Time’s up, fellow music bizzers—the vacation’s over, that’s for sure. If anyone else has been following the Charlie Walk sexual harassment scandal that broke a couple of days ago, below is a VERY LONG but very enlightening read. Basically Walk, current Republic Group prez and judge on The Four, was called out in an open letter Jan. 29 (the image above accompanied the open letter from Tristan Coopersmith; go here to read it: https://www.lifelabhb.com/blog/2018/1/29/metoo-an-open-letter-to-charlie-walk ) for some mighty sleazy behavior while he was at Sony, and my gut feeling is that this will finally open the Weinsteingates all the way in the industry, since anyone with even half a toe’s involvement in the biz knows full well that #metoo isn’t a Hollywood/politics-only phenom. Billboard has a good summary of the Walk story as well. (go here: https://www.billboard.com/articles/news/8097342/charlie-walk-republic-two-women-accuse-sexual-harassment )
Meanwhile, Lefsetz weighed in, naturally – read his brief blog entry on the matter here: http://lefsetz.com/wordpress/2018/01/29/the-charlie-walk-letter/ – and then the letters poured in, including some from other music industry ladies who were similarly harassed by Walk during their tenure working under him. Since it doesn’t appear that Lefsetz publishes all the letters at his blog, you’d only be able to read them if you got the email version of his Lefsetz Letter, so that’s why I’m sharing it here. Pass it along. To anyone who reads this and is also in the industry, if this doesn’t make you red-hot mad and be willing to speak out and do something, you seriously need to find a different career. Jeez, this Walk guy, what a fucking scumbag. Maybe he and Russell Simmons should start a label together, eh? —FRED MILLS (below: Charlie Walk)
From the letter writers to Lefsetz, 1/30/18:
It happened to me too, not ever physically like this brave woman’s story, but the mental games and invitations to galas and dinners that I didn’t deserve, followed by comments about my photos on social media and invitations to hotel rooms and unwanted naked photos sent to my phone via Snapchat so that I couldn’t save them.
One time after I was laid off from Republic he twirled me in front of Joe Carozza Republic’s head of PR and said something like, “She’s so hot, look at her, I can say it now that she doesn’t work for us.”
feel free to print this but please leave my name anonymous.
thanks Bob for paying attention
I wish to remain anonymous but I am not surprised at all to hear this news, Bob. I have warned other women behind closed doors of Charlie Walk but I have never spoken publicly about how uncomfortable and inappropriate he was to me when I worked with him years ago. From repeatedly directing the conversation to my looks, my figure, my eyes and how attractive he found me (I am a married woman and business owner), both in front of people and when alone. He would take a perfectly normal business encounter and steer it toward objectifying me and completely disregard anything I had to say about work (which could be hugely embarrassing, awkward and degrading when said in front of other members of the company). He had also sent me inappropriate text around that time which left me to wonder, where did this man (who is married with children) think exchanges such as these were going to go exactly?
I tried to laugh it off but couldn’t escape the fact that this was a completely inappropriate way to talk to a female colleague. He creeped me out to no ends but given his position of power, I was left with no option other than to downplay this exchange and simply not engage. Who knows where he was hoping to take this but I did not reciprocate. For years I have wondered to myself “am I the only one that has ever experienced this with Charlie Walk?” Seeing that letter today gave me a shock but I hate to say it, I was not surprised.
I am aware that this is NOTHING compared to what others have gone through and are speaking up against right now but it is a prime example of what women have to put up with in this business from men in powerful positions. I’m just glad to see this industry is finally starting wake up. Because of Charlie’s position he felt he could belittle, objectify and act inappropriately towards me and I’m ashamed to admit I have been part of the problem by not speaking up until now.
Like I said, I had warned others about him over the years, because if ever there were a red flag, those encounters I experienced with Charlie were enough of one for me. Predatory behavior is rife in the music industry and I would not be surprised if more women come forward with worse accounts than mine.
Just because this was her experience, doesn’t mean it was everyone’s. And just because this was my experience, doesn’t mean it’s anyone else’s:
On a typical promotions/programming add call in 1993, I told Charlie Walk I was moving to NYC. He asked what I wanted to do and I replied, “work for you.” He said, “You don’t want to move all the way up to New York just to work for me.” I said, “Yes, I do.” What I wanted, was to move out of Radio and into Records. The artful ease in which our weekly calls took place led me to know I could learn a lot from Charlie Walk. It mattered to me that I worked for a major once I got there, so I held the Columbia/Sony dream close. I moved without having a job (like you do when you’re in your 20’s), and I signed up through a temp agency in Manhattan.
As fate would have it, my very first temp gig was for none other than Charlie Walk at Columbia Records. 25th Floor at 550 Madison. I walked into his office and he about crapped his pants. He called me by my last name and said, “You’re _______?!” recalling our conversation two months prior. He stood up from behind his desk and gave me a hug. I assume by his verbal reaction he was surprised I was attractive- or maybe relieved. I was surprised he was as well- I hadn’t been able tell much from the little postage stamp-sized pix I’d seen in R&R. But it was really more like sizing each other up so we’d know what we were dealing with, rather than some sleazy get-to-know-me.
I worked with Charlie for just over a year in that 550 temp position (in the most legit of ways) before moving across the hall to Marketing into a permanent gig.
What I learned from Charlie about the record industry are lessons I STILL use today. He showed me the complex footwork the industry requires, and by example lived and breathed the art of promoting hit records. It was a defining point of reference for a lifetime doing the thing I love most- music. Yes, I saw that “side” of him. In the 90’s most people in the industry had that “side.” The trick was to be one of the boys without losing your femininity. Know your worth, live it fully without the fear of someone else taking it from you. Pursue your goals and don’t forget who you are. The only way to diffuse a cheeseball is by not empowering them with shock or fear. Deal down to them the way you would a drunk, delusional teen. A sincere, catty, demeaning laugh, and an “are you f*cking kidding me” dismissive shrug-off goes a lot further. Nothing lets the air out of unwanted advances more reliably than the steady drumbeat of quick, demeaning laughs.
We are never gonna get certain people to agree to the concept of equal respect when we come from a victim’s position, using the voice of victims. When we do that, we agree to the role we in turn have to fight our way out of. To be clear- I’m not talking about the open-letter author. I’m talking about all of us.
Some don’t respect women in the first place and never will. Appealing to their common decency is a joke. They’re mentally incapable! Appealing to their reason is a joke. Fairness- joke. Morality- joke. Reputation- joke. Even their wallet/bottom line- joke. And as far as that sort of man goes, there will always be women who don’t care who they’re married to. There will always be friends of sleezeballs who sleezeball together and run businesses in a vacuum.
As time marches on, the men and women who can make a difference are taking the place of the bro club members, one member at a time (pun intended)- slowly but surely. And that’s fantastic. Change happens via many outlets.
As for Charlie Walk, part genius/part scoundrel- or just one of those one in a million guys who’s really good at what he does? I think it depends on what his take is on you. His rep precedes him, but he is absolutely capable of decorum and respect.
And just because it didn’t happen to me doesn’t mean I’m attempting to minimize someone else’s trauma or negative experience, to any degree.
The people on both sides of theese stories are multidimensional- not flat, convenient characters.
Name withheld, please.
I realize resentments only poison my soul. I pride myself on not rooting against people who have harmed me. But…..I’m only human. When Donny ran the evil empire and Charlie was a top lieutenant , I was called into his office. I was brought in to help Sony break a Swedish pop girl group Play by Ienner, Botwin and Ingrassia. Having had a modicum of success with the Boy Band Dream Street despite little radio air play. I met first with Play’s A an R rep the delightful Lee Dannay and Project Manager Josh Zeman to share my ideas. When I was called into Walks office, I was showered with compliments which I admittedly soaked up. It took me a while to realize I was being set up, Its a long story but needless to say, it was as sleazy as it gets. Even for the Music Industry. Sometimes Karma isn’t instant, but it’s always a bitch. Sorry Charlie… not.
All for One Media Corp.
Hey Bob – I met Charlie Walk on a set in 2005 when I was a young, stressed-out Hollywood assistant. He was remarkably friendly to me when he didn’t have to be (whether or not this matters, it was my impression). At some point he told us a story about how John Mayer’s “Daughters” was on track to becoming an ignored/forgotten track on the album, had he not personally zeroed in on it’s poignant message and fought tooth and nail for it to become a successful single (and we all know it endures).
If the letter is true, there’s some sad irony in this story now.
This shit is crazy and this is just the beginning.
Another thing no one is talking about, is what are these wives thinking by staying with these dirtbags? What are they teaching their children by not leaving immediately when this happens?
I’ve never been so happy that I decided a long time ago to be my own boss in a small business. I haven’t had to deal with any of this, but I know if it came out that my husband was talking to women this way, I’d be gone day one.
I hope the wives start leaving, including Melania. Show people, especially your kids, you won’t stand for it.
wow. holy shit. i’m glad she wrote this. i’m mad at her for not speaking up sooner, but I understand why she didn’t. I am grateful to you, Bob, for passing this along. I’m sad to say that this is probably EVERY woman’s story in the industry, at some level, in some form.
yes, he needs to be GONE!
I think there are a lot of reasons why the industry is curiously quiet with regards to sexual harassment.
I think a lot of it is subtle enough… we feel uncomfortable but we can’t always quite explain why. On the other hand, sometimes it’s explicit.
I was on an international business trip with a management client years ago. Her main label rep was in town and we got together to catch up after a session one day. He had told me that he wanted me to quit my job and come work for him. The label (owned/operated by an A Level artist) was looking to create a management company, he told me. He said I’d be perfect to run it. I was elated. I love the artist, and the opportunity seemed like a dream come true. Moments later, he began talking to me, bluntly, about wanting to sleep with me. Told me he’d fulfill any “black guy” fantasy I may have. Despite him having a wife and young children. He reiterated this in a text message which I still inadvertently have saved in “Whats App.”
I used to be a tour manager. I’m lucky to have traveled with mostly respectful men over the years, but I will say that on one specific run, one of the crew guys kept dropping his pants/towel around me. The bus door separating the lounge area from the bunk area would open, and he would just drop whatever he was holding and expose himself to me. I had done several tours with him without this behavior, but suddenly, it seemed to be the norm. He was much older with far more road experience, so all I felt I could do in the situation was laugh.
There are so many men that I turned to for advice in my formative years in the industry who hit on me or tried to fuck me. Men I’d approach following panels that would try to take me back to their hotel rooms. The one who I was on a summer tour with who told me he wasn’t married, meanwhile I found out later that his wife works in the music industry. There was the guy who I thought was my friend – who started to teach me the ropes with regards to touring – who I spent an entire day chauffeuring around my city to do off-day tour errands, who called me into his bathroom while he was showering in his hotel room (while two other people were also in the hotel room!!!!) — I turned him down, and at the next day at the next show, he asked security to remove me from the backstage area, even though I was properly credentialed and was accompanied by someone else on the tour. There’s also the guy who sexually assaulted me in the back of his band’s van and lied to my friend in his band when I told him after the fact. There’s also the management client who told me to take my clothes off and that he’d rub oil on me when I was looking for the tour chiropractor.
