Flatfoot Hustling

I had no idea of what to do next. There was no road map, and no one to ask. I knew that I had to budget carefully. Who knew when I would get any work? Or even if there was any work to get? The music business in Kingston operated according to its own set of rules that related only tangentially to what I knew about the business in America.

As far as I understood things, if you wanted to be a working musician, you got in a band with other people you knew, based on liking somewhat compatible types of music. Then you decided whether you wanted to play in bars, play hotel lounges, or do weddings. Once you made up your mind, you rehearsed a night’s worth of music, found an agency that could book you the kind of gigs you wanted, and went to work. If you wanted to do anything more creative, you wrote your own songs, tried to sneak them into sets during your regular gigs, and eventually recorded a demo of them somewhere to send to people in the business to get a record deal. I had never been in a band that had gotten that far. The closest I had come to a record deal was sitting with Horace Andy in Island’s offices talking to Lister Hewan-Lowe about doing a record for Lister’s label, which is how I had gotten there in the first place.

Although I hadn’t really figured out how the business in Jamaica worked, it was obviously nothing like what I had grown up with. I was meeting lots of people whose names I recognized from album covers. And yet they were hanging out in the same alley I was, for the most part. Every so often, some would disappear for a morning, an afternoon, or a day or two. But they always came back.

So I summed up what I knew, and began to develop a plan of action, based on what Jimmy had told me. The musicians I wanted to meet, and hopefully play with, rarely played live in Kingston, contrary to my expectations. There were plenty of bars and nightclubs, but hardly any of them featured live bands. My heroes were playing in the studios, doing recording sessions for different producers and artists. So—if I wanted to play with them, I had to play sessions too.

This realization presented a number of difficulties, but also the outlines of a plan of attack. Although I had already played on several recording sessions, I had pretty much bluffed my way through them, without knowing what worked or why. I was terrified by the very idea of recording. I had never liked my playing and nothing about hearing it played back through the studio monitors made me like it any better. When recording, I operated on a level of consciousness well below that of the verbal—the part of the brain that enables a fighter to continue to stand up and look menacing while out on his feet. (I would grow much more familiar with this part of the brain as time went on.)

But there really didn’t seem to be any choice. I’d tried playing the hotel circuit, which had its charms. I liked being near the water, playing six nights a week, having a steady paycheck with lots of time to practice, eating good food, and not having to lift any equipment. But it wasn’t what I wanted to do musically. The hotel bands played more top 40 American R&B and soca than they did reggae, as the managers, who were middle class, considered it disreputable and unsophisticated music. They only allowed it because a lot of the tourists asked for it. More important, Sly and Robbie and the Barrett brothers weren’t doing hotel gigs.

Why Do You Have So Many Guitars? The Arrival of Bart

As longtime readers may remember, I thought I had finished my autobiographical musings with the previous chapter of this ongoing serial. But guitar acquisition, like life, goes on. I made a number of New Year’s resolutions about various things, most of which are beyond the scope of this post. And one of the things I decided to do was reduce clutter in my life (and apartment). Well, between my instruments, my record/tape/CD collection, my books, my music, my amps, my workbench, etc., plus my son Liam’s drum set and instruments, plus a couple of my son Ethan’s instruments that he left behind when he decamped for the Lower East Side, there is plenty of clutter to reduce. So I decided that I would lay off acquiring any more instruments for a while. I feel as though I don’t play the ones I have often enough, even though I’m playing all the time.

Well, a day after my birthday I went to work and retrieved a phone message from my old friend Geoff Lee. “Hey, Andy, happy new year. Give me a call.” Geoff is one of the most amazing people I’ve ever met in a life full of amazing people. He is an incredibly gifted guitarist, sculptor, visual artist, and woodworker. But more importantly, he has learned from nearly everything that’s ever happened to him in his life, which is quite a bit. And he’s one of those people who never speaks idly. Every sentence makes you think, or appreciate. His guitar playing is the same way.

