Kim Fowley: "I Used to Fuck Burn Victims in High School for Money"

  

Kim Fowley died this week after a robust and creative life. He was 75. I spoke with him in the summer of 2012 about Detroit, a city in which he had done a lot of business over the years.

Here’s something from the cutting room floor from Detroit Rock City: The Uncensored History of Rock ‘n’ Roll in America’s Loudest City.

He’s talking about coming to Detroit in the late 90s for a session.

Kim Fowley: Ben Edmonds calls me up and says, ‘Car City wants to bring you to Detroit because there’s been a contest between Car City and three other record stores  as to who is the weird, not yet dead, final underdog hero, and it’s you. Car City wants you to record a record. Are you willing to do it?’  I said, ‘For money.’  He said, ‘What do you want?’  I said, ‘Give me a thousand bucks and I’ll bring along some lyrics that I’ll record. We did it at Jim Diamond’s Ghetto Recorders.

Matthew Smith: Ben Edmonds was talking to me about a story he was doing for Mojo about producers and he was talking to all the great producers. He said, ‘I gotta call Kim Fowley later.’  I just mentioned off hand to Ben Edmonds, I said, ‘Oh Kim Fowley, that’s a guy I’d like to work with.’ He said, ‘Well I just might tell him that.  You know you just might get a phone call or something.’  So 24 hours later I get a phone call.  ‘This is Kim Fowley.  What is it you want to do?  And don’t give me any bullshit.  What is it you have in mind?’  I just said, ‘Well I thought we could make a record together.’  ‘Well how much money can you come up with?’  I go, ‘I don’t know.  I might be able to raise a couple grand.’  ‘Well I want one thousand of it up front and the other thousand when I arrive at the airport.’  It happened that quickly. The next day I went into Car City Records, where I was working and I said, ‘Do you think the record store might want to kick in some money to help me make a Kim Fowley record and get all these Detroit people to play in it?’  They said yes.  A week later he showed up. Kim stayed at my house for a week.  He was in a bit of an intense frame of mind.  He was a bit confused or suspicious about our motives. He didn’t understand exactly why we wanted to do the record we wanted to do. By the time we got in the studio with all the musicians, it was almost like we were all under hypnosis.  John Nash, Bootsie, Troy Gregory, it was this all star local cast. Kim kept us up for days; he doesn’t sleep, he doesn’t eat.  Then after five hours, ‘I need a banana.’  He’d eat a banana and then he has energy for another six hours.  He hardly slept at all. 

Bob Mulrooney aka Bootsey X: He was looking for a new place to base himself and was moving from New Orleans. He liked me because I brought the chicks, some hot girls. The girls that ended up on the album cover. He said ‘I’m gonna rent a limo and you girls are going to show me Detroit.’ I said, I want a finder’s fee. They never showed him anything.

Kim Fowley: I brought seventy lyrics, and I used sixty-eight of ‘em.

Jim Diamond: Kim had people coming in, people from His Name is Alive, the Witches, Bob Mulrooney was playing drums and Mary from the Cobras was there. Kim said every song just had to be whoever is in the studio is fair game to be on the record. Kim would just make up stuff as it went on. He would make up lyrics and say, ‘Play this beat. Play something that sounds like this.’ And everyone would start playing and that would be the song. He told Bob, ‘play a beat like ooo-pappa-do. I want to hear that song oo-pappa doo, this old R &B song.’ And that would become a song. Everything was like that.  Everyone was drinking except Kim and it was total chaos. Then he did the show at the Magic Stick. 

Kim Fowley: It was the show that almost turned into fisticuffs.  I went on the Wayne State radio station and asked for lipstick lesbians to join me on stage. I had songs about shaved cunts and everything that I performed on radio; talking to the uterus, you know.  I said, ‘Come on bitches.  Come down and join me.’  Then I went to Noir Leather in Royal Oak and tried to get all those fetish chicks down there.  Remember I used to be a sex worker.  I used to fuck burn victims in high school for money.  So I understood ‘dirty bitches’, you know.  My mother was a lesbian.  I understand filth.  The Detroit Cobras thought I was a horrible human being for exploiting women.

