Things have been downright tumultuous around here.
I wanted to get in the habit of blogging more often so I could hold myself accountable on the recording side of things. I haven’t managed to do that. I have been making good progress with the album. I’ve also had to accept this sad truth: there’s no way to get it finished in time for the show. It’s turned into too tight a race. I can get it close, but not all the way there.
This is a handbill the wonderful Katie Schram designed for me.
Beautiful, isn’t it?
It would be great if I could print a bunch of these and start handing them out to people. I can’t. For the first time in my life I have promotional material I can’t use, because the show it’s supposed to promote isn’t going to happen.
First my trombonist pulled out after committing to the show. Then my cellist stopped talking to me with no explanation. Before long my drummer was out of commission and unreachable, the only person I could get to agree to show up for a rehearsal was the bassist, and many of the most important musicians either wouldn’t acknowledge me at all or were pretty vague about when and if they might grace me with their presence.
Sounds a bit like a lame comedy sketch.
You might say, “Well, the musicians involved in this are talented enough that they don’t need much preparation. They could turn up the night of the show with a single rehearsal under their belt and fake their way through it just fine.”
Even if that’s true, the whole “rehearse very little and pray for a miracle” approach doesn’t work for me. It never has. It would be one thing if we were a band with some history. We’re not. I’ve only worked with these people one-on-one in a recording situation. Playing live as a group is a very different beast. You need time to build chemistry and work out arrangements.
I’ve played as a supporting musician in bands that half-assed everything and hoped for the music to glue itself together in the ninth hour. None of those performances were anything to write home about, and I was always a nervous wreck onstage. Why would I want to put myself through that when the music is my own?
The last time I played at Mackenzie Hall I had a three-piece band. We only had six or seven songs we needed to learn as a group. The rest of the show was made up of me doing solo pieces. We must have rehearsed a dozen times over a period of three months. The idea was to get to a place where we were comfortable enough with one another to take off on an improvised tangent in the middle of a song and navigate whatever twists and turns it took with confidence — to be able to pick up on tiny physical cues and execute pin-point dynamic shifts.
We put the work in to toughen ourselves up until we were a real band, and it paid off big time at the show.
That isn’t going to happen this time. Even if every necessary piece of the musical puzzle showed up to rehearse for every Saturday that’s left between now and August 17th, I don’t think there would be enough time for us to get good. At best we would be okay. And that’s not going to cut it.
I may go out of my way to leave mistakes and human moments in my recordings, but I care a great deal about what I do. I’m not going to half-ass my first serious live performance in eight years and the biggest show of my life to accommodate the absent asses of others. If people can’t be bothered to show up and put in the work, there’s no point in losing my mind trying to salvage something out of the chaos. I won’t march into a public humiliation out of some misguided sense of duty, and I didn’t work to get that grant so I could pay people for being a bunch of fucking deadbeats.
I wouldn’t be able to rehearse now anyway. All the stress has caught up with me and made me sick. Ain’t that a kick in the nuts?
I already had my mind pretty much made up about cancelling the show before I got sick, but I took some time to think it over. During my thinking-it-over time, the ghostly cellist popped up to say she’d be available to rehearse about three weeks before the show. As if that would somehow be enough time to get up to speed when she’s never played any of these songs before. The person who was supposed to be my main backup vocalist and a fill-in lead singer for other absent vocalists said she wouldn’t have any time to rehearse with me until the end of July — this after telling me she’d be available to start getting together in early June. Better yet, after letting me believe for months that she was going to be an integral part of the show and one of the main performers, she changed her mind. Now I could only choose three songs I really wanted her to sing on. That was all the material she felt like learning.
There’s no putting a good face on this — she lied to me. She misled me about the role she was prepared to play and how much time she was willing to set aside for me. She’s second-billed on that handbill up there. Someone who’s a glorified walk-on guest doesn’t deserve to be second-billed. And I don’t care how busy you are. If you’re not going to be honest with me, I don’t want to know you.
Any doubts I had about cancelling the show died a violent death right there.
The singer who didn’t want to do much singing wasn’t the only person who was full of shit. Not by a long shot. It’s as if some of these people believed the simple act of attaching their names to my show should have been satisfaction enough for me, and whatever near-nonexistent amount of effort I could get out of them beyond that was supposed to be a bonus.
Someone told me, “You have to understand…most musicians don’t operate the way you do. They have their heads perpetually stuck up their own asses, and their main concern is themselves. That’s just the way they are. You can’t take it personally. It isn’t about you.”
How am I not supposed to take it personally? What other way is there to take it? “Laziness” is not a valid excuse to me. You don’t get to treat your so-called friends like dirt just because you’re talented.