I don’t hear from Geoff regularly. He keeps very busy with his day gig and various creative projects. But every so often he makes his way north, or I make my way to Miami, and we link up. It’s like we just saw each other last week. A couple of years ago when I was playing in Miami with Toots I hung out with Geoff and his wife Jeanne both before and after the show, and got to see his house for the first time. In the garage he has a workshop, where he builds furniture, sculpture, and all sorts of objects d’art. He had just started building guitars, and he showed me several of them. I was particularly taken with his newest one, a hollow-bodied variant on a Tele thinline guitar he called Bart, after the cartoon character Bart Simpson.

Geoff is primarily a solo acoustic guitar player, though he had a punk band in the late seventies in Jersey. So I was very surprised that he had built an electric guitar, as he was currently most interested in flamenco music. “Why do you call him Bart?” I asked.

“Plug him in,” Geoff replied. I did, and was rewarded with a raw, ferocious snarl. Bart sounded exactly like his namesake: brash, disrespectful, eloquent, and snotty. His tone completely belied his looks. Bart is made of several kinds of wood (Geoff told me what they were but I forgot) and has stunning f-holes and beautiful light wood binding, as well as a stunning red stain finish and a maple neck. I played Bart for quite a while. Geoff was quite curious to know what i thought of Bart, as he is not a working electric guitarist himself. I told him the truth, that Bart was a unique and amazing instrument and it was hard to believe he’d just started building guitars. Then, if memory serves, we went off to dinner. When we got back it was too late to do more with him.

Though I’d talked to Geoff a few times since, and seen him a few months ago, I hadn’t thought too much about Bart. Before I got a chance to call Geoff back, my phone rang. “Andy, it’s Geoff. I’m sending you something.”

“Great!” Geoff has sent me several things in the past, usually pictures of his newest artistic creation, or sometimes CDs of his playing, which I love. “What are you sending me?”

His voice took on a warm tone. “I’m sending you Bart.”

“What??? You can’t do that!”

“You like him, don’t you?”

“I love Bart, you know that. But you can’t get rid of him.”

“Why not? I’m not really an electric player. And I want to make room for some other things that i’m doing. I don’t use him, and maybe you will.”

“Oh, I’ll definitely use him. Thank you. I can’t believe you’re doing this. But can I give you some money for him? Or at least pay the shipping?”

“No, I don’t want any money for him. I’ll take care of the shipping. I just want you to have him.”

“Well, can I at least make a charitable contribution to that horse rescuing group that you and Jeanne work with?” Geoff and Jeanne spend a lot of their spare time caring and rehabilitating horses that have been abused by their owners, and his interest in them has resulted in some beautiful music. I had never thought about horses being abused before he told me about it: where I grew up, farm animals were valuable assets and I never saw any of them mistreated, but apparently it happens pretty regularly.

“We’re not involved in that group any more. The head of the group was diverting some of the horses for her personal use. Jeanne actually resigned from the board over it. We still work with horses, but not there. That organization you work for does fine work.” He’s right, it does. “Why don’t you make a contribution to them in our names?”

“I’ll do it. When is Bart coming?”

“I should be able to send him Saturday. He’s coming in a hard shell case. It should be safe. Call me when he shows up, and send me a picture of you playing him, or Liam.” (That reminds me, I haven’t done that yet.)

“Great, we’ll let you know as soon as he’s here. By the way, did you know that it was my birthday yesterday?”

“No, if I ever knew, I’d forgotten. But that sure worked out, didn’t it?”

“I don’t know how to thank you.”

“You already did. I know you’re at work. I’ll talk to you later.”

Sure enough, as promised, Bart arrived early next week. Liam, of course, was tremendously excited by the story. When the package came I let him open it. Bart was even more beautiful than i’d remembered, and just as aggressive. We both played him for quite some time. Geoff had asked me to check his wiring, as electronics is not his forte, and I found a loose ground wire. And the pickup and string heights required some adjustment. But after an hour or so of tweaking Bart was ready.

I had a studio session next on the books, and I didn’t know enough about what Bart could do yet to try him out there. But that Friday I had a gig at Kayara Hall with Derrick Barnett, which offered a perfect opportunity to give Bart a trial by fire. I brought a second guitar just in case something went terribly wrong.

