AT 29 (64 page)

When both men were satisfied that the shipping was under control they adjourned to Winfield's office where they went through the plans for the coming week. The previous Monday's interview was ready. It would be broadcast in four installments during the drive-time hours. The DJ volunteered to play selections from all the albums;
Back and Blue
got most of them. He also promised to push Jimmy's name change.

On the drive back to New Jersey McCabe went over the production schedules.
Back and Blue
was in the stores, but wouldn't go on sale until Monday. The initial run was thirty thousand with additional stampings in the works as needed. He took Winfield's advice and also ordered a small production run of Jimmy's earlier albums. There had been a slight uptick in sales, just as Winfield predicted after the Toby Maine interview. The Brits albums were already on sale, but buyers were few. Winfield told him not to expect much for a month or so. The tour and national radio exposure held the key. Money was flowing out the door faster than Miles liked. The take from Jimmy's Australian tour was nearly gone. The tour logistics ate most of it. Cash was getting tight.

He thought about Cindy. Her work with Danny MacGregor was very good. She was becoming a first class producer. Once Jimmy and the others hit the road he'd huddle with her and decide how to introduce MacGregor to America. He needed her to go to California, too. The young brothers from San Jose just might be the new VooDoo9, now that the bad press about Maine was coming out. Winfield did a master hatchet job. The conglomerate's public relations machine went into high gear as expected, but the first tabloid reports came out only a few days later, negating the smokescreen and confirming much of what the DJ brought out in the interview. No amount of PR could dispel the doubts that were beginning to surface. It would be interesting to see if the rest of Winfield's predictions also came true. McCabe wouldn't bet against him. Myra said the VC Board was pleased, especially with the top line revenue. Nothing was said about putting the record label on the block. As far as McCabe was concerned it was still months away, maybe never if he had anything to say about it. He was having too much fun to walk away now.

The house was empty. George, wherever he was, didn't take the Impala. Jimmy guessed he'd been gone for a while because the heat was set low and the interior had a cool, damp feel. He turned on the lights and cranked up the furnace before turning to examine George's work. Everything was pristine. The carpets were shampooed and the walls and woodwork freshly painted. Even the furniture looked new, as if someone had
cleaned the upholstery so each piece had a fresh from the factory look. The kitchen floor was waxed and shiny. Each appliance also looked new, scrubbed and polished to a gleaming brilliance. Outside, George had finished painting the clapboards and shutters. The lawn had been reseeded and all the weeds were gone. The driveway was edged and the long square garden out back where his mother once grew a wide assortment of flowers was tilled and ready to accept new seeds come spring. Even the garage floor was painted a shiny gray, contrasting nicely with the bright red Chevy. An envelope sat on the kitchen table. Jimmy opened it and took out the note.

Jimmy:

Funny, we never got around to exchanging ways to get in touch. I hope you got back from down-under safe and sound. I expect I'm in Mannheim as you're reading this
.

She cried real hard when I called over to say I was coming, but they was tears of joy. If things go right I'll stay for a while, maybe through Christmas, who knows?

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.

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.