Tim Hensley — Essays — Holly Gleason

Working On A Building
Tim Hensley, George Jones, Lilly Pulitzer, Christopher Hanna Ripple On…

I’m at the Rhiga Royale, now called the London. Once upon the time, it was the high, but not most nosebleed expensive rock & roll hotel: a place where Billy Gibbons and I once passed the night talking about heaven only knows, where running a “Regis & Kathie Lee” performance with a young client, Nanci Griffith heard my laugh and ran up to hug me.

Twenty years ago, Patty Loveless and I sat at the bar, talking about how MCA – the label that had just let her sign with Epic Nashville so she could have her shot – had released her husband, the legendary producer Emory Gordy, Jr. from the George Jones project, a seemingly quid pro quo for her being allowed to leave. We talked about how cruel and unfair the business is, the way it hurts people in the name of because we can, making the point or plain old just not having broad enough grace to do the right thing.
Gordy had returned Jones to his “He Stopped Loving Her Today” prominence for the label. That didn’t seem to be the point.

Twenty stories up, a young tenor singer who could bend notes like Uri Geller slept. The rhythm guitarist/harmony vocalist had spent a year in Ricky Skaggs’ band after leaving his home Cincinnati – the ultimate proving ground in roots-based traditional country. Now he was holding down the same role in Patty Loveless’ coveted band.

Tim Hensley was always sort of “aw shucks” and Gomer Pile kinda guy, but you couldn’t not love him. And as a harmony singer, his voice could rise and arc with another -- singing like precision flying with so much power, nuance and heart, he made the combined voices that much more emotionally-gripping.

George Jones died Friday. He’d lived every one of his 81 years.
That was a punch to the stomach. Threw everyone who had a tie to old school Nashville, where Dwight Yoakam and Steve Earle, Lyle Lovett and k.d. lang put a credibility scare into the hearts of the old guard and let the legends rise again with a reverence and a vitality that mattered.

Patty Loveless was part of that credibility scare. Ricky Skaggs was an exalted presence in it. George Jones, like Haggard and Willie, was a phoenix. Tim Hensley was a foot soldier, who helped reinforce the greatness with a gift you couldn’t deny.

Morning television is the worst. The crew has to load in at 2 a.m. The band soundchecks at 5:15. The singer, whose vocal chords shouldn’t open up until 11 a.m. just by natural order, is usually steaming their throat and trying to warm their vocal chords without forcing it to sound halfway right just to wake-up America.

Kenny Chesney’s been doing these shows going on a decade. Even sick, with a brutal stomach virus, he can be a trooper and get through it. It’s what you do. Those shows get booked months ahead; you don’t leave people in the lurch.
Coming out of the door to his dressing room, he leaned over.

“Tim Hensley just died,” he said somberly.

A cavern opened between us. He’d been the one to text me about Jones four days before, when people still thought it was a hoax. Our eyes met. It was the sadness and loss, once again. Life, like the business, ain’t always fair.

Not that we hadn’t been expecting it. There had been the scare a couple years earlier. Two stints in rehab. The bluegrass record -- named for John Prine’s Long Monday, which Chesney co-produced to capture the after-show jams Hensley would lead in countless bus compounds after his boss had rocked anywhere from 20-60,000 people – made in an attempt to realize his talent and inspire him to stay sober.

There had been a scare in Key West earlier this year.

It was inevitable.

It didn’t matter. It’s like falling down a rabbit hole of regret, what could’ve been done, the disorientation of a life lost to drink and talent left fallow in the name of something so consuming.
“Choices,” George Jones sang about the demons, the temptations, the decisions to be made along the way. The things that save you or kill you. Jones lived it, so did Tim Hensley. As Emmylou Harris wrote in her song “Raise The Dead”: “Hank Williams died when I was five/ He sang I’ll never get out of this world alive…”

Indeed. Or yet. And how.

George Jones, then Tim Hensley. Lilly Pulitzer twelve days ago.

Bang! Bang! Bang! They always come in threes, or some such. Never mind my friend’s mother and son, two weeks apart, all within this same cycle. Christopher Hanna, 37, and his grandma: a 1, 2 punch for the father and the son.

Just part of the natural order, they say. And it’s true. But lately between the speed of sound, the velocity of life and the relentlessness of the reaper, it’s like so many late October leaves swirling down, whirling around each other to where you can hardly tell them apart; yet in the patchwork tumble, you know. You just don’t have the time to process.

