Does the Noise in My Head Bother You?: A Rock 'N' Roll Memoir (5 page)

M
e, six years old, with my sister, Lynda, and cousin Laura at Dewey Beach. I look like my son, Taj. (Ernie Tallarico)

But it wasn’t all purely idyllic up in Sunapee—there was racism, and we were Italian. The Cavicchio family used to put on water-ski shows in the harbor. They brought the show from Florida. They were the only ones who knew how to perform the water-ski jump, ski barefoot, and pull seven girls behind the boat, girls who would climb on each other’s shoulders to make a human pyramid. Then one day they took the docks away at Dewey Beach to drive the Cavicchios off. An era was over. Now, no one could go to Dewey Beach and water-ski off the dock. My uncle Ernie, however, had a different plan. He knew that once anybody learned how to water-ski, it was more fun starting with your ass sitting on the dock instead of in the cold water. So he built a nine-by-nine-foot raft, put barrels underneath to keep it afloat and four chains on the corners that went down to four rocks that anchored it to the bottom to keep it in place. Whoever tore the dock down couldn’t stop us, because the raft was far enough offshore that it wasn’t in anyone’s way. But someone got pissed that we had gone against the grain. One dark night they decided to take fat from the Fryolators at one of the harbor restaurants and smear it all over the top of the raft. It became so greasy and smelly that no one could or would want to water-ski off it. How odd is it that the fat from the Fryolator that Joe Perry used to make my french fries was the same shmutz that caused the first oil slick on Lake Sunapee? It was a countrified version of the
Exxon Valdez
. . . only it tasted a bit better.

I would hitchhike from Trow-Rico down to Sunapee Harbor on Friday night and meet up with the guys in town. The thing to do was to find someone to buy us some beer; then we would play this game of jumping from boathouse to boathouse, just like roof jumping in New York, only in New Hampshire, on the lake. The rule was you weren’t allowed to touch land, and whoever made it to the farthest boathouse got the six-pack of Colt 45 and the girl that thought it was cool. Cheap thrills. The Anchorage Restaurant down at the harbor had three pinball machines that were lit up all night long, especially if Elyssa Jerett was there. Nick Jerett, her father, played clarinet in my dad’s band. She was the most beautiful girl in Sunapee—and she later married Joe Perry. But back at the Anchorage, she was going full tilt all night long—she was a Pinball Wizardess!

My cabin up in Trow-Rico was tiny. It had a double-decker bunk bed, one bureau, and one window that pulled down with a chain. I slept on the top bunk, and in the morning my father would wake me up by throwing apples from the crabapple tree. Around 7:00
A.M
. If I’d gotten any sleep at all, it was rise and shine no matter what. He didn’t throw the apples hard, but it was loud enough to wake me up. The sound and the rhythm of the apples hitting the side of the cabin was a muffled kind of music to me, kind of like the backbeat of a snare drum—it always reminded me of how loud a snare should be in a track.

M
y cabin where Dad threw apples at me to wake me up. (Ernie Tallarico)

Dad knew I loved playing drums, so he offered me a job playing with his band three nights a week, all summer long. What his band played was kind of like the society music you hear in
The Great Gatsby
tradition. We played cha-chas, Viennese waltzes, fox trots, and show tunes from Broadway musicals, like “Summertime” from
Porgy and Bess
. I was mortified when girls my own age walked in, turned around, and walked out. I so wanted to go into a rockin’ version of “Wipeout” or “Louie Louie,” instead of a waltz from Louis XIV, or so it seemed. We’d set up in the grand ballroom of the Lodge, and from 7:30 to 10:00
P.M
. we played four sets, each a half-hour long. I had to pull my long hair back, slick it down with pomade and butch wax, and put it in a ponytail. I looked like a fourteen-year-old Al Pacino in
Scarface
!

