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The Life and Writings of Paul Nelson

From the 1960s to the early 1980s, Paul Nelson was known for writing passionate, insightful criticism of folk and rock music that showed a partiality for singer-songwriters. He, and his record collection, was of great importance to Bob Dylan early in his career. As an editor at Rolling Stone, he influenced many great critics, such as Charles M. Young and Mikal Gilmore. But suddenly, in the early 1980s, when editorial decisions at Rolling Stone ran contrary to his thinking, Nelson walked away from music criticism. In fact, he dropped out of criticism entirely, choosing to spend his remaining years in relative obscurity, working at a video rental store. He died in 2006, but not before writer Kevin Avery contacted him about a potential biography. After Nelson’s death, Avery was tapped to compile this new Fantagraphics book, Everything Is An Afterthought: The Life And Writings Of Paul Nelson, in which Avery documented Nelson’s career as well as collecting his writing. In addition to discussing this book, Avery also discussed his other Nelson-related book that he edited, Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979-1983 (Continuum Books). To mark the release of both books, Avery recently allowed me to interview him via email.

Not to toss a large question your way, but how did Paul Nelson help to shape present day rock criticism?

I’m probably the wrong person to ask. As a result of immersing myself in the music and criticism of the Seventies and Eighties, I really don’t follow rock criticism much anymore, but what I do read bears very little resemblance to the kind of writing that Paul did. Paul’s writing was more contemplative and expansive—in contrast to some of what I read today, which is dictated by time and space constraints (some of the very things that brought Paul’s tenure at Rolling Stone to an end in 1982).

In gathering this book, were there certain key parts to the collection that proved harder to track down then others?

Everything Is an Afterthought: The Life and Writings of Paul Nelson is actually divided into two books: Book One, which is Paul’s biography and sets up Book Two, which, while continuing to tell Paul’s story, presents an anthology of some of his best writing. Tracking down the various writings that I wanted to include in the book wasn’t that difficult—the challenge was documenting the last twenty or so years of his life, after he left Rolling Stone and “began to erase himself from the world” (as Anthony DeCurtis recently chillingly wrote). He closed the door on most of his many friends and colleagues and began leading an increasingly private life (which was hermetic to begin with).

What were the biggest logistical challenges to developing this book?

Selecting those writings of Paul’s that would not only demonstrate what a fine writer he was but would also serve to tell his story. Paul was a very autobiographical writer, although not overtly so. Sometimes, as with the Rolling Stone cover story about Warren Zevon’s battle with alcoholism, he was a reluctant participant in the story. But in Paul’s other work, I think even the casual reader could sense his presence lurking between the lines.

What I wanted to do was structure the book so that, after reading the first half of the book, Paul’s writing, in the second half, revealed just how much he had almost surreptitiously been telling his own story all along—in record reviews as well as articles.

In terms of Nelson’s peers and associates, were there a few that proved to be a critical path in terms of giving you the proper frame of mind on the body of Nelson’s work?

At the risk of failing to mention several people who undoubtedly contributed on this front—and there were many (the usual suspects jump to mind: Robert Christgau, Dave Marsh, Greil Marcus, and Kit Rachlis—I’d have to say that Paul’s good friend Jay Cocks, a fine critic in his own right who went on to forge a very successful career as a screenwriter, provided me with the best insight to not only the work Paul had done but also placing it in perspective with rock music and rock writing as a whole. And not just the rock music and criticism of the Seventies of the Eighties, but where it had come from and where it ended up going.

How much fun was it to appear on Kick Out the Jams with Dave Marsh, discussing Nelson’s work?

Lots of fun. Speaking as someone who as a teenager used to sit cross-legged on my bed reading these guys’ work—guys like Dave, Christgau, Greil, Jay, and of course Paul—anticipating reading what they had to say about notable new albums as much as I anticipated the albums themselves—on that level this project was a dream come true.

