Showing posts with label Thunderbirds are go. Show all posts
Showing posts with label Thunderbirds are go. Show all posts

Friday, 7 December 2018

One Suitcase, Two Guitar Cases And One Small Carry-On Item, synthesizers, luggage harvesting, the Carlton Vibe Hotel...

I was hoping to write about everything that happened in New Zealand and Australia as it happened but that hasn’t really been possible because the schedule has been intermittently grueling. Last Thursday I played in Brisbane. I got back to the hotel around two in the morning, spent an hour packing my personal effects into one suitcase, two guitar cases and one small carry on item. Then I had three and a half hours sleep - possibly only three hours because I lay on the bed vibrating for quite a long time. I find it difficult to sleep in hotel rooms - I have to divorce myself from my surroundings. Sometimes the only thing that gets me to bed is the consolation that once I switch the light off I won’t be able to see where I am.

I had to leave for the airport at ten to seven to catch a flight to Melbourne. There’s been a lot of flying on this tour, that’s how it’s done here. The flight took two and a half hours. I was asleep before the plane took off. It’s getting to where I sleep better on airline seats than I do in hotel beds.

I met my new tour manager and sound engineer, a young man called Guy, at the baggage claim. Guy is a twenty something years old of Anglo Irish and Samoan descent, I found out these things by degrees. He speaks with an almost posh English accent. I liked him immediately. Another new friend. By the the time we left the baggage claim with my suitcase, two guitars and one small, personal carry on item, we’d invented the term Luggage Harvesting for the crime of stealing bags off the carousel. I’m surprised it doesn’t happen on a regular basis at domestic terminals all over the world - you just stroll into arrivals, go to Oversized Baggage, lift up someone’s guitar and stroll out with it. If everything goes wrong I think I might become a luggage harvester myself. A good part-time occupation for my retirement...

Guy was standing in for Bonnie, but more about Bonnie later. He’d been instructed by Bonnie to take me for a good espresso and something to eat before checking me into the Vibe Hotel and then driving us to Castlemaine for a show that night.

There’s a whole lot before and after that last part but this thing is either going to go in the direction it happens to go in, or not go at all, so to hell with the chronology....

I’m on a plane flying home from Los Angeles. I was in an Air B n B in Echo Park - I stayed there for five nights. It was downhome. It was a dump really. It had a porch with a swing chair but mostly it was too cold to sit out there so I put both switches down on the oil-filled radiator and sat at the piano instead. That was the best thing about this place I was staying in - it had a piano - a Korg digital piano with a full sized keyboard. I was able to turn it down so I wouldn’t disturb the owners who lived in the other half of the house, and who hopefully wouldn’t then be laughing at my rudimentary piano playing.

In between Ubering my way all over Los Angeles I wrote one and a half songs. It may have been one and a quarter songs or maybe one and five eighths of a song but there’s definitely one whole song in there. I recorded a lame demo on my phone and sent it to Amy and she said it was a good one and where did the piano come from?

I took an Uber to West Hollywood and strolled around. I spent a fun couple of hours in the Guitar Center trying out the synthesizers. Some of them didn’t appear to be working, either that or they were beyond my capabilities. I particularly enjoyed the Moog Sub Phatty though I wish they’d thought of a better name for it - Sub Phatty is quite unfortunate. If someone wants to donate one to me I’ll happily rename it the Moog Glorious which is what I think it should be called.

Contrary to what I imagine a lot of people might think I like synthesizers. I always have, not the hideous eighties ones like the Yamaha DX7, though I’m sure that given time I could divorce the sound of that from its hideous personal nineteen eighties associations and allow it to worm its way into my affections. The Sub Phatty / Glorious produced epic, beast like sounds. I wished I could have recorded some of the stuff I came up with on that thing.



