Birthday Blog 2013 - Ricki C.

It's my birthday today. I'm 61 years old. I worked a rock & roll show today, playing roadie for Colin Gawel & The Lonely Bones, my good friend Colin's side-project band when Watershed is not taking the stage. The appearance was at Comfest, a local Columbus hippie fete, that I have been attending since its inception in 1972. In some capacity - roadie, performer, stage manager, etc. - I have participated in Comfest since 1978 when I first helped Romantic Noise bassist Greg Glasgow onto the stage after a forklift driver ran over his foot at his warehouse temp job the day before the gig. (Ah, the glamorous rock & roll lifestyle.)

But that's not what this blog entry is about.

This blog entry is about my dad, traveling, hotels and growing old with rock & roll.

My dad was the greatest person I have ever known. He died of a heart attack at the age of 56 when I was 17 years old, April of my senior year of high school. I myself am on my second cardiac pacemaker and have so far outlived him by five years, but only with the bonus benefits of technology.

My father gave me my whole world. When I was 13 years old in 1965, dad started to get me into the rock & roll shows he worked as a ticket agent for Central Ticket Office, an early forerunner of what Ticket Master would become. It was my father's nighttime job after his main occupation at Columbia Gas of Ohio. My mom and dad both worked two jobs. They were children of The Great Depression and carried to their graves a legacy and a fear of not knowing where their next dollar was coming from.

Dad saw how interested I was in rock & roll and started bringing me along with him to shows at Veteran's Memorial or the Lausche Building on the Ohio State Fairgrounds. I was an incredibly shy, introverted child and I think the fact that I was willing to leave the shelter/womb of our house on the West Side to see a rock & roll show heartened my dad so much he'd have brought/driven/conveyed me anywhere, let alone the three or four miles it was from home to Vet's Memorial.

At first it was package shows like The Turtles with Neil Diamond and Every Mother's Son ("Come On Down To My Boat") opening; or Paul Revere & The Raiders with The Standells and Sam the Sham & The Pharoahs. But then, as The Sixties got into full swing I saw Bob Dylan's first electric tour with The Band (when they were still called The Crackers), The Doors, The Jimi Hendrix Experience, Janis Joplin & the Full-Tilt Boogie Band, Cream and, most crucially, The Who on November 1st, 1969. (sidenote: Not one of those shows sold out the 3000-seat Veteran's Memorial. Dad would bring me to the show, wait for the opening acts to start, then pull me a single unsold seat somewhere. Advance sales to The Who show in 1969 were so slow that dad pulled me FOUR SEATS; one each for my best friend and our dates, a date I would almost certainly never have had but for the grace of my dad and of the rock & roll.) (Tickets for that Who show, by the way, were $3.50.) 

Those shows, and rock & roll in general, quite literally gave me a reason for living. (see blog entry The Bathtub, January 13th, 2012.)

Dad gave me other stuff: he instilled in me a love of traveling. In 1962, when I was 10, a coupla years before The Beatles first appeared on the Ed Sullivan Show and Changed Everything, dad had started to take my older brother and I to Cleveland Browns football games. This was in the Browns' heyday, when fullback Jim Brown was a true star of the National Football League and the Super Bowl hadn't even been invented yet. We would stay at the Sheraton Gibson Hotel right off Fountain Square. The Sheraton Gibson, and hotels in general, became MAGICAL to me. You could LIE IN BED and watch television. You could TAKE SHOWERS. (Our bathroom at home sported a claw-foot bathtub only.) You could look out the 20th floor window and see all the lights of the city spread out under you. I felt like a king.  (sidenote: When Pete Townhend's first solo album, Who Came First, was released in 1972 with a track called "Sheraton Gibson" I was BEYOND THRILLED that I had once occupied the same building, the same square footage, as my Number One Rock Hero of that time.) 

I remember very clearly one night in 1965 on the way home from Vet's, when dad was explaining the concept of touring to me, that musicians had to be on the road all the time. I just looked at him wide-eyed and said, "You mean all these guys do is play guitars & drums in a different city every night and stay in hotels in between?" I was incredulous. I was dumbstruck. Dad couldn't have possibly realized what he had just done. He might just as well have stamped Unfit For A Normal Job Of Any Kind across my 13 year old forehead right at that very moment.

