Tales from the Trails of a Rock ’n’ Roll Bus Driver

by Jerry Fitzpatrick

  Tales from the Trails of a Rock ’n’ Roll Bus Driver

  By Jerry Fitzpatrick

  Contributed and edited by

  Jillian McGehee, Marcia Camp and Richard Duke

  Book Information

  Tales from the Trails of a Rock ’n’ Roll Bus Driver

  Copyright © 2012 by Jerry Fitzpatrick

  Published by Cowboy Buddha Publishing, LLC

  No part of this book may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage and retrieval system, without permission in writing from the author or his agents, except by a reviewer to be printed in a magazine or newspaper, or electronically transmitted on radio or television.

  ISBN 978-0-9856076-1-6

  Photo credits:

  Cover Photo by Taylor Raine Fitzpatrick

  Back Cover Photo by Jerry B. Fitzpatrick

  Cover Design by Michael Bragg

  Book Layout by Tim Hose and Aaron Malyk

  Publishing Logo by Ted Nichols

  May 2012

  Cowboy Buddha Publishing, LLC

  Benton, Arkansas

  About the Author

  Jerry Fitzpatrick has compiled a valuable social history. He pulls no punches in telling his readers details about the music and musicians who changed our country­—of what goes on behind the scenes and of the sounds and behavior that altered a culture ready and eager for that change.

  Fitzpatrick shares his observations in a conversational style laced with humor. Situations range from shocking to heart-warming, from Milli Vanilli to Barbara Mandrell. Through it all, Fitzpatrick shares his personal spiritual journey of redemption, forgiveness and grace. This journey is revealed through his stories of a life that led him from a troubled beginning, to his own experiences as a musician, and later his successful career on the road.

  He has dared to capture the entertainment touring reality of the 20th century before it becomes a myth.

  Author's Note

  Bus drivers “entertain the entertainers.” Marc Silag, an admirable friend, made that remark to me one day as we sat in a Long Island, New York diner, discussing tales from the trails we had traveled, or “road stories,” as most bus drivers call them.

  Bus drivers, specifically ones who specialize in driving the custom coaches that you see parked backstage at entertainment events, “entertain the entertainers,” he said, as we laughed about the approach of the one we were chatting about that day. It struck me the moment he said it, knowing of the many experiences I’ve lived and the many shared stories I’ve heard from entertainer drivers through the years. Marc owns Right Side Management/Left Side Productions, an artist management and music production company. A well-traveled person like myself, Marc has traveled with entertainment entourages in America and around the world for years. Marc worked in the Paul Simon camp, among others, so among tons of other things, Marc knows bus drivers.

  Depending on the level of expertise and experience of the bus driver and the group traveling behind them, just about anything can happen and does. That doesn’t matter! Everything MUST look normal to the fans. Well, normal in relation to the genre of entertainment you’re working, of course. Through it all, you must have a smile on your face when you turn around to face the masses.

  This book is not a tell-all book. You won’t find any specifics here about briefs, boxers or bras. Nothing about who’s kissing who and what they were wearing when they did it. It’s a partial story of my life as an entertainment bus driver, the things I’ve experienced and how I ended up in this adventurous career that is as unique as it is misunderstood. Those who know me, truly know me, know I have made an interesting life for myself. Many have questioned why I have continued to do it. For me, it’s always just been about living day to day.

  Since becoming aware of the world around me as a child, I have nearly always looked forward to the next day, the next adventure, the next mile, just wanting to know what is there and what it has to offer. I try to learn something from each journey and each adventure. Many times, I smile and feel good about the joys of living a life lived well. Sometimes not, and I shake my head, reflecting on and wondering where all of the rude, crude and socially unacceptable behavior comes from.

  My pattern of writing explains the work of an entertainment bus driver, the job and the craziness of day to day. It then explains why I do what I do, how my path led me here and the confusing, lost beginnings of my life. If I was wide awake and sober or drunk, stoned, or inebriated in some weird fashion, it was a sign of the times and how I saw it. If you were wide awake and sober or drunk, stoned and inebriated in some weird fashion, then that’s how you saw it. Nothing can be changed now. These stories are just giggles left from a time, when retold, that always begin with “remember when?” No malice is intended toward anyone or anything. The language and the details may be offensive to some. The truth sometimes is.

  A bit of a loner who likes to work on “the team,” this project wouldn’t have been possible without the help of others, “our team.” A great singer/songwriter, Kim Richardson, explained how to do it. Thank you, Kim. Without the time spent with Richard Duke recording and translating the stories to paper, I would have never gotten out of the gate with this project. Without the support from Jillian McGehee and her constant improving of my literary skills, no one would even be able to understand this book. Marcia Camp, a wonderful knowledgeable person of all things Arkansan, sent us all in the right direction and helped give me my voice in the project. I want to thank Katie Cooper and Michael Bragg for their creative ideas that brought us to the final cover of the book and Aaron Malyk and Tim Hose for establishing the book’s final form with layout and design. Ted Nichols’ incredible art talent gave insight to my publishing logo. I owe a special thanks to Mark Whitworth for printing test editions, so we could get some invaluable critiques from trusted folks.