Rachel Nagy: That guy is such a fucking egomaniac.  At the Magic Stick, he was doing this thing, ‘Come on everybody.  Come on stage.  Come on!  Let’s party!’  I’m like, ‘Okay.’  No one was going up.  I’m like, okay.  I will party. He starts trying to dance with me and I grabbed him.  Then he tried to push my head down and that’s when I tackled him. He was kind of pawing me and, well, baby, hey. He tried to push my shoulders down and I just fucking knocked him over. You know what, dude?  Fuck you.  You invite people up.  You want to party.  Then you want to get fucking sexual with me?

Jim Diamond: Next thing I know they ran up there and tackled him. We pulled Mary and Rachel off of him and then, he's a frail older guy, you know. He's like, ‘I had polio.’ They were laughing at first but I don't think they understood that he was a little, older guy who had polio. He didn't deserve to have fucked up chicks jumping on him, trying to strangle him.

Kim Fowley: I’m a cripple because I have the polio cane and whatnot, so they tried to pull me by the bad leg, Gene Vincent style, into the audience. The roadies were pulling me back.  I was caught between the two.  Rachel says, ‘You know I threw a punch at him or I did this or that.’  She’s a talented person who has her priorities incorrect and she never charted anywhere. Mary was on the album, funny enough.  Ben Edmonds took her side, whatever it was. You know, womanizer from out of town, crippled with a limp.  I mean who needed that?  Who cares, you know; I’ve been disliked by people before.

Jim Diamond: The next day they came over here and Kim and Ben Edmonds were going to do this thing called Abba Zabba, where Ben was going to ask him like A – Z different band and Kim would tell some story about them. Like it started out with Abba. And Kim would be like, ‘Those girls were a bunch of fucking whores who didn't deserve dog piss.’ He'd just say stuff like that about all these bands, and it was funny. Then Mary comes over and Kim goes on this long diatribe. I have some of it recorded because I had an open mic out there and I turned it on and Kim's going, ‘I'm casting a spell on you right now. Your dreams will never come true.’ and ‘usually when I come to a city, I hire a bull dog. That's someone who will murder people for me.’ and he went on to tell this story about how he was going to take care of her. It was crazy and it went on and it was just very quiet in there and very uncomfortable. Everyone was just silent and he's just telling how he usually likes to have people killed and he had guns.

Kim Fowley: Detroit became a music hotbed again because I had been there.

Bob Bashara: “What’s BDSM got to do with it?”

 

Flyer for Bashara's first business enterprise 

The Bashara trial is about to end, with closing statements coming Wednesday, and now we’ll see how the state did. It’s been almost three years since Jane Bashara was murdered, her life snuffed out in her garage under a boot on the foot of Joe Gentz, a man who says he was paid by Bob Bashara to kill Jane. 

Gentz is doing 17-to-28 for second-degree murder in the case.

For Bashara, the state wants a first-degree conviction, saying that without his actions, Jane would be alive. He's also charged with conspiracy to commit first degree murder, solicitation of murder, obstruction of justice and witness intimidation.

It’s been a drawn out trial, with 74 witnesses and typically graphic exhibits – a classic murder trial spiced with the BDSM world that Bashara admits he was part of during his last years with Jane.

“They’re using the fact that I had this alternative lifestyle as motive for me wanting to harm my wife,” Bashara told me one day last year. We spoke many times on the phone after he was sent for prison for soliciting the murder of Gentz. A lot of those conversations will show up in the book I’m wrapping up, Murder in Grosse Pointe Park: Privilege, Adultery and the Killing of Jane Bashara, which comes out on Penguin/Berkley in the fall.   

The state claims that he wanted Jane out of the way so he could have a life with his girlfriend, Rachel Gillett, who shared an affinity for the lifestyle with Bob. Also, the state claims that money issues were pressuring Bashara and Jane had a fat IRA that he would be privy to if she were to die.

“My wife was not inhibiting me,” he told me. “If I didn’t want to have Jane, I would have simply divorced her. But I had plenty of income and money was never an issue. I was paying for two kids going to college, had cars and they got whatever they wanted.  If [daughter] Jessie wanted a $500 pair of boots, Jane got them for her.”

Investigators found statements that showed a wide gulf between the income of Bob and Jane. She made close to six figures some years as a marketing consultant and he made barely $20,000 a year as a landlord and sales rep for a chemical company.

It’s not my job, but the defense failed to note that a self-employed individual should show a low adjusted income; better for taxes. I don’t know if that was the case with Bashara, but I’m sure that fact went by the jury in a state where so many people are desperately clinging to whatever employer will have them.

