In the mid-1980s, while the airwaves were dominated by the polished synthesizers of New Wave and the burgeoning excesses of hair metal, a quartet from New Jersey was quietly perfecting a sound that bridged the gap between the British Invasion and the grit of the American East Coast. The Smithereens, led by the late singer-songwriter Pat DiNizio, carved out a niche defined by jangly Rickenbacker guitars, driving rhythms, and lyrics that walked the fine line between romantic longing and noir-ish obsession.
At the heart of their breakthrough 1986 album, Especially for You, lies “Behind the Wall of Sleep.” A track that reworked the title of an H.P. Lovecraft short story into a power-pop masterpiece, it remains a cornerstone of the alternative rock canon. This is the definitive story of how a "blood money" session at New York’s Record Plant and a series of serendipitous encounters birthed a classic.
I. Main Facts: The Intersection of Literature and Obsession
The title “Behind the Wall of Sleep” is a direct nod to H.P. Lovecraft’s 1919 science fiction story, “Beyond the Wall of Sleep.” However, where Lovecraft explored the cosmic horrors of the dream world, Pat DiNizio found a different kind of haunting: the magnetic presence of a fellow musician.
The song was inspired by Kim Ernst, the bass player for the Boston-based band The Bristols. DiNizio was struck by Ernst’s aesthetic—a 1960s-inflected look that recalled the "Mod" era of London. He described her as having hair like the iconic 1960s model Jean Shrimpton and a cool, detached stage presence that left him "halfway paralyzed."
The Lyrical Contrast
Despite the upbeat, driving tempo of the track, the lyrics possess a dark, almost menacing undercurrent typical of DiNizio’s writing. Lines like, “If she asked me to I’d murder, I would gladly lose my soul,” showcased the songwriter’s penchant for dramatic, high-stakes romanticism. DiNizio himself would later remark on the irony of the band’s first two hits: “Blood and Roses” was about suicide, and “Behind the Wall of Sleep” was about a murderous devotion. This "dark material" became the band’s signature, setting them apart from the more bubblegum iterations of power-pop.
II. Chronology: From New Jersey Clubs to the Record Plant
The Smithereens did not achieve overnight success. The core of the band—drummer Dennis Diken, guitarist Jim Babjak, and bassist Mike Mesaros—were childhood friends from Carteret, New Jersey. They formed the group in 1980 and found DiNizio through a classified ad.
The Early Years (1980–1984)
The band spent years playing the Tri-State area circuit, frequenting legendary venues like Kenny’s Castaways and Folk City. They released two independent EPs: Girls About Town (1980) and Beauty and Sadness (1983). While these releases earned critical nods, they didn’t provide enough financial stability for the members to quit their day jobs. The band funded their recording sessions through "blood money"—the hard-earned cash they saved from gigging.
The Good Friday Sessions (1985)
In the spring of 1985, the band scheduled time at the prestigious Record Plant in New York City. This was a "hallowed hall" where icons like Bruce Springsteen and John Lennon had crafted their masterpieces. However, as an unsigned band with a limited budget, The Smithereens were at the bottom of the studio’s hierarchy.
On Good Friday, 1985, the band was bumped from the spacious Studio B to the much smaller Studio C to make room for a "more important" client. Despite their initial reluctance, the band proceeded. In a single night, they tracked the basics for five songs: “Behind the Wall of Sleep,” “Blood and Roses,” “Alone at Midnight,” “Cigarette,” and “Crazy Mixed Up Kid.” These sessions would eventually form the backbone of their debut full-length album.
III. Supporting Data: The Technical Blueprint of a Sound
The sonic identity of “Behind the Wall of Sleep” was forged by engineer Jim Ball, who had risen through the ranks at the Record Plant. Ball’s approach was a mixture of standard microphone techniques and ingenious "studio tricks" that gave the track its punch.
Studio Gear and Mic Placement
- Console: The sessions utilized Studio C’s custom API console, known for its warm, punchy preamps.
