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This album involves Willie singing the old standards—“Jingle Bells,” “Silent Night,” “The Little Drummer Boy”—only with a guitar and a country twang. It was a little bit interesting, maybe, the first couple of times. But it got old really fast. Like the traditional holiday season, the playing of this album began around Thanksgiving and went on from there—not just once or twice a day, but repeatedly, morning, noon, and night. It was a young guy named William who was playing it. I could tell by his voice, as he often sang along.
But I was beginning to get an inkling as to what was going on. They would rent these transient rooms out to just about anybody: pimps, prostitutes, con men, street hustlers—people who couldn’t get a room elsewhere—often at exorbitant rates. The theory was, that kept the rent down for the permanent residents, the writers and artists and musicians. Breaking into a run, the old woman hot on my heels, I made it to my door. On the verge of panic, I fumbled around finding the right key, but got it into the lock before the woman could catch up to me.
As I mentioned, Ray lived in Harry Smith’s old room, 328, the room that shared the corridor with our room and Ryan Adams’s room. Ray had lived there since they had cleared out Harry’s room, which took them some time, apparently, since Harry was a notorious pack rat. Unjustly obscure, Smith was perhaps most influential as a filmmaker. A book called American Magus, consisting of interviews with Harry’s friends and acquaintances, came out on him a few years after his death, and that’s where I’ve gotten most of my information about him—though sometimes older Chelsea residents tell stories about him as well.