The state did, however, do a good job of exposing Bashara as a bad guy in terms of character. He cheated on his wife, who was clearly intent on working things out in a troubled marriage. He was a slumlord, and a hot-headed bully by a number of accounts. There was an episode in which his daughter found an incriminating text to one of his mistresses – yes, he had more than one - on his phone and he grabbed the phone, erased it, and handed it back to her: “What text?” he said, or something similar. That stuck with me as particularly mean-spirited. Who does that?

He was also head of the local Rotary Club. Do they let any angry man run that group? The club has done its best to erase all mentions of its connection to Bashara. Was he a great guy who did you wrong? Or did he do such a good job of glad-handing and bringing in money that they put up with him? It was never quite squared in trial. 

There were some lighter moments in a dark setting. He used to go out to the golf course in ritzy Grosse Pointe and do blow and smoke weed with a buddy, and we're talking in recent yeas. That he knocked back lines and joints on the golf course of the local country club was amusing to me; I’m sure he wasn’t the only one doing such a thing.

I wrote about the case at the outset of the trial for the Daily Beast.  We’re done. The jurors will do its best to figure it out after taking nine weeks out of their lives to listen to a parade of characters, some pissed off, some amusing and a few sad depressing. 

Bashara came into the courtroom on Monday whistling, ebullient. He’s apparently confident that the state failed to prove beyond a reasonable doubt that he procured the murder. Hang on. It could get good.

No Joe Gentz: Where is the state of Michigan hiding a convicted murderer?

Joseph John Gentz

Earlier this week, I was working on a story on the Bob Bashara murder trial for the Daily Beast and realized that on September 25, I had written a letter to Joe Gentz, the man who confessed to killing Jane Bashara in January 2012.

The letter came back a week later with the words “out for writ” written on the front of the unopened envelope, meaning he has been moved somewhere else awaiting a court date.  This was at least a week in advance of jury selection, a process Gentz would have no reason to attend. I called and emailed the Michigan Department of Corrections on Monday to inquire when Gentz was moved. Predictably, in a state where the citizens are viewed by government employees as a cash cow/annoyance, no response. 

Still, I thought perhaps the prosecution would want him to be closer to the Frank Murphy Hall of Justice in downtown Detroit, where the case is being heard.

I checked the Wayne County inmate search several times Tuesday and no Joe Gentz. I called the jail on Tuesday afternoon and asked. No, Joe Gentz was not in the jail.

I asked her to double check. Again, no Gentz.

At 1:30 a.m. Wednesday, I got an email from Russ Marlan from Michigan DOC:

“This prisoner is currently housed in the Wayne County Jail as his trial will begin shortly.  He will remain at the Wayne County Jail until the conclusion of this case.  You can contact the Wayne County Sheriff Department for additional information.”

Check the jail website again. No Gentz. So the question becomes, where is Joe Gentz? He’s been in trouble since being locked up in March 2012. He has defied guards, fought with fellow inmates and in general been disruptive.

Are they hiding him to ensure he stays out of trouble in the weeks leading up to the trial? Any recent trouble would be one more of many fallible points the defense can exploit in its cross-examination of Gentz. And how much is this secretive housing costing the taxpayer?

Fix video surfaces Fresno, 7/4/81

July 4, 1981, Fresno, Calif.

Funny how you remember things, and I was prompted by this footage from Fresno, Calif., to do so.

This is early in the set, we opened with “Signal”, part of which is seen here.  Then go into an unrecorded song that I can’t remember and another. We’d rewrite these and move parts, they were flexible elements of the set, setting up songs like “Rat Patrol” and “Off to War.”

The Fix came to play this July 4 show opening for the Dead Kennedys at the behest of Biafra, who was kindly good-mouthing our first single. We got into town, did a sound check and left.

Anything is better than hanging around a venue all night waiting to play. Nothing good comes of that.

We were staying at the home of Ralph, the singer from Capitol Punishment, a local band. His parents were out of town, he lived with his parents. Nice place. although it didn't take much to impress us. It was a place grown ups lived. (BTW, Ralph's bandmate, Dale, is doing a great job in recent years of documenting those years in Fresno) 

On the way back to the Belmont Ballroom, we stopped for some food. This was a part of the tour where we still had some money left over from playing Texas and Arizona. We ended up being late to get back, and the promoter was cool but you could tell he wanted us to get the fuck up there. Missed 7 Seconds, who opened. I look at this video and realize we stood real close together, the Michigan guys against this crowd. At one point, a guy came from behind me out of nowhere and launched himself off the stage as the crowd started to dig into the pit halfway through.