Actually, let me correct that: in most cases you do get to treat your so-called friends like dirt. A lot of people get away with being pretty awful human beings because they have some amount of talent — or at least the ability to convince others they do — and they can be charming and ingratiating when they feel like it. I don’t swim in that ditch. A talented piece of shit is still a piece of shit.
You can make all the excuses you want. My music is who I am. You blow that off and you’re blowing me off. It doesn’t get much more personal than that.
I understand now that I made the tactical error of devising a show that relied on a large supporting cast of characters in order to succeed. Many of the most important players let me down. My dream was to give a multi-faceted gift to the community through music and visual art. The indifference of my peers has decimated that dream.
So I’ve cancelled the dates at Mackenzie Hall (dress rehearsal and performance), and a week ago I gave the grant money back to the city. I refuse to compromise my vision to the point that the show no longer resembles what it was supposed to be. This was going to be something special. It was the culmination of more than five years of work. I put it together a specific way and worked my ass off to make it a reality. Limping into Mackenzie Hall with some half-formed version of what could have been would feel even more like defeat than pulling the plug and walking away.
Could I have done something with just a rhythm section? Sure. Could I have done a one-man show? Yeah. But I’ve already done both of those things at Mackenzie Hall (and I think I did them pretty well). I have no desire to repeat myself.
Most of the people who were going to be my “special guests” were great at communicating with me. I didn’t have to chase them. I’m grateful for that. Darryl and Christy Litster, Ron Leary, Jess O’Neil, Jim Meloche, Dave Dubois, Natalie Westfall — all these folks have been wonderful every step of the way.
In the end, it just wasn’t enough. I felt like I had one big show left in me. This was it. Now it’s dead.
I should have opted for that CHICKEN ANGEL WOMAN ten-year anniversary show after all, eh?
Lesson learned — I won’t try to do anything like this again. And if anyone accuses me of being a weirdo recluse who doesn’t play well with others after this, I will bite their head off and spit it back into their jagged blood-spurting neck hole.
You might think this is an extreme overreaction to a situation that wasn’t beyond help. Unless you’ve been through it, you have no idea what it’s like to put your heart and soul into something like this only to watch it collapse in slow-motion. You can’t force people to show up. You can’t force them to care.
I’m told I’m the first person in the history of the ACHF to refund their grant money. It felt like the right thing to do. The event as I pitched it to the jury ceased to exist, and I didn’t want to abuse the system. I know there are people who do that and get away with it. I would rather be honest.
Maybe someone else with better luck will be able to use the money to realize a dream that’s more realistic than mine was. I hope so.
I’m not as disheartened as all of this might make me sound. I’ve gone through the grieving process and more or less made my peace with things not working out. As a wise woman once said, “[You] can’t hug every cat.” I won’t pretend it isn’t disappointing, though. I was pretty proud of the set list and supporting cast I put together. I think it could have been a night to remember.
We’ll never know now.
On a lighter note, the J, K, and L keys on my MacBook stopped working a few weeks ago. Every once in a while I could mash the other keys around them and trick them into cooperating with me for a little bit. After a few days my subterfuge no longer did any good. I was hoping it was just some dirt on one of the contacts. Nope. Had to get the whole keyboard replaced. That was a $200 expense I could have done without. At least the people at Experimax were great to deal with and they fixed it the same day I brought it in.
You don’t notice how much you rely on certain letters until they’re no longer accessible to you. The S key on my crusty old video-editing laptop died years ago, but it’s easy to work around. All I have to do is copy an S from an existing document or file and paste it whenever I need it. When you have to do that with three different letters it becomes much more frustrating and time-consuming, turning what should be a two-minute email into fifteen minutes of tediousness. It’s nice to be able to type freely again.
It hasn’t all been janky laptop keys and crumbling dreams of ambitious live shows over here.
For the better part of twenty years I’ve been trying to track down video footage of my March 2000 performance at the Air Jam (Walkerville’s quirky name for a talent show). I’ve mentioned this a few times before.
I knew of two tapes — the one Gord’s high school girlfriend Amanda filmed, and the one the school filmed. I saw both of them in the summer of 2000. Then I never saw anything that was on either tape again.
I started trying to talk Amanda into letting me borrow her tape so I could make myself a copy when we were still in school. I kept trying after we graduated. Nothing happened. When Facebook came into our lives I started pestering her over there. I tried to get Gord to help. After a lot of false starts, in 2010 Amanda said she had the tape I was after. I rejoiced.
My rejoicing didn’t last long. I spent a month or two trying to arrange to get that tape from her. I offered to pay her just for showing up. It didn’t do any good. She was either noncommittal in her responses to my messages or she ignored me. She wouldn’t give me her phone number or her address, so I couldn’t go to her. I was stuck in limbo.
