Doxology. Nell Zink
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frustrated, trying for low notes and getting overtones. The singer’s dance moves kept taking her away from the microphone. Her voice could be heard when she stood still for the chorus, but it remained incomprehensible, because she cupped the mic with both hands, looking very earnest and sexy while it was practically inside her mouth and kept feeding back. The group performed as though they not only hadn’t rehearsed, but had won the gig in a raffle, earlier in the day, before they founded the band.
After their first number subsided, the singer nudged the keyboardist aside and fiddled with the sequencer. The setup began to play “Sussudio” by Phil Collins. She returned to the mic, glared at Joe for singing along, and said, “It’s a borrowed keyboard. Give us a minute.” Three minutes later, the band continued its set with four-finger organ, tambourine duties devolving on the singer. The woodwind took a rest. The singer’s yawping teetered on the edge of feedback until Simon, the soundman, rendered the mic inaudible. The whole thing was pathetic, and when it was done, everybody clapped for a long time.
Daniel thought, The name kind of fits, assuming they meant “broad” as in “woman” and the autism “spectrum.” Also, in his opinion, their conceptual project didn’t stand a chance against the art of music. Joe had craft, not a concept. He could hear himself play—he could really listen—and when he wasn’t sounding good, he took steps to fix it.
He played three numbers, rocking out to his own conception of beauty, alone and weird. The applause was cursory, because there was no one in the audience but members and friends of Broad Spectrum. He sat back down in his seat in the front. An older but not repulsive man in standard-issue indie rock garb (Black Watch plaid shirt, Cubs cap) sat down next to him, introduced himself as Eric, handed over a business card, and said, “Call me if you’re interested.” Joe scampered to the rear, breathlessly waving the card, to tell Daniel he’d been scouted by Matador.
Matador was an important indie record label, Joe’s favorite in all of New York next to 4AD. It turned out that Broad Spectrum was made up of people who had office jobs there.
Daniel had come to feel gloomy about distributing the single. If Joe got a contract with Matador, his work was done. The remaining singles would sell themselves. He said, “That’s awesome!”
He knew that Matador was doing some kind of dance with Atlantic—an unequal partnership or a not quite acquisition—the idea being that collaboration would offer artists all the advantages of a major label with none of the degradation. What the reality was, he didn’t know, but the company itself was respectable: it possessed bourgeois realness; it had offices in Manhattan and fine and noble founders, and it distributed its wares to the farthest corners of the earth. As for signing with Matador, there was little Joe could have possibly done that was more likely to get him fair treatment and decent money.
Daniel sold two singles that evening and gave away five to people who said they were reviewers for magazines whose existence he doubted, strengthening his resolve to nudge Joe from the indie rock gift economy into the big time. He offered to call Eric for him the next day.
WITHIN A WEEK JOE AND SOME GUY NAMED RANDY HAD SIGNED A MEMORANDUM OF understanding drawn up in ballpoint pen on a steno pad at a beer bar on Sixth Avenue. Joe signed it in the presence of Daniel—not in an official capacity; his role as Joe’s label executive and manager was a combination hobby and joke—who saw nothing to criticize. Somebody somewhere had skipped Joe right over Matador and signed him to Atlantic, with an advance of $80,000 for a single LP. He might take home only $10,000 after taxes, recording, and publicity, yet spending even $10,000 was likely to be fun for him. On some level it was money for nothing, since he would be making music anyway. With a major label contract, he could make it in a fancy studio with professional engineers.
When the finalized contract arrived in the mail—eighteen pages of legalese—Daniel belatedly suggested getting a lawyer. Joe said no, because he trusted Eric and Randy. Daniel suggested involving Professor Harris. Again, Joe said no.
He wasn’t anybody’s ward. He was impulsive and vulnerable. His own weaknesses told him, directly, that he didn’t need protection.
It wasn’t paradoxical. It was tautological, like all the most daunting and bewildering things in life. Things are the way they are: unthinkable. Trying to understand can feel like a struggle, but the conflict is internal to each of us, ending in surrender each night when we close our eyes.
Looking through the countersigned contract months later and seeing points he maybe should have argued over, Daniel couldn’t say for sure whether Joe had gotten a raw deal. Maybe other fledgling artists were being treated better; he didn’t know. In absolute terms, it was a gift. Joe had gone straight from babysitter to rock star, while there was nothing in the contract that would oblige him to give up babysitting.
RANDY WANTED TO MAKE AN ANTI-FOLK RECORD WITH ROCK DRUMMING À LA BECK OR major-label Butthole Surfers. He claimed that Joe’s vision of bubblegum dub was an audience-free joint that wouldn’t even fly in Brazil. That’s how he phrased it, thinking Joe would get bewildered and surrender. Joe did not. It seldom impressed him that things are the way they are.
“The bass on Doggystyle makes my vision go blurry!” he insisted to an elevator full of random label employees after his third chaotic five-minute meeting with Randy. “That’s what I want! Deep music for deaf people!” He told Daniel, who was waiting for him in the lobby with Flora to go to lunch, that Atlantic was going to turn his lovely demos into crashy-bangy alternative rock.
“It worked for Suzanne Vega,” Daniel pointed out. “They add kick drum and hi-hat to some folkie vocal thing, and there you are. That’s how CBS made a number one hit out of ‘Sound of Silence.’”
“That’s the main substance of my lament!” Joe said. “With too many drums, you can’t hear the music. I don’t need drums. I have my rhythm in the music where it belongs!”
“That’s good. Try that on Randy. Say what you just said to me.”
“You do it! He doesn’t listen to me.”
DANIEL, IN HIS FUNCTION AS PRETEND MANAGER, CALLED RANDY THE NEXT DAY. IT wasn’t a productive conversation. Joe had presented an irresolvable impasse as mere friction. Randy informed him that Joe was all set to make a record that the label would never release. Subsequently he would be free to go on making records for them at his own expense forever, until he happened to make one they liked.
Daniel replied, “That’s a no-good deal, and you’re a piece of shit.”
“Am I now,” Randy said.
“If you pile roadblocks on the creativity of Joe Harris, that’s exactly what you are. An ignorant, self-defeating piece of shit.”
“I didn’t say he can’t record any album he wants,” Randy pointed out. “I just said we won’t release it.”
“Fuck you, ass-wipe,” Daniel said, marveling at his own inarticulacy.
Randy referred him to a senior executive producer, a blond surfer-snowboarder of fifty who called himself Daktari.
DANIEL WENT WITH JOE AND FLORA THE FOLLOWING WEEK TO SEE DAKTARI, WHO TOLD them he’d be adding a rhythm track whether they liked it or not, and that from what he’d heard people saying around the office, Music for Deaf People would be an excellent working title.
Daktari was handsome and regularly spent time in France. Many years before, someone in Paris had told him it was a mark of breeding to insult people to their faces without breaking eye contact.
His skills were wasted on Joe, who replied in gratitude that he had resolved to call his opening track “Daktari.” He started writing it right there. Tapping his foot, he sang, “Daktaree-ee-ee, is Randy’s boss so maybe he can te-ell me, if we need drums on this so give the bass to me, I’ll show you drums are not the sole reason to be.”
“A percussion jam is a big crowd-pleaser,” Daktari interrupted. “Don’t you want to be bigger than Jesus?”
Switching back to normal conversation, Joe said, “Lots of Aretha