One Thousand Miles, Thirteen Guitars, and One Night In A Transit Connect: Coda

This is a continuation: part one is here.

After leaving the studio in St. Louis Saturday night, I found myself with the luxury of having absolutely nothing to do until one o’clock the following day. My guitars were locked up, I’d left my laptop at home, and I didn’t have so much as a magazine to read. This was not by accident. Sometimes it’s important to have no plans, to deliberately encounter what I think of as a “null state”.

The Transit Connect and I wandered past Forest Park, where just a few blocks separate gated-off private streets and boarded-up low-income housing. The white panel van is welcome everywhere; it is universally recognized as a vehicle driven by the service class. I waved at a security guard who silently swung a huge wrought-iron barrier out of the way and let me into his deliberately isolated neighborhood. Twenty minutes later, two vicious-looking men in a street full of broken-down cars and idle observers stopped their hand-waving disagreement to let me through. I am nobody in particular. I am here to fix, install, adjust, clean.

The invisibility conferred upon me by this little van made me think of all the times I had felt invisible in my youth, cleaning tables in restaurants, working on construction sites, bagging groceries. I realized that I could stop and sleep anywhere, that this van could come to a halt in an industrial-center parking lot or out in front of the largest home in St. Louis. This was freedom: I am nobody, and I have nothing to do.

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One Thousand Miles, Thirteen Guitars, and One Night In A Transit Connect, Verse One

This is not a review of the Transit Connect. That’s coming next month courtesy of another TTAC writer. This is a story about childhood, loneliness, obsession, friendship, the Gateway Arch and its ridiculous security humiliations, and what happens when four old white guys play a Rage Against The Machine song in a state-of-the-art studio. You’ve been warned.

There’s this company, you see, called St. Louis Music. If you’ve ever heard of Dan Armstrong, Ampeg, or Crate, you’ve heard of “SLM”. They used to make good stuff, and they made a lot of it in the United States. During the Seventies, the product quality of many US-made items was in the toilet. The Big Two of American guitars, Gibson and Fender, seemed to be engaged in a war where the prize was bankruptcy and the weapons were crap guitars, high prices, indifferent corporate ownership, and refusal to listen to their dealers.

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  • The Oracle Well, we’re 3-4 years in with the Telluride and right around the time the long term durability issues start to really take hold. This is sad.
  • CoastieLenn No idea why, but nothing about a 4Runner excites me post-2004. To me, they're peak "try-hard", even above the Wrangler and Gladiator.
  • AZFelix A well earned anniversary.Can they also attend to the Mach-E?
  • Jalop1991 The intermediate shaft and right front driveshaft may not be fully engaged due to suspected improper assembly by the supplier. Over time, partial engagement can cause damage to the intermediate shaft splines. Damaged shaft splines may result in unintended vehicle movement while in Park if the parking brake is not engagedGee, my Chrysler van automatically engages the parking brake when we put it in Park. Do you mean to tell me that the idjits at Kia, and the idjit buyers, couldn't figure out wanting this in THEIR MOST EXPENSIVE VEHICLE????
  • Dukeisduke I've been waiting to see if they were going to do something special for the 60th Anniversary. I was four years old when the Mustang was introduced. I can remember that one of our neighbors bought a '65 coupe (they were all titled as '65 models, even the '64-1/2 cars), and it's the first one I can remember seeing. In the '90s I knew an older gentleman that owned a '64-1/2 model coupe with the 260 V8.