the whole family was there. Grampa came into the living room from kitchen, tottering on his increasingly unstable legs. His eyes and cheeks were wet with tears.

"How're you doing, Grampa?" I asked. I had no idea what else to say.

"Not too good, Scott," he said, and he grasped my hand and squeezed as hard as he could. His voice was thick and shaky. "Not too good at all."

We sat there for awhile, all of us, numb, not talking about much in particular.

Finally, as I was getting ready to go, I went to him and put my arms around him and kissed him on the forehead. "Bye, Grampa," I said.

"Bye, Scott," he said. Then: "I love you."

After Grandma was gone, the burden of caring for him for the next few years fell mostly to my mother and my cousin Kenny. Grampa insisted on staying in his house and -- for a guy edging out of his 90s -- did remarkably well for himself. But he was getting weak, and none of us trusted his legs.

Eventually Kenny moved in with him and helped care for him. I have to say, I think my cousin acquitted himself heroically. I don't know if I could have done it.

Grampa continued to get weaker and weaker, and before long he wasn't able to do much with his garden. So he mostly sat and watched sports (on mute, because he didn't give a wit what the announcers had to say, he could follow it just fine, thank you very much), did his crosswords, and listened to his religious shows on the radio. It was during this time I got it in my head to interview him on camera.

Finally, about a year ago, he went to live with my aunt and uncle in Utah. Kenny was preparing to get married, and it was getting too hard for my mom to be there all the time without living with him.

After Grampa left, I didn't talk to him much. He was almost impossible to understand on the phone, for one thing. But, to be honest, I just didn't really know what to say.


Grampa with my mom on his 102nd birthday in Utah

About a month ago he developed pneumonia. He had had a lot of trouble breathing for years, and at his age the strain was just too much. His throat was full of phlegm and he could hardly swallow, so it became next to impossible for him to eat. My mom told me about the only thing he could keep down was one bottle of Ensure a day.

My mom and I talked to him on the phone this past Sunday.

"How're you doing, Grampa?" I asked.

"Not too good, Scott," was the reply.

As always, it was hard to understand him. But we talked for a bit, and he was delighted to hear that I got a job teaching. He wished me luck.

"Take care of yourself, Grampa," I said when we signed off. I didn't understand what he said in return.

That was the last time I talked to him.

It was only later that I realized what I forgot to say. So I'm going to say it now.

I love you, Grampa.

I hope you're well wherever you are, and that there are plenty of fish to catch and flowers to tend to.

I love you.

And I miss you.

Goodbye.

Tuesday, August 3, 2010

Quicktake Book Review: "Please Kill Me: The Uncensored Oral History of Punk" by Legs McNeil and Gillian McCain (1997)



In the mid 1970s, future Spin Magazine editor Legs McNeil was just a burnout kid from the outer boroughs of New York City who -- with friends John Holmstrom and Ged Dunn -- put together a fanzine so they could hang out with their favorite band, The Dictators.

The fanzine was called Punk Magazine. It became a cultural touchstone and (if McNeil himself is to be believed) gave a name to an underground culture and music movement that was just starting to bubble up as a reaction against hippies, disco, and the growth of stadium rock.

More than 20 years later, McNeil put together this book, which is a collection of interviews with everyone from Lou Reed (The Velvet Underground), Iggy Pop (The Stooges), Wayne Kramer (the MC5), Patti Smith, and about a million others, going back to the early 1960s and narrating the chaotic rise of a movement that -- like all movements -- wasn't really a movement at all. These kids had no idea what they were doing or where any of this would lead. For them it was all about sex, drugs, puking, sleeping in gutters, hustling at Times Square, taking more drugs, talking shit about each other, getting stabbed by their girlfriends, puking some more, and occasionally playing some music.

McNeil doesn't contextualize very much, and he doesn't try to make this book comprehensive. He just lets the people involved speak for themselves. This is about how punk rock was born, and -- with the exception of a few epilogues toward the end telling us where some of these characters would end up (most of them not well) -- the narrative pretty much stops at the 1980s. We don't hear anything about Southern California hardcore, post-punk, emo, or any of the offshoots that sprung out of the original scene. The Dead Kennedys aren't even mentioned, much less Green Day.

