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ROCKMYTOLOGI Nr weekendavisen KULTUR ROCKMYTOLOGI Nr. 06 - 8. februar 2008 7 Hedonisme. Warren Zevon blev en af den amerikanske rockmusiks største sangskrivere, men brød aldrig igennem til en større offentlighed. Dertil var både han selv og hans tekster for bizarre. Musikernes musiker FOTO: REUTERS Af RENÉ GUMMER My Ride’s Here, der på coveret viser kunstneren sid- dende med et underdrejet smil på bagsædet af en lig- DET må have været i 1982. Jeg var i hvert fald 17 år gammel vogn. Det skulle vise sig at blive temmelig profetisk. og temmelig duperet over at blive inviteret til kaffe hos Jack I månederne efter udgivelsen besøgte Zevon en læge – det lokale musikorakel, der havde en pladesamling, som for første gang i over 20 år. Som han selv udtrykte det: på det nærmeste gjorde det ud for tapet i hans lejlighed, der »It was one of those phobies that really didn’t pay off.« lå lige oven over den gamle lysbadeanstalt. Jacks kaffeinvi- En røntgenundersøgelse viste nemlig, at han havde tationer var legendariske: efter de indledende øvelser med udviklet mesothelioma, en inoperabel cancerform i stempelkande og vådt wienerbrød, gik man over til en gene- lungerne. Lægen gav ham tre måneder at leve i. Zevon rel snak om musik – herunder en lovprisning af alt, der ikke besluttede at bruge den sparsomme tid til at indspille var nutidigt – hvilket ledte værten ind på mere specifi kke et sidste album, en tour de force i opvisning af medvir- kunstnere, hvis bagkatalogs fortræffeligheder som regel stod kende celebriteter, der gladeligt smed hvad de havde i i skærende kontrast til deres nyeste produktion. hænderne for at kunne medvirke. Bruce Springsteen, Her ville Jack så stoppe op og kigge sin gæst an. Blev man Tom Petty, Billy Bob Thornton, Emmylou Harris, Don fundet værdig, rejste han sig og gik over til sin samling og Henley, Joe Walsh, Jackson Browne, Ry Cooder og begyndte nærsynet at bladre gennem de tusindvis af LP’er Dwight Yoakam, backet af de hårdeste og mest pro- mens han mumlede ting som »...ikke her, så må det være minente studiemusikere i landet. Zevon selv spillede under Z,« hvorefter han gik over til den anden væg af plader klaver og sang trods heftige smerter og store doser slø- og begyndte forfra. Når han så havde fundet den rette LP vende medicin, velvilligt ordineret af vennen Hunter S. frem, lagt den på afspilleren og sat pick-uppen over rillen, Thompson. satte han sig igen. Gæsten var nødt til først at blive sat ind i Den 30. oktober 2002, var David Lettermans show kunstnerens livshistorie, for at kunne forstå og værdsætte for første gang nogensinde dedikeret til kun én gæst: værkets storhed. Eller i hvert fald Jacks version af historien. Warren Zevon. Emnet var hans forestående død, og For at massere lytterens velvilje, smurte han aldrig for tyndt udover at være en hyldest til en bizar ener, var det på; anekdoter blev til den skinbarlige sandhed, tekstlinjer samtidig et brud med alle normer for showet, der tra- blev hevet frem, analyseret og fortolket, vendt og drejet, blev ditionelt har berøringsangst over for andre emner end til historier i sig selv – naturligvis alle oplevet af komponi- dagens gæsters fi lmpremierer og en række mere el- sten personligt og derfor et åbenlyst tegn på kunstnerisk ler mindre originale indslag af de faste medvirkende. autenticitet og dybde. Jack havde mærkværdigvis nok altid Zevon var tydeligt mærket af sin sygdom, gemt bag selv været ude for noget tilsvarende dramatisk, hvilket han tonede briller smilede han syrligt, mens bandet spil- også gavmildt diverterede sin gæst med, for ligesom at hive lede »I’ll Sleep When I’m Dead« under hans entré. historien helt ind i stuen. Og så, endelig, rejste han sig igen, På den facon blev Zevons forestående død hevet ned i sænkede pick-up armen og skruede godt op for volumen. Nu øjenhøjde og behandlet næsten, som om det var en fest skulle der lyttes. eller en premiere, han skulle til. Showets berettigelse Det var der, i det øjeblik, jeg første gang blev ramt af War- lå i de næsten barnlige spørgsmål, Letterman stillede ren Zevon. Selv om Jack gjorde sit bedste for at distrahere sin gæst. For eksempel da han spurgte, hvad Zevon mig ved stædigt at spille både lufttrommer, luftbas og luft- kunne give videre af visdom, nu han skulle dø, sva- guitar til nummeret – nogle gange på en og samme tid – var rede gæsten »What can I say? Enjoy every sandwich.