I got two or three summers of that under my belt, playing every night for two months with my dad. The audience was older, but now and then some folks would bring in their daughters; it was a family affair. And while I was playing one night this good-looking girl in a white dress came in with her parents. I watched her from behind the drums, eyeing her up and down and fantasizing as little boys do. Her mother would look on while her father, of course, had the first dance with his little cherub. How cute! She had to be fourteen—plump, pubescent perfection, flashing her big green eyes, and hair down to her waist. “Oh, my god,” I thought, and overcome with teenage lust, I let my hair down, though it made my dad very angry. I wanted to let my FREAK FLAG FLY! I’m sure that hearing the songs we were playing, if she weren’t with her parents, any girl in her right mind would have been gone in two seconds! I could see her thinking, “
I’m so outta here!” . . .
and so was I! The chase was on! During the break, Dad was in the bar with the band and I was drooling in the hallway, looking for the cherub in the white dress.

There was a guy named Pop Bevers who used to come and mow the fields when we got up to Trow-Rico in July. He chewed tobacco—big plug o’ Days Work. I’d sit and talk with him while he rolled his cigarettes and taught me how, too. I’d make my own cigarettes using corn silk. I’d put it on the stone wall, dry it out, roll it up in cigarette paper, and smoke it. Corn silk! I tried chewing tobacco once and got
so
sick I blew chunks all over my sister Lynda.

L
ynda, 1967. Vargas, look out. . . .  (Ernie Tallarico)

Then came the drinking years. All summer long my family would collect large quart bottles of Coke. My mom would save empty pop bottles, beer bottles, and wine jugs during the winter when we lived in the Bronx and Yonkers, and we’d bring
cases
of empty bottles up to Trow-Rico. At the end of the year, when the guests would leave, it would be apple season, and my entire family and I would go pick apples at an orchard and bring them to a place that pressed the fruit. We’d take the juice and put it into the bottles and keep them in the basement of Trow-Rico where they would turn into hard cider. One evening after a show at our barn (where we played every Saturday night), my cousin Auggie Mazella said, “C’mon, let’s go in the basement.” We grabbed a bottle and drank the whole thing out of the tin cups from our Army Navy surplus mess kits. The top of the kit became a frying pan in which you could cook your beans over a can of Sterno. It had a couple of plates, a cup, and silverware—the coolest thing.

The hard cider was strong stuff. We drank it just like we were drinking apple juice, and with no clue that we were getting hammered fast. I stumbled into the barn where the band was jamming and began to entertain the startled guests in an altered state, one to which I would soon become well accustomed. The glow shortly wore off. I felt queasy, staggered outside, fell flat on my torso, and woke up with a mouthful of yard. I crawled back to my cabin. Had I learned my lesson? Yes! But not in the way you’d think.

One night at the Soo Nipi Lodge my childhood ended. I went from sitting with Daddy in the bar, having a Coke and eating peanuts, headlong into the evil world of dope! I met some of the staff, the busboys who lived down in the bungalows. Went out there and somebody twisted up a joint. Now, back then, we’re talking 1961, a joint was
thin
. They were
tiny.
Pot was
so
illegal I didn’t want to know about it. Another night I went into town to see a band at the Barn and one of the guys rolled a joint in the bathroom. He goes, “Hey, you want to smoke this?” “Nope,” I said. “I don’t need that! I got enough problems.” Plus I’d seen
Reefer Madness,
so I passed it up, but then I got curious. I don’t know if was the smell or the romance, but eventually everything that I did was illegal, immoral, or fattening.

Shortly thereafter I started
growing
pot, hiding it from the family—as if they would ever know what it was. I thought if I put it right there in the field, knowing my luck someone would probably mow it down. So I went up to the power lines and planted some seeds, thinking that maybe that was far enough away. I figured I could just go up there and water the plants whenever necessary. But first off, I took a fish—a perch that I’d caught in the lake—chopped it up in little pieces, and put it on the stone wall so the summer heat would ferment it. After two weeks, flies are buzzing around it. It’s rotten, just stinky! I mulched it with dirt, put it in the ground, took my pot seed, and went up and watered it every day. Two months later, I have a freakish bonsai of a pot plant. It’s had plenty of fertilizer, but for some reason it wasn’t growing. The stems were hard like wood.
What’s wrong?
I wondered. Maybe it was because New Hampshire’s cold at night—that’s it! Wrong. Turns out they’d sprayed DDT or some pesticide under the power lines that stunted the plant’s growth. Hey, motherfuckers! I was pulling leaves off and smoking it and getting high anyway. But the plant only had seven leaves on it. Still, I loved getting high and being in the woods. I would trip and go up to the mountains and streams with Debbie Benson—she was my dream fuck when I was fifteen.