Guy The Sound Guy and stand in for Bonnie The Tour Manager told me about a resource in Melbourne - a synthesizer library. They’ve got one of just about every synthesizer ever manufactured. You can go there and book time with a synthesizer of your choice. They’ll deliver it to your cubicle and you can work with it using your own software and laptop. It’s one more reason to love Melbourne. If it wasn’t so monumentally far away, and if I was living a somewhat different life, I’d move there in a heartbeat.

I was staying at the Carlton Vibe Hotel. There are several Vibe Hotels dotted around Melbourne. This one was modern, meaning it must have been quite up to the minute in about 1959 or 1962. I could just imagine Lady Penelope pitching up there in her pink Cadillac piloted by her loyal and trusted chauffeur, Parker. I can imagine her checking in at the reception desk over to one side of the breezy and spacious concrete and glass reception hall with its hints of orange and lime green. The swarthy yet suave receptionist and Lady P herself, their jaws moving up and down as they speak whatever words need speaking with their plastic faces.

And Parker collecting the luggage: ‘Yus m’lady!’



I could have spent whole afternoons watching guests banging their heads on the modern architectural entrance feature that swooped from dangerously low to just above average head height and spoke of...well, Vibe.




I kept coming back to the Vibe. It was my first destination in Australia when I flew in from Auckland. The tour promoter, David Laing, met me and took me straight there. It was his second time at the airport that day, earlier he’d picked up PP Arnold.

That first time I had a room overlooking the pool. It looked for all the world as if I could run from my room, dive gracefully over the railing and into the glittering blue water below. Except that I would have landed in a prickly hedge, most likely impaling myself on some railings that you couldn’t see from the floor to ceiling wall of glass separating my room from the outside walkway.

My room had a king size bed - larger than a king size - Emperor Size if that’s a thing. There was also a single bed that looked quite pathetic beside this monumental sex and sleeping dais. The Emperor turned out to be two singles zipped together on two separate bases that would probably have drifted apart had the bed seen any action, leaving the participants uncomfortably close to the floor in the ensuing bed base ravine.

I’d already decided that I was going to take the single bed because, as I’ve said somewhere before in these ramblings, there’s nothing more lonely than sleeping alone on the edge of a king size bed. You’re not going to sleep in the middle of it of course, even if it’s not two singles zippered together, because that’s where most of the action will have taken place and you really don’t want think about that. Especially when you’re facing another night alone.

The single bed was next to the floor to ceiling windows. There were nets and a big blackout curtain that shut out the impending daylight, but during the night and into the morning I could hear the occasional person next to me, a foot or two away, on the walkway the other side of the plate glass. And to other side of me that useless expanse of nocturnal playground...

I needed coffee. Carlton is very hip but the Carlton Vibe isn’t really in Carlton - it’s opposite a park somewhere between Carlton and some other bit of Melbourne. I scoped out the coffee options and found one within walking distance, a mile or so away. I decided to take a short cut across the park. It was Sunday so I weaved a jagged trajectory between games of cricket. I was very pleased with this even though it was a bit dangerous and big men kept shouting at me - I’d only been there a day and here I was having a very Australian experience.



Thursday, 22 December 2016

Sideman


Apart from the odd gig here and there I've never been a sideman but that's all changed now - I've just finished a ten date UK tour playing bass and guitar for my wife, Amy Rigby. Originally I offered to come over and drive her around as she's not confident about driving on the other side of the road and on the other side of the car and has limited experience of cars with manual gearboxes. I rather fancied myself in the role of Parker, Lady Penelope's chauffeur in Thunderbirds, I got myself all togged up in a grey suit, silk scarf, peaked cap and kid gloves. It was lost on Amy - she'd never heard of Thunderbirds until Lindsay Hutton spotted the resemblance up in Scotland and we subjected her to a classic episode involving The Shadows.



