Debriefing: The music and art of Vic Chesnutt

Amazing Little Parlor Games Volumes 1-9

2011-07-12T13:05:00.017-04:00

Hello everybody.

First let me apologize for the lack of activity on this blog. Thanks for the kind words and for taking time to actually read this. Making the blog took a toll on me, and hence the lack of contributions for the last year or so. That said, I would like to offer the following post to say "I'm sorry."

When I decided to start making the Amazing Little Parlor Games compilations 7 years ago, I had no idea that it would evolve to NINE volumes (so far), feature 145 songs and would have a supposed impact on the way Vic released his music. I was flattered when he would ask me for the comps, and I was more than happy to oblige. I did not expect that eventually over 20 of these tracks would be recorded and put out for the world to hear.

Whether or not I had any impact in that I don't know for sure, but Vic did tell me that he sent "live versions" of some of these songs to his producers and that the song choices for the albums came from that. I like to think that perhaps they were from these comps. Maybe not, but to be sure, he was always very happy to get them. Nine volumes in and there still may be enough unreleased material for a few more sets. Vic was prolific, to say the least.

I have taken the time to 'remaster' the 9 previous volumes, and have decided to upload them for everyone to be able to have for themselves. These remasters were done in order to upgrade quality, to speed correct, to replace with superior versions, and in general just to clean them up to the best possible sound that they could be. The songs deserve it, and so does Vic. These should be considered the definitive versions.

I hope that everyone will take time to download, enjoy, share and leave comments. Some changes have been made since the initial sets were offered and the most accurate and up to date info is below. Song titles have been changed to reflect the proper titles and in incidents where the song was eventually released, that information has been noted.

Feel free to critique, criticize, praise and compare all you want. I would like to see some dialogue regarding these songs and have this blog be more active in discussions and proactive in keeping Vic's music alive. The more interest that there is in the man and his music, the more likely hood for future releases, at least that is my hope.

Volume One: http://www.divshare.com/folder/888992-13a
Volume Two: http://www.divshare.com/folder/889026-397
Volume Three: http://www.divshare.com/folder/889043-501
Volume Four: http://www.divshare.com/folder/889060-3fc
Volume Five: http://www.divshare.com/folder/889078-ef5
Volume Six: http://www.divshare.com/folder/889339-277
Volume Seven: http://www.divshare.com/folder/889449-21c
Volume Eight: http://www.divshare.com/folder/889469-c2a
Volume Nine: http://www.divshare.com/folder/888098-7d9

Amazing Little Parlor Games... A Collection of Live and Unreleased Songs (Revised, Remastered and Upgraded in July, 2011)

Disc One:
1. Is the Actor Happy?- The Mint, Los Angeles, CA, 11/16/99
2. Got Me Me- The Mint, Los Angeles, CA, 11/16/99
-Released on Ghetto Bells, 2005-
3. Shit- Aladdin Theater, Portland, OR, 1/27/04
-Planned for release on Preachy, 2010 (CANCELLED)-
4. Town Crier (Jack Logan cover)- Uptown, Minneapolis, MN. 9/22/94
5. Push- The Mint, Los Angeles, 11/16/99 -Released as a demo on www.vicchesnutt.com, 2003-
6. Salt and Pepper Life- The Mint, Los Angeles, CA, 11/17/99
7. Fodder On Her Wings (Nina Simone cover)- Turf Club, St. Paul, MN, 4/21/03 -Released on North Star Deserter, 2007-
8. Grave Governess-The Mint, Los Angeles, CA, 11/17/99
-Released as 'Glossolalia' on North Star Deserter, 2007-
9. Sundown (Gordon Lightfoot cover)- Electric Lounge, Dallas, TX, 10/2/95
10. Sugar Daddy- The Mint, Los Angeles, CA, 11/17/99
11. Lagoon- Mountain Stage, Charleston, WV, 3/10/96
-Released on Ditch Lilly, by Barbara Cue, 2003-
12. Debriefing- Dunhams Radio Show, WZGK, Atlanta, GA, 1998
-Released on North Star Deserter, 2007-
13. Practice Makes Perfect- Stiltskins, Sioux Falls, SD, 11/18/92
14. Boston Blackey- The Mint, Los Angeles, CA, 11/16/99
15. Poor Little Jesus (Trad.)- BBC-Radcliffe Sessions, London, UK, 12/9/96
16. Mr. Smartypants- The Mint, Los Angeles, CA, 11/16/99
17. Zippy Morocco (Early Version)- Stiltskins, Sioux Falls, SD, 11/18/92
-Alternate Version released on Silver Lake, 2003-
18. I'm Proud Of You (You've Done It)- 40 Watt Club, Athens, GA, 9/11/04

Disc Two:
1. Little Pink Boy- Aladdin Theater, Portland, OR, 1/27/04
2. Eat And Learn- 40 Watt Club, Athens, GA, 12/13/03
-Planned for release on Preachy, 2010 (CANCELED)-
3. Unlike Joni Mitchell- Barrymore Theater, Madison, WI, 4/14/99
4. Opened Up- 400 Bar, Minneapolis, MN, 12/4/99
5. Like Timothy Leary- Schuba's, Chicago, IL, 12/9/99
6. Object With Two Heads (Ernest Noyes Brookings cover)- Büchsenstadel, Ulm, Germany, 8/17/95
7. Drunk Electrician- Tin Angel, Philadelphia, PA, 3/13/00
-Recorded for supposed Robert Dickerson (Benjamin Smoke) Tribute album 'BENJAMIN REMEMBERED' (CANCELLED)-
8. Rips In The Fabric- Little Brother's, Columbus, OH, 7/26/03
-Released on Skitter on Take Off, 2009-
9. Vesuvius- Variety Playhouse, Atlanta, GA, 2/15/02
-Released on Ghetto Bells, 2005-
10. Rustic City Fathers- 40 Watt Club, Athens, GA, 2/15/98
-Released on North Star Deserter, 2007-
11. Miss Prissy- FM4, Vienna, Austria, 2/17/97
12. Bust A Nut- Variety Playhouse, Atlanta, GA, 2/15/02
13. Stop The Horse- 40 Watt Club, Athens, GA, 2/15/98
-Released on Dark Developments, 2008-
14. Left A Message Twice- Grey Eagle Tavern, Asheville, NC, 7/18/99

Disc Three:
1. Nucleus- Variety Playhouse, Atlanta, GA, 2/15/02
2. Don't Take Her (She's All I've Got) (Johnny Paycheck cover)- 40 Watt
Club, Athens, GA, 7/24/96
3. Ignorant People- Schuba's, Chicago, IL, 12/9/99
-Released on Ghetto Bells, 2005-
4. Wallace Stevens- 40 Watt Club, Athens, GA, 2/15/98
-Released on North Star Deserter, 2007-
5. Forthright- Old Music Hall, Madison, WI, 5/20/00
-Released on Ghetto Bells, 2005-
6. Only Daddy That'll Walk The Line (Waylon Jennings cover)- Uptown,Minneapolis, MN. 9/22/94
7. Worst Friend In The World- Blue Cat's, Knoxville, TN, 10/21/04
-Released on Skitter On Take Off, 2009; Alternate version planned for release on Vibratile Nerves, 2006 (CANCELLED)-
8. Wussy- 40 Watt Club, Athens, GA, 12/13/03
9. Portrait- Variety Playhouse, Atlanta, GA, 2/15/02
10. Virginia- NPR, Weekend Edition, Washington, DC, 8/03
-Released on Ghetto Bells, 2005-
11. On Paper- KCRW, Santa Monica, CA, 5/22/91
12. The Moon - Black Mountain Folk Festival, Black Mountain, NC 5/91
13. Rational Man- Uptown, Minneapolis, MN, 6/9/92
14. Slice of Life- 40 Watt Club, Athens, GA, 3/29/01
15. Cocks And Weenies-400 Bar, Minneapolis, MN, 12/4/99
16. Hero- Uptown, Minneapolis, MN, 6/9/92

Disc Four:
1. Dirty Dog- Under The Street, Durham, NC, 2/2/93
2. Garden Party (Ricky Nelson cover)- Georgia Theater, Athens, GA 1/27/00 (with Brute)
3. This Cruel Thing- Variety Playhouse, Atlanta, GA- 3/17/00
4. Cushy Laurels- Park West, Chicago, IL, 5/18/00
5. Wealthy and Wise- Cat's Cradle, Carburro, NC, 3/11/97
6. Cock-a-Doodle Dee- Uptown, Minneapolis, MN, 6/9/94
7. Boys In The Backroom (Marlene Dietrich cover)-VARA Radio, Netherlands, 3/19/94
8. Everything I Say- Uptown, Minneapolis, MN, 6/22/94
-Released on North Star Deserter, 2007-
9. Rainy Night In Georgia (Brooks Benton cover)- The Mint, Los Angeles, CA, 11/17/99 (with Dave Phillips)
10. Backsliding Deist's Prayer- Austin, TX, 3/16/01 (w/ The La Di Das)
-Released on rare 7" single by The Deist’s Pouch, 2000- (Limited to 750 copies)-
11. Daddy's Little Dandy- 40 Watt Club, Athens, GA, 10/17/92
12. Beyond Belief (Elvis Costello cover)- Exit/In, Nashville, TN, 2/26/99 (with Lambchop)
13. Sultan So Mighty (Early Version)- The Mint, Los Angeles, CA, 11/16/99
-Reworked version released on Silver Lake, 2003-
14. Rumors, Remedies and Ruminations- 40 Watt Club, Athens, GA, 10/17/92
15. The Garden- Grey Eagle Tavern, Asheville, NC, 3/19/00
-Released on Ghetto Bells, 2005-

Disc Five:
1. Warm- Park West, Chicago 5/18/00
-Released on North Star Deserter, 2007-
2. Mezzanine- KCRW Radio, Santa Monica, CA 10/13/95
3. Fishin' For Compliments (Improv)- Knitting Factory, New York, NY 7/14/99
4. The Grit- 40 Watt Club, Athens, GA 1/18/94 (w/ The La-Di-Das)
5. It Is What It Is- Munich, Germany 5/31/05
-Released on At The Cut, 2009-
6. Fidgety Boy- KCRW Radio, Santa Monica, CA 10/13/95
7. All I've Got To Do (Beatles cover)- 40 Watt Clubm Athens, GA 4/29/01 (w/ Barbara Cue)
8. Witchita Lineman (Glen Campbell cover)- KCRW FM, Santa Monica, CA, 5/22/91 (w/ Bob Mould)
9. Bye Bye Blacksheep- Hannover, Germany 8/12/94
10. Ooh Las Vegas (Gram Parsons cover)- -40 Watt, Athens, GA, (“Beat Bush Bash”) 10/17/92
11. Bilocating Dog- Barbican Hall, London, England, 11/3/2001
-Released on Dark Developments, 2008-
12. Have You Never Been Mellow (Olivia Newton-John cover)- High-Hat Club, Athens, GA 8/16/97 (w/Brute)
-Studio version appeared on Pancake Mountain DVD #1, 2003-
13. Soldering Gun- Knitting Factory, New York, NY 7/14/99
14. Big Absurd Suits Of Glory- St. Anne's Wherehouse, Brooklyn, NY ("Josiah Meigs and Me")11/17/01
15. Pencil Dick (Improv)- Kendall Café, Cambridge, MA 7/21/03
16. Holly Jolly Christmas-40 Watt Club, Athens, GA ("40 Watt X-mas Party") 12/13/03 (with Breck Steele)
17. Hang On Sloopy (McCoy's Cover)- 40 Watt Club, Athens, GA 10/18/04

