By New Times
By Derek Askey
By Mark Deming
By Serene Dominic
By Jason Keil
By Robrt L. Pela and Amy Silverman
By Jeff Moses
By Serene Dominic
Clay and Jency Rogers bought their East Mesa house when the market was good for young families. It's a clean, well-lighted place in the middle of a new subdivision, but it's in East Mesa, to be sure. To the north of it is where Guadalupe Road ends. Just stops.
But it's a good place to live, despite the fact that from their driveway the Rogerses can almost see the Las Cruces, New Mexico, off-ramp. The houses in their neighborhood, though built on the eerily repetitious model common to Phoenix sprawl, are set far enough apart to offer a sense of space and breathing room. Their neighbors are young, like them, and everybody's still getting to know everybody else.
"There's a lot of lawnmower-borrowing," says Jency, slyly.
"And we haven't had any complaints about the noise," adds Clay, twiddling the knobs on his Ibanez bass. "That's good."
The Rogerses' home, which doubles as Pinewood Derby's practice space, is a study in suburban incongruities. Clay's bass rig is positioned just inside the immaculate kitchen, next to the baby gate blocking the stairs to the second floor. Jency's drum kit is set against the half-wall dividing the foyer from the living room. A guitar amp is wedged into a far corner of the living room, between two couches. It's a Frankenstein's amp, sort of; an Ampeg head, fashioned from what used to be a one-piece outfit, that's been cut in half and set atop a Marshall speaker. Two microphones face each other in the dead center of the living room, toward which all the speakers are pointed.
This setup should eat up the entire first floor, but somehow it doesn't. Having a child has made the Rogerses absolute wizards at making use of available space. And it's only going to get more crowded; Clay and Jency are preparing for the arrival of their second baby in October.
Clay and Jency Rogers and guitarist Clay Whipkey make up the trio currently known as Pinewood Derby. In the beginning -- this was 1996 or so -- they were Seatbelt and, with added member Natalie Espinosa, they were also Jerome. Jerome was a slower and less noisy affair than Seatbelt ("This was in the days when 'emo' wasn't a bad word," notes Whipkey), and when Clay and Jency got pregnant for the first time, it became their full-time project. When Jency got close to delivery and Espinosa moved to California, however, everyone took some time off.
In 1998, with all parties healthy and well, the three formed Pinewood Derby with drummer Mason Cooper. Jency played bass, and both Clays took guitar and vocal duties. Then, as Pinewood Derby's web site (www.goderbygo.net) succinctly puts it, "Mason busted his leg real bad" and new mom Jency moved to drums. Clay Rogers moved to bass, and Pinewood Derby became a trio, which brings us up to date. Until July 14, that is, when Pinewood Derby will play its final show at Modified.
After which -- why not? -- the formidable trio will add some members and become something new: A multi-instrument combo playing under the name English Accent, featuring piano, guitar, horns, and God knows what else, tailored to the coffeehouse circuit instead of the club scene.
It's a natural progression, in a sense, and they've already played some dates as English Accent -- enough at least to give them the confidence to move forward. Having played together in some form or another for close to seven years now, Clay, Clay and Jency find themselves making a transition from being young musicians to being parents and workaday breadwinners, which is part of the reason why Pinewood Derby is coming to an end.
"We can't just hop in a van and go touring," says Whipkey, a husband and father himself. "Pinewood Derby was more of a loud, fast band, and we all have families and kids now. It sort of became a situation where you have to make a commitment to one thing or the other. My wife and I have a daughter, and I was going out and playing in clubs where they couldn't come along. It's too noisy, it's too smoky. My wife didn't even want to come out anymore. She'd heard all the songs already anyway. And it gradually got to where they almost weren't even connected to that part of my life. I felt really alone, and I wasn't happy."
Clay and Jency, too, had started to feel the tension between the current band incarnation and their family obligations. The conflict reached a sort of climax, oddly enough, at Pinewood Derby's highest-profile gig, this year's May 12 show with Jimmy Eat World.
"That was the night they filmed Jimmy Eat World's video [for "Bleed American"] at Nita's Hideaway," recalls Jency, "and there were all these stage lights and film lights set up. We did our set and then stayed around for the Jimmy show, and it was all very energetic. But when we got home I started feeling really bad, really terrible. I was about four months pregnant then; I'd already had Blake, but I'd never felt this bad during my pregnancy with him. So we went to the hospital and they found out I was completely dehydrated. I'd been drinking water all night, but somehow that didn't help; I was low on electrolytes. The nurse who was with me asked me what I did, and I told her. She got this real knowing look on her face: 'Ah, you're in a rock band.'" She smiles at the memory. "I spent all of Mother's Day in the hospital."