Stay In? Stay Out?

...life, it is said, is all about choices. I cannot begin to relate all of the times when I've wished I'd gone to a gig, but hadn't. The reverse is also true. Recently, I've had to miss a gig, but got to see one that I almost did not attend, and here is a brief synopsis...

Stay In?

I have seen High Cornwell, formerly of The Stranglers twice now, in very intimate, local settings. Gushed like a fan boy when chatting with this affable gentleman. Got my picture taken, book signed, etc. Tonight, Hugh plays locally, at a great new club "This Ain't Hollywood". I have nothing but admiration for the man, and will be featuring him in an upcoming installment of "Neat-o Guitarists". But, I have seen him twice, and this is a "school night" (literally), and I should be saving money...all justifications, reasonable, but excuses nonetheless. I have already seen him, I have to work tomorrow, and money is a little tight at present, but, as I type, I feel a pull, a devil on my shoulder, telling me that if I went, I would definitely enjoy myself. Of course, tomorrow would be a different story. Calling in sick, or stumbling around in a haze, moaning about money, etc. So, I won't go. I am a responsible, after all..(also, Hugh has a different bass player this time around...those in the know will know what I'm talking about...)...

Stay Out?

A few weeks ago, I had the pleasure of watching, at a very intimate venue, the fabulous Deadbolt "The World's Scariest Band", from San Diego California, again, locally, and for a reasonable price. After hearing the album "Voodoo Trucker" on my College radio show years ago, I was hooked. When I saw the listing a month or two in advance, I was overjoyed, and immediately contacted my former co-host. We agreed to go out (on a Wednesday, no less) to see the band. The night came, after a particularly nasty day, and I was secretly hoping that my friend would be the first to cry "Hold, enough!", and he almost did. When he picked me up, I was practically half asleep, almost nodding off on the couch (not very rock n' roll, i know...). Regardless, we soldiered on, discussing what time we would leave before even getting there. As it happens, we stayed until the end, had a great time, got to chat with the band, bought the newest CD "Voodoo Moonshiner" and a T-Shirt, "Truck Drivin' S.O.B.", and was in bed by one am. By sheer willpower, I took it easy on the beverages, and had a reasonably fine day following. So, it just goes to show, you never know. Had I not gone, I would probably be kicking myself right now--the drummer told me that they hadn't played in Canada for 10 years, and probably wouldn't for another 10, due to some, erm.."paperwork" issues..I shook his hand and didn't press the issue...

...the same can be said of being in a band myself. Very often, we have played well, both technically, and in terms of entertainment, to very few people, leaving me thinking to myself "I wish more people had come out...". Again, the reverse has happened. A crowded room, a good opening slot, and utter chaos and disorder, and certainly not in a classy way...virtually crawling from the stage to the bar, to get grumpier than I was previously...

...speaking of grumpy, deep down, really deep down, I don't want to hear how good Hugh Cornwell was last night, because I have already seen him, I had too much work to do, and, well, I need to save money. Some people hold things like this over others' heads, so if its any defense, I, along with perhaps thirty other people, saw San Francisco's fabled Avengers this past summer...so there!

...neat-o guitarists #3..Mick Jones (not from Foreigner)...

...finally, my chance to "big up" this man, who has always been in the shadow of the admittedly iconic Joe Strummer. Many people thought that Mick was the weaker of the two guitarist/ songwriters, but I beg to differ, for various reasons.

...Upon viewing the "Kosmo Vinyl" vehicle, "The Last Testament--The Making of London Calling", I was struck by the work ethic of a band I have not always been a fan of. As a young "punk rocker" The Clash were definitely a no-no. But, over the years, and combined with my love of reggae, I began to see where they were coming from, especially Mick Jones. In fact, I owned the first B.A.D album before I ever owned a Clash album. Mick Jones, in my opinion, is not only a brilliant, "tasty" guitarist, but also a musical genius, who has never been afraid to do what he feels like.

First and foremost, I say his guitar style is "tasty" as in, he knows how much, and when. Many guitarists simply wail away, albeit with talent and proficiency, but, as a hack guitarist, this means nothing to me. The placement of guitar is just as important as what is being played. Most everyone knows the song "Clampdown", but what makes the song for me is after a few of the lines "You start wearing blue and brown--working for the Clampdown", there are three notes "nee-nu-nee". This to me is indicative of style and substance, expressed simply. In the documentary, Mr. Jones refers to playing guitar as a form of personal expression, in that every note that comes out is a telling of experience, feeling, etc. This is the pinnacle of what I hope(d) to achieve. I like a smart little guitar figure more than any full-on guitar solo. Mick also manages to avoid "the ernies" by playing a simple accompaniment--a great accomplishment for the "lead guitarist" of the band. Overall, he is more of an arranger than a player. Unlike die-hard Clash fans, I like pretty much ALL of Mick Jones' work, beginning with B.A.D., and upwards to his latest project with ex-Damned/ Sigue Sigue Sputnik bassist/ guitarist Tony James, CARBON/ SILICON. I find the newest work to be a continuation of Mick Jones' musical exploration--more of a mix of The Clash and Big Audio Dynamite than anything else. I regret not seeing them in Toronto a few years ago. They were pioneers of free downloads, and champions of P2P file sharing--instead of grumbling about it, they joined up. Also, the band highlights Jones' songwriting and lyrical ability, along with his very distinctive guitar style. B.A.D. still sound good after all these years, and were, coincidentally, one of the first "rock" bands to use samples with any effectiveness. A live album, "Carbon Casino" features many standout tracks, including "The News" among others, and a finale where Mick and Tony Join Alabama 3 for "Woke up this Morning" (The Sopranos Theme)..classic...

