Freedy Johnston’s This Perfect World was released twenty years ago last week, i.e. June 28, 1994. It’s nice to be able to track dates like this down on the internet because then I’m able to take a quick leap back through time and stick a time-stamp on a certain memory that previously had been jangling around in my pocket like loose change. The memory isn’t anything dramatic, it’s just one of those things you weirdly remember for an unclear reason, and it’s of sitting in my family kitchen reading my parents’ copy of Newsweek and coming across a Freedy Johnston review.
I’ve been thinking recently about the French singer Françoise Hardy, and specifically thinking about the first Hardy song I ever heard, which did nothing for me. The song was “All Over the World,” one of Hardy’s songs in English. I remember feeling that there was something vaguely silly about it, that it felt kind of lightweight. The melody and backing track were pretty enough, but they also felt kind of clunky and conventional, with Hardy’s accent awkwardly distracting from the emotional pull of a lyric that felt generic to begin with. I kind of discounted the song, and even, at first, the singer. Then, about six months later, I was listening to another Hardy record and was struck by a beautiful, stately ballad; Hardy’s voice was gorgeous and whisper-quiet over an almost funereally solemn classically-derived piano arpeggio, and the lyrics, in French, seemed profoundly meaningful even though I didn’t know what they were about. I realized, when I looked at the title of the song, that it was “All Over the World” – the exact same recording, in fact, but with Hardy singing in French instead of English.
I had a band. So far we’d played about three shows. We’d done a show at a downtown Austin blues bar that on Monday nights would take pretty much any new band so long as they’d promise to pack the club with their friends who would buy drinks. We’d done a show at an “alternative bookstore” on the college drag that one month later had closed to make way for a chain store that sold fake-vintage pre-faded jeans. We’d done a show above the grease vents on the roof of a hamburger bar. One day, in the late summer of 1998, I got an e-mail from a band called The Eyesores.
Here’s the deal, guys: somewhere around Birmingham my computer went down. I switched it on and there was this weird squiggly low-res pattern happening on there and then nothing, just a grey screen that popped up and wouldn’t go away. I tried “zapping the P-RAM,” which they tell you to do. I tried mashing the various combinations of keys they tell you to while you boot up – nothing worked.
Okay so do you remember the part in Ghostbusters where Harold Ramis is down in the basement of the fire station with a spazzed-out and spirit-possessed Rick Moranis and suddenly Annie Potts comes down the stairs with that pissed off EPA guy pushing in front of her (William Atherton) and she says, “Egon, I tried to stop him! He says they have a warrant,” and then Egon says, “Excuse me, this is private property,” and the EPA guy says “Shut this off. Shut these all off” in this teeth-gritted, intense, red-faced way, pointing around the Ghostbusters’ HQ basement, at all the gadgets and gizmos and containment units we’ve been enjoying for 45 minutes or so by now, determined to ruin everything, to definitively end all the fun? And can you, like me, lipsyc basically the entire scene that follows because you have seen this movie so many times it might as well be tattooed on the inside of your eyelids?
I often make the outrageous drunken claim that the Rock*A*Teens were the single best rock and roll band of the 1990s. It’s sort of ridiculous to say, but as I write this sentence stone sober and drinking a glass of juice, I still kind of believe it. I keep waiting to not believe it, as I very frequently don’t believe all kinds of outrageous claims that I make, but I just cross-referenced with all the other 1990s rock and roll bands in my iTunes and I’m pretty much ready to double down; this disastrously scrappy Atlanta band with their not-very-good-sounding recordings and their name half-swiped from a 50’s rock outfit were…okay, let’s not say the “best,” because I don’t really believe there’s any objective truth when it comes to evaluating music – let’s say they were my favorite.
The song “Black Sheep Boy” appeared on 1967’s Tim Hardin 2. It was the third track, sandwiched between “Red Balloon” and “Lady Came from Baltimore.” “Lady Came from Baltimore” was a love song – one of the simplest, purest, and more affecting love songs you’ll ever hear, written about Hardin’s new wife Susan Morss, who is referred to as “Susan Moore” in the lyrics. “Red Balloon” could also be described as a love song, though, the object of Hardin’s affection wasn’t Susan Morss, but heroin.
I’m told that at some point, usually around age 30 or sometimes later, a great many people basically stop seeking out new music. They circle back around to the same old albums, their favorite albums – the albums of their childhood, or of some time when they were happiest. Their iTunes library (if they have one) may slowly grow, but the amount of records they actually listen to contracts. It circles around the same twenty records, and then fifteen, and then maybe ten. They might occasionally be curious about their favorite band from fifteen years ago putting out a new record, or doing an overpriced reunion tour, but mostly they’re indifferent or even hostile towards the idea of new music. And then – and I’m scared to tell you guys, because I don’t want to believe such a thing could be true – it’s said that somewhere out there are people who have actually stopped listening to music.
When I was in high school, a kid gave me this Velvet Underground tape. It was the first two records, dubbed onto a cassette pretty carelessly, with songs cutting off at the end of sides A and B. The kid who gave it to me was a fellow guitar player, but a lot cooler than me. He was a slouchy guy with greasy shoulder-length hair, and he told me stories about the Velvets tuning all their strings to the same note, or physically carving the frets out of the necks of their guitars so they could slide dissonantly between microtones during guitar solos. I put the tape on and it sounded like what I imagined taking drug (a lot of drugs) felt like. It scared me. And it made me want to take drugs, which also scared me.
John Agnello and I met for the first time about a year ago, in a bar. We were feeling each other out. He was deciding if he wanted to work with me and I was deciding if he was the right guy do take over production duties for a collection of songs that was really close to my heart. I had loved recent records he’d worked on by Kurt Vile, Sonic Youth, and Dinosaur, Jr. (Agnello’s J. Mascis association goes back decades), but it also appealed to me that he’d been involved with some of the defining records of my pop childhood, singles like The Outfield’s “Your Love” and Scandal’s “The Warrior,” pop milestones like Cyndi Lauper’s incredible She’s So Unusual, and even grunge records I’d enjoyed like Screaming Trees’ Sweet Oblivion.
The meeting went great. John and I talked for hours. He really got where I was coming from with the project. I left the bar feeling very excited.