I nudged Gord into sending her some messages in 2014 and 2015 when we were working on STEW. He said he thought there might be some kinky business on the tape, explaining Amanda’s apparent reluctance to share it with either one of us. I told him to tell her I would give her the money to have a video place transfer the tape into a digital format herself, allowing her to snip out anything she didn’t want me to see. That didn’t do the trick either.
In 2017 I sent Amanda one last heartfelt message. I told her this was a piece of my musical history I felt incomplete without. I explained how much it would mean to me if I could somehow see it again. I also wanted to try and incorporate whatever archival material I could into the DIY documentary I was — and still am — making about YEAR OF THE SLEEPWALK. This stuff was the Holy Grail of archival material.
She wrote back and apologized for the long silence. She said she wasn’t sure what tapes I was on, but she was able to narrow it down to seven possibilities. Years ago she bought some equipment so she could transfer the tapes at home. Then her camera stopped working and she gave up. If I was willing to transfer the tapes myself, I could have all of them. All she asked for in return was that I make her copies of the digital files.
Gord was supposed to swing by her place and grab the tapes before bringing them to me. He couldn’t do a thing with them, and he sure as hell wasn’t going to help pay to have them transferred. He was just another barrier between them and me. It would have made a lot more sense for me to pick them up myself. I couldn’t do that. Amanda still wouldn’t give me her address or phone number.
I don’t like relying on other people for things like this, but I left it in Gord’s hands. He rewarded my trust by almost ruining what looked like my one real shot at a happy ending. The night he was supposed to pick up the tapes, he blew it off.
This is a guy who’s known me since I was fifteen years old. He knew how long I’d been trying to gain access to this material. He knew what it meant to me. And he couldn’t even take five minutes out of his beer-drinking time to make good on what he told me he was going to do. He didn’t care. It didn’t mean anything to him.
I was ready to end our friendship right there. Lucky for him, Amanda took time out of packing for a vacation to bring the tapes to his door, and he was forced to pass them on to me.
Victory at last? No. Not quite.
I paid Unique Video Systems to convert all those 8mm tapes into MP4 files. I found some great footage I didn’t know existed — some of it featuring a skinny, beardless teenage version of me. But the Air Jam footage wasn’t there.
I told Amanda. She dug up some more tapes. This time I wasn’t on any of them.
I was discouraged but not defeated. There was still the matter of the second tape — the one filmed by the school.
I emailed John Vacratsis. He was a teacher involved in all kinds of art and media-related things at Walkerville during my time there. If anyone was going to know anything about the tape or its whereabouts, it was probably going to be him.
This was the crappiest of crapshoots. I didn’t have a great relationship with Vacratsis when I was a student. He seemed to resent me for not taking any of the music classes he taught, going my own way instead of letting him develop me into another talent Walkerville could be proud of, and he once chewed me out for some material he found offensive on a collage I made for grade twelve English class.
(That our English teacher, who was really a transplanted drama teacher, would have us making collages like children and answering questions about movies untethered to anything in the curriculum so he would have something to base our grades on without having to teach anything that resembled an English class — that was the more alarming issue to me than some goofy thing I put on a collage. But never mind.)
I expected Mr. V to remember me as a troublemaker if he remembered me at all. It didn’t matter. I would play nice in an email and see if it got me anywhere.
To my amazement, it did. He sent me a very kind response and tried to help as much as he could. He gave me the names of media students who might have been operating cameras on that day, he gave me the name of a media teacher who was still teaching at Walkerville, and he wished me luck in my epic quest.
I felt a renewed sense of purpose. Now I had something solid to work with.
One film student said he remembered my performance but didn’t know where the tape might be. The others ignored me. I wrote a letter to the media teacher outlining my plight, with a few albums included as thanks, and left it for him at the front desk.
Stepping inside my high school for the first time in almost nineteen years was a bizarre experience. I was happy to see they now had an upright piano in the hall and anyone was welcome to play it. I sat down and noodled a little. There wasn’t much volume or tone there, but hey, a real piano is a real piano.
Something about being there made me angry. No one was unpleasant. No one ogled at the long-haired bearded guy who was way too old to be a student. I don’t even have that many bad memories from high school, so it wasn’t a matter of old hurts coming back to haunt me. Believe it or not, I wasn’t an outcast or a loner. I was one of those odd students who managed to become popular and well-liked by refusing to be anything other than myself.
Maybe it was just one of those days.
Mr. Allison — the media teacher — sent a very thoughtful email in response to my letter. A lot of people probably would have blown me off, but he did some detective work on my behalf. What he found out wasn’t encouraging. In the days before they had digital video equipment, the school would routinely reuse and record over existing tapes instead of buying new stock. Everything pointed to the Air Jam tape being one of many victims of this recycling program.