These are just SOME of my stories. I’d imagine, many women have similar; many have worse.
We’re taught early on that music is a “boy’s club.”
It doesn’t feel like there’s room for our voices to be heard.
Even amongst this movement.
While I think that what Tristan wrote is brave, Tristan is also not in the entertainment industry anymore. Tristan doesn’t have to feel like she’s going to lose out on jobs or experiences because she spoke up. No one will google her name when she’s interviewing for a job and see that she spoke out, and (whether it’s right to do so or not), see the articles and form an opinion with regards to her potential employment.
Women are taught that you need to be able to “hang” with the guys if they want to make it in this industry. And by whistleblowing in the industry, even for men who truly deserve it, we fear our repercussions. Because the terrible men in the music industry are still much stronger than this movement. At least for now.
So instead, we laugh politely and we nervously bow out of uncomfortable situations as best we can, and we hope beyond hope that a small handful of the men that we know will not turn out to be complete creeps. And above all else, we continue to persevere in our careers despite all of it. It’s EXHAUSTING, Bob. Our jobs are hard enough without having to constantly dodge advances and question intentions.
It’s not right, it’s not fair, but I understand why my peers are mum. It still just doesn’t seem smart or safe or “worth it” to speak up.
P.S. a note worth adding: the only woman in the music industry who is actively still in the industry who has spoken out against an abuser is kesha, and she went through hell to even have her voice heard. the way that was handled is not a good example of a safe space for women.
Good riddance. That guy was a loose unit and anyone who met him knew it.
Won’t be missed. Some other irrelevant non creator will step into the breach I am sure…
Thank you for sharing this letter on your platform.
This Fiction Management
His brother Brad(may he RIP) was a wonderful and caring guy. We were fraternity brothers at Tulane. Obviously Charlie was not given the mensch genes that or he drank too much of the NYC society kool aid.
“Put a little sugar in my bowl” Lots of lyrics from blacks in the 20’s 30’s were thinly disguised double entendres aimed at the whites who treated them so disrespectfully
Is this the same Charlie Walk from Boston, started out with Columbia doing radio promotions?? I was assistant GM at The Channel, he was brand new to that gig but I can still picture him and this sounds like exactly the type of person I could see him becoming, just like the guy she’s describing. Sadly I’m not surprised one bit if they are one in the same. Good for her, can’t imagine how difficult that must have been.
Thank you so much for this piece and, most personally for me, this line:
“I’d be scared to be a woman. It’s like running a gauntlet every day.”
It hit hard and clear because it is painfully true.
Hoping that your message is getting through so that younger women (and men) do not have to face that gauntlet.
With warm regards, Lisa B
Director of Sales, Home Entertainment
Music Box Films | Doppelganger Releasing
Not for long, I assure you, Bob. Received an email that “Marie Claire” is currently interviewing women in the biz on and off the record for an expose, so you’re about to see music industry stories come out next….
It’s been quiet from Wall Street too and its because no one worth their weight in salt wants to damage a relationship, and there is a whole lotta sex going on.
With you on this one, Bob. I think the memo that they failed to receive is the one that read, “The Best Revenge is to Live Well.” Instead, they have to punish those who rejected them when they were popping into puberty and slightly beyond, namely GIRLS. Unfortunately, the girls that get punished are not the ones who rejected them.
I was raised by the son of a farmer in northern Kentucky.
My grandfather was a high school drop out from the Great Depression era, who started his first successful business venture at 16 years old, and made himself into a man that eventually became a County Judge and an entrepreneur who owned land, businesses, and livestock. My grandfather sat on the bench and tempered his judgements with the true balance of things…the noble cause of right versus wrong, and the heartfelt belief that everyone could be deserving of a second and even a third chance. He was Judge, but never judgmental…
My father and his father had respect and admiration not for money, nor power, but for people who behaved in a fashion that always trumpeted doing the right thing. My grandfather used to tell me “Don’t ever do anything you wouldn’t want to see on the front page of the newspaper”. Truer words…..
Charlie Walk, if this is all true, you’re an asshole, just like the rest of these cretins……where indeed did these men learn this shit from? A barnyard?
i play in the house band for this show.
i am raising 2 young daughters.
i dare anyone to make these moves while I’m alive.
Well I was waiting for the shoe to drop on the music business.
Honestly other than Marko, and another guy with an M in his name, I never saw any of this stuff.
Probably because I worked for Mo, and he’d never allow that.
I almost hired Charlie out of of college for WB. He was smart and a smooth talker.
Maybe too smooth, because something bothered me and I passed.
As Charlie climbed the Columbia ladder, he always reminded me of my passing on him.
Admittedly, sometimes I thought I made a mistake.
I guess now I know I didn’t.
Hit records and $ do not compensate for a low Moral Compass.
I’m sure we’ll hear a lot more of this, but I’m grateful I worked for Mo Ostin and Russ Thyret.
Thanks Bob, I ask the same questions too, not only about sexual discrimination and harassment, but also about privilege in general. I think this is born from that privilege.
You see, I’m an immigrant and a woman of colour pursuing a music career. I started working jobs when I was 17 to help my family pay for food and shelter, while I dreamed of being a musician. And I’ve finally found a way to play music while I make money on the side, at 34years of age. I’m proud of what I’ve achieved on this journey towards music and it makes me humble everyday.
Privilege means not having to have faced these struggles on a daily basis, while still being mistreated in one way or another. Perhaps that is why we have misguided men (and some women).
You’re damn right it is scary to be a woman. I’ve been assaulted, harassed and abused, but I’m still standing.
My tough upbringing has ensured that very little scares me, I guess that is a “benefit”. And open conversations like yours empower me to speak up, over and over, as much as it’s needed. I never back down an opportunity to stand up for women’s rights these days.
I don’t think I’d have such an urge if it wasn’t for my history.
The blade cuts both ways.
By the way, here in Australia we’ve started our own campaign #meNOmore as a response in support of #metoo:
Regarding the percentage of pervy, pushy, rapey men in music, I suspect we’re no different than any other industry. Doesn’t matter if it’s politics, movies, or dry cleaning, certain men will try to leverage their position to gain sex.
What sets music apart from every other business except porn, is that our product is sex. TV has sex, Films have sex, but music is sex. Men and women get into the business for it. I’ll bet music people have more consensual sex than anyone this side of cocktail waitresses and bartenders. Ask David Crosby if he got into the music business for fame or fortune, and he’ll tell you the original lure was “Girls. We were all in it for the girls.”
I hope you’re getting a lot of response from your female readers.
I think it is equally as important to mention that allegations do not and should not always equate to guilt. A line has been crossed, and the pendulum now swings the opposite way. Where women were once voiceless and all allegations were often discounted as false, we are now seeing the opposite occur, where any woman can make any allegation against any man with power and everyone believes it to be true, regardless of whether or not the alleged acted this way. Charlie may or may not have done what this lady alleged he has done. Maybe it’s best to wait and hear from the person who is said to have acted this way?
I have an artist, most would describe as gorgeous named Dylyn that has spent a good amount of time with Charlie a couple years back. Monte and Charlie were fans and friend with Dylyn and often invited her out with them. She went to private karaoke with them and watched Psy perform, during his Gangnam Style fame. She hung out with them backstage at a handful of shows (including The Weeknd when he blew up) and swears they were both very kind and fun to be with. I asked her again after reading the allegations if Charlie ever crossed any lines with her and she said not only did he not ‘try anything’ he didn’t give off any of those creepy vibes. She always spoke so highly of Charlie and Monte. She is an artist and he is a music mogul that was very much in a powerful position and never once made her uncomfortable. This doesn’t disqualify the allegations that were made. They may be true. But please be careful not to add to the dangerous narrative that any allegation = guilt. This man can lose everything he has with reckless discourse about him. It’s irresponsible to say the least.
For our latest installment, Prof. Kopp takes a look at titles from MPS, Modern Harmonic, Varese Sarabande, and North Texas Jazz. Go HERE for previous installments of the Jazz Desk. (Pictured above: Barney Kessel.)
Jamaican pianist Alexander has a bright, flowing and lyrical approach to his instrument. Originally released in 1971, Here Comes the Sun was Alexander’s sixth album. Working with three other musicians (bass, drums and percussion), the pianist is at the center of the arrangements on all seven of the album’s tracks. His style often sounds like it’s the result of overdubs; his left hand plays rhythm, as expected, but his right hand is so busy that it sounds like two hands in and of itself. But yet the approach never feels busy. There’s a lively and exuberant to Alexander’s playing that can leave the listener nearly breathless. He and his sidemen sound as if they’re having the time of their lives here; the opening cut “Montevideo” is quite uptempo, but Here Comes the Sun explores a variety of textures; you’re not likely to mistake any one of these tunes for another; such is the level of originality on display here. Be warned, however, that the titular Beatles classic is transformed beyond recognition. MPS does its by now expected top-flight job of repackaging and reissuing another timeless classic from nearly a half century ago.
Richie “Dick” Garcia – A Message from Garcia (Modern Harmonic)
Though he doesn’t receive prominent billing on this 1956 album from jazz guitarist Dick Garcia, pianist Bill Evans is all over this album. Garcia is out front, but it’s Evans’ crystalline and meditative piano that holds things together. The band explores a variety of tempos and textures, but at its heart, A Message From Garcia is fairly consistent in its musical approach: the guitarist plays single-note melodic runs while the band provides subtle support. Garcia does engage in the occasional musical dialogue with Evans on cuts like “Ev’ry Night About This Time,” but there’s little doubt whose show this is. When he does take the spotlight, Bill Evans sounds as if he’s enjoying himself. The Modern Harmonic reissue of this relative rarity features top-notch sleeve reproduction and colored vinyl.
Barney Kessel – Live at the Jazz Mill 1954, Vol. 2 (Modern Harmonic)
Acclaimed jazz guitarist Barney Kessel only began his career as a band leader around 1953. By that time he had made quite a name for himself thanks to his work on recordings featuring Billie Holiday, Benny Carter and others. And he’d continue to provide supple six-string support to some of the biggest names in jazz and pop, including Sonny Rollins, Sam Cooke and Chet Baker. Those who don’t know better could easily mistake Live at the Jazz Mill 1954, Vol. 2 for a reissue of a record from years past. In fact it’s not: a young fan taped Kessel (backed by the Jazz Millers), and the tapes were only recently discovered. This second volume (the first was released a couple of years ago) features surprisingly good audio quality. And everything about the package – the cover art, the jacket’s liner notes – is note-perfect.
