ReTrio and Paul Kent play Searles at Hunstanton

We were opening our run of summer season gigs at Searles after a particularly stressful time for me personally with my mother's passing.  Nevertheless,  mum had had a good send off the previous day and all the relatives who had been staying with us had departed by mid-day so I was able to turn my attention to pack and load for the gig.  We wanted to make a good impression and a few days beforehand I had sent the guys a set list and a link to a Dropbox pdf folder with all the song arrangements in.  So I was surprised to get an email from Paul asking for copies of words.  I resent the link and heard nothing back so assumed all was ok.  I packed an extra SM58 and stand (and white tie) that I would loan to Ian for the foreseeable future and having had the chat about setting up a line in for Paul I assumed he would bring all he needed.  In the week I had bought an Audix OM7 to replace the faulty OM5 which had then turned out to be not faulty.  I compared it on my home system to the OM6 I was currently using and it was noticeably better if you set a high gain c 30dB on the mixer pre-amp.   So next day I set up the Line 6 mixer pre-amp on my input to cope with the OM7's lower transformerless output - I checked it worked but I would tweak at the gig.

It was very cold and gloomy as I set off at just after 5 for an uneventful ride to Hunstanton arriving at just after 6:30pm. As I came in there was a parade of gaily lit up Goldring Trikes cruising out and the park itself looked busy.   Then marvellous!  - There was a parking space right in front of the doors!  I wandered in and to my surprise I found the Mariners Bar had been completely redesigned!  The stage was at the far end and the completely refurbished room seemed smaller.  The stage was smaller and boxier but well fitted out.   I met up with Chris, Bridget, Nathan and Abbie who had arrived earlier.  Chris said Paul had arrived and was treating his daughters to a meal.  Ian was in the area staying with friends and would be here shortly.  Chris said he and Nathan would give me a hand in with the gear but we couldn't start set up until after 7 when the rugby finished.  We were all geared up for a 9pm start so that was no problem. Had a beer and chat until 7:30pm and then we were able to commence set up.  I got all our usual stuff going and reset levels for Chris, Ian's and my mics.  The headroom before feedback on the OM7 was enormous and it had that real deep and toppy ("bum & tit") sound I like.  I was very impressed but I was too busy to mention it to the boys and they wouldn't notice 'cos it looks just the same as the OM5 or 6.  Paul then offered me his jack lead for the line in to my mixer from his T1 mixer, preceded by a Digitech Live Vocalist 5 fed by a wireless mic I didn't notice the make of.  It all worked and there was no need to adjust levels.  Paul took some time to select a vocal FX sound he liked.  He wouldn't be using the harmoniser but I did point out I could easily provide a guitar feed so he could use it and we could do some Beach Boys stuff!  It all sounded fine to me as he tested,  but for me I preferred our simple echo FX over his reverby delay FX.   He then proceeded to wander out front singing to a backing track for "How Deep is Your Love" and asking people could they hear him.  Not something I would have done in a full room but 'hey' he is the vocalist!  With everything working I dished out the set lists.  Paul quickly said there were a few numbers he couldn't do or wanted change in order to.  I was a bit frustrated by doing late changes and,  out of my normal character,  grumbled to him he should have advised us earlier.  The four of us went to a quiet table in the conservatory to rework it in red ink.  Then we went to get changed into the black and white for the 9 pm start.  We came back to the stage with a few minutes to spare to be met by the chairman of the Goldwing Trike club.  He said he needed a mic to do the presentations for 40-50 minutes or so!  We got hold of a member of staff to sort him out and I reworked sets for 2 x one hour.  All these last minute changes didn't auger well.