But, like McNeil's subsequent oral history The Other Hollywood: The Uncensored Oral History of the Porn Film Industry, Please Kill Me provides a fascinating and unvarnished look at the details that made up the movement, such as it was. McNeil and McCain wisely narrow their focus to a few pertinent characters: primarily Pop, Kramer, Smith, Dee Dee Ramone, and Johnny Thunders from the New York Dolls. But they include snippets of interviews from literally hundreds of people (I really appreciated the appendix at the end listing all the participants), and in so doing manags to create an almost anthropological study in how a subculture like this comes to be. It's fascinating to see how disparate the influences were -- hot rod racing in Detroit, Warhol's Factory, the gay underground in New York City, just to name a few -- and how, over the course of years, it all coalesced into something that was, while not entirely cohesive, certainly a musical and cultural a paradigm shift.

And we get great stories on such topics as the birth of CBGBs, Malcolm McLaren's disastrous stint as the Dolls' manager, Handsome Dick Manitoba's feud with Wayne County, the squalid and doomed romance between Nancy Spungen and Syd Vicious, and much more.

And, yes, there's lots of sex, drugs, blood and vomit.

Highly recommended.

Sunday, August 1, 2010

The 5 albums that changed my life

Partly inspired by Dusty's excellent and always entertaining Playground of Doom blog -- as well as my own realization that I just don't care as much about talking about movies as I did when I started this thing a year ago -- I've decided to retool "Blood Has Been Shed Jerry" into a general all-purpose review and pop-culture blog.

The fact is these days I've been reading books and listening to music -- and following the trials and tribulations of one Ms. Lindsay Lohan and one Mr. Mel Gibson -- way more than I've been watching movies.

So, in that spirit, here's my first music blog.

Every one of us has four or five albums that affected us so thoroughly when we first encountered them that they've become infused into our DNA. These albums may be undisputed masterpieces. There are plenty of people of my parents' generation who would point to The Beatles "Sergeant Pepper's Lonely Hearts Club Band" or Dylan's "Blood on the Tracks" as the records that define that era for them, and no one would argue.

But sometimes these are just records that found us at the right time and, regardless of quality or critical consensus, managed to find some soft spot in our souls to poke at. Maybe they got us through a breakup, or helped us get our sea legs at a new job, or defined one wild and crazy summer. We could be talking about (in the case of one ex-girlfriend of mine) Abba's "Greatest Hits." Or Metallica's "Master of Puppets." Or maybe the soundtrack from West Side Story. Doesn't matter. We cling to these records like they're a ratty old stuffed animal or a poop-stained security blanket, and it doesn't matter to us that Rolling Stone only gave them two stars.

This list is probably a combination of both masterpieces and security blankets. I'll let you decide which are which.

Here are the Five Albums That Changed My Life, ranked chronologically by when I discovered them.

1. Pink Floyd - "The Wall" (1979)





This is it, the big daddy, the one that looms above all others for me. Nothing has ever come close.

First, a bit of context. This has been my favorite album for over 25 years. That's only impressive when you realize that I'm 32 and you do the math.

That's right: I was rocking out to "Comfortably Numb" and running around jumping on the couch and screaming "WE DON'T NEED NO EDUCATION" when I was six. That's what happens when your brother is 12 years older than you.



I got my first Walkman cassete player when my parents and I road-tripped the country one summer around when I was in the first grade, and the first three tapes I had were Creedence Clearwater Revival's "Green River" (just missed this list by a nose), some greatest hits collection by Chuck Berry ... and "The Wall." These tapes were my introduction to the very concept of rock and roll. The first two were purchased at the same Walgreens or whatever where my dad got me the Walkman (presumably to shut me up in the back of the car).

The third came from my brother some time after we got back, recorded off his scratchy double LP and wrapped up as (I think) a Christmas present.

