Sunday, October 4, 2020



     This tape was put out by Big Shank (Jeremy "Big Shank the Bandit" Johnson) and Little Shank {Josh Mayfield) in 2001 and acted as the third installment of the Region Rock cassette comps (links for the first two comps and a slew of other related demo tapes are linked at the end of this post). Region Rock (a term coined by Cinque from the Spawn Sacs, as the story goes) refers to a loose geographical triangle with points in Little Rock, Chattanooga and Miami and does not dictate a certain sound, but rather is a catch-all term for a group of friends playing punk under their own terms. It has been widely defined by people outside of these loose barriers (I say loose because this line has definitely looped up around Asheville, NC from time to time) as something like "bouncy, jangly pop-punk" but I'm certain that these people have never huffed gold spraypaint out of a paper bag while sweating on a porch at 4am with less than 27 cents to their name. Region Rock bands like BRIS, QUEERWULF, SUCKERPUNCH and SPAWN SACS will have anyone throwing those definitions off of the train bridge over the toxic waters of Chattanooga Creek in less time than it takes Ed to shotgun a beer. Onto the tape. 

     The reason that this tape wasn't previously given it's place among all of these other tapes on the blog is this: Josh gave me a copy of this tape when it was released in 2001. When I got it home, I listened to the first couple of JOE SMITH songs before that abruptly ended and I discovered that the rest of the tape was a dubbed copy of the MOTORHEAD album "Rock 'N' Roll", which is a great album. I'm listening to the tape right now. I never got a replacement tape with the proper songs on it, but Orange-SLS Records out of NY was nice enough to send the mp3's over to me to share with you. Better late than never. 

     The main difference between this comp and the earlier ones is that, with the exception of LES TURDS and JOE SMITH, the scope does not venture more than 100 miles out of the city limits of Chattanooga. The tape starts off with JOE SMITH, BRIS, THE MORONS and CAPITAL SICKNESS, who have all been written about extensively on here and you can find links to them below. THE TEENY FLOPPERS were slightly before my time in Chattanooga and I don't know shit about them, but I would see their singer / drummer Carey playing in other bands in Chattanooga and it always blew my mind that he could sing so well while pounding the shit out of the drums. Within 6 songs on this tape, they go through 3 bass players.  

     You will find more info about ADD/C linked below. 

     THE SOCIAL LIES were from Huntsville and Triana, AL and played sloppy, tuneful, screamy, teen punk. They sounded like a tug-of-war between singer / guitarist Brontez's love of riot grrrrl and east bay punk and drummer / singer Tameka's more straight-ahead hardcore approach, Their shows could be intense or just fun, depending on the mood. I saw both. One where they made it through the set with all of us pogoing along with them and another where the two members started yelling at each other and stormed out in front of a stunned audience. Either way, their song "Fuck The Scene" has always stuck with me and they were an important part of this era. The Chattanooga punks basically adopted the band into their town before Brontez moved there. You can find a video of them playing in Chattanooga at Rear Entry (a punk-ran show space) right here.

     COCAINE SUMMER SPLASH was a real rock n roll nightmare fronted by Big Shank, who sadly passed away in 2013. He has so many unbelievable and maniacal stories about him that I couldn't even begin to scratch the surface here. CCS recorded these songs in Chattanooga and the band never had a proper release until 2020 when Josh Mayfield put out a discography tape on his label WereOpossum  Records. CCS was all about drugs, partying and crime, but like, in a real way. I feel like there's STILL things I can't talk about, but I can tell you that the band had to unofficially change their name on flyers to THE PARTY AIN'T EASY because the cops were looking for them. I know that our house was not the only one visited by the Chattanooga pigs...where we were forced to keep a straight face while they asked us if we knew anything about the 7 foot tall graffiti all over town that stated in big bold letters, "COCAINE SUMMER SPLASH." RIP Shank. He was one of a kind. 

     I don't know shit about THE COMPLAINTS either and that sucks. They were from North Georgia and featured wildman Allen with his truly deranged vocals. Sorry I don't know more. 

     You can and should read more about QUEERWULF and THE SHAFFERS in the links below. I think the tracks on this tape are from each of their first demos. If you've heard the lightning-fast live sets from THE SHAFFERS in the past, this slower version will throw you for a loop. 

     THE SPAWN SACS are also written about in the links below, but I don't think most of these songs appear anywhere else and, like just about every other SPAWN SACS song, they are SO. FUCKING. GOOD. Embrace the tape deterioration. 