This was it. The end of the road. There was no one left to talk to, no lead left to follow, and there were no tapes left to digitize. I was a few hundred bucks poorer and no closer to that Holy Grail footage. There was no reason left to believe it still existed. I had to accept that maybe I just wasn’t meant to ever see it again. Maybe all my efforts had been for nothing.
A few weeks ago I got a message from Amanda. She told me some things that did a lot to explain her apparent standoffishness over the years (I always assumed she never liked me; turns out it had nothing to do with me). She also told me she found three more tapes while going through some things in her basement. She didn’t know what was on them, and she thought it was mostly personal stuff, but she figured it was worth sharing them with me just in case.
I brought those tapes to Unique Video Systems and got my MP4 files. I went through them at home. The first tape had footage from Amanda’s trip to visit a post-high school boyfriend in 2002. The second tape was full of video messages she made for that same boyfriend and some bits of her hanging out with a few friends. I took a look at what was on the third tape and braced myself for more disappointment.
I saw some chunks of what looked like high school performances. I jumped to a random place in the video and landed on an image of myself seated at a digital piano, wearing a black t-shirt and blue jeans, and I knew at once what this was.
The 2000 Air Jam. The Holy Grail.
This is what I’ve been chasing for my entire adult life. There was no reason to believe I would ever find it. Now I have it on my hard drive. The absurdity of it all is still sinking in.
I’d chalk that up to the best $61 I’ve ever spent.
Some backstory might help explain why this footage means so much to me, and why unearthing it feels a bit like winning the lottery.
Gord and I tried out for the Air Jam for the first time when we were in grade ten. The “brain” of my very tiny home studio was a Roland VS-880 digital mixer/hard disk recorder. I didn’t have a CD burner that was compatible with the mixer. We recorded a few passes at John Lennon’s “How Do You Sleep?” and the Clash’s “Should I Stay or Should I Go?” and I dubbed the best takes onto a cassette tape. A friend’s sister was part of the group of students organizing the show. I gave the tape to him to give to her.
We didn’t get in.
Later that same school year, a few other students announced they were putting together something they called an Arts Night. It was really just an after-hours Air Jam. Gord and I auditioned in the music room. We did a rowdy version of “Sweet Jane” (the original Velvet Underground arrangement, not the Cowboy Junkies remake) and I did John Cale’s “Paris 1919” alone at the upright piano.
In those days I had this idea that playing cover songs was a better bet than playing my own material live. I’m not sure why. At least I had good taste in covers (I think). Before settling on those two songs, the Talking Heads track “Drugs” was another consideration.
We passed the audition with flying colours, but the students in charge didn’t feel like putting in the necessary work to make the show happen (sounds familiar, doesn’t it?). It died before it even got off the ground.
In grade eleven, Christian Masotti was one of the head organizers of the Air Jam. We were good friends. We respected each other as musicians. This time I knew I would make the cut. Auditioning would be little more than a formality.
My idea was to flesh Papa Ghostface out with another member or two. I had some classes with a guy named Isaac Osmer. I got the chance to jam with him a little when I played another John Cale song in the music room one day before the morning bell. Mr. Ross kicked me out before the song could really get going, but Isaac seemed like a solid drummer and a nice person. When I suggested we do something together sometime, he said he was into it.
Then Christian and my pal Jesse almost sabotaged the whole thing.
Jesse wanted to put a band of his own together for the Air Jam. He wanted Adam Cohen on drums, Max Marshall on lead guitar, and me on bass. He had a song about a young boy losing his mind called “Something in the Attic”. After recording a whole slew of songs with Jesse that didn’t stray far from acoustic love song territory, I was kind of looking forward to being his bassist and rocking out a little on something dark and moody.
Jesse wanted more time to prepare. He had friends on Agora — Walkerville’s student council, named for the public square built in Athens in 500 BC. He pulled some strings and convinced Christian and the other Air Jam organizers to put on two shows instead of one. He claimed he needed the extra time to study and get some of his grades up.
No one believed that story for a second, but he got what he wanted.
Two shows didn’t sound like such a bad idea at first. Christian told me the plan was to have the first show at the end of March. The focus would be on solo performers — students strumming acoustic guitars and wailing cover songs, Faith Hill clones singing to pre-recorded country music on cassette tape, and the like. Two months down the road, the second show would be for full bands and performers who wrote original material. This way everyone would have a chance to shine.
