I usually start a post like this commenting on where or when I got the book I’m reading, which is, in this case, Phil Ramone’s Making Records: The Scenes Behind The Music with Charles L. Granata. Honestly? I can’t remember in this case. The book came out in 2007 and I’ve had it in my garage for a while, so maybe it came from the discount area of Barnes & Noble or…who knows? What does matter, is that I moved this to the top of the To Read pile because, well, I wanted to.
I love reading books about music like Sonic Boom or Off My Rocker because everyone who was super into music has wildly unique stories about not just the making of records, but the people they worked with. As it happens, Phil Ramone not only helped revolutionize how records were made, but also worked on records by some of the most iconic and beloved musicians in the history of music including Frank Sinatra, Ray Charles, Barbara Streisand, Aretha Franklin, Paul Simon, Paul McCartney, Billy Joel, Elton John and plenty of others.
Let the end-of-year lists begin! I usually listen to podcasts while working, but I started digging more into the world of instrumental records and scores this year than any other for a little wordless aural pleasure. Here are my six new go-to records when I’m in an instrumental mood.
The Enter The Dragon Score by Lalo Schifrin (1973)
I don’t think there’s much in the way of dissension when it comes to the idea that Enter The Dragon is a brilliant film. But, when watching this year, I also realized it’s got an awesome score by Lalo Schifrin. While making a purchase on Amazon earlier this year, I needed something to get up to free shipping and came across this score for a few bucks. Since then, I’ve been listening to this mellow, action-y, Asian themed music that allows my mind to wander and focus on either work or writing projects. I’m keeping my eyes peeled for more of Schifrin’s work because he was so damn good.
The Budos Band by The Budos Band (2005)
Around the time that I got Enter The Dragon, I tweeted out something along the lines of “Are there any bands that sound like they recorded the background music in Dirty Harry (also by Schifrin) or 70s cop shows?” My pal Justin Aclin responded with The Budos Band and a love affair was born. There’s a certain quality I don’t have the musical vocabulary to nail down that makes this 2005 record sound like it was made back in the 70s by a bunch of guys in huge sunglasses smoking unfiltered cigarettes. It’s basically like Justin jumped in my brain, figured out exactly what I was looking for and then gave it to me. I love this record.
Enter The 37th Chamber by El Michels Affair (2009)
At some point in the year, I came across Truth & Soul records and one of their bands El Michels Affair. They’ve got this record called Enter The 37th Chamber which is actually a series of instrumental Wu-Tang Clan covers. It’s like a more bass and drum heavy, hip hop-infused version of Schifrin’s Dragon soundtrack, which is something I very much enjoy.
Vertigo Score by Bernard Hermann (1958)
The Vertigo score was one of the many cheapo Amazon MP3 records I picked up this year. I haven’t listened to it a ton of times because it really does get under my skin with it’s beautiful, epic-ness but it really did the trick the few times I was looking for that exact feeling. I had a similar, but more intense experience with Hans Zimmer’s Inception score and really haven’t listened to it since that first time. Vertigo is by for the most orchestral record in my collection.
Cannonball’s Bossa Nova by Cannonball Adderley (1962)
Cannonball Adderley is one my favorite jazzmen around. His track “Autumn Leaves” off of Somethin’ Else is one of my all time favorite songs. So, when I saw Cannonball’s Bossa Nova pop up on Amazon MP3 I just had to add it to my collection. Bossa Nova moves a lot more than some of the cooler jazz stuff of his I have, but it’s got great swing and makes for some nice, uptempo tunes to get through the day. This record makes me want to go on vacation REAL bad.
Downtown Rockers by Tom Tom Club (2012)
After reading Please Kill Me, I was curious about any and all bands with connections to that punk/New Wave NYC scene. So, when I saw a Tom Tom Club record for a few bucks and read that the band consisted of Talking Head members, I was in. Turns out, though, that Downtown Rockers is a newer EP with five vocal-and-music tracks, one remix and then those first five tracks without vocals. I like the versions with words, but the instrumentals are just solid, guitar/drum/bass/electronic tracks with a few organs and other layers thrown on top that make for quality voiceless offerings. So, just imagine the above video but without all that singing and you have an idea of what I mean.
