The house looks real nice if I do say so myself. I left the Chevy in the garage since I got no place else to put it and I don’t know exactly when I’m coming back.
Keep up the singing and don’t look behind no more.
George
Nigel exited the customs area of JFK and searched the crowd for Jimmy. He looked disoriented as he lugged one large suitcase. Jimmy came to his side, unnoticed until he grabbed the heavy suitcase from the Australian’s hand. They walked outside into the sunlight, saying little until the Saab was well on its way. The Sunday traffic was light, allowing them to get into Manhattan faster than normal. Whitehurst took in the skyline with rapt curiosity. It was hard to tell if he was excited or nervous about his first visit to America. Probably both, Jimmy concluded, as he pulled into the underground garage of his apartment building. It was just after six p.m. Logic suggested that he keep his guest awake for a few more hours. A good meal followed by a night’s sleep would help him adjust.
After a hot shower Whitehurst emerged onto the street looking much better. They walked for many blocks, chatting about what the week held in store. Sonny met them at his former place of employment, this time as a patron, where they ate a light dinner and talked about the riffs he’d created for Nigel’s three songs. The dinner was cut short when both Americans noted Nigel’s glassy look. They parted at the door, agreeing to meet in Millburn the next day. Then Jimmy escorted his guest back to the apartment where he went directly to bed and slept straight through until nine the next morning.
Whitehurst met alone with McCabe in his office. A new contract had been prepared. It had all the standard terms, including the character clause Miles insisted upon in all of Blossom’s agreements. Nigel read and re-read that section, seeming to judge its enforceability. He was a lawyer after all. He also liked his magic green.
Jimmy introduced him to everyone, taking note of the singer’s apparent bewilderment.
“There’s a lot going on. The tour starts next week and everyone is pumped. We’ll concentrate on your three songs over the next few days. Then you’ll feel a part of things.” Whitehurst’s reply caught Jimmy off-guard.
“I need a spliff.”
Sonny introduced Nigel to the three riffs he’d created. The Australian smiled with satisfaction, the first sign of relaxation since he arrived the day before. Benson came in just as the last chords were finished. He made straight for the drums, ignoring the newcomer. Jimmy gave him a look of irritation as he brought Nigel over to shake hands. The introductions were awkward. Benson seemed to have something else on his mind. Jimmy thought he’d seen that look before. Chase hovered at the door then walked off.
They spent the next two hours working through each song. Nigel sang them well, showing no negative effects from the long flight. At the end of the second hour they ran through all three in succession. Jimmy played rhythm as Benson absently tapped the drums behind Sonny’s powerful play. The bass was intentionally left out because Jimmy still wasn’t sure how it should come in. He wanted to hear the other instruments first, and then assess the blend with Nigel’s vocals before deciding. Backing vocals were also an unknown. After another complete run through it seemed that it would take all three voices; Jimmy, Sonny and Benson to balance the sheer power of Whitehurst behind the mike. They finished the afternoon with Jimmy still wondering how to make everything come together. While the other three wandered off, he went into the sound booth with Cindy. She played and re-played each song as Jimmy listened, eyes closed, trying to answer his questions. It was a good afternoon’s work, but there was still much to do before Nigel Whitehurst would be ready.
On Monday, true to his word, Mike Winfield introduced Back and Blue to his listeners. He offered up an effusive array of adjectives to describe the rebirth of Blossom’s one-time bad boy who regained his voice with a mix of old material and one new song. The interview with Miles McCabe was aired throughout the morning, interspersed with cuts from the album and a ringing endorsement of the signature song, Peg. Listeners were invited to call in. Every ninth caller received tickets to the Blossom Presents tour stop at Saint John’s University scheduled for three weeks later.
In a fortuitous twist of fate, Backbeat hit the newsstands the same day. Alice Limoges critique of Back and Blue, mated with her interview with its creator, was the lead article. The magazine’s front cover featured a picture of the album cover and the inside front page carried a full-page ad for the east coast tour, purchased only days before by Miles McCabe. Another article, also written by Alice Limoges, listed the VooDoo9 songs now being challenged in court by Bethany Williams. The entire interview between Mike Winfield and Toby Maine was reprinted with permission from WAGZ, which also had a full-page ad on the inside back cover of the widely read magazine.