Disc Six:
1. Phil The Fiddler-40 Watt Club, Athens, GA, 1/23/06
-Released on At The Cut, 2008-
2. Delta Dawn (Tanya Tucker cover)- CBGBs, New York, New York, 6/11/93 (w/ Giant Sand)
3. The Pool- 40 Watt, Athens, GA, 2/8/06 (w/ Undertow Orchestra)
4. Robots- Mound City Music Fest, St. Louis, MO, 12/10/05
5. Private Picture Show- St. Anne's Warehouse, Brooklyn, NY ("Josiah Meigs and Me")11/17/01
6. I Am Judas Iscariot- Belcourt Theater, Nashville, TN, 2/28/06 (w/ Undertow Orchestra)
7. Joy Without Pleasure (Daniel Johnston cover)- Barbican Hall, London, England, 4/14/06
8. Psychiatrist Song (Giant Sand version)- CBGBs, New York, New York, 6/11/93 (w/ Giant Sand)
-Originally released as 'Where Were You' on West of Rome, 1991-
9. Whatever The Reason- Mound City Music Fest, St. Louis, MO, 12/10/05
10. Vibratile Nerves- Orange Peel, Asheville, NC, 10/6/05
-Planned for release on Vibratile Nerves, 2006 (CANCELLED)-
11. Independent Bookstore- St. Anne's Warehouse, Brooklyn, NY ("Josiah Meigs and Me")11/17/01
12.Over- Mound City Music Fest, St. Louis, MO, 12/10/05
-Released on North Star Deserter, 2007-
13. Tuna Ketchup (Daniel Johnston cover)- Barbican Hall, London, England, 4/14/06
14. 3-D Billiards- St. Anne's Warehouse, Brooklyn, NY ("Josiah Meigs and Me")11/17/01
15. Minotaur- 40 Watt Club, Athens, GA, 12/16/06

Volume Seven:
1. When The Bottom Fell Out- The Basement, Nashville, TN, 10/13/07
-Released on At The Cut, 2009-
2. Rhinestone Cowboy (Glen Campbell cover)- KCPR Radio, St. Louis, MO- 3/93
3. Nothing's Happening- 40 Watt, Athens, GA, 12/16/06
4. Continence Rome- Fordham University, Bronx, NY, 5/9/07
5. Society Sue- 40 Watt, Athens, GA, 3/1/08
-Released on Skitter on Take Off, 2009-
6. Beady Blue Eyes- 40 Watt, Athens, GA, 6/11/07
7. Ruby Tuesday (Melanie cover)- Registratur, Munich, Germany, 11/3/07
8. Granny- Neu Club, Madrid, Spain, 9/16/08
-Released on At The Cut, 2009-
9. Does Curtis' Reverb Work (D.C.R.W) (Porn Orchard cover)- 40 Watt, Athens, GA 2/2/08
10. Best Show I've Ever Seen- The Earl, Atlanta, GA, 10/20/07
11. Cut and Run- The Earl, Atlanta, GA, 3/2/08
12. Angry Man- Club Congress, Tuscon, Arizona, 9/9/06
13. Shrewd Politician- Cat's Cradle, Carrborro, NC, 11/29/95
14. Coward- Gartenbaukino, Vienna, Austria, 11/02/07
-Released on At The Cut, 2009-
15. Lean On Me (Ben E. King cover)- 40 Watt, Athens, GA, 2/2/08
16. The Passenger- (Iggy Pop cover)- 40 Watt Club, Athens, GA, 10/18/07

Volume Eight:
1. Legacy- Daytrotter Studios, Rock Island, IL, 6/2/09
2. Chamberlain- 40 Watt Club, Athens, GA, 1/8/94 (w/ La Di Das)-
3. Smiley Punk Rocker- Cat's Cradle, Carrboro, NC, 11/29/95
4. Butterfly Collector (Garbage cover)- The Knaack, Berlin, Germany, 8/13/94
5. Conjunctions of Coincidence- St. Anne's Warehouse, Brooklyn, NY, 11/17/01 ("Josiah Meigs and Me")
6. Time After Time(Annalise) (REM cover)- Grey Eagle, Asheville, NC, 9/10/09
7. Sacrificial Lamp- The Knaack, Berlin, Germany, 8/13/94
8. He's In Love With His Dog- Club IOTA, Arlington, VA, 5.13.00
9. Everybody Hurts (REM cover)- Grey Eagle, Asheville, NC, 2/9/09
10. Palomino Girl- 40 Watt Club, Athens, GA, 1/8/94 (w/ La Di Das)-
11. Secret Satisfaction- 40 Watt Club, Athens, Georgia, 07/24/96
12. Good Hearted Woman (Waylon Jennings cover)- Joe's Pub, New York, NY, 2/22/02 (w/Kurt Wagner)
13. New Fiction (Incomplete)- The Uptown, Minneapolis, MN, 9/22/94
14. Blue Christmas (Elvis cover)- 40 Watt, Athens, GA, 12/16/05
15. Just Like Tom Thumb's Blues (Bob Dylan cover)- Urania, Vienna, Austria, 10/19/08

Volume Nine:
1. Welcome To The Show, Ya'll- Mousonturm, Frankfurt, Germany, 6/1/05
2. Supreme Fiction- Under The Street, Durham, NC, 2/2/93
3. Roses are Red (Parody)- Unknown Venue, Augsburg, Germany, 8/10/94
4. The Trumpet Song- 40 Watt Club, Athens, GA, 1/8/94 (w/ The La Di Das)-
5. Someday Never Comes (CCR Cover)- Sala Rossa, Montreal, Quebec, Canada- 6/13/08
6. My Blue Wave (Lambchop Cover)- Barbican Hall, London, England- 11/3/01 (w/ Kurt Wagner)-
7. Until The End- Variety Playhouse, Atlanta, GA- 2/15/02
8. A Letter From Li- Po (Conrad Aiken poem)- St. Anne's Warehouse, New York, NY- 11/17/01 ("Josiah Meigs and Me")
9. Bite The Cocky (Soundcheck)- The Grey Eagle Tavern, Asheville, NC- 2/9/09
10. Estimate -The Downstairs, Athens, GA- 1/16/91 (w/ Mr. Greenjeans)-
11. Save Her- Union Chapel, London, England- 6/3/03
12. The Twist (Chubby Checker cover)- Club Soda, Montreal, Quebec, Canada- 10.25.95
13. Muscle Beach -The Downstairs, Athens, GA- 1/16/91 (w/ Mr. Greenjeans)-
14. Bakersfield (La Di Das version)- Human Rights Festival, Athens, GA- 5/17/98 (w/ The La Di Das)
15. Sampan (Soundcheck)- KPCR Radio, St. Louis, MO- 3/93
16. Dicking Around- The Knitting Factory, New York, NY- 7/15/99
17. Harmonica Solo- Büchsenstadl, Ulm, Germany- 8/17/95
18. O! Holy Night (Traditional)- Canturbury House, Athens, GA- 12/89
19. Coming Home- 40 Watt, Athens, GA- 11/2/09

Some titles assumed.

"Morally Challenged", Brute- Cobalt Blue, 2002 Widespread Records

2010-04-14T19:37:00.030-04:00

Vic was a fun guy. He could make you laugh without even trying. He was self deprecating and pleasant (mostly) and always had control of his crowd, no matter the situation. He was very funny... and his humor shone through, not only in his personality, but also in his work, including this song.

Morally Challenged was written during a drive between Austin, TX and Los Angeles sometime in the early 1990s. Vic wrote it on a newly purchased Omnichord. He said he had the "Omnichord in one hand, a joint in his mouth and his other hand on the wheel." The earliest performances start around 1994, and the song didn't receive an official release until 2002's Cobalt Blue album from his Widespread Panic collaboration entitled "Brute."

The song's musical transformation over the years is quite stunning. Whether it be the simple tick tock, Casio type keyboards of the original... to the acoustic stop and go acoustic strums .... to this full out Jam-band arrangement with Brute, the comic tone has remained. Vic really enjoyed playing this and always got a reaction from the crowd.

Lyrically, Morally Challenged is basically a joke song, full of irreverence and blatancy. Vic is the pundit, and each of the subjects, in this southern travelogue, have a commentary made about their social position (save one). The grandmother (convict), the mother (liar), the father (transsexual), and the sister (floozy) each have their dirty laundry vocalized by Vic. The only person not exposed, if you will, is the poet/appreciator and is the only person Vic talks to directly. That person is simply adorned, and highlighted for their love of famed poet W.H. Auden (which was one of Vic's favorites.) I'm pretty certain the song is complete fiction. If it's not however, praise be to Vic for being an astute observer of their 'flaws.'

As with almost all of Vic's tunes, I am more fond of his live solo versions, and this is no exception. I do like the Brute version, but I was always a little put off with that combination. Widespread Panic fans and Vic fans, in my opinion, seldom overlapped, and I wonder what effect it had on Vic. I remember being at several Vic shows and hearing people yell out for Panic songs, and it seemed to be an annoyance to him. Perhaps I am wrong. Nevertheless, Vic solo is 'cherry pie' as Michael Stipe would say.

The live version below, is just Vic and his Omnichord and is a fun listen, replete with 'boop boop be doop' sections, and flubbed lyrics. The essence of the song is intact, and it still remains one of my favorite live Vic moments.

Here's Brute's version:

And here's a very early Omnichord version from Athens 1994:

MORALLY CHALLENGED

She's your gray-haired granny from Gadsden, Alabama, yeah
She's your gray-haired granny from Gadsden, Alabama, yeah
She's your gray-haired granny from Gadsden, Alabama, yeah
You never see her 'cause she's always in the slammer
She's your gray-haired granny from Gadsden, Alabama, yeah

She's your hard-hearted mama from Appalachiacola, yeah
She's your hard-hearted mama from Appalachiacola, yeah
She's your hard-hearted mama from Appalachiacola, yeah
You're daddy's dead, or at least that's what she told ya
She's your hard-hearted mama from Appalachiacola, yeah

He's your long-lost daddy from Union, Mississippi, yeah
He's your long-lost daddy from Union, Mississippi, yeah
He's your long-lost daddy from Union, Mississippi, yeah
He's been with Nelly since nineteen-and-sixty
He's your long-lost daddy from Union, Mississippi, yeah

She's your morally-challenged sister from Albany, Georgia
She's your morally-challenged sister from Albany, Georgia
She's your morally-challenged sister from Albany, Georgia
You never liked her, but you never porked
She's your morally-challenged sister from Albany, Georgia

You're a reader of poems from Slidell, Louisiana, yeah
You're a reader of poems from Slidell, Louisiana, yeah
You're a reader of poems from Slidell, Louisiana, yeah
W.H. Auden wrote all your favorite stanzas
You're a reader of poems from Slidell, Louisiana, yeah

Reader of poems from Slidell, Louisiana
Reader of poems from Slidell, Louisiana
Reader of poems from Slidell
Slidell, Louisiana, yeah

"Rips in the Fabric"- At The Cut, 2009 Vapor Records

2010-03-22T08:41:00.036-04:00

In July of 2003, I make a trek to catch Vic in Columbus, Ohio at a club called Little Brother's. I had caught him a couple of times previously, that year, with the Amorphous Strums, who were touring in support of Silver Lake, and they were great. However, this night was Vic in his element....he was doing a solo show.

I had made arrangements with New West records to get into the show early, so I got the chance to spend some time with Vic before hand. Laura (my girlfriend at the time) and I had become familiar to Vic so he was in a great talkative mood. At one point, he asked us what we wanted to hear? Laura blurted out her favorite track (Steve Willoughby) as well as a couple more. I mentioned Supernatural, New Town and then I said, slyly, that I wanted to hear a new song, not knowing if Vic would oblige or not.

So showtime rolls around and low and behold...each of our requests became audible as Vic proceeded through the set list. It was a great treat, and a testament to Vic's love of his fans. Anyway, as the night was finishing, Vic introduced a 'new' song... and my face got grin on it as big as Robert Mitchum...if you'll pardon the plagiarism. Recently, Vic's tours had been free of new material... he was supporting Silver Lake so the set lists where basically consistent each evening, save for the encore, but those had been pretty consistent as well. Don't get me wrong.. that tour was fantastic, but Vic, by himself, is such a treat. That evening's new composition was an interesting song about mundanity and life. It was entitled Rips in The Fabric and as far as I know, the only time it was ever played live.

