"Recordings," I said. "Don't you have any recordings of your band?"
"No," said Tony. "There was a girl in our band who didn't believe in them. She always said, 'Music is all about the moment. There's a reason they both begin with the letter M, she told me.'"
"Profound."
"Her name was Tracy Davenport. Come to think of it, she didn't like any music at all. I can't believe I forgot that. I told you it gave me amnesia, playing music."
"Maybe it's all part of the 'music as moment' thing," I said.
"Tracy Davenport hated almost everything she ever heard," said Tony. "She must really have known music. Maybe I really was good."
"Do you remember what she said about your music?" I asked.
"No. Just that music was supposed to be something you participated in. Recordings were artificial. She once told me, 'Music should be played, not heard, Tony.' I think she may have been some kind of musical genius."
"But nothing about how you played specifically?"
Tony leaned back in his chair and stared at the ceiling. He counted silently on his fingers to ten. "No. Nothing I can remember. Whether she did or not, I don't remember anything so either way it amounts to the same thing."
I watched the girl in pink. There were two mike stands. She was standing in front of the shorter one. The coffee was working. When I looked at Tony I could hear him perfectly. When I looked at the girl in pink, I could hear her perfectly. "Check," she was saying. "Check, check."
I looked at Tony. He wasn't saying anything. He was drinking beer, but I could hear distinct slurping sounds. I looked at the girl again. She was 20 metres away and I could hear every word across the crowded bar.
"Good evening," she said. "We're Easter Omelette and we're the house band here at the Commercial Hotel. It's open mike night tonight. Phil and the boys are here to warm you up and keep things rolling but it's your night. We've got a few names on the list, but we've still got some space left so why not join us. We can always fit a few more folks on the stage."
I looked back at Tony. "You have to play tonight," I said.
"I haven't played in years," he said. "And I don't have a bass. No one's going to loan me a bass. I mean, everyone here looks nice and all, but they're not going to loan me an instrument. There's being nice and there's being nice, you know. Besides I don't know any of the music."
"How do you know that?" I asked. "They haven't even started playing yet? It's open mike night. You can play whatever you want. It's just a big jam session."
"You are much more entertaining than I expected," he said. "There must be something about breaking a hand that makes people more interesting. You and Alvin -- both very entertaining."
"I am completely wired!" I said. "I don't know why but some mix of the drugs and the beer and the coffee means that my hearing is like a dog's, only better. If you play tonight, I'll be able to tell you whether you're any good or not. Absolutely."
"But I haven't played in years," said Tony.
"It's the perfect test!" I said. "If you are a musical genius, it won't matter. I guarantee I'll be able to tell. Look at me! Look at the way I'm vibrating! I'm a human tuning fork!" I held up my hand. "My hand's even full of metal! There must be a reason for all of this!"
Tony shook his head.
"Do it for me," I said. "Four days ago, I was in a camp. I was making good money. I had friends. I had somewhere to sleep. I had meals waiting for me when I got home. I had a girlfriend. I had a life and a purpose. Now I'm drunk and stoned and broke and wired on caffeine and my hand's busted and I have no idea what I'm going to do. Give me a reason for being. Let me tell you whether you should be a musician or not."
"I don't know, Kent..."
"Tony, what are you doing now? What's your job? You never told me that."
The band had started playing now. I didn't recognise the song, but then I wasn't really paying attention to it. I was focused on Tony.
"I work for Satfield Gas," he said. "I track what leases we're working on and who we need to pay for them and how much. It's an interesting job. You get some real characters sometimes on the other end of the phone. Just the other day I was talking to somebody who was a real live rodeo cowboy."
"Is it as exciting as being a rock and roll star?" I asked. "You've got to give it a chance, man. If not for you, then for me. Just for this night. I need to have a purpose. Let me be the one who tells you if you're any good."
Tony looked at the stage. He looked into his beer. Then he looked at my hand. "All right," he said. "If you can get me a bass, I'll go up on stage."
"No problem," I said. It seemed a fair deal. I do something for him. He does something for me. Then I do something for him. And then he does something for me. And then... well... It's all a big circle of life.
I looked around the bar. I couldn't see an unattended bass. Maybe there was a music store still open on Whyte Avenue. But that wouldn't work. I couldn't afford to buy a bass. I drank some coffee. There had to be basses here. It was open mike night. The place was lousy with aspiring musicians.
"You've got to help me out," I said to Tony. "My hearing is perfect but my eyesight is a bit fuzzy. Are there any basses actually in this bar."
Tony stood up. He turned around slowly. He sat down. "There's a few," he said. "Obviously, the skinny guy on stage is playing one."
I looked at the stage. "No good," I said. "I can't see past the girl with the pink head. Anything on stage might as well be invisible."
"Well, that guy has one," he jerked his head in the direction of a kid who looked about 16 with hair down to the middle of his back.
I shook my head. "He's an adolescent," I said.
"True," said Tony.
"An adolescent male," I said. "Never fuck with an adolescent male. No matter what species. They're all testosterone and growing muscle and they heal quick. If he takes offence he'll either kill us or try to mate with us. You see the same thing with bears, moose, and mice. Adolescent males are bad news."
"There are lots of guitar cases in the bar," said Tony. "But there's a very good chance they have guitars in them. Some of them might contain a bass I suppose. I wonder if there's some way to tell. Maybe by where they put the stickers or maybe there's some secret sign that a real bass player would be able to identify them by."
"You can't think that way," I said. "You are a real bass player. If there was some sign you could sense it. I'm sure of it."
"All I know is I can't tell," said Tony.
"Well, we'll just have to ask them," I said. "Get me another coffee. I need to be crystal clear when I speak to the masses. It might be an idea to get another pitcher of beer as well. Something's happened to mine and yours is looking mighty low."
Tony went to the bar to get the drinks. I went over to the stage and waved my broken hand at the girl in the pink. She winked and gave the clipboard at her feet a gentle kick. I picked it up. There were two columns, one headed by "name" and the other by "instrument". I wrote down "Kent" under the "name" heading and "Vox" under the "instrument" heading. Then I crossed it out and wrote "Bass". I put it down, then picked it up again. I crossed out "Bass" and wrote "Vox" again. I put the clipboard down just as the girl in Pink finished singing. There was a smattering of applause and one or two whistles.
"Thanks," she said. "Don't go away. I think we have a special treat for you." She bobbed down onto her heels and glanced at the clipboard.
"Kent," she said. "Are you ready to join us on stage?"
Her hair was painfully bright. Her corset was just as bad. I found myself staring between the two until I realised I was peering straight into her cleavage.
"What do you want to sing?" she asked.
>> Farts Like Gold: 16