Mike Doughty’s new album, Sad Man Happy Man, is a return to the stripped down sound of his earlier works (Skittish & Rockity Roll) with minimal production and the instrumentation of only Doughty (vocals, guitars, drum programming, and electronic looping) and Andrew ‘Scrap’ Livingstone (cello). Recorded in a short amount of time, the lyrical content ranges from unique word playing rap (reminiscent of Doughty’s work with his former band ‑ Soul Coughing), to introspective, emotional lyrics about relationships, to reflections on the socio-economic news of the day.
I’m just going to overtly state right here that I like this album a lot.
There is something about minimally produced music that I find very appealing. I think it sounds more raw and unpretentious, for some reason. I also enjoy Doughty’s popping multi-syllabic raps and the way he celebrates the pure sounds of language. If I had the energy to, I could possibly use Doughty’s use of repetition to partially illustrate the main argument of Derrida’s “Signature Event Context” as Doughty manages to imbue each iteration with different texture and meaning.
Musically Livingstone’s bow work eerily stretches the expression of the cello notes into an haunting emotionality that at times seems at odds with Doughty’s more upbeat guitar strumming. Although the guitar work is very similar on each song, the drum programming helps differentiated between the tracks while rounding out the stripped down sound and elevating the music to a rock n’ roll level.
Up until now, I’m sure that this review will make Doughty a “happy man.” However, I have read things he has said in interviews about the album that I find, for lack of a better word, objectionable.
Firstly, in a few articles, Doughty intimates that Sad Man, Happy Man is a response to criticism/disdain of fans to his last album: “I did this record mostly acoustic, because I think that’s what my audience was looking for. I think they wanted more like the Skittish type vibe and I hope that I don’t put it out to a lot of handwringing [sic] that I should’ve made another Golden Delicious.[1] To me Doughty seems to imply that he cares more about making people like him than making music he wants to make. I believe that an artist forges a path independent from their audience and trust that the appropriate audience will follow. But art/poetry is “news that stays new” and it seems to me that Doughty’s comment points to his being less interested in making art than money. He has become a “panderer”, grasping for a broader audience/market.
Perhaps this is the music that is in his heart to make, which is fine. I just wish he would take complete ownership of his choice to take a step backwards, sound wise.
Secondly, Doughty has stated:
“Lord Lord” is all sly drug references, like “Tango and Cash” and “Dr. Nova,” which are both brand-names for bags of heroin. “That song is kind of like my ‘Walk on the Wild Side,’” Doughty says. “I like how Reed’s tune is all about tranny whores and yet is all over classic rock radio.”[2]
Reading this made me stop, shake my head, and walk away from my computer screen muttering “he’s got his head up his ass”. Simply name checking heroin brand names is by no means the equivalent of Reed’s exploration of the dark side of 70s sexuality. Sure both Doughty and Reed studied under eminent poets (Sekou Sundiata and Delmore Schwartz respectively), both spend time in “factories” (The Knitting Factory and Andy Warhol’s Factory respectively), and both were heroin addicts. That is where the similarities end. If pushed to make it, I’d compare “Lord Lord” to “New Sensations,” Reed’s driving celebration of life on the other side of addiction.
I’m just going to say that Doughty has a long way to go and a lot of writing to do before I’m going to consider his work in the same league as Reed’s.
I will, by all means, continue to enjoy Mike Doughty’s work as he writes smart music. I just wish he would realize that his audience is not just made up of people unwilling to embrace anything that is different from what has come before.
[1] Glide Magazine October 23, 2009 :
http://www.glidemagazine.com/articles/55286/mike-doughty-sad-man-happy-man.html
[2]SCUG Net August 26, 2009: http://www.scug.net/mike-doughty-to-release-“sad-man-happy-man”-–-october-6th-on-ato-records/