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Conor Oberst praised the music and art of Daniel Johnston and recalled the unique spirit of the late foreign folk hero, who died Wednesday of natural causes at the age of 58.
Oberst said that he had been "lucky enough" to have played several concerts with Johnston over the last two decades, but noted that prior to these concerts, many people had warned him that Johnston could "act like crazy or some other type of thing". Oberst said, he has never met this side of Johnston.
"When I closed my eyes and talked with him, I felt an abundance of humanity that I have rarely experienced," Oberst said. "It was like he was free of all ego and it was just that. A trait that I found very refreshing. I know that he has suffered a lot from various diseases. I know he's gone now and I really hope that he has found peace. Although I am sad about his departure as a person, I think his art and his music will continue. "
In addition to sharing the stage with Johnston, Oberst also performed Johnston's "Devil Town" in the role of Bright Eyes, publishing his version of the song on the 2006 rarities compilation, Noise floor. Oberst spoke of the qualities that attracted him, and countless others, to Johnston's music, stating, "He drew on something that we all left behind and still miss him greatly."
"I think Daniel was pure," Oberst said. "I do not use this word lightly, but I think that is why so many artists felt compelled to interpret his songs. He said what we all wanted to say before we got ahead. An economy of language and depth of mind that have blended in a perfect magical blend of empathy for our human condition. No small task. There will never be any other Daniel. But I thank the gods, he came around. "
Mr. Ward, another Johnston sidekick who covered "To Go Home" and "Story of an Artist," also shared a tribute in which he praised not only the writing of Johnston's song, but his style of production – which was essentially equivalent to "no production". Ward compared the recordings made by Johnston between 1980 and 1995 to the work of artists such as Robert Rauschenberg and Howard Finster, claiming that they invited the listener to "link" complete songs, false starts and other random sounds recorded on tape.
"The overall feeling is exciting, because we have the impression of attending the process of invention instead of – as for all other studio recordings – the end of the polishing process," he said. Ward. "When I heard his tapes for the first time, I thought about Robert Johnson's recordings. The fact that no amount has been invested in the production is not a disadvantage, it is more solid because there is nothing between you and the inventor. "
Statement by Conor Oberst
I've been lucky enough to be able to do some gigs with Daniel over the past twenty years. Others have often claimed that I should be ready to act "crazy" or "off" or something like that. But honestly, I did not experience that. When I closed my eyes and spoke to him, I felt an abundance of humanity that I have rarely experienced. It was like he was free of all ego and it was just that. A trait that I found very refreshing. I know that he has suffered a lot from various diseases. I know he's gone now and I really hope that he has found peace. Although I am sad about his departure as a person, I think his art and his music will continue. Because he's tapped into something we've all left behind and we still miss him badly. I think Daniel was pure. I do not use this word lightly, but I think that is the reason why many artists felt compelled to interpret his songs. He said what we all wanted to say before we got ahead. An economy of language and depth of mind that have blended in a perfect magical blend of empathy for our human condition. No small task. There will never be any other Daniel. But I thank the gods, he came around.
Statement by Mr. Ward
Daniel Johnston was a truly incredible songwriter, but his main genius was in self-producing music. especially the first bands he made from 1980 to 1995.
The idea of ​​engineering production was: no production.
or session players.
or engineers
or grant instruments or harmonize singers.
the tapes were made unconsciously in modern art. as a collage of Rauschenberg or Howard Finster – where the listener has to make the connections. Sometimes a song started with the sound of a disc pressing the thumb on the recorder or hitting a deregulated keyboard – then a false start, then a song with a beautiful and sad melody John-Lennon-Dakota-tapes and before the recording ends: an interruption on the part of the neighbor who has stumbled upon the door of the room or left a message on his answering machine – or is it the beginning of the next song?
the general feeling makes us shudder because we feel we are witnessing the process of invention instead of – as with all other studio recordings – the end of the polishing process.
When I heard his tapes for the first time, I thought about robert johnson's recordings. the fact that no money has been invested in the production is not a disadvantage at all – they are stronger for her because there is nothing between you and the inventor.
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