Before embarking on this project had you known that Bob Dylan had stolen folk records from Nelson at one point early in his career?

Yes, thanks to Martin Scorsese’s Dylan documentary No Direction Home, where Paul himself tells the story. Though, as I point out in the book, Paul always claimed that the records actually belonged to his best friend at the time, and cofounder of The Little Sandy Review, Jon Pankake. On the other hand, Jon said they were Paul’s. Regardless of their ownership, Dylan took them.

After researching the book, did you find that your view of Nelson changed (for the better or whatever) as you learned more about him?

I certainly understood him better and, as a result, now appreciate his writing even more. While I was writing the book, I experienced the same thing that I think many people have expressed after reading it: an immense sadness. Paul’s story is a tragedy that, by and large, took place behind closed doors in small illegal sublets scattered throughout New York City. There’s an inevitability to what happened to him, but he did the best he could with what he had to work with.

But that sadness passed. It was replaced by a genuine appreciation of the man and the great writing he left behind.

Would punk music have flourished as much without Nelson’s advocacy for it?

What Paul did, especially by way of his amazing Rolling Stone review of the Sex Pistols’ debut album, was help introduce punk to the mainstream. Because he was a critic of some gravitas, famous for writing about singer-songwriters like Dylan, Jackson Browne, Leonard Cohen, and Neil Young, I think he undoubtedly engaged some people who otherwise would’ve never considered giving punk a listen. And certainly, when he was editor of the record-review section at Rolling Stone, he encouraged writers like Charles M. Young and Mikal Gilmore to write about bands like the Dead Boys, Joy Division, and Public Image Ltd.

Conversations with Clint

Care to talk a little bit about your Clint Eastwood book?

Absolutely. It’s called Conversations with Clint: Paul Nelson’s Lost Interviews with Clint Eastwood, 1979–1983. Even though it came out first, a few weeks before Everything Is an Afterthought, it’s actually my second book.

I’d always remembered, since reading the aforementioned Zevon cover story in Rolling Stone, that Paul had interviewed Clint Eastwood. In the piece, Paul mentions that he’s interviewing Eastwood for a story. But such a story never materialized anywhere. I hadn’t thought about those interviews with Eastwood in years, but then Dave Marsh mentioned them in a remembrance he wrote about Paul in 2006. Over the next few months, as I began researching the book and conducting interviews, several people asked me if I knew the whereabouts of Paul’s Eastwood tapes. Ultimately, they were found in Paul’s apartment after the medical examiner unsealed it.

The interviews, over seventeen hours’ worth, range from 1979 to 1983, and were intended for a Rolling Stone cover story that Paul, for various reasons, was never able to write it. What struck me while I listened to the tapes for the first time was the obvious friendship that quickly developed between these two men. They clearly enjoyed one another’s company. As a result, Eastwood is much more open and revealing—about his career and his aspirations, about his influences—than the Eastwood we’re used to reading about. Paul had correctly predicted, as far back as 1971, that Eastwood would become a “major force” as an actor and director.

Conversations with Clint presents these interviews as an occasional but ongoing four-year conversation between two friends.

Added bonus? I grew a mullet like Reed’s in the late 1980s, ask my friends from that era. I looked just as goofy as Reed.

Radoslav Lorkovic

What keeps me coming back to Cayamo is the opportunity to discover different musicians. This past year, one of the new musicians I discovered was Ellis Paul. Part of Paul’s band was an incredible piano and accordion player Radoslav Lorkovic. Over the next several days of the cruise, Lorkovic also turned up jamming with several other musicians. I meant to conduct this interview immediately after the cruise, but life events delayed my intentions. I was glad to finally conduct the email interview this week. Be sure to visit Lorkovic’s Facebook page, as he is indeed an impressive photographer (as we discuss) in addition to his musical prowess. This interview includes a new Talking with Tim milestone, a musician quoting NFL legendary coach Vince Lombardi.