You move, and move on.

So I’m sitting in this hotel, where I stayed the night Sinead O’Connor got booed at the Bob Dylan Tribute concert at Madison Square Garden – and threw up all over Kris Kristofferson, her cortisol spiking from the focused hate hurling at her for tearing up the Pope’s picture on “Saturday Night Live” the week previous. It’s a place of profound emotional pile-driving, and I’m wondering about life. About decisions we make, reasons we do.

A girl companion to the boys of road, I have heard stories and midwifed dreams since I was 19. Touched some pretty rare cloth in the process. I have spun lives and truths into gold and Grammys, taken niche music and given it broader places to exist, offered context to those who might be coughed up and left unseen by the side of the road. Met a lot of incredible people, known some pretty special moments, seen some very wondrous things.

When I went to meet Kenny Chesney the first time, a meeting 18 months in the badgering by everyone who’d ever met the scrappy kid from East Tennessee, it was Tim Hensley, whose “Hawlleeee Gleason, what are you doin’ HERE?” that set me at ease.

I wasn’t gonna sign Kenny Chesney, out touring with his friend Tim McGraw, He was too mainstream, I was too Rodney Crowell and Patty Loveless. It would never work, couldn’t work. Besides I “wasn’t their kind,” and I knew it.

Yet, there was Tim, wide open and guileless as kindergardener. Standing on that stage with his black acoustic guitar, Howdy Doodie haircut and harmony voice that’d stop you like a freight train hitting a wall. He couldn’t believe his eyes, and at the same time, he completely made me feel at home.

His unaffectedness did that to you. Where Tim went, that sense of down home followed. In the bus lots and dressing rooms of arenas, he’d have that acoustic guitar out, coaxing three- or four-part singing out of “Working On A Building,” “Fox On the Run,” some other bluegrass gem. The jet-engine echo of a stadium show still be ringing in the air, but Hensley’s organic roots would rise above, dangle there and people would just leap on.

Even in the jaded world of big time show biz, big deals, big dollars, big Big BIG, you couldn’t resist that sweet-voiced authenticity. It had always been there. Right from those first moments, just perfect in the music and the moment and the innocence that gets lost.

It’s almost like I can’t remember a time he wasn’t there -- somewhere -- with his swooping bangs, guitar-riding a little high.

Ricky Skaggs, where I first met him as a college girl of 19 or 20, Tim was just a little older, but completely holding his own. Fresh out of Cincinnati on one of the toughest bandstands there was, he glowed and laughed in the wash of the music.

Smiling and bobbing his head when I walked into Patty Loveless dressing room on a big Hank Williams Junior/Doug Stone tour in the early 90s, there he was again. Patty laughed that I knew him, saying “Then you know he can sing!” looking on at the dark-haired, high foreheaded young man with equal parts pride in his talent, recognition of being from nowhere and delight at how unsophisticated he was.

That was Tim Hensley. Always a smile, and a “hello,” and a sincere welcome. In the rush of all this, he always seemed genuinely happy to see everybody, always quick to take out a guitar and play, sing songs and coax others to join in. It was why he was such a part of a delight no matter where he was. He just wanted to make music.

Or so it seemed. After all, how can you know what people don’t show you? The little details, the little tweaks you might not notice – until they’re an avalanche. Like it was with Tim Hensley, a bottomless pit of things he can’t remember, phones he didn’t pick up, doors he wouldn’t answer.

Stacked up like cord wood, waiting for the pain to stop. But it never did. Whatever it was. It wasn’t like he told us. Just kept insisting he was okay, doin’ great, doin’ fine. Ole Tim, just hobbling along, looking for the next moment to crawl into.

After almost passing from this world a few times, he finally did it. Fell down and didn’t get up. 3:15 in the morning, those lost nether-hours, down he went, straight into the stars and floated heavenward. “Working on a Building,” no more.

Like the ghost of Keith Whitley, those wild-eyed tortured bluegrass boys see and know things we’ll never get. Some out-run’em, some find the Lord, some make peace, some give up and some die trying. Or try to die until they do.

If Merle Haggard proclaimed “Tonight The Bottle Let Me Down,” did it? Or was it just what he needed? Sitting here, it’s hard to say. I can’t even be angry at this sweet soul. Because there’s a point with this sort of thing where you can’t know, and even if you do, who’s to say?

