Bebe & the B-Sides, produced by Rick Derringer, Atlantic Records, never released

The tracks for this album were recorded over the course of a year during several sessions at Bearsville in Woodstock, NY, the Hit Factory and Right Track studios in NYC. A funk version of the T. Rex classic, "Bang-A-Gong" was recorded. A year later, the famous Power Station version was released to great acclaim and the B-Sides were put in the vault. Coincidence?

Worship Me Or Die, The Great Kat, produced by Kurt Shore, Kat and Tom Von Doom, Roadrunner Records, 1988

This album was recorded in Philadelphia over the summer of '87. Delays plagued the production. Drummers came and went with Spinal Tap frequency. Meetings were held with Greg D'Angelo (White Lion,) Tony Scaglione (Whiplash, Slayer and Raging Slab,) and even Greg Bissonette (David Lee Roth,) but no one could play fast (or furious) enough for Kat's tender sensibilities. Finally settling on drummer Adam Killa, recording began. The original producer was Karat Faye, known for producing Megadeth's infamous debut album, Killing Is My Business, but once again, creative differences forced his departure. The sessions were finished under the watchful eyes of Kat and myself, and eventually Kurt Shore was named as producer. Kurt was known for discovering and producing the 80's dance/pop band Pretty Poison. Not much of a recommendation for working with the World's Fastest Guitarist, but he owned the studio. Really, he just let us finish the recording on our own time for points on the album. A highlight of the session was traveling to the Jersey boardwalk in Kurt's 280Z to get away from the studio for a bit. Adam and I got roaring drunk with some of the Philadelphia Eagles, but it's mostly a blur. When it was time to film a video for the song, "Metal Messiah," Kat and I talked Roadrunner out of a tiny bit of money, and I got some friends of mine from the film business to shoot it. Of course, by that time we had a new drummer. I think you get the picture.

Kat

Ooh... scary... Why'd I let her pull my hair?

Cycle Sluts From Hell, produced by Glen Robinson, Epic Records, 1991

This is a long story, but I didn't actually play on this album. I was unceremoniously fired from the band before recording began. We had a classic disagreement over my participation in the success of the Cycle Sluts. They played 3 shows before I joined the band, and after 2 years of touring around the country and recording with them I was informed (through lawyers) that my share of the record deal was going to be less than equal. This was, of course, contrary to my proletarian ideals, not to mention all previous agreements with the other members. I think the fact that the song the Sluts are remembered for is one that I wrote speaks for itself about my importance. The bass parts played on this album are indistinguishable from my own arrangements.

The Chairman backstage with the Sluts and local DJs in happier times. See how happy everyone looks?



An interesting side-note: The director of the video for "I Wish You Were A Beer," was Matt Mahurin, a filmmaker I had worked with many times. He was well known for creating the 'single-light-searching-the-darkness' effect he used in music videos like Tracy Chapman's "Fast Car" and U2's "With or Without You." I particularly remember a friend of Matt's who was helping out on the set one day as a production assistant, Sam Bayer. I later heard he directed a video for an obscure Seattle band, something to do with "Teen Spirit." I wonder how that worked out...



Backstage after a big show at the Ritz. R.I.P. Joey...



King Dude Loves You, King Dude, produced by King Dude, Dude Ranch Records, 1993

I loved this band. It was the first time I could really claim credit for the creation of an ideal. Unfortunately, the old saga of creative differences cropped up again after fights with the guitar player and the singer. If you want something explosive, you have to mix volatile elements together.

King Dude

Live at The Oddfellows Hall in Seattle. Funny how prophetic our actions on stage were, we'd soon be heading our separate ways off-stage.

For The Hearing Impaired, Monkey Navigated Death Machine, produced by John Dole, Membrane Media Arts, 1999

This album was very special. It allowed me to work with old friends and create music that we loved. To say this band owed a lot to Skynyrd and the 70's would be an understatement. Lots of classic dual-lead southern rock. The other members keep threatening to record a follow-up.

Abandon, 3D Models, produced by John Dole, Membrane Media Arts, 2001

Something more contemporary and danceable with loops and samples. I didn't write any of the material, and I think John was a little miffed that I didn't know any of the song titles. Fun stuff to play, though.

Opiate of the Masses, Von Doom, produced by Von Doom, The People's Revolutionary Committee for Artistic Action Records, 2002

Retreating to the mountains allowed me to concentrate on art and life. Every aspect of this album is me. I wrote the songs, sang and played the instruments, engineered and mixed the recordings.