As I try to piece together the critical acclaim for Willis Earl Beal’s newest full length album Acousmatic Sorcery and reconcile it with his back story, I can’t help but be struck by the fact that the album sounds like it is a transmission from space. This guy can’t be for real. Are the rudimentary recordings, the atonal plunking of guitar strings and the nearly indecipherable vocals part of an experimental put-on? That, or he must actually be a little green man who put these recordings over the airwaves on his home planet to be received by Earth.
After watching some live recordings from Beal’s shows, I think I understand it a little more. First of all, his voice is worlds better and more powerful live. Second of all, the reel-to-reel tape machine on which his first full-length album was primarily recorded is not only a stage prop, but an essential part of his backing band. Beal is not a trained musician; he doesn’t actually know how to play guitar, and he plays it like a lap steel in a chair on stage. He relies on the raw emotion of his songs, and he speaks in an earnest but halting manner between sets. You can sense that as much as he enjoys playing his music, he is not entirely aware of how strange it all is.
Acousmatic Sorcery is a collection of recordings compiled while Beal was living in Chicago working odd jobs and coming home to his reel-to-reel, his guitar, and a karaoke machine to sing in to. With few friends, but many records from his favorite artists to pour over, recording music became his primary pastime.
Willis Earl Beal holds a place in the long line of what is known as “outsider music”. Artists such as Daniel Johnston, Jandek, Wesley Willis and the Shaggs recorded music for decades with an unself-conscious untrained sound that has had a far-reaching influence on many major pop artists to this day. The music, as amateur as it sounds, has undeniable merit in the history of pop music.
In my opinion, outsider music is not entirely the rejection of conventional methods of songwriting, but that the artist’s own intuitive method of songwriting happens to be outside the norm of pop music. By its very nature, outsider music goes beyond experimental or avant garde. It is not born from those who consciously stepped away from the norm- it is from those who never realized there was one.
I think what Beal can offer us is a look at what an artist can accomplish when they have little regard for conventional methods and very little means. Go to his website, and there is a P.O. Box address and phone number listed. If you write to him, he’ll draw you a picture. If you call him, he’ll sing you a song. It’s a very simple message, and it’s the only way he knows to get it out there.