Beyond it hurts. Us now, for sure. But if what they needed was relief, maybe this ache is shouldering my brother’s burden. Missing them, so they can have peace. Because George Jones careened back and forth for years, grateful to make music, generous to a fault, cagey when he’d fall off the wagon.
But he got to 81, left an indelible stamp. Loved as much as he was loved.

He set a standard, and lived on his own terms. An inspiration, he was a nagging reminder about what potent singing ought to be. Few will touch that hem or have the vocal sparks to ignite songs that were poetry stretched over minor keys.
Or have the fierce love Jones inspired in his wife Nancy. She kept it together, no matter what might come. Always seeking a way, another path in the journey. Making it work, keeping the music playing.

Suddenly, gone. Like THAT! Another rhinestone off the Manuel suit of what high country was. Nothing can ever replace that, or get close. But it’s not like you can explain that passion to the people who weren’t there.

And hurling across life, it’s not like you get to feel it, either.

I’m sitting with my eyes closed on a plane. Time has passed, but the emotional inertia is the same. Trying not to think, trying not to let the crack in my heart split open. So far, it’s been okay, white knuckles, but holding in. Of course, it’s not just Jones and Tim, it’s Lilly and Christopher Hanna… a cavalcade of people who have touched my life, moved my heart, taught me their own emotional colors, people no one in my world even knows.

There is no recognition, no nod of understanding. The numbness so great it has its own weight and hurts in its lack of feeling. Gravitational vertigo, maybe; held down, yet feeling like you’re being sucked into the core.

Christopher Hanna, the 37-year old son of the Nitty Gritty Dirt Band’s Jeff Hanna, was a kid in a polo shirt who stood just past my waist when I met him in Denver. Bright face, gigantic brown eyes, black curly hair, he had more vitality than a puppy, more love and eager curiosity than a kid had a right to.

Over the years, I would see him for holidays here and there. Coming to Nashville to see their Dad for Christmas, hitting “Edward Scissorhands” and Dalts after; talking taquitos and Tim Burton, life in Colorado and Salt Lake City, school and the basic realities of being a kid. The fiber of every tiny, shiny moment of too many memories that never register, but are precious for the jewels they are.

Artistic to a fault, he was a cartoonist, art director, creative force. Christopher was always into something, always had some magical thing he could explain, some intriguing movie he’d seen, some anime that he’d describe. Happy to be alive, rubbing that essential joy about life off on you.

You’d never see him do it. You’d just realize you were smiling when he was gone.

And then he got sick. Cancer. Bad. Troops rallied. The best doctors were found. It was pushed back, seemed to be receding. But like so many stories, the “all-clear” turned into “we’ve found something else.”

So it went, on and on. You’d get the reports. You’d fear asking, afraid showing interest might give it strength. But cancer doesn’t care about any of us, it only wants what it wants: to grow, even if it takes the person with them.

Christopher, being Christopher still figured out how to glimmer through it all. Where most people would crumble or dampen, he somehow fell in love. Found a girl who was just as precious as he was, opened up his heart and created something exponential. The craziness of knowing time is possibly finite magnifying the pricelessness of what each of them contained inside.

It was incredible to see, to watch. Which I did this Christmas at the house Jeff Hanna’s made with his wife Matraca Berg, a perfect storybook Christmas with a sparrow of Jeff’s white-haired mother Lee, lots of friends, children who were now having children – and Christopher and Brittany.

Just watching them was like watching Bambi and Feline: so sweet with each other, gentle, yet consumed. Ahhh, we should all have that. And before Christopher, who looked so dreadfully thin, went to heaven, he did.

But a boy like that – sweetness, creativity, smarts and light – would. Like a beacon, he attracted it, drew it to him with some gravity we couldn’t see. He made you pause to watch when no one was looking, just to drink in what we all so desire.

When I hugged him, he was mostly bones jangling around. He still hugged like love itself, and pulled you close enough to know how cherished you were. We talked about “Edward Scissorhands,” how young he was, how much fun that Christmas had been. And he smiled. That smile.

I kinda knew, even though I didn’t want to. I kinda felt it, even as I tried to shake it off.

Lee, Jeff’s mother, went less than three weeks before Christopher. Most likely to make the way for her precious grandchild. Her mind had been fading, but her sense of humor remained. No one quite knew why she was still alive. Evidently, she knew when to go so she could be most helpful.