..so, I've actually written very little about Mick Jones' guitar playing--funny. He still is one of my favourite players, again for his sense of style and placement, rather than his "shredding" ability. He has a lot of influences, and mixes them together, along with his own "voice". Plus, he often uses a Gibson Les Paul Junior, which I am quite partial to, and isn't afraid to use effects. I wonder if he gives lessons...?

P.S. Just had a full hearing test and inner ear scan last week. I was expecting the worst, but, apparently, my hearing is almost normal! So, I will carry on, as frustrating as it can be sometimes. Music is not an occupation for me, but a passion, and no one likes coitus interruptus...

...skeletons in closet # 2

Queen, yes...Queen. I can hear some of you laughing, but, despite my new/wave punk rock leanings, I do enjoy some classic rock, including this band, and I'm not ashamed to admit it, on a blog few read, at least. Heck, I might even get defensive if you push me enough. I'm not actually a fan of the "hits"--I prefer some of the "off" stuff. Albums like Jazz, and the superb double-live LP Queen--Live Killers are the stuff of musical achievement to me. Interesting arrangements, superlative musicianship, etc, combine to create a band that had/has a profound influence on me. As noted, however, I am a discerning Queen fan. "Bohemian Rhapsody" does nothing for me...

...Being a guitar player, I have a great respect for Brian May. It was the solo at the end of "We Will Rock You", heard from an eight track player on a summer's day in 1977 that inspired me to learn the instrument. Well, the ukulele actually, but close enough. I was a member of my hometown's Ukulele Ensemble for two years, and I still have mine. Through my beginnings at guitar lessons, I tried to emulate Brian May's signature sound, but with little success. It took a while, perhaps too long, to figure out that it can't really be replicated without studio/ electronic wizardry, which is hard to produce on a mid-priced acoustic guitar. Still, May has a great touch and phrasing--nice and melodic. And, he seems like a nice guy, not pompous and sneering like other "rock " guitarists. I grew to appreciate his work, with and without Queen--check out his reworking of the "Starfleet" TV cartoon theme song with Eddie Van Halen, if you can find it!

...the polar opposite in Queen was definitely Freddie Mercury. Of course, like many people, I love his voice--range, passion, energy, and his abilities as a front man. Even people who do not like Queen admit to the fact that they stole the show at 1984's Live Aid concert--no smoke, pyrotechnics--just a half microphone stand and some tight trousers. Freddie knew how to play an audience, no doubt about it. His personality was equal to his voice. In the sense that he had a great range. Freddie was so camp and over the top that he almost seemed like a fictional operatic Diva. His bon vivant is more of a personal inspiration for me. Freddie seemed to be the sort of person who wouldn't let little things get him down. In fact, back when Queen were struggling to "make it", Freddie would spend any money he made on clothes, rather than things like food or rent. Call that irresponsible if you will, but it seems to indicate a single-mindedness, that I lack as a musician. Even when he was ill, very ill, he still appeared live and gave interviews--he gave it all. Finally, the band reported that he had AIDS, and he died the next day. The posthumous album (not entirely sure about this, must check dates) has the song "The Show Must Go On", which is Freddie in a nutshell. Many people don't realize that Freddie wrote lyrics and music for almost half of Queen's catalogue! Also, although not entirely my cup of tea, Freddie did enjoy singing opera, which further displays his talents.

....so there you have it--Brian May was a musical influence (nay, impetus!) and Freddie, I consider to be a role model. Again, snicker if you like, but I should extend an open invitation to look at my Queen record collection and listen to some fabulous live recordings, my dear...and then, we can go shopping...

...the pub/bar gig...

...ah yes , very often, a band's bread and butter. Better earning, but far less glamorous than a club gig. No "balls out" explosion of musical chops and flash, but a steady, often dull night of hastily cobbled-together cover tunes and, if one is very lucky, chicken wings.

Many bands either refuse all together, or actually perform under a different name when playing a night at a bar or pub. I used to be in the former category. Rock n' Roll was supposed to be about noise, lights, ACTION! Of course, anything the band wanted doing came strictly out of pocket, usually mine. For the past few years, however, The Responsibles have been assembling our rehearsal space in public bars on paisley carpet.

THE GOOD

A great way to introduce/ practice new songs. There's no cover, so a bar is usually full of people who have little or no interest in your creations. As long as the punters hear a few tunes they recognize, they're happy. In fact, I tend to think they believe ALL of our songs to be covers--kind of a compliment actually.

These gigs can be fairly well paying. The more people who come, the more money spent. A simple formula, especially when you are getting a percentage of the night's take. Recording, pressing, T-shirts, etc, cost a lot of money, and its nice to be able to pay for all or most of it from band earnings.

Crowd approval can do wonders for band morale. Actually, if a band is anyways half decent, and has a good selection of songs, this is a fairly easy feat. As the night progresses, the audience dons "beer headphones", and suddenly, a lucky band can be transported to pub stardom.

As mentioned, there is no cover, thereby increasing the number of bodies in the place. I find this particularly satisfying for friends of the band, who faithfully come to every gig (Hiya Rich and Angie!) most of the time to watch us suck, or pay a twenty dollar cover for a headlining band they don't even like--simply to see us open.

Free beer, and often, a meal. No explanation needed. And, if you have a musician/ friend for a bartender, you are in for a good night--a party you are allowed to play at. Say no more!

THE BAD

Empty. The band plays to a bartender and a lone server, who is wearing an i-Pod. Can be very demoralizing. Worse yet, a crowd of revellers arrive, listen for thirty seconds, and then leave. The sinking feeling that in order to get paid, you have to keep playing for another two or three hours, and then load everything back home at three am. If a band plays in an empty bar, does it really matter?

