Showing posts with label 100 Club. Show all posts
Showing posts with label 100 Club. Show all posts

Tuesday, 16 April 2019

Air B n B


I used to be a fan of Air B n B but I’m rapidly going off the whole idea. I wasn’t too keen to begin with - Amy got into it and my first experience was in Pasarobles, California. It was before we discovered the ‘entire place’ option so it was a room in a lady’s house. We were obliged to interact. I got into conversation with the lady about the how difficult it can be to do all the things you want to do in life, something like that.
‘The trouble is’ I found myself saying, ‘that there’s never enough time.’
‘I don’t find that’ she said, ‘you see, I have all eternity.’
In the morning Amy got up early and blundered out onto a sun terrace where she found our host in full on communication with Our Heavenly Father.
I have no problem with people holding beliefs, I just don’t necessarily want to become involved in them.
My second Air B n B experience was a caravan in the grounds of a house in North Hollywood. It was cheap and it was wacky, just our sort of thing. We’d been playing in San Diego and had to be in Los Angeles early the following day, so we arrived at this place at five in the morning. Birds were trilling the dawn chorus and there was nobody around, just us and the garbage truck. It took ages to find The Gate In The Long Fence, and when we did it was almost impossible to open the lockbox and then to unlock the gate. We stumbled down some steps through a rockery with our luggage and there was the caravan - originally cream and orange, but faded and covered in an accumulation of moss and whatever debris had fallen onto it from the trees that surrounded it.
Bijou.
Inside it smelled of gas and microwaved pies. I opened a window and a dilapidated fly screen fell out. We tried to put a brave face on it - it was half past five in the morning by this time and we were exhausted. I pointed out to Amy, by way of being positive, that you could open the bathroom door and flush the toilet without leaving the bed. We were considering toughing it out for the sake of a few hours sleep but we found leeches in the sink so we booked into the downtown Best Western and stayed there for three nights. It cost a fortune but it was like paradise after the caravan.
I have had some good Air B n B experiences. Last June Amy and I stayed in a two storey shack in Mendocino. It was very small - the ground floor contained a sofa, a coffee table and a sink unit. Upstairs was a bedroom with a bed in it and not much else. The whole place wobbled as you climbed the stairs. The bathroom was in its own separate shack next door, connected by a short, secluded path illuminated by fairy lights. To get to the place you had to walk past the remains of a lot of scrapped and rusting cars and into some woodland. It should have been a disaster but it was quite wonderful.
We stayed in a converted breeze block garage in the back garden of a house in Nashville and that’s where I figured something out: in the good old days, before the Air B n B craze, short term rentals were traditionally filled with collections of mismatched furniture and knick-knacks - unwanted gifts, flower vases, decorative plates, hideous table lamps and so on. The modern way is to take all this crap and donate it to the Goodwill, get a tax receipt and spend the equivalent money furnishing the place with brand new crap from TK or TJ Maxx and Target, and that’s why the places where they’ve made A REAL EFFORT are full of overstuffed chairs that look like rotund aunties and aren’t comfortable to sit in, and oblong blocks that say COFFEE on each face. And why they invariably have a large number of decorative cushions on the bed varying in size from large to quite small, one of which will be heart-shaped. There might be a sign that says: Two Lovers Built This Nest, and in the kitchen there may well be another sign that says: Instant Human - Just  Add Coffee.
I find the concept of two lovers converting the garage into a nest by lining it with plasterboard, installing a Pergo floor and filling it with tacky crap from Target, Pier 21, Bed Bath & Beyond ridiculous, cloying and quite unbelievable.
Some Air B n B hosts get it right. We stayed in two different places on the south coast of England that were just great, and I stayed alone in another that had a wonderful sea view but was filled with furniture and had walls covered in inconsequential pictures - framed photos of not very interesting exhibitions from 1998 and 2011, that sort of thing. There were something in the region of five chests of drawers, there were window treatments, a foldaway bed, a million kitchen utensils, cabinets of trinketry, books that no one wants to read, shelves of CDs: The Best Of R.E.M., The Very Best Of Chris de Burgh, Graceland, There Goes Rhymin’ Simon... I couldn’t hear myself think for the encroachment of someone else’s life. I had to gaze out at the sea across the promenade in order to hold on to my fragile sanity.
I endured one in West Hollywood, a tiny Spanish bungalow from the 1930s, that had almost nothing in it except a bed, a chair and a large wall-mounted TV. It had a beautiful all-original kitchenette but the charm was lost to an over-large, and very loud refrigerator, a Keurig coffee maker and a bulky black microwave that filled the fold-out kitchen table so there was really nowhere for me to sit and write my novel. I spent my time in there spreadeagled across the bed trying to summon the will to get up and turn off the light.
I stayed in a charming duplex in Echo Park, Los Angeles, except that once I’d been there for a few hours I realized it wasn’t at all charming, it was indefinably grubby, with a spongy bit in the middle of the vinyl wood-finish Pergo floor where the underfloor had been joined between the floor joists and had given way.
My stay coincided with an unseasonably cold spell and the only heating came from a dusty oil-filled radiator and a ceramic wall-mounted heater with a big crack across the middle of it. This place had a separate kitchen, a ghetto beyond the bedroom with a one wall painted with blackboard paint and covered with tributes from former guests, who I can only imagine must have been drunk for the duration of their stay to have scrawled such sentimental gibberish with the chalks provided:
We had an AWESOME time! …We Love You! …your place is an oasis of peacefulness and beauty in an otherwise grey worldwe’ll be back for more wine and walks and good food and hugs… I even saw a tribute from someone I knew.
Everything in the kitchen was covered in a thin film of grease, embedded with dust. I didn’t want to imagine how much bacon had been fried up in that place. There was a shelf stacked up with the stuff that people had bought over the years to cook esoteric dishes and live temporary existences involving the imbibing of herbal teas. There was paprika, basmati rice, salt, pepper, curry powder, sachets of saffron, stale coffee, sweet and sour sauce, soy sauce, demerara sugar, ketchup, tabasco, plastic bear honey, organic tea bags… and everything on the shelf was stuck to it and the whole installation was greasy and very unappetising, but with a thin veneer of generosity. The stove was old and clunky, and superficially clean, and you had to keep checking that the pilot light was still lit.
The good thing about that place was that it had a piano. I worked up two songs for my new album while I was there: The Half Of It in its entirety and California/Handyman which I’d started to write by a dilapidated swimming pool at a motel near San Diego. You can pre-order the album as a download on Bandcamp and get The Half Of It and two other tracks to be going on with right now. I hope you’re going to love it.