Volker Kriegel – Spectrum (MPS)
I first – and quite belatedly – discovered the work of Volker Kriegel via a 2014 archival release from the now more-or-less defunct SWR/Jazzhaus label. The German guitarist worked in a number of musical idioms including soul jazz and jazz-rock fusion. This 1971 album – Kriegel’s second – is (in places) much closer to rock than anything else I’ve heard from him. With a nasty fuzztone, percussion that may remind some of Low Spark of High Heeled Boys-era Traffic and a kinetic bottom end (featuring acoustic and electric bass as well as cello), Spectrum is a scorcher. John Taylor plays what’s noted as “electra-piano.” The rest of us would know it as a Hohner Pianet or maybe (but probably not) a Fender Rhodes. The opening track “Zoom” finds Kriegel doubling his fuzztone leads on sitar, and it’s not even a little gimmicky. Two years later Kriegel would form a band named after this LP. A tasty treat for those who dig the most accessibly tuneful end of jazz rock, Spectrum is adventurous, too: “More About D” is almost Zappaesque in its weirdness, albeit still rooted in jazz traditions. The album is newly reissued from MPS and is enthusiastically recommended.
Herbie Mann – It’s a Funky Thing: The Very Best of Herbie Mann (Varese Sarabande)
One could say that Herbie Mann was the Rodney Dangerfield of jazz: he got no respect. Part of that was his own doing; he resolutely refused to be boxed in with regard to what is and is not jazz. His work is wonderfully accessible and irresistibly catchy. It’s also, on occasion, a bit schlocky, and some of his work has a distinct air of bandwagon jumping (or at least musical dilettantism) about it. How else to explain disco outings like “Hijack,” a big hit in the disco era? But for listeners who can put all that baggage aside and simply dig, Herbie Mann’s music is supremely diggable. Truth be known, he was at the forefront of the world music movement, though few will afford him the credit he deserves for it. And anybody hip enough to hire Larry Coryell and Sonny Sharrock is okay by me. This collection – annotated by my pal, the esteemed author and esteemed music journalist Pat Thomas – is a lot of fun. The tracks here are featured in their single edits, most making their first appearance on digital media of any kind.
Jay Saunders – Nice!: Jay Saunders Best of the Two (North Texas Jazz)
The University of North Texas has a storied and vibrant Division of Jazz Studies, one that goes back some 70 years. And its North Texas Jazz label has released a sizable catalog of music, featuring instructors, students and alumni. Trumpeter and band leader Jay Saunders recently retired from his position at UNT, where he taught classes and directed bands. This new 2CD collection is subtitled Best of the Two, as in the Two O’Clock Lab. It draws from six earlier releases by the ever-shifting ensemble. The big-band music is a nice mix of standards, ambitious pieces and jazz readings of pop tunes; it’s classic and modern all at once, deliberately all over the map in a way that shows the timeless nature of jazz when it’s done right. “I 8 Da Whole Half Thing” sounds like Lalo Schifrin-style 1970s movie music, and that’s meant in the best possible way.
Various Artists – Jazz for Hi-Fi Lovers (Modern Harmonic)
This time capsule in the form of a colored vinyl LP is a true delight. Originally released in 1958 on the Dawn label, Jazz for Hi-Fi Lovers is a various artists collection presented in wonderful hi-fi (read: monaural). Zoot Sims is among the biggest names featured here, and he’s performing Thelonious Monk’s “Bye Ya.” Paul Quinichette provides the opening cut, the aptly named “Start Here.” Paulette Girard’s original liner notes are presented intact, and they too are a kind of trip back in time: they include three lengthy paragraphs under the heading “about the sound and the equipment,” full of info to satisfy the keen high fidelity enthusiast in your mid-century modern household. The cover art is a gas, too. Come for the packaging, and stay for the music.
And business is good, whether your thing is punk, power pop, garage rock, rockabilly, glam, action rock, and their various spinoffs and offshoots. Our guarantee to you: no Nickelback allowed. Go HERE to read Dr. Denim’s first installment of the series, HERE for Pt. 2, and HERE for Pt. 3. Pictured above: Sweet Apple. (FYI: links to key audio and video tracks follow the main text.)
BY MICHAEL “DENIM” TOLAND
Everything singer/guitarist John Petkovic touches seems to turn to rock, from Death of Samantha to Cobra Verde to his current project Sweet Apple. The latter quartet seems like the culmination of his vision to date, putting postpunk, glitter rock, power pop and old-fashioned hard rock through Petkovic’s own special filter and coming out gold. Sing the Night in Sorrow (Tee Pee), the third LP from Sweet Apple, practically shivers with barely-repressed energy, focusing all of Petkovic’s loves into a potent rush to the rock & roll finish line. The tough “World I’m Gonna Leave You,” epic “Candles in the Sun” and sky-kissing “She Wants to Run” enliven the rock radio of our dreams, while “A Girl and a Gun” – a duet with Rachel Haden – and the album closing “Everybody’s Leaving” reclaim the slow song from power ballad territory beautifully. If Sweet Apple sounds a little more like Cobra Verde than on previous platters, that’s no surprise, given that CV co-axeman Tim Parnin and former DoS/CV slinger Doug Gillard share six-string duties. Not that it matters, as Sing the Night in Sorrow keeps the rock & roll faith as well as any other record Pektovic’s captained – which is to say as well as any contemporary rock record extant.
Boston seems like it should be a town too intellectual and gentile to kick out any jams, but plenty of balls-out rawk has come from that town. The latest addition to the ranks is Justine & the Unclean, a rip-snorting quartet of glam/punk/power pop/garage rockers that never met a six-string hook they didn’t like. Get Unclean (Rum Bar), the band’s debut, keeps the melodies strong and the attitude sneering on cracking tunes like “Love Got Me Into This Mess,” “Worry Stone” and the self-explanatory “I’m in Love With You, Jackass.” Fans of Nikki & the Corvettes and the NY Loose should just line right up.
Further to the west, Stars in the Night (Rum Bar), the second LP from Milwaukee trio Indonesian Junk, plays up the streetwise side of its protopunk/power pop cocktail. “Turn to Stone,” “Nosferatu” and “I Would Never Treat You Like That” streamline the band’s sound down to its essence, with bash-it-out rhythms pushing unvarnished rock licks and Daniel James’ inelegantly wasted sneer. Meanwhile, L.A. gutter rockers Dr. Boogie drop a deuce with new single “She’s So Tuff”/”Peanut Butter Blues” (Spaghttey Town). The A-side’s streetwise glitter rock contrasts nicely with the B’s Stonesy roar, the connecting thread being Chris P.’s angry rasp and the band’s dedication to riff and groove. The East Coast re-represents with New Yorkers Dirty Fences’ third slab Goodbye Love (Greenway), a dizzily catchy collection of rockers, rollers and rompers that crossbreed Midwestern power pop with Lower East Side street rock. If the feverish opener “All You Need is a Number” doesn’t do it for ya, the Christine Halladay duet “One More Step” or the delirious pop tune “Blue Screen” just might.
The legendary status of the Raspberries in the power pop community obscures the fact that the Cleveland band was quite popular during their early 70s heyday, regularly lobbing hit singles into the charts. Regardless of standing in the nebulous cloud of the music industry, the original quartet reunited in the first decade of the new millennium to show the young whippersnappers how it was done during the years when the Beatles, the Kinks and the Who were their only role models. Pop Art Live (Omnivore) captures a fiery gig from 2004 in front of a hometown crowd, all four original members included. Eric Carmen’s voice no longer hits the gloriously throat-shredding heights of the band’s glory days, but that’s no crime – age comes to us all, after all – and it otherwise retains its melodic power. The band backs him as if they couldn’t wait to get back in the saddle, making it clear that this reunion was done as much out of love as any financial incentive. Running enthusiastically through the catalog, the ‘berries reminds us just how many gems they’ve polished – not just the hits (“I Wanna Be With You,” “Overnight Sensation,” “Tonight,” a titanic, show-closing “Go All the Way”), but lesser-known, equally fine cuts like “Makin’ It Easy,” “I Can Remember” and “Nobody Knows.” Add in a couple of songs by Raspberries precursors the Choir and some filler from the Beatles catalog and it’s a power pop party. Plus it’s a double live album like the days of old.
Seattle’s Knast falls on the more psychedelic end of power pop on its debut Reckless Soul (Casual Audio Group Ltd). That mainly means some extra echo and tremolo here and there and some obvious affection for the 80s British psych pop scene, but the focus remains squarely on the songs and hooks. Which works out well for the Knast – whether the band is kicking up dust with “Side Effects” and “Sold Out,” getting sardonic with “Fight or Flight” and “Situation Vacant,” or just being a sparkling pop band on “Here and There” and “Time Out of Mind,” it knows just how to handle a catchy melody with taste and verve. The fellow Pacific Northwesterners of Date Night With Brian add a 90s alt.rock flare to the efficiently composed and performed tunes on its self-titled EP (Top Drawer). Five songs in eleven minutes, not a one less than immediately catchy and appealing.
The garage rocking Juliette Seizure and the Tremor Dolls (who win this month’s “Best Band Name” contest) find that revered sweet spot between Nuggets-powered punk and girl gang pop on Seizure Salad (Off the Hip), the Australian sextet’s second record. The blurry production doesn’t suit the band’s harmonies, but these songs are powered by attitude more than expertise, making the grungy “Stink,” the hooky “Imagination” and the rocking “Take What You Want” more representative than attempts to be like an edgier Shangri-La’s. Nice tip of the hat to Dead Moon with “Be My Fred Cole,” by the way. Detroit-to-L.A.’s intrepid Singles have kept on keepin’ on since the early ‘aughts, refusing to die no matter how many years go between albums. Sweet Tooth (Grimy Goods), the trio’s fourth LP, keeps the faith of prior platters, with stripped down power pop hearkening back to the late 70s glory years of the Plimsouls and their brethren/sistren. Stuffed with hooks and youthful verve, “Voodoo,” “If You Want Me, You Can Have Me” and “Masterpiece” effortlessly bring smiles with every turn of the melodies.
Chattanooga’s Mark “Porkchop” Holder clearly has no time to waste, as he’s already followed up his debut album from earlier in 2017 with Death and the Blues (Alive), picking up right where he left off. Though the former member of Black Diamond Heavies is no amateur, Holder is sort of the anti-cracker blues cracker bluesman – he skips displays of six-string virtuosity typical of Clapton/Vaughan acolytes and just goes for the gut. Whether he’s admonishing haters with the heavy “What’s Wrong With Your Mind,” gets a little frightening with the anthemic “Be Righteous” or just rocks like a motherfucker on “Coffin Lid,” Holder and his backup duo burrow right down to the bone. Speaking of blues grunge, Indiana’s Left Lane Cruiser hit a new high (yes, we see what we did there) with 2015’s Dirty Spliff Blues, and while latest album Claw Machine Wizard (Alive) takes a bit of a step back as the band goes back to being a duo, its raunchy punked-up blues roils unabated. “Lately” boogies, “Burn Em Brew” boils and the title track bashes, powered, as always by guitarist/vocalist Freddy J IV’s filthy slide and backwoods bark.