I found myself in an interesting mood this morning. Feeling tired and sleepy, I decided to skip the usual morning podcast-listening session in favor of the recently purchased Mulligan Meets Monk record, a Thelonious Monk disc that found the master pianist teaming up with saxophonist Gerry Mulligan.
The experience got me thinking about jazz and my relationship with that musical art form. Growing up, I didn’t hear much of it aside from pieces in commercials, TV shows and movies here and there. It wasn’t until high school that I had my first real exposure to one of the few, truly American art forms.
At the time I had a website — I was very intent on calling it a site and not a blog because I thought the word was silly (it is) — where I would trade bootleg recordings with people. Actually, it’s still up because apparently Angelfire is still a thing. Anyway, out of nowhere I got an email asking if I would be interested in putting a banner ad up on the bootleg trading page in exchange for some swag. I said sure, popped in some code and eventually got a package in the mail from this company I’d never heard of.
It was Blue Note, the biggest jazz label around. I had no idea. Anyway, this happened twice and I wound up getting some records that might not have made it into my regular rotation, but definitely primed the pump for my later love of the genre. I remember getting Soulive’s Doin’ Something, Karl Denson’s Dance Lesson #2 and Charlie Hunter’s Songs From An Analog Playground.
I still listen to these records and am glad that they were the first ones I came across because they opened me up to the idea of new jazz. Unfortunately, for a lot of people, it’s a genre of music that is perceived to be mostly ruled by dead musicians. This is still a vast, evolving art form that new people are doing amazing things with.
I remember being blown away by the way Denson incorporated a DJ (DJ Logic to be specific) into his compositions, Soulive kept things fun and funky and Hunter brought in singers like Mos Def and a pre-fame Norah Jones to help bring his songs to life. There’s a vibrancy to those records that make them worth listening to and also built an interesting foundation for what jazz could be in my mind. This is not a stagnant form and it should not stay static. Art doesn’t work that way, museums do.
The first classic jazz record I ever picked up was Miles Davis’ Bitches Brew. That jazz/rock fusion album probably wasn’t the best place to dip my toe in for either the genre or Davis’ fantastic catalog, but one of my favorite magazines at the time Guitar World, did a huge feature on it and I was interested. Unfortunately, the acid washed improvisation wasn’t something I was quite ready for yet so I only listened to the full double album a few times before shelving it.
It wasn’t until my senior year of college at Ohio Wesleyan that I really continued my jazz journey. I’d pretty much nailed down all my required classes to graduate and decided to take it easy on myself both class and schedule wise. That translated into a very relaxed schedule that included Jazz 110 at the music building, a place I’d only been a handful of times in my college career (it was in a completely part of the campus).
The class seemed split between people like myself looking to get an easy credit and others who were legitimately into this kind of music. And, honestly, it was a pretty easy class. The hardest part came when we were played various instruments and had to write down what they were. That’s not my strong suit and I think I bombed that quiz pretty hard. But the rest of it was pretty basic stuff with a mix of history — tracing the music back to New Orleans — and memorization. For the final I remember listening to a long list of songs because we’d have to name them on the test after hearing a snippet. I’ve always been bad at remembering non-obvious song names, so that was tough too.
The songs themselves all came from the Ken Burns Jazz box set, which we had to buy for class. A lot of kids burned or downloaded it, but I got one (well, my parents got me one along with my other text books which I did feel a bit bad about because I was actually excited about the purchase. Still, I got a good deal on a used one). If you’re even remotely interested in jazz, that box is a great place to start because it takes a chronological look at the form going from old school New Orleans brass band stuff all the way up through Weather Report. In other words, it’s a great sampler.