Derrick is a flashy dresser and loves great-looking instruments, so he was quite impressed with Bart. Plugged into my blackface Twin, Bart was absolutely ferocious. He has more treble than any of my Telecasters; I had to turn the treble on the amp down to five and roll off some highs on his tone control as well. His hollow body makes him quite responsive, and he feeds back readily. I’m not sure his back pickup is quite in the right place, but once Flip gets hold of him for a setup, Bart will see regular usage. I’ve got a new amp also, a little Epiphone with one knob. It’s a bit bassy with some of my guitars, but I think Bart will match up well with it once I get a chance to try him with it.

It’s great to have Bart, but he and his cool tweed case do take up space. So I was thinking about what to do with some of my other instruments. The really valuable ones i don’t want to sell, and the cheap ones I couldn’t get back what I paid for them for the most part. I thought about which one I used least, and it came down to a choice between my Squier Strat with the purple pickguard and the OLP Van Halen knockoff. But Super Cat really likes the OLP and I have a gig coming up with him soon, so I don’t want to get rid of that. I don’t really want to get rid of the Strat either, but I have a great Strat, and recently played another cheap one that I like better…which got me thinking. Oddly enough, one of my MySpace friends is a guitar player who currently has no instrument. He has recently taken one of his children into his house, and is too strapped to do anything about getting a guitar right now. A good guitarist, a guy who was a working pro, without an instrument. That’s just wrong. Hmmmm…someone gave me a guitar, maybe I should give someone else a guitar…the more I thought about it the more I liked it. Plus his kid is around Liam’s age and it might be really cool for him to be exposed to a guitar during this period of transition into a new house with new people and new rules…so I asked him if he’d be interested in the guitar and he definitely is. So it looks like I will be saying goodbye to the purple pickguard Strat.

I looked into shipping it to London and the price was more than the guitar is worth, even with the cool knobs and Fender noiseless pickups I put into it. So I asked around. Fortunately, my friend Earl Appleton, one of NY’s top reggae keyboardists, has family in London and is going to see them in March. I explained the problem and he, like the good guy he is, volunteered to take it with him. To say goodbye to the Strat, I played it all last week, and it kicked butt on my gig with Laury Webb on Sunday night. He’s getting a really useful axe! And I won’t feel so bad if I come across another cheap Strat and decide that it may have to follow me home.

I’ve given away a couple of other guitars in my life, and I really feel good about having done so. It turned out that neither of the people who received them did much with them, but what matters is that they were exposed to the instrument, and had a chance to see if it was for them. I think this time will be different, and that the guitar will really get played a lot more than it does with me. I really do believe that good instruments want to be played, and are not happy when they aren’t. Speaking of which, it’s time I got Bart out and played him again.

Antlers Under The Rug

Introduction: For some reason this just flowed out one day while writing an email to someone. I was trying to explain the peculiar sensibility I encountered as a young musician learning about what audiences were and how to please them. And, being a native New Englander, I had to read Hawthorne in school…somehow it all came together.

The Furry Underbelly Of Rural New England Exposed

In Connecticut, the land of steady habits, any sort of behavior that stands out is discouraged, and scandal is distasteful. For this reason, the moose problem is a facet of rural Connecticut life that has for the most part escaped public scrutiny. You don’t hear much about the moose. But they are real. Very real. It’s a situation that no one wants to discuss.

In the larger cities, like Hartford and Bridgeport, the moose problem is nonexistent. Urban living and the moose are not compatible. It is in the rural backwaters like West Barkhamstead, Granby, Tariffville, and Hebron where the moose have become an issue. There aren’t a lot of them, but they are hard to ignore.

For example, try regarding with equanimity the moose tailgating you in his battered Ford van, joyously honking his horn and bellowing well-lubricated moose calls into the chilly New England night. He’s consumed fifteen Red Bull & vodkas before starting his chaotic journey along the narrow two-lane roads that wind through the hills of Northwestern Connecticut. But he’s just getting started; the night is young!