To this day, I can't really say what it is about this record that shook me so thoroughly. I've explored Floyd's catalogue backward and forward in the years since, and I can very articulately (and pretentiously) deconstruct "Dark Side of the Moon" for you, go on and on about its varied sonic landscape and its obsessions with mortality and insanity. I can tear into "Wish You Were Here" and blather about how it's a mournful meditation on fame and (yep) insanity. I can talk about poor lost Syd Barret and the shadow his acid-fueled meltdown cast over the rest of the band. I can talk about Roger Waters and his daddy issues. I can tell you exactly why I think David Gilmour is a better guitarist than Clapton.

I could also bore the piss out of you by going through this record song-by-song and telling you everything I think you need to know about it. Did you know "The Trial" wasn't Roger Waters' idea, but rather a last-minute suggestion by producer Bob Ezrin? Oh, you don't care? Sorry. I'll stop here. Just listen to it, and then try to tell me that when Roger Waters shrieks about worms eating his brain in "Hey You" or when Gilmour tells you (in the voice of the psychotic Pink) to wish "our colored cousins" a safe trip back to Africa in "Waiting for the Worms" that the hair on the back of your neck doesn't stand up.

I love many, many Pink Floyd albums ... but it still all boils down to "The Wall" for me. This is probably in no small part simply because it was the first, and a gift from my brother, who when I was six was infinitely more badass than anyone else I knew. But he also gave me The Scorpions "Blackout" and Dire Straits' "Money For Nothing," and I'm not going to sit here and tout those as a life changers. "The Wall" has stuck with me through the years and through all my different phases (the jazz phase in the eighth grade, the death-metal phase in college, the alt country phase from two or three years ago). It won't let me go.

The emotional core to the album is distilled in Roger Waters' scream that immediately preceeds the "we don't need no education" refrain from "Another Brick in the Wall (Part II). There's something about it that just cuts into me like a blade.

For a band so often dismissed as space rock, there's an open-wound, primal howl quality to "The Wall" that was (and is) unlike anything I'd ever encountered before. It's both deeply personal and acidly political. It's theatrical as well as introspective. It's about rage. And pain. And, yes, insanity. It's not Elvis being a hound dog, The Beatles wanting to hold your hand, or Bill Haley rocking around the clock. It's not even the Sex Pistols sneering about the Queen.

Forgot the smelly stoners and the laser shows at the casinos. This is rock and roll reconstituted as a bloodletting.

I love it. Twenty five years later and I still can't get enough.


Bob Hoskins rules

2. Jim Croce - "Photographs & Memories: His Greatest Hits" (199-?)



I imagine all of you out there, eyes wide and shaking your head and going "WHAAA?" But before you judge, listen to this:



Now tell me that isn't the prettiest goddamn thing you've ever heard. And if a lump doesn't rise in your throat when Jim tells the operator that "you can keep the dime," I'm sorry to tell you that your heart is nothing but a shriveled prune hanging limp and useless in the dank black cave of your chest.

Still not convinced? Try this one:



If that didn't bring a tear to your eye than there's nothing I can do for you. Go torture a puppy or whatever else it is you do for fun.

Croce was one of those sort-of folkie early 70s singer-songwriters like Harry Nilsson, Cat Stevens and Harry Chapin. He was born in South Philly, rocked possibly the world's single greatest mustache and had himself a pretty solid little career there for a few years. And then he died in a plane crash in 1973.

There wasn't much that set him apart from the singer-songwriter pack beyond the fact that he was just better than the rest of them. Most of you, if you've heard of him at all, probably know the humorous uptempo slices of urban life like "Bad Bad Leroy Brown" and "You Don't Mess Around With Jim." Good stuff, sure. But for me he really only came to life with his heartbreak ballads. He was an excellent singer with a warm, lived-in voice and an instinctual sense of melody that could pluck emotion from your heart with the precision of a surgeon's fingers.

This stuff borders on schmaltz, to be sure. But there was something so genuine, so unironic, about him that, whenever I hear a song like "Operator" or "Lover's Cross," I simply believe him in a way that I don't with almost any other singer-songwriter from the era.