Tim O’Shea: You are currently touring with Ellis Paul, what attracted you to working with Ellis?

Radoslav Lorkovic: Ellis has been a great friend through the years.  Music is just a natural part of what is really a great ‘hang’  Being on stage is little different than having a drink at three AM in some ridiculous club laughing.  The music, however, is quite serious and precise. It is presented without out the baggage of seriousness.  He also plays everything in C sharp–for me the most difficult piano key.  It’s a massive exercise in a way.

I had known Ellis for some time before he approached me about playing music.  It was a scene from a movie.  I was at some swanky brunch with my friend Jimmy Lafave. We were in Connecticut.  Music highbrows were helping themselves to brie and mimosas. Ellis and his longtime manager Ralph Jaccodine were there.  Ellis lurked shyly in the corner.  Ralph approached me slowly.  Quietly — yet assertively– he stated “Ellis would like you to play with him.”  I replied to Ralph “Tell Ellis I’m interested.”

O’Shea: I first became aware of your work after seeing you perform at Cayamo earlier this year. As amazing an experience it was to see you (and the other artists perform), I am curious if you can talk about how enjoyable it was for you?

Lorkovic: Cayamo was for me –and I imagine all the other musicians on board a true milestone.  The obvious grandeur of the experience provides one with that “I have finally arrived” feeling.  Being on the Caribbean in the lap of luxury — AND being at the music festival you always hoped to be a part of.  Yet again — the company, Ellis. Don Con and Ralph, notched it up considerably further.

O’Shea: Some musicians are reluctant to play live, while others relish the opportunity to perform live (I would put you in the latter category). What is it about jamming and playing live that so clearly appeals to you?

Lorkovic: Quoting Vince Lombardi –”Playing live isn’t everything, it’s the ONLY thing.”  Making great records is obviously significant –The Beatles proved that.  For me playing alone or having one person in the room is like night and day.  It is a 180 degree turn.  Instincts kick in that were completely dormant.  I also compare it to being a pilot.  You aren’t taken seriously untill you have thousands of hours under your belt.

Jamming to me cuts to the essence of those instincts.  Being onstage in front of thousands and being trusted to play a song you have never heard is precisely what I thrive on.  It is thrill of being suspended in air and instantaneously deciphering how to land on your feet.

O’Shea: After being classically trained, what was it about R&B that attracted you to exploring it?

Lorkovic: That blues scale my buddy played for me in the tenth grade was all it took.  A switch had been pulled in the railyard –I never looked back, until much later, when I revisited classical music from the eyes of a blues and rock ‘n’ roll player.

O’Shea: You have released five solo CDs to date, any plans to release a sixth CD in the near term?

Lorkovic: I’m still in the process of ‘releasing’ what actually is my sixth cd –Wastelands and Casinos,  I finished it a year ago.  It was a treat to record it with my dear friends in Austin at the amazing Cedar Creek Studios.

O’Shea: You recently joined Twitter and have been on Facebook for quite awhile. Have social media tools enabled you to market yourself more effectively?

Lorkovic: I’m actually quite amazed by Facebook. It is par for the course for promoting your shows or recordings –a logical extension of Myspace.  Facebook gave me –quite accidentally — a means of being recognised for a passion of mine comparable to music –photography.  I have quietly devoted comparable energy to photography as to music –it is just recently — thanks to Facebook –that that cat is out of the bag.  The opportunity to get instantaneous feedback on images — both from people I know and trust — and complete strangers is astonishing to me.

O’Shea: Creatively what’s on the horizon for you in the rest of 2011 and 2012?