     JACK PALANCE BAND offers up two songs from their demo (and a re-recorded demo track) as well as one of their shortest, most vicious songs of all time that doesn't appear anywhere else, "Goddamn the Holocaust". 

     There are two tracks from Dalton's most valuable asset (and I know it's the carpet capital of the world), PETER STUBB. The second track "Evil" literally stopped me in my tracks. If you're not familiar with STUBB's long-running musical career, please follow the link below and seek out the short documentary "I'm Like This Everyday", made by Mitchell Powers and Josh Mayfield. 

     LES TURDS, like COCAINE SUMMER SPLASH, were an unstoppable force of drunken depravity led by a very tall, now deceased wild man known as Brian Turd. I don't feel like I can honestly do them justice and they are one of the few bands on here who have a little more of an internet presence outside of this blog. 

     You can and should find more info and an unreleased LP by Alabama's Suckerpunch in the links below. Their two songs on this comp are from their amazing demo tape. 

     F.D.I.A. is another one of those bands from the north Georgia region that I can't remember much about, but their songs on here are awesome. I can't remember everything! Give me a break! 

  All three region demos come from a place of low standards and even lower budgets, so you will have to learn to enjoy the tape hiss and the shitty recordings. But that's why you're here, right? 


Related links to more info and full demo tapes. 

Saturday, September 26, 2020

SHITBOY FROM OUTERSPACE - 1st Demo - Tape - 1994



     So, it's been a minute...or two whole years, honestly, but quarantine and isolation do weird things. Let's get to the point of this entry and then there will be extra info after that. 

    SHITBOY FROM OUTERSPACE is no stranger to this blog, having appeared here and here, but I thought this first demo was lost forever. Recently, it turned up on a tape that I found in the bottom of a drawer and I couldn't be happier. This first version of the band featured Joey Tacon (THE SLACKERS and JOEY TAMPON AND THE TOXIC SHOCKS) on vocals, Jason Burke (565 BURNOUTS and 15E) on guitar, Robert Daniel (THE SLACKERS and THE PEEPS) on bass and Elijah Horgan (THE PEEPS and NIGHT SIEGE) on drums. As I remember, they recorded this demo in a studio (probably Smokin' Studios where almost all of the local punk bands tried to record) and did the whole thing live in one take in order to save money. [Sidenote about Smokin' Studios: the place was mostly just a room in an office park with egg crates nailed to the walls. The guys who worked there would give us good deals because we (the punks) were quick and didn't try too hard for the best sound. Being in a studio was special and just being a step up from a thrift store boombox felt like an 88 track wonderland. Still, we all should've tried just a little harder]. 

     The songs here are fast and loose in the best way. One of my personal favorites here is "Fuck the Goddamn Master Race" with the (sadly) eternal line "Fuck you, you stupid nazi fuck!" A runner up is their theme song (every band should have one) with the line "Crazy, crazy, I'm motherfuckin' crazy!" I did my best to clean up the sound, but this is a 25 year old recording that was already assy to begin with, so don't expect the Silver Jubilee digital remaster, but if you've checked in on this blog before, I'm sure you know what you're in for. 

     The download features the entire recording as one mp3, since there are few breaks and also an extra folder with the songs split up. 



     Oh, you're still here? Yeah, I haven't updated this blog in two years and there are no plans to keep updating it with any regularity at all. I stopped doing this thing because I feel like it ran its course and I was no longer having fun doing it. I started this to share a lot of old recordings with the people who were around at those times and, just as importantly, with the people who were NOT around then and could benefit from hearing all of this rad lo-fi shit from the middle of nowhere. Part of me started to feel like a gatekeeper of sorts though and that is a bullshit feeling. There are no gates. Anyone can do this. It also felt weird and very disheartening to find that some people had parceled out some of the comps and other recordings here to only showcase performers online who went on to find fame or a larger underground notoriety, which is maybe the opposite point of this whole site. I don't feel like I should have (or would even want) any control over what happens with these recordings once they are on the internet, but finding that shit is just gross. There's so much going on in the underground at all times and people still just want to focus on the brightest star in the sky, so far out of reach. 

   I hope ya'll are safe and keeping your head above water. Fuck this fascist power structure forever. 

Fuck you, you stupid fucking nazi fuck.