One of the big things I learned from that class were the different subgeneres of jazz. You’ve got everything from New Orleans and bop to blue, swing, acid, fusion and even jazz-rap. There is a ridiculous amount of music out there that, but the nice thing about the Ken Burns set and the Jazz: The First 100 Years textbook we used is that I got an idea of the form’s spectrum. From there I was able to zero in on the elements and subgenres that interested me most. For instance, I remember reading about Cecil Taylor’s crazy piano playing and then gave him a listen on the box set and realized I wanted to listen to more of that. You can do a lot of this with various websites and YouTube these days, but that’s not where my musical journey took me.
From there, I started exploring the greats. I picked up a couple Benny Goodman records — including one that’s a two disc full concert — got more into the biggies like Miles Davis, John Coltrane, Dizzy Gillespie, Cannonball Adderly and Charles Mingus. I’ve also branched out into some of the odder stuff like Us3, a hip hop group that only sang over sampled jazz licks.
One aspect of jazz that I fell in love with pretty quickly was how dramatic and comic book-like the whole scene was for a while. When I got into comics, I just dove in and started learning all I could about these characters. Eventually I built up a pretty solid mental database of who did what and when various characters teamed up. There’s a lot of that in jazz too. All of these people had these big personalities and crazy backstories. They were part of a band (team) for a period of time and then either moved on to another one or started their own. There’s also all kinds of team-ups all over the place. There’s a drama to the whole thing that sparked my imagination and helped me get interested in not just the music, but the people as well. Projects like The Quintet or Duke Ellington recording with Louis Armstrong hold a lot of appeal for me.
Another aspect of the form — at least the stuff I seem to be drawn to — is that it can be listened to on various levels. I can put something like Monk’s Alone In San Francisco and flow in and out of it while I do work or get some writing done. But, I can also sit and really explore these records, noting how they twist, turn and play with the form. I’m not nearly musical enough to get too in depth with this stuff, but I like a record that you could potentially sit in a dark room with and just experience. A lot of the jazz records I’ve listened to can be that.
While I still check out the jazz section of any used record store I find myself at, the main source of recently purchased records comes from Amazon’s MP3 store. Every month they put 100 albums on sale for $5 each and there’s usually a jazz album or two in there. That’s where I got Mulligan Meets Monk and a few others like Art Blakey & The Jazz Messengers’ Moanin’, Cannonaball’s Bossa Nova, Miles Davis’ seminal Kind Of Blue and even the Willie Nelson, Winton Marsalis and Norah Jones Ray Charles tribute called Here We Go Again.
It’s kind of wild to think that I’ve only been into this form of music for 8 years or so. Sure there were those first few Blue Note records, but those could have easily turned into outliers in the statistical equation of my music collection, a funny story to tell from my online past. What’s even stranger to think about is how separated this kind of music tends to be in the world of pop culture. Jazz just isn’t out there in the pop world as much as other forms, so it’s possible to completely miss it if you’re not looking for something new and different. Now that I think about it, that’s another common theme between jazz and comic books. Anyway, I’m hoping to remedy that a bit with my kid and expose her to this stuff at an early age. I hope she digs that swing!
This is from before the season finale, but I think it still holds true. Courtney Enlow over at Pajiba completely nails the problem with How I Met Your Mother: the creators seem as obsessed with Ted and Robin as Ted is. Also, I completely agree with her inability to really let the show go because we both love these characters so much. Sigh.
This is also pretty old at this point, but I finally got around to reading Robin Williams’ tribute to Jonathan Winters from The New York Times is a really great read.
Brian Collins’ Horror Movie A Day review of Rob Zombie’s Lords Of Salem actually makes me kinda want to watch that movie, something I’ve never said in my life.
Do yourself a favor and read my buddy Alex Kropinak‘s look back at the very first What The-?! he did for Marvel.com.
I like Fall Out Boy and I like artist Dave Perillo, so the two coming together in the form of this Perillo-created FOB poster is fun.