Lynryd Skynyrd’s “Gimme Back My Bullets” is cranked up to air-raid siren levels on his van’s grotesquely overpowered stereo system. (Moose are big Southern rock fans, for reasons unknown to science.) His antlers rattle against the roof as he weaves in and out of traffic. Several fat roaches smolder in the ashtray as he lays rubber at every turn on the way to his local nightspot, a one-story fake log cabin called “The Stone Anvil” in a clearing along the side of Route 322, near the brook.

Here he is meeting four of his compadres for an evening of shot drinking, antler waving at the local band, putting divots in the pool table, and chick ogling. Moose have needs for companionship and intimacy, just as we do.

Fortunately, moose usually are too impaired to engage in effective pursuit or seduction. However, there are whispers that some of the beehives and deer hats sported by the locals cover nascent bumps on their skulls…and conceal scarlet “M”s on their foreheads. The next time you are in a bar on a Connecticut state road with a three-digit route number, you will see them, if you look carefully in the shadows. These tragic creatures, the inevitable result of moosily rocking out and looking for love in all the wrong places, are as yet unexamined by eugenicists.

How do I know about this terrifying underclass? Am I an anthropologist? No, I have simply observed these lost creatures huddled in dark corners in Connecticut taverns for over thirty years in the course of my career as a journeyman musician.

I knew nothing of moose as a child. As far as I was concerned, they were creatures in story books, or animals in cages at the zoo. I first encountered them shortly after I started working professionally as a musician. Around that time the drinking age in Connecticut went down to eighteen from twenty-one. Correspondingly, there was an increased demand for mediocre bar bands capable of further numbing the already limited sensibilities of local drinkers. Eager to experience the thrills these gilded palaces of sin offered, and big for my age, I was sixteen or seventeen when I started playing in bars.

It was then that I started noticing the moose, who frequented the roadhouses I played along with bikers, farmers, and factory workers. Hanging out by the pool table, the moose would discuss the best places to buy used auto parts for their customized pickup trucks and Ford vans, in between digging chunks out of the table felt with their hooves as they shanked the cue ball, or denting the pinball machines while trying to tilt them.

Arriving early in the evening, the moose mostly did shots of bar vodka, Seagram’s, or Four Roses. Then they chased them with bottles of Narragansett beer, arguably the worst beer ever made in the continental United States. (Or Miller ponies, the second worst beer ever made in the continental United States.)

Fortunately for all of us, Narragansett beer is no longer available. It was made in Rhode Island, along with Carling Black label, which I think you can still find, but should avoid. This was back in the early seventies, when there were still large regional breweries and brands. Most of them were bought out in the late seventies by the megabrands like Annheuser-Busch. Then the microbrewery fad arose as a response to the homogenization of the market in the late eighties. There were also great regional brands like Genesee, which you can still get in upstate New York.

Rolling Rock beer is also a survivor of that era. Some of the more intellectually evolved moose would drink it. But of course the luxe beer for moose is…Molson!!! Jack Daniels or Heineken was not in their budget. Moose are far more interested in results than process.

After ten or fifteen shots, the normally reticent moose can become quite loquacious. Having spent quite a bit of time on gigs over the years talking to them while trying to get around their antlers to reach the bathroom, I have learned quite a bit about the moose and their world.

Moose do speak English, but their vocabulary is limited, and mixed with words of their own dialect. This makes them difficult to understand, which generally suits them. Through long practice, however, they can clearly pronounce the names of the brands of liquor they can afford.

Early on, I learned that moose do have a sense of humor, but it’s very different than ours. As best I could tell, they think it’s hysterically funny for moose to be seen drinking Miller or Bud ponies. Moose also favor those yellow John Deere caps turned backwards. They seem to think that the sight of a moose wearing a cap that says “Deere” on it is the height of comedic sophistication. For some reason, they are also partial to “Eight Is Enough” reruns, and have a deep respect for the Fonz, whom they revere as inexplicably as the French revere Jerry Lewis. (I think they like his brown jacket and suave approach.)