With that kind of structure, it seemed to me the first show would be boring beyond belief and all the good stuff would land in the second one. I told Christian I was putting a band together and had no problem pulling double duty in the second show, backing Jesse up in his band before stepping into the spotlight with mine. Even if we didn’t get anyone aside from Isaac to play with us, Gord could move over to bass and I could play guitar or keyboard. I thought a drummer would give our music a whole new punch.
When the lineups for both shows were posted on the bulletin board in the hall, I did a mental double-take. It wasn’t at all what Christian told me to expect. Neither show had any real theme or focus. Bands, karaoke singers, and solo acoustic performers were thrown together with no apparent thought given to who went where.
Jesse was in the second show. I got bumped to the first one against my will. I didn’t have Jesse’s connections. There were no strings for me to pull. And it was March already, so there would be no time to get tight with Isaac now.
Hot on the heels of that foul-smelling revelation, I learned I wasn’t going to be playing bass with Jesse anymore. Max never showed up for rehearsals. Instead of moving forward with a three-piece band, Jesse decided he would go it alone with an acoustic guitar.
My first impulse was to drop out of the Air Jam as an act of protest. Between Jesse’s machinations and Christian’s shitty organizational skills, I felt like I’d been painted into a corner for no good reason. Then I got a better idea. I would repurpose my frustration and blow it out of my system during our performance. Maybe it would just be the two of us on the stage, but that didn’t mean we couldn’t pull out all the stops.
“Fuck ‘em,” I said to Gord. “If they’re going to screw up our plans, we’ll give them something to remember us by.”
The song we chose to perform was “Pacing the Cage”. It was the first song Gord and I ever wrote together. We ran through it once and knew we wouldn’t have to run through it again. It was in our blood.
There was one mini-rehearsal at school. Everyone played truncated versions of the songs they were going to play at the show. They cut us off halfway through “Pacing the Cage”, just as I was starting to ramp up my voice.
The day of the first Air Jam show, Gord and I slipped into the auditorium after lunch to see how things were going. There was only one mic stand on the stage. I asked Christian if they had any more. He said no. That wasn’t going to work with Gord playing acoustic guitar and me singing at the same time, and I was pretty sure there were other performers who would need more than one mic stand. I walked home and grabbed a few SM57s and mic stands of my own to lend to the cause. It was one of the many times living a two-minute walk away from school came in handy. I also grabbed my acoustic guitar, my harmonica, and my harmonica holder, though I had no idea what I might need them for.
There was no keyboard on the stage. Christian told me I would probably be able to borrow one from one of the music classes. A few teachers turned me away before someone told me I could use one of the two keyboards collecting dust in the back of their classroom. Jesse saw me and wished me luck in the show. Then he asked me what I was doing in his class. I told him I needed a digital piano for my performance.
“One of those is no good,” he said. “It’s got sticky keys.”
I thought I’d try them both. Neither keyboard had any internal speakers, so Jesse grabbed one, I grabbed the other, and we carried them to the auditorium along with a keyboard stand.
The one with sticky keys wouldn’t make a sound. The other one worked, but it only had sixty-one keys. It felt like a toy. The piano sound was thin and one-dimensional.
I tried to set it at a good volume so I wouldn’t have to mess with it later. Jesse climbed up on the stage, sat down at a drum kit that was set up behind me, and started playing. He noticed my harmonica.
“Can you play that thing?”
“Sort of,” I said. “I just play chords on it most of the time.”
“Play something, man!”
I blew a few chords into a microphone. Jesse laughed. “Is that all you can play?”
“It makes more sense when I’m playing the guitar or the piano at the same time.”
“Is it just you and Gord playing?” he asked me.
“Yeah, just the two of us. We were gonna get a drummer to play with us, but we were moved from the second show to the first. That threw things off a little.”
“I could have played drums for you. Why didn’t you ask me?”
“I never even thought to ask.”
“What’s your song like?”
I played a bit of “Pacing the Cage” for him. He hammered out a steady 4/4 rhythm. It was all wrong for the song. I tried to explain how I needed something more along the lines of a polyrhythmic funk beat, where the snare didn’t fall on the two and the four. He asked me to give him an example. I took his place behind the drums for a minute and showed him what I meant.
I moved back over to the keyboard. Jesse started playing the same 4/4 beat again.
“The song’s okay without drums,” I said. “It’s way too late to figure it out now anyway, and it wouldn’t sound right without bass. But thanks for the offer.”
When it was time for the show to start, I met up with Gord in a hallway that led to the stage wings. It dawned on me that I left my leather jacket on one of the chairs in the front row of the auditorium. I waited until Cerah Steele’s band finished their three-song set and made my move during the brief lull between acts.
Then this happened.
I’m almost positive that’s Matt Strukelj screaming, “John West!”