Friday, 18 May 2018

All Tours Start In Toronto

All tours start in Toronto. At least my last lot of touring before this lot started in Toronto. I remember it well - the agonizing panic of not knowing what the hell I was going to play, the wishing I written some half decent songs instead of frittering my life away in some adverse build up to this one great moment of failure...
In the end it went well, but then it usually does because it doesn’t really have much choice. It somehow has to because I couldn’t live with myself if it didn’t.
This time the touring part of the tour actually started in Toronto. But even though I find the whole idea of playing locally utterly terrifying, the prospect of setting off to play fifteen shows across the un-United States without first checking that both me and the equipment are going to work seemed much worse, so I kicked things off a few days earlier at the Hilo, our wonderful cafe bar here in Catskill.
Normally I have a psychological safety net: if this thing fucks up, if I humiliate myself with a dismal and disastrous performance it’s ok because this town, this venue, these people, will all be history one hundred miles down the road, and I need never go back. Out of sight, out of mind.
But not so with the local gig.
It went well which is fortunate because I come here for my espresso every othe day (alternating with Supernatural in Hudson). If it hadn’t I think I would have cancelled the tour and moved house instead.
I made one major change: I was using my modified Telecaster for the electric guitar bits, the one I used on the last lot of touring. After the Hilo I decided to take the big green Microfrets instead, and that’s what I’ve been playing since Toronto. The Microfrets is a scary proposition, I once gave it to Amy to play when she broke a string . She handed it back within th tears in her eyes:
‘How do you play this thing?’
I played a show in Seattle a few years back with various members of the Minus 5 including Scott McCaughey and Peter Buck. When the Microfrets broke a string Peter offered to change it while I played a different guitar. He never came back. We found him in the dressing room with the Microfrets on his lap still minus one string. He had tears in his eyes:
‘How do you string this thing?’
The strings are unevenly spaced, the top string often goes dead and produces a blick blick sound and sometimes it gets caught under one of the back pick up screws and goes plink plink. The bottom string needs constant attention because of the ludicrous tune-o-matic nut, an invention designed to ensure perfect intonation regardless of the fact that a barre chord instantly negates the entire concept. I tried taking it off and replacing it with a conventional nut but it didn’t sound the same so I put it back and resigned myself to constant maintenance. It has a tendency to vibrate loose and occasionally something falls apart - usually minutes before a live radio show - but it’s worth it because nothing sounds quite like the big green guitar, the Microfrets, or The Melon as a friend of mine once christened it.