My dad never got to travel much; those trips to Cleveland, our family summer vacations to the likes of Cedar Point Amusement Park in Upper Sandusky, an annual autumn trip to South Bend, Indiana, to see a Notre Dame football game with his Columbia Gas buddies. One time when I was 12 he took my sister and I to Florida. It was my first time flying and I was so nervous I threw up on the plane. I was such a miserable little kid. Dad, I wish I could have been better for you.

When my father died I think I had a little nervous breakdown. I can't really remember much of anything from April or May of that year, but by June 1970 when I graduated from Bishop Ready High School I had decided two things: 1) I was never ever going to have a job where I had to wear a suit & tie to work; and 2) I was going to travel and describe to dad all the things I saw.

It's my birthday today. I'm 61 years old. I accomplished the first goal goal by working in warehouses most of my adult life and discovering that bluejeans and a black t-shirt will get you through most days quite nicely. On most of my vacations from work I traveled to see rock & roll bands; to Massachusetts, to Texas, to California, to a lotta points in between. 

I accomplished the second goal by becoming a rock & roll roadie in my 40's and crisscrossing the length & breadth of these United States (multiple times) with Watershed and Hamell On Trial.

Dad, you were with me every step of the way: every new sight out of every car, truck, bus, van & airplane window; every street of every city & town; every mile of every tour. This blog is for you. It's a happy birthday.  - Ricki C. / June 30th, 2013

 

This entry originally appeared on Ricki's own blogsite - Growing Old With Rock & Roll, www.rickic614.blogspot.com - if you'd like to read more.

 

Remember the Time Watershed Played Comfest Sponsored By McDonald's?

That was a good one.......................... 

At the time we were rehearsing in a storage garage surrounded by mobile Mc Donald's gear like trailers/fryers and stuff used for county fairs and so on and so forth. The day before the show, we got the bright idea to show up at Comfest dressed as MCDonald's workers and claiming Watershed Inc. had been bought out by Mc Donald's. This was around the time of Enron and all that happy crappy so it was as timely as the day's headlines.  We figured to borrow all this gear and have it back before Grimace noticed it was gone. Then we printed up a million of these handbills and spread them all over Goodale park to get everybody primed for the show. Links to all four parts below. It made me laugh anyway.

Click here to read the "Mc Watershed" newsletter

Part Two

Part Three

Part Four

Needless to say, the general Comfest patron was a little confused by the McDonald's dressed band throwing french fries in the crowd and a stage full of McD propaganda.   After all, this was the Bozo stage at 6 pm on a Saturday so it was quite a large anti-corporate gathering. By the way, the upside down 'M' made for quite a cool 'W" as in Watershed. Anyway, see you at Comfest this weekend and thanks for reading Pencilstorm brought to you by Chase Bank. - Colin

Colin Gawel and The Lonely Bones will be playing Comfest  Sunday June 30th at 1pm. Gazebo stage. Sponsored by Arby's.   

www.watershedcentral.com 

 

The Sex Pistols "The Filth & The Fury" Gateway Film Series by Ricki C.

Colin Gawel and Brian Phillips’ “Reelin’ & Rockin’ Film Series” at the Gateway Film Center on Wednesday (happy hour at 7 pm, film at 8 pm) is the Julien Temple-directed documentary on The Sex Pistols entitled “The Filth & The Fury.”  It’s a pretty cool rock & roll movie about a band I never really liked.

My problem with The Sex Pistols was that I always found them more of an Art Project than a Rock & Roll Band.  Anytime a rock combo gets assembled by a Manager, rather than built from the ground up by Rockers, I’m immediately suspect.  And The Manager in this case, Malcolm McLaren (who had already run The New York Dolls into the ground, dressing them up in red patent leather and having them appear in front of a Soviet flag backdrop; quoth David Johansen, “We proved that you can be transvestite homosexuals in America, but you CANNOT be Communists.”) was a lot more interested in Art than Rocking.