« der noget i musikken og stemmen, der overdøvede hans Selv om showet pillede brodden ud af et kontroversielt øvelser. Noget anderledes, en brutal sårbarhed i udtrykket, emne, var ironien alligevel sørgeligt tydelig for enhver. en klassisk skolet tilgang til melodien, en tone født i sort Første gang Zevon for alvor blev eksponeret for hele europæisk muld. Ikke en blå node i miles omkreds, ingen nationen som andet end dagens musikalske indslag, fraseringer, ingen dikkedarer. Selv om sangen var i dur, var Singer-songwriter Warren Zevon fotograferet kort før sin død i efteråret 2003. handlede det ikke om hans kunst, men om hans syg- det en insisterende klang af en næsten desperat mol, der dom. Alligevel fi k Zevon lov til at afl evere sit musi- ramte mine ører. Sangen hed Lawyers, Guns And Money, og – spillet heftigt i radioen og singlen Werewolves Of derigennem præsenteret for et nyt publikum, der ikke kalske testamente, da han som afslutning på showet selv om det langtfra er Zevons bedste, satte den sig lige så London blev et top 30-hit. Også Roland The Headless havde forbehold over for hans tilknappede facon og spillede Roland The Headless Thompson Gunner for et godt fast i hovedet som Jacks historie om Zevon: en notorisk Thompson Gunner og Lawyers, Guns & Money nød bizarre tekster. Det skæppede dog ikke meget i kassen stående publikum og på opfordring af Letterman selv. gambler, en nomade, der rejste fra pokerbord til pokerbord, radioens gunst og gav Zevon et økonomisk fundament, at være foregangsmand, så det var tilbage på lande- Han nåede også at se frugten af sine anstrengelser altid med en Smith & Wesson i jakkelommen, hvis han »more money that I’d care to spend«, til at eskalere vejen, denne gang uden band – det var der ikke råd til med de sidste indspilninger, The Wind, der udkom to skulle ryge i clinch med en dårlig hånd. sit misbrug af alkohol og heroin ud i det adsurde. Det – og indimellem som et overraskende bud på en afl øser uger før hans død i september 2003. Men han nåede Selv om Jacks version havde åbenlyse dramaturgiske for- store kommercielle gennembrud blev det dog ikke for Paul Schaffer på Late Show med David Letterman aldrig at mærke andet end suset fra den offi cielle an- trin, er den siden blevet indhentet af både autoriserede bio- til, selvom Excitable Boy solgte godt. Teksterne var for – endnu en hårdkogt Zevon-fan. Det blev også til et erkendelse, han stræbte efter hele livet. Warren Zevon grafi er og nutidens informationsstrøm på internettet. Zevons outrerede til at fange det brede publikum, men til gen- par albums: Mr. Bad Example fra 1993 og Mutineer fra fi k posthumt fem Grammy-nomineringer for The Wind liv var knap så romantisk i virkeligheden og han var hverken gæld var de fans, der blev ramt, så meget desto mere 1995, men ellers brugte Zevon mest årtiet på at læse og vandt to. gambler eller skydegal. Men en stor kunstner var han. Her indædte. Zevon lefl ede ikke for nogen, selv balladerne og dyrke sit venskab med gonzo-journalisten Hunter ❏ er hans historie. – de ufatteligt smukke sange Carmelita og Veracruz S. Thompson. Efter fem års pause indspillede han i ❏ – handlede om krig, død og narkotika. Hans paradoks 2000 Life’ll Kill Ya hvor teksterne vendte tilbage til at ZEVONS musik rammer stadig. Lige så vildt og var, at de samme ord, der gav ham al den gadekredit, fokusere på det mere morbide og groteske. Med besyn- kraftigt som den eftermiddag hos Jack i 1982. Det er WARREN Zevon blev født i 1947 i Chicago, søn af en rus- han kunne ønske sig, stødte det store pladekøbende derlige titler som »For My Next Trick I’ll Need a Vo- ikke kun nostalgi og gamle dage og den umiddelbare sisk-jødisk immigrant, »Stumpy« Zevon, der havde amerika- fl ertal fra ham. Det publikum, som han udtalt gerne lunteer«, »My Shit’s Fucked Up«, »Porcelain Monkey« glæde over poptekster, der bevæger sig ud over dig og niseret sit efternavn Zivotovsky, og tjente til dagen og vejen ville ramme. Det hjalp heller ikke, at Zevon langtfra der handlede om Elvis, og ikke mindst »Don’t Let Us mig. For selv om ordene kan frembringe høhø-grin og ved at være håndlanger for Mickey Cohen, en af datidens lignede en svigermors drøm og hans kejtede og indad- Get Sick«, var der lagt i ovnen til gensynsglæde med indforståede nik i et øllet selskab med deres makabre mest celebre gangstere. Da Cohen fl yttede sine lyssky for- vendte optræden på tv og til koncerter henvendte sig den mørkere side af Zevons talent. Resultatet udeblev univers, så ligger den virkelige styrke i musikken, i retninger til Californien, fulgte Stumpy, kone og barn med mere til identitetssøgende, midaldrende mænd på jagt ikke. Anmelderne var begejstrede og verden havde i den klassiske skoling, der tilfører sangene et helt unikt som det tynde øl. Musikken fl yttede tidligt ind i den unge efter et ikon, end til idolplakat-ophæng på blomstrede mellemtiden ændret sig så meget, at det pladekøbende udtryk. Det er noget underforstået, en længsel per- Warrens liv, han spillede klaver og viste så store evner, at pigeværelser.
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