Fast forward six years. Vic has released, what I consider, two of his finest efforts... one a energetic, loud, emotional album entitled At The Cut (with Guy Picciotto and Silver Mtn Zion) and the other, a surprisingly stripped down affair, called Skitter on Take-Off, which is essentially, a solo album. He is backed by Tommy Larkins and Jonathan Richman, but their sparseness and subtlety only emphasis Vic's lean arrangements. I really like the album. Vic's songs always had a basic simplicity to them that made them honest, and funny and viable. The big production efforts like At The Cut, Silver Lake and even my favorite The Salesmen and Bernadette are fantastic, and very enjoyable, but the real heart of a Vic song is his ability to pull so much out of sparsity.

Rips in the Fabric feels like an observation about humanity, religion, free will and public opinion. I think Vic's 'moral' is that people just go through their lives, despite their mortality, unaware of their insignificance, in the scheme of the universe. Humans are, essentially, in control of their own existance, even though there are people (preachers, or teachers, or hipsters) who would have the collective conscienceness believe otherwise. Interestingly, in the original version (featured below) Vic only addresses the theological opinions... and not the academic or popular.

Skitter On Take-Off is a release of grave importance, just as Little was in 1990. In fact, Skitter is an appropriate ending to a very storied career. Others may look at At The Cut as more relevant given it's lyrical association with Vic's final days, but I for one find the sparseness and pureness of Skitter comforting. For Vic to come full circle at the end of his 20 year career is amazing. It’s as if he had the foresight to reflect back, on his beginnings, and to harness that creativity to create his ultimate finale. I am glad he did.

Vic and Laura at Little Brother's- July 2003

Here's the studio version:

And the live one from Columbus 2003:

RIPS IN THE FABRIC

She was walking down the sidewalk
Sniffing swiftly in the wind
Thinking of everything and nothing
Just another flighty human being

And satellites where arcing
Undetected overhead
Her cells were busy splitting
And jettisoning the dead

Beauty is as beauty does
In the eyes of the beholder
Or collectively in all of us

She was waving to a cyclist
As he went coasting by
Through a lazy intersection
Towards the remainder of his life

And a feral cat went diving
Behind a dumpster there
Which displaced a big brown rat
That went fleeing with a comical flair

We are trapped, but we are free
To go through the motions
And be just as happy as we can be.

And later on I held her
In my skinny arms
My chapped lips were whispering
Esoteric alarms

But her warm breath assuaged me
And the music returned
Our dancing continued
While big forest fires burned

Space is spooky
And time is a trip
Don't let the preachers and teachers and hipsters fool you
There ain't no rips in the fabric.

"West of Rome", West of Rome, 1993 New West Records

2010-03-07T11:43:00.019-05:00

The title track from one of Vic's most celebrated albums is bittersweet for me today. Mark Linkous, of Sparklehorse fame, committed suicide this past weekend, in Knoxville, TN. Not only was he a fantastic musician, an artistic genius, and one of my favorite all time performers, but he did a amazing cover of West of Rome, for the Sweet Relief 2 compilation.

Ironically, the last time I ever saw Mark, he and Vic and I were chatting about this specific track.

It was in Asheville, NC. I had mentioned to Vic that it was the only song off of the album West Of Rome that I had never heard him perform. He told me that he hadn't played the song in years, but would try and work out an arrangement. At that point, Mark very humbly offered that if I wanted to hear a 'terrible' version that he had one on the Sweet Relief compilation. I sort of laughed and said that it was a fantastic cover and that it was my favorite track on that specific album. Afterwards, Mark and I sat together and watched Vic perform his magic. That was February 2009.

I never saw either of them again after that night.

West of Rome was inspired, but not directly, by the book of the same name by John Fante. The book, which features two novellas, is about a father's reflections on his own life and that of his children. Vic read the book and then wrote the song. The two have only that relation. Also, despite thoughts to the contrary, the song is not about Rome, Georgia, although Vic had mentioned that is could have been because it has some Georgia imagery in the lyrics.

Speaking of lyrics, West of Rome has some of Vic's most narrative lyrics. The scene is set, from the first line, and in just five minutes, Vic has presents an interesting character study of the protagonist, and his environment. Lines like "a childhood of dry goods and wet neglect" and "polishing his boots and pummeling his liver" are so simple yet descriptive. Just another facet of Vic's incredible talent and ability.

I miss him still. In fact, I miss them both.

Further reading:

http://www.amazon.com/West-Rome-John-Fante/dp/0876856776

Here's Vic's version:

And Mark's from the Sweet Relief 2 Tribute

WEST OF ROME

west of Rome, just east of the border

in a static-y ramada inn

polishing his boots and pummeling his liver

steeped in the dark isolation

just what business does he have around here

credentials are wearing out with each little bit of cheer

yes it's a bad scene we're convening

brushing his teeth and milking his ulcer

preparing to waste another wily morning

stroking himself and them phoning up his sister

he tells her their life would make one whale of a movie

yes a childhood full of dry goods and wet neglect

the father they now sponge off they have no absorbing respect

yes he's a glad boy to have such a void

yes he's a martyr crawling accross cobble stones

from his cozy cottages just west of Rome

yes its a sad state for great suffering

"This Cruel Thing" (Live)- Amazing Little Parlor Games... A Collection of Live and Unreleased Songs- Volume Four, 2005

2010-02-25T19:05:00.015-05:00

I made the trip a week last, to the Vic Shows at the 40 Watt, in Athens. It was a fascinating, albeit emotionally exhausting tribute to the man whom was loved by so many. The performers where an array of national acts, Athens' locals, fellow songwriters, musical friends and former collaborators...each of whom had a special connection with Vic and his art.

One of the many highlights, on Saturday, was a special performance by Silver Mtn. Zion and Guy Picciotto...Vic's partners in crime on At The Cut. Sitting in on vocals was Vic's niece and an amazing vocalist in her own right, Liz Durrett. This ensemble performed, what I consider, the best song of the evening, and a song that Vic never committed to a studio album... This Cruel Thing.

This Cruel Thing is a rather old song. The earliest performances dating back to the early 1990s, and even though a studio version has yet to surface, the song isn't completely unknown. Vic licensed it for the soundtrack to the movie A Slipping Down Life where it was performed by actor Guy Pearce. I like that version and it's included below.

Lyrically the song draws heavily from a sentimental Civil War ballad entitled Weeping Sad and Lonely (When This Cruel War is Over.) The ballad, penned by Charles Carrol Sawyer, is considered to be one of the most widely adored songs from the period, despite critical opinion to the opposite. Most critics panned the song as being "commonplace" and having a musical structure that was 'flimsy' and unmelodious. Not everyone agreed, however. It was heralded as "the greatest musical success ever known in this country" by the Cleveland Leader when the song was still contemporary. They went on to add that the "melody catches the popular ear and the words touch the popular heart." Despite that digression, the song sparked numerous musical replies, parodies and became popular on both sides of the battlefield.

Vic's deference is lyrically comparable, and melodically it has its similarities as well. The first line, for example, is almost identical to the title of the former composition. The original focused on the thought of the time in which it was written, and the hope of no more conflict or battles. Vic took that idea and ran with it, crafting a beautiful lyric around a touching melody and a song which becomes bittersweet with the foreknowledge of the events that occurred last Christmas.

Vic always felt in battle with life...whether it be physically or otherwise. He always seemed to make the best of his situation, but the conflict always seemed to be prevalent, and I can see why he would be drawn to the emotion of the original.

This song has always been a personal favorite of mine, and the version at the 40 Watt tribute validated that opinion. Vic's live versions are a fantastic listen, but Liz singing her version, backed by Vic's final band, caught my ear and touched my heart.

Whether a studio version, by Vic, will ever surface or not is unknown, but this song will soon live on. It's just been recorded and is intended for inclusion on the upcoming album by Vic's former collaborators Widespread Panic. I'm glad that it wont be forgotten.

Here's a live version by Vic:

Here's Guy Pearce's version:

And here's the version by Silver Mtn. Zion featuring Guy Picciotto and Liz Durrett:

THIS CRUEL THING

Weeping sad and lonely
When this cruel thing is over
Hopes and fears... How vain?
When this cruel thing is over

And often dreams I see you
On the battle plain
Sadly breathing...falling
When this cruel thing is over

If a mid din of battle
Nobly you should fall
I'll whisper words in honor
When this cruel thing is over.

"Independent Bookstore" (Live)- Josiah Meigs and Me- A Song Cycle for Puppets, November 2001 (Unreleased)

2010-02-17T14:28:00.005-05:00

In November 2001, Vic performed a handful of shows, in New York, that were entitled "Josiah Meigs and Me: A Song Cycle for Puppets." The shows featured words and music by Vic, and a stage production by filmmaker Jane Geiser, one of the country's most foremost puppeteers. The stage show, which was called “a grand little live-action silent movie,” was elaborate and artistic, and was well received by both press and fans alike.

The cycle revolved around the man Josiah Meigs; an academic, writer, lawyer and former President of the University of Georgia. His influence was great, and even though he was unlamented as President, his name is still prominent at the University, and in Athens.

Vic recognized similarities between Josiah and his late father. The biggest being that both were ousted from their jobs due to corporate and political idealism. Josiah resigned his duty as President in 1810 after several disputes with the Board of Trustees. In Vic's father's case, he was let go from his job at Eastern Airlines, and died within a year as a result. His death is something that Vic never let go of, and rightfully so.

When asked about his fascination with Meigs, Vic was quoted as saying:

"He was a smart man with deep convictions, and he was surrounded by political opponents. I had a dream in which he was talking to me. I don't remember what he said, but it was my late father's head he was talking with. That's what really hooked me- he'd climbed deep into m psyche and hooked up with my father. This song cycle is about finding Meigs and what that led me to discover about myself and my country."

The concerts consisted of Vic on stage left, with an array of different sized puppets,
each of which representing a character from the cycle, rotating through the storyline center stage.There's was a three-quarter sized Vic marionette animated to relay his memories and thoughts (including both a rowboat and dreaming sequences), a life-sized, large headed Josiah Meigs cranking a wheel of a printing press, a miniature reenactment of the founding of UGA, and other assorted puppets.

The song cycle included all new compositions (save one- Flying, which was an old track about Vic's father.) The story starts with the discovery of a book, by Vic, at a used bookstore about the history of UGA. There he discovered the history of Meigs and understood the correlation between Josiah and his father. The storyline develops into the telling of his heritage and about how that knowledge changed his perspective on life.

The song that is included here is first song of the storyline. It tells of the discovery of the above mentioned book, and is a fun listen.

I know that Vic held this production as one of the high points in his performance career, and I'm glad that a document of the evenings exist. Vic's music has always been theatrical and imaginative. This production is proof of that.

Further reading:

http://www.amazon.com/College-Life-South-Merton-Coulter/dp/0820331996

INDEPENDENT BOOKSTORE

Once I found myself in Oxford, Mississippi
One sunny summer afternoon
I was hungry, hungry downtown on the square
But all the restaurants were closed

Well just when I felt on the verge of blasphemy
I realized it was a Sunday
And that is the one day
When around there all the restaurants would be closed
(Spoken: Baptists don't eat on Sunday, ya know?)

I was starting to swoon, yeah.
The sun was doing more than loom
When out the corner of my eye
Something sparkled.
It looked like and then proved to be a great little independent bookstore sign

Well, I guess for a heathen like me, that's a steeple beckoning
So I started in over towards it, but as soon as my hand hit the door
Every single author I had ever come across or, especially the four or five that I'd been dying to read...

They flew right out of mind
They flew right out of mind
Yes, They flew right out of mind
They flew right out of mind
They flew right out of mind

So, where oh where would I start to look,
in all those stacks of dusty books
For the one of many that I know was there
that even I could appreciate

I used my eagle eye
to spy the table 'Marked to Move.'
Then I sorta sidled over
I stuck in my thumb and pulled out like a plum
a text with a title that took me aback.

It was entitled, "College Life in The Old South- as Seen at the University of Georgia."
Well, that's kind of like my Alma mater
Seeing as I've lived in that historic college town ever since I dropped or flunked out

And the book is only three dang dollars
The book is only three dang dollars
Yeah, the book is only three dang dollars
Yeah, the book is only three dang dollars
Yeah, the book is only three dang dollars...
and I'm a cheap fucker...
It's only three dang dollars

Yeah, the book is only three dang dollars
The book is only three dang dollars
Yeah, the book is only three dang dollars
The book is only three dang dollars

Yes, the book was only three dang dollars so I didn't have to shoplift it.