- Guitars: Jim Babjak used a Fender amp and a Les Paul he found in the studio. To capture the "tougher, heavier feel," Ball used Shure SM57s, carefully moving them to find the "sweet spot" where the midrange growl of the guitar met the clarity of the strings.
- Drums: Dennis Diken’s kit was recorded with an AKG D112 on the kick, Sennheiser 421s on the toms, and SM57s on the snare.
- Tape: The recording was captured on an Ampex 1200 24-track machine.
The 1176 "Pumping" Trick
One of the most critical elements of the song’s sound was a technique Ball learned from legendary engineer Jay Messina. Ball placed a UREI 1176 compressor across a drum bus and heavily limited the signal. By adjusting the attack and release to match the tempo of the song, he created a "pumping" effect that made the drums breathe and move with the rhythm. This gave the track an urgency that matched DiNizio’s intense vocals.
Track Layout Philosophy
Reflecting the disciplined culture of the Record Plant, Ball used a specific track layout where the drums were placed in the center of the 24-track tape (tracks 15 and 16). The theory was that the center of the tape suffered the least amount of physical degradation over time, ensuring the rhythm section—the heartbeat of the song—remained pristine.
IV. Official Responses: The Producer’s "Trick" and Label Rejection
Despite the quality of the Good Friday sessions, the industry was slow to respond. The Smithereens shopped the tapes to every major and independent label in the country, only to be met with a wall of rejection.
The Enigma Connection
The band’s luck changed when Scott Vanderbilt, an A&R representative at Enigma Records, heard the tapes. Vanderbilt was a fan of the band’s earlier college radio EPs and recognized the "magic" in the new recordings. Enigma signed the band but insisted on bringing in a professional producer to polish the remaining tracks and oversee the final mix.
Don Dixon’s Entry
Don Dixon, who had recently gained fame for producing R.E.M.’s Murmur and Reckoning, was the label’s first choice. Dixon was initially hesitant due to his busy schedule, but a bit of clever maneuvering by the band sealed the deal.
As Dixon recalls, the band met him at Folk City and brought a photographer from Billboard magazine. They snapped a photo of Dixon with the band, and shortly after, a news blurb appeared stating that Dixon was producing the new Smithereens record. Dixon, amused and impressed by their moxie, officially joined the project.
“I was delighted that I’d been tricked into it!” Dixon later said. “Pat was such an interesting singer and specific songwriter; the ideas were so well-formed. The images in ‘Behind the Wall of Sleep’ are so clear.”
V. Implications: The Legacy of the Smithereens Sound
Released as the second single from Especially for You, “Behind the Wall of Sleep” peaked at Number 23 on the Billboard Mainstream Rock chart. While it wasn’t a Number 1 pop hit, its impact on the alternative rock landscape was profound.
A Bridge Between Eras
The song proved that there was still a massive audience for guitar-driven rock that prioritized melody and songwriting over flash. It influenced a generation of power-pop and "college rock" bands, providing a blueprint for how to blend 60s sensibilities with 80s production values.
The Band Today
The passing of Pat DiNizio in 2017 was a devastating blow to the rock community, but it did not signal the end of The Smithereens. Dennis Diken, Jim Babjak, and Mike Mesaros have continued to perform, honoring DiNizio’s legacy by touring with guest vocalists like Marshall Crenshaw and Robin Wilson of the Gin Blossoms.
“Behind the Wall of Sleep” remains a staple of their live sets—a testament to a night in 1985 when a group of New Jersey friends "forked some lightning" in a small studio in New York. For Jim Ball, the engineer who helped capture that lightning, the song remains a career-high. “I’m very proud of the way those songs turned out,” Ball says. “I put that song up whenever I’m test-driving a new pair of speakers.”
Ultimately, the song stands as a monument to the era of the "working-class band." It is a reminder that with enough "blood money," a bit of Lovecraftian inspiration, and a pumping 1176 compressor, four guys from Jersey could indeed make rock history.
