My Conversation With Colin Moulding

Was him talking about how portly Mike Keneally was becoming.

Look at Mike these days. He is the fuckin' man with that whole thing he's got going on.

I played a few shows with BFD in 98-99 in LA and San Diego and Mike told me and Bryan Beller that he thought BFD was like fiction. "We've both got the overweight, balding guitarist, the wiry polyrhythmic drummer and the buff, charismatic bass player."

Bryan and I dug that. It wasn't Travers on the kit at that point; it was Toss Panos who reminds me wierdly of Buffalo Bill in "Silence Of The Lambs" (in a good way).

George from fiction asked Keneally to give us a quote we could use on promo and he said "if I were on a lifeboat with fiction and there was only enough food to sustain three of us, I would gladly sacrifice myself that they might survive. Their contribution to American music is that great."

DAAAAAAAAAAHHHHHHHHHH HHHHHHHHAAAAAAAAAAA HAAAAAAAAAAAAAAA HAAAAAA. Cripes is that funny. It's awesome too because I don't think he'd heard any of our stuff. The things I've seen Keneally do with a guitar make me despair. It's like watching someone make love to your girl the right way.


One of my greatest musical experiences was doing this instore at the Sam Goody mega, thing, in San Diego and getting Keneally in on keyboards and this great LA harmonica player Steve Cruse in. That was the good thing about having management and bread.

So our drummer Mike had his kit there and a percussion setup and I played an upright electric bass and Keneally did this Hammond organ thing with Cruse blowing. We did all these arrangement shifts and did all the songs on the record in complete opposite versions and at the end we did a percussion/drum segue and the band moved to our usual instruments and did the full-throated album arrangement of "Gethsemane" and the place freaked. We must have sold 8, 9 CDs. Glory days, y'know?

I met Mike Keneally and Mark DeCerbo in LA at a song pitching session with some A&R weed. I was there with my sis and she was a bit of an icebreaker. This was way back, 92, 93.

Boy, even that was a long way from 1979.

That was a long time ago, man, when I was 14, 15.

I'm 40, you know? My ten years in LA were like a blur of trying to make it. It was like fighting a war. Weird. Like being in trenches. My development is oddly arrested. And the last couple of years were just boardside. Just production. And that didn't even really open up for me.

I'm tellin' you, it's tough. It's a tough way.

Sometimes I have a weird feeling that the best is ahead, even in those terms.

I guess that's how we go on.

Boy, there wasn't much about Colin Moulding in this post.

He's cool, man. He's cool, you know? Awesome 4-stringer right there.

Getting a little chubby, tho.

Here's the deal with Colin- the guy turned down playing bass on a Pink Floyd world tour in the early 90's i think it was or late 80's. C'mon- you have the same Twomie book we all have. It seems like Colin turned it down basically because it would be a hassle.

You have no idea how much I love that. I would put that in my resume if it was me:


1989: Made "Oranges And Lemons" and did asskickin' Loretta Lynn-like radio tour.
1990: Turned down Pink Floyd tour because I thought it would be a hassle.
1991: Wrote "Bungalow".
1992: Put out "Nonsuch" and went on strike.