Not empty, but full of music experts. Some of whom will engage you in conversation about a particular tune, or instrument you are playing--while you are playing it. I'm not particularly good at being firm in these situations, and I imagine that my meekness is taken as a sign they should should keep on talking. Who knows, one could get lucky and return from a washroom break to find one's new found friend playing your instrument! Believe me, they will want to at the very least.

Also, you will receive more advice than you have ever desired. These managers of the night will claim to have either known, played with, or handled the affairs of any number of successful artists. Also, "you're a good band", but we should change our sound and get rid of me, no offense, buddy.

Requests. Usually that no one in the band knows, or only one person. In the latter case, you will have a brief discussion about the details of the tune, which you have never heard, and proceed to play it in a text book half-arsed fashion. Also, learn "Happy Birthday", really, it's worth it. I do, however, draw the line at Christmas Carols

Of course, every band should know they are background music for drinking, so do take breaks--not too long, naturally. And I'm not surprised when a drunk is weaving in front of me, glaring and mumbling. It's much like a bear in the forest, just act cool, but be prepared.

So, it's a mix, a melange of good, well-fed fun, and monotonous, inane slogging. All in all, it's a full night, and remember to plug shows at other places, and try to sell CDs, as some of the patrons may want to remember what they thought they liked the night before...

p.s. The Responsibles are playing at the Lionshead Pub on Saturday August 28--no cover, three sets!

...one for the money...

..."break a leg", etc..all part of a vast canon of semi-ritualistic phrases that any sort of performer has at least heard, if not used in half-belief. Of course, this is not a term paper on ritualistic practices, but rather, some of my experiences with pre-gig rituals...


...of which I admit I have quite a few, upon reflection. Many musicians are quite reasonably concerned with the state of their equipment, the sound both on and off stage, etc, but quite a few are downright superstitious as to how their actions before a gig will affect their performance. I rest somewhat uncomfortably in the middle.


1. If possible, I eat sushi before a gig. Nothing special really, just gives me an excuse to order in.


2. Even if I don't spend hours picking clothes of gelling my hair, I WILL change my socks--as if a fresh pair could make be play any better!


Once at the gig, the fun starts


3. Getting my amp on stage in what I think is the "proper" position, whatever that may be, considering that's it's just miked anyway. I also like to put it on a box or chair if possible, again, for no real reason


4. Twiddling nobs--to what I think they were at before, in a basement. I suppose I should really make some sort of mark for a live setting. Besides, I haven;t even turned the amp on yet.


5. Tuning guitars (two)--another phobia--chances are, I will break a string, and have on occasion broken two, then broke another on the first one again, after its had the string that originally broke replaced. I can go for months without breaking a string, and then *twang* first song, important gig (CD release, opening for a popular band, etc).


6. Tune guitars again--you never know.


7. Turn amp on--check knobs--readjust


8. Check both guitars through amp for sound and volume


9. Change knobs


10. Check tuning on first guitar again, just in case.


11. Urinate. Tie my shoes. Get two beers. The first order of business here is the one my present band mates notice, and spare no effort in pointing out, just because I actually had to leave the stage at one venue to relieve myself. As I shuffled through the crowd, towards the back of the room, to the stairs leading to the rest rooms, my "friends" provided the audience with a running commentary. To that end, a "security tinkle", whether I need it or not is a must, as are dark coloured pants. Say no more. The shoe-tying is not in homage to any particular deity, I just like to feel reassured that if all else fails, I have a fresh pair of socks and stoutly bound shoes. Perhaps this is in reference to an earlier post "...still standing still..". The two beers are for lubrication, one is placed on the amp, and the other slightly behind, just like the guitars, and just in case.


12. Back to the stage, check more knobs, strum a chord for volume/ sound, drink two sips of beer, and wait.


13. Check....perhaps I should see someone about all of this--I hear the tinkling of pianos a la "Intervention" behind me as I type...
Ah well, I'm sure readers have heard/ witnessed stranger things than my mediocre obsessions and rituals--if so, please submit! I would like to break my current streak of two comments.

*NOTE*--I HAVE NEVER PARTICIPATED IN A GROUP HUG/ HUDDLE/ PRAYER SESSION, so at least I have that on my side...but, I never say never...

...I envy people who (to me, anyway) can casually walk on stage, turn their amp on, and play, like I open a fridge door...

PS Years ago, when I was in Riotstar, I used to go home, drink a can of Guinness, eat a grilled cheese and onion sandwich, and listen to Kraftwerk. I don't do this anymore. Maybe it was my way of celebrating yet another night that I didn't wind up in jail or the hospital...

...please hose the spandex down after use...