  The many friends along the way, some who read as I developed, some who encouraged and those who cheered me on, were all team players on a team they never realized they were on. Margaret Murray and Zach Peters at Red Light Management, how you must have giggled, but your professional input was greatly appreciated. A BIG, BIG THANK YOU TO THOSE WHO BELIEVED IN ME AND THE MEANING OF THIS PROJECT TO ME.

  This book is dedicated to the memory of my mother and father and to my children, who grew up wondering where their dad was on any given day and why I am who I am. Now they know.

  p.s. August 8, 2004, Chicago, Illinois

  “I DID NOT DO THAT.”

  ~ Jerry Fitzpatrick

  Foreword John David Nixon

  When I first met Jerry Fitzpatrick, I felt an unspoken kindred sprit between us that was more than the “Brothers of the Road” bond. I was aware that he was a top notch entertainer coach driver. He had been Dave Matthews’ personal coach driver for more than 10 years, which pretty much told me he was a driver of the first water. But, there was something else, something more. I soon discovered that he was an Air Force brat like me. Well, that explains everything. There is a certain vibe that military dependents give off. We brats have lived out of foot lockers and hand-me-down B-4 bags from the day we were born. We grow up looking at America from the back of the family station wagon, or staring at the white caps of an ocean from a military air transport, to spending weeks at sea on WW II era Liberty ships. You can be stationed on a beautiful exotic island or a barren frozen prairie. It doesn’t matter. You make the most of it because either way, the family will be transferred. Before the age of 12, most Air Force brats have seen the world, and it is not flat.


  Jerry rebelled as a teenager, and did a stint in the Marines, when he realized that he was not going to inherit the family business of war. So, it was only natural to run off with the circus and tour the world with rock bands. After nearly 30 years, he remains a nomad, as one of the best entertainer coach drivers in the concert touring industry. Jerry became as proficient as a Marine One pilot. His meticulous preparation in equipment maintenance and his “safety first” attitude, have earned him the respect of many in the touring industry. But what really separates Jerry, and others like him, is his ability to be accommodating and malleable to the whims of the famous entertainers in his charge. That is to say that safety should be a forgone conclusion, and confidence in the driver’s ability is confirmed in the first 100 miles of a new tour. However, being a member of the family can be dicey. It’s as if someone is sitting in their home, at the kitchen table for weeks at a time and is privy to everything in their daily life. This can be a tipping point when it comes to being in their space, and breathing their air. Trust is paramount, and this is where Jerry excels. On the other hand, not all tourists have been house trained. Some artists do not touch all the bases on their way to becoming a star.

  And the entourage with empowered minions classified as tour managers is prevalent. This is a business that has no basic training, and many sneak by. It is also a brutal business, and you can be kicked to the curb so quickly that you may never fully recover.

  Jerry Fitzpatrick has written a wonderful story about how the combination of life’s tumblers click, and all of a sudden, there you are! It’s full of delightful tales of historic concerts, amazing characters and a tragic front row seat to death. Jerry brings together his passion for music and storytelling that includes how to navigate the dynamics of touring. While this is not a handbook for touring etiquette or protocol, you will come away with a few important rules of the road.

  So, toss your bag in the junk bunk. Go up front and hop in the buddy seat where so many legends have spent hours across from Jerry. Kick back, light up, and take a sip. Burn through the pages as fast as Jerry’s wheels leave the concrete behind. Let Jerry take you down the highway toward the sunrise, as he beams on the next horizon and yet another show beyond the curvature of the earth.

  John David Nixon is a veteran in the touring industry with more than 30 years of experience. As a tour manager, his clients have included Big & Rich, Hank Williams Jr., Lynyrd Skynyrd, Patty Loveless, Jo Dee Messina, Gov’t Mule, George Thorogood, Travis Tritt, Tracy Byrd, Diamond Rio and many others.

  Prologue Stealing the Magic

  I'm a thief.

  Not literally … although I’m sure I’ve grabbed a free meal from time to time, and I “borrowed” a motorcycle every morning while the rest of the world slept during my reckless youth.

  No, what I take is what other people are glad to share. They may not realize they’re giving it, but I take it anyway. When a show is about to start, I steal some of the love and joy that is meant for others. At any concert where I’m working and not one of the huddled masses yearning to break free, I have stolen a little something from the entertainer, and they never even realize it.

  There is a moment when the lights go down, just before that rock star and his merry band of music makers walk out on stage, when everyone’s expectations and anticipations meet in the dark. There is an explosion of energy that is nearly indescribable, that moment when thousands erupt in a roar that is almost as much about relief as excitement. The roar of the crowd is deafening, and no matter where I go, it always sounds and feels the same.

  That moment is entrenched in everyone’s mind, especially the first time they are part of it. It will stay with them the rest of their lives. They are pouring out so much love for whoever is on stage, and taking a bit of it isn’t really stealing. I just can’t help myself.

  People have told me I have the coolest job in the world. Some days I agree. I have been places and seen things that few others have – amazing moments that have burned in my brain for decades. From where I sit, both figuratively and literally, it’s an observation post to this crazy world I’ve learned to live in. The gamut of human behavior is on full display during an entertainment tour, and there are so many different forms that it would take Wikipedia to absorb it.

