Cowboy Confessional

I could get used to this real quick.

There is a holy place in the unholy town of Berkeley, California. Smelted in the 1960’s along with several thousand other coffee shops (the American variety, not the Amsterdam kind, though in the 60’s the differences were minor) was The Freight. Its proper name is The Freight and Salvage Coffee Shop. The Freight came by their name dishonestly. When founded they took over a building that had been a freight and salvage warehouse and decided to keep the signage. The name stuck.

Unlike the several thousand other coffee shops in hippie-era Berkeley (or as we locals like to call it, Bizerkely) The Freight survived, and did so primarily because the music played there. Lord knows their coffee is not top-shelf and the price they take for a tiny cup would cause the typical gray-haired Berkley hippie to charge them with making obscene profits.

The Freight caters to folk music, be it Americana, Celtic, African or Martian. Anything that is native and unamplified. For 40 years, unknown and world renowned performers played tasty tunes on The Freight’s microscopic stage … after exiting a green room the size of a prison cell and with the same ambiance. History walked on The Freight’s stage.

Whenever I went to The Freight, I always stopped for a moment in the lobby. On the walls were calendars going back to their beginnings. One playbill showed the night Bukka White played. For those uneducated in the history of blues, Bukka was BB “Blues Boy” King’s older cousin who got BB into the music biz. Bukka did old school delta blues more authentic than anything else recorded with the exception of Robert Johnson.

Hopefully Bukka didn’t make any crossroad deals.

I loved playing on the tiny Freight and Salvage stage. I never gigged there as I don’t gig at all. But The Freight was the monthly meeting place for a songwriters’ competition. The room itself is completely improbable for good acoustics. It is a small rectangle of cinderblocks, custom made for harsh standing waves. But over the years sound buffers were erected here and there, a solid sound system was assembled, and dedicated mix masters manned the console.

The Freight made even me sound good.

And now it is gone … kinda. The old venue is closed. I’ll never have the chance to stand on that stage again, and this is a sad thing. Closed to the public are the quaint black walls, the mismatched and completely third hand chairs, and restrooms designed by some who took a lot of acid in the 1960’s. RIP Freight and Salvage.

Welcome the new joint.

After a couple of years and a lot of donated money (The Freight is a non-profit venture), they have opened a new venue that I visited today and in which I might want to be buried. Using salvaged wood from the old place, the walls are wonderfully absorbent, allowing undistorted sounds to come from the house speakers to your ears. The stage is wide and with enough back ported monitors to ensure tat every performer will know how they are doing. They have a new mixing board seeming designed by NASA (control knobs are embedded in touch screen panels, the all digital systems stores and recalls specific mixes, and the faders and motorized and move when a mix is restored). Audience seats are new, recline slightly, and match.

The coffee is still marginal.

And there is the rug. On the old stage there was a Persian carpet so think you would trip on the rise the first time you headed for a microphone. It was there to absorb the boot stomping of us excitable performers. And unless I am mistaken, that little slice of history – the same threads upon which many masters of music trod – was brought to its new home.

I sure hope it is the same one. I’m looking forward to standing on it again.

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This entry was posted by Guy Smith on Saturday, August 29th, 2009 at 5:26 pm and is filed under California, Music, Songwriting, Uncategorized. You can follow any responses to this entry through the RSS 2.0 feed. You can skip to the end and leave a response. Pinging is currently not allowed.