Thursday, September 13, 2018


   I have some things for sale if you want to buy them.
   -- I wrote a zine about 70's punk band ICE 9 / COUNT VERTIGO. I'm very happy with it.
  -- SBSM, an Oakland band playing destructive synth, put out their 2nd tape with me.
  -- My old band RICE HARVESTER reunited in August to play one show in Chattanooga, TN. We have some ridiculous shirts left over if you want one.

JACK PALANCE BAND / ADDC / QUEERWULF - "Monsters of Rock" - EP - 2004

   Nowhere on this record does it say "Monster of Rock", but that has become the (un)official title of this record because all three of these bands toured together upon the release of this record and that was the name of the tour. I set up their final show of the tour when they came through Cleveland, MS where I was living at the time. JACK PALANCE BAND, after being one of the best region bands for the last ten years, were on shaky footing and didn't even make it to this show. Nevertheless, we drained the better part of two kegs and still had an amazing show out in the middle of nowhere in the Mississippi Delta.
   When all the bands left, the next day, I layed on my floor and listened to this record over and over. As the years progressed, these songs felt darker and stranger than I initially felt them to be. In my mind, their hometown of Chattanooga (and my former home) had taken a dark turn and I was afraid it might stay that way forever. I'm being purposefully vague because this is just my interpretation, but I got in touch with Daniel from ADD/C for info about this record and I think I was mostly right. I'll keep it simple so that you can just enjoy the thing. Pretty much, the whole record is about drugs (and not really in that fun way) and losing friends. "Now and Never" is about our friend Allison and sometimes I like to imagine that the song is just simply an ode to drugs themselves so I don't have to think about how they took Allison away from us just a few short years after this song was written. And I'll leave it at that.
   Notes on the recording quality: It's not great. It sounds like an alien transmission to me. I always thought it had something to do with the mastering, but Daniel told me that all the bands recorded on a broken 4 track (or maybe an 8 track with only 4 working tracks) with 1/4" tape on the top floor of the tree house, which was a long running freak abode in north Chattanooga. He blames that. Still, this record retains some weird, dark magic. QUEERWULF and ADD/C went on to do a lot more, but this was JACK PALANCE BAND's final release. Enjoy.

Monday, September 3, 2018

SHARKS KILL - Demo - Tape - 1996

   Portland, Oregon's SHARKS KILL may already be familiar to some readers of the blog because I have mentioned them in posts with ALL IS LOST and PUNKY ROCKIT...or maybe you lived in Portland in the mid-90's and saw them playing house shows during that time. If this is your first introduction to them, welcome.
   I haven't had this tape since the mid-90's, but it was mailed to me by a longtime Portland resident who shall go unnamed...because when I received it in the mail, the manilla envelope that the tape originally came in (pictured above) was still sealed, meaning that the previous owner had probably never listened to it. My friend Harry used to play this tape in our shared house in Alabama and he always liked it a lot more than I ever did. Still, it's funny to say that you don't really like a tape, but there are still certain lines from songs that stick in your head for decades, even though you truly haven't heard them since 1998. There's some kind of weird power in that. So, when I pulled this tape out of the envelope and played it in my room in 2018, I was immediately mouthing the lines "Welcome to gets dark and dreary here..."
    SHARKS KILL walked that line between catchy indie-punk and emo. Since this is a place where I try to be brutally honest (in a way that has led to many, many awkward conversations with friends and dead friend's parents over the years), I will tell you that I am a fan of being in touch with your emotions, but I am an enemy of emo. SHARKS KILL crosses too far over the line for my tastes in a few circumstances, like "Forever 17", but I would be lying through my teeth if I didn't say that I have flown down dark hills alone on my bike late at night yelling the line "Rock and roll forever!!" "Crush Song" is the kind of song that you can only write in 1996 and even then, maybe not.. Still, it's lodged in my brain and I kinda love it. "Postcard" is such a time-and-place song and really catchy...I couldn't believe it wasn't on the band's 7" from a year later. Something about the otherworldly and tinny recording adds to the charm of this whole thing.
   On this tape, they're a two piece, but they added Tasha on bass for their later 7" record. They didn't last long after that. Members went on to be in HOPE & ANCHOR, VEGAS THUNDER, TOUGH LOVE, BOYS OF SUMMER, DARK SKIES, FUTURE WEST and more.