  I know one thing: I couldn’t imagine doing anything else. Even the way I fell into this line of work felt almost like fate. There had to be one strange path dotted with so many wrong turns that still led me to this exact spot. What I always remember is that this is still a job. My responsibilities and schedules have to be followed just like anyone else’s in the world, and you still have overtime and meetings and taxes and FICA … pretty much the working stiff shebang.

  But with the workaday hassle, I get benefits. I get to hear some of the greatest music around, and many times, I have a front row seat. I can go back in my mind and remember musical moments that are special personal memories to me as well as others. As a kid, I saw Boston play the opening spot for Blue Oyster Cult in Little Rock, Arkansas. That was as powerful as seeing U2 at the Pavilion in Chicago decades later. I shared time with a few thousand people watching George Shearing and Joe Williams at Pabst Hall in Milwaukee. Those performances, like so many others, go on and on in my mind.

  I’ve taken something from each event – something that sticks in my mind and in my heart and most definitely in my soul. The roadies, techs and assorted characters I’ve met throughout the years and had the undeniable pleasure of working with have left imprints on my mind that will never be erased. I’ve been involved in one way or another with more than 5,000 events, gatherings and conventions throughout North America. And that’s far from any record. I’ve stacked speakers, pulled cables, adjusted par cans and run spotlights. I’ve driven trucks that hauled the gear from one event to another, and I’ve made a career behind the wheel of custom coaches, some of the finest moving houses you’ll ever see, hauling the entertainment, the talent, the stars, the rock stars. Driving those coaches has been the most satisfying work to me. There are fans of every single entertainer on the planet, and when they buy those tickets, go to a show and wait in the dark for their star to walk out on stage, for that brief moment, their troubles are gone. Relationships, work, money, you name it. They are set aside when the music starts. For most fans, escaping in the moment is something every one of them will remember for the rest of their lives. It’s great to be a small part of that experience.

  It doesn’t have to be the iconic stars to leave a mark, especially with me. The time I spent with My Life With The Thrill Kill Kult – that’s a band by the way – was just as energetic as the time I spent with Barbara Mandrell. Fans are the same, even if they look completely different. All crowds cheer and love the same no matter who is on stage. That first roar is soothing to me. All that love being tossed out in the air … there’s nothing like it.

  The Thrill Kill Kult, or TKK, was out there, even for me. The show was devilish, even by Satan’s standards. It was the Sexplosion! Tour of 1991, and it had a sort of notorious reputation. In addition to having an actual bar and bartender on stage, the show featured a couple known as Ten and Avaluscious White. Before we get into their guises, let’s remember that this was not a show for the kiddies. At one point, Ten dressed as Jesus on the cross with a large black dildo while Avaluscious simulated oral sex on him. Anything for a shock, right? And they were shocking, but I also noticed that behind the controversy laid one of the most musically gifted and tight bands I had ever seen. Even their production crew was top notch. We did shows along the route from Austin, Texas, down to Florida and back up to Dayton, Ohio.

  Barbara Mandrell’s crowds loved her, and they filled the air with every bit of that energy and love. Barbara was a torchbearer for country music, and after every show, she would sit late into the night signing autographs for everyone who wanted one. I saw the glow that radiated off her every time, and she would smile, and she would hug, and it was genuine. I saw grandmothers cry or even pass out after
touching her. There are kings and queens in Nashville, and she was most definitely a queen of country music.

  So I steal some of that love. When those lights dim and the energy swells, the crowd escapes their troubles, but I escape mine as well. I squeeze out whatever dose I can, and then it’s back out the door, back on the bus and back to wherever we have to go next, searching for that moment again.

  My life as a child was not that great. There was a lot of bad parenting and a lot of bad decisions on my part. It led me to be a very depressed and lost person. In my desire to grow out of that situation and find a life with some sort of meaning, I discovered getting on the road was a way to keep moving away from my past so that it didn’t affect my future. Most importantly, I think I discovered that by traveling with the show maybe I wasn’t such a lost freak after all. The whole world is going to hell, and I’m driving the bus. This is my story.

  Part I

  Seeing It All

  As a bus driver for entertainment stars and their crews, people often tell me, “You must have seen it all.” I wouldn’t go that far, but I’ve seen my share of things not everyone is privy to, and a few things I honestly wish I hadn’t.

  I’m grateful for the gigs I’ve worked, the entertainers I’ve driven and the music I’ve experienced. It’s so gratifying to be able to travel throughout the United States and across the border to Canada, seeing North America in a fashion few have the privilege of experiencing. I’ve learned lessons I wouldn’t trade for anything. As with any traveling job, memories are created, and there are stories to be told.

  The reality is, though, that being an entertainment bus driver is a real job. I’m a small part of a system that helps the entertainers do their jobs entertaining the masses. It’s a lot of work and responsibility. I’m not saying my job is more important than anyone else’s. Things I’ve seen on various music tours just might be more colorful than things seen in your average job.