Mike Doughty - I Die Each Time I Hear the Sound
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- Book:I Die Each Time I Hear the Sound
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Copyright 2020 by Mike Doughty
Cover design by Nick Bilardello
Cover copyright 2020 by Hachette Book Group, Inc.
Hachette Book Group supports the right to free expression and the value of copyright. The purpose of copyright is to encourage writers and artists to produce the creative works that enrich our culture.
The scanning, uploading, and distribution of this book without permission is a theft of the authors intellectual property. If you would like permission to use material from the book (other than for review purposes), please contact permissions@hbgusa.com. Thank you for your support of the authors rights.
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First Edition: November 2020
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Library of Congress Cataloging-in-Publication Data
Names: Doughty, Mike, author.
Title: I die each time I hear the sound / Mike Doughty.
Description: First edition. | New York: Hachette Books, 2020.
Identifiers: LCCN 2020028316 | ISBN 9780306825316 (paperback) | ISBN 9780306825323 (ebook)
Subjects: LCSH: Doughty, MikeAnecdotes. | Rock musiciansUnited StatesAnecdotes.
Classification: LCC ML420.D737 A3 2020 | DDC 782.42166092 [B]dc23
LC record available at https://lccn.loc.gov/2020028316
ISBNs: 9780306825316 (trade paperback); 9780306825323 (ebook)
E3-20201011-JV-NF-ORI
For K.R.D.: I miss you.
Slanky: Poems
The Book of Drugs: A Memoir
Before I wrote this, I recorded an album called Ghost of Vroom. It was a working title for a Soul Coughing album; in 1994, I wanted to call our first album Ruby Vroom so we could follow up with the dub version: Ghost of Vroom.
Its a play on Garveys Ghost, a dub version of Burning Spears 1976 album Marcus Garvey.
After I moved from New York to Memphis, I became less interested in my acoustic thingI spent three years writing songs that sound like Soul Coughing: that mixture of Tom Waits and A Tribe Called Quest. I put up lo-fi recordings online. I wrote two hundred songs.
The title signifies what if.
Andrew Scrap Livingston plays bassactually a cello, but functionally an upright bassand Gene Coye plays drums; we didnt make him use a click track, so he could subtly manipulate how time moves. I play the sampler: Not loops arranged with a sequencer, but buttons that trigger noises. Like a Mellotron or a sound-effects machine.
The producer is Mario Caldato Jr., whose fan I became when he did the Beastie Boys Check Your Head. Working with him is another planned step untaken in 1994. We did it at his house in Eagle Rock, in Los Angelesit smelled, as all great studios do, of smoldering vacuum tubesand we recorded fast, to outrun second-guesses.
While we were mixing, Mario looked up and said in his supernaturally mellow tone, This is the only record that sounds like this. Like he was trying to process it.
The next day, he said again, There arent any other records that sound like this.
He started saying it oftenfirst in puzzlement, then with conviction.
Instead of What Would Jesus Do? we were going with WWNED: What Would Nobody Else Do?
Id tried to get Soul Coughing back together to do it. At least so I could say I took a shot. But old weirdnesses die hard. My manager said something about making sure songs were ready before we went inwed be doing it on our own dime. One of my ex-bandmates repliedthis is 100 percent realSoul Coughing had no songs. We were masters of illusion.
So, Ghost of Vroom it is.
Hey, also: I wrote another book.
My editor Ben asked me to write this book. I didnt want to.
Id learned on the first book that subjectivity is terror.
I dont trust my stories; I dont trust my mind.
It would be impolite to say no, though, so instead I asked for too much money. Ben gave it to me. I spent the money.
So now I write a book.
Im doing what I did last time, but with rueful awareness: Im writing what I remember as I remember it.
Before my first book came out, I sat down with people to warn them. I met 
in a triangular park in the West Villagea traffic island in Eighth Avenue, near where we used to live. We drank iced coffee from a bodega.
Of course, you mustve written about when a was b and we went to c, she said.
What happened? She told me the story: a great story.
I told her I wished Id remembered itand put it in the book.
I told her one of the stories Id included. She didnt remember it.
Twenty-five years before, wed get this one friend of ours high and passive-aggressively imprison her: shed crash on the couch; every morning wed beg her to stay.
Shed moved to Cleveland, had a kid, got a degree as a speech therapist. She discovered that special-ed kids loved Biggie Smalls and knock-knock jokes.
She came to a gig at the Beachland. I told her the stories that and I had tradedhow funny it was that we remembered completely different ones.
She didnt remember any of them.
I was shocked that you didnt mention the time when x did y at the z, she said.
I didnt remember that.
In 1963, John Cage organized a performance of Erik Saties Vexations. The written score covers just half a page; Satie meant for it to be repeated 840 times.
Above the piece, Satie wrote, It would be advisable to prepare oneself beforehand, in the deepest silence, by serious immobilities.
The performance, at a disused vaudeville theater, took eighteen hours, played by a rotating crew of ten pianists, among them John Calewho would later cofound the Velvet Undergroundand the choreographer Viola Farber.
Tickets were five bucks. Only one person watched the entire performance. When it was over, somebody yelled, Encore!
Afterward, Cage drove to his house outside the city. He slept twelve hours.
When I got up, the world looked new, Cage wrote later. Absolutely new.
My friend Pat Dillett, the record producer, had a spare ticket for an early-evening benefit: Ray Charles was playing at the Museum of Natural History. This was a few years before the Jamie Foxx movie and the reverence at the end of Rays life.
Pats wife was the museums lawyer. Counsel for the bones.
I met Pat outside the planetarium. He told me that when he met his wife for lunch on a weekday, shed ask incredulously who these people were, walking around the world, not at work. They were us.
Chevy Chase was at the reception. Pat said, Why is Chevy Chase here?
We were ten feet from him; its a weird thing to say when youre standing ten feet from somebody.
Chevy Chase made a speech about how the celebrated Saturday Night Live Land-Shark sketch was written at the museum in the late 1970s. Young people have taken LSD at the Museum of Natural History since LSD was invented. Not that Chevy was explicit.
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