As far as the album itself goes, it was just one of those cheapo compilations that my dad bought one day at Price Club back when I was in middle school. He played it when we got home, and I fell in love with it and pretty much stole it from him after the first listen (this was the era of Nirvana and New Kids on the Block. The fact that THIS was my favorite CD for about three years should tell you everything you need to know about my social standing in those days).

I even remember the track list:

1. Bad Bad Leroy Brown
2. Operator (That's Not The Way It Feels)
3. Photographs & Memories
4. Rapid Roy (The Stock Car Boy)
5. Time In A Bottle
6. New York's Not My Home
7. Workin' At The Car Wash Blues
8. I Got A Name
9. I'll Have To Say I Love You In A Song
10. Lover's Cross
11. One Less Set Of Footsteps
12. These Dreams
13. Roller Derby Queen

Eventually I made it to college, got a lip piercing and dyed my hair black and started listening to extreme European death metal. I went to about a million shows by bands like Cephalic Carnage, Broken Hope, Wicked Innocence, and Macabre. I got punched in the throat, punched another guy in the throat, had a fat guy fall on my knee and bend it backwards, watched a dwarf throw a metal folding chair across the mosh pit and knock a guy out. I was (excuse me while I puff myself up for a moment) a hardcore motherfucker.


Yep

But late at night, by myself, I would lay in my dorm and put my headphones on and go to sleep to Jim Croce.

Sometimes I still do.


If you don't like this you're probably a Stalinist

3. Korn - "Korn" (1994)





Back in 1995 I was in Rare Bear Records in Santa Fe picking through the used CDs when I came across the album you see above.

This was well before "A.D.I.D.A.S.," "Freak on a Leash," the lame-ass duets with Fred Durst and The Pharcyde, the "nü metal" label, the hip-hop pretensions and posturing, the Family Values stadium tours, and the constant MTV/TRL rotation. Korn had not yet become the cartoon godfathers of one of the lamest movements in popular music that we've ever had the misfortune to suffer through. They had yet to give birth to (shudder) Staind, (shiver) Papa Roach, and (vomit) Crazy Town. They were next to unknown. There were no band photos that I recall in the album booklet. Radio and MTV was having nothing to do with them (I later heard rumors that the "Blind" video showed up on Headbangers Ball a few times, but I never saw it).


I so wanted to look like Munky when I was 17

The CD was priced $5.99 and I thought that creepy-ass photo was pretty cool, so I bought it. I didn't get to listen to it until I got home (CD players in cars were still a novelty back then), and by the time I'd made the drive I forgot all about it. Then, a week or so later while cleaning off my desk after school, I found it in the pile and threw it into my CD player, not really expecting much.

It's hard for me to admit, knowing what we all know now about where this would ultimately lead ("I did it all for the NOOKIE, the NOOKIE..." seriously, Fred, fuck you), how powerful that first spin was. When coming up with this list I knew I needed to pick at least one metal album and I was really tempted to go with Faith No More's "Angel Dust," which was my favorite CD from a much better band. But if I'm to be truthful, nothing I stumbled across in high school came close to this album's ability to inflict pure blunt-force emotional trauma.

I remember sitting there on the edge of my bed with my eyes wide and my jaw hanging open as Jonathan Davis shredded his vocal chords and tore his heart out and (metaphorically ... I think) cut his wrists open and bled pus all over my virgin eardrums. It was like listening to the musical equivalent of bowel cancer ... and I mean that in the best possible way. Remember, this was still the grunge era, Green Day was just hitting the big time, Kurt Cobain had just eaten his shotgun, and Eddie Vedder and Trent Reznor were the closest we came to having bonafide tortured artists to look up to. So "Korn" was a total revelation. I didn't realize music could be so ferocious, so ugly, and yet so nakedly vulnerable at the same time.

When, on the bullied-kid memoir "Faget", Davis screams "I'm a FAGGOT/I'm a FAGGOT/I'm NOT a FAGGOT/You motherfucking QUEERS", my head spun around like Linda Blair's in The Exorcist.