While on the subject of FOB, Andy Greene’s Rolling Stone article about what went on between their last album and Save Rock And Roll was pretty fascinating.
Ron Marz is a whole heckuva lot busier than I am and on a completely different level as a writer, but there’s a lot I can relate to in his “day in the life” piece for CBR as a comic writer.
Man, I have got to see Miami Connection. Not sure if I want to buy the film from Drafthouse without seeing it, but these packs are awfully tempting.
Mental Floss took a walk down memory lane by digging up memories of the Nickelodeon time capsule buried back in 1992 supposed to be dug up in 50 years. I wonder what comic book is in there.
I’ve often wondered what the collaboration between Jimi Hendrix and Miles Davis would have sounded like. Rolling Stone says Paul McCartney was also possibly going to be involved. That might not sound super exciting, but then think about how Paul’s weirdness would have bounced off and been morphed by those guys. Epic.
Bloody Disgusting says a new Gremlins movie might be in the works. I like this news quite a bit.
Hey, speaking of Chris Columbus (he wrote Gremlins) has anyone read his House Of Secrets book? He says it’s the thematic cousin of Goonies in this THR interview which definitely sounds intriguing.
I just read that Alton Brown‘s going to have a podcast on Nerdist Network. This is very good news.
Finally, this is pretty heavy, but if you’ve ever felt depressed, you can probably relate to the most recent Hyperbole And A Half post. It’s long, but it’s really well done too.
It doesn’t feel completely accurate to say that my wife and I like Christmas music. We freaking love it. We both come from homes that celebrated old school classics as well as newer material. As a result we have a pretty solid and impressive collection of Christmas music. In fact, we actually have an iPod dedicated specifically to Christmas music. When my wife got a new iPod, we took her old mini (which very appropriately is green), cleared out all the old stuff and loaded it up with holiday tunes. As soon as Thanksgiving’s over, we pop that bad boy on and dig those tunes until Christmas. I figured it would be a good time to lay down a list of some of my favorite records to listen to around this time. Hit the jump to dig these crazy tunes. Continue reading Christmas Stories: 12 Of My Favorite Christmas Records Of All Time
I’ve been doing more off-line reading lately (hence today’s About A Boy review) and the kid’s been exploring her sleeping options lately, so I haven’t been sitting down and reading things on the computer as much lately. Anyway, here’s the things I dug from the past few weeks.
I talked to Robert Kirkman about the 100th issue of Walking Dead, Geoff Johns and Jim Fletcher about DC Collectibles and Steven T. Seagle about Batula. My dude Rickey Purdin did such an awesome job with this Street Fighter piece over on the Sketch Attack job that I want it on my wall.
I enjoyed this Robot 6 interview with Kevin Huizenga.
Rolling Stone posted this 2006 feature about Fall Out Boy talking about them rising to stardom. That’s about the time I started listening to it, so it was fun reading it, especially now that they’ve broken up.
Chris Cornell talked to Rolling Stone recently about the upcoming Soundgarden record and the song they created for The Avengers. I really, really like this James Bond 50th Anniversary poster by Max Dalton (who sounds like a Bond character himself).
Get yourself frozen in Carbonite at this year’s Star Wars Weekend!
I’ve been catching up on every episode of The Nerdist Writer’s Panel which focuses on TV writers, so this THR photo batch about show runners was very interesting. Lots of crossover.
I just heard today that Van Halen cancelled the rest of their tour mysteriously. Glad my dad and I saw them when we did. Anyway, before all that Esquire did interviews with Eddie and Wolfgang Van Halen that I found enjoyable. I love these OMFG figures from October Toys.
I have a lot of ideas for a post about MCA’s passing, but while I’m still organizing all those thoughts, I really enjoyed Perry Farrell’s take on things for Rolling Stone. I am fascinated by that late 80s heavy LA club scene, man.
I’m not what you’d call a Gin Blossoms fan by any means, but I found lead singer Robin Wilson’s very realistic and honest take on the 90s nostalgia that he’s a part of refreshing (via Rolling Stone).