Five Horse Johnson plows much the same furrow as Cruiser, but if the latter uses a rake and a hoe, the musclebound Toledo quintet prefers a backhoe and occasional dynamite to make the earth move. Jake Leg Boogie (Small Stone), the band’s eighth album, pulls from the heavy rawness of the early years while keeping the songwriting progression of recent albums, making “Ropes and Chains,” “Cryin’ Shame” and “Daddy Was a Gun” masterclasses in powerhouse blues rock. Best of all, “Hard Times” gets political without being preachy – it’s too busy rocking your soul for that. Berlin’s Travelin Jack(pictured above) weave a carpet out of threads sewn from bluesy grit, hard rock stomp and glam, then dirties that rug up with platform boots on its second album Commencing Countdown (Steamhammer/SPV). Guitarist Floy the Fly drives the tracks with riffs that mix in-your-face theaterics and a soulful feel, but it’s vocalist Alia Spaceface who takes center stage with her leathery howl. Hit up the menacing “Fire,” the anthemic “Time” and the blazing “Keep On Running” and get your 70s rockstar air guitarspew on.
Australian James McCann did time in the original lineup of the Drones and its predecessor Gutterville Splendor Six, so you know the dude’s got chops, attitude and credibility to spare. But even if he didn’t, Gotta Lotta Move – Boom! (Off the Hip), his sixth album and second with his backing combo The New Vindictives, would rule. Like his former bands, McCann has a grounding in the blues, but no reverence for its traditions – he’s more interested in feel than form. For the latter the singer/guitarist goes back to his punk rock youth, bashing out blazing bruisers like “Lies Start Here,” “Tar On the Lip” and the blast-tastic title track like a man with nothing to lose and a lot to prove. “Sheena Says” boasts the kind of pop hook you’d expect from a song with a girl’s name followed by “Says,” while “Nick’s Song” drags countrified balladry through the bloodsoaked dust of the scene of a shootout. McCann pays tribute to a couple of vets along the way, co-penning, singing and guitaring “I Can Control Your Mind” with Wet Taxis/Sacred Cowboys/solo slinger Penny Ikinger and covering erstwhile Beasts of Bourbon/Johnnys guitarist/songwriter Spencer P. Jones’ “What is Life in Jail.” The real punk blues indeed. (Toland, you had me at “Australian.” I’m in love, L-U.V. — Oz Ed.)
The roots rocking Flat Duo Jets have often been cited as a big influence on Jack White and his perception of what a rock & roll duo could be. People forget, however, that the North Carolina combo was a trio when it made its full-length vinyl debut. The band’s self-titled first album came out in 1990 on former R.E.M. manager Jefferson Holt’s short-lived label Dog Gone, and was M.I.A. for years. The double disk Wild Wild Love (Daniel 13) rescues that LP from oblivion, adding the Jets’ 1985 cassette-only EP In Stereo and a plethora of outtakes from the original Flat Duo Jets sessions. The addition of bass grounds singer/guitarist Dexter Romweber and drummer Crow a bit, reigning in their wild-eyed Reagan-era rockabilly just enough to make it surge with power, like a tightly-coiled spring. Covers of the usual early rock suspects (Bo Diddley, Fats Domino, Elvis Presley, Wanda Jackson) sidle up to a handful of originals, but the real surprises come in the outtakes. Besides the rockabilly and R&B, Romweber knocks out the jazz standard “Harlem Nocturne,” the ridiculous but challenging “Bumble Bee Boogie” and Django Reinhardt and Stephane Grappelli’s gypsy jazz classic “Minor Swing.” It’s a reminder that Romweber is not, and has never been, a primitive, but a musician of unheralded skill.
Tom Heyman’s rock & roll creds are impeccable due to his membership in the long-gone, much-missed Go To Blazes. He’s kept more to a rootsy singer/songwriter vibe since then, but Show Business, Baby (Bohemian Neglect), his fourth album, pulls some of his mojo back in. Like a stripped-down Tom Petty, Heyman lets “Show Business,” “All Ears” and “Baby Let Me In” get loose ‘n’ lively like John Fogerty jamming with the 70s Stones. Boston’s Dirty Truckers get more medieval on roots rock’s ass with latest EP Tiger Stripes (Rum Bar). “Human Contact” and “Feedback” sound like they come from a lost mid-period Replacements album. Leader Tom Baker proved his rock & roll bonafides with this year’s Lookout Tower via his other band the Snakes, and Tiger Stripes upholds the same virtues: melody + energy = coooool.
Any punk knows the SoCal milieu in the early 80s was a thriving thrash & roll metropolis equal to the 70s scenes in New York, Detroit and the U.K. Symbol Six didn’t attain the same repute as peers like the Adolescents, Agent Orange and Black Flag, but when the band resurrected itself a few years ago, it was with the same brute strength and righteous rage as it had thirty years prior. Side Four (Jailhouse), the third album by the group since its revival, is simply a powerhouse, from Phil George’s battering drums to Tony Fate’s wall of guitar crunge to Eric Leach’s Alice Cooperesque howl. It helps that the band has a strong batch of songs to which to apply its mojo – “Cold Blood,” “Really Doesn’t Matter” and the cheeky “Megalomaniac” scan as catchy as crunching. Fate’s acoustic instrumental title tune and tape collage “Mellotron” allow quick chances to breath, but otherwise Side Four breathes fire from beginning to end. Eric Leach(pictured above) also has a solo album out; surprisingly, Mercy Me (self-released) eschews blazing punk & roll for tasteful roots rock. Comparable to the 80s roots rock scare, the songs on Mercy Me benefit from Leach’s evident sincerity, no-bullshit attitude and his remarkable voice, which adapts to this music better than you might think.
If Tales From the Megaplex (Saustex) is any indication, Count Vaseline (Stefan Murphy to his mom) sees no difference between 60s garage rock, 70s New Yawk proto punk and rockabilly. The former Dubliner/current Atlantean simply bangs out his rock ditties, most of less than two minutes long, without a jot of regard for genre, sensibility or public opinion. Plenty of wit and personality, though, from the dry shade of “Hail Hail John Cale” (“Lou Reed died wishing he could be John Cale”), the wishful thinking of “Texas Band” and the cheeky mystery of “What’s Your Name, Where Are You From, What Are You On?” (“I’m on ecstasy and I really want to tell you some jokes”). At eight songs in less than fifteen minutes, it’s a very efficient use of one’s rock & roll time. Pittsburgh’s Carsickness took the eclectic, late 70s punk model of the Clash and pushed into artier directions. 1979-1982 (Get Hip) shows off the quintet’s singleminded focus, mixing fractured rhythms, free jazz histrionics and pure punk power together for a knee-twisting blast of spasmodic fury. The raging “Plastic Beauty” and the seething “Bleeding” demonstrate that “rock” need not compromise for “art.”
Joey Skidmore is one of those rock & roll true believers who’s been knockin’ around the leather jackets/blue jeans underground for years. So many, in fact, that the Missouri rocker compiled a two-disk anthology covering his 37 (!) years of service. Mostly produced by the venerable Lou Whitney, may he rest in peace, Rollin’ With the Punches: The Best of Joey Skidmore (self-released) ranges from exuberant roots rock to raging power rock, all of it united by Skidmore’s rich baritone, love of guitars and enthusiastic songwriting. Divided into a “best of” disk and a “worst of” (i.e. rarities, EP tracks and unreleased stuff from the vaults), Rollin’ With the Punches never flags in its pursuit of a rockin’ good time. Skidmore may be an unknown quantity to many people, but with Nikki Sudden, Eric Ambel and members of Jason & the Scorchers, the Skeletons, the Morells and even Black Oak Arkansas making appearances and a covers pallet that runs the gamut from Chuck Berry to Blue Oyster Cult, you know he’s got the goods.
And speaking of faith-keepers, one of Finland’s greatest musical exports has also decided the time is right for a career-wide retrospective, as Michael Monroe, ex-Hanoi Rocks, rounds up nearly thirty tracks from his life outside of Hanoi for the simply titled The Best (Spinefarm). He divides the disks into the times between stints with Hanoi, with the first disk covering the mid-80s to the early ‘aughts, and the second disk hitting his recent years since Hanoi’s second shutdown in 2009. Though the first disk shows the influence of the time period in which a lot of it was recorded, Monroe’s rock & roll vision – a wickedly hooky blend of glam rock, punk and heartland rock refined in New York, L.A. and London, as well as his home country – stays consistent throughout. Disk two cuts like “Goin’ Down With the Ship,” “The Ballad of the Lower East Side” and “Trick of the Wrist” sound superior to these ears – there’s nothing like the buzz of a late career renaissance, when an artist has both reignited enthusiasm and savvy experience on his side. But that’s not to deny the powerhouses on disk one, including “Where’s the Fire John,” “Life Gets You Dirty” and the immortal classic “Dead, Jail or Rock N Roll.” Hell, the inclusion of four songs from Monroe’s sadly short-lived early 90s act Demolition 23, whose lone album is a bear to find, nearly make this a must-have on their own. Essential.
Check out selected audio and video from the records discussed above:
“If you want to be part of MY world, I’ll accept you with open arms”: We say farewell to the late Northwest punk/garage legend and lifelong champion of the DIY aesthetic. (Above photo by Michael Passman exclusively for BLURT.)
BY FRED MILLS
When the final chapter is writ, one of my greatest regrets will be having never seen Fred Cole perform live. Sure, I have all the records—from the Clackamas, Oregon, rocker’s ‘60s garage outfits The Weeds and Lollipop Shoppe, through his legendary two-decade run fronting Dead Moon, to Pierced Arrows, which ran from 2007 to 2016, at which point his increasingly poor health dictated that he finally call it quits.
In rock ‘n’ roll, of course, we never say “never,” always holding out hope for another encore, just one more song. With Cole’s passing this week at the age of 69, that hope is permanently dashed. (Go elsewhere on the BLURT site to read our Cole obituary; he’d recently experienced a serious scare involving bleeding in his liver, and According to Willamette Week, despite treatment had remained “still very ill.”) Cole’s passing was announced at the Facebook pages for Dead Moon and Pierced Arrows:
I’m so sorry to have to let you know that Fred lost his battle with cancer & passed away peacefully in his sleep last night, Nov 9, 2017. Thanks you one & all for all the years & memories we all shared together, for being friends first & business partners second, so proud to be a part of your lives.