...ah yes, what to wear? Naturally, there is a certain "dress code" depending on the genre being played, but generally, choice of outfit is a difficult decision. I am as guilty as any other musician of looking at myself, guitar in hand, in the mirror before heading off to a gig, even changing clothes. Early on, however, I realized that I simply looked bad in everything, and shouldn't really bother trying to look "cool". I have known quite a few musicians who are clothes horses--some sacrificing essentials like food to buy a vintage shirt or buckle boots. Others who engage in HOURS of primping and preening before deciding on the evening's kit...
...musicians have long been style/ trend setters. No argument there. They look and act cool, but how did this happen? Certainly, before they became popular, they must have made conscious decisions on their own as to what to wear? Sadly, "indie" (read poor, unsigned) artists have to make do with their own self-construct/concept...
...it is in this light that I make a confession--bless me rock gods, for I have sinned--I have worn spandex trousers, glittery silver ones at that--one time only...
...the idea came, along with not-so-subtle hints from the "band" that I should look cooler, and not like "a Geography teacher" (not far from the mark!). To this end, I borrowed a pair of these shrinkwrap pants from a female friend ( they are unisex). I soon realized that wearing underwear of any density was impossible, so hot plastic caressed my generative organs, squishing them about. I felt so self-conscious of my display that I wore a long T-short over the anatomy lesson until it was time to hit the stage. As I remember, they were quite comfortable, and more comforting, no one laughed! As the stories go, it was a sultry night, and after the gig and accompanying festivities, I returned to my bachelor apartment (read-pigeon coop) to relax, cool down, and get out of the foil wrap. It was hot and humid, and all I wanted to do was take a cold shower. I unzipped the spandex pants from the side, revealing a sickly red welt where the zipper had been rubbing against my hip. Oh well, no danger. With some relief, I pulled the pants down--to about midway down my thigh...where they remained, despite my best efforts, until morning..
...as if culled the the legendary tales of Iggy Pop, I awoke to the sun blazing down on my sweaty, rank body, half clad in sparkly silver spandex trousers, with a monster hangover and grievously swollen feet. I had to hobble to the shower, and stand there under a torrent of cold water for almost twenty minutes before the damn things came off. I looked like a plucked chicken. After that, the pants were thrown into a corner, and I returned them, even more snug, to my friend, who said she didn't want them anymore, but was probably too polite to say why..
..since then, I try to adopt a "business casual" look when performing--nothing showy, perhaps a skinny black tie at times, but certainly no spandex, and definitely not any crucifixes that could plug a burst dam...
..on a final note, a band that looks appealing can still be bad--in fact, this happens quite often. When I was into punk rock fashion, I still liked bands that wore rumpled jeans and T-shirts onstage, as if they had slept in them, which they probably had...

...cringing both for, and with, the band...

...years ago, I sniffed with derisive pleasure, both at known and "unknown" bands I felt weren't worthy of attention, until a good friend of mine, let's call him "Gordie", clued me in to a few things...
...first, and foremost, that if a band, ANY band, can get a record deal, and tour for several months, they must have at least some talent, even if their style isn't particularly to one's liking. Now, having been in bands for years, I tend to agree. Rock N' Roll's a Hard Life, as the song goes, and its true. I give full credit to those who willingly endure poverty, humiliation, and frustration to make a go of it, at least. Personally, I will never give up my day job, and that's why I clap for the band--any band. Gordie also reminded me what fortitude (natural or otherwise) it takes to get up onstage, not to mention do it for ten, twelve nights in a row--perhaps to the bar staff only, or groups of smug hipsters (guilty!) who do nothing but cross their arms and sneer into their ironic brand beer. It's a wonder why there aren't more stories about bands (perhaps like the one pictured above) who suddenly snap and "go postal" on an unsuspecting audience, before heading for the promoter...
..which is why I *always* pay cover. I put the "always" in stars because I don't believe in absolutes. Naturally, if I were ever offered free tickets to see a band I was interested in, I would *never* say no, but normally, I pony up at the door. In my experience, many times a group of local bands seem to have trouble getting the idea across that there is a cover, regardless of how small. Also, some bars are indeed regular haunts for people who have no real interest in paying for music, let alone listening to it. Mostly, they are left alone, for health and safety reasons. More than once I have been "waved in" at these places, but consider it a point of pride to pay cover--after all, buying, repairing, and hauling gear is not cheap, and neither is recording and pressing CDs, or printing T-Shirts for that matter. All told, I supposes I have a certain sympathy, having shared many of unfortunate experiences...
...which is why I sometimes feel an emphatic tug at my heartstrings when I see a band having problems on stage, in particular, fellow guitarists. A broken string, I can feel in my bones--even worse, when a screw comes out of a strap lock unexpectedly, and the neck crashes to the ground. Just typing that made me feel edgy. A shorting-out amplifier is also a no-win situation, making me wish that I carried one around for just such occasions. I like to be helpful when possible..Less tangible, but no less humiliating is an entire audience booing you, and calling for your removal from stage because the simply don't like you (on a mismatched bill--four thrash metal bands and a synth duo), or they want to get you "over with" so the headliner can come on. Again, it takes cojones to stand it front of that...and then to possibly be greeted with the classic "We were going to pay you, but you broke something of the club's on stage that happens to be of the exact same value..so, we're even", and then maybe a warm OV, before loading your gear into a decomposing van that has been stolen/ towed away..
..but, we still do it...grind on, fellow minstrels, grind on...I feel for you, and with you, brothers and sisters...and once again, thanks to Gordie for opening my mind and ears...who am I to be critical...?

...(figurative) skeletons in closet...

...just clearing that up before I receive any nasty visits.

In my younger years, any mention of a band/ artist that was not currently "cool" would be met with gales of laughter, reverberating thigh slaps, and general humiliation. After all "young" people take music seriously in their quest for identity, and especially so if you are an awkward high school student with the unholy trinity--glasses, braces, and acne..but no beard..

..which brings me to these two gentlemen on the right, known professionally as "Steely Dan". I don't know the ins and outs of their careers, nor do I own all of their recordings. However, I have listened to and enjoyed them for years. Normally, their brand of "jazz/ soul/ rock" would not appeal to me, but I believe they have/ had the most inventive take on the easy listening genre. Their records sound good--nice mixes with lots of extra percussion, and creative arrangements. I like the main singer's voice also. Quite odd when you think one of his contemporaries is Michael McDonald of the dubious Doobie Brothers! Additionally, I like all of the hits "Rikki Don't Lose That Number", "Hey Nineteen", etc. Usually, I look for the more esoteric releases of a band, but with The Steely Dan, the greatest hits are good enough. I say "The", due to the fact I have won over many a music snob with my knowledge of where the band got the name--look it up (actually, they should call themselves Steely Dan Mark II, as Mark I was destroyed by a bull dyke in the Upper Efendi..)..but, I digress...

