Born to Run (11 page)

Finally, we worked our way up
to the IB Club. This was the big show down south. A greaser heaven on Earth. The best groups, real hit doo-wop recording acts, played there. Nicky Addeo was our local doo-wop god, with a falsetto that wet many a pair of cotton panties and could send chills up Satan’s spine. He was the real deal and king of the old-school crowd that gathered at the IB. When he sang the Cadillacs’ “Gloria,” greaser
church was in session. The dance floor’d be packed and all you could hear was the rustling of sharkskin hard-ons rubbing against cheap nylon stockings. Doo-wop was still the music of choice amongst the rocker contingent even in 1966, years after the British invasion. I’ve sung “What’s Your Name” and the Five Satins’ “In the Still of the Night” many, many times. Along Route 9 in the sixties, a handful
of doo-wop numbers was essential to your survival.

For the Castiles this was a big booking. The floor was awash in leather and we’d tailored our set to satisfy. The secret ingredients were doo-wop, soul and Motown. This was the music that made the leather heart skip a beat. It took the dark, bloody romanticism of doo-wop, the true-to-life grit of soul and just that small hint of possible upward
social mobility embedded in Motown to define what this crowd’s lives were all about. Except for their Top 40 hits, the bohemian poses of the Stones or their other sixties
brethren held little relevance to these kids’ experience. Who could afford that? You had to fight, struggle, work, protect what was yours, remain true to your crew, your blood, your family, your turf, your greaser brothers and
sisters and your country. This was the shit that would get you by when all the rest came tumbling down—when the bullshit was washed away in the next fashion trend and your gal was pregnant, your dad went to jail or lost his job and you had to go to work. When life comes knockin’, it’s the heartbroken doo-wop singer who understands regret and the price of loving, the hard-living soul man who understands
“I take what I want, I’m a bad go-getter, yeah . . .” and the Motown divas, men and women, who know you’ve got to play a little bit of the white man’s/rich man’s game. You have to make thoughtful compromises that don’t sell out your soul, that let you reach just a little bit higher until your moment comes and then
you
set the rules. This was the credo all along Route 9 and you’d better understand
it or else you would die an ugly musical death while risking bodily injury on Saturday night.

The Reckoning

It was a Saturday night like any other; we were booked into the IB Club and looking forward to a great gig. Though we were now dressing more like a British R & B group (we had outvoted Tex and ditched the uniforms), we’d established a good rapport with the crowd and were popular amongst
the locals. It was all cool as long as you stayed away from their girls. We were now on our third lead singer, I’ll call him “Benny,” a significant improvement. He wasn’t great-looking, he was a little older than us and out of high school, but he could sing all right. He was hanging around town, lived alone near me in the neighborhood, had a little bit of an older guy’s cool and savvy, so one thing
led to another and he ended up shaking his maracas in front of our band.

The club was full, maybe six hundred people, wall-to-wall leather,
teased hair, pompadours and enough grease to keep your local garage in business for years. From the stage I saw the Red Sea part as Tony came in with his crew. It was the usual promenade, fun to watch actually. They filtered through the front door, suddenly
changing the pace and temperature of the room. The night was now officially on. The Howell Township police visiting the IB Club for fights was not an uncommon occurrence. Public disturbance was many of the IB’s patrons’ passion and hobby. Hopefully, there were no beefs to be settled and everybody would go home happy and in one piece.

Out of the blue during a band break word filtered to the stage
that if Benny did not come down and surrender himself to Tony’s crew, they were coming up onstage within minutes to cripple everything and everyone on it. Huh? What happened?

In Middletown, New Jersey, there were two natural, physical phenomena, Gravity Hill and Thrill Hill. It was a common rite of passage to drive out from Freehold in your car and park at the foot of Gravity Hill, and (due to
the “lay of the land”? The “mystical magnetic properties of the Earth”? New Jersey hoodoo?) once you shut your car dead off, it would mysteriously appear to slowly roll itself backward up the hill. I’d sat in my ’60 ’Vette on many occasions impressing some gal on a late-night date with this little blacktop parlor trick.

Thrill Hill was simply a radical and improperly graded rise in the road that
when combined with enough speed would lift your car off its wheels, launching you and your passengers into the night for a little “airtime.” The catch was that just over the rise of Thrill Hill was an old, low-hanging steel railroad bridge. The “thrill” was cutting that distance between your roof and the bridge. Too much height and you were going to have a really bad night.