That’s the thing about Moms and Grandmoms: they know. They do what’s best for their kids. So, Christopher had someone waiting – to take him where he needed to go, to soothe his brow, to make him laugh and understand this was just the beginning.

I was in Cleveland when I got the news. Barely awake after a miserable red eye flight from California, clawing to consciousness, then understanding my fitful sleep, my unrest upon joining the day. Wind knocked out of me, suddenly where I needed to be didn’t matter.

But what I needed, something, anything to make me accept this horrible, gutting news was right there when I got in the car. God is my dee jay, I’m fond of saying. How many times, tired and feeling futile, do I walk in a place and hear “Tiny Dancer,” reminding me that some of us who surrender to the circus sow miracles of appreciation and understanding just by being?

“Comfort me, said she, with your conversation,” Lyle Lovett’s voice quietly intoned. Like a prayer, “The Ballad of the Snow Leopard & The Tanqueray Cowboy” poured out of the speakers, raising far deeper truths to serve as a compass to the shabby, out of time Tangiers where my childhood faith in music would play out at a show by an act held sacred in Northern Ohio, unheard of most everywhere else.

But in the disorientation and the midday, David Rodriguez’s song continued to balm and calm the storm inside. “It’s funny how we hunger for some inspiration,” Lyle almost exhaled. “And all the things that money can not buy…”
Lyle Lovett doesn’t whisper, more caresses my aching truth. “But I’m a poet, and I’m bound to walk the line/ Between the real and the sublime/ Give the muses back their own…”

It had been a season of that. Standing in the spinning instant BLAM! of dead and gone.

Lilly Pulitzer died the morning of the Academy of Country Music Awards. No time to feel, to think, to even understand. Just keep moving, let the velocity hold you in place – because there’s no time for the breakdown needed.

Losing Lilly was a sucker punch. The grand dame of pink & green resortwear. Sporty and tropical, flirty and fun. I’d worn her clothes as a child, got to be her friend as a grown-up. She had complimented my shoes, when I didn’t realize who she was; laughed about it when we were properly introduced.

Lilly of the open door, overgrown “jungle,” wild cats, thrown together dinner parties, children, grandchildren and those of us she was generous enough to pull into her orbit. “Sit next to me,” she would say, patting the place beside her, “and tell me stories about all those wild men you keep in line.”

She didn’t care about country music, she cared about adventure, spirited beings, places she might not get to. She loved tales about Brooks & Dunn and James Bonamy, Patty Loveless and Lee Ann Womack, Asleep at the Wheel and Rodney Crowell without ever really knowing who any of them were. She liked the momentum, the glimpses people never saw… and the way stories spun.

When it was time for her first book, somehow she couldn’t get to the line. Was it the writer? The notion? The context? The boonswoggled deal? I never knew. Just that a mutual friend named Binny Jolly showed up at Sunday mass, slid into the pew next to me and asked if I could help.

“I don’t know,” I said honestly. But it was Lilly. I would try.

What unfolded were two magical days. Pages read, memories shared, order re-ordered. There was a lot of laughter, a fair amount of being slack-jawed at the stories she told and a lot of wonder at the grace that sprinkled through the life of a young, brilliant society housewife in Florida trying to figure out a way to be relevant.

She was school friends with Jackie Bouvier, giving her intimacy with President Kennedy’s Camelot. She was a well-bred sprite as society shifted, interjecting sexiness to frumpy country club clothing, independence and self-determination into the realm of “a woman’s place,” humor into worlds that were often dry and boring.

That never changed. Even when she closed the company; even a triumvirate of young fashion business people re-opened it after creating a licensing agreement for her name. She was – and always will be – Lilly.

But the thing about Lilly, beyond walking into a Palm Beach old guard outpost like Testas with her and seeing the heads all turn, was her incalculable ability to know what’s needed. During the difficult severing of my relationship with my mother, she sought me out in a quiet moment at a party at her house, and asked, “How are things with MahMA?”

Trying to sidestep, to not appear anything but gracious and avoid the shame of the truth, I said something vague. She just took me in with a mixture of kindness, reality and compassion. Then said, “REALLY?” in a way to let me know I was busted.

“No, it is bad… It had to be severed. If you want the truth.”
“Oh, I do,” she offered. “I always want the truth. And honestly, Holly…”

She paused, not so much for effect, but to make sure I heard her.
“Some things are best over. I’ve heard some of it. I know it was done lightly. But it’s done. Don’t look back.”