Thursday, August 30, 2018

VARIOUS ARTISTS - "The Fucking Rice Harvester Compilation" - Tape - 1996

   Rice Harvester was a zine I made for 20 years. A zine is a bunch of paper that someone scribbled on, photocopied for free at a chain store, and then stapled together to hand out on the street so that someone might understand their feelings. For the fourth issue, I compiled a cassette of punk bands to go with the issue. A cassette is a piece of plastic that houses quarter-inch magnetic tape that somehow magically holds music onto it. You put these cassettes into an even bigger piece of plastic or metal with big clunky buttons. These bigger pieces of plastic or metal used to be found for almost nothing at thrift stores or on the street. Anyway, you push down one of those big, clunky buttons and, if everything is right with the world, actual music comes out...or whatever it is that someone recorded onto that cassette.
   SO, like I was saying, I put together a compilation tape that was given out for free with the free zine. I stole every last cassette from chain stores, sometimes just walking right out the front door with a few boxes of tapes in my arms because fuck capitalism and What Is Anything? The tape consists of some local favorites at the time (local at that time meant Huntsville, AL), bands that I wrote to for a song and some far-flung punk bands that were culled from my friend Joey's compilation LP that he never, ever intended to release. Imagine sending off your exclusive song with the intention of having it appear on this cool LP comp, but then it comes out on a free tape with some crappy zine from Alabama. Fuck yeah life!
   THE CRUMBS, from Miami, FL start it off. They were a RAMONES-loving punk band from Miami. They were all fun and everything, but we stopped setting up shows for them once our friend stopped playing drums for them and they said some sketchy shit about women.
  THE SLOBS, from Cincinnati were a weirdly underrated band from the mid-90's and they played sloppy basement punk. They put out a slew of shit, mostly in 1996 and this song, "Politician" did not appear on any of it, as far as I can tell. It's a funny concept for a song. "I don't wanna be a politician!!" Yeah, that's pretty easily avoidable, but a great thing to sing along to.
    JABBERJAW was a Huntsville punk band who always sounded better live than on tape. I saw these three teenagers play a bunch of different shows around town. They were always great, but could never really channel their enthusiasm onto the recording. I asked them to be on this comp and remember being impressed that they knew how to dub a plane crash sound onto their song. I still am. I can't do that shit....still. I love that this song is about being a dead pilot.
   FUN GIRLS FROM MT PILOT were from Nashville, TN and featured four guys who dressed in drag at their shows. The Huntsville scene really liked them, but I was kinda over them by this point. They were really fun and a good band...super bouncy punk and always a good live show, but I just wasn't too enamored like other folks were. What IS interesting is that they broke up and their singer, Cat went on to be a wrestling total WWF showman style, but on a DIY level. He wrote some articles in zines about it and seeing the similarities to DIY punk was really interesting. This song might be exclusive, but I'm not sure.
   PROPERTY is from Huntsville. They started in 1994(?) and they're still a band. I'm not sure if they've ever left the southeast US. At that time, their shows often included members of the band running headlong into other members of the band and knocking them across the room, completely ending the song. The 5 members of the band brought a lot of styles to the table, but mostly settled into hardcore and catchy punk. They were always great and fun to watch. I bet they still are. I love this song because the teenage singer's voice (Shane) is cracking and the song is just plain great.
  THE GRUMPIES have been discussed at length herehere and here so I will spare you. The two songs on this tape are from their original demo, which I loved so much that I jumped at the chance to be their drummer when the original one quit.
 SWEATER PUNKS were another Huntsville band and their inclusion here is a mystery to me. I don't remember ever seeing them when I lived in town, but their guitarist Seth was always a solid fixture in bands so I probably trusted this new band of his to be good. My friend Jack (also from AL) did some minor detective work (meaning he asked Seth) and came up with this info: The band only recorded once when Jack went over to try out for the band on drums. So, that's him on this recording. The rest of the band was Seth on guitar and vocals and Greg (not me) on bass. This recording never got vocals put onto it, but the song on here was intended as an instrumental. Later, Joey from the 3D's heard this song and asked Seth to join the band. They re-recorded this song as "Spontaneous Human Combustion". Thanks to Jack and Seth for the info!
    THE CRIMINALS were from Oakland / Berkeley and they recorded an exclusive version of their song at Gilman. That's all I'm gonna say because why do you need to know more info about posers?
   JOEY TAMPON AND THE TOXIC SHOCKS was my old band There is more info about the band here.
   WHITE TRASH SUPERMAN wrote the best punk song of the 90's and I asked if I could put it on this tape. They said yes. You can and should find more info about them here and here.
   THE RICKETS were from Olympia, WA and were maybe the only spikey drunk punk band at that point in the town's history. While everyone else was concentrating on twee pop, minimalist punk and feigning pre-teen innocence even though they were pushing 30, THE RICKETS sang about getting drunk, hating their job, destroying Olympia and getting drunk again. Here. they contribute a song about my friend Janelle because it was the 90's and that's what bands did for some dumb reason.
   CHICKENHEAD was a drunken, chaotic machine. This is the last song they ever recorded on the day they broke up. You can find more info about them here.
   That;s it. Enjoy or don't.