As folklore had it,
Benny had been on Thrill Hill one night driving a car of four, the sister of one of Tony’s friends riding along. They supposedly caught enough of the bottom of the bridge to seriously injure his passengers while escaping with limited injuries himself . . . until now. The brother
had petitioned the Godfather for justice, and it was about to be delivered. It would all be settled that night in the
next few minutes. Benny offered to surrender himself. I don’t think he meant it, and anyway, we wouldn’t let that happen. I knew Tony through an old bandmate, which might save me from a beating, but everything else—band, equipment and all—would go. There was only one thing to do. The last shameful respite of any self-respecting Route 9 denizen . . . call the cops. Now! That’s what the manager of
the place did on our behalf. Benny was escorted off the stage and out of the building by police, walking through a gauntlet of hard stares and leather into the township police car and out of our lives forever. He never played another note with the Castiles, his tambourine permanently retired.

Work

The Castiles were now a pretty well-honed unit. We played regularly in many different venues for
a wide variety of audiences. Firemen’s conventions, the Marlboro Psychiatric Hospital (where, yes, the inmates sang along vigorously to the Animals’ “We Gotta Get Out of This Place”). One evening we were playing the Surf and Sea Beach Club on the Sea Bright strip, deep in the heart of rah land. We were opening up for a well-known traveling Top 40 cover band. There were a few bands of this type. They
didn’t have hits of their own but had gotten so good at what they did, they broke their local bonds and were actually able to make a traveling gig out of playing other artists’ music. The place was packed with surly, suntanned faces, chinos and madras skirts. We came out and started playing our recent concoction of psychedelic blues, and I felt something wet. We were being spit on, literally,
way before it was a punk badge of honor. It was only a few guys, but it was enough. We played our set and left, furious. A year later, the same people would be cheering us at Le Teendezvous, a club in Shrewsbury catering primarily to the rah-rah crowd but the best gig going along the Shore, with their girls hitting on us. We’d come back and victoriously play Surf and Sea
many times, but not that
night. We took our hundred dollars and headed back inland to our lowly townies.

Though I had a group of good rah friends I’d met along the beach, between the rahs and the greasers, I guess I felt I had more in common with my pompadoured brethren back toward home. They would administer swift justice but would not lord it over you the way our madras-wearing, beer-drinking cousins to the east would.
I guess it was just a class thing. I could still feel the shadow of that spit that hit me long ago when I moved to Rumson in 1983, sixteen years later. At thirty-three years old, I still had to take a big gulp of air before walking through the door of my new home.

Carrying on, there were battles of the bands, occasional weddings and our first performance for an entirely black audience as the
only white act on the Tri-Soul Revue. The Tri-Soul Revue was held at the Matawan-Keyport Roller Drome and promoted by a young black hipster. He liked what we did and booked us. We also opened for and backed the Exciters. The Exciters, a classic early-sixties vocal group, had a big hit with “Tell Him” and were the first real recording artists we’d ever come in contact with. The night consisted of a
record hop with an onstage deejay and live music (us). We were set up down on the dance floor amongst the dancers. The Exciters met us in the roller rink locker room, where the gorgeous girl singers stripped down and got into their slinky gold lamé gowns right in front of us. (Teenage heart attacks and rock ’n’ roll heaven!) Then they went out onto the stage, where’d they lip-sync to their records,
following it up by performing live versions of the same hits down on the floor, backed by the Castiles. We finished our set filled with soul, soul and more soul. We’d decently won over a black crowd suspicious of the white-boy hippies and backed the Exciters without embarrassing ourselves. We’d been rehearsed that afternoon by Herb Rooney, their singer and group leader. I watched the way he led
a bunch of musically illiterate teenagers through their paces ’til they could reasonably back his group. We went home that night adding another notch to our belts for a job decently done,
for lessons learned and for entertaining a tough audience that could’ve gone the other way.

My Kent guitar had long given way to a teal-blue solid-body Epiphone, a real instrument. Epiphone, a subsidiary of
Gibson, made good guitars just under the price range of the world-class Gibsons. Mine was a sweet hand-me-down from Ray Cichon, lead guitarist of the Motifs, who were local legends and the first real rock ’n’ roll band I’d ever seen.

