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...?