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Kim Fowley | |
|---|---|
 Fowley in 2012 | |
| Background information | |
| Born | Kim Vincent Fowley (1939-07-21)July 21, 1939 Los Angeles,California, U.S. |
| Died | January 15, 2015(2015-01-15) (aged 75) Los Angeles, California, U.S. |
| Genres | |
| Occupation(s) | Record producer, songwriter, musician,impresario |
| Years active | 1959–2015 |
| Website | kimfowley |
Kim Vincent Fowley (July 21, 1939 – January 15, 2015) was an American record producer, songwriter, and musician who was behind a string ofnovelty andcultpop rocksingles in the 1960s, and managedthe Runaways