Lorkovic: Another huge passion of mine is skiing — I did good last year — maybe fifty days — mostly at Mammoth Mountain –I hope to match that — then its festival season —buckle your seatbelts…

The Best of Times

During 2010, in the wake of the Texas Legislature’s budgetary cuts for arts funding, Sara Hickman, the Texas State Musician of the Year, decided to use her position to raise funds and awareness for the importance of arts education (and the funding of it) for children. More exactly, she spearheaded a collaborative effort–with a variety of Texas artists including Shawn Colvin, Willie Nelson, Rhett Miller, Robert Earl Keen as well as many more–to record a collection of Hickman’s own songs. The project, The Best of Times, was recently released as a two-CD, 38-cut collection by Waterloo Records. All proceeds from the sale of the CD set go directly to the Theatre Action Project, a non-profit that supports unique arts programs for more than 16,000 young people. To fully grasp the drive behind her charitable efforts, I recently email interviewed Hickman.

How did you go about getting all of the many fellow talented people who contributed their musical talents to Best of Times?

I knew I had, at least, a year to start lining up musicians to record for The Best of Times because Willie Nelson, who also recorded for the album, was the State Musician before my position took place. So, I immediately made a “wish list” and began calling/emailing/asking in person. I kept a giant chart on the wall with the names of artists/bands I had contacted, the titles of songs I had sent, if they had responded, if they were in the studio, if they had finished recording, if I had the recording.

When did your involvement and interest start with the Theatre Action Project?

I believe the first time I knew about Theatre Action Project was an after school program I was invited to lead concerning songwriting and drumming. I would guess that was about six or seven years ago. Then, I was in a ninth month course entitled Leadership Austin in which Karen LaShelle was also enrolled. We spent time getting to know one another and discussing the importance of arts availability to children in Texas.

For folks like myself woefully ignorant about the Theatre Action Project, what does it do and why should folks want to donate money to its cause?

There are many non-profit groups that bring a variety of art expressions to children in and after school. The difference, and outstanding quality, about Theatre Action Project (TAP) is how they empower and engage kids to learn about theatre, art, music, movement, creativity and self-expression in conjunction with everyday issues. TAP asks kids, “What’s important in your lives? What’s going on in your world?” The kids get to discuss issues such as bullying, or dating violence, or even home issues. TAP can then help the kids to create scripts, costumes, sets, art goals (a tiled wall, giant mosaic self portraits in pastel, sculptural pieces to display) which can they be presented peer-to-peer. Involving the kids to use their own ideas and bringing them to fruition and then sharing what they’ve created makes a big impact within the school, within the community.

In terms of making people aware of the cut in funding, do you think your concerns get more attention given that you have a platform and a voice as the official state musician of Texas?

Well, this was, and still is, my hope. When I was told of this humbling honor, I set out to raise awareness concerning the cuts in arts funding and to also raise monies slashed by the legislature that gave me the accolade. I hope I have raised awareness. I hope people will buy the CD, The Best of Times. However, I do find it ironic that as my term ended in May, the Texas Commission on the Arts (TCA) had its own funding cut by 50%. This is the group that works with the legislature to not only choose the State Poet Laureate, 2D and 3D artists and the State Musician, but they ALSO give out grants to teens wanting to pursue further education in an arts program. For example, if a 16 year old wanted to spend their summer taking a painting course at UT, or Rhode Island School of Design, or private lessons with a professional in their chosen arts field, TCA can give up to $2500 to that teen towards the costs of the course. I know many other non-profit arts groups and school programs have been deeply affected by loss of government funding, as well.

As a songwriter, how gratifying is it to hear this diverse a selection of musicians sing songs that you wrote?

First of all, I’m still honored and blown away by the fact that the CDs EXIST! God placed it on my heart to create this collection, and the fact that musicians responded with such passion and determination really astounds me. Having been a songwriter since I was seven, hearing 38 of my songs reinterpreted by such great talent has made me feel a part of a greater community, where, before, I felt rather isolated in my songwriting. That by coming together we can, of course, make change happen for the arts, for children in Texas. But, as far as how I feel personally about the diversity of musicians performing my songs, I’m deeply touched and grateful. When the songs started coming in, I would, literally, cry tears of gratitude or smile with joy until my face hurt. The interpretations were never what I expected, and always beyond what I expected. Plus, it made me hear my songs in a whole new light, and that was prettttttty cool!