By Wednesday, Back and Blue was getting airtime on stations across the country. Winfield’s interview with Miles McCabe, complete with album cuts, was picked up by many of them, again, with permission from WAGZ. More articles, digging into Toby Maine’s fabricated background, hit publications by Thursday. By Friday, five thousand copies of Back and Blue had been sold. McCabe ordered another run of twenty thousand. Earlier albums by The Jimmy Button Band were also selling well, especially the debut album with the now notorious story of how Jimmy taught himself to play the Gibson. McCabe ordered production of ten thousand more. On Saturday night he took Cindy to dinner in Manhattan. The conversation lasted well into the evening.
Forty-Eight
After Backbeat published my article Jimmy’s celebrity became my celebrity. The Maine gigs had their rough spots. The new guy from Australia was like a deer in the headlights, paralyzed.
- Alice Limoges
Rebellion opened the show in Lewiston. The students from Bates College, together with hundreds of others from that part of Maine, poured into the gymnasium with well-organized anticipation. Lewiston’s radio stations hyped many cuts from each album. Back and Blue sold out in the local record stores well ahead of the concert. The Brits’ albums were also selling well. A few reporters milled about, hoping to waylay band members for a quick interview. Ellis made sure all were accommodated.
The first set was well underway before all seats were filled. Six of the songs on Rebellion’s debut album were performed. Hard rock filled the gymnasium with a pulsating beat that warmed the crowd. The long debate in Miles McCabe’s office had ended in compromise. Rebellion would kick things off in Lewiston. Weak Knees would take the lead in Orono. Each band would play six cuts from their albums. The argument concerned Nigel Whitehurst. Jealousy reared its head among the Brits who saw this new singer as an interloper. No one could understand why he was to be featured, especially when he only arrived a week earlier with no recordings under his belt.
The first proposal came from Miles. He wanted Whitehurst to come in third, just before Jimmy took the stage. He liked the three songs Jimmy had written. The guitar riffs developed by Sonny were strong hooks that matched the Australian’s vocals. Coming in just before Jimmy appealed to McCabe’s vision for the Blossom Presents format. Use your established star to introduce new talent. Sandwich that new talent between the up and comers and the veteran so he can weather any missteps without repercussions. Ellis spoke for his British clients.
“He’s got three songs. That takes one from each of them. They also think he’ll get more attention coming in front of Jimmy. The seats will be filled for him while they’re being relegated to warm-ups.”
“What makes them think they have a vote?” Miles was combative.
Cindy chimed in. “You have to take their concerns into consideration, Miles.”
Ellis nodded. “They’ve worked hard. This new guy just got here.”
McCabe continued his line. “I want Whitehurst to get exposure right away.”
“Fine. Put him out there first. Make him do the warm-up.”
“And, if he falls on his face?”
“Better if the place is only half-full. Better still, take him on the road
later.”
Jimmy stirred. “He’s been singing in front of people in Australia for a long time.”
Ellis wouldn’t back down. “Then put him at the front end before my guys.”
Jimmy turned his attention to Miles. “It makes more sense to elevate the Brits.”
Miles looked at the three. “Who thinks Whitehurst won’t be a star?”
Ellis shifted in his chair, irritated. “You’re missing the point. He’s not a star yet. He hasn’t recorded anything. You need to be loyal to the ones bringing in the money.”
“On the contrary, they need to be loyal to me. I took the risk and they’re on their way. I’m taking the same risk for him. That’s how I run things.”
Cindy sensed a standoff. She knew Miles wouldn’t back down, not because he was right, but because his leadership was being challenged. She turned to Jimmy. “Can we drop him down to two songs and slip him into your set?”
“You mean sing with me?” He touched Ellis’ knee. “Will that work for you?”
Ellis looked at Miles who nodded reluctantly. “If that’s the way you want it.”
Nigel seemed preoccupied when told of the plan. For the first half of the ride to Lewiston he sat alone, staring out the window. Jimmy joined him later.
“Something wrong?”
“I shouldn’t be mixed in with Back and Blue.”