We came on after the presentations to open with a nerve steadying "FBI into Heartbeat".  The only adjustment I made on the fly was to bring the band volume up quite a bit to cut through in a busy room.  Sounded good to me (the OM7 was awesome) and the audience were enjoying it and responding appropriately.  I warned the audience that we would be doing "Born to be Wild" later to celebrate the great turn out of the trike club.  After "Rock Around the Clock",  I brought Paul on to join us in the "Beatle Medley".  Chris and I wigged up as he got set but our continuity was poor and announcements hurried.  As we got going into "8 Days a Week" it was clear Paul didn't have the volume he expected and he proceeded to fight a battle against feedback as he tried to get a vocal sound that would cut through.  There was quite a bit of arrangement confusion on stage,  but we settled on doing the longer version by default.  We negotiated the transition into "Can't Buy Me Love" OK and Paul cut through a bit better,  but doing the longer version as well I forgot that there was a solo and had to improvise sound and notes very quickly - would have done a lot better if I was less stressed!  Nevertheless it was well received by the crowd.  Following on with the Searchers,  "Sugar and Spice" started well.  Then there was some confusion over who was singing what.  The transition to "Needles and Pins" was confused and I was still unclear over what Paul wanted to do vocally.  Suddenly we found ourselves at "Walk in the Room" and then Paul's wireless mic failed.  He came over to mine and borrowed that so we lost the harmonies in that number.  As we finished he was on the floor changing batteries.  He gave up on that after a couple of minutes and got his spare SM58 set up.   After a long introduction and apology to the audience for the tech problems, I finally started "Daydream Believer" and we got going again.  For the rest of the set things went smoother but we were all on edge. 

For set 2 I said we'd do about 20 minutes as a trio to get settled and deliver some continuity to the show.  We opened with "Dance the Night Away" and played on through several numbers gradually building up the number of dancers when we got to "Hi Ho"  when I brought Paul on again.   This set was better than earlier,  but he was still suffering with feedback - I think because the line input he was using into the Line 6 had no feedback suppression.  Still we had the audience dancing and clapping so it must have been OK out front.  Towards the last 20 mins we had a request for a slowie.  "Wonderful Tonight" was the obvious choice and it packed the floor.  I said to Paul we needed to do another slow one - what can you do?  After a minute of head scratching he came up with "A Little Bit More".  We had played it through once before and on this night it worked well enough but in my opinion was somewhat untogether,  i.e. needs more rehearsal.  We followed up with "Another Brick in the Wall"  which went surprisingly well despite some difficulty in bringing it to a close as I finished the solo.  A few more numbers later we signed off with "Johnny B Goode" and encored with "Born to be Wild" which went a storm.  We were well over time as we politely declined more encores and made our way out to pats on the back and some compliments.  I was amazed 'cos I thought our whole show was a bit of a disaster!  I think people must like the forceful pace and louder sound of the new line up and are willing to overlook lack of slickness.  So on the night we got away with it with the audience and the entertainments staff.  Fingers crossed the entertainments manager was OK as well.  Quick pack up and uneventful trip home - again with some left ear ringing!  I had plenty of time to ponder things as Jacqui and I set off for Malta the next day. 

Mid the next week from Malta I initiated an email exchange about how we might fix things before the next gig.  End result was Paul said he would use his own QSC PA in future. I went along with this because it would mean I would only need to bring one Bose along for vocal monitoring and guitar back line.  I remain optimistic things can be fixed but the guys in the band will need to put some serious effort into learning the new songs and arrangements if we are to regain the slickness of the trio.

Bridget's Big 50 Party at Bury Golf Club

Chris had booked the band for this do several months previous.  Now the band was in a state of flux we agreed it was a good place to debut Paul Kent.  Also, we had worked up a few songs for Lewis (Bridget's son) to sing on the night - so it would not be business as usual.  We agreed a play list which would start quiet with just ReTrio then after food we would bring on Lewis to do his bit and Paul debuting towards the end of that set to close it off.  The final set we would start with ReTrio, bring on Paul to do a dancey half an hour and fit in a reprise for Lewis on a couple of songs. Got that sorted when,  sadly,  my mother passed away on the 3rd March and I was run ragged sorting things out over the next week or so.  I was well out of practice and fitness by the 14th.