What were some of the more challenging logistical aspects of attempting a project of this scale?

Reaching certain people. I tried to get Erikah Badu, Alejandro Escovedo, Carolyn Wonderland. There were so many people on my list I could just never reach, or who were on tour. I had to, of course, explain what the idea was AND ask everyone if they were willing to record for free. I was overseeing getting song choices and lyrics to people, sometimes videoing my hands on the guitar to show certain chords/movements, or creating and sending charts…I was following up with each musician/band to see if they had a studio/engineer available for them to record the song they chose, and if not, I would find one or both for them. I had to get the packaging created, figure out how to pay for duplication and mastering (thank you to all the people who helped on Kickstarter), and oversee the song order for mastering. Following up with people and checking in where they were on the process was the most time consuming. However, just to name a few—David Garza, Shawn Colvin, Robert Earl Keen—they sent their recordings in, if not that day, by the end of the week.

Given that The Best of Times project was prompted by fiscal decisions by the Texas Legislature, have you heard from anyone in the legislature, thanking you (or challenging you) for your efforts?

Three people thanked me: Rep. Elliot Naishtat, Senator Wendy Davis, Rep. Donna Howard. I’m still waiting to hear from Gov. Rick Perry I don’t know what he will say, but I’d be interested in hearing from him. We’d have a lot to discuss, I think.

Anything you’d like to discuss that I neglected to ask you about?

I would implore people to please support this project. This isn’t a “thrown together” project. It’s one of the best choices you could musically purchase. It took a lot of time, sweat and tears, and the end result is an album that just sounds terrific—the variety of musicians really showcases Texas’ musical talent—from known names like Willie Nelson and Shawn Colvin to those that deserve to be heard, who are just as talented: Matt the Electrician, Suzanna Choffel, Gretchen Phillips, the Daze…I think people will appreciate hearing how richly loaded this recording is; how it showcases the diversity of talent and songwriting, too. Most importantly, each purchase makes a statement—that people care about helping children receive the right to an excellent creative environment. Music, art, theatre, poetry, dance—all these arts enrich children’s lives, develop ways to utilize self-expression and creative problem solving, thus, helping our communities, and the world, embolden the best artists, doctors, diplomats, teachers, pilots, dancers, coaches, you name it. Art is only the beginning of what’s to come in each child’s life. Creativity helps them choose the person they want to become.

Added bonus, comments include a supposed endorsement by Doors surviving member, John Densmore, as well as someone who appreciates the fact that Fallon’s people reproduced the set from The Doors’ Ed Sullivan Show appearance.

• Nick Cave on piano, playing his song Into My Arms
• The guy on the left at the beginning? John Cale
• The quality of Cave’s piano on this song

Scroll to around the 42-minute mark for what is likely my favorite Cake song (Short Skirt/Long Jacket). Dear Cake, I am sorry for the times I accidentally called you Weezer. It was nothing personal.

Apparently the two collaborated again, more recently, on 2009′s Keep the Faith, which hopefully I will track down one of these days.

My wife loves the Beatles, just like her late sister. In fact, Kath’s outgoing message on her answering machine was sung to the tune of The Beatles’ Let It Be. In tribute to what would have been her 64th birthday, I offer When I’m Sixty-Four.

I like to think all Beatles fans get to hang out with John Lennon in heaven. Not all the time, mind you. Just when the mood strikes you-or when George Harrison swings by to jam with John. And from what I hear about Kath, she probably provides some damn fine backing vocals. Or maybe she takes lead and Lennon does the backing vocals. It is heaven after all.

Seriously though, I wish I had gotten to known Kath. And I am sorry for my wife, who misses her sister today. Love you, Ellen. And sorry for making you cry with this, but crying is good sometimes.