In their roughly 26-month existence The Sex Pistols pulled off a lot of publicity stunts – disrupting the headliner’s sets when they were still an opening band (including Joe Strummer’s pre-Clash pub-rock band The 101-er’s), trashing their first record company’s offices (EMI) and, pivotally, going on an afternoon British TV talk show and being goaded into swearing at host Bill Grundy, which led to tabloid headline “The Filth & The Fury,” giving this documentary its title.

I have always wondered how punk-rock would have developed if it had been allowed to evolve as a musical movement rather than as a Cultural Phenomenon, as it was forced to after The Sex Pistols’ media debacle.  Musically, I rate the Sex Pistols as having two GREAT songs – “Anarchy In The U.K.” and “God Save The Queen” – and two good songs – “Pretty Vacant” and “EMI.”   “Holiday In The Sun” is an okay song but, crucially, rips off its main riff from The Jam’s “In The City,” a song that’s superior and (obviously) much more original in every way.  That’s not a good count for a band with The Sex Pistols’ cachet, and their legend.  They only ever recorded one album – “Never Mind The Bollocks, Here’s The Sex Pistols” which would have translated in America as “Never mind the bullshit, here’s the Sex Pistols,” which, I admit, is kinda brilliant, but oh-so-Arty, and oh-so-British.  (And whose Bright Idea was it to fire the only member in the band capable of writing songs, bassist Glen Matlock, before the album was released and before the band ever “toured” America.)  (Don’t even get me started on that nightmare of naivete masquerading as a rock & roll tour, that’s a whole ‘nother blog in itself.  Great book about it called “12 Days On The Road – The Sex Pistols and America” by Noel Monk & Jimmy Gutterman, published in 1990.)      

I’ve always likened The Sex Pistols Story to that of Elvis Presley’s.  With the original four members, including Matlock on bass, The Sex Pistols were a MUSICAL unit, a rock & roll band that played gigs and made records that got LISTENED to, analogous to the lean, mean Elvis in 1956 with Scotty Moore, Bill Black and D.J. Fontana rocking behind him.  When Matlock was booted-out and non-musician Sid Vicious was drafted in (by all accounts at Johnny Rotten’s insistence) The Sex Pistols became a Pure Media Spectacle, a Malcolm McLaren Situationist Art Piece Fantasy, something to be LOOKED AT and WRITTEN ABOUT, a Rupert Murdoch Wet Dream, like Fat Elvis in 1976 Las Vegas, prancing around in sequin jumpsuits doing karate moves and slinging ballads like they were hash.

You should see this movie, you really should.  Julien Temple knows his subject matter and genuinely CARES about his characters (as he also amply demonstrated in the Joe Strummer documentary “The Future Is Unwritten”), but give me The Ramones or The Clash over The Sex Pistols on my stereo any day.  – Ricki C. / June 17th, 2013.

 

Watershed at Columbus Arts Fest Saturday June 8th on at 9pm

Columbus own "Hitless Wonders" will be performing Saturday June 8th @ 9pm on the Scioto Mile as the headlining act in the 2013 Columbus Arts Festival. If you cannot wait until Saturday, Watershed will be playing at Frankie's in Toledo, Ohio Friday June 7th at 10:30p.m.  A small club show that promises to be a beer and sweat soaked affair. 

If you have no interest in seeing Watershed but would like to have drinks with all your favorite characters from the best selling memoir, "Hitless Wonder- A Life In Minor League Rock n Roll", rumor has it they will be heading to the Jury Room following the Arts Fest to close down the bar to celebrate the conclusion of this grueling two city tour.

 

And don't forget to make plans to visit Raleigh, NC July 19-21 for the first ever "Watershed Rock n Roll Junket" three shows in three days. Details here.... 

 

as you were. 

Ted Nugent Gets Winged By His Roadie

Friday evening, May 31st, 2013; it's Colin's first night playing at Natalie's Coal Fired Pizza, and I'm not sure how anybody - Natalie herself, Charlie Jackson, who books the music, Phil the soundman, or any of the servers & staff - could be any nicer.  It's a pleasure to play at a venue where people are this congenial, friendly and actually CARE about music and how it's presented.  (Plus Natalie gave me a free pizza to take home and I'm only the roadie .  What club owner DOES that?)  