..Nostalgia plays an important part in why I have chosen Becken and Fagen's "combo" As a child of the seventies, Steely Dan's smooth FM sounds kept me company on long car rides, and at night during vacations up North, where the air is clear, and reception is brilliant. Perhaps it's some sort of connection to an earlier, more innocent time in my life when everything was new and..erm......

I won't get THAT laid back. Now, slightly more mature, and less giving a cobblers about what people think of me, I proudly state the merits of Steely Dan--who knows, they may even become "hip", but I strongly doubt it...

...stay tuned for more skeletons ( as in, music I used to keep hidden if friends came around)...

...from the top...

...a quick recap of what's been covered so far (test next Tuesday, all True/ False)

1. I still think XTC are the bee's knees. Lots of hidden early gems on rarities compilations like "Rag N' Bone Buffet", "Explode Together--Dub Experiments", and even on Mr. Partridge's newer efforts, such as Moonstrance...

2. I'm still standing still...the picture to the right is a document of a rare sight--I'm moving! Thanks to Mister Steve Truesdell, who installed an electrified tin sheet beneath the stage, ala Hammy Hamster, in order for this to happen--a great photographer also, even made me look "cool" by blurring...

3. Haven't really had time to look at any old Rock School videos. Perhaps I'm just old, but all of the "School of Rock" and Gene Vincent's "Rock School" clips seem to get in the way, and I get cranky easily...

4. Wilko Johnson is still aces in my books. Upon further investigation, he claims that he got his sound/ style from 50's/ 60's rocker Johnny Kidd, of Johnny Kidd and the Pirates--needs looking into...

5. The last few issues of MOJO have come and gone, and, in all honesty, I don't remember what was in them. The Cds that come with the magazine have also been unremarkable, at least to me...

6. As I type this, it dawns upon me, with a familiar shiver, that we (The Responsibles) are playing next Friday night. The gig is not listed on the club's website, or anywhere else. The poster we made does not appear on any telephone pole near you. Additionally, we are to wait for further developments. Ah well, it's a gig at a cool club, with a regular clientele (very important, a built-in audience) and the promoter is a busy fellow...nobody's perfect...nothing worth making a satirical video over, anyway...perhaps in a couple of weeks there will be a "review" of sorts...

7. The summer has unofficially begun, and so far, no outdoor/ festival gigs--but, in this world, there are no such things as absolutes, and as I mentioned, it all comes down to a democratic vote...

8. Last week was somewhat of a Greg Ginn/ Black Flag overload--my ears hurt, and I cannot do one more push-up or "feel the burn"...Henry Rollins, I have let you down...

9. Does anybody read this blog...? Just asking, that's all. Perhaps it's my fault for not publicizing its existence enough...maybe I should be "spicier", and if so, which condiment...?

...neat-o guitarists number 2...Greg Ginn...

...not only punk rock, but annoying on a much deeper, sub-sonic level-- Would be my rock-writer assessment of the 'legend' that is Greg Ginn. Naturally, he is most associated with Black Flag, being the only constant from start to finish. A casual glance at his homepage will reveal that in fact, he still plays, records, and designs electronics. Admittedly, I have not been a keen follower of his post-Flag work, except for GONE, perhaps. Nowadays, he has kept up the jam-rock style of playing that characterized the later days of Black Flag (good Lord! I am sounding like a hack writer). Regardless, as a young punk-rocker and aspiring band member , Greg Ginn was inspiring in many ways, which will prove to be near impossible to put down in type...

...as someone who cannot play guitar solos, Mr. Ginn is an inspiration and prime example. Reading his Wikipedia page, there is discussion about "free form jazz" and "atonal phrasing"...what..? To me, it sounds like he doesn't know where he is, which is a good thing. I enjoy the off-putting effect that his playing has, especially all of the off/ missed notes. In my opinion, a good/ inventive guitarist can carry a band. Whenever Black Flag added a second guitarist, it was superfluous, as Ginn could carry rhythm and lead, much like Wilko Johnson (see neat-o guitarists #1). I find his playing to be very atmospheric--just now, I am listening to the classic live album "Who's Got the 10 and 1/2?"--'Slip It in' is a beautiful example of dynamics and pure feel--slimy and groovy, with that hook note grounding the ear-shattering lead line....blah blah blah...actually, it's more of the sound Ginn has..a sound that smells...

...unlike other punk rock guitarists, Greg Ginn does not rely solely on high end treble and distortion..his guitar is "wide open" (ha ha!)...everything, from bass to mids to treble is mixed together, in a lovely mess. I have tried to copy this myself, with limited success. I like to be able to hear everything coming from the guitar, especially in a live setting. Speaking of this, Greg Ginn's equipment consisted of a guitar and amp--nothing else--in fact, he often used a PA head, and turned everything up "to eleven"--completely naturally distortion which no amp, pedal, or sound man can recreate--weird harmonic overtones, etc. Other than that, he really beat the guitar (it would short out from 'fluids'-resulting in the installation of waterproof circuitry). As with Wilko Johnson, I really admire guitarists who use a very percussive technique when playing--again, something I have tried to copy, not to be cool, just for the sound---hopefully someone else notices!