One more Rolling Stone link, Living Colour’s Vernon Reid started a jazz fusion supergroup with Jack Bruce, John Medeski and Cindy Blackman Santana. This makes me VERY excited. Oh goodness, Joao Carlos Vieira’s Spaceman Spiff drawing for Ashcan Allstars was AMAAAAAAAZING.
Wired‘s look at an old school fortune cookie factory was pretty darn interesting.
Neil Marshall is great, so I’m excited that he’s working on something called The Last Voyage Of The Demeter, which is about the boat that Dracula rode in to get from Transylvania! Sounds rad. (via THR)
I will be studying Esquire‘s list of six summer cocktails, but I’ll probably just wind up drinking strange mixtures of whatever I have on hand.
Oops, here’s one more Rolling Stone link, apparently there’s a whole album of Joey Ramone tracks ready to be released called …ya know? I really like Don’t Worry About Me and of course everything Ramones, so this should be interesting.
Finally, Louis CK has some more awesome stuff on sale for $5, check it out!
My friends Alex and Elizabeth and their bandmates in The Faulkner Detectives just got signed to Livid Records!
I need to get some bitters so I can try Michael Ruhlman‘s recipe for an Old Fashioned.
I love what Mark Waid is doing with Thrillbent (which launches in a few days now that I think about it). It’s really interesting reading this post about changing how he writes for the new format.
I’ve never heard of Pajiba.com, but I thought this post written by Dustin Rowles about how pop culture sites make money off of annoying pop up ads was really interesting and surprisingly honest.
Wired posted this piece about why the Super Mario movie sucked. Very interesting stuff. I love behind the scenes explanations. The most surprising bit? How little Nintendo seemed to care about the whole thing.
The timing on this one was pretty funny, just after my wife and I purchased a used 2012 Mazda 5, GeekDad did a post about buying the same car!
Jack White is creating these core for The Lone Ranger flick. Not really interested in that movie as of now, but this is a very interesting move. (via Variety)
Speaking of White, Rolling Stone gave his first solo record Blunderbuss a really glowing review, making me even more excited to get my digital hands on it.
Wynton Marsalis isn’t my favorite jazz guy around, but the idea of him teaming up with Paul Simon is very intriguing. I’d like to hear how those tunes turned out. (via Rolling Stone)
Speaking of epic team-ups I read about on Rolling Stone, the Johnny Cash tribute concert featuring Willie Nelson and Sheryl Crow sounds pretty fantastic as well. They even covered a Highwaymen song with Nelson, Shooter Jennings and Kris Kristofferson!
I agree with Robot 6‘s Tom Bondurant (aka Grumpy Old Fan) when he says that DC keeping Batman and Green Lantern continuity mostly the same creates only headaches for the New 52. His assessment of the continuity for those two properties before and after the reboot seem pretty right on.
Finally, congrats on The Fwoosh‘s 10th anniversary. Head over and check out their celebration of a decade on the nets.
Had I been more organized, I would have had this post ready to go on New Year’s Eve or Day, but as it is, I was busy and just didn’t have the time or wherewithal to get it together. I have been doing my research over the past few weeks and have come up with not one, not two, but three music-related best of lists for 2011. Like last year, I will list my favorite new music of 2011 as well as the older records I discovered in the year, but I’m also adding a new section about bands that I really go into this year. I’ll get into more detail when I get to that post, but there will be some albums on that list that could or would have been on this list, so technically, I had more than 10 favorites this year. As always, this list is in no particular order, so here we go. Continue reading My 10 Favorite New Records Of 2011
I originally wanted to write this post the week leading up to this year’s Bonnaroo, but I got busy. As it turns out, though, I’m writing this on the 9 year anniversary of the first day of the very first Bonnaroo. Yeah, I went to there. It was the summer after my first year of college and earlier in the year, while I was home on break, my buddy Toth told me about this new festival in Tennessee. It was three days, tickets were $100 and that included camping spots. I wasn’t the biggest jam band fan in the world, but the line up seemed interested enough and I liked the idea of being able to tell people I went to the first of something I figured would wind up being a pretty big deal (I guess I was right on that point). To make matters better, Toth figured we could head down to Nashville for a few days and then drive the next hour to Manchester and watch the show. Seemed like a good plan to me.
