By Kelly Dearmore
By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
With a glass of water by his side, Watt sits atop a table in casual poetic mode and begins to read in a soft voice. "I had the lines running into the main artery of my neck, and a little clothes-peg on my finger that checked my pulse. A ventilator tube was plumbed into my mouth and throat. My upper body was wired up with electrocardiogram suction pads. I had a catheter in my cock, and lines in my wrists for saline. Sunk deep in my chest was a food pipe.
"I must be in America. I must have collapsed abroad. Tracey had been given a little board with all the letters of the alphabet on it. I spelled out 'England?' Tracey nodded and said yes."
In case you're unfamiliar with the story behind EBTG's brilliant duo of Ben Watt and Tracey Thorn, they met in the early '80s as students at England's University of Hull, where they were both already signed to the same indie label, Cherry Red--Thorn in an all-girl group and Watt as a solo artist. Everything But the Girl formed in 1982, together with an amorous relationship between Thorn and Watt. Within a few years, the pair had developed a style of music that has stayed with them to this day: Thorn's simple vocals, set to Watt's straightforward pop and jazz melodies, singing his lyrics, which center on maladies of the heart. In the late '80s, EBTG had achieved moderate success, including songs like "Apron Strings," which wound up on the soundtrack to John Hughes' She's Having a Baby.
Their foray into la-la land took them in a bit deeper than they expected; much to their chagrin, they soon emerged as the favorites of VH-1, adult contemporary, and smooth jazz FM stations. In 1994 they changed direction a bit, achieving a major hit with a house remix of the song "Missing," which went on to become a crossover hit. That was followed by Thorn's sensational cameo in the uncannily beautiful Massive Attack single "Protection." After that, there was no doubt as to how 1996's Walking Wounded was going to sound. Midwifed by club craftsmen like Howie B and Springheel Jack, Wounded was a canvas of drum 'n' bass, urban dub, and jungle genres upon which Thorn painted a state-of-the-art pop album with her quietly powerful voice.
The source of the very real pain and emotion that makes Wounded so mesmerizing is a story as fascinating as the album itself. Just before EBTG's 1992 U.S. tour, Watt's health began to deteriorate. A mild asthmatic throughout his life, Watt was accustomed to attacks and lapses, but nothing major had ever happened to him. Until then. For weeks on end, he'd had difficulty breathing and had been plagued by stomach pains. "I would just sit and stare out the window with a hot water bottle to my stomach and cry," he recalls. Finally the pain grew so intense that Watt checked into the hospital.
At first doctors suspected that Watt was having a long, slow heart attack. When a surgeon cut him open, however, he was so shocked by what he saw that he closed Watt back up, unsure of what to do next. More than half of his small intestine had literally eaten itself away.
Watt's illness had nothing to do with music business excesses--he was the victim of a rare auto-immune disease called Churg-Strauss Syndrome that mystified doctors for months and left him with less than a third of his small intestine intact. Although the disease is currently in remission, he is on a strict diet to which he'll have to adhere for life.
Watt persevered through endless medications and surgeries, enduring spells of hopelessness and emerging from the ordeal with a strong appreciation of both life and illness, as well as the need to write a book. "I didn't mean to write this," Watt says, on close inspection still looking quite frail as he signs books and answers questions from the audience after the reading. "The whole experience left me extremely beaten up. I became a classic post-traumatic, but the last thing I wanted was more doctors or therapists."
Far from being a sulky, pathos-heavy recollection of ills and woes, however, Patient is a deeply introspective and even funny examination of what it's like to battle a serious disease. Watt recounts the trials to which the illness subjected his relationship with Thorn (Thorn is still his partner in life and music). Watt walks you through all the steps, from the initial shock and despair to the aggravation and animosity and the strange, unexpected depths to which his sickness took him, like the feelings of power that he developed over Thorn and his parents by being such a constant source of pity and attention.