Although they can be quite frightening in groups, the social situation of moose in rural Connecticut is actually rather sad. The moose (and the moomans, as they themselves call the largely silent, bumpy-headed hybrids; any hint of moose in one’s ancestry classifies you as a mooman) live a tenuous existence on the fringes of rural Connecticut society.

The difficulties for moose begin early, in elementary school. Although they excel at outdoor sports, moose have trouble with grammar and algebra. They are also not much on bathing, especially during the winter, which leads to taunting from their schoolmates.

Moose are proud, stubborn creatures. When they get frustrated, they act out. Most of them spend the majority of their school careers in detention, scuffing their hooves on the waxed floor as the hapless teacher looks at his watch, counting the hours to dismissal.

For all their size, the moose usually slip through the public schools in the smaller towns without much fuss. The schools are as eager to see them leave as they are to get out, so both sides try to make the transition as painless as possible. It is after the age of sixteen, when the moose can leave school legally, that they start causing trouble.

Moose start going to bars very young, as early as eighth grade. They are too big to card. The bouncers are not equipped to handle them, so they come into the bars even if they are underage. And those antlers are really lethal in a bar fight, of which I have seen too many.

Moose don’t get into fights that often, but when they do, there’s a special garage behind the station where the police shoot them with horse tranquilizers and leave them there to sober up. Even in western Connecticut, people don’t get swacked enough to pick fights with moose very often.

Not having social security numbers, the moose are not subject to either taxation or the draft. They earn the cash to maintain their vans, buy drinks and other mind-contracting substances, and replace their Lynryd Skynyrd eight-tracks by doing odd jobs in the summer and working on snow removal crews during the winter months. The moose have a tribal council that enforces a modicum of internal discipline (and acts as their liaison to local government), but they present a unified front (known as the Furry Brown Wall) to the outside world.

The local police and the moose have an understanding. If one of them is pulled over and the cop sees antlers, he writes the ticket and hands it into the window without checking the registration. The moose brings it to the tribal council, the treasurer (a mooman with access to a bank account) cuts a check payable to the town, and everybody’s happy. Fortunately, despite their appalling graduation rate and poor literacy skills, moose are very good drivers. That, coupled with their high tolerance for nefarious substances, means they crash their vans much less often than you would expect.

The moose and the locals have a peculiar symbiotic relationship. The moose (and moomans) perform unwelcome and tedious jobs that the community needs done, often at less than minimum wage. They work long hours without complaining, and largely stay out of sight apart from their sojourns in the local taverns. Anti-bureaucratic to the core, the moose fiercely resist any attempts to assimilate them any further into local society.

Moose, of course, don’t vote, but they do attend the town meetings religiously, gathering en masse in the back. They scratch their hooves, toss their antlers, and snort ominously if the discussion veers in a direction they find threatening. This is usually sufficient to change the subject.

For their part, the locals respect the work ethic of the moose and appreciate their convenience, but are deeply embarrassed by their presence, particularly the existence of moomans. If you bring up the subject of moose, they will deny any knowledge of the phenomenon. Or, if you point out evidence of their existence (such as hoofprints near the town snowplow), they will claim that the moose don’t actually live there, but really are from the next town over and are just passing through.

Both groups have their own reasons for not publicizing the situation. This conspiracy of silence has prevented any serious academic examination of the phenomenon. And what rumors have reached the larger cities of Hartford and Springfield, Massachusetts are usually dismissed as the drunken ravings of stir-crazy farmers.

So the moose have persisted over decades, a slightly whiffy, shadowy group clinging stubbornly to the fringes of rural Connecticut life. If they ever figure out that they are a minority and learn to manipulate EEO, or start making hip-hop records, we are all in for it. However, fortunately for all of us, their interests tend toward the immediately sensual rather than the careerist.

But if you find yourself in a small town in northwestern Connecticut and drive by a bar that has vans parked outside with antler-sized dents in the roofs, you’ll know that you’re on their turf. And if you hear a ragged chorus of “Gimme Three Steps” echoing through the parking lot around closing time, you are well advised to keep driving.