[As you may be aware, Dino Manonne is a man of many adventures and exploits, peaks and nadirs, (near) successes and catastrophic failures, all of which make him a vast mountain range of experience. From time to time, he sits down and types some of them out for us: Dino Remembers– Jesse]
A Total Fucking Waste of My Time: I Blow My One Chance of Collaborating with and Fucking Goldie Hawn
So it’s Valentine’s Day, 1981 or ’82. Don’t quite remember because, again, I was pretty fucked up and 1972 until 1985 feels like it all happened over a weekend. Doesn’t matter.
But anyway, we’re at Clive’s house for his Valentine’s Day shindig, which back in those days was basically a fuck fest. I am very lucky to have been invited to this party- no idea how it happened. Crystal Grass* was never a “big deal” at any point, I’ll freely admit. But I suppose in the music business or any business it helps to “know people”, and we certainly knew people who allowed us to score some high quality “party favors”, which was certainly another large part of Clive’s parties.
So it’s a fun night, we’re up our own noses, schmoozing, boozing, and I see Goldie Hawn. Now, I was certainly a fan, and on top of that, she’d been talking to Clive about trying out another record, because I mean every fucking movie star tried out a record in those days, so I’m thinking I can get in on all of that, if you catch my drift.
So I amble over there, probably white-nosed and google eyed, but fuck it. It’s a fucking party and it’s not like everyone else there wasn’t a jittering freak, too. I’m talking like 6 words at once- basically like, “this is going to be both a chance for Goldie to break out again and for a new direction for the band we shouldn’t be thinking too much about all this fucking bullshit space or cowboy shit we need get back to thick cuts and thick jams and shit and “Goldie” was a pretty solid album but it was like fucking 4 or 5 years too late and like it could’ve been more thick if you feel me like it sounds like she’s skipping in a fucking garden for some of those tracks she needs to be like screaming you know fucking primal grooves if you feel me because that’s the thing these days Clive is shit is fucking plastic like we need goop on our tracks you know what I mean like I can see like Goldie like standing over a fucking manhole cover like fucking hefting it up and screaming down into the gutter at the fucking rats and vermin and alligators you feel me and like they’re making this wretched fucking retort roaring back up at her and you just put like a hefty fucking beat on top of that right and it’s fucking see-saw this fucking you know balance between good and evil but there’s a bit of each in both if you know what I mean Clive I’ve got the fucking tapes I’ve been laying this shit down Clive you feel me?”
And what was so great about those days was Clive was not entirely opposed to the idea, based on my pitch, and I was getting some fucking traction. Goldie wasn’t completely on board but then again, what the fuck did she know about music, anyway?
So I’m feeling pretty alright, it’s Valentine’s Day, it’s Clive’s party, let’s fucking party. There was a band there, which I think I was actually supposed to be a part of, but again, back then people just kind of did whatever the fuck the wanted. So I’m trying to warm up to Goldie because I’m fucked up and I wanna jam, schmoozing some more with Clive because I need to get my name on something that isn’t just B level back up shit.
Then the band is playing, and Clive, whose now as totally out of his fucking gourd as I am, for some reason wants me to get up and sing some shit or something. I don’t really know for sure anymore. So fuck it, sure, let’s sing a song or whatever. But at this point I’m just thinking about Goldie, seal the fucking deal. So I stumble up there and I’m just going to fucking nail it:
So that’s my big fucking oeuvre, which I’m pretty convinced as gone over swimmingly. It has not. In fact, the general atmosphere of uncontrolled libidinousness has freaked Goldie the fuck out, and she now has changed her mind about not only working with me but with the whole album. Not good.
It was these sorts of things which, in looking back, definitely contributed to my early exit from the band and the first of a few hiatuses from the business. But by the same token, fuck it, you know?
*Dino was keyboardist and back up singer for Crystal Grass from 1976-1981, a group led by singer/songwriter Steve Leach.