Jeez

This wasn't macho, homophobic posturing and it wasn't pouty, Cure-style moping. This wan't Trent suffering beautifully in Sharon Tate's Hollywood Hills mansion. This was a guy in real pain, possessed by an all-consuming rage that seemed to bubble up like magma from the furnace of his soul. His voice was a howl from the abyss. He sounded like a dog being fed through a wood chipper.

And -- like millions of high school kids discovering The Who or The Stooges or Black Sabbath or Hüsker Dü or Nine Inch Nails or (these days probably) Fall Out Boy and My Chemical Romance for the first time -- I was overwhelmed by the feeling that "this guy gets me."

Keep in mind that I was really just a sort of tubby, somewhat socially awkward kid with a mullet and a good family. The perspective of years has made me see that, even if he got me, I certainly didn't get him. I had no idea what pain really was ... certainly not the kind of pain he was screaming about. But there was a rawness and a truthfulness to the record that rattled me way down in my bones. When you're 17 and looking for someone to put a form to whatever weird tornado you have going on inside you, that shit matters.

"Korn" introduced me to the possibilities of what heavy music could do. It didn't have to be a bunch of posing tough-guy bullshit. It could be an open wound. I imagine that what I felt the first time I listened to the CD was a little bit of what Johnny Ramone must have felt when he discovered The Stooges' "Raw Power."

I'm in my thirties now, and I still listen to this album occasionally, once every two or three years maybe. It's hard to plug back into what it meant to me when I was that pissed-off misfit kid. I can still enjoy it, sort of, in a pure nostalgia sort of way. But Korn lost me with their follow-up, "Life Is Peachy," which felt like a pale attempt to recreate the first album, and by the time they got to the sad joke that was "Follow the Leader" I was pretty much over them.

But I remember that first spin. The moment was fleeting, sure. But it was real.

4. Nick Cave & The Bad Seeds - "No More Shall We Part" (2001)





My first encounter with Nick Cave was Metallica's cover of "Loverman" on the "Garage Inc." album. I loved it, so I ran out and bought the Bad Seeds' "Let Love In" (1994) and "Murder Ballads" (1996). And I found myself a new hero.

These two albums are pretty spectacular. They're melodic but harsh, rooted in both blues and punk rock, and Cave displays a singularly dark lyrical sensibility that I -- coming off of my years as a death metal fan -- plugged into right away.

These albums, to me, were more punk than punk, more death rock than Cannibal Corpse could ever be. They reconstituted the whole idea of goth and made The Cure and Joy Division completely irrelevant.

So at first I wasn't entirely sure what to make of "No More Shall We Part." Gone, it seems, was the snarling provocateur who delivered such classic lyrics as "I'm a bad motherfucker don't you know/ But I'll crawl over fifty good pussies to get to one fat boy's asshole" (from "Stagger Lee" off of "Murder Ballads").


Heh

Nope. That Nick Cave seemed to have departed. Now he was crooning stuff like this:



I hadn't yet heard this album's predecessor, "The Boatman's Call" (1997), which was his follow-up to "Murder Ballads." "Boatman's Call" and "No More Shall We Part" are transitional records. Cave had (mostly) kicked his heroin habit and had his poor heart broken by P.J. Harvey. These were records made by a broken man trying to rediscover himself.

Therein lies the brilliance. Cave -- always a shameless raider of classic Americana -- found his solace this time in gospel, and even though there's nothing I would call overtly "Christian" about this record, he does tap into a spiritual depth that was largely lacking from his early work. "No More Shall We Part" is at once introspective and soaring, ruminative and anthemic.


Indeed

After the dirge-like "Boatman's Call," Cave also managed to find some joy in the music again, and he buckled down and tackled his songs with a discipline he'd never shown before. As sad as it is, there's something truly wondrous and minimal about a song like "The Sorrowful Wife." When the guitar crashes in halfway through, my breath never fails to catch in my throat.

He even regained a little of his swagger on songs like "15 Feet of Pure White Snow."