Anyway, since it's a new venue Colin and I showed up hours early for the gig, wound up sitting around on a gorgeous spring evening dealing out rock stories and here's mine for the night:​

In 1974 my day job was working in the receiving area of a Service Merchandise store, unloading trucks.  I had brought my Stratocaster with me that day 'cause I was going to band practice straight from work.  The guy whose truck we were unloading was a  long-haired over-the-road kid from Detroit and we got to talking when he asked whose guitar it was.   

It turned out the guy was a roadie for Ted Nugent when he was still in The Amboy Dukes.  Nugent used to do this stage routine where he would break a big-ass glass jar the roadies would place on a pedestal in front of his Marshall stack.  Ted would hit a high note, hold it and shatter the glass with his all-out bad-ass rock sonic attack.  I'd actually seen them do that bit at a outdoor festival a coupla years before somewhere outside Dayton.

Roadie-guy tells us, though, that at club shows where Ted couldn't make the amps loud enough to actually shatter the glass without deafening the bar audience, it was his job to stand offstage and shoot out the glass with an air rifle right when Nugent hit his big dramatic high note.

It went great for months, the guy told me, until one night he was higher than shit and when the big Glass Shootout Moment came the roadie missed the jar and hit Nugent in the forearm of his fretting hand.  Ted yelped and stopped playing entirely (as well he should have, he HAD just gotten shot after all) and roadie-guy panicked, re-pumped the BB gun and shot out the jar in near total silence after the rest of the band stopped the song when they saw blood running down Ted's arm.  There was a certain amount of jeering from the crowd at the duplicitous nature of the amp glass-break routine until the band could get cranked back up to finish the tune.  The Amboy Dukes finished the set and then it was off to the nearest emergency room for Ted to get the BB dug out of his arm.​

The truck driver finishes the story with an incredulous, "AND THEY FIRED ME!  I GOT FIRED FROM THE ROAD CREW THAT SAME NIGHT!"  "You're surprised at that?" I asked the guy, there in the warehouse of Service Merchandise.  "You shot your boss and ruined the band's big stage finale and you're pissed-off that you got fired?"​

"I only shot Nugent ONCE," the guy said, firing up a joint and walking back to the cab of his truck, "nobody ever talks about all the nights that things went okay."​

I'd like to say for the record that neither Biggie nor I have ever shot anybody in Watershed even once when they were onstage.​  - Ricki C. June 1st, 2013

​To learn more about Ricki C and his blog, "Growing Old With Rock n Roll", please click here to visit our contributors page.

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Sammy Hagar's Kid and the Dark Side of Crowd-Funding

​Fightclub, the band, is looking to raise some money to finance their first EP. Seems reasonable at first blush. Lots of bands are doing it. I'm sure you heard that Amanda Palmer raised $1.2 million dollars for her next CD (working title: This Is the New CD From Amanda Palmer,You Know, That Woman Who Raised $1.2 million on Kickstarter​).

And who am I to turn up my nose at social resourcing? Just last year, my band, Watershed, did a Kickstarter campaign. We raised $7,500 to help pay the cost of printing our new CD — it was already recorded — renting a van for a 15-city book/CD tour that was already booked. The money helped pay for sitters at home, as well. At the end of the tour we had ZERO dollars, but we didn't go broke and didn't have to give our record away to a label for a crappy advance or put a beer advertisement on the cover. It was a win-win, and I can only hope that people who helped felt they got a good return on their investment as well. 

Fight Club is looking to record and release an EP that isn't written yet. Let's take a closer look at their campaign.

For those of you who may not know me, I am Aaron Samuel Hagar and I am embarking on a historical journey in the music industry and need your help. I have formed a band of “son’s of rock” of legendary greats. This concept has never purely been fulfilled by anyone that I know of and we are looking to break new ground in a highly competitive industry.

I'm no English major but I'm pretty sure "son's of rock" isn't a proper use of a possessive. Not trying to be a grammar police nitpicker, but when you are asking for one hundred large, that is a little different than commenting on Facebook. Got to clean that up. More importantly, the use of the phrase "highly competitive industry" sounds like banker talk to me. Not inspiring.

Unlike the perception you may expect, we do not share in the lifestyle and success of our parents.  We need your help to fulfill this dream.  Our parents have worked long and hard to achieve their “rock” status.  Today, they are well-respected and many were pioneers in the industry.  It only makes sense that we also earn our stripes and our own successes.  So we are embarking on an effort to raise funds for the recording, marketing and distribution of our debut album. 