I’d get high smoking pot with my friends in my cabin. We’d lock the door, even though I never had to hide my pot smoking from my mom. I’d say, “Mom, you’re drinking! Why don’t you smoke pot instead?” I’d twist one up and say, “Ma, see what it smells like?” She never said, “Put that out!” mainly because Mom loved her five o’clock cocktail (or the contact high).

When I couldn’t get a ride from Trow-Rico down to the harbor—which is what, four miles?—I walked. In New Hampshire at night in the woods, it was so dark, you couldn’t see your hand in front of your face. All those terrifying stories I’d told to my friends back in the Bronx came teeming to life. Wolf packs! Black widow spiders! Silhouettes of the Boston Strangler! Blood-thirsty Indians! I knew there weren’t any Indian tribes left up at Sunapee. We—the white man—had wiped them out. But what about the
ghosts
of the Indians? They would be really pissed off, rabid with unquenchable bloodlust. Or else I was trippin’ on my mom’s homemade hard cider.

When clouds went over the moon the road got pitch black and I went, “Oh, shit!” I tapped my way with a stick like Blind Pew from
Treasure Island
. Really lonely . . . and scary. Yonkers and the Bronx were always lit up. You could hide in the snowbanks and when a car came around the corner you could grab on to the bumper and ski along behind it. But in Sunapee I almost had to crawl on my hands and knees to follow the white line down the middle of a dark country road. Later on I’d be back on my hands and knees following another kind of white line down a different dark road.

When I lived up there and September came and everybody was gone, I’d feel abandoned. Rough stuff when you’re young. I used to think, am I going to be that crotchety old fuck yelling at kids to get off of my lawn? No, that’s not me. I was the kid pissing on the lawn. You know, at this point in my life, I’m still in the woods. There’s still so much I’m not sure of, and I kinda like that. It’s the fear that drives us.

“Seasons of Wither” comes from the angst and loneliness of those nights when I was walking down that spooky road.

Fireflies dance in the heat of

Hound dogs that bay at the moon

My ship leaves in the midnight

Can’t say I’ll be back too soon

They awaken, far far away

Heat of my candle show me the way

Now something new entered my life, less scary in one way but in another, more terrifying since it involved girls—that was long before I figured women out. “Right, Steven. You never did figure them out, did you? Just became a rock star and that sort of solved the problem.” Ya think?

Anyway, my cousin Augie and I had talked these two girls into going camping overnight with us. Two girls, a tent, day-gives-way-to-night, booze. Oh, man, you never know what could happen with that scenario. We could get lucky. . . . We came to a beautiful, rolling hill. It looked so plush and soft at night: “Wow! Where are we?” “I don’t know, man, but let’s pitch the tent and, uh, heh-heh, y’know. . . .” We had a six-pack of beer, girls, what could be bad? I don’t think we were doing the wild thing, but definitely making out and getting drunk. I wish I’d had the evil mind back then that I have now—but when you’re a boy you’re mortally afraid of girls! Terrified!

We wake up in the morning to someone shouting, “
Four!
” I will never forget that. We looked at each other. What does that mean?
Four?
Louder this time, and then a golf ball slams into the side of the tent. Oh, “Fore!
”
We’d pitched the tent on the third hole on the golf course. Naked and hungover, we grabbed our stuff and ran like hell.

W
hen I was six or seven, I went to church and sang hymns. There was a table with candles on it, and I thought God lived under that table. I thought that through the power of song, God was there. It was the energy rolling through those hymns. When I first heard rock ’n’ roll—what did it do to me? God . . . before I had sex, it
was
sex! The first song that went directly into my bloodstream was “All for the Love of a Girl.”