In that moment, my guilt melted. I wasn’t ungrateful, I was trapped in something untenable. Lilly -- who loved all, understood people’s varying realities and reasons – had reached out, knowing my struggle. She wanted to give me the sense of peace that would only come from someone seeing what had happened, and understanding.

“Really?”

“Absolutely.”

And then she laughed, asked about freshening my drink.

Isn’t that how the real blessings and benedictions fall?

That, and the ones we lose. Even when we see it coming, we’re never ready.

So, what are the lessons to be learned? What did these lives mean?

While I’m waiting on the breakdown, what can I take from them to make me more engaged during my time here on the planet?

All those lives were lived wide open: love, emotions, welcoming, present. Whatever there was, especially with Christopher and Lilly, they found the beauty, the gleam, the warmth, the love – and that is what they reached for. What they used to make that moment indelible. And they were generous, to a fault. Going where they didn’t need to, asking questions or making you feel invited, reaching out to bring you in.

Even in the pinned against the momentum velocity of my last several weeks, the speed of life not allowing me to embrace what I needed to feel, there were moments that glittered like a diamond in the dust, unexpected and almost unbelievable in the right-when-it-was-needed of it all.

Finding a friend amidst the tilt-a-whirl of marketing at the speed of now, determined to be as excellent as can be; in a world of good-enough-is-plenty, someone willing to sacrifice herself to get it right. Kindred spirits on the road are hard to find; ones who get the joke are rarer.

There Sloan Scott was, ready to laugh, to roll her eyes, to embrace Elvis Costello’s truest coping manifesto “I used to be disgusted, now I try to be amused…” from the girl’s second best friend titled “The Angels Wanna Wear My Red Shoes.” Sloan likes shoes, good meals, better stories, challenges most people won’t see so they don’t have to deal with them.

In the tumbledown of egos and details, she excels. She’s a marvel of making it work, a juggler of opposing demands and a thrill to watch in action.

Deep in her lair of characters is a late 50s master of taste, a man who mixes spirits into grown up libations. That work has taken him ‘round the world, let him see the bulls in Pamplona, watch Cubans roll cigars and play the sweetest music, experience golf in the heart of Scotland – all while conjuring things that grown-ups will like to drink, turning the bottles upside down and their emotions inside out.

Mike Booth has seen it all. Asks questions like “Have you ever been in love?” in the lost hours; weighing the answer for the real bottom. A pronouncement of “that is good” means it is true. As he talks of people’s souls, you know the man who blends the spirits sees well beneath the flesh.

With the white hair brushed back, yet falling forward and the broad shoulders that make him seem a lumberjack hybrid of Hemingway and Guy Clark, it’s a fascinating way to explore the unseen regions of what life and man is made of. He reminds you things have intrinsic value, like “The Snow Leopard” invoked above.

Even in the sadness you can’t feel, people like this rise up to show you you’re alive. The daze can’t really mute them, and they’re beacon to pull you towards the weightlessness of thawing out, the good cry that will set you free. But they’re also temples of light to remind you hope isn’t a cruel joke, that joy is waiting when you’re ready.

In the end, all lives yield truths and sow flowers for our future. We must feel the pain to get to where we need to be. My friend Richard Young, who anchors the once-upon-a-time wildly successful Kentucky Headhunters, told me when my almost 18-year old cocker spaniel died: “It only hurts so bad because you loved so much. You take that ache and know how great the feeling was, and know, too, that that little yella dawg loved you more.”

That has to give you heart: to know you could care so much. Knowing that, what else is possible? What more can you embrace? What else might you find? All you have to do is feel to heal, let it consume you, then spent from the aching float back to the top. All you gotta do is let it come.

And so here I am, trying to let that happen. But knowing until it does, there’s all this to embrace, to cling to and linger upon. Seeing the diamonds in the dust, holding the memories close until the tears begin and the beauty rises.

It is a beautiful life. Even the things we lose, we got to have. It’s everything that made Tim Hensley and George Jones, Christoper Hanna and Lilly Pulitzer Rousseau matter so very much to a girl who is mostly just a blur and somewhere else along the way. In the agony of the waiting to breakdown, it’s the realization that keeps me going… and it abides in ways that outlast however bad the tempest is going to be.