Come the day we had my adopted son Phil and family staying over and they would bring Jacqui over at 8 ish whilst I got on with set up and sound check in the afternoon.  I met up with Chris and Ian at the club about 1:30pm and we loaded in and set up.  I set up my 'old' Audix OM5 for Lewis and Paul; and Ian borrowed an SM58 and stand from me so he could join in.    We didn't do a sound check as such,  just made sure all was working.  Then we retreated home for the afternoon returning to the venue at 6:30pm to do a sound check and final rehearsal with Lewis.  There seemed to be a dodgy lead into the OM5 so we replaced that.  It seemed OK and we had good headroom for Lewis to try out a few of his songs.  I ran through "Smiling" to make sure synth and harmoniser worked.  Guests started arriving from 7:30pm and we were all clear by then.  Paul had been driving back from Barcelona but he arrived in fair shape and we had chance to brief him about a few things.  He agreed best to use the OM5 we set up for Lewis. We got changed in the golf dressing room;  Chris suggested we have loose white ties with the black shirts and I lent Ian my spare.  The room filled quickly and Chris, Ian and I took to the stage as a trio to start proceedings with a 30 minute easy listening / country set.  "FBI - Heartbeat - Smiling" all sounded fine to me,  but my voice felt tired from the off so I was glad I wouldn't be doing the whole night.  Jacqui and family arrived as we embarked on some rock'n'roll and they brought grandson Ethan up towards the playing zone to see his old Grunkle Mog at work - I nodded him a wink as I hit the solo for "Rock Around the Clock"!  Audience reaction was a bit muted - but we were merely the background for meet and greet so I wasn't bothered.  We did a bit of country with "Act Naturally and Folsom Prison" and then ran "Albatross" as a slowey.  No dancers as such but this was actually received quite well. I was making the occasional error on guitar but nothing too noticeable out front (I hope).  I had asked Chris to run the show as the 'do-meister' for the night and he called for "Penny Arcade" to finish.  That went quite well,  my voice had loosened up a bit and Ian is easy to play with on this changing rhythm song.  I thought we did OK. 

After a long break for food and circulation,  we resumed with "Apache".  No walk tonight.  I was listening so much to Ian who was playing nice little touches as per the record that I didn't spot I had set the wrong guitar sound:  short echo rather than long - doh!  After a well received "Tambourine Man - Daydream Believer"  we carried straight on into "Sweet Caroline".  I nearly made it 'Sweet Bridget',  but it didn't scan too well. 

There was a natural break after this whilst Chris introduced Lewis to sing some songs for his mum -  aaah.  We opened this little spot with "Dream Lover".  He sang it well.  We were a little mixed up arrangement wise where the run downs came and went and whether some of the harmonies should have been aaahs or words;  but overall it went well and he got a very good response.  He carried on with a creditable version of the "Green Grass of Home" and then "Wonder of You".  He does have a good voice and considering the modest amount of practice held he and the band gelled well on both of these.  Lewis loves Bryan Adams and we had worked up "Run to You" for the night,  but in the end he felt it was too big a deal and asked to do his banker:  "Summer of 69".  This went really well and garnered a big audience response. Several of the younger friends and rele's were mobbing him and I could see he was getting into it as we carried on with "Achy Breaky Heart".  Vocally we did quite well on this with me singing the hi line on the chorus with added harmoniser above that. Lewis completed his set with "Runaround Sue" and left the stage as a hero!

We resumed with our Searchers medley.  The idea was that Paul would come on as we completed the transition from "Needles Pins" into "Walk In the Room" and he did.  I just had to cue him in and away we went.  One immediate snag was the volume on the OM5 Lewis had used was suddenly a lot lower.  Still we got through the song and tried to remedy it. Having already changed the lead, I assumed the mic was faulty so Paul borrowed Chris's mic for the next few numbers.  This cured the volume problem but the tone wasn't great, however it seemed best thing to do as we went for "8 Days a Week -  Can't Buy Me Love".  Paul seemed ok with my key choice for "8 Days" so I dropped into double track mode and let him lead it.  The harmonies were a bit ragged mainly down to my lack of vocal practice in doing these hi lines.  We finished the set with "Nights in White Satin" which I thought Paul sang well even though I could tell he was making some of the words up!