"It is What It Is"- At The Cut, 2009 Constellation

2010-02-12T09:44:00.014-05:00

Throughout Vic's career, he often composed songs that where relative to his situation, or revolved around circumstances that where part of his life. These songs often felt inspired and deeply personal, even if they were non-specific or unclear. No song, however, felt as honest and as autobiographical to me as "It is What It Is."

Lyrically, it's so detailed and poetic, while at the same time, vague and ominous. There are references to his physical disability, his adoption, his career, his disposition, his beliefs, his heritage and his death. In his poetic verses, Vic created a beautiful 'self portrait.'

The song was first performed in Newcastle Upon Tyne, in England in May of 2005, and then dropped from set lists by the end of that year. It could have been forgotten... another lost Vic masterpiece. Thankfully, it was resurrected and formulated for release on At The Cut.

In an introduction to this song at the Tribeca in New York in 2005 (featured below), Vic said the following. "You know how in hip hop, these days, ...it's, um, a very popular form of music. I don’t know if you've ever heard it....but they, um, often like to brag about themselves. This song is not like that."

There are numerous references to “hideous” characters like the Hunchback of Notre Dame, the ‘speckled monster’ Caliban (from Shakespeare's The Tempest), and the Phantom of The Opera. As unfortunate as it is, it appears that Vic did see himself as some sort of deformity, or creature.

His reference to Henry Darger suggests that Vic considered himself in the same light. Both were adopted, both were sarcastic and sharp witted, both were outsider artists, and both suffered from mental disorders (Darger from paranoid schitzophrenia and Vic, of course, from clinical depression.) He also highlights (lyrically) W.H. Auden, one of his favorite poets, and someone whom I believe he tried to emulate on several occasions.

All in all, this song feels like a reflection back on a life that was not as the writer had once envisioned. It’s sad and aware, while at the same time being nostalgic and confused. I do enjoy this song, but it’s also a very hard listen, knowing what happened in the ‘looming blackness.’

The fact that he uses the word obsolescence saddens me most. For Vic to think that he was was no longer viable hurts my spirit. There are so many people who would have disagreed with him, and I hope it was just a lyrical turn of phrase, and not a dogmatic principle in his life.

Vic was what he was…and what he was was great.

Further info:

http://www.hammergallery.com/Artists/darger/Darger.htm

Here's the album cut:

And a live version:

IT IS WHAT IT IS

I am a monster

Like Quasimodo

Or Caliban the natural man

Giving wild ripostes to my reflection

One ugly morning

In a rage

Father threw an apple

Into my carapace

And like the invisible man

Directing traffic

I’d be ineffective

No matter how enthusiastic

Amid the masses’ frenzy

Participation

In this massive

Separation

Appearance is everything

Nothing is how it seems

And civilized society

Is calm civility

I’m the phantom of the opera

Singing beauty and at ease

Or Henry Darger’s

Autobiography

And that is curt clues to my essence

Planned obsolescence

Appearance is everything

Nothing is how it seems

In a market economy

It’s called marketing

And not exactly clawing my way to glory

Nor whimpering in the wind

But once positively

I’m teetering on the brink

Of an all-out breakthrough

But sometimes clear headed

Sometimes a doofus

Sometimes very cordial

And sometimes aloof

I am syrupy optimistic one moment

Then gravely pessimistic the next

Irritable as a hornet sometimes

Then agreeable as it gets

I’m not a pagan

I don’t worship anything

Not gods that don’t exist

Nor the sun which is oblivious

I love my ancestors

But not ritually

I don’t blame them or praise them

For anything that they passed along to me

I don't need stone altars to help me hedge my bet

Against the looming blackness

It is what it is

"Object With Two Heads" '(Live)- Amazing Little Parlor Games... A Collection of Live and Unreleased Songs- Volume Two, 2005

2010-02-03T15:21:00.027-05:00

In 1994, Vic started playing a song entitled "Object With Two Heads." The song was a peculiar little ditty that featured strange lyrics about a two headed dragon, and was performed with his 'Skiffle Group' for a couple of years. The song, it turned out, featured lyrics by Ernest Noyes Brookings, with music arranged and written by Vic.

Ernest Noyes Brookings was a resident of the Duplex nursing home, in Boston. He rose to fame, when the facilities' activities director, David Greenberger, approached him to be involved in a homemade magazine entitled Duplex Planet, which revolved around day to day specifics of the residents of the complex. The zine became a cult classic and Ernest, specifically, became popular among the artistic, poetic types and soon became the subject of several compilation discs that featured his words put to music.

Vic once mentioned, in an interview, that he would like to record this song for one of those comps. I'm not certain if he ever did, but several live recordings exist. I like the song. It's fun, whimsical and, honestly, in stark contrast to Vic's other work from that period. Hopefully, if there is a studio cut, it will be let out of the vault.

Below: David Greenberger and Ernest Noyes Brookings

Further information can be found here:

http://www.duplexplanet.com/

Here's a live version from Ulm, Germany, 8/17/95

Lyrics below reproduced from Duplex Planet No.73

"Hey Bulldog", Buddha in A Raincoat- Volume 3, 2005 Fan Project

2010-01-31T13:34:00.029-05:00

Apart from the live Amazing Little Parlor Games sets that I compiled over the years, I also offered a series called Buddha in A Raincoat. The focus of that series was to make available studio tracks, covers and collaborations of Vic's songs that didn't appear on his official releases. Now in it's sixth volume, 114 tracks have been made available via this series.

Included here is one of those tracks. It's a cool cover that Vic made in his attic studio sometime in the mid-2000s. He put it up, on his old website, as a free download, along with a plethora of other various demos and outtakes. It's a real treat to listen to Vic cover a song by one of his favorite bands.

The Beatles version was recorded in 1968, and original appeared on the album Yellow Submarine. Their version, an accidental classic if you will, is a bit more lively, eccentric and 'fab' than Vic's. The original take (entitled You Can Talk To Me) just featured John Lennon on piano and isn't too dissimilar, however. John Lennon wrote the lyrics and the band fleshed the song out in the studio, in just one evening. Lyrically, its a tour de force of lunacy, yet still profound. I love the lyric, "Some kind of solitude is measured out in you" and the line seems somehow fitting in Vic's life.

Vic once referred to the Beatles as his only friends while growing up in Pike County, Georgia. It's not hard to understand that he would have been influenced by the songwriting of Lennon and McCartney. They wrote catchy songs, had amazing lyrics and the vocal structures are very detailed and unique. Hey Bulldog has been characterised as having "lyrical impressionism." In other words, the song focuses on atmosphere and suggestions, rather than focusing on story lines and emotion. Some of Vic's lyrics revolve around that same idea, especially on some more reason albums.

I love the tone and the atmosphere on Vic's cover. It's very simple, yet affective...and very haunting. I would have liked to hear him tackle some other Beatles classics in the studio as well, but I'm more than content with having just this one.

Here's Vic's version:

And the version by the Fab Four:

HEY BULLDOG

Sheep dog standing in the rain

Bull grog doing it again

Some kind of happiness is measured out in miles

What make you think you're something special when you smile

Childlike no on understand

Jack knife in your sweaty hands

Some kind of innocence is measured out in years

You don't know what it's like to listen to you fears

You can talk to me

If you're lonely, you can talk to me

Big man walking in the park

Wigwam frightened of the dark

Some kind of solitude is measured out in you

You think you know but you haven't got a clue

You can talk to me

If you're lonely, you can talk to me

Hey Bulldog

"Panic Pure", West of Rome, 1993 New West

2010-01-27T15:02:00.031-05:00

Panic Pure is one of Vic's most widely regarded compositions, and rightfully so. It's beautiful, haunting, nostalgic, candid, and includes some of Vic's most direct lyrical output.

The song was written after Vic attended an Augusta workshop in Elkins, West Virginia. The workshop focused on folk arts and artists. He had been nominated, by some of his friends, to partake in the songwriting part of the workshop. One night after a session, Vic rolled down a large hill, got drunk, and then proceeded to crawl back up the hill to his van, which was parked on the street. The song apparently was formed during that "Sisyphus-ian" journey. Vic ended up sleeping in his wheelchair, in the van, on it's hydraulic lift, and when he awoke the next morning, he had this song.

I absolutely adore every aspect of this song...the atmosphere, the tone, the low drone of the cello, the lyrics and the vocals (which are superb.) Apparently, Vic recorded them in one take, surrounded by candlelight, after a long day in the studio. Jem Cohen (who was present filming the documentary "Speed Racer...Welcome to the World of Vic Chesnutt") described it as "hearing dusk itself turn into sound." I concur.

The first person narrative of the lyric focuses on Vic's personality..reckless, naive, reflective and scarred. However unapologetic the words may be, Vic's statement feels comfortable and familiar to me, and perhaps is why I am drawn to it.

During a recent NPR special, Terri Gross asked Michael Stipe, Jem Cohen and Guy Picciotto (from Fugazi) about what their favorite Vic songs were. Both Michael and Jem listed "Panic Pure." Here's a transcript:

GROSS: Today's show is a memorial for songwriter and singer Vic Chesnutt, who died on Christmas Day, taking his life with an overdose of his prescription muscle relaxers. My guests are three of his close friends: Michael Stipe of R.E.M., guitarist Guy Picciotto, cofounder of Fugazi, and filmmaker Jem Cohen. When we left off, I had asked them for their favorite Chesnutt songs. Jem Cohen's choice is one that Michael Stipe just mentioned, "Panic Pure."

Mr. COHEN: In "Panic Pure," I think in a way it's germane to this whole conversation because in that song, you know, you see this balance of light and darkness and also this kind of declaration of his own complexity. You know, he says, and so all you observers in your scrutiny, don't count my scars like tree rings. My jigsaw disposition, its piecemeal properties are either smoked or honey-cured by the panic pure.

Mr. STIPE: Aye aye aye.

Mr. COHEN: It's hard...

Mr. STIPE: It's amazing.

Mr. COHEN: Yeah. It's hard to get through it because it's so heavy, but it's also, it's just such beautiful weird words, you know. And again, I think that he was always coming around to saying yeah, there's this panic pure in me but that's not the only force. There's also all of this other curiosity, and all of this other drive, and all of this other intelligence. And I just can't believe that he pushed as far as he did, you know, and kept delivering, you know?

Another reason for my fascination with this song comes from one of my proudest moments. After graduating from college (where I received a BFA in printmaking), I spend a long time not being creative. For whatever reason, my thought process had been stifled, and my output was zero. Around 1996, I had been listening to and absorbing West of Rome on a daily basis. It struck a chord with me, during that period, and specifically "Panic Pure" had such resonance.

One evening, while listening to the album on repeat, I felt inspired to create my first 'real' painting, as an artist.... not a student. It was entitled 'Panic Pure' and was directly influenced by that song. Several years later, I had the desire to give that painting to Vic, as a thank you for inspiring me. He graciously accepted it and hung it over his fireplace, where it still hangs. I've always been proud of the fact that he was enjoyed it enough to displayed it in such a place of honor. The painting is below.

This song will forever epitomize Vic's personality, his talent and his musical ability, for me. Even after the countless number of times I listen to it, something fresh and new always reveals itself to me. That is what makes a good song.

"Panic Pure", 32"x48", Mixed Media on Canvas, 1996

And on display in Vic's home.

Here's the studio cut:

A live version by Kristin Hersh (w/ Vic):

And a solo live version by Vic:

Panic Pure

my earliest memory is of holding up a sparkler

high up to the darkest sky

some 4th of July spectacular

I shook it with an urgency

I'll never be able to repeat

at times i might be accused of being

painfully nostalgic

but as of late i'm looking forward to the future

thought i've never been much of a planner

throwing caution into the fan

catch as catch as catchers can

and so all you observers in your scrutiny

don't count my scars like tree rings

my jigsaw disposition, it's piecemeal properties

are either smoked or honey cured

by the panic pure

"Vibratile Nerves"- Distortion Pedals (Unreleased), 2006 New West

2010-01-24T17:05:00.016-05:00

In 2006, Vic was working on a new album for New West. The album had the tentative title "Vibratile Nerves" and was an interesting album chocked full of keyboard samples, orchestral arrangements, 'Garage Band' compositions, and crazy titles like "Horny as Hell", "Uh!", and "This Is How We Dance, Ya'll." It would have been a cutting edge release in Vic's catalog. Unfortunately, Vic was dropped by New West, and the album became shelved. Fortunately, I was sent a copy of the album before it's shelving.