Tuesday, August 28, 2018

DECATUR! - City Limit - EP - 1995

    Ever since receiving the excellent LP "I've Got the Bible Belt Around My Throat", I've been on a bit of a tear though music from my home state of Alabama. The record is a document of Alabama punk and it is an excellent collection of early punk and hardcore from all over the state. If you see it, definitely pick the record up. It had me going back through recordings by GNP, THE KNOCKABOUTS, THE JAWAS and so many more. One of the bands that never seemed to get any recognition at all anywhere, ever (except one other blog and now, here) was DECATUR! Decatur is a town in north Alabama that is barely a blip on the map and this band was from there, singing songs about their town and their friends. Their theme song has always been my favorite and is so bouncy and fun. I love it when bands sing about where they're from and name specific locations. With lines like "where Randy's mom runs cheap hotels, where all of my friends end up in jail, Decatur!!", you can't really lose. Once, I was listening to this at the punk house I lived at in Huntsville, AL. My roommate walked in during the line "Carl Stratman was our biggest fan, we owe him one because he let us use his guitar" and then my roommate said "Oh, hey, I bought that guitar off of Carl Stratman" and pointed out a beaten up guitar in the corner. My mind was kinda blown.
    This isn't going to mean a lot to a lot of people who download it, but I think it's definitely worth your time. It's a product of the 90's and there are some clear cut nods towards SUPERCHUNK and that era of pop-punk. Here's what Heath, their singer / guitarist had to say about the band (taken from the now-defunct blog Nostalgia Isn't What it Used to Be...
All four of us grew up in Decatur. Then, all four of us went to Auburn (not because of the band. just coincidentally.) When we formed the band, since we were all from Decatur, we thought it would be funny to name the band that. We put an exclamation mark on the name to differentiate ourselves from the town. :) But yeah, your assumptions were pretty much dead on. All of the songs were about Decatur, and more specifically, about the dynamic between the two high schools. Rob, Eric, and I went to Decatur High, and Lisa went to Austin (we had a song that most Decatur people would get called "I Don't Work at the Rockin' McDonalds and You Don't Hang Out at Morningside" talking about it). It was all supposed to be goofy, and we were definitely a part of the early Green Day, Jawbreaker, Superchunk-influenced bands. The 7" doesn't really give a good cross-section of our style or our sound really, but it is what it is. We were a band from Oct. '94 to Oct. 31,1995, when we played our last show ever at the 40 Watt in Athens, GA, opening for our friends from Auburn, Man or Astroman.

Tuesday, April 24, 2018

ARROTZAK - Tape - 2016

    Upon arriving for our last show of tour in Zarautz in the Basque Country a couple of weeks ago, our band was tired, kinda sick and frazzled. After playing close to 30 something shows, mostly in a row with only 2 days off, it's a little hard to feel excited about another punk show.....but we were and the Basque punks did not disappoint. Our host Juanma told us that the venue would have dinner ready for us in a few minutes, but if we ate then, we would miss the first band and something about his tone helped convince me that we would be making a huge mistake by doing that. (sidenote for punks from the states: If you've never toured Europe, every venue, every squat feeds you dinner before your show and this simple act makes such a huge difference in the day to day brain decay of tour. The US could learn a thing or 5 from punks there) So, we held off on dinner and I'm glad we did. When ARROTZAK played their first song, something was off. It didn't feel right. I was starting to doubt Juanma, but the members of the band adjusted the amps, moved a drum or two and -- BAM -- way better! They played the kind of punk that I'm sick of describing...the kind of punk that you can't make sound good on paper (or a screen) but still sounds so good when it's done right in front of you. Melodic and gutsy and wonderful.
   When they finished their set, our band ran upstairs to scarf our food and get back into the show before MANAGAITZ played their first song, who were also great.
    This ARROTZAK tape is a couple of years old and features a different singer (and maybe even a different drummer). The live set was better, even though this tape is great but I hope they record some newer stuff soon.

Yes, someone made matchbooks for our show. 