Jimmy explained McCabe’s vision for Blossom Presents. “You have the voice. We can use this to create your presence.”
Whitehurst listened unconvinced. “It would be better if I had the fiddle.”
“Once we head south you’ll be using it at every gig.”
“You think this is the right way to do it?”
“Yes.”
Nigel turned back to the view outside.
There were eight hundred mostly Bates students assembled when Jimmy came on the stage. Shouts of “Peg” rose up from the corners, but he stuck to his set sequence, reserving this most popular song for last. The reception was increasingly enthusiastic as he worked the crowd. Jimmy Button was never a comedian. Nor was he a brash spokesman for all things youthfully outrageous. He was a singer and a musician who invited his listeners to get deep into each chord and every word. Jim Buckman was the same and the crowd responded.
Midway through the set he brought Nigel into the mix, introducing the newcomer as a fresh talent from ‘down under’. He took a few moments to describe the two songs Whitehurst would sing, making sure the audience understood this was a special debut. Nigel’s approach to the microphone was greeted warmly.
If Jimmy’s introduction had any beneficial affect it was not evident in the listless, flat tone of the Australian’s performance. He produced none of the power and range that his talented voice possessed. Neither Jimmy nor Sonny could tell if it was nerves or just a bad night. Jimmy stepped in when he recognized that his protégé was faltering. He blended his voice with Nigel’s and gave a signal to Sonny and Ted to address their microphones as well. In the end, only Sonny’s strong play, combined with the harmony of four voices vibrating through the huge speakers, prevented Nigel from falling on his face. Polite applause trailed off quickly as Nigel retreated from the stage. The next day’s review in the Bates College newspaper carried only a one-sentence mention of the new singer. The following night’s performance in Orono was no better. The newspapers there failed to mention him at all.
Apart from Nigel, everyone was excited on the run back to Millburn. Miles telephoned Ellis with the sales results. All three albums had made it into the Billboard Top 100, albeit, only at the low margins. After only a week in the stores and with airplay across the country, the only way to go was up. Mike Winfield was having a field day each morning, inviting his listeners to call in with requests and comments. Most callers requested cuts from Back and Blue. Peg was the most requested by far. Late at night, all three albums were played on WAGZ-FM without commercial break. The overnight Arbitron tallies ticked up.
Nevertheless, it was a somber trip to New Jersey for Nigel. He took the same backseat, staring at the passing countryside, apart from the boisterous talk all around. Chase and Benson had the seat across the aisle and chatted non-stop for several hours before finally taking an interest in the new guy. Chase whispered something to Benson who laughed loud. Then the roadie brought out a joint.
“They do these where you’re from?” he taunted, waving the unlit cannabis in Nigel’s direction. Whitehurst’s eyes lit up and he slid over in his seat to examine the one thing he missed most since his departure from home.
“That’s a spliff where I come from, mate, magic green.”
Chase nudged Benson as they both chuckled. “All right then. This, what do you call it, magic green? It’s for you, on the house.” He nudged Benson again then put the joint in Nigel’s hand. “We’ll have a party when we get back, just the three of us. Maybe you’d like to sign up for a steady supply.” The three continued to talk for the remainder of the trip.
Up front, Ellis had Jimmy’s ear. “We should stretch things out on the next leg.” He studied Jimmy’s face for a reaction. “Nine more schools are nice, but we’ve got all those nights in between. Like now, we’re just riding a bus back to Millburn to wait for the next gig. Waste of time and money.”
“What’s do you have in mind?” Jimmy knew his agent smelled an opportunity.
“I can line up some clubs, smaller boutique concerts. You go into them alone. I’ll get the Brits their own gigs, too. Everybody comes back on the weekends to do the colleges under the Blossom Presents format like we just did in Maine.” Jimmy waited for more. “You’re going gold. We have now ‘til Christmas, that’s ten weeks to make a splash. The way I see it, we do a college each weekend, three or four clubs during the week. We stay on the road, then if we’re as big as I think we’re going to be, we end with something special in New York.”