Our days in Nashville were pretty fun, though would have been even better had we been 21. I have a very distinct memory of walking down the main street wherever we were and hearing all this different music coming out of the bars and clubs that we couldn’t get into. We did however find a Charlie Daniels museum (I love the Charlies Daniels Band), ate at a Hard Rock Cafe, went to a few record stores and also got some “rock star clothes” as Toth called them. I still have the redish pink 70s pants and bright green button down shirt I bought there. I also remember having a conversation about this new show called American Idol. Toth thought it was a big deal and I thought it was BS. Guess I was wrong about that one.
On the morning of June 21st, 2002 we packed our crap up, stocked up on food at a grocery store and then went to make the hour-or-so drive down to Bonnaroo. Seems pretty simple, right? Heh. No way. Instead of taking the hour that Mapquest told us it would, we wound up being stuck in traffic for 7 or 8 hours. I’ll be honest, I can’t remember the exact amount of time because it’s been so long and I was kind of losing it at the time. I don’t know if it was the wide open space, the insane gridlock or the fact that no one else seemed to think this was a big deal, but I was starting to have a serious panic attack as traffic all but stopped. I was very seriously doing the math in my head, trying to figure out how long it would take us to get home if I just turned around and started driving. How mad would Toth be? How would I pay him back? My better judgement won over and I wound up just sitting it out. To give you an idea of how slow the traffic was moving, people were getting out of their cars and tossing the frisbee around for 15-20 minutes spurts and only had to move a few feet to catch up to their car. It was insane.
Eventually we got in, though and went to our camp site. As you can see from the pic, they were basically as wide as a car and twice as long. Toth had a ton of camping equipment like the tent, chairs, a grill, the awning, the whole works, plus he knew how to cook on the camp stove, so we were pretty set. We had a pretty good set up across from some older biker-looking people from Chicago who I remember talking about quitting heroin,or “H” as they called it. That kind of freaked me out, but they seemed nice enough. Again, I’m relying on memories that are a decade old that were probably fuzzy to begin with thanks to poor sleep, a lack of showers and (I assume) some kind of contact high. While I didn’t partake in anything while there, there was plenty around being imbibed freely. I even saw a guy with two different colored eyes. I guess they could have been contacts, but he looked REALLY messed up.When we got to the actual gate, we were given a schedule and a map to help us find our way around. I don’t have it here in NY otherwise I would scan it. I believe the camping areas essentially surrounded the concert area which was split between four stages of increasing size. At least one–and I think two–were under huge tents while the larger two were just gigantic, open air venues. I remember having a general feeling of calm and ease while there even though it was beastly hot and really big. Everyone seemed cool and I saw all kinds of things I had never seen before, from the guy with the crazy eyes to some of the wildest frisbee catches I’ve ever seen. And that’s not even taking the music into account.
Thankfully, I wrote about my experiences at the show on my old website which is still around thanks to Angelfire (that’s also where I swiped all these pictures from). According to that, these are the bands I saw along with some modern day commentary.