What you don’t see, because the camera didn’t catch it, is me approaching a guy who was sitting on my jacket and asking him if he could stand up for a second so I could grab it. He didn’t move. I asked him again. He looked at me like he didn’t know what words were. The people around him had to liberate it from beneath his uncomprehending body.
Back out in the hall, Christian was trying to get a handle on the chaos swirling around him. No one knew when they were going to get their turn to perform. A tentative list was taped to the door, but it was incomplete and subject to revision. First we were supposed to be the third-last act. Then we got pushed to second-last. We would have been dead last, but Steve Mitchell was slated to close the show.
All along we were told to prepare one song. Now Christian was telling me we might have five minutes, and we might have ten. He couldn’t offer a definitive answer one way or another.
“Pacing the Cage” was good for four or five minutes. There was no way to stretch it out to ten. Gord and I took our acoustic guitars to the outside of the front entrance of the auditorium where things were quieter, tuned up, and tried to figure something out. We had four full-length Papa Ghostface albums to draw from by now, plus the in-progress SHOEBOX PARADISE, but a lot of our songs were improvisations that were never revisited after we recorded them, and nothing jumped out at me as being appropriate for a school performance. What could we pull off with no time to practice?
We could do “Fatties”. That would be a hit with all the pot-smokers. But the vicious impressions of a few well-known teachers wouldn’t go over so well, nor would the sex talk. We’d be remembered for all the wrong reasons.
There was “Ballad of Bob and Marie”. It was simple enough. Just a few chords. I wasn’t sure how many students would appreciate a song that was little more than a vehicle for my Bob Dylan impression, but I thought I remembered most of the words from the initial improvisation.
We recorded this song for the double-CD HORSEMOUTH (AND OTHER BEDTIME STORIES) on August 17, 1999. It was the day after my sixteenth birthday, and twenty years to the day before the doomed Mackenzie Hall show was supposed to happen. We started out with a little live instrumental improv. I got a drum loop going on the Yamaha W-5, ran it through a distortion effect built into the synth, and played synth bass with my left hand and an atmospheric synth pad with my right. Gord made barking dog sounds with his electric guitar and a wah pedal. He brought over an old harmonica he had in the key of C, so I strapped it on and blew into it a little.
My grandfather was supposed to call me to wish me a happy belated birthday. I kept thinking I heard the phone ringing, so we would stop recording mid-improv only for me to discover it was the sound of the harmonica’s wheeze tricking my ears. After the third or fourth fake-out he really did call. Once our conversation was over, I thought it would be fun to treat the little instrumental jam as an intro and cut straight to a song that had nothing to do with it. I swapped out Gord’s harmonica for my own and did my best shouty young Bob Dylan impression. After we got down a live performance with me on acoustic guitar and Gord on electric, I overdubbed some shaker and shouted some distant backup vocals. Gord overdubbed acoustic bass.
I remixed this song about a week ago, just before I got sick. It had some serious issues, and if I was going to post it here I wanted it to sound as good as possible. Twenty years ago I knew almost nothing about mic placement, and I knew less than nothing about things like EQ and compression. I would stick an SM57 in front of anything with strings and hope for the best. No surprise then that the acoustic guitar and acoustic bass tracks were muddier than mud, and my vocal track got pretty out of control during some of the more forceful passages with nothing to tame it.
It’s pretty amazing what you can do with a VS-1680 to fix up a mediocre recording. “Ballad of Bob and Marie” was recorded on a VS-880-EX before I upgraded to the sixteen-track machine, so I had to import it into the 1680. Everything past that was smooth sailing. I was able to carve out all the low end mud with EQ. Some limiting got the acoustic guitar and bass sounding pretty crisp and controlled. A little EQ and compression on the vocal and it was sitting right in the pocket.
Everything was done “in the box”, and I left all the original effects intact. The chorus and delay on the lead vocal felt essential. I didn’t want to do anything to alter the spirit or soul of the song. I just wanted to undo some old mistakes.
I can hardly believe how good I was able to make the acoustic guitar sound. It was a crappy instrument to begin with, even before my half-assed recording job. But the real shocker for me is the electric guitar. That’s not a real amp you’re hearing, and this was before the Digitech guitar effects box came into the picture. I plugged Gord’s B.C. Rich Virgin straight into the mixer and used one of the 1680’s built-in guitar amp modelling effects called “Vin.Tweed” (it’s supposed to emulate an overdriven 1950s tube amp). Everyone will tell you Roland’s speaker-modelling technology is beyond outdated now, but to me it sounds a lot more realistic than anything I ever got out of a POD.