...speaking about being noticed, Greg Ginn, when 'appearing' on stage, kind of stands there...focused on playing ( see "still standing still")...or, according to Henry Rollins, high as a kite...in the picture accompanying this post, he even looks a little like me, gawky and a little geeky...which, along with his playing, made him the perfect foil for Henry Rollins. As much as I like Henry Rollins, I think that Greg Ginn is the only player who complements Rollins' voice adequately. Perhaps in the years after Black Flag broke up, Rollins has been looking for another Greg Ginn, and vice-versa, but the former has refuted any rumours of a reunion ( at least with him). Black Flag did go on tour, with several former guitarists, but that ended in a few fainting spells and hospital visits, and besides, I wasn't interested...

...all I want for Xmas is a reunion....and an opening slot...and some beer tickets...

...go play outside...

...ahh, in the words of The Undertones, "Here Comes The Summer". As I type, it's after 8:30 pm, and the temperature is still over 30 degrees Celsius. All around the world, bands are preparing to load gear into clubs, set up, sound check (if there is time, and a sound person), and rawk out..more power to them, I say. However, anyone who has been in a band(s) for a while, will know/ think that being offered an afternoon "festival gig" is a sign of both acceptance and talent. Of course, there are loads of folk/ blues festivals, and large (US Festival, Rock in Rio) events that do not fit into this particular category--I am speaking on an entirely more municipal level--the country fair, "Arts" festival, Craft show, The Yam weekend, etc...

...Hopefully, I will never play one again, mostly because I dislike playing outdoors during the day. These two factors, above all else, make my forehead wrinkle. When I think of "playing" I think of a hot sweaty club at night, and nothing more. In my limited experience, this is what I have encountered/ learned in and about the great outdoors...

1. No Pay. Offers of "honorariums" have come and gone, and even a few beer tickets. Otherwise, nothing. The slips of paper I have heard discussed most are parking vouchers...
2. Exposure? In lieu of pay, I would certainly take this, but when directions to get to the panelling on milk carton stage you are playing on include "It's just next to the port-a-potties", don't expect a crowd to come thronging to hear your set.
3. A mixed audience. remember, this is OUTDOORS, in PUBLIC--everyone is allowed. Be on your best behaviour, there are children there! This can be a good thing, what with the state of all-ages gigs these days (very hard to come by, I find), and a chance for parents to see their offspring on stage without having to worry about someone throwing up on them.
4. Speaking of this, I learned the hard way not to eat anything, nor drink too much overpriced, under-rationed tyranno-beer that is a sponsor of whatever 'fest' one is playing. Naturally, with the hot sun beating down, there are bound to be food handling nightmares. If possible, I try to find a place somewhere nearby...
5. From a specifically Canadian viewpoint, there is a reason these outdoor concerts are held on the first of the month...those who know, know...
6. In reference to to the previous point, if you like people-watching, you will be in the right place--like Dante's Inferno with Cotton candy and removable tattoos...yahoo!
7. Outdoor sound is very unpredictable, as is the weather. It can be a clear, sun-dappled day, but a sudden thunderstorm can have one cowering under a tent, trying not to touch anything electrical. On this note, try to get the sound person's attention---he (most likely) is trying to chat up the girl from the frozen yogurt concession. The only time a sound man approached me during a gig, I was flattered...he held in his hand a piece of paper, which he handed to me when we finished a song. I thought it was some important memo related to our music, but instead, it was a notice for a missing child. The rest of the band were waiting for me to start the next song, when I went to the microphone to make my important, but very un-rock n' roll announcement...I had to explain later that I couldn't just NOT read the description, and risk looking like a cruel bastard in front of worried parents...
8. Beware of performers whose job it is to entertain the crowd in between bands. We once had a "performance artist" and "storyteller" who freaked out/ alienated anyone who may have been interested in listening to us...

...these may seem like complaints, but they're not. There will probably come a time when The Responsibles will be asked to play outdoors again, and I may be voted down (were are somewhat of a democracy). Please come to see us. We will be playing by the bogs at the same time the headliner takes the stage.

...stop me if you've seen this one before...

...here's a screen shot from Youtube of a video that has been making the rounds of my musician friends. Wayne of The Responsibles recommended it to me, and I watched it about five times in a row. I had to play it several times because I was laughing, and missed several lines...all classics. For those of you in bands, this is simply a catalogue of the ills of working with a paid 'promoter', not just someone who puts on gigs once and a while because they want to. A comment on the video pretty much encapsulates my thoughts..."..I've had this happen to me, but not all at once..". "Will we get paid?" "No, you will not be paid", and the 'band stacking'---"there are now eight bands on the bill, and the price has been raised to eight pounds"...on and on. I'm not going to even attempt to transcribe the entire thing, you can watch it for yourself, but some of the lines reminded me of other times...

.."all you will be offered is warm Carling"..ha ha..more than once, I have been asked how many were in the band, "Five", only to be handed four drink tickets that are not good for shots, mixed drinks, imported beers, anything on tap, or, in fact, anything the club serves at all. Only valid with the year old case of OV stored in the beer fridge that doesn't work properly. Or perhaps a jug of 'draft' that has a distinct greenish tint, either from St. Patrick's Day three months previous, or the 'slops' from the beer taps that are never cleaned, and would probably go to fish batter anyway...

"Will you be at the gig?"..usually promoters stay, but not always until the end...weigh-in time. A sleepy bartender will tell you to come back next weekend to the club (several hour's drive) to pick up your forty dollars (you don't know this amount, of course..)...

"I will not reply to your telephone calls, emails, etc"...hee hee.."but in several weeks I will ask you to play another gig, and pretend that we have never worked together.."...again, true, on some occasions. Like those caterpillars that turn to dust when squashed, many a promoter seems to be "physically ill" at the thought of dealing with a band, and depart into the vapour before your band leaves the stage, and, who can blame them...