And of course it won’t have escaped the attention of anyone with an eye for detail that the Microfrets matches the green of my new album cover. It’s all in the detail.
That was a freaky business. A friend of mine, Clif Eddens runs a neon factory. He kept telling me I should come and make a neon something and the idea really appealed to me so when it came to making the artwork for Construction Time & Demolition it was the obvious thing to do - a big, randomly shaped green neon illuminating a strange collection of paintings and paraphernalia including my friend John Foster’s old wooden step ladder and (if you look very carefully) his black 1970’s dial telephone.
I assembled the whole thing in the basement of John Foster’s house down in Maryland. John photographed the installation and turned it into the cover art. We spent five hours in the basement bathed in the green nuclear neon glow, and when we came out everything was pink. The sun was going down and we rushed outside to marvel at the cosmically over-pink sunset. John’s sixteen year old daughter looked at the two of us and asked if this was what taking acid was like. We told her it very likely was but we couldn’t say for sure.

At the first show, in Toronto, audience members were perturbed by the minimal set up and several of them asked the promoter where the band was. Fortunately there were no complaints by the end. It’s a different experience - it transcends the solo/duo/full band nonsense. I hate the term full band. I’ve spent years combatting the idiotic dictate that goes something like if it’s this good solo imagine what it’ll be like with a full band... It doesn’t always follow - some artists can’t bring it on without back up, others can. You have to adjust the dynamic to play solo - you can’t get as loud or as full but you can go lower. Sometimes when I’m singing I’m not actually playing anything much at all, just the odd single note here and then so that when I play a full chord it sounds big by comparison. It’s an illusion and it requires a great deal of concentration to pull it off which is why I’ve always got pissed off when there’s talking in the audience while I’m playing. Not that there is anymore - sometimes the silence is quite eerie. It’s intimate and it’s dangerous, tenuous - it could all just come apart...
The sound engineer in Toronto reminded me that we’d met before - he played drums for Andre Williams on a UK tour and when they came to Brighton I did their sound. I tried not to look worried as I asked him how it was but I was relieved when he told me they’d heard a recording of the show made by someone in the audience and it had sounded great. And that night he did the same for me.
I don’t know how I got through the first few days. Toronto to Detroit was a fairly easy drive though it rained and I felt tired. At the border most of the gates were closed. A big sign said Welcome To The United States and underneath a row of illuminated signs said CLOSED.

Third Man Records in Detroit was everything I hoped it would be and the show was good but difficult for me because of an annoying twit at the front who kept holding his phone next to the power block in my pedalboard and filming my foot while the phone transmitted massive interference into my amp. In between and in the quiet bits he shouted requests and suggestions and turning around to take selfies with me in the background. 
John Krautner opened the show alone with nothing more than a nylon strung guitar with a microphone in front of it. The twit joined in loudly with bad harmonies. John told me afterwards the guy had been annoying.
After the show he cornered me (the twit that is) and told me he was my biggest fan. I remonstrated with him, said his behaviour was disruptive. He told me I was being a dick. 
A perfect Wow & Flutter moment.

Most of the time I feel like I’m just about getting away with it - it’s a shabby old one man operation, a patched-up, mend and make do traveling fairground. I should make my entrance in a cloud of diesel fumes and electrical sparks, I probably do, and most nights something needs repairing.
The rain started after the show in Chicago. I had to drive to Louisville, Kentucky, and be there in time for a radio show at lunchtime the following day. I had the best show I’ve ever had in Chicago and by the time I left the Burlington Bar it was already the following day, two in the morning. I had a hotel booked in Lafayette, Indiana, a couple of hours down the road. I thought it would get me out of Chicago, give me a head start the next day.
I’d forgotten how bad the roads are in Indiana. After a four and a half hour white knuckle drive through road works and torrential rain I checked into the hotel in full daylight. The desk clerk told me to enjoy my nap. I crashed out fully clothed for three hours, got back in the car and carried on driving - eighty miles an hour on Indiana’s broken roads, all the way to the Kentucky state line. That sounds quite glamorous. I stopped at Starbuck’s for breakfast.