I listen to this album often. Apart from the experimental, home recordings there are a few gorgeous instrumentals, that would be best suited as soundtrack material, rather than filler. I wish that Vic would have had the chance to do something with this album. He had mentioned to me once about making a vinyl only release of some of the tracks. That would have been nice. Hopefully, it will see the light of day, sometime in the future.

"Vibratile Nerves" is a good example of the tone of the album. It's experimental, melodic, and includes some pre-Darkside Floyd keyboards. The voice is altered, distorted and creative. Lyrically, it's very enigmatic and the overall feel is spacey and airy. A far cry from the original acoustic versions that Vic performed live in 2005.

The song did get an 'official' release as a download on the website 'emusic', as well as on a SXSW Music promotional sampler that New West released in 2006. Both of these releases confirmed that the proposed album would in fact be titled "Distortion Pedals." One can only surmise that an official release would have been evident if Vic hadn't been dropped.

Here's the album version:

And the live version:

VIBRATILE NERVES

I was hiding in the guilded crendenza
While the evil influenzia wiped my people out

Not to emerge until Europe was on the verge of
Positively purging its memory of the Kaiser

Tulips pushing through black moist earth
Students riding bicycles...their faces marked by verve

Cows stepping through shadows of durigables
I had learned to steady my vibratile nerves

The years roll like a velvet millstone
That grinds us... but is still somehow sexy

And I have watched them through the careless keyholes
And their chockablock larders

Glutony loves company

"My Last Act"- Left to His Own Devices, 2001 Spin Art

2010-01-22T09:14:00.012-05:00

After a recent discussion with Sam Mixon, 'My Last Act' has been in my head non-stop, so I felt it necessary to return to the album Left To His Own Devices.

'My Last Act' is a morbid little tale of sadness and suicide...common themes in Vic's music, unfortunately. The story is universal...a man loses his lover to another man. Unable to deal with the loss, the man concocts a plan to end his own life. This is where the story deviates from the universal to the deranged.

The man's plan is to methodically, one by one, instrument his own demise, by herding up a nest grandaddy long legs, plucking the legs off of them, blending them with some liquor and drinking the concoction. Its part Grimm's Fairytale, part Suicide Handbook...and 100% Vic. Regardless if that could kill you or not, the results sound gruesome, and the desperation is very evident.

During the conversation that I had with Sam, he enlightened me about some of the songs performances. Apparently, Vic loved performing the song first in the set. He did this for several reasons. One being because other people hated the idea. He liked the fact that he could 'bug' them by doing so....sounds like something Vic would do. Another reason was that it was a good vehicle for Vic to get his 'stage legs.' Vic was nervous at the beginning of shows, and that song allowed him to ease into a set, and also gave the sound guy a chance to adjust levels, etc. while the band jammed on what Sam called 'one chord."

The album version is just Vic, of course, and has a creative and spacey feel to it. I love his vocal overdubs, and the crazy instrumentation that he was able to achieve. Live, the song did become sort of a 'jam band' type song, and was/is often played by Vic's buddies and sometimes band mates Widespread Panic.

The song can get stretched out and feel very intense. Rightfully so. It's melodic, and gruesome all in one. Intensity naturally will follow that combination.

Here's the studio version:

And here's a live version from 2002 :

MY LAST ACT

Fill the basin with my hands

Your strong shoulders in my head

Soft soap splashing on the rim

I keep wishing I was him

Cobweb fluttering twelve feet up

Above the basin where I violently scrub

Can't scrape away with soap and fingernails

Dirty imagined intimate details

I go to the garage where on the wall

A thousand granddaddy long legs crawl

A crazy notion cracks through my mind

An electrical shudder shoots up and down my spine

I run to the kitchen, grab a pot and lid

Then I rushed to the garage before I knew what I did

I was raking the gentle spiders into that pot

Then I was sitting at the kitchen table

Feeling so cold and so hot

In a moment I move to get a cereal bowl

Then I'm back at the table and before I know

What exactly I had done, I pulled the legs off of every one

The little round bodies in front of me

It looked like a bowl of black-eyed peas

Well, I take them over to the counter

Poured it into the Cuisinart

I reached in the cupboard and I grabbed a fifth
Of Tequila and I pour that in

Push the button and it starts to chop

My heart can hardly contain my thumping heart

My last act on this earth

Will be to chug-a-lug a mixture and hope for the worst

My last act on this earth

Will be to chug-a-lug a mixture and hope for the worst

My last act on this earth

Will be to chug-a-lug a mixture and hope for the worst

My last act on this earth

Will be to chug-a-lug a mixture and hope for the worst

"Over"- North Star Deserter, 2007 Constellation

2010-01-18T08:46:00.009-05:00

I remember when I found that Vic and Tina were separating. It was in October 2005, at a show in Asheville, NC. I was catching up with Vic, and I noticed that Tina wasn't around. I found that unusual, so I ask how she was. In an uncharacteristically sad voice, Vic answered "She's divorcing my ass." And that was it. He proceeded to ask how I was, and whether he was feigning interest or not, he seem more comfortable talking about me at that point, so I dropped it. I felt saddened and awkward all evening. Even though his performance was still excellent, I knew that things would be different, for Vic, from that point.

Tina had been a staple in his life for many years. She was his wife, his manager, his caregiver, his partner in crime, his confidant, his sometimes bass player, his sometime drummer, his lover, and I would imagine a lot of times, his voice of reason. In a 1995 interview, by Emmanuel Tellier, for a French article, Vic was quoted as saying this-

"As long as my wife is there looking over me and removes all pointy objects from the room, I can write the most beautiful songs under the influence of alcohol. A bottle, pen, and pad is all I need......I love the idea of over-indulgence. It's in my nature. For example, I'm intrigued by Kurt Cobain's destiny, one of my good friends. Fascinated and terrified at the same time. Kurt and River Phoenix, whom I knew thru Michael Stipe, kinda freak me out because they went all the way. At the time, when they were shooting up, I was doing the same. And because of this, death now frightens me because contrary to Kurt, I've done nothing with my life. I've no desire to leave behind three second-rate records as my only achievements. There's still lots for me to do until I can consider death. In the meantime, what's keeping me on the ground, are dreams.......such as displaying my art in a gallery, to do better musically, and a tremendous responsibility towards my wife. She's saved my life over 100 times in the past 5 years just being there, close to me, by my side."

Tina's role in Vic's life cannot be underestimated. She was as important to his music as his wheelchair was, or even his upbringing, or his personality. If it wasn't for Tina, Vic wouldn't have been where he needed to be, in my opinion.

I expected that his next album would be sort of his "Blood On The Tracks," if you will. His divorce album. That wasn't exactly the case. However, some very pertinent, heartbreaking songs did come out of the experience, and "Over" is one of them.

It's a sad tale of loss and despair, and a chilling peak into the psyche of a man whose dealing with loss. Not just loss of something, but loss of everything. The remaining pieces are 'dust.' The most chilling thing to me is Vic's adoration for death is very present here. His says he 'loves the dust.' He embraces it. It's such a sad and beautiful song, and having the knowledge of the unfortunate events in Vic's life, makes this song even more chilling.

I did get to speak with Vic about it much later, and even though he had dealt with it, musically or otherwise, there was still that look in his eye that let me know that he would forever be changed by the situation.... and ultimately, so were we.

Here's the studio version:

And a live version:

OVER

it ain't over til it's over
just like some joker said
when it's over it is done
and when it's done it's as good as dead

when it's good it sure is good
yes and when it's good it's great
when it's great it's oh so wonderful
but when it ain't it ain't

it sucks when it's over and you can't get it back
why do we all want to like a pack of necrophiliacs

when the fat lady sings
it's all been sung
collect up your belongings
and clear the auditorium

it was fun while it lasted yes it was
it was fun while it lasted
now it's all turned to dust

it was fun while it lasted i must say
it was fun while it lasted
now it's all blown away

everything blows away someday
everything turns to dust
big ol' mountains do
as well as everyone of us
and i love the dust

"Onion Soup"- Is The Actor Happy?, 1995 New West

2010-01-12T07:40:00.014-05:00

Is The Actor Happy? is Vic's fourth album. It was originally released on Texas Hotel, and by Vic's own description was a "fake concept album." The goal was to amass an album of songs that could be played live...with large guitar solos and whatnot. Is the Actor Happy? is just that album.

'Onion Soup' is lyrically, as Pitchfork once referred to it, "a travelogue-via-epistolary song that crafts perfectly understated tragedy from an unsent letter: 'I wrote you an eloquent postcard once/ About this most exquisite onion soup/ But of course I never mailed it, though/ 'Cause it was your turn in the loop.'"

The wording is so unforced, and the references to varied situations or random observances are again very classic Vic. It just feels natural, at least to me.

I completely love Vic singing style on this song. I love the way he wraps his mouth around words like "cosmopolitan', 'participle' and 'maudlin' and how 'visible' his elongated Southern drawl is. 'Onion Soup' is the quintessential Vic song, lyrically, as well as vocally. This song was a live staple for many, many years. From 1992 to at least 2004.

The studio version below feature the Scared Skiffle Group...which was a group that consisted of Tina Chesnutt on bass, Alex McManus on guitars, and Jimmy Davidson played the drum. The video was shot at Vic's house in Athens, by Peter Sillen, and was included as an add-on to the documentary 'Speed Racer'. It's a long time favorite of mine.

Also, I've included a live version from 1993, with the same band. It gives a good example of the "guitar solo" type song that Vic compiled to tour with.

Vic chesnutt - onion soup

Live from 1993

EDIT: Here's the Gotenburg version from 1997 that my friend Kathi referenced.

Thanks Kathi!

Onion Soup

Thin and unshaved
Drunk and mysterious
Oh, I must say
Lifestyle is curious

With a little touch of the sniffles
And filthy socks
Gnawed, crumbled fingernails
Never doing tomahawk chops

Flaky head
Dandruff is distinguished
Lacquer is red
Vain is the varnish

"What is at the root of this?"
She'll say "whatcha got?"
"What participle do you possess?"
She'll say "which I have not!"

One blustery day
We rode out to the meadow lands
We saw and were amazed
Then hauled it back into town again

Mississippi is a mess sometimes
And not only when it rains
How come you went back to that malaria island?
'Cause our friendship is strained

Those were the days
When you were so cosmopolitan
These are the days
My letters they're so increasingly maudlin

I wrote you an eloquent postcard once
About this most exquisite onion soup
But, of course I never mailed it though
Cause it was your turn in the loop

"Square Room"- The Salesman and Bernadette, 1998 Capricorn

2010-01-10T17:32:00.023-05:00

'The Salesman and Bernadette' is my all time favorite Vic album. In fact, I find it nearly perfect. The songwriting is exquisite, the story is fluid and the music, which is supplied by Nashville's avant garde country band Lambchop, has such a layering and texture to it, that the resulting compositions are a perfect compliment to Vic's "lovely story of loss and longing and sloppy satori."

The stories on this album are varied. They were all written during different times in Vic's career. In fact, the song 'Bernadette and her Crowd' dates back to Vic's first recording session back in 1988. 'Old Hotel' is also an older song. Despite that fact, the assemblage of these songs together, to create a motif, works very well, and the resulting album is a masterpiece.

Of all the great songs on this album, 'Square Room' is my favorite. It is, by no means, a happy song, but it has such a strong emotion to it, that the listener can't help but be drawn in. The earliest performances that I have date back to 1996, two years before the album's release. That version, which I've included below, is a little more up tempo and doesn't contain the turn around segment at the end, in which Vic (or in this case 'The Salesman') is questioning the doings of his life.