She said of course I'd have to play on a few songs. It made sense - we've always had fun touring together, and we'd just done a run of shows in the US as a three piece with Doug Wygal on drums and me on bass, so I knew the tunes.
It's been interesting - there's a whole world of paranoia and malcontentment hitherto unknown to me. I've gained a new perspective, an understanding of what makes the hired gun tick and why they can be such a drag to work with.
There's very little responsibility - I soon learned that if anyone asks you a question the answer is I don't know, which mutates into don't ask me, I'm only the bass player. A certain sulkiness sets in - you're not the star of the show and ideally no one's going to notice you or even remember you were there, lurking in the shadows, plucking out random bass notes. The star of the show turns and asks - can you play on this song now? and you say 'Mmm hmm, I can do that' with a tacit I can play anything you like as long as you're paying me.
You hang around before the show. The star is edgy, concentrating, preparing herself. All you have to do is walk out, pick up the bass and play it. You don't even have to get change - not much sweat involved out there in the shadows. So you leave in the same clothes you were wearing when you walked in.
There's not much to do so you stay out of the way of the star and chat with whoever happens to be around. The affable sideman. This must be the root of the oft-told story - the band were really nice, a great bunch of blokes, but she/he was a stuck-up cow/bastard.
It's obvious to me now that dressing rooms are furnished with cans of beers in an attempt to keep the band from cluttering up the bar before the show. I don't drink but I still found myself doing a fair amount of pre-show bar cluttering. It's not good for the mystique. The alternative is to sit and wait in the cramped backstage with the crampy star of the show. I understand now just how this tedium can lead to the drawing of a penis on the dressing room wall. Not that I ever succumbed to this activity. I understand though - this is the kind of existence that could turn a man into a moron.
To counteract the moron effect, sidemen have lame discussions about Proust, the Middle East, the latest Scorsese film... this often degenerates into an inquiry into the state of the drummers bowels or the lead guitar player's latest sexual conquest. And then it's back to drawing penises.
The set list arrives - she's taken out the one with the good bass line, my moment in the spotlight. A gentle enquiry: Er, you're not doing this one tonight...?
'No' comes the terse reply, 'not feeling it'
Self doubt creeps in:
Is it my fault?
Am I not playing well enough?
What am doing here?
Am I adding anything to this?
And paranoia:
They're loving her and wondering why the hell I'm here. Last night, just last night a guy was telling her how great it is that she's doing a solo show. A SOLO show. Everybody loves her. No one ever mentions my bass playing. 
There's a reason for that...
It's worse when there's a band and you don't know them very well:
The rest of the band think I'm crap. They think I'm only here because I'm married to the star...
The audience are obviously thinking exactly the same...
And the more it goes like this the worse the playing gets.

It wasn't at all bad in actual fact. Amy and I have toured and played together for years and we're well aware of each others insecurities and idiosyncrasies. We also know that whatever we're doing, whether we're playing together as Wreckless Eric & Amy Rigby, or she's backing me, or I'm backing her, we're on the same team. We make mistakes, amps get turned up too loud, then turned down too quiet, we play wrong chords, forget bits, but we never give each other a hard time about these things. We help each other through - that's what bands are supposed to do.
I was still surprised after one show on this tour when she told me that she'd felt convinced in the middle of the set that most of the audience were there because they'd heard I was playing. If that had been the case, and I'm sure it wasn't, she would have completely eclipsed me with her performance anyway.
She played some of the songs alone, and as there was no backstage at a lot of the venues I had to figure out somewhere to be. I didn't want to stand around cluttering the place up and diverting attention away from Amy, and neither did I want to step off the stage into the audience and risk having someone try and engage me in conversation, so I came up with the solution of sitting on a chair to the side of the stage and calmly listening.
It was a great place to be. Listening intently, enjoying every moment, and ready to spring up and get to work on the guitar or bass (with just that hint of sideman begrudgement of course...) It worked well, but towards the end of the tour I was complimented on my listening pose, and on the second to last night someone in the audience commented loudly when I took my scarf off as I sat there between songs:
'He's just taken his scarf off!'
I was getting too good at it.

And every night when she got to the line in Cynically Yours - and plus you claim to love my ass... I tried not to nod my head too enthusiastically. A sideman must remain a gentleman at all times.