I’ve been a sound engineer in this business for over thirty-five years. Worked with some of the best bluesmen and rock n’ rollers to ever set foot in this city. I heard something special in the Blues Blasters. A real passion. I knew they had it in them to make it big if they wanted to.
Really big.
But for some, passion is just this side of mania.
The Blues Blasters were a local favorite, a bar band that had a gig almost every weekend for the last three years. They played blues and rock covers, slipping in a few of their own songs every now and then.
There were four of them. Billy Ray was on vocals and lead guitar. He first picked up a guitar at the age of five and had his first paying gig by the age of twelve. Colin Glassman played bass, Nick Healey played keyboards, and Smokin’ Jon Blith played drums. He could rip a beat out of his kit faster than a bullet through a dead man’s back.
I’d done sound for them on previous gigs, so I knew what they were after. An in-your-face plugged into your brain sound. I should have gone with that. Stuck with it for the whole demo. But instead, I thought I’d surprise Billy Ray with something that in hindsight should have best been kept under lock and key.
One of Billy Ray’s heroes was the legendary bluesman, Niles Ordonez. Mr. Ordonez had grown up in Keel River, a small hamlet fifteen miles to the south. Although in and out of jail for petty theft and assault as a teenager, he became a magician on the slide guitar. He gave it emotion, made it cry, breathed life into the steel strings and bled from them a sound that haunts me to this day. A freak fire during a recording session thirty-some years ago ended his life. His whole band died with him.
If it wasn’t for the glass separating the recording booth from the musicians, I’d be dead, too. I was there. The only witness.
It’s one thing I don’t like to talk about, one of those instances almost impossible to speak of, because once the words start forming in your mouth, you realize just how crazy they sound. But I’ll try this one time, because it might put what happened later into perspective.
As if perspective is even a possibility.
The fire started in one of the amps. This was back when they used vacuum tubes. There was a pop, then an explosion, and the entire band — who had just been playing one of their favorite songs — became engulfed in flames.
It happened so quickly. Bottles of whiskey and beer popped like party favors, screams seared through the microphone feeds, blue and orange flames danced everywhere, pounding against the sound booth glass like a hellish fist.
I didn’t know what to do. The glass began to crack under the heat, but my eyes were drawn to Niles Ordonez. His hair was on fire, his clothes engulfed in flames. Yet, he walked right up to the recording booth window. He pressed his face to the glass, his teeth, his tongue moving behind fire-blackened lips. He was trying to tell me something.
And I could hear him. The bass of his voice steady and solid, penetrating through the cries of his band mates, cutting through the explosions and unending feedback.
“Did you get that one?” he asked. “Did you get that one, Sonny?”
The glass broke.
Flames shot in, pummeling my face, my chest, my hands. I dropped to the floor, my hair and clothing on fire, and rolled around like an upended turtle on the linoleum. The smoke clawed at my throat. It felt like I’d swallowed burning sand. Just as a calm settled over me, a deadly calm of acceptance to my fate, a hand grabbed me and dragged me out of the recording booth. I felt the slap of a canvas jacket on my body smothering the flames.
I’ve seen pictures of the recording studio taken after the charred bodies were removed. What were once amplifiers, guitars and drums, were now twisted metal and melted black humps all fused into a hellish landscape. I was lucky to be alive.
I had nightmares for months afterward. Watching the band members burn one by one as the music continued to pulse in my head. A figure stood next to me in the shadows, watching, applauding, smiling with a set of teeth that reflected the flames leaping off the musicians. Every time he turned his smile on me, I woke up sweating and gasping for breath.
One thing aside from myself also survived that fire.
The mixing board in the sound booth remained intact. A little smoke damage, sure, but it still functioned. I can’t explain why. I guess it’s like when a tornado strikes, leaving a path of destruction, yet not touching that one house right in the middle of it all, even the leaves on the tree out front still intact, as if the house was blessed. Protected.
I guess the mixing board was like that. Protected.
Not blessed.
“I’ve got a surprise for you guys.”
“Yeah?”
I led the Blues Blasters back to the recording booth. They crowded in the doorway. I pulled a white sheet off of a large object at the back. It was the old mixing board, the edges slightly blackened by the old fire.
I’d kept it in my basement all those years, never thinking it would see the light of day again, but sometimes the cosmos all comes together in a neat little loop, and things long forgotten come up and say hello.
“Wow,” Billy Ray said, fingering it tenderly. “Is that what I think it is?”
I nodded, unable to keep from smiling. Believe it or not, it still hurts to smile, the scars from that long ago fire stretching painfully across my face. But that day, I didn’t mind. That day it was a good pain.
“Niles Ordonez. Used on his last recording session. The only thing to survive the fire.”
“Wow,” Billy Ray said again, shaking his head.
The rest of the band took turns touching it, examining it, like it was some beautifully wrought tombstone and they were paying their respects.
“I thought we could use it for ‘Niles Big Sigh’. Give it an old vinyl feel. A crackle and pop feel. What do you think? A little tribute to Niles?”
‘Niles Big Sigh’ was one of their favorite tunes, an all out instrumental full of soul wrenching guitar riffs. A tribute to Niles Ordonez
The rest of the band nodded. They liked the idea.
We got down to business, recording tracks for some of the other songs on their tape. We decided to record Niles Big Sigh at the end, when they were really warmed up and ready to jam.
The day was a long one, and the band sat down for a short break before the last song.
I remember it clearly. Everyone beaming, cracking open fresh beers, shooting the shit, easy laughter. One big happy family. I’d like to remember it that way, keep that image in my mind above all the others. But I can’t.
It’s impossible now.
They started to jam.
A year earlier, after one of their live performances, Billy Ray confided to me, “It’s better than sex. It’s like I’m lost out there and floating on a giant wave.” The smile on his face was radiant. Sweat gleamed like pearls on his upturned face.
He was talking about that ultimate peak in music where everything works together, the notes blending, swooping effortlessly out of thin air, audible gifts from the gods.
“Damn, Billy Ray,” I said. “You must’ve been riding a big one tonight.”
He wiped a clean white cloth along the neck of his guitar. “It was a nice one, but not the big one.”
“How often do the big ones come?” I asked.
He winked. “Once in a lifetime, Sonny. Once in a lifetime.”
After ten minutes of playing, I thought they were ready to stop. The song reached an incredible plateau,