I wish I’d thought to start backing up whole albums earlier in the game. I could give some of the early solo and Papa Ghostface CDs a whole new lease on life with just a little tasteful remixing. I did at least back up a few other songs from HORSEMOUTH. Though some of them are things I considered borderline filler at the time, it might be fun to revisit them and see if I can clean them up in a similar way.
I digress. We decided “Ballad of Bob and Marie” would be our second song if we needed one. Just in time, too, because few minutes later Christian told me we were up next. We walked through the wings. Christian asked if we had enough material for ten minutes. I told him we did. We made our way onto the stage. I laid my guitar on the floor and sat down at the crummy keyboard I was stuck with. Gord sat down beside me. Christian helped us both set up our microphones. After making sure my vocal mic was working, I went off.
“All right!” I screamed. The audience screamed back. I felt like a psychotic low-rent preacher.
“I’d like to tell you something before we start,” I said. “Originally we wanted to put a band together, but because of time constraints and being shifted around and shifted around, we weren’t able to do so. That makes me angry! But maybe I’m not the only person in here who’s angry right now. Maybe some of you are angry. Maybe your boyfriend left you. Maybe your girlfriend left you. Maybe things aren’t going too well for you in general, ’cause ain’t life stink? And so, I want you to scream when I tell you to let it out at the end of this song. All right?”
We launched into a version of “Pacing the Cage” that made the original recording sound like a lullaby. I slipped into the skin of the character narrating the song — an unrepentant killer who murders his unfaithful wife and her lover, relating the tale from prison not with pride or remorse, but with the belief that he was hardwired from birth to do something horrible and in committing these crimes he found his true purpose in life. My hands were shaking. Every time I hit a bad note, I mashed the keys and went out of my way to hit every bad note I could. I twisted my voice into a guttural groan when I wasn’t screaming, pounding on the keyboard I hated until I was punching it more than I was playing it. In the absence of a music stand I balanced my lyric sheet on top of the keyboard. All the turbulence sent it flying to the floor.
When the lyrics ran out I addressed the audience again. “LET IT OUT!” I screamed, and a sea of voices screamed back at me. The song dissolved into dissonance and everyone went nuts. We got a standing ovation.
The Bob Dylan piss-take was a little anticlimactic after that, but I felt invincible even with my voice half-shot from the vocal cord brutality of the first song. If anything, the diminished vocal range probably helped my Dylan impression. I lost my pick inside the sound hole of my guitar mid-song and kept going, improvising new lyrics when the adrenaline wiped my brain clean. We got another standing ovation (well, half of one this time) and left the stage to thunderous applause.
Jesse appeared in the wings with a look of bewilderment on his face.
“THAT WAS FUCKING AMAZING!” he shouted at me, giving me a bear hug, my harmonica holder coming between our chests. “I love the way you play guitar! I love it!”
This was almost as shocking as the audience’s response to our performance, coming from someone who just a few months earlier was belittling my “fucking lap guitar” playing as if it was the lowest form of musical expression. For all of our musical differences and the tug-of-war we waged as collaborators (with Jesse trying to get me to write more conventional songs like him, and me trying to get him to let go and get a little weird), it felt like he finally got what I was doing and I managed to bring him over to the dark side, even if it was only for an afternoon.
“I gotta go,” Jesse said. “I just wanted to come back here and see you guys. Fuckin’ amazing.”
Then he was gone, and I was left with a buzz that wouldn’t go away. The afterglow seemed to extend throughout the entire school. Even Steve Mitchell got on board. He closed the show with Steph Sarafianos backing him up on guitar for a version of Van Morrison’s “Brown-Eyed Girl” that was rewritten as “Blue-Eyed Girl” in Steph’s honour.
The first thing he said when he got onstage was, “How about that John West?” and everyone went crazy all over again.
The rest of that day is a bit of a blur to me now. I remember jumping up and down like a manic kangaroo in the hallway with Max and Paul Clairmont (at least I think it was them), feeling a natural high I didn’t know what to do with. I remember walking back to my house with Gord and talking for a minute to Amber Hughes, who was sitting cross-legged on the grass. I remember Gord saying, “She digs you, man.” I don’t think she did. She was just friendly.
That’s about it. The rest is gone, including the weekend that followed.
I wasn’t unpopular before that performance, but it seemed to catapult me once and for all into the realm of “those who are considered cool”. The thing that strikes me now is what an out-there performance it was. There’s no guarantee an audience is going to stick with you when you do something that confrontational and unconventional. It wasn’t even a great musical display from a technical standpoint. It was more about the energy. And to the great credit of that group of students, they were with me every step of the way. I could feel it. Maybe I tapped into some universal angst pretty much everyone feels at that age. I don’t know.