I can’t recount all the steps that brought me from Indiana to a Premier Inn in Worcester in the heart of middle England where I’m seeing in my sixty fourth birthday. I’m amazed that I’ve got away with it for all these years, burning down city after city as Amy put it the other day. If you’re around I’ll see you in Bristol for my birthday, or Leeds, or Cromer... or maybe Cambridge or Brighton... And most definitely at the 100 Club on May 24th (that’s next Thursday - stick it in your diary) or if you can’t make that then Colchester, Ramsgate or Leicester. 
Always playing in a town near you!
And next month back in the USA for another six weeks or so, coast to coast!

Wednesday, 7 March 2018

And Introducing Bryce McCafferty...

I should be strutting about in a fur hat, large mirrored shades and possibly a cloak - a pop svengali, top producer and engineer with a sound coveted by many and achieved by none - because I'm the man who produced and engineered the new Amy Rigby album, a rough, tough psychedelic garage record, her first solo album in twelve years, and her best yet.

But I couldn't really carry it off - my head would itch in the fur hat, the mirrored shades would be covered in fingerprints, and even though I might quite like it I'd feel ridiculous wearing a cloak. So instead I've cast myself in dual roles as Bryce McCafferty, the dependable but tempermental bass playing sideman, and as Amy's erstwhile road manager who I imagine as a sort of Jon Voight character - buckskin jacket, silk scarf, cowboy boots, and a good foot or so taller than myself.

I set the stage, switch on the amps, tune up the twelve string, put the capo on the second fret and report back to Ms Rigby that all is ready. Then I walk back on as Bryce McCafferty and pick up the bass guitar.

Bryce doesn't give a fuck. He's the king of crass. He watches as another more willing band member backs the truck into a bollard or a low brick wall: 'Oooh! I saw that coming - bang goes the deposit!'

A guitar goes missing: '...yeah, I saw that in the dressing room as we were leaving last night and sort of wondered about it.'

'I'm not setting foot on that stage until I get my per diem - I'll do the soundcheck but there's no way I'm going on for the show until I get paid.'

The band leaves the stage with the applause still ringing. Band members metaphorically patting themselves and each other on the back, saying the dumb things that euphoric band members are apt to say. But not Bryce - Bryce is too cool for that - 'Here, did you get your per diem yet? I still didn't get mine...'

Bryce on the right wondering where his per diem went. With Ms Rigby and the gainfully employed Jeremy Grites
Bryce... at turns scruffy, unshaven, abstracted or satorially elegent. Reprehensible but quietly dependable, even when he's drunk. A Thursday gig might see him in grubby jeans, Saturday nights find him fully suited and booted.

Bryce turns and looks at the drummer: 'Who is it this week then? Have we worked together before?'

On this tour Ms Rigby is going through more drummers than Spinal Tap - there's nothing dark or lurid about it, it's just that unlike Bryce they all have day jobs.

'Ground rules, there have to be ground rules...'

I love Bryce McCafferty! I only invented him because promoters were announcing me as a featured musician on Amy's shows, and although I find that very flattering I was worried that it might take the heat off when I come back and do my own shows next month. Because next month I'll have a new album out and I'll be back to boring old me.

I'm going to miss Brycey.

pre-order the new Wreckless Eric album from Amazon

Catch Bryce McCafferty and a gainfully employed drummer on tour with the incomparable Amy Rigby:

08 NEWHAVEN CT Cafe Nine
10 NORTHAMPTON MA The Parlor Room
14 ASBURY PARK NJ The Saint
15 VIENNA VA Jammin Java
18 CHARLESTON WV Culture Center Theater
25 HULL UK O'Riley's
26 MANCHESTER UK BBC 6 Music Marc Riley Show
27 BRIGHTON UK Prince Albert
28 LEICESTER UK Musician
29 BRISTOL UK Thunderbolt
30 LONDON UK Betsey Trotwood