Jimmy warmed to his agent’s proposal. It’s not that the groups needed the work. Apart from Nigel’s flat performance, everyone was peaking, even Eugene who seemed to have found his place standing alongside Sonny and Jimmy. They only needed more exposure. The opportunity to push the albums by playing live audiences as often as possible was there for the taking. The bigger gigs were good for the label’s reputation. The smaller ones would bring each band a following. In the long run that would be the best formula for everyone.
“What about Nigel?”
“He’s not ready.”
Jimmy nodded. “I thought he could do it.”
“He needs to figure it out. You don’t have the time.”
“We all heard him in the studio. He knows the songs and he sang them well.”
“Stage fright?”
“Maybe. He said he missed his fiddle.”
Back in the apartment Jimmy admitted it was wrong to cut the instrumental.
“Wouldn’t have mattered, mate.”
“Too many people watching?”
“I kicked the footy in front of fifty thousand.”
“So what then?”
“I’ll handle it.”
“We can work on some things until I head south.”
“No, mate. I’m moving into Millburn tomorrow.”
“You’ll need some session players. I’ll see what…”
“No worries. Chase knows some guys.”
Jimmy didn’t like the idea. What did Chase know about putting an album together? “You don’t want my help?”
“Nothing personal, mate. It’s about me, not you.”
Jimmy couldn’t know the fierce independence that burned within the Australian. The same stubborn loner Sister Marie had been dealing with since Nigel first appeared at the orphanage. All he knew was the singer was spurning him. My brother’s keeper, Whitehurst didn’t want his help.
McCabe huddled with Ellis, reworking the schedule and making calls all through the day. Some of the smaller venues needed to be finalized, but the buses would stay on the road. The tenth week would be back in New York in a prestigious
Manhattan setting. He’d get to work on that as soon as he was sure the tour was going well.
Jimmy’s attitude surprised McCabe. His enthusiasm for bringing Nigel on the tour was gone. Ellis did most of the talking as the decision to leave him in the studio was debated. Miles was astute enough to realize that if these two men thought it was best then it was the right course to take. He had enough on his plate with the three rising bands. MacGregor needed some marketing. Let the Australian find his way. Cindy could keep an eye on his progress until she headed to California.
Jimmy helped Nigel move his things into one of the small bungalows in Millburn. He spent a few hours showing the Australian the studio controls. They spent most of the time retooling the three songs. Later, they worked with the other eight compositions. These were bare melodies, leaving Whitehurst with many hours of work ahead.
“The most important part comes up front,” Jimmy warned. “The opening chords have to grab the listener’s attention, but the rest of the song better deliver. People don’t like to be teased. A catchy hook requires an equally strong follow. That’s where your voice comes in. Make sure you use your range.”
Nigel said little, but he paid close attention. Toward the end of the tutorial he pulled out his violin and they went into studio B. Jimmy ran through a few chords on the Gibson while Nigel followed. Then Whitehurst launched into the instrumental that caught Jimmy’s attention that first night at Willie’s.
“Where did you get that song?”
“Like it?” Nigel asked, grinning for the first time that day.
“Yes, it’s very unique.”
“It’s a choir song. I heard it passing by a church in Apollo Bay.”
“You stole it?”
“You could say that. Sounds much better on the fiddle.”
“Who wrote it?”
“I don’t know.”
“You ought to find out. Maybe there’s more.”
“Another time, mate. I’ve got your gems to finish.”
When there was money to be made Ellis was tireless. He and Miles put together an exhausting schedule of club dates and boutique concerts sandwiched round the weekend college shows. Most of the gigs would be played in front of small crowds, numbering no more than a few hundred in each of the college towns that Blossom Presents visited. Only the later dates were announced, but word got around fast. As the albums climbed the charts fans lined up for tickets. Rebellion and Weak Knees alternated nights so Melinda and Eugene could be available to back Jimmy when he performed. He drew enthusiastic sellouts everywhere he appeared. Concerts in New Jersey, Delaware and Virginia solidified Back and Blue as a hit. By the fourth week, just as the gaudy buses pulled into Durham, North Carolina, Back and Blue cracked the Top 50 and Peg reached #26 on the singles charts. Miles tallied the sales for his weekly call with Myra. He also had another revenue stream to show her, the take from the tour. Between album and ticket sales, Blossom Records hit year to date revenues of four million for the first time ever.
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