Nick Cave & The Bad Seeds - Fifteen Feet Of Pure White Snow
Uploaded by EMI_Music. - Music videos, artist interviews, concerts and more.
I've had nightmares that looked like this video

It took me a while to really "get" this album. But when I did it grabbed me by the nuts and shook me around like a pitbull. Finally I saw Cave as not merely a provocateur, but as a bonafide poet.

He opened my eyes to whole genres of music I had never really been interested in before. Classic country, Southern gospel and blues, Irish folk ... Cave drew from all of it and crafted a record that is, to me, nearly perfect from start to finish.

5. The National - "High Violet" (2010)





Sometimes an album itself is not life changing, but rather the soundtrack to change. Maybe you're breaking up with someone, or recovering from an illness, or reading a book that stirs your soul, or experiencing a renewed burst of creative energy. Or, in my case, maybe it's all of the above.

Whatever the event or events may be, if you happen to be listening to something new at the time, it can imprint itself upon the experience and become so intertwined with it as to be completely indistinguishable.

These are the records that get you through the shit you need to get through. They may not open your mind exactly, but they give you what you need when you need it.

The life changers, the "Sergeant Peppers" and the "Blood on the Tracks," are your teachers.

These records are your friends.

Such is the case for The National's "High Violet" for me. I hadn't even heard of these guys until maybe three months ago. The review in Rolling Stone sounded kind of interesting. Inspired by both Joy Division and Bruce Springsteen? Shit, I thought, I gotta check that out.

So it's kind of hard to say whether or not my love for this record is really based on merit. But whatever. This is the best record I've come across in nearly a decade. And I'll be damned if they don't sound like Springsteen crossed with Joy Division.

A five-piece from Cincinatti now based in Brooklyn, The National is fronted by a guy named Matt Berninger who, if I remember correctly, was something like an investment banker or a stock broker who pretty much joined the band on a lark.


My new man crush. I could stare into those eyes for days...

Something about Berninger's voice haunts me in a way that I can't say I've ever really experienced before. It's like Nick Cave's, only dipped in honey and lined with velvet. There's an easy casualness to his singing style -- like a guy mumbling over a cup of coffee just after crawling out of bed -- that somehow makes it so much more affecting.

And, lyrically, he's able to grab onto an image or phrase and toss it off in a way that makes it sink in like little droplets of absinthe. "I was carried to Ohio in a swarm of bees," he sings on "Blood Buzz Ohio." I have no idea what the hell that means, but I'll be damned if it doesn't stir something.

And when he croons "I don't want to get over you" in "Sorrow" .. yeah, I get that. As, strangely, I do when he says "I was afraid I'd eat your brains, because I am evil" on "Conversation 16." That's the singularly weirdest lyric on an album full of singularly weird lyrics. But he sort of throws it out there and moves on, leaving you to shake your head and wonder if you really heard it. And the more you listen it, the more you nod and say "yep. Been there."

Musically, I wouldn't say The National pave any new ground. But the melodies match Berninger's voice perfectly, creating something rich and dark that simmers with a barely restrained heat like a pot just coming to boil.

I've so far avoided diving into The National's back catalogue because I know that there's no way the older albums will hit home like this one did. Only the upcoming years will tell if "High Violet" sticks with me the way the others on this list have. I mean, there was a time, between the ages of 10 and 11, when I truly believed that Queensryche's "Operation: Mindcrime" totally was the story of my life thus far. So who knows how I'll feel in a decade?

But I know that when I look back on this time, Berninger's voice will be what I remember.



Honorable mentions (in no particular order)



Led Zeppelin - "IV"
David Bowie - "Ziggy Stardust and the Spiders From Mars"
Metallica - "Master of Puppets"
Faith No More - "Angel Dust"
Massive Attack - "Mezzanine"
Creedence Clearwater Revival - "Green River"
Johnny Cash - "Live at Folsom Prison"
Tool - "Undertow"
The Beatles - "White Album"
Leonard Cohen - "Greatest Hits"