Les Claypool’s Flying Frog Brigade
Widespread Panic (the first set)
Keller Williams Incident (kinda)
Karl Denson’s Tiny Universe (for a few minutes)
I couldn’t tell you thing one about Big Wu or Jim White. You’ll see me writing that a lot in the next few paragraphs, but I think it’s because I wasn’t familiar with most of the music going in, so there aren’t a lot of touchstones. However Umphrey’s McGee made a big impact on me. They really impressed me and I still remember their show as being my favorite. It was in one of the smaller venues and I think we got pretty close to the stage. We saw Frog Brigade from way back, but it was rad seeing Buckethead play. Gov’t Mule and Panic are mysteries, but I do remember sitting on the side of the tent for Keller’s show and peeking under to see what we could see. I actually really regret not sticking around for Karl Denson’s set. It was one of the late night ones and I actually had listened to one of his records, but I think I didn’t want to be on my own that late. Such a wuss…
Ben Harper (solo)
String Cheese Incident (I think)
Col. Claypool’s Bucket of Bernie Brains
moe (the first set)
Harper played the largest stage they had all by himself. I wasn’t really familiar with his music at the time, but that really impressed me. I don’t believe Jack Johnson was a big deal at the time I saw him, but I do remember him bringing out a 6 or 7 year old Australian girl named Scarlet to play drums at one point. I have no recollection of String Cheese Incident, but Jurassic 5 was awesome. That was my first and only hip hop live show experience. Maybe I was thinking of Bucket of Bernie Brains when it came to seeing Buckethead? moe was the late night show that night and it was pretty cool. Toth and I met some nice people while waiting for them to go on. I think the band was an hour or so late (which anal retentive me did not appreciate), but we all wound up talking bootlegs for a while which was cool. I think Toth stuck around for the second set, but I was exhausted and headed back to the camp site.
Bela Flech & Edgar Meyer
Phil & Friends with Bob Weir
Ween is another one I have zero memory of, though I know I was interested in checking them out because some dudes I worked with in high school were HUGE Ween fans. I remember being in the thick of things for Phil & Friends, but am not a Dead fan, so it was another “I have to say I was there” kind of a thing. I wandered away from all that craziness and hung out towards the back of the second biggest stage to check out the Superjam which I remember being really sick. The last show of the night was Phish’s Trey Anastasio playing with his then-new band. At the time, Phish had “broken up” and word around the festival was that Phish would be reuniting. That wasn’t the case, of course as Trey went on and played with his big band. I wasn’t all that interested in this particular show and really didn’t feel like wading through a literal sea of people, so I hung back at the camp site while Toth went and watched. I was able to get one of the camping chairs up on the roof of the van and wound up watching from there. It was actually a pretty awesome moment. I’d love to watch more concerts that way.
By Sunday, I was more than ready to get the hell out of Tennessee. I had had a good time, but that was a completely different kind of living than I was used to. I had spent the whole time in a uniform of cargo shorts (the same pair I believe) and white under shirts. The cargo shorts were important because I could put water bottles in the extra pockets. Man was it hot. Oh and showerless. There were a few rigged-up sinks that helped a little, but I had never been that sweaty and gross for so long.
We had decided–thanks to my prodding, I’m sure–to head home right after Trey’s set. My plan was to get out of there and drive for as long as I could before needing to get a hotel room and sleep.That’s not how it actually went down, though. It took Toth a while to get back because of all the people, but then it took three hours just to get out. My figuring was that that was still better than what it would have been like the next day. I only got an hour away from Manchester before needing to stop. The hotel we wound up stopping at must have made a killing that night because they charged us for a full night even though it was late and we had to be out by 10 or 11 the next morning and we were definitely not the only Bonnaroo attendees staying there. At the end of the day, though, we didn’t care because we got to sleep in an actual bed and even got to take showers. I’m fairly certain that was the best shower I’ve ever had. I also had the best chicken sandwich of my life the next morning at a nearby Cracker Barrel.
Looking back, I’m really glad I stuck with it and didn’t let my craziness get in the way of a really interesting and fun experience that left me with a lot of memories, even if most of them don’t have much to do with the music itself. Toth went back to Bonnaroo a few times after that, but I bowed out. I spent a ridiculous amount of money that summer between the Tennessee trip, visiting the future-missus in New Hampshire for a few weeks and buying a guitar (the last one I bought now that I think about it). Would I go back again? Yes. But only if I was taken in via helicopter or didn’t have to deal with all that traffic thanks to a parachute drop or some such.