Thursday, April 19, 2018

WHITE TRASH SUPERMAN - Rough Mixes - Tape - 1994

   Just how many times can one write about a forgotten band from the 90's and still pass themselves off as a sane individual? I gave up on passing myself off as that at least 20 years ago, so who cares? Recently, my old friend Jack unearthed this recording and digitized it to share with me. He said that the tape just had "Marsh" written on it in sharpie (Marsh played guitar in WTS). Jack thinks that this tape was mailed to him by the band when they were trying to get shows in Alabama back in the early 90's. When I played the first song, I immediately recognized it as "Clock" off of the band's self-released cassette from 1994, but it sounded different. I soon realized that it was maybe a demo version and then I got goddamn giddy as fuck when I found that this version didn't fade out like the "official" version and went on for another 2 minutes and included an extended chorus!! No really, I was jumping up and down in my room like a teenager when they did the extended chorus. It was so ridiculous that I laughed at myself. 
   Next up is "Wheaties" from their two song 7" and I'm pretty sure it's the same version. After that is the unfuckwithable "Couldn't If I Tried", which contains the exact same musical track with a slightly different vocal take. It doesn't diminish from the greatness of this song at all. Many well respected punks-of-a-certain-era of the 90's have named this song as the best punk song from the 90's and I will not dispute that. The tape ends with "Can Man", which has an almost identical bass line as "Wheaties" and I've never understood that. I think this might be a slightly different take than the "official" version but I can't really tell.
    I understand that I didn't tell you anything about what they sound like, but I've just talked about this band a lot and I love them and I'll let you figure out the details. You can read more about them here

    I have not been updating the blog much in the last year, but I intend to change that. I just went on tour throughout Europe and talking to people in person in places like Greece, Basque Country, Serbia and Poland (among many other locales) helped me remember what a large impact music has on people's lives. People had really thoughtful and interesting things to say about the music on here.  Knowing that someone far, far away from me is listening to my friend's band from 1994 who didn't have the resources to make more than 10 tapes is a really incredible thing. 
   And as long as I'm here, I wrote a zine about the 1979 Portland punk band Ice 9, which includes interviews with 2 members of the band. You can order it directly from me at Remote Outposts

 Thanks to the people who continue to support this blog, near and far. I hope you're still finding things that you enjoy. And I hope White Trash Superman doesn't take me to the people's court. 

Tuesday, November 21, 2017


"I'm still nervous,
I ain't been broken,
I'm still churnin' and burnin' inside
and I can't stop smokin'
I'm pissed off, pissed off, pissed off
It's just the way I am"

   I don't believe in heroes or idols, but if I did, Fred Cole would be the closest thing I would have. Of the few times I hung out with the guy, I can tell you that he is the real deal. He cut his own masters for his records at his house on a lathe machine that was used for the KINGSMEN'S "Louie Louie". Also, he built that house out of salvaged material. When the music industry failed him, he just became more independent and did his own thing until they came looking for him. I once drank pints of Jagermeister with him and then he got in a van at 2 am and drove to Ohio. He got a tattoo of his own band on his fucking face. Along with his wife Toody and his friend Andrew, he co-fronted the best band ever and played some of the most magical, cathartic shows I've ever seen in my life. As a rule that has not failed me at any point in my life....


   It's simple, it's real and it works. The discography of Fred Cole acts as it's own story that I don't need to tell you. Seeing Fred Cole play live in any setting also told it's own story. As Fred and Toody got older, every show became more special and had so much nuance. At solo shows, Fred would slyly tap the mic stand to act as Andrew's missing snare hits and look up. He would sing a sweet line about Toody and quickly tap his boot against hers. After 50 years of marriage and at least 30 years of hearing these same lines in songs, you could still catch Toody trying to stifle a smile as it leaked out the side of her mouth. I don't know what I can say that you're not gonna read or hear anywhere else, but Fred was real and magic. I try not to be sad about it, because death is part of this deal with life and he lived a good one. He left behind a whole catalog of music that we can all enjoy for the rest of our days here. 

DEAD MOON with Daun, Shannon and me.

   I co-hosted this 2 part radio show on Maximum Rocknroll with my friend Alex, two days after Fred passed away. Part one is a scratching of the surface of his career...everything I could find besides DEAD MOON. If you keep digging deeper, you'll find so much to hang onto. Part 2 is nothing but DEAD MOON for over an hour....a lot of their "hits" and a lot of deep cuts. Please enjoy.

It's like a broken smile
A step apart that gives you style
It doesn't need explaining 
You know it's fall when it starts raining
It's just the way it is.