Fred had that quality of being “immortal” and I believe his songs & recordings will make it so. We can always hear his voice & his passion there and remember it like it was only yesterday & will go on forever. I love you all, Toody
“The last train is leaving
Can’t you read the signals in my eyes
And I’m standing on the platform
Waiting for the ones I’ve left behind”
Losing our musical heroes has become increasingly, depressingly, commonplace, and each of us deal with it in different ways—pulling out the albums, of course, or attending a candlelight vigil at a relevant shrine, or even organizing a tribute concert where other musicians can also work through their grief. In one sense, then, I’m luckier than many fans, because as a music journalist since the late ‘70s I’ve sometimes had the privilege of interviewing the deceased, and as a result, those earlier one-on-ones take on a deeper and richer resonance for me—and additional salve for the grief, a way to pull close to the artist one last time.
What follows, then, is a pair of interviews I conducted with Fred Cole, along with his wife and longtime bass-playing musical foil in both Dead Moon and Pierced Arrows, Toody Cole. The first conversation with the couple, conducted by phone for Harp magazine, to Oregon in July of 2006, was on the occasion of the impending release of a two-CD anthology from Sub Pop, Echoes of the Past, that essayed the trio’s recorded career to date, most of which the Coles had released (in lathe-cut mono, no less) on their own Tombstone label. Concurrent with Echoes was the DVD release of a documentary on the band, Unknown Passage: The Dead Moon Story, so for the story I also talked to Jason Summers and Kate Fix of Magic Umbrella Films, both of whom proved invaluable resources.
One quote that sticks out in my memory from that ’06 interview was from Toody Cole, who spoke of her husband in terms both peer-admiring and industry-defiant: “Fred was going to be great at whatever he did. He’s also the kind of guy that you don’t tell him he can’t do something. If you do – he’s so there. He’s a great inspiration.”
Unbeknownst to me at the time, Dead Moon was on its last legs. A few months after the release of the CD and the film, in December, Fred Cole posted an announcement on the Sub Pop website, writing, “After 20 yrs, Dead Moon is retiring. It has been a journey we will always treasure and feel that a worldwide family has emerged in its place. Dead Moon became much bigger than the band itself, it became a DYI underground hopeful for a lot of people. The candle is still burning!” So that was that. Although it soon became clear that Fred and Toody remained very much a personal and musical unit, because while drummer Andrew Loomis was now out of the picture (sadly, in 2016 he would pass away, from lung cancer), by May of the following year the Coles were back in business as Pierced Arrows, tapping Kelly Haliburton for kit duties. By 2008 there was a Tombstone-issued Pierced Arrows album, with more records to come.
Then in early 2010 I’m on the phone again, this time for Stomp and Stammer zine, with Fred and Toody, getting the state-of-Pierced-Arrows broken down for me. That feature, along with the prior one for Harp, appears below—both stories in, you guessed it, director’s cut/expanded form, as I was able to locate my original interview transcripts. What was once around 3500 words is now nearly 9000.
To any Fred Cole devotees out there—and particularly to Toody Cole, if she ever comes across this appreciation—this one’s for you.
And for me, too.
In 1990, a package with an Oregon return address arrived in the mail: Dead Moon’s third album on Tombstone, Defiance. Included was a hand-written note on brown stationery from Fred Cole, thanking me for the reviews I’d written of his band’s previous records. I still have the LP and, of course, the note. Years later, as our 2006 interview was winding down, Fred mentioned that he’d always remembered those early reviews because of our shared first name, and how nice it was to finally connect directly over the phone.
Then he thanked me profusely for being one of the writers who had stuck with the band over the years. I’ll never forget how he put it to me, simply but sincerely:
“Fred, thank you for digging the scene after all this time, and for being into Dead Moon, for this many years.”
R.I.P., Fred Cole. May the angels of Heaven all sing in mono.
DEAD MOON: The Whole Story (Originally from Harp magazine, Sept./Oct. 2006, here expanded with previously unpublished quotes.)
Author F. Scott Fitzgerald famously wrote, “There are no second acts in American lives,” but had he been around in ’87 he might’ve revised that oft-quoted statement. Because that’s when the first stirrings of Dead Moon were heard—and the second stirrings of Fred Cole. Slithering outta the Portland, Ore., garage/punk underground to chart a purposeful trajectory into the Amerindie scene’s consciousness, Dead Moon – singer/guitarist Cole, his wife Toody on bass and vocals, drummer Andrew Loomis – has been in the national and international spotlight ever since.
Jason Summers, of Magic Umbrella Films, which did the 2004 documentary Unknown Passage: The Dead Moon Story, first heard the band around ’91 and summarizes the band’s sonic appeal thusly: “That was back when Nirvana was starting to get big and Dead Moon just sounded nothing like what was becoming college alternative pop — kinda creepy, more rootsy, and somehow having a vein that went way back in history. No matter what style they play, it’s got their signature style. It could be a country song or a ballad or a screaming punk song, but it’s always got some kind of cobwebs on it.”
“We don’t care anymore!” cackles Cole, from his home in Clackamas, near Portland, when I ask him what motivates him year after year, but you sense his flippancy’s a self-deprecating ruse. For Cole, he of the leather-lunged, Arthur Lee-meets-Roky Erickson howl, serial killer riffs and outside-of-society lyrics, and a staunch DIY lifer, these past two decades must have been a hugely gratifying second act.
Addressing the rabid core of fans that snap up Dead Moon’s independently-released records and pack punk rock clubs whenever the band tours, Cole adds, “Come see us live again, soon. Come and see a fat old fuck play some real rock ‘n’ roll!”
He laughs again, this time proudly. Yeah, he cares. A lot.
Despite his contemporary project’s tenure and popularity, Fred Cole’s first time around in the music biz was in no way an inauspicious one. Born in Tacoma in 1948, as a teen Cole wound up in Las Vegas where he worked with several bands – among them, the otherwise all-black R&B band Deep Soul Cole and Top 40 covers outfit The Lords – before notching some regional success in 1965 as the lead singer for the more garage-leaning The Weeds. The following year saw the band relocate to Portland – to evade the Vietnam draft, they’d headed off for Canada, only to have their van break down en route – and they began gigging regularly up and down the West Coast, sharing bills with the likes of Big Brother & the Holding Company, Seeds, Chocolate Watchband, Buffalo Springfield, Love and the Doors.
The Weeds subsequently changed their name to the more teen-palatable Lollipop Shoppe and, signing with UNI Records, released an album (1968’s Just Colour) and scored a hit single (“You Must Be A Witch,” which would become an oft-covered staple of the garage/psych genre ripe for rediscovery during the Nuggets milieu). By ’69, though, the band had run its course.
Cole continued to make music in Portland, but meanwhile, he was also enjoying the domestic life. When the Weeds first landed in Portland in ’66, he’d caught the eye of Kathleen “Toody” Connor, a young, dark-haired beauty fresh out of Catholic high school, and intrigued by “this tall, skinny lead singer in the hottest band in town.” Love at first sight?
“Oh God, yeah,” gushes Toody. “Well, it was attraction at first sight. You gotta understand, I was a sweet Catholic girl, and he had a notorious reputation. So it was an oil and water thing. I totally expected him to be the biggest egocentric airhead from hell. But once we actually got together and talked, which we did a lot of, it was like, ‘Oh my God, you’re nothing like I imagined you would be…’ Once you actually get to know somebody…”
“I just wanted to do the ‘please don’t’ with her!” interjects Fred, referring to a certain carnal Dead Moon lyric of his from the song “Poor Born.” “But no, she just knocked my socks off. And she was so arrogant and just thought, ‘Oh God…’ and wouldn’t let me touch her. So every night either before or after a gig she and I would go up to the park and talk and eat red liquorish – I was on a band budget, making about 80 cents a day to eat, and saving up our money to record, so I’d buy a big package of Red Vines, and that’s basically what happened for two months. Everybody would say, ‘Fred – pffftt, forget about it, there’s no way this is gonna work out.’ Her parents thought she was a lesbian because she didn’t hang out with guys. I remember when her dad finally met me, and I stuck my head in his car window and all he saw was all my hair, and his eyes got real wide, like on the Little Rascals.”
Fred and Toody married on June 14, 1967, a little fact they had to hide from Fred’s image- and career-conscious bandmates. Says Fred, “People would’ve freaked. In ’67, if you’re the lead singer in a band and you’re married, you can forget about it!”
The Cole-Connor union (which recently celebrated its 39th anniversary and to date has resulted in three children and seven grandkids) would yield more than just marital bliss. In 1976, on the heels of several underappreciated bands — notably hard rock quartet Zipper, which released an eponymous LP in ’74 on Cole’s fledgling Whizeagle label – Cole, inspired by the Ramones, Sex Pistols and the rest of the punk explosion, put together hi-octane trio the Rats. The band lasted until 1983 and issued three albums on Whizeagle, a Spinal Tap-esque drummer scenario ultimately deep-sixing the popular outfit’s aspirations. But with Toody tapped by Fred for bass chores in the Rats, one of indiedom’s most enduring musical partnerships was forged.
“I always had a thing about getting up on stage and always thought it would be drama or something like that, but it never worked out,” says Toody. “So Fred did me one of the biggest favors anybody can do: ‘Hey, get your ass up there, I know it’s gonna make you crazy, but…’ It took me a lot of years to get comfortable. But I just love it! So he picked the right time, and started me with something pretty basic. He hadn’t played that much guitar at that point himself. He just kinda wanted a bunch of amateurs to get up there, hammer away, and see what happens. Luckily for me he pressured me into it.”
What happened, of course, would be Dead Moon.
After the Rats’ demise Fred briefly indulged a Country & Western fetish with cowpunk trio Western Front, but his garage roots soon beckoned. One night in ’87, while on vacation and driving across the desert, Fred gazed up at a crimson-hued moon and suggested Red Moon as a good moniker for the back-to-basics combo they’d recently been brainstorming. Toody countered with Dead Moon, and the name stuck. Fred remembered a talented Portland drummer, Andrew Loomis, late of a Plimsouls-like new wave combo called the Boy Wonders, then working at local punk club Satyricon, and an audition was arranged.
“Now that was love at first sight,” recalls Toody. “Andrew had been coming to see us when we had the Rats and we didn’t even realize he was a big fan of ours. Instant chemistry. And we’d had so much trouble in the Rats trying to keep a drummer, so we thought, hey, we’ve got something that works, and Fred had been through breakups with the Weeds/Lollipop Shoppe, so when you’ve waited for 25 years to get it back again, you ain’t gonna let it go again the second time. It’s like falling in love, getting married, and then realizing that it’s a working relationship; sometimes things fuck up, but you don’t just say hey, hit the door jack.”