Lyrically, it revolves around the solitude, alienation and loneliness that encompasses the life of an alcoholic. The protagonist in the song is alone. His separation appears to be not of his own making, and he is depressed, reflective, and pines for his rustic home. His only desire is to drink himself to death, or at least to ponder that idea. It's a very sad tale of despair, dependency and isolation.

I can't help but listen to it and think of it as Vic's tale. He travelled a lot, battled his own alcoholic demons, and being from rural Georgia, it's very likely that he pined for the country side on more than one occasion. Add to that his own personal struggle with success, and talent, he may have just viewed himself as a pathetic drunkard, whose only comfort in life would be to leave it.

Whether this song is just a character study or not, the circumstances that surrounded Vic's life, make it a poignant, albeit difficult song to wrap one's mind around. I choose to embrace it because to me, it feels like a Vic song. Its emotional, well crafted and highlights Vic's uncanny ability at word play.

Further info:

http://www.lambchop.net/

Here's the Studio cut with Lambchop:

Here's the short live version from 1996:

And an a very moving live version from 2003:

EDIT: Here's the version (with Old Hotel) from Rote Fabrick, with Lambchop, that Ivan referenced:

SQUARE ROOM

sitting in a square room
my voice is freezing
and the beams that are bouncing off the moon
are hanging from my window like icicles

just a tired old alcoholic,
waxing bucolic
shivering and homesick
staring at a wooden floor

last night I nearly killed myself
chasing rum with rum
there were crows flying all around my head
and I sure caught and ate me some

it's funny how I alienated
those who I was trying just so
so hard to impress
now half those fuckers hate me
and I'm just a fool to all the rest

why do I insist on drinking myself to the grave?
why do I dream about cozy coffin?
I had all these plans of great things to accomplish
but I end up purely pathetic more than often

"Sqeak"- Left To His Own Devices, 2001 Spin Art

2010-01-08T09:13:00.009-05:00

In 2001, Vic released a 'solo' record, if you will, of 4-track demos, pro-tooled arrangements and other various sundries. It was in stark contrast to his two previous albums, 'The Salesman and Bernadette' and "Merriment' which both featured big production and very polished sounds."Left to His Own Devices" is one of my favorite albums. It feels very personal and has this beautiful raw quality to it. The songs are a varied collection of old and new material- ranging from quirky (Deadline, Caper, and this one) to morbid (My Last Act) to social commentary (Distortion) to nostalgic (Hermitage, Look At Me.)

Squeak is an old song. The only live recording that I have dates back to 1992. The album arrangement sounds like it could be a demo from that period, as well. It's a simple acoustic song, probably recorded on a four-track, with slight overdubs, including some whistling, and guitar noodling.

Lyrically, it's a funny little song that's very observant and reflective. One can only speculate to the references in this song, but I believe it focuses not only on the 'on stage' side of playing, but the 'off stage' side too. The verses seem to refer to the downtime experienced when not on stage- the 'sitting around, watching TV, observing people' time. Vic was amazingly adept at highlighting situations like those, and he could turn a phrase with such ease. By focusing on little details, or drawing the essence from a situation, he was able to make his lyrics come alive.

The chorus is an obvious reference to Vic's uncomfortable stage presence. Anybody who ever saw him perform knows that he was self deprecating and nervous, no matter the setting. That was part of his charm. He wasn't unable to command the stage, or control a room, though. He may not have seen his appeal, but no matter how "bleak" his situation, or "squeaky" his performance...Vic was a one of a kind showman, and always worth the effort. That is what I miss.

Here's the studio version:

And the live 1992 version:

SQUEAK

the wall came down,
yes I saw a kid chiseling.
the reporter is a new age junkie,
keeps his needles in a pyramid

camera on his shoulder
and chips on the pavement
a hundred german dollars,
well don't that just about pay my rent

yes I am weak,
outlook is bleak
yes I'm on stage
commencing to squeak
yes I'm on stage
commencing to squeak.

well the picture is flickering
a surge of some kind
if you shake that thing more than 3 times
you're liable to go blind
pretty shoes and a sparkly hat
eyeballing crass commercialism,
well I couldn't live like that

I am weak,
outlook is bleak
yes I'm on stage
commencing to squeak
yes I'm on stage
commencing to squeak.

the picture is flickering,
a surge of some kind
if you shake that thing more than 3 times
you're likely to go blind!
allies, enemies, summits to climb!
warsaw pacts,
remaking maps,
yes it's all pink on the inside!

yes I am weak,
outlook is bleak
yes I'm on stage
commencing to squeak
yes I'm on stage
commencing to squeak

"Flirted With You All Of My Life"- At The Cut, 2009 Constellation

2010-01-07T12:47:00.004-05:00

In the catalog of Vic's compositions, this song will undoubtedly be remembered as his final reflection on death. The subject matter of suicide is something that Vic has dealt with many times in his songwriting (Florida, Bakersfield, etc) but this song in particular is a direct reference to his personal struggle with it.

Just before his death, Vic was interviewed for NPR's 'Fresh Air' program, by Terry Gross. In that interview, he addresses this song...and suicide in general...

GROSS: Vic, let's talk about the lyric. The song is about flirting with suicide, but from what I've read, you've done more than flirt with it. It's something you've tried.

Mr. CHESNUTT: Right. Well, this song is a love song. It's a suicide's breakup song with death. You know, I've attempted suicide three or four times. It didn't take. And this is really a breakup song with death. You know, it's talking about flirting with, you know, flirting - I had flirted with death my whole life, you know. Even as a young kid, I was sick and almost died a few times. And then suicide attempts - it's a kind of - you know, it's a breakup song.

GROSS: Did you try to kill yourself even before the accident?

Mr. CHESNUTT: I did, yeah.

GROSS: And after the accident?

Mr. CHESNUTT: I did, yeah.

GROSS: And each time when you came through, when as you put it, death didn't take, were you relieved or sorry?

Mr. CHESNUTT: Well, you know, it's more complex. You can't... I couldn't say either. I mean, you know, sometimes I'd be angry.

GROSS: Angry that...

Mr. CHESNUTT: Angry that they revived me, you know? I'd be like, how dare you? You know, how dare you people interfere in my, you know, what is obviously my life, my wish? But you know, of course, as the hours and days wear on, you realize well, there is joy to be had. I mean, this is how I - I'm sure everybody's different, you know, just how I, how it struck me. You know, when the days would wear on, you know, I would start to, you know, see some joy again in the world and be like whew, I eked - I squeaked that one out.

GROSS: This is such an emotionally heavy album. Is it hard to write a song like this, about flirting with suicide, or is it therapeutic to write it, or you know...?

Mr. CHESNUTT: Well, it occurred to me that I would like to sing this song where at the first half of it, you think I'm singing it about a lover, and then it becomes obvious that I'm singing about death. Death is my lover. And it took a bit of time to get it to fit just right and to work. And when we were actually cutting the track, it was hard to make it through without kind of breaking down emotionally and just crying. You know, it's a heavy song, no doubt about it.

GROSS: Now, one of the heavy lines in it is about your mother. You write, when my mom was cancer sick, she fought but then succumbed to it, but you made her beg for it. Lord Jesus please, I'm ready. How old were you when she died?

Mr. CHESNUTT: I was in my mid-20s. And that's the thing about a suicidal person, I think, is that, you know, I mean, right after my mom died was, like, one of my last suicide attempts. It really destroyed me. My dad had died a year before, and that was the end of my whole close family, who had all died off within two or three years of each other: my grandpa, my grandma, my other grandma, my mom and my dad. They all died off in a couple of years. And so I felt lost, and I was depressed. But also you see - a suicidal person, when you see somebody else die of natural causes or whatever, for me it's also a kind of wakeup call.

GROSS: Tell me more about what, the effect that had?

Mr. CHESNUTT: Well, like when my friends have died or something like that, it made me feel silly. My sorrow seemed silly and that I'm not ready to go. As I said in the song, the sweet relief, I'm not - I don't deserve the sweet relief of death yet, because I haven't accomplished my tasks yet.

GROSS: Um...

Mr. CHESNUTT: But I do want to say one thing, though, about this song.

GROSS: Yeah, go ahead.

Mr. CHESNUTT: This song is a joyous song, though. I mean, it's a heavy song, but it is a joyous song. This is a breakup song with death, you know what I mean?

GROSS: Right, because you're saying clearly, I wasn't ready.

Mr. CHESNUTT: I'm not ready to kill myself, you know. It's a joyous song, so -and it has these very heavy aspects, you know, but it's a joyous song.

I don't feel it's my place to add to Vic's comments, so I won't.

Musically, the song has changed since it's initial performance. It was just a simple acoustic song, with such power and weight to it. It felt more heartbreaking than joyous. In the studio, the artists which played on the album, including Guy Picciotto and members of Thee Silver Mt. Zion turned the arrangement into a light, flow-y song that truly belies the lyrical depth and focus.

I will always be partial to Vic's original version. Just him, his guitar, and that special intimacy of his relationship with life, albeit broken and strained. I'm sorry that he decided that he was ready after all.

Here is the original version. (This version just cuts me deep..)

(Thanks to Kathi for recording and sharing it.)

And here's the studio cut.

Also, here's the full interview with Terry Gross from NPR's Fresh Air's December 1st, 2009 broadcast.

FLIRTED WITH YOU ALL OF MY LIFE

i am a man

i am self aware

and everywhere I go

you're always right there with me

i flirted with you all of my life

even kissed you once or twice

and to this day I swear it was nice

but clearly i was not ready

when you touched a friend of mine

i thought i would lose my mind

but i found out with time

that really, i was not ready

o' death...i'm not ready

o' death you hector me

and decimate those dear to me

and tease me with your sweet relief

you are cruel and you are constant

when my mom was cancer sick

she fought but succumbed to it

but you made her beg for it

"lord jesus, please i'm ready"

o' death....clearly i am not ready

"In My Way, Yes"- Silver Lake, 2003 New West

2010-01-06T14:32:00.009-05:00

The last song on Vic's 2003 release 'Silver Lake' is a lovely, poetic reflection on life, and an uncharacteristically direct admission of worthiness to those things that make it worthwhile.
The album, which garnered critical acclaim when it was released, is one of Vic's slickest productions, and was recorded, essentially live, over a two week period, at the historic Paramour Mansion in Silver Lake, California.

Oxford American magazine once said that "Where Bruce Springsteen was born to run, Vic Chesnutt was born to curl up in a ball and cry." On previous releases, that may hold true. However, Silver Lake is a far cry from that declaration. In fact, the songs on Silver Lake are less dirges and more anthems. The song is an open conversation between Vic and what he playfully referred to as his 'Greek Chorus.'

"(In My Way, Yes) is a love song," Vic uttered in an introduction of

this song in Knoxville, TN, in 2003.

The crowd "Awwwwed."

"Well," Vic continued. "At least there's some fuckin' in it!"

Again, the crowd reacted. This time with 'whoops' and laughter.

"There's also some songwriting going on in there, so don't confuse the two, or else, you make me sound like a pervert, or you might think I'm a pervert."

"Never!" retorted a female spectator.

"We love you Vic!" and "We love perverts!" shouts also fill the air.

Despite Vic's tossed off intro, he was correct. There is indeed some songwriting happening in this song. The first stanzas in this song relate to the the creative process, and the technique and dedication needed to produce something artistic or worthwhile. When the chorus asks Vic if he thinks it makes a difference to the outcome, his response is "Yes."

Secondly, Vic focuses on relationships, and the intimacy involved. Poetically, he addresses the physicality of the act of love. When asked if he feels silly (or embarrassed) of course he says "No."

The last stanza of this song focuses on finding happiness in the smallest things. Again, a question is posed, as to whether he deserves happiness. Without question, Vic answers correctly.

I find this song to be an emotional upswing for Vic. He finally has come to the realization that he deserves the happiness, success and love that he has been blessed with. Honestly, during that time, Vic was the most pleasant, and charming that I think I've ever seen him. Things seemed to be good in his life, and this song is a direct acclamation of that fact.

It's unfathomably sad the way things ended up with Vic, but I take comfort in the knowledge that he, for a brief moment, at least, was able to find solace and be happy in the fact that he was, and is, deserving of such things.

I've attached two songs below. The first is the studio cut for the album. It's beautiful, and uplifting. The second is a demo version, with a sparse arrangement and an unfinished feel. The demo comes from a book of poetry entitled "Isn't It Romantic- 100 Love Poems By Younger American Poets." The book came with a bonus CD which included the track, as well as songs by Doug Martsh, Chuck Prophet, The Silver Jews and Magnolia Electric Co.

http://www.amazon.com/Isnt-Romantic-Poems-Younger-American/dp/0974635316/ref=sr_1_1?ie=UTF8&s=books&qid=1262808363&sr=8-1-catcorr

Here's the studio cut.

And the demo.

IN MY WAY, YES

Do you think it makes a difference?
I say yes

Taking my time
Working on lines
Fingers in clay
Everyday

Head in the clouds
Moving my mouth
Spreading the grout
That's holding it down

Do you think it makes a difference?
I say yes
In my life yes

Cuddling up
Declarations of love
Squeeze and a hug
A kiss and a rub

Faces opposed
Eyelids closed
Nuzzling nose
Like eskimos

Don't'cha' feel silly?
I say no
With my love no

I never ever thought
I'd ever have a life like this
I never dreamed
I'd be alive
I never considered
Such as these surroundings
Effectually pulling it off

Watching the cops go by
Seeing a falcon fly
Reading a history book
Wetting a tiny hook

Driving fast all night
Bursting into song at first light
Sharing breakfast from one plate
Holding hands over loved ones graves

Do you think you deserve it
I Say Yes
In my way Yes

"One of Many", Drunk 1993 New West

2010-01-04T08:28:00.016-05:00

This first of many covers that I will include in this blog, 'One Of Many' is a lovely take on a writing by English poet Miss Stevie Smith. This is one of two poems that Vic attempted by Stevie, the other being 'Not Waving But Drowning' (which can be found on Little.) Both poems can be found in print on the 1962 New Directions Paperback Selected Poems, and in the case of "One of Many', on a record entitled The Poet Speaks.

Florence Margaret "Stevie" Smith was a British born poet whom, not unlike Vic, would set words to introspective topics such as death, loss , love and religion. She also could be both intimately funny and serious all at once in her poems. She also was very clever and inventive. It's easy to see the attraction that Vic had in her.

Vic often credited his mature, ruminative writing style to a (famously shoplifted) edition of "The Norton Anthology of Modern Poetry." His discovery of Stevie probably also came from that misdemeanor.

The poem (as well as her 'performance') both have a sense of mortality and remorse to them. The story is a telling of an incident in which a boy is told that he's nothing special, lumped into a category, and made to feel anything but unique. That 'knowledge' worked his mind "into such a pitch", enraging him to finally murder his friends. It's a poetically social satire, and quite understandable that Vic would choose to cover it.

The album Drunk was released in 1993, originally on the now defunct Texas Hotel records. It was, at the time, Vic's dark record, and reeks of boozy arrangements and self serving lyrics. It was an appropriately titled album. Several standout track emerged from all the cacophony, however, including Supernatural, Kick My Ass, and this one.

I'm partial to this track and especially the fact that Vic left Stevie's introduction intact. The result is a moody and somber cut among several upbeat, raucous tracks. It sticks out like a sore thumb...which is a good thing.

Further reading:

http://en.wikipedia.org/wiki/Stevie_Smith

Here's the version by Stevie from The Poet Speaks:

And here is Vic's version:

One of Many

you're only one of many

of small account if any

you think about yourself too much

this touch the child with the quick touch

and worked his mind to such a pitch,

he threw his fellows in a ditch

this little child who was so mild is grown too wild

"murder in the first degree," cried old fury

recording the verdict of the jury

now we come to the execution tree

the gallows stand wide on me

"Christ died for sinners," explained the prison chaplain

from his miscellany

weeping bitterly,

the little child cried," I die one of many"

"Unlike Joni Mitchell" (Live)- Amazing Little Parlor Games... A Collection of Live and Unreleased Songs- Volume Two, 2005

2010-01-02T13:59:00.022-05:00

Several years ago, I started a project to compile and collate songs that Vic had performed live, but never recorded or released. That collection is called "Amazing Little Parlor Games" and, as of this blog, is in it's seventh volume...with an eighth soon to be released. So far, a total of 110 songs have been put out for mass consumption due to this project. Vic himself was very pleased with the idea, and often asked for copies.

Some of these songs actually ended up being recorded for subsequent studio releases. In fact, whenever Vic would release a new album, it inevitably would have a song that was on a previous volume of "Parlor Games." All total, around twenty songs from those compilations made their way onto an album. Coincidence, or not...I was always thrilled when that happened. Vic did used to joke that often got song titles wrong (and I did), and this song was no exception.

I initially had titled it 'Party Potential' when it was put on Volume Two. I've since been told that it is called 'Unlike Joni Mitchell'. It was recorded in Madison, WI, in April of 1999, on a tour that had Vic opening solo for the band Wilco.

I like this recording for two reasons. First, it captures Vic stage presence in a very accurate way. He was always tried to be humorous, and self deprecating, regardless of the crowd or the venue. His charm and wit are very evident here. Secondly, the song, is an unapologetic, open letter, if you will, and Vic's word choices are very forward and telling, and the phrasing is very much his.

Take for example the line, "But you never knew the sciences, and you hardly ever touched the tools...except for those funny weapons used defending your honor in roommate duels."

I also love how the antagonist is basically called out for her behavior, and told...you're out..."you've reached your party potential....unlike Joni Mitchell."

Vic doesn't do that sparingly or with kid gloves. He is very direct and to the point. However venomous and tactless, Vic has succeeded in writing a song that expresses, what would be predictably, an uncomfortable conversation with an elegant beauty...and a sour tongue.

Cover art created for this project by Franck Périgny. Examples which can be viewed here:

http://jediroller.free.fr/en/cdcovers/vc2.htm

On a side note, and for the sake of accuracy, this song did get an official release, sort of. A live version did appear on a compilation entitled 'Live at the Lobby: A Collection Of Bands Playing Live at 90.5 FM WUOG, Athens, Ga' That version was recorded

in September of 1998. It was such a rarity, and wasn't an official Vic release that I still consider it largely unreleased.

Unlike Joni Mitchell

well I know today looks gloomy
against the acid fired haze of last night
and the power that you felt yesterday
today sure is out of sight
but its so hard to go back
to your daddy's little row of corn
and you want to invent something
to prevent you from being born

but you never knew the sciences
and you hardly ever touched the tools
except for those funny weapons used
defending your honor in roommate duels

you've reached your party potential
unlike Joni Mitchell
you know you can't hang
better put your boots to the clay
better put your boots to the clay

for one season, it was raining boys
and you quickly blew through some
as you searched for your Svengali
I guess you never ever tasted of one

and you proudly liked to admit
the depths for which you knelt
and you loudly like to account
the great sadness that you felt

but we're all bored with your stories
and we're sick of picking up
the rosy path is laid
surely your silent fathers foot will drop

you've reached your party potential
unlike Joni Mitchell
you know you can't hang
better put your boots to the clay
better put your boots to the clay

"Soggy Tongues"- West Of Rome, 1992 New West

2010-01-02T12:39:00.003-05:00

One of my all time favorite Vic memories revolves around a show in Knoxville, TN in October 2004. I had arrived to the venue early, and Vic and Tina (his wife) invited me to hang out with them before the show. The three of us sat around for a couple of hours, caught up on life and just chilled. During that time, Vic decided that they needed to prepare the set list for that night's show. Tina was playing bass with Vic for that show, and they had a handful of lyric sheets with them...each of them in Vic's scrawled handwriting, with chord references and music addendum scribbled among the pages. I was awestruck. Here were the actual lyric sheets for a ton of my favorite songs ever...in the original handwriting, in the possession of the man who wrote them . Amazes me still.

Anyway, so while they were contemplating over the nights play lists, Vic would ask my opinion from time to time. Of course, I was biased and sad that I loved them all. One song in particular though I had direct influence on. Tina had pulled out the lyrics to "Soggy Tongues', and Vic said that he didn't know if they could play it. He said it had been too long, and indeed he may had been right. The last documented performance was from around 1992. Anyway, I interjected that I really would like to hear that song and since up to that point, the set list seemed to revolve around songs from Vic's first four albums (which were just reissued on New West), that it fit perfectly into theme of the evening. They mulled it over for a second, and then agreed. Vic was always like that, at least to me. He was inviting and generous and I will cherish those memories and experiences.

The performance of 'Soggy Tongues' from that night was far from perfect (and I've included it below for your enjoyment). It was, however, such a treat to hear... not only because of the song's rarity, but also because of Vic's banter onstage as the song's quick collapse, after just a few measures. His prophetic divorce joke notwithstanding, the recording perfectly displays Vic's sense of humor, stage presence, and ability to reel in the crowd, even during an awkward performance like this.

The original studio version was released on 'West Of Rome', or as Vic called it, his "second squirt"...or his "sophomore slough." That album is widely hailed as one of Vic's best, if not THE best. The song is his retelling on the events immediately surrounding his marriage to Tina... a ceremony which, incidentally took place at the counter in 'Rip Griffin's World's Largest Truck stop', just outside of Dallas, TX.

From the documentary 'Speed Racer- Welcome To The World Of Vic Chesnutt', by Peter Sillen...

"Tina and I got married, and we came back to Athens after I lived in California for a while. And, oh the stories where a flyin' about, you know, what the deal was. Everybody was like, um, all mad that we got married or something? I don't know what the deal was? But there was like the sordid little theory mill, and little rumors were going crazy about what the, you know, because the various involvements or something, ya know? Athens is a small town, you know, everybody is involved with everybody. So, anyway, I wrote 'Soggy Tongues' in about five minutes,and it's um, the perfect summation of us gettin' married."

Musically, the song has an 'airy' production, quality vocals, and benefits greatly from some staccato strings (aptly performed by Vic's young nieces- Liz and Mandi Durrett.) Arranged (or heard) and produced by Michael Stipe, 'Soggy Tongues' is very melodic and Vic's inflections, with his unique drawl and elongation of phrases, is at a pinnacle here. All in all, not too bad for a song which was defiantly written in about five minutes.

Here's the live version that I referenced. (Warning: Explicit content)

And the studio...

Soggy Tongues

narrowed eyes and soggy tongues

beautiful rumors are flying about the ugly ones

the girl she is by the pool

yellow journalists' jewel

and all those wagging fingers are silly little stingers

rabbits are cooking breakfast

the fog is fragrant

the girl she is waking up against the famous vagrant

the cool council is tallying fines to be levied

the girl she is tightly grinning

the vagrant thinks it's all too heavy

presents are presented and bribes reluctantly taken

summer's sweetie iced a cohort while the rest of the town was baking

traffic is light and appetites are hearty and tongues are soggy

accusations are tossed like darts

at the good little girl who is groggy

"Mighty Monkey"- Merriment, 2000 Backburner

2010-01-01T09:12:00.001-05:00

In 2000, Vic released this funny little record (his seventh) on Backburner. It is a collaborative effort, with fellow Athenians, Kelly and Nikki Keneipp. My understanding of the record is that Vic would write the lyrics (or provide the lyrics) and the Keneipps would arrange the music. The results are interesting, and at times, it feels a little too tailored for Vic, almost as if the process is specifically made to highlight his input rather than that of the Keneipp's.

Peter Jesperson, currently of New West records, reviewed that album at the time of it's release, and he described it as such... "There are bits of Lewis Carroll, funny, ominous, Brecht-Weill-ian nursery rhyme words, recitation, singing and music (stuff that will make you shudder but then you won't be sure just why). And some just plain silliness."

'Mighty Monkey' very aptly shows Vic's writing ability (which leans more towards the realm of short stories rather than lyrics) and his humor. And as a whole, the song feels like a whimsical foray into a world that is both eclectic, southern and just plain degenerative. His descriptions are so vivid and lively, that it's hard to not formulate visions of each of the protagonists.

Musically, the song is whimsical, and alluring. It's basic structure is just a rustic piano and clarinet (performed by Vic.) It's very mellow, dreamy structure that aptly frames the lyrical character study that has been created.

In the musical catalog that Vic released during his life, several basic themes reoccur- death, suicide, struggle, sarcasm and humor. Mighty Monkey accurately presents Vic's humorous side, and it is the highlight of this particular album, in my opinion.

MIGHTY MONKEY

smell the mighty monkey

trainer is a junky

and the tightrope walker

has one foot in the grave

invited to inspect

what is a trainwreck

you don't even have to check

it's evident

so evident

dancing bear is full of worms

see the puny pachyderms

lion tamer wrestles with

ghosts from his past

invited to inspect

what is a trainwreck

you don't even have to check

it's evident

so evident

clowns have herpes

and hepatitis c

the chick who runs the pony ride

we call her catherine the gross

invited to inspect

what is a trainwreck

you don't even have to check

it's evident

so evident

alcoholic acrobats

emcee smokes crack

last week the human cannonball

blew his brains out

invited to inspect

what is a trainwreck

you don't even have to check

it's evident

so evident

"Hot Seat", About To Choke, 1996, Capitol Records

2009-12-31T08:18:00.000-05:00

This song, from Vic's 1996 major label debut, got a lot of press at the time of Vic's recent hospitalization, specifically because of the lyric referring to being in a coma. It is, however ironic, a good representation of Vic's ability to musically highlight issues in his life.

The album, which was produced by Bob Mould (from Hüsker Dü), was supposedly Vic's big breakout. It had slick production, a strong marketing campaign and allowed Vic to be heard by a larger audience than his previous, grassroots releases. Titled very 'tongue in cheekily' by Vic, who predicted that the album would fail, or that he would 'choke', it is home to many 'fan favorites.' All of Vic's predominate themes are on the album, including the theme of death..his usual staple.

"Some of this record is a bit obsessed with the premise that through death life is nourished," Vic said, in a press release for the album. "Like when you throw a dead fish next to a plant it grows better." Vic goes on to insist that his work is purely fiction. That said, 'Hot Seat' confront a near death experience with such honesty and candor, that it's hard to believe his statement.

Lyrically, 'Hot Seat' is a relaying an events in which left Vic in a coma, after a drug binge. It's sort of a song to himself, where he's milling the fact that, regardless of his steadfastness, and focus, he will falter...again, to the temptation of addiction. His directness is one of the things that made Vic's writing so desirable to me. I applaud the honesty that he poured out, and his ability to put taboo subjects at the forefront of his writing. That's what I am gonna miss most, I think.

"I didn't want to think that all of my songs deal with this, " Vic continued, in reference to the themes of the album. "But I swing the stick and these are the things that I hit. I reached into my grab bag at the fair and these are the ones that popped out. I'm just trying to do some sleight of hand here, baby. It has some I Ching logic to it."

Further reading:

http://en.wikipedia.org/wiki/I_Ching

HOT SEAT

Ventolin and Vivarin and primatine

secret tequila shots and a patch of morphine

in the morning and in the throes

what a great day to come out of a coma

I've been in the hot seat sweating it out

oh sweating it out

sweating it out

I touch the telephone it falls away

I think they call it empathy

but not this way

I put my lips on the sound hole

my tongue is finally warming

but my brain is charcoal

I've been in the hot seat sweating it out

oh sweating it outsweating it out

sweating it out

not much later, fall out of favor

pretty soon

I know I'll do precisely what I wanted not to do

maybe I slipped up and learned a lesson

to work my proclivity

towards second guessing

I was too naive and enthusiastic

to keep my trap shut

and my monkey in a motherfuckin' basket

I've been in the hot seat sweating it out

oh sweating it out

sweating it out

"Debriefing", North Star Deserter, 2007, Constellation Records

2009-12-30T12:36:00.000-05:00

Over the course of his musical career, Vic wrote several songs that revolved around the principles of death. It was just in his nature to focus on the absolutes, I guess. And whether it be from a first person view or otherwise, the results were always chillingly poignant, however sad.

When I decided to name this blog "Debriefing," after this specific song, it wasn't only as a reflection of my love for the song (which I absolutely adore) but more so because I feel that the song conveys accurately Vic's personal journey and a furthermore, the journey that I myself am partaking in as a result of his passing.

A debriefing is a one-time, semi-structured conversation with an individual who has just experienced a stressful or life changing event. The purpose being to reduce any possibility of psychological harm, by allowing the victim to talk or reflect back on the experience.

So, this blog, by definition, is a one-time reflection back on the life and music of a man whom meant so much, to so many.

Unlike some of Vic's other 'mortality' songs, 'Debriefing' seems very matter of fact, and fearless. He has embraced the fact that we are all destined to die, and he addresses that from the very first line...not in a dejected way, but rather boldly. Here it is...this is what will be...just letting you know.

To say that he will be debriefing forever as a result of his life is a sad statement as to his opinion of his time spent here, with us. The very nature of a debriefing is for the victim to express there feelings one time, and as a result, be free of the pain or stress associated with the incident. Vic's anticipation of a forever diatribe is sad. I hope that it was merely being poetic, and not prophetic.

Musically, the song is a tour de force. The earliest recording that I have dates back to 1998, and is a sparse, lonely live version with just Vic and a guitar (and hauntingly, the listener can hear the faint rustlings of a child in the background playing). From that simplicity, came this monumental album cut. That whole album is a sonic wonder, with the guys from Thee Silver Mt. Zion Memorial Orchestra, the Tra La La Band, Guy Picciotto (from Fugazi) and producer Jem Cohen taking Vic's small-ish arrangements and magnifying them ten fold.

The track starts with whispers and dialogue, as if someone is being surrounded by a group, and the ethereal quality of the production sets an eerie tone. Vic's vocals are clear and direct and the music almost reaches a funeral march type tempo. As much as I love this arrangement, I am torn between the original and the re-worked. Regardless, no matter how sad and foreseeing the words may be, the song is amazing, and I'm glad that Vic committed it to tape.

Both versions are included below.

DEBRIEFING

when I stop breathing

my poor old heart finally gives out

i will spend eternity

debriefing, debriefing, debriefing, debriefing.

when I deplete the funds

and am forced to pull the plug

chisel on my tombstone

debriefing, debriefing, debriefing, debriefing.

"Isadora Duncan", Little, 1990, New West Records

2009-12-29T11:30:00.000-05:00

The first song on Vic's debut album 'Little' is a brilliantly descriptive, hauntingly poetic masterpiece based around ballet dancer, jealous romantic, "modern' Victorian and famed bi-sexual, Isadora Duncan.

The whole first album was recorded in just one day on October 6th, 1988 ("on well water...no juice" as Vic noted in the liner notes) with just basic acoustic guitar, croaking vocals, 'Dylanesque' harmonica, elementary keyboards and sparse overdubs.
The story goes that Michael Stipe would frequent Vic's Tuesday night residencies at the famed 40 Watt Club, in Athens. He was impressed by the quality and sheer volume of material that Vic performed during those shows and decided to commit some songs down on tape. It's doubtful that this was the first song recorded during those sessions, but it undoubtably, a beauty of an opener.

Vic once introduced this song as a 'bummer', but I can't imagine why. The melody is gorgeous, and musically it's a perfect representation of that period in Vic's life. His voice is shredding and unique. Just listen to his Southen gothic drawl on the word 'attitude.' His singing, even that early, was formidable and daunting.

Lyrically, the song is an unusual tet a tete involving love, romance, sarcasm and rejection. It was born out of a dare, from Vic's old La Di Da's bandmate Todd McBride, to write a song with the line "Once I dreamed I was dancing with Isadora Duncan." Vic once mentioned to me, that he hadn't listened to "Little" since the day it was recorded. If that is true, then it is unfortunate. What he crafted from that challenge is sheer poetry, in my opinion, and a song that echoes in my head for days on end. A beauty of an opener for a beauty of an album and worth repeated listening.

Lyrics and link below.

Also check out the fantastic cover, by the band Jolene, from their 1995 album "Hell's Half Acre."

http://http//www.amazon.com/Hells-Half-Acre-Jolene/dp/B000005D7Y

Further reading... "Isadora Speaks"

http://www.amazon.com/Isadora-Speaks-Writings-Speeches-Duncan/dp/0882862278

Isadora Duncan

once I dreamed I was dancing with Isadora Duncan
in a silver cafe,
it was a cafe that was not at all near here
she was planning to diversify
and she sang I should do the same
so I whistled to her how I loved her the best

but she sang "I can't believe you own this attitude",
but with some ballet moves,
I removed her shoes
and I painted my lips to hers
and still she sang "I can't believe you own this attitude"
she sang "I can't believe you own this, this attitude"

she needed her beauty sleep
though I didn't want it to sound like that
her mind was occupied,
her hard coffee was cold by then as snow

and she sang "my smile is more than pearly white,
and my dreams are more than you",
she sang "my yellow eyes are more than mirrors,
and my scarf is more, more, more than blue."

and she sang "I can't believe you own this attitude"
yes i sang "I can't believe you own this, this attitude"

she closed her New Directions paperbook
and screamed "there is no shelter in the arts"
she'd been crying all day
but now her eyes they were brighter than the moon

and she sang "my smile is more than pearly white,
and my dreams are more than you",
she sang "my yellow eyes are more than mirrors,
and my scarf is more, more, more, more than blue."

and she sang "I can't believe you own this attitude"
"I can't believe it, I can't believe you own this attitude",
"I can't believe it, I can't believe you own this, this attitude".

So it begins...

2009-12-28T08:24:00.000-05:00

When Vic died on Christmas, I was overcome with a sense of unbalance...as if the world had come off of its axis. A stabilizing factor in my life had left me, and I felt as if I might never recover my equilibrium. I still feel that way. Vic has been a constant in my world since I first discovered him in 1993. Vic was an inspiration. Here was a man, although crippled and frail, who possessed such a strength and formidity, that his candor and presence belied his tiny frame. He so eloquently embraced the esoteric. Lyrically, he glorified the mundane and shunned the contrived. He nourished a love for language, and personalized it in a way that only Vic could. He accomplished such amazing feats, while all the time battling the demons that he finally succumbed to. I couldn't help but be drawn in and admire him. My relationship with Vic wasn't idol worship or fandom. No, it was admiration and respect, awe and wonder, and later on reassurance and comfort. I am so proud that I got to know Vic on a personal level. It wasn't just fan and artist anymore..it was a friendship ..and for that I am ever grateful.

I first met Vic the day before Valentine's Day, 2002, at 12th and Porter in Nashville, TN. I had driven 6 hours to see him open for Jonathan Richmond and Tommy Larkin. I didn't know what to expect...just that I was about to see my musical hero on stage...for the first time. Prior to the show, I was sitting there, with Laura, who accomponied me. Out rolled Vic, along with Tina, his wife, and they sat not a mere 10 feet from us. I'm not too sure what I looked like when that happened, but I for certain felt exhilerated, nervous, and "star struck." Laura encouraged me to go over to his table and speak with him. I eventually mustered up the gumption to do just that. Unfortunately, my arrival coincided with the arrival of Vic's meal, so the meeting started of a tad bit akward. I hated to interrupt, but felt like I couldn't just turn away. I politely introduced myself, said I had driven several hours to be there and that I was a huge fan. Vic was charming! He was so amazed that I had made the trek that far, and politely signed my CD. He wrote "Thanks for diggin it.- Vic." The show was fanastic and I was elated for weeks.

Now I won't recount every Vic show that I ever attended, or every moment that I was able spend time with him. There are far too many, and that isn't the point of this endeavor. I may, from time to time, recount little memories or incidents that come to mind. In fact, I can almost promise that. This blog is my form of grieving, if you will. A way of processing my inherent need for understanding and explanation of what made Vic so important and relevant to my life. I will focus on an individual work by Vic everyday for one year...reviewing, relistening, rethinking, reflecting and reacting on each one. My hope is that, during this experiment, I will be enlightened, entertained, inspired, and walk away with a greater love for the man than I had already, and eventually, regain the balance that I lost that day he died.

Even though it is my journey, I hope that you, as the reader, will come along with me..and form your own understanding of this man...my friend and my hero.