The Motifs

Walter and Ray Cichon were two brothers from Howell Township, New Jersey. Ray was so tall he was always hunching forward, either over his guitar, which
he wore strapped high up on his chest, or over you, raining down a spray of spit from between the gap in his teeth as he spoke. He wore his hair short and slicked back and dressed grease. When he dug into his guitar he had a lock of hair the pomade simply couldn’t hold that would tear loose and come cascading around his ear à la Jerry Lee Lewis when the piano kicking started. He was a big and unusual
presence standing at the center of his band. He was uncomfortable with himself in the way of some big guys who are not completely at home with their size. There was never quite enough room for Ray Cichon. Something was always being bumped into, knocked over. He had a tender goofiness and was a fierce and eviscerating guitarist, stunning the local community with his intensity and fluidity.

Ray
taught me a lot. We’d seen the Motifs at our local high school dances. They frightened and riveted the crowd with their drama, musical ability and surly stage presence. They wiped the dance floor with the Chevelles, making them seem so painfully old-school they practically hung it up then and there. The Motifs were not high school–aged punks. They were men who made music. When Ray first walked into
the Vineyards’ home on a request from Tex, we couldn’t believe our eyes. A visit by Jimi Hendrix himself couldn’t have caused more thunder. Big Ray was there in our
neighborhood, in the flesh, gracing our humble dining room practice area (which he barely fit in) with his presence, sharing his great guitar knowledge with undeserving young wannabes like us. Ray had mastered all the riffs the excellent
Jimmy McCarty played on Mitch Ryder’s great Detroit Wheels hits and he’d lay them out for you note for note. Ray’s hands were huge and moved effortlessly over the fret board in configurations physically impossible for me to achieve. He would play, his marble-size knuckles bulging, and the sound that would come out of his Ampeg amp filled me with aspiration. The shocker was that when Ray wasn’t
inhabiting my local Mount Olympus, shutting down every pretender who thought they knew a hot lick or two, he was a shoe salesman! I visited him once at the shoe store even though the sight, the incongruity, of Big Ray Cichon, my neighborhood guitar god, hunched over trying to squeeze his massive body onto a little shoe stool as he fit some old gal into a size 6 would’ve been too much for me. There
he was, smiling, as sweet and polite as ever, bringing out the shoe boxes, asking when I’d be at Tex’s ’cause he’d stop by for a little guitar tutoring.

Ray remains one of my great guitar heroes, not just because of his musicianship but because he was there, reachable, a tangible local icon, a real man with a life who took the time to pass down what he knew to a bunch of not necessarily promising
kids. He was no distant guitar genius but a neighborhood guy with all his eccentricities and foibles on view who taught you that with a little help, timely mentoring and the right amount of work, you might be exceptional.

Walter Cichon was another story entirely. The longest hair on man or beast I’d ever seen. The first true star I’d ever been close to. A full-blooded rock ’n’ roll animal with
the attitude, the sexuality, the toughness, the raw sensuality pouring out of him, scaring and thrilling all of us who came in contact with him. Walter was
not
your everyday guy but something vastly different. With his hooded eyes and olive skin, he was perfect in that very imperfect Brando-esque way. He fronted the Motifs like a lost Asian king.
We were the supplicants at his feet, there to admire
the hard, cool indifference with which he stood in front of his microphone mumbling out the lyrics to the Motifs’ secret canon of R & B juju. A shaman, a rebel, a Jersey mystic and someone you could not completely believe entered the world through the same human loins you did.

It took all the guts I had to wander up to Walter after a dance one night and stutter . . . “Uh, you were great . . .”
Walter packed up his percussion kit, muttered something and wandered off. He was living proof that the real thing could exist right there in Central New Jersey. He lived like he wanted. (Walter took no “longhair” bullshit from anybody. Both brothers’ reputations as willing and effective fighters put an end to that.) Walter proved you could stake a rebel’s flag right into the heart of the Shore’s
summer asphalt and make it stand . . . if you carried enough personal weight and magic. If you were powerful enough you could be different, your own man. The nine-to-fivers, the straights, the high-on-Mama’s-and-Papa’s-money frat boys would just have to eat it. You could be who you were and the rest would just have to stand down and let it be. Once you got beyond this persona, Walter could be as
down-to-earth and funny as Ray, though never as easily approachable.