Way before the Beatles and the Brit Invasion, when I was nine or ten, I got a little AM radio. But at night up in Sunapee, the wind howled and I couldn’t get the radio stations I wanted, so I ran a wire up to the top of the apple tree. It’s still there! And I picked up WOWO out of Fort Wayne, Indiana, and heard
“
All for the Love of a Girl.
”
It was the B-side of Johnny Horton’s “Battle of New Orleans.”

“
All for the Love of a Girl” was a slow pick-and-strum love song with Johnny Horton, curling his lips around the lyrics, twanging each word as if it were a guitar string.

It was very basic, almost the archetypal love song. It’s kind of an
every-love-song-ever-written
ballad. It’s
all there
in four lines. Bliss! Heartbreak! Loneliness! Despair! I sat in the apple tree and lived every line of it. The only thing missing was my
raging schooner
—the likes of which you could pup a tent with.

When I heard the Everly Brothers’ “I Wonder If I Care as Much” and those double harmonies . . . I lost my breath! No one ever did that anguished teen love song better than the Everly Brothers. “Cathy’s Clown,” “Let It Be Me,” “So Sad (to Watch Good Love Go Bad),” “When Will I Be Loved?” Oh, man, those heartrending Appalachian harmonies! Those harmonic
fifths
! I mean, God lives in the fifths, and anyone who can sing harmonies like that . . . that’s as close to God as we’re gonna get short of a mother giving birth. Behold the act of Creation . . . divine and perfect.

If you have any doubts, try this: Take a deep breath and hold one note with somebody—a friend, your main squeeze, your parole officer:
“Ahhh.”
When two people hold the same note and one person goes slightly off that note you’ll hear an eerie vibration—it’s an unearthly sound. I think in those vibrations there exist very strong healing powers, not unlike the mysterious stuff the ancient shamans understood and used.

Now sing in fifths, one sing a C and the other a G. Then one of you goes off key . . . that’s
dissonance
. Fifths in muscal terms are first cousins and in those fifiths there’s a magical throb. If you close your eyes and you touch foreheads, you’ll feel a wild interplanetary vibration. It’s a little-known secret, but that’s how piano tuners tune a Steinway.

God and sound and sex and the electric world grid—it’s all connected. It’s pumping through your bloodstream. God is in the gaps between the synapses. Vibrating, pullulating, pulsating. That’s Eternity, baby.

The whole planet is singing its weird cosmic dirge. The rotation of the earth resonates a great, terrible rumbling, grumbling G-flat. You can actually hear the earth groan like Howlin’ Wolf. DNA and RNA chains have a specific resonance corresponding exactly to an octave tone of the earth’s rotation.

It all really
is
cosmic, man! Music of the fucking spheres! The third rock from the sun is one big megasonic piezoelectric circuit, humming, buzzing, drizzling with freak noise and harmony. The earth’s upper atmosphere is wailing for its baby in ear-piercing screeches, chirps, and whistles (where charged particles from the solar wind—the sun’s psychic pellets—collide with Mother Earth’s magnetic field). Earth blues! Maybe some shortwave-surfing extraterrestrial out there listening through his antenna will hear our cosmic moan.

You can just about guess that anything can—is gonna—happen, so long as we stay here on earth. In a Stratocaster, say, you use a pickup wrapped with a few thousand coils of copper wire to amplify the sound of the strings. The vibration of the nearby strings modulates the magnetic flux and the signal is fed into an amplifier, which intensifies that frequency—and blasts out into the arena. In the same way that you can take a note and amplify it, you could amplify the whole fucking planet. Planet Waves!

Take a compass. It’s just a needle floating on the surface of oil that’s not allowed to float freely. The power holding that needle is magnetism. The needle is quivering, picking up the slightest frequencies. Now, if you could amplify that . . . In thirty years, they’re gonna be able to do that, and I’ll have been sitting here going, “You know, there’s power in the needle of a compass and . . .” It’s actually a magnetic grid, the earth, so if you could amplify the magnetic frequencies of a guitar string, you could
certainly
amplify the magnetic frequencies of earth and
beam
it
out there
. . . Then you’d have the galactic blues blasted and Stratocasted out to the farthest planet in the cosmos.