Shawn Smith, Seattle’s Hidden Treasure

It is a very uncomfortable, heart-wrenching feeling to write about somebody who had not received the appreciation in his life his art deserved. It is more so, since it troubled me a lot in the past, when people started to praise somebody when he/she died. I felt tempted to question each of those who wrote necrology where they were when the artist needed help. What had you done for him/her? Why don’t you tired to convince your friends about a particular artist? Why does somebody have to die to get a place in Heaven?

As years have passed, I reconciled myself to the situation and accepted this human reaction, and I took the sages’ advice and did not strive to change the world. I invest my energy to transform myself into a better man. I meditate on the possibilities to do more and more for those I love, respect, and admire.

In this recognition process, I have received immeasurable help from Miklós Pintér, the creator and operator of Grungery magazine. On the one hand, his holy madness to unearth, re-trace, investigate the history of our beloved genre and document, canonize, and revive the art is admirable and inspiring. On the other hand, when he asked me to conclude an interview with me in 2015, he pushed me further. At first, I felt that I am not worthy of his attention; he wastes his precious time on me rather than being with his family. His dedicated work gave me precious insights, and the result of our long sessions resulted in a great lesson in self-knowledge for me. While we discussed the article’s title, I came up with the phrase „Giving back something from the joy I received from music from my childhood.” This sentence was not merely the summary of my past 25 active years in music, but a great mission statement as well. Having written and said that, it felt like a vow, and I want to stay true to that sentiment every blessed day.

Concerning Shawn Smith, there is a painful feeling of lack inside me. No matter that, I wrote a review about the first Satchel album titled EDC released in 1994 for the Hungarian Metal Hammer magazine. I have not recognized the genius of the guitar playing pianist, singer-songwriter. No matter that, I worked for the Hungarian affiliate of Sony Music when Epic released his career’s gem, the much-adored The Family album. We were even struggling to make Pearl Jam happen in a big way in Hungary. We achieved even less for Brad; the band Shawn started with Stone Gossard, standing in the shadow of Eddie Vedder. And what could we say about Satchel? Aside from the brilliant songs (Not Too Late, Criminal Justice, Roll On), there were no selling points, no Pearl Jam member involvement, maximum we could claim that Mr. Gossard co-produced the album.

The shining second album of Satchel elevated Shawn Smith to the highest ranks, in my opinion. Somewhere only geniuses like Andy Wood of Mother Love Bone resides, to the Olympus, which is the home of the Gods. The same irresistible charm flows from their songs. Both of them incorporated piano magically into the loud rock music. Both of them mesmerized me with those songs they penned themselves and involved those magic piano sounds into them. I loved the other songs they sung written or co-written by their bandmates, but their lonely efforts fueled my enthusiasm and attachment. Others may find these songs too dramatic and too depressing, but they elevate me; they fill me with deep sensitivity and humanity, making me truly happy. They support me, and they give reason to live, help to cope with everyday hardships. Not surprisingly, Kevin Wood invited Shawn to sing Andy’s lyrics for the 2010 Malfunkshun album titled Monument they recorded 22 years after the original group disbanded.

After the radiant second Brad album titled Interiors, I lost sight of Shawn for a while.

Who would guess that the 1999 groundbreaking album of Lo Fidelity Allstars titled How To Operate With A Blown Mind released by the legendary Skint label distributed by Sony Music would feature Shawn Smith? The remix of Battle Flag, released even as a single, was built from a recording of the Shawn Smith and Steve Fisk founded funk rock band called Pigeonhed, but I had not even heard of the project at that time. On top of that, even the tune’s father would not recognize the song in its excellent new big beat form. It is a quirk of fate that this recording became the most successful Shawn Smith record ever.

Comparing to the dance bomb, the case of the debut album of The Twilight Singers in 2000 was a nearer miss. We worked on this album at Sony Music as well, and I loved the whole atmosphere. Still, I have not recognized Shawn Smith behind Greg Dulli as co-composer of Clyde and not registered that we can hear his voice in three additional songs, although That’s Just How That Bird Sings is an extraordinary, magical piece of art.

I found my way back to Shawn Smith only after meeting Miklós. Dissatisfaction caused by the insufficiency of my previous efforts to serve his art led me to work again. Since he visited the UK time after time at that period and played small one-man shows in small theaters and clubs, I started to find a suitable place for a Budapest gig. Miklós approached me with the idea of a joint interview with our idol, so I pushed myself further. I ordered all his albums were missing from my collection. I even bought a The Diamond Hand t-shirt that played a significant role in my life. I loved so much the hard to read, curly typography of the cover that it became the template for the t-shirts I made for my sons and me for my father’s funeral.

And the CDs ordered came and came. Let It All Begin (1999), Live at the Point (2000), Shield of Thorns (2003), The Diamond Hand (2008). Amazement followed amazement. Each of the albums contained gems. And questions rushed on me.

From whom you learned to play the piano?
You prefer composing on the piano or guitar?
What has in Prince’s art impacted you that much you refer to him as your primary influence?
How was your relationship with Andy Wood? How does it felt to sing his lyrics on the Monument album?
Why was Reservoir Dogs such a significant influence on you to use its characters’ names for song titles on EDC?
How do you like the Lo Fidelity Allstars version of Battle Flag?
How was to work with Greg Dulli? Why did your co-operation ended after the first demos?
Is there any song in your catalogue which is especially dear to your heart? If yes, which one and why?
Who inspired the song called If Roses Take My Place?
A lot of your songs like Original Hymn channel some deeply experienced God searching devotion. Where do these feelings come?

And I wrote the questions I was not able to ask, because you left us 3rd April 2019. The songs remained. I am still searching for your recordings I have not heard before. And I realized that my questions were unnecessary. You told us everything. We can find every answer in your songs.

I hear If Roses Take My Place in my head when I stand by the grave of my father. I hear it at the hospital gates where my mother lies, whom I am not allowed to see because of the ban on visitors due to the covid epidemic.

I feel like screaming in anguish and would cry for joy at the same time.
I cherish everything I’ve received from you, and I mourn the moments cannot be mine anymore.

(Artwork: Mester Csaba)