Aaron seems like a nice guy and I will give him the benefit of the doubt, but I don't think beginning your career asking for money is "earning your stripes." I would feel much better if the band had attempted to perform live or had shown any actual effort other than this fund raising effort. 

All of the members of Fightclub have contributed in writing a large collection of songs for this recording production.  Being the sons of rock legends, we understand that there are high expectations for our debut album and our intent is to deliver!  The plan and goal is to record and produce with professional teams from studio to production with management and marketing all striving for the best end product possible.  We are working with teams that are industry professionals, who are mentors that we trust with our talent, our careers and our friendships.  Your support to FIGHTCLUB will be instrumental in the recording production completion which is always challenging when trying to coordinate the expenses of music production, but also the time, efforts and travel of the entire band.  We have all been around the business for our entire lives and understand the sacrifices and are making the commitments that it takes to journey into this arena of music history.

So you guys have a bunch of songs but we don't get to hear anything in advance? ​I'm supposed to bank on the fact that your dads were successful as my guidepost? Also, why should an EP cost this much? Great records by major acts get recorded these days for less that $20,000. Management and marketing? Is that where the dough is going?And again, the use of the phrase "best end product" is troubling. "Product" is a term that industry douchebag bean counters use. Musicians who use it are on the wrong side of the business.  

Built on the dream I had to create Fightclub,  my family, friends and colleagues believe in and are entrusting my vision to procure a successful future in music.  All of the members of Fightclub are students and teachers in the industry, and individually we have all been making our own way — slowly and honorably. It is time for us to take this opportunity to make our own mark in the world of music and step out of the shadows of our parents.  So without further adieu, let me introduce you to this talented and exciting band called Fightclub.

Look, Aaron, I know you don't want to ask your Dad for help; I didn't either. But the fact remains, he is worth $120 million and has his own recording studio. When you write that "family believes in your vision" I would start there. Hardly a band can survive without the help of a family member. I know Watershed couldn't have survived without some financial help here and there. Have you seen Anvil:The Story of Anvil? Lips's sister gives him $20,000 to help record an album. It's a touching moment. You should check it out. At the very least maybe your Dad could give you some use of his studio if you cleaned and painted the place. 

Introducing, Fightclub - The band

Spearheading FIGHTCLUB is me, Aaron S. Hagar on vocals.  I live in South Lake Tahoe, CA as an owner and operator of a hot rod and classic car shop (Rat Runners Garage), as well as, moonlight as an artist and illustrator. 

Stop right there --- you OWN and operate a classic car shop? That is big, big money and you are asking for my hard earned dollars? May I ask who helped you get that off the ground and where are they now? (I tried to find a web link to the shop but it had been disabled. Very odd indeed.)

My brother, Andrew S. Hagar is on rhythm guitar, vocals, percussion and piano.  Andrew is a full- time trainer in MMA in the style of Muay Thai.  He also teaches privately and lives in Southern CA. We are the sons of Rock and Roll Hall of Famer Sammy Hagar. Legendary frontman of Montrose, HSAS, Van Halen and currently Chickenfoot.

 Miles Schon is on lead guitar and vocals.  Miles is a full-time music teacher living in the bay area.  He is the son of Journey founder and guitarist Neal Schon.  Between Neal and Dad, they have sold over 250 million records worldwide!  They have worked together since the beginning of their careers, formed HSAS together and currently continue to work together on a sidebar project “Planet US”.​

Neal Schon is worth $30 million dollars. ​

Ry Kihn is also on lead guitar and vocals.  Ry is a full-time music teacher and lives in the San Jose area.  Ry is the son of 70’s and 80’s pop icon Greg Kihn.  With hits like “Jeopardy” and “The Breakup Song”, Greg has earned his stripes in creating some of the iconic anthems and videos of the 80’s.   Greg, Sammy and Neal are bay area legends, as well as global music legends.  Greg currently is the voice of Bay Area radio KFOX and they continue to jam together at charities and other events.