During the break Paul got his own SM58 from the car and we tried that out instead of the OM5.  Now that seemed to fix the problem so we were set for a long last set.  We got changed into white tees and black waistcoats and took to the stage to open with a few that I would sing:  "Dance Night Away  Great Balls  Move It"  to get us warmed up.  It was a friendly party as opposed to a dance party,  but there were a few dancing from time to time!  Next up was "Alright Mama" to set the scene for Paul's return.  As that finished I set the riff to "Mystery Train" going and cued Paul in for a rather good version of "Hound Dog".  He really performed this well,  getting into the audience and moving around. He even sang the 'aahs' under the guitar solo.  Now,  I had worked a solo up for this number in the week and it too went very well.  So we were well pleased with this as we finished - a number that showed the potential of the new line up.  Oddly enough we kind of lost the plot in the follow up "Blue Suede Shoes".  Just lack of disciple as to the tacet stops and played at reckless speed - I did manage to get the solos out somehow,  but I much prefer the easy pace we usually do it at.  Next was "Crazy Little Thing"  and this went quite well up to the end of the solo where the boys forgot to do the accapella bit.  I must say that Paul did a great job on the vocal and posturing though!  It seemed we had a request for Status Quo 'cos next up was "Caroline".  I was a bit unfamiliar with the guitar on this but he band performance was good and I thought the harmonies on the chorus showed potential.  Chris called for "Hippy Shakes" next I had insisted on remaining in the key of B 'cos that works for my solos at the mo'  and Paul sang it no problem.    Paul conferred briefly with Chris and announced a Stones song "Honky Tonk Women".  Ian and I got going with the intro in the agreed key of A and then strangely Paul opened up by singing "All Right Now"!!  So we went with it and switched to that.  A bit ragged but enthusiastically done none the less.  The obvious next choice song was "Honky Tonk" and we did that quite well with a rough edge a la Stones.  

We continued with "Do You Wanna Dance" -  Paul has the same trouble with words that I do and my voice on the hi line sounded strained;  but it did fill the floor.  Ian called for "Mony Mony" by starting the drum beat.  I couldn't remember which key we had settled on and peering at the set list I thought it said D so we went for it.  Actually this worked really well once we got going.  I could grumble about some of the subtleties being lost (e.g. missing bass riff) but the effect of the song on the crowd was just great.  Then we had a go at "No Particular Place to Go".  I hadn't had time to work the solo up and my improv on the night was horrible.  But the basic verses were fine -  good driving beat and sound. 

Paul took a break for a reprise from Lewis doing "Johnny B Goode and Summer of 69" which went down a storm.  We played on to the end with Paul pick and mixing through a few more songs until we encored with "Born to be Wild"  which we rocked out really well.  I was tired and sore throated and for once pleased to be finished.  We had been playing loud and I had what I hoped would be a temporary hiss in my right ear.  Glad handing,  pack and load took an age,  but with only a short drive we were home by 1:30am.  Reflecting on things the next day:  there are some pros with Paul in band - more exciting and visual.  Cons: on the night we lost slickness of show building,  we might be a bit too loud for some gigs?  But its early days yet and we had agreed a 'loose' style at this one off event.  So next gig is Searles on Saturday.  No chance to improve anything before then and we will trust to luck and judgement on the day.

PS  ran up the mixer to set a flat line in for Paul's Bose T1 and I found that the channel 7 the OM5 was plugged into was faulty - some kind of dry joint effect?  You can blow it off by increasing gain but a low level signal for any length of time and it reverts to about 10dB below expectation.  So the mic must be OK and maybe the lead as well?  Easy workaround on the mixer to use another channel!