Even some of the teachers got into it. On the Monday after the show, Mr. Zawadski — my math teacher in grades nine and ten — pulled me aside on my way to society class and said, “I have to tell you, John, I really enjoyed your performance. There’s a market for that, you know. It’s avant-garde!”
Along with the grade eight talent show, it was one of the formative musical events of my life. To play your own material live, to do nothing to compromise it or make it more palatable for an audience, and to have a bunch of teenagers — in some ways the most difficult age group to impress — respond like that…there’s nothing quite like it.
I see now that everything going wrong was a blessing in disguise. If things had gone my way and we’d been able to put a larger band together, I’m sure we would have given a good performance. But it probably wouldn’t have turned into interactive musical theatre. It took a perfect storm of inconveniences and injustices to get me pissed off enough to take command of the room the way I did. People still remember that Air Jam performance to this day, which is insane to me.
The second Air Jam show in May was a complete disaster. Half the scheduled performers skipped out on the event, forcing the few who did show up to stretch themselves pretty thin as the emcees improvised lame banter to fill up time. It made the March show look like the best-organized event in the universe. The audience got bored, with a lot of students shuffling out of the auditorium while the show was still going on. Best of all, Jesse — the guy who pressured the organizers into putting on a second show in the first place — didn’t even show up.
I was able to put a full band together for the 2001 Air Jam, but that’s another story for another time.
Now, I know what you’re thinking. You’re thinking, “If you can see the value of turning adversity to your advantage in a situation like that, why didn’t you do the same thing with the Mackenzie Hall show?”
I’m not the same person I was in March of 2000. I watch that footage now and the raw energy on the screen almost scares me. I had a lot of anger taking up space inside of me, most of which stemmed from hearing what a piece of shit I was all the time from certain family members who have been dead to me for a number of years now. I used it as creative fuel on a regular basis. And I was fearless on a stage. You could have chopped off one of my fingers and I would have kept on going and incorporated it into the performance.
I don’t have that wellspring of boundless energy anymore. I also feel like I’ve been fighting against one form of bullshit or another in this city’s music scene ever since I got out of high school, from complete indifference, to being treated as a novelty, to being misrepresented, misunderstood, and lied about by talentless coattail-riding douchebags with agendas.
Even this album I’ve been working on forever has had its share of setbacks. Sure, it’s been a grand adventure. It’s also been another thing: a profound test of my patience, my resilience, and my ability to absorb one rejection after another. You know how many people in this city ignored me, blew me off, flaked out on me, or stood me up on my way to getting almost thirty singers/musicians and a dozen visual artists to contribute to the album?
Many of those eighty-two people claim to have an immense amount of respect for me and what I do. And that’s just Windsor people. I tried to bend my own self-imposed rule and involve some talented folks from Detroit and other not-so-far-flung places, with disastrous results.
For every singer I got to show up and sing on something, another ten either never acknowledged me or made a commitment to work with me only to come up with some bogus excuse to use as a last-minute escape clause. My favourite, though it’s hard to choose, is probably the singer who spent more than half a year sitting with a song and telling me it was right in her wheelhouse, only to claim she forgot her own vocal range the day we were supposed to record. It takes a special kind of idiot to come up with a story like that. It must have taken me twenty horn players to find two or three who would talk to me. And I lost count of how many visual artists said they were enthusiastic about contributing to the lyric booklet and then never spoke to me again no matter how many times I tried to follow up with them.
Maybe it isn’t surprising that for all the guests appearing on the album, more than half the songs still feature me doing everything on my own. If I’d been crazy enough to put an actual band together to play on every song, there wouldn’t be an album. You can’t work with people who won’t show up.
I’m proud of the songs I’ve written and the performances I’ve been able to get out of a colourful cast of characters. It might end up being one of my best albums when all is played and sung. And I won’t ever do anything like it again. I can’t tell you how much I’m looking forward to banging out a guest-free album inside of a few months, the way I used to do it, once this thing is out of the way.
Really, it comes down to a very simple thing — I’m tired. Tired of fighting an uphill battle against a music community that, for the most part, never wanted me around in the first place. Tired of eating shit. Tired of a lifetime of rejection from people who are too apathetic or self-important to have a conversation with someone who isn’t already a part of their selective inner circle.
I want to make music and live my life. That’s it. I don’t have any energy left for the other garbage.
I hope cancelling the show sends a message to the musicians who forced my hand. I take this stuff seriously. I always have. I always will. If you can’t come to the table with at least some degree of reverence, you have no business pulling up a chair.
Note: if you’re wondering why I didn’t post the Air Jam footage, it’s because I feel I’ve already shared more bits than I should have from the SLEEPWALK documentary thing and I’d like to keep at least a few surprises up my sleeve. I’ll probably come back and put it up here once that’s done.