It's extremely troubling that Fightclub co-opts their fathers' accomplishments as if they were their own. Read the Ry Kihn bio again. One line about how he teaches guitar and then a paragraph about how his Dad had a bunch of hits. What does that have to do with anything? Last I checked, parents and kids are entirely different people. In fact, in the entire history of rock music, has one single son every eclipsed the accomplishments's of their Dad/Mom? Maybe Jeff Buckley but his most noteworthy accomplishments were covering a Leonard Cohen song and dying prematurely.

Trevor William Church is on bass, guitar and vocals.  Trevor teaches music part-time and shares a full-time job as a Redken Master Specialist @ Moxie Hair Studio in Fresno, CA.  Trevor is the son of bassist Bill Church.  Bill was the iconic bass notes of Van Morrison, Montrose and was with Sammy until Van Halen.  They are currently touring together as part of Dad’s “4 Decades of Rock” tour.

Tony Montanez is on drums and percussion.  Tony teaches music at Fresno State full-time and has played with Trevor for years.  Forming a solid rhythm union with Trevor, he is a welcomed member of the band.  Keeping a strong bond between drums and bass is crucial, and although he is not of the same lineage of the rest of the band members, his relationship with Trevor is unbreakable.​

Tony is my favorite member of Fightclub and it bodes well that his relationship with bassist Trevor Church is "unbreakable."

AND, as a bonus, we are documenting everything from day one in hopes of sharing this amazing story in a documentary TV show.  As you might imagine, living life with our parents and in the families of rock legends, we have so many amazing experiences and stories to share.  The number one question we are always asked is; “So, what is it like being the son of …”

Do you guys have any songs? Have you guys ever played a single gig?​

​Now, we will be able to share with our Friends and Fans, a piece of the past and a brand new beginning in this full exposure, multi-media experience.  After the album is completed, we will release it on iTunes, and if demand is persistent, we will release a physical CD and begin a debut tour. 

Whoa, whoa, you guys aren't even committed to releasing an actual CD release or touring unless "demand is persistent"? Maybe you could tour to increase demand? Where is all this money going? Best as I can tell, Fightclub wants $100,000 real dollars to record a digital EP. ​

 SO PLEASE BE CURIOUS, BE A PART OF A NEW MUSIC LEGEND IN THE MAKING AND CONTRIBUTE TO THIS EPIC PROJECT.   And PLEASE REMEMBER OUR FIRST RULE OF FIGHTCLUB:… TALK ABOUT FIGHTCLUB!  

 Thank you for your time and contribution,

                                                                    Aaron S. Hagar

On a personal note…..

Our mission is important to us and we have a lot to say about the world, music, family and topics that are important in our daily living. As artists we have used music to express ourselves, explore and touch lives emotionally. We ask and hope that you help support this and keep self expression, the arts and music alive in the world. Help US entertain YOU.

                                                                     -Thank you kindly

Uh, Dude, I think that that whole thing was a personal note.​

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Curious what you get for your money? A sampling follows:

$50 gets you a 2 song digital download and a digital postcard.​

$100 gets you a signed signed EP and..."a tasteful thank you on Facebook"​

$200 gets you the signed EP, Facebook thank you AND....promo poster

$350 gets the above, and one tee-shirt. Did I mention they don't include shipping in the donation? Well they don't. Tack on $10 and do not pass go.​

$500 gets you the above and I quote "drum head poached from my Dad's studio (shhh) they are used and you never know who may have used them. Dave? Denny? Chad? Kenny?"

Who the hell are Dave, Denny, Chad, Kenny? Instead of sneaking in your dad's studio to poach used drum heads from unknowns, why not sneak into record some songs? Or would your dad get a "Red" ass and toss you out?

 I'm not trying to be an asshole, but social resourcing is God's gift to worthy artists and entrepreneurs. It is a privilege, not a right and lazy hucksters like Fightclub ruin it for everybody who could use a new transmission for a Chevy van to get them down the road to the next gig. F- off Fightclub. I will be contributing $0.00.

​Fightclub raised $21,331 toward their goal of $100,000. You can check on their progress at by clicking here.

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Colin Gawel plays in the band Watershed and writes things for Pencilstorm in his downtime at Colin's Coffee. ​Just google him or visit colingawel.com for more info than you could ever imagine.

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