Now, even at their most vibrant, local music scenes can be pitiless towards new bands, even those fronted by a more or less known quantity such as Fred Cole. And Dead Moon definitely paid their dues early on, playing mostly cover tunes and taking gigs at any regional dive that would have them. Remembers Toody, “We played in this one place and came on after the local amateur comics finished doing their spiels – oh my God, it was unbelievable! But in a lot of ways it made us who we are. It was a very humbling experience, and to this day we appreciate it when people show up.”
But with the release, in 1988, of their first couple of 45s, “Don’t Burn the Fires” b/w “Can’t Help Falling in Love” and “Parchment [sic] Farm” b/w “Hey Joe,” and debut album In The Graveyard, both on the Coles’ second homegrown label, Tombstone, the Dead Moon snowball began rolling. Wildly enthusiastic national reviews ensued for this “music too tough to die” (as the Tombstone motto defiantly proclaimed) – primarily from the fanzine sector, where yours truly, writing for The Bob, drooled over Dead Moon’s “incendiary rumble” and “feral yowlps” of “primitive garage-rock fuggit-all.” Ahem.
Hype-laden wordsmithery aside, reviewers consistently hailed the group’s primitive yet incendiary sound and took due note of the band’s steadfast avoidance of effects such as reverb and echo, not to mention their preference for recording in monophonic. For his birthday one year, Toody bought Fred a vintage mono lathe, reportedly the same one the Kingsmen had used years earlier to cut “Louie, Louie”; to the notoriously frugal Fred, saving money by cutting his own record masters was a no-brainer. This turned out to be a telling aesthetic/practicality factoid not lost upon other reviewers, including Spin’s Byron Coley and the influential editor of Britain’s Bucketful of Brains, Jon Storey. Second and third albums Unknown Passage (1989) and Defiance (1990) followed in short order, each to similar underground press raves.
The aforementioned snowball turned into an avalanche upon Dead Moon’s inaugural overseas trek, which came at the instigation of Hans Kesteloo, owner of Germany’s Music Maniac label. Kesteloo, a die-hard garage freak a Fred Cole fan, had met Greg Sage of the Wipers while on tour in Europe; Sage, who knew the Coles from their Rats days and also frequented their Portland instrument store, Tombstone Music, agreed to put Kesteloo in touch with Dead Moon. Kesteloo subsequently licensed some Dead Moon tracks for a pair of Music Maniac compilations, and when the band landed in Europe in 1990, Fred, Toody and Andrew were treated like conquering heroes. (The Music Maniac alliance for Tombstone’s European market continues to this day.)
Fred, devoted to the one guitar/one amp school of touring, still marvels at the reception they got. “Our tour manager over there had toured with all the biggest bands – he had been doing the Lemonheads, Iggy Pop, Lou Reed. He showed up at the airport with this huge fucking van and 14 guitar stands in the back. ‘Dude, I only bring one guitar…’ The van was probably 3 times bigger than what we needed for the little bit of gear we carry!”
Toody notes, of the European market, “They accepted us like gangbusters over there! Same with a lot of different bands, like the Gories, that would go over and the Europeans just loved.” Dead Moon would return to Europe time after time in the years to follow; nowadays both Coles will eagerly single out certain cities where they have the equivalent of an extended family they look forward to seeing on each overseas trek. Meanwhile, having a loyal European fanbase allows them to return home with a profit, which partly explains why U.S. Dead Moon tours, while not necessarily rare, are neither as frequent nor as extensive.
“I always look forward to touring, especially Europe,” says Toody. “You know what hard work it’s going to be, what it’s going to take out of you, and it’s not like those early years when it’s so fresh and new that everything’s a surprise and you’re riding so high on emotion. We used to have this rep for playing three hour shows! But there’s another quality you gain from experience, so you try to give every audience the best you’re capable of every night because you realize that this many people are willing to pay the ticket price to see you.”
Such loyalty to their fans mirrors the loyalty that Fred, Toody and Loomis demonstrate towards one another; long ago it was decided that the Dead Moon brand would be retired if for any reason one of the three couldn’t continue. Fans observe this devotion each night when the band undertakes a pre-performance ritual. With just a candle jammed into a Jack Daniels bottle for illumination, the trio gathers at Loomis’ drum kit, leans in to one another, and firmly clasps hands.
“Fred’s very much into ritual and superstitious stuff, repeating things over and over again. He still laughs how as a kid he’d keep going back and touching the top of the door jamb 20 times just to make sure he had a good day that day,” explains Toody. “So we do The Handshake. It’s like, all is forgiven, whatever happened yesterday is in the rearview mirror and does not matter, let’s just go forward. The Handshake is a way to touch bases and let us all know that we love each other.”
Back home, in between tours, the Coles devote their energies to running their record label, operating a maze of other income-generating businesses (Tombstone Music, their instrument shop; Tombstone General Store, a convenience-type mart; and several nearby rental properties), and of course recording Dead Moon records. In mono, natch.
“Basically,” recalls Toody, “we started Tombstone for ourselves just like we did with Whizeagle Records. Then it became almost like a mentoring thing. Locals would ask us how they could get a 45 out, get gigs and all that, so we pressed up local bands, doing it on the cheap, and we got our street creds, so to speak. Then we had bands from all over wanted to have records out on Tombstone. But we haven’t done anything for quite awhile because we’ve been so busy. But we still have people asking all the time. Fred will have a continual lifelong affair with vinyl. He wants someone to listen not to the first song on a CD, but to listen to the whole first side of the record and want to turn it over to see what happens next.”
And the whole Fred Cole-Tombstone Records mono thing? This throwback touch was partly due to Fred’s steadily mounting hearing loss over the years, but it was also borne out of serendipity, explains Toody.
“That just happens to be the lathe he has, an old ’54 model lathe and that’s all it does. And hey, we all grew up with mono, and for him it’s like, ‘I’m deaf anyway, so all I’ve got to do is put two signals in one direction and, bam, they’re there.’ He hates effects, obviously, and there’s the old thing about stereo panning and all this other stuff. He figures, ‘I’m a vocalist, I write these songs, I’m not a guitar god.’ It all goes back to that old crunch of Bob Dylan: keep it simple, and let the songs speak for themselves. If the songs are good, it doesn’t really matter.
“So there’s no frills: you either love it or hate it. For a lot of people, mono is irritating as hell, and for the other half, hey, they love it, so it’s great. You hear all that reverb and compression on records from the ‘80s, and that’s his biggest beef. The reason we sing live and on records with completely dry vocals, no reverb, is so you don’t have to compensate for that. Just let your voice do what it’s supposed to do. He’s a pure naturalist, he really is. To him, effects are cheating. When it gets so homogenized, anybody can sound good. But how can you tell what they really sound like?”
In September Sub Pop, which along with other indie tastemakers such as Sympathy, Empty and Australia’s Dog Meat has occasionally played patron over the years to Dead Moon’s ever-growing back catalog, issues the two-CD Dead Moon career overview Echoes of the Past. Personally compiled by the Coles, it provides a compelling series of snapshots, stretching back to In the Graveyard and running up through 2001’s Trash & Burn – the most recent release is ’04 studio album Dead Ahead – and with a full Sub Pop roll-out slated for the set, it should also boost Dead Moon’s domestic profile considerably.
“The Dead Moon-Sub Pop northwest connection seemed important and valid,” agrees Toody. “And in a way it’s been a godsend that Sub Pop wanted to do this, because, you know, we think everything’s gonna last forever, but once Fred sent back and started messing with these old tapes – whew, you forget how old tapes start disintegrating after awhile. He was going crazy, having to keep re-cleaning the tape heads in order to go back and get what he wanted. He’s like the absent minded professor, so half the tapes he ever had were recordings in boxes, sometimes labeled with what songs and in what order, sometimes with nothing written on there. So a lot of it was disorganization on our part. And as I said, with the Sub Pop thing now, it’s great to know that in a way all of this is going to be saved if those tapes are at some point completely unusable. And thank god we have the technology to salvage them.
“We didn’t do any true remixing, but there was a lot of balancing and computer programming to try to even out tones, bring out the bass or drums on certain tracks. I mean, our tapes are – cough – sorrily lacking anyway! Between the different eras, and where we were recording and how we were recording it — and because Fred’s deaf as a post, treble frequencies are lost, so when we are recording he tends to mix the treble up really hot so what he hears sounds right to him. We got our copies a few weeks ago and I’m really impressed. Fred and one of his old bandmates worked on it here, and also Sub Pop went in and tweaked it out again, so they really did a nice job ‘given the quality of workmanship’! [laughs] So in a way the stuff sounds dated – as it should! We did this 15 or 20 years ago.”
“Lo-fi and DIY,” says Fred, firmly, a note of satisfaction in his voice.
Favorite Dead Moon records or songs?
“Oh God,” sighs Toody. Even getting the Sub Pop thing together was tough. Same thing going back and putting together a song list for this upcoming European tour. I love the fact that at different points we don’t listen to our own material that often that it impresses me like crazy all over again. But if I had to pick all over again: What we did on Unknown Passage, between “54-40” and “My Escape,” which happens to be one of my favorite songs. And Defiance, I’m especially proud of “Trash & Burn.” At different points it gets really difficult to pick a favorite.
“Trust me, Fred’s biggest fear, growing up in the ‘60s, there was X amount of bands that had one or two songs and you went out and spent your hard earned money to buy this album and you love this one song so you’re hoping the whole album is awesome – but usually it’s that one song and a lot of filler. So that’s been one of his biggest fears as an avid music fan. Just remembering that. And it was a bonus bonanza when the whole album was great.”
I ask the Coles if they encountered any surprises while sifting through their tape archives, or did they find themselves cringing at any of the old stuff…
“A lot of stuff we hadn’t heard in a long time,” admits Toody, “so honestly, the hardest part was having to pick out what would fit on two discs, and we left out a lot of stuff we wished could go on there. We left off [the first 45] because they were cover songs. And our cover songs, we’ve always kind of done them from memory – ‘Oh yeah, I think it goes like this…’ – and we always get it wrong, which is great, so it’s never a true cover song. It becomes a Dead Moon song. As an added bonus, Fred got the title wrong – it was “Parchman Farm,” not “parchment”! But hey, that’s our style! Our version of “Play With Fire,” which I sang, we left a whole verse out – ‘Whatever, it’s our song!’ [laughs] AC/DC’s “Long Way To The Top,” we got that whole rhythm wrong too, so it’s our song and the way we do it.