That night we went back to Ralph’s and had a pretty good party.  At one point we had a blackout, the kind where the electricity went down. A couple nights later we headed over to Reno to play against with 7 Seconds. About a week after that, we recorded Jan’s Rooms in LA at the Music Lab with Spot. We weren’t making any mistakes.

Jimmy Recca talks Stooges in a Detroit Rock City outtake

Jimmy Recca, former Stooge, in his inimitable, animated ramble, on writing “I Got a Right” and entering Stoogeland as the bassist. This is an outtake from Detroit Rock City: The Uncensored History of Rock 'n' Roll in America's Loudest City (Da Capo 2013)

Recca: I joined the band around February 1970. The song that was first recorded by the band the three of us, Ron [Asheton], James [Williamson]and myself as a way to break the ice and to get Ron to accept me as a bass player was “I Got A Right.” We all had the same input on it. We had a lot more songs, but my performance rights to those songs, well, that's why they never did any of those other songs after I left.

Also, they never reproduced them because they were too complex and James couldn't remember, to tell you the truth. He had very little to do with anything other than his parts, his riffs. He had his riffs, I had my riffs, Ron had his riffs. Nobody tries to write a person out of history when that's the way it is. I was there and those guys don't want to write me out of history because they don't want to go back to remember what they can't remember. The only thing they remember is that song, “I Got a Right.” Ron knew it and that's why Ron and I finally got along so well, he knew my ability in that band you know. It took at least seven rehearsals before Ron would even say a fucking word to me. He wouldn't even look at me. He didn't like me. He had that fucking rock star thing like ‘I don't have to accept you if I don't want to. Say whatever you want to. It doesn't matter what you say, we didn't join you, you joined us.’

And I think for the most part, none of it was going to fucking matter, nothing was going to come out of it. Ron started feeling the pangs of James hooking up with Scotty because Scotty and James were the same age and they kind of hung out together and James was getting into the band through Scotty [Asheton]  and Scotty was promoting him to come to rehearsal. Ron was not digging that at all. When things get to him, you know he's fucking caustic, man. But he would get over it eventually. So that's the way it was with James and him and that's how it went on.

Wayne Kramer talking about reading bad review of MC5 while tripping

Wayne Kramer still remembers reading Lester Bangs’ bad review of Kick Out The Jams in Rolling Stone. From the review: Most of the songs are barely distinguishable from each other in their primitive two-chord structures. You've heard all this before from such notables as the Seeds, Blue Cheer, Question Mark and the Mysterians, and the Kingsmen.

Wayne K: My entire motivation was a knee jerk reaction to the criticism I got from Lester Bangs. His review in Rolling Stone fucked me up.  I was on acid, I read the review on acid, and I’m young and creative and believing the hype, and my heart sank. He was a young writer, trying to make his bones, so he thought he’d say something provocative and contrary to the current consensus, as people were loving the MC5. And he was going to come out and say 'these guys talk a good game, but they can’t tune their own guitars.' Writers had been coming out on junkets and then writing glowing reviews about us, hired by the record label. It was paid for. Like most people, I thought you got in the paper on merit. That isn’t how it really works in the world. So I’m on acid, and I’m reading the review, and the guy is just ripping us apart. It got to me because I knew there were great weaknesses in the band and the music, the rhythm section in particular. The bass playing and the drumming.

"American Band" came from pissed off...American band. Don Brewer explains

There are all kinds of stories about how the song "We're An American Band" came to be, and I had to ask Brewer, I'm sure for the hundredth time, about it. It never made it into the book, Detroit Rock City, but I'm always interested in all things Grand Funk, as everyone should be,

Don Brewer, drummer, Grand Funk, on writing the song, “We're An American Band”: There was some rumor goin’ around at times -- and I’ve seen it written, over and over, actually, I think I even saw it on Wikipedia –that we came up with the concept for “American Band” because we got into a fight with Humble Pie one night about who’s better, the English bands or the American bands. That wasn’t the case at all. I came up with that concept for “American Band” from us being sued by Terry Knight, traveling around from town to town, being sued at every city we were playing at, and I’m goin’, in my head I’m goin’, ‘we’re coming to your town, we’ll help you party it down. ‘That what I thought was happening, and then later the term came up -- popped into my head -- ‘we’re an American band.’ I needed a tag line for it. It had absolutely nothing to do with the English bands or anything.