...there is a 'response' video, called "Band vs Promoter (the real story)", which shows the flip side, and is equally as funny. Briefly, the band will show up late, lacking the required gear, act like divas, and moan about..erm..drink tickets as if they were doses of insulin...a friend of mine who works with a union in big arenas say the common term for "artists" is "fish". As in, they come in, flop around for a while, and then stink up the place...

...I have yet to try the website that these videos were made on, where "if you can type, you can make a movie", but there may be some other "match ups" that may be amusing..
"Musician vs Drunken Patron--the Skynrd Wars"
"Musician vs Drunken Muso--I should be up there, not you man! I've got NINE GUITARS!"
"Drunken Musician vs Sober Promoter--where's our 1. drink tickets 2. money 3. Avocado Dip?"

...all in all, Rock n' Roll's a hard life. If i were to tabulate all of the money that I am owed, it would probably be in the thousands, but hey, who's counting...? If I were in this for the money, I'd be in a boy band...

...I'd be the grumpy, stooped one that doesn't move...


NOTE:..of course, there ARE good promoters, and *ahem* Responsible musicians...

...strictly middle-shelf...

...magazines, that is. More specifically, music magazines. For casual reading, nothing for me beats a magazine. I probably spend too much money on them, but what the heck....

...I graduated from comic books to Guitar magazines years ago--big mistake. Not that publications like Guitar Player, etc aren't good or anything, they just never appealed to me. I'm not a gear head, and I find that's what most of the guitarists interviewed talk about. Let's face it, unless you have very wealthy, uber-supportive parents, you probably will never own an effects rack, super-tube combo stack amplifiers, top of the line , special reissue, custom, whatever it is you play at fifteen years old...at least I didn't. And reading articles about how other guitarists "shred" at this impressionable age didn't help me either. Plus, I really tried to get the "tabs" down, honest! It just seemed kind of shallow all by myself...a slow sinking feeling, that you will neither own, nor play as your guitar heroes do...

...on the other hand, I do enjoy reading about music--to an extent--biographies can be good, but not always. Borrow a friend's is my suggestion. But, this is about magazines. My favourite for the past ten years or so has been MOJO (check it out on the 'web'). Although it does tend to be kind of "old farty" at times (they had a real Beatles run for a while which almost turned me off completely), they seem to strike a good balance between past and present. Good reviews, snappy interviews, interesting features, etc. A good read, and well worth the 13-15 dollars it will cost you. Did I mention the free CD with every issue? Hit and miss, but mostly hit--good mixes based around a specific theme. Overall both the magazine and CD are good for when you want to think less, and you can drool over the gig listings in the back...

...recently, I picked up a few copies of NME, another British publication, this one weekly, since 1952! Years ago, I read a few issues, and found it completely unfamiliar, but this was before the information super highway. Back then, I didn't know ANY of the artists listed, as they were mostly up and coming. What a strange feeling...I felt like I had stepped out from a meditation retreat in a cave after 20 years! I have seen late 70's/ early '80s issues of NME as well--the writing is fantastic. I don't know much about "rock journalism"( an entirely different post!), but their staff at the time was very talented, and dynamic. They resisted the North American urge to intellectualize everything. Even the reviews were great-- "This is shit"--read one of them. It would be a good move, if the publishers have not already done so, to put the 'best ofs' for each year out in trade paperback...hmm....the new issues pass the bog-test, however...

..as for other music magazines, there are none that I read regularly. I used to read The Beat for all of my reggae needs, but it is now difficult to find (defunct?). Uncut from Britain also, has its moments, but generally, it is MOJO's poor cousin, with too much bad heavy metal. As far as North American publications, I avoid them. SPIN recently celebrated their 25th anniversary--oh, congratulations--the same goes for Rolling Stone, which seems these days to be more about politics. AP , from what I have seen, is well, crap. On the homegrown, Canadian side, erm...some of the weeklies are alright, if not a little insular...

...as an underlying theme of these posts, you can always check things out on the 'interweb' before you buy...

...oh, I forgot Creem, Punk, etc...good for their times, blew up/ folded before they got too silly. Haven't bought a copy of Maximumrocknroll in years, but I know it still exists--good on 'em. I have fond memories of picking up the newest two-month old issue at the Record Shoppe and getting my fingers inky with righteous angst...

...neat-o guitarists...

...this will be the first in a series of, erm.."neat-o" guitarists--not necessarily the ones who "shred" or who have "superior riffing abilities"--more of an examination of my appreciation--it's not always in fingers up and down a fretboard..well, actually it is...

...Number 1--Wilko Johnson--again, you can look him up on Wikipedia, find the acts he has been associated with, etc. It's his style that I find interesting. As he doesn't play with a pick (rumour has it he was tired of losing them--I can sympathize), he can play rhythm and lead, but more importantly, he actually hits/ attacks the strings, for some really neat percussive effects. Really choppy stuff, which is hard to transfer to writing..."..Ack Ack Ack Ack Ack A-Ack" is the best I can do. Good for funk, like his playing with Ian Dury and The Blockheads (Do It Yourself is the best example), and of course, the first four Dr. Feelgood albums, as well as the brilliantly live "Stupidity". Nothing terribly fancy, just a nice trebly sound, that actually compliments the drums, and fills in a lot of space, so that another guitarist is not needed (sorry to all of my present and former other guitarists)..

...Additionally, he looks, well...weird...in a kind of menacing way. In the early days of pub/ punk rock when people were either trying to emulate Jimmy Page poses, Wilko mostly stood there (see earlier post)..looking menacing. There is some video where he either stands stock-still and STARES as the audience, or walks around as if her were in a jail cell, pacing. Dressed all in black, with an admittedly crude haircut..

..he still tours with his own band, guests on albums, and joins reunions with the remainder of Dr. Feelgood at the Canvey Island Blues festival, among others...each month in the back of MOJO magazine, one can find Mr. Johnson playing somewhere....what a plugger....

..as I said, neat-o...

Rockschool rocks..!

...until about 1986, a TV programme, originally aired in the UK, was repackaged and presented by Herbie Hancock. It focused on different genres of pop music, and the techniques involved in playing different rock instruments, along with...ah, look it up on Wikipedia..

..also, the episodes are neatly (if not legally) packaged on Youtube, and other on-line video channels..

...I admit to finding this cheesy at the time, but did manage to learn a few things that I never could poring over a Mel Bay book with a hung over guitar teacher every week. As a beginner, I found that just noodling by myself was a waste of time..I never improved. To this day, if I don't practice with at least one other person, I don't bother at all. The show featured some interesting guests, and the hosts, unknown to me, were the top session players. The drummer had actually been in WINGS for quite a while (if you remember, he always recommended "Heavy sticks"), and the guitar instructor, Deirdre Cartwright was and still is an accomplished guitarist. As a guitarist, I picked up a few interesting tidbits, but only recently have I been going over the tapes, as they say. It's very good to see how they put things together as a band, simply, and effectively. Also of interest is the electronic music episodes--the brand new Yamaha DX-7!! Moogs, plug n' play synths, and dear old Deidre, with a Kee-tar!

...I'm still poking through them--the episodes, that is--there are some good tips for songwriting and arranging as well. Timely, in the fact that I can't write a full song, lyrics and all, to save my life...I'm sure the other fellows just let me have a song or two just to make it "fair"--please note every Police album, and the Andy Summers contributions, as an example...

...on a side not, speaking of The Police--check out the soundtrack, by Stewart Copeland, for the film "Rumble Fish"--effectively spooky...

..."Don't Box Me In"...

...still standing still...

...visually speaking, any band should show some interest in the music it is playing...actually, it should radiate enjoyment. In this regard, I am absolutely useless. I stand still. Always have, and probably always will--look at the attached photo, Riotstar at the now defunct Underground in Hamilton (also, I believe, the last show we played with the late, much missed Tim Beck) in 2002, if memory serves me correctly. That's me rocking out! I'm not sure what it is, but as soon as I hit the stage, I feel as if spikes have been driven through my shoes and feet into the floor, grounding me, so to speak. I can barely stand up, let alone "feel the music". I suppose I could blame my duck-like flat feet for a lack of balance, but there are other forces at play. I am lost in concentration and worry, and rarely think about going anywhere. Perhaps it's just nerves ( a separate entry altogether), or the fact that I can't really do anything, as it seems very forced. Several times I have tried to do a little jump, but it has looked/ felt so contrived that I felt ashamed and simply gave up. To wit, I am at the mercy of anyone else moving on stage. I have been smacked with guitars, basses, and even drumsticks and cymbals. The only thing astir is my mouth, which seems to be playing an invisible guitar all of its own. Watching video of myself playing is tortuous--I seem to be chewing on a battleship...

...ironically, at a practice, I will jump around and act the fool, without a care--so what is it about the stage, after all of these years, that stakes me so...? Of course, there have been some great "standing" guitarists in the popular music field, like Wilko Johnson (Dr. Feelgood, Blockheads), etc, but at least they look menacing...in the words of Dan Gruba, Responsibles drummer, when he looks up from his kit, he sees "a pencil with a guitar strapped to it"..and that's about that...

...perhaps there are lessons for this...?...some might suggest a few drinks...oh no, no, pappy no...that would be much, much worse...I may as well sit in an office chair, but not one that swivels, please...I'm "fretting" (ugh, pardon the pun...)...

...my first long-playing record...

...it was the spring of 1979. I returned from a trip to the mall with a real record under my arm! At a cost of $3.99! My mother was aghast, stating that one could buy four or five albums at Zellers for the same price! I'm sure other record nerds will relish their "first time" as well. The careful removing of the cellophane, the inspection of the insert (hopefully, there was one!), and a careful perusal of both front and back covers. The heady smell of cardboard--made in Canada, too!

..but I digress, with too many exclamation points to boot...XTC's third album "Drums and Wires" in retrospect, set up a template for my future musical tastes. Of course, everyone had heard 'Making Plans For Nigel' by this time, or even seen the video on The NewMusic, so I hadn't discovered any hidden gem. Carefully, I placed the record on my parents' giant-size department store HI-FI system, and dropped the needle. As was my custom, I reclined in front of the grilled beast and listened, and read the curiously written insert that came with the LP. I can honestly say that I was amazed. The songs had a very urgent feel...tense without being tough, and just a bit snotty. Quite a bit like myself, actually. How the band managed to put these kinds of feelings into audio form is still a mystery. Of course, the team of Moulding/ Partridge had a lot to do with it, along with the spectacular arrangements. Up until then, most "rock" music I had heard seemed rather repetitive, or without any focus. XTC were so focused they seemed mildly obsessed. Especially on side two..'Scissor Man', 'Complicated Game'...amazing stuff...edgy, nervous, with great choruses and middle eights. Inventive as hell...

Naturally, most people have heard this album , and probably don't need any introduction. Otherwise, people are free to "find" this album somewhere, and check it out for themselves. Try not to let the image of me grimacing musically on a throw rug in front of a Sears HI-FI ruin your enjoyment of this fine, fine disc. Two weeks later, I went out and bought "White Music" and "XTC Go 2" with an advance on my allowance...