“And yes, sometimes I do [cringe] personally, to this day. But hey, that’s one of the unique things about us, and that’s why we say we’re ‘entertainers.’ We’re not ‘musicians’; we learned how to be adequate on our instruments with a certain flair and style, and the chemistry just happens to be magical. Name just about anybody and they can play rings around us. But that’s kinda cool. Part of having that constant struggle where it’s not one of these unbelievable natural born talents – you have to work at it, and that kind comes through. And I think people love the fact that it doesn’t look too easy when we do it.”
“We’re not an all-star band,” interjects Fred.
Agreeing, Toddy adds, “And that’s why we’re amazed that we have so many musicians that are fans. At any point at least 30-50% of people out in front of us at shows are musicians. And we are what you see – this is the real deal meal.”
Fred: “And you better not expect a guitar solo that lasts more than two or three bars, either!”
Both musicians are quick to point out that the gig’s the thing and always has been. Toody, elaborating, recalls wrapping up a particularly memorable, extended 2004 tour.
“And when we got back, I had tendonitis in my left wrist. So we took 9 or 10 months off and didn’t play at all. I was in a brace and basically let it heal. So we played a local gig here, rehearsed once, a fly by the seat of your pants thing. And we got up onstage and we basically fell in love with it all over again. Because at certain points, when you’ve done this many shows, when you know you need to stop is when you get to the point of, ‘Oh my God, this is becoming a job and I’d rather be doing anything else tonight…’
“So this show in Portland, we worried if anybody would remember us and show up, but the house packed out, and my mom, who’s 84, came to the show with my three brothers, and we honestly just had one of those magic nights.
“There’s been other shows like that. Shows at Vera, in Groningen, our second hometown, for example – shows where you feel not just the electricity in the audience but when that electricity and chemistry happens to be working between all three of you. It’s like basketball players being in this zone where they make 15 three pointers in the same game. And you know you can’t do that every night. But when you do, oh my God, there’s not a better high than that. And certain cities just work their magic with us too.”
One of the more intriguing recent twists in the Dead Moon saga is Unknown Passage: The Dead Moon Story, the feature-length documentary from Magic Umbrella Films, aka North Carolina’s Jason Summers and Kate Fix. The pair initially got the idea to make a film about Dead Moon while working in the film and television industry in New York in the late ‘90s. Fix, who’d attended college in Portland, was already a big fan of Dead Moon and a friend of drummer Loomis; Summers was exposed to the band’s records as a deejay at UNC-Chapel Hill’s WXYC-FM but had never seen Dead Moon live until one night in ’98 when he and Fix spotted a flyer announcing the first-ever NYC Dead Moon gig. After the show, which Summers says “completely blew me away – even Jon Spencer was there in the front row, going nuts,” they invited the band back to their apartment and subsequently kept in touch.
“We’d get these long letters from them on Tombstone letterhead stationery,” recalls Summers, “which seemed to speak volumes about them even before we started broaching the subject [of the film]. We figured if they were that way with us then they must be really genuine.
Fix agrees, saying, “They have such sharp, sharp memories for everything, especially for the number of people they’ve encountered over the years. People are so excited to talk to them and you’re just amazed they can remember meeting someone once for just five minutes.”
Fascinated by both the band’s music and by the musicians as people, Summers and Fix eventually broached the idea of a documentary to Fred; already impressed by some of the Super-8 live video the pair shot of Dead Moon in New York, he agreed, much to their surprise – and delight.
Explains Summers, “We’d become more and more intrigued. Their music had gotten us. But it was the other parts of their lives that really got us. They were so quirky, so eccentric, so many projects going on all the time that it seemed like to them the music was kind of like a derelict hobby. I tend to think that musicians who don’t think of themselves as superstars, there’s something more there to that, about having a lifestyle where you can take all the things you love and build a working life.” Summers mentions the 1969 Robert Elfstrom documentary on Johnny Cash, The Man, His World, His Music, as a “brilliant piece of cinema verite” that influenced him as he and Fix were editing their film.
Indeed, Unknown Passage, while loaded with riveting concert footage, is equally weighted with intimate interviews (including Loomis and the Coles’ three children) and segments showing the Coles going about their daily activities at home and at their businesses, essentially painting a portrait of a couple at peace with the lifestyle they’ve carved out for themselves. A wealth of archival material outlines Fred Cole’s lengthy musical resume – there’s a priceless live clip of the Rats appearing on a Portland cable access TV program in the late ‘70s – while glowing Cole testimonials from the likes of Music Maniac’s Kesteloo, the Kingsmen’s Mike Mitchell and Mudhoney’s Steve Turner add additional context.
One intimate scene has Fred Cole displaying the Dead Moon album masters and casually tossing them around, not heeding the potential for damaging them. Summers says that’s his favorite part of the movie. “It reminds me of William Blake or something etching his little copper plates. Fred looks like Ben Franklin in his dirty robe with his bi-focals on, going through tape after tape after tape, getting these ancient machines working.”
Summers recalls their initial filming sessions of the band as being a literal trial by concert-trail fire. Fred, shortly after giving his blessing to the project, called the filmmakers up and asked them if they wanted to join them, 11th-hour style, on a European tour. The next thing they knew, Summers and Fix were getting off a plane in Amsterdam. “We’re in the parking lot going to get into the rental van,” says Summers, laughing at the memory, “and Fred got us in headlocks and made everybody get into a huddle. He says, ‘All right, if anybody fucks with you, you’re not with us – you’re in Dead Moon now. Do you understand? You’re IN the band!’ Then we broke the huddle and went into our first play – in the van, and go!”
“We tried to stay quiet and out of the way while rolling,” observes Fix. “In fact, our presences made it more fun for them. We felt like we were the honored guests, being shown around Europe, being introduced to all their many friends they’ve made while touring over there.”
Adds Toody Cole, “It worked out great – we loved the film. And we became really good friends with Jason and Kate, too.”
The self-financed film took approximately four years, from inception to final editing, to complete; in 2004 it was screened extensively at film festivals (a pair of memorable screenings in Australia and New Zealand featured live performances from Dead Moon!) and reviews were unanimous in their praise. Fix suggests that ultimately their budget restrictions worked in their favor. “It was just the two of us, no audio person, a real basic run-and-gun setup. But if we’d had a huge crew I think we would have sacrificed a great deal just in terms of the whole feeling and spirit of the project – and the intimacy we were able to achieve with the three of them.”
Hopefully timed to come out close to the Sub Pop anthology is a DVD of the film, most likely as a joint Magic Umbrella/Tombstone release (see: www.MagicUmbrella.com or www.DeadMoonUSA.com). Unknown Passage is not the first documentary treatment of Dead Moon; in 1995 Dutch fan Wilko Bello made the 50-minute You’ll Love Them All the Same, included on a CD-ROM with ’97 album Hard Wired in Ljubljana. But with a wealth of DVD extras, from songs to archival goodies to interview outtakes and ephemera (one priceless segment captures a snooty tour manager for Black Rebel Motorcycle Club kicking Dead Moon off the stage and a subsequent screaming match between him and Loomis), it will undoubtedly stand as definitive.
Prominent in the film whenever the Magic Umbrella lenses zero in on Fred Cole is a Dead Moon tattoo, the trademark band logo depicting a deathly, grinning skull protruding from a crescent moon. Not just any tattoo – it’s on his right cheek, a highly visible symbol of the man’s devotion to his band and to his craft.
This will probably preclude the man’s ever taking a job as a Wal-Mart greeter when his senior citizenship beckons, but predictably, both Fred and Toody have no intention of entering their twilight years quietly (although Fred, in a not-unwise concession to the drumbeat of age, recently got fitted for a new, high-tech pair of hearing aids).
The tattoo’s also physical testimony to Fred Cole’s bloody-mindedness as an individual. Ironically, despite the band’s seemingly tireless work ethic and massive musical output (at last count, roughly 13 studio and live albums and 14 singles and EPs), Dead Moon has been its own worst enemy in terms of any huge commercial break-throughs it might have achieved. Fred Cole still stubbornly insists on recording in mono, of course, with the digitizing of a Dead Moon vinyl releases barely an afterthought; and after all these years, Dead Moon remains a self-produced project. (With luck, the Sub Pop release should go a fair ways towards raising the band’s profile.)
Plus, he’s notorious for shrugging off – or outright running from – any overtures the mainstream might cast in his direction. Toody notes that Fred “kinda gets into this deer-in-headlights mode when shit gets intense.”
Pausing for a moment, she then relates an incident in the early ‘90s when the band, on tour in Europe, found themselves courted by Britain’s influential weekly Melody Maker. At the time, anything from the American northwest was blowing up and the paper wanted to send over a reporter and a photographer for a cover story – but at Dead Moon’s label’s expense.
“So Hans [owner of Music Maniac] runs it by me and says it would be a great career move: ‘All we have to do is fly this Everett True and his photographer over here to Europe, put them up in a hotel, and they’ll come and interview you and it’s just going to make you guys.’ Fred was like, ‘Oh, this just so smacks of payola. Ah, no. No, we’re not going to do it that way. If they think we’re such hot shit, fine. They can come over here [on their own] and I’ll talk to them.’
“You know, Fred has been so disillusioned by the music business in general and how it works, he just thinks, ‘If I’m worth the story, I’m worth the story.’ This is important to him: ‘I just want to know I did it on my own.’”
Hearing his wife say that, Fred thinks about it for a moment, then softly agrees.
“That’s right. I mean, hey, we grew up in the ‘60s and found out how the world works then. So, okay, I refuse to be part of it. I’m not gonna go there.
“But if you want to be part of my world — cool. I’ll accept you with open arms.”
PIERCED ARROWS: “Not Just Righteous, But Right” (From Stomp and Stammer zine, March 2010)
The letter is still here, tucked inside the jacket of a Dead Moon LP, on brown Tombstone Music stationary and bearing a July 1990 postmark. It’s a handwritten note from Dead Moon guitarist Fred Cole that begins, “Dear Fred, thanks for the reviews. You’re one of the core of people who started the ball rolling…”
Only hubris would allow me to think that I really had anything to do with Dead Moon’s rise from unruly Oregon punk/garage trio to international prominence as one of the fiercest, most uncompromising underground bands of the last two decades; by the time Cole formed the band in ’87, he already had enough experience under his belt to know exactly what he wanted to do and how to do it. Just the same, helping get the word out about the band was something I and a number of my fanzine-scribbling peers approached with a missionary-like zeal, and it was gratifying to know that Cole appreciated the effort
In fact, although I never met him or his wife and bandmate Toody face to face (Dead Moon tours rarely seemed to be routed through wherever I happened to be living), we corresponded quite a bit, so when we convened via telephone in the summer of 2006 for Harp magazine dissection of their career to date, the occasion being the impending release of Sub Pop’s two-CD Dead Moon anthology Echoes of the Past, the interview took more the form of a conversation among old friends than a journalist grilling two musicians.
And then the band promptly broke up.
Cut to 2010: “You know, it wasn’t your fault…” Toody Cole lets her words trail off, then chuckles loudly into the phone.
I’d half-jokingly suggested that perhaps I’d placed a curse on the band by publishing the 2006 article; the laughter dies down, and she explains that after doing Dead Moon for two decades, “We kind of got trapped in a box, especially for Fred and his songwriting, and everybody wanted to hear the same 20-30 songs over and over again. But he’s one of these people who’s like, ‘It’s whatever I’m doing now, and not what I did then or when.’”
What the Coles are doing now is the Pierced Arrows, which they put together in surprisingly short order following the demise of Dead Moon. According to Toody (who, due to Fred’s deafness, handles the bulk of interview duties, fielding the questions and turning to Fred for clarification as needed), her husband had actually been thinking about closing the book on Dead Moon for some time; the band played its final gig in Groningen on Nov. 26, 2006. “And I pretty much had to talk him into coming back after that break anyway,” she continues, “because he was done at that point. Originally we were going to wait six months to a year, but it turned out to be about three or four [months] instead — just long enough to realize how much we missed it!”
Outwardly at least, the Pierced Arrows bear such a close resemblance to Dead Moon that some fans may have wondered why even bother with the name change and potentially squander the group’s momentum. Like Dead Moon, the Arrows are a three-piece, with Kelly Haliburton (ex-Murder Disco X) taking DM drummer Andrew Loomis’ place behind the kit; Fred Cole still spews his manifesto-like punk anthems in an unhinged, Arthur Lee-like howl while unleashing furious bursts of serrated riffs; Toody Cole still wields her precision basslines and shares occasional vocal duties with Fred; and just as Dead Moon did, before each gig the trio convenes onstage in a tight semi-circle whose physical closeness signifies both a musical and personal camaraderie.
Yet as Toody told me in 2006, in an unintentional foreshadowing what was to come, “We decided a long time ago that if any one of us three is not replaceable, then that will be the end of Dead Moon. Maybe something else will come up down the line, but it will be a different name.”
Hence, with drummer Andrew Loomis leaving the Dead Moon fold, the Pierced Arrows. The Coles knew Halliburton from his turning up at Dead Moon shows (his father had also played in a band with Fred in the ‘70s), so when they got the itch to resume playing, Fred invited him over for some informal rehearsals. Things clicked, and the Arrows played their first gig in May of 2007 with Poison Idea in Portland on the anniversary of the eruption of Mount St. Helens. “We’d only been rehearsing for about 4-6 weeks,” says Toody, “and we only had about a half hour’s worth of material. But it was just phenomenal, really over the top. We’d figured we’d have to start up the ladder again like we had done in Dead Moon, but that gig went so well things just took off from there.”
Indeed they did. Since that first show the band has toured regularly and scored great press coverage. Yours truly, reviewing debut LP (on Cole’s long-running Tombstone label), enthused thusly:
The Coles are as garage-shock defiant and hell-bent for leather as ever. Yeah, they sound a lot like Dead Moon — Fred Cole’s unhinged, Arthur Lee-like vocals and keep-it-simple chord structures ensure that — with the main break from the past being a shift away from Dead Moon’s signature lo-fi/mono aesthetic by recording in a real studio with a producer. Improved sonics aside, Straight To the Heart is aimed directly at faithful D.M. fans, notably the grinding, malevolent anti-war screed “Guns Of Thunder,” punk thrasher “Walking Wounded” (featuring a nice Fred-Toody vocal duet), a thunderous romp through Neil Young’s “Mr. Soul” and a bluesy slab of alienation (one of Fred’s favorite song topics) rock called “C-U.” Welcome back, Mr. and Mrs. Cole.
For their second album, the just-issued Descending Shadows, Pierced Arrows inked a deal with über-tastemaker Vice Records. Wisely, the Coles and Haliburton don’t fuck with their established formula too much, either; in a mere 11 tracks, the band plows forth with such feral viscosity and velocity that you’re left clutching your chest when the record’s done.
In classic Fred Cole form, the album opens with a manifesto-like anthem, “This Is the Day,” a churning slab of sinewy guitars and rhythm section thud that finds the singer bemoaning all the ugliness he’s seen — and spawned — in the past and trying to find the inner strength to rise above from this point onward: “If only I could change the way I’ve become through all these years/ I wouldn’t be watching you holding back your tears.” The creepy, noirish “Buried Alive” comes next, Fred chronicling a modern-life-is-suffocating-me viewpoint via a science-gone-terribly-wrong metaphor. That’s followed a few tracks later by the even more horrific “Paranoia” that utilizes metronomic bass, abrasive, serrated swipes of guitar, and appropriately unhinged lyric images of “creaking floors,” “evil in the night” and “the sound of blades just before they carve.” And “On the Move” finds the Coles, against a thick backdrop of dark riffage, swapping vocal lines about an impending apocalypse (literal, mental or perhaps both) that’s propelling the two protagonists to flee ahead of the coming storm.
Fred Cole has been compared in the past to Love’s Arthur Lee, and sometimes to Roky Erickson as well, but on this album he sounds uncannily like a cross between late vocal greats Bon Scott and Alex Harvey, moaning and gurgling and blustering and spitting into the mic as if through clenched teeth while reeling from a significant flesh wound. Animalistic, by any measure.
Too, like a radically minimalist AC/DC, the band locks into some of the most primal grooves imaginable, Toody and Halliburton adopting a no-frills approach that’s propulsive yet steady, and this economy of motion additionally frees Fred to unleash a heady mixture of steel-lined riffs alongside psychedelic sound effects. There’s even an unexpected foray into British punk territory, “Zip My Lip,” that has Toody adopting a Johnny Rotten-like sneer as Fred deploys proto-metal buzzsaw licks to great effect.
The net result is a set of tunes simultaneously spilling forth on a chaotic veneer of sonics while remaining powerfully and purposefully focused.
In its time, Dead Moon became a Northwest institution, based out of Clackamas, Oregon, and amassing a core rabid fanbase that extended to pockets all across the U.S. and, in particular, Europe. From 1987-2006 the band issued 15 albums (plus the Sub Pop compilation), many of them on their own Tombstone label — official motto for their lo-fi aesthetic: “music too tough to die” — and pressed in glorious mono courtesy Fred’s vintage mono lathe.
Fred’s musical roots, likewise, extended to an earlier era: as a member of Las Vegas teenbeat combo the Weeds and later the Portland-based Lollipop Shoppe, he’d enjoyed some chart success in the ‘60s, notably with the latter’s hit single “You Must Be a Witch.” By 1976 he was fronting a hi-octane punk combo called The Rats, the first in what would a succession of bands featuring Toody (whom he married in ’67) on bass. Dead Moon was the charm, however, and while the band never sold records by the truckload it still built up a huge stockpile of indie cred during its tenure, with fellow NW bands like the Wipers, Mudhoney and Pearl Jam singing the group’s praises. Pearl Jam has frequently covered Dead Moon songs in concert, while singer Eddie Vedder recently composed an endorsement of the Coles for Spinner.com that reads, in part, “In a day and age when authenticity is harder to come by than an honest Republican, legends Fred and Toody Cole deliver on every record and at every show… [They] epitomize the true potential and pure meaning of straight-no-chaser rock ‘n’ roll. Not just righteous, but right.”
Toody and Fred had offered a telling anecdote when I interviewed them in 2006 that illustrates the authenticity and purity Vedder’s suggesting. They were touring Europe at a point in the early ‘90s which coincided with the overseas press going ga-ga for anything remotely Sub Pop-related or Northwest-based. Melody Maker wanted to come over and do a cover story on the band — but on the record label’s dime. Fred, smelling payola, flatly refused, saying, “If they think we’re such hot shit, fine. They can come over here [on their own] and I’ll talk to them.” As Toody explained, “Fred wanted to know that he did it on his own.”
Remembering that part of our earlier conversation now, I can’t help but wondering how on earth Pierced Arrows wound up on Vice, hipster haven to such acts as Chromeo, the Raveonettes, King Khan & the Shrines and, most notoriously, the Black Lips. For 2008’s Straight to the Heart, the Coles self-released, but for the followup, the decision was made to shop for a label. The timing was apt, as around the same time the Arrows toured with the Black Lips.
“That’s how we ended up dealing with Vice,” explains Toody. “We were thinking about asking around, and Sub Pop’s docket was completely full, so we said, well, let’s give Vice a shot and see what happens. We sat down with them to talk about licensing Descending Shadows and they had ideas about promotion, etcetera, so we told them we’d be willing to do that within reason. It’s something we need to do on our part to support all the work they’ve put in, and so far it’s been a really great experience.” She adds that they’re scheduled to do a split single with the Black Lips and that Vice will be flying the band out in April to record it in a New York studio.
Working with a high profile record label isn’t the only thing the Coles are doing differently this time around. Whereas most Dead Moon records were self-recorded and -produced, for both Pierced Arrows albums they’ve opted to record in professional Portland facilities (Straight to the Heart was even done digitally). The yield thus far has been a far more expansive sound and boasting greater clarity than the signature Dead Moon lo-fi aesthetic — although true to habit, Fred Cole still cuts the vinyl masters with his mono lathe.
Of the decision to work with outside producers, Toody says, “I think we’ve gotten more comfortable in the studio, and also at this point Fred’s [hearing] has gotten so bad that he realized that he can’t record and self-mix anymore; he can’t hear the frequencies anymore. Still, we’re working with first, second or third takes, so it’s also a bit of the same-old, same-old. It was a lot easier this time around and less intimidating than it used to be. And very relaxing from the fact that Fred wasn’t rattled trying to figure out, ‘Okay, which room should we use…’ and trying to roll tape and keep headphones on and play at the same time, stopping the take – it just got too ridiculous.”
Truth be told, the Pierced Arrows, though perhaps demonstrating more complexity in their arrangements than Dead Moon did (Toody also has a greater singing role in the new band), still ooze a primal ferocity that’s instantly identifiable. One detects echoes of everyone from AC/DC to the Sex Pistols to classic NW garageshock, but there’s no question you’re getting Fred Cole & Co. within the first few seconds of hearing a Pierced Arrows song. The net result is a powerfully delivered and purposefully focused sonic collision that’s as thrilling as ever.
“One of the nice things about having this new band is that you’re not so tied down to the regimen of what you’re ‘expected’ to do,” says Toody. “With Dead Moon, everything was always like, ‘It’s just this way. Don’t deviate. Nothing different.’ You know? With the Pierced Arrows, though, Fred is happy as a clam because it’s the natural direction he was leaning in anyway, but for whatever reason Dead Moon couldn’t pull it off.
“We have a whole new energy — a whole new jazz.”
I can dig it, Toody. Just don’t break up before I get to see you play this time. Cool?
Below: Fred and Toody Cole by Samantha Marble
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