In my view, there’s a fine line between genius and mental illness
Sometimes that line is so grey that you’re never quite sure which
side the artist falls on.
Such is the case with Bill Callahan, who released records
early on in his career under the moniker Smog.
You never really knew if Callahan was this hopeless savant or just hopelessly misunderstood, using any bits of recording technology just to give voice to his internal issues.
Julius Caesar became my first record of Callahan’s-or Smog as the
title suggests-and it came on my radar after the Flaming Lips covered his
“Chosen One” song that’s found on this low-fi masterpiece. They went over the
entire Callahan/Smog storyline prior to tackling what would be one of many
compositions that document Bill’s penchant for heartbreak, depression, and poor
choices in women.
Callahan uses his acoustic guitar primarily, strumming out
rudimentary chords on barely tuned guitars. The percussion could be a hand
against the hollowbody, a handclap or a spare primitive drum kit that he seems
incapable of playing effectively.
For “I Am Star Wars!” he does an old trick that I used to
do: hitting the “repeat” button on the cd player, forming a rhythmic pattern
with the Rolling Stones “Honky Tonk Woman.” Almost twenty years later, it
appears the legal team of the Stones has yet to find out about this infraction.
He does the same thing with Prince’s “Sexy MF” at the end of “Connections.”
He also incorporates another technique on “When The Power
Goes Out,” stealing groceries from the grocery store when they lose power. And
like Callahan, the lifted items were for a good cause: a single mother.
Unfortunately, most of Callahan’s lady friends don’t seem to
share in his generosity or endless romanticism.
His voice is defeated, his ideal woman continually diminished by
reality, and yet he continues to be attracted to the flawed women that send him
in a downward spiral.
“She said I could do it without protection…and that’s not a
woman at all” he declares on “What Kind Of Angel,” succinctly documenting the
entire AIDS paranoia that many singles had the “pleasure” of dealing with
during the late 80’s/early 90’s, just about the same time our collective hormones
and sexual freedom came to fruition. He’s endlessly seeking an angel, but all he
can find is “an angel of death.”
Another relationship proves to be with an unavailable woman
who eventually pairs up with someone else. Bill keeps his disappointment to himself,
but vows “I’m gonna be drunk… so drunk… at your wedding.”
Julius Caesar ends
with the appropriately titled “Stick In The Mud” where Callahan finally admits
“There’s nothing that I’d rather see than for you to fail. Evidently, it’s the
best that he can muster in his passive/aggressive approach with these wrong
women, but what’s even better is that he’s allowed these failed relationships
paint a stunning record of emotional quality that supersedes any low production
quality where his heart lies in pieces among the distortion and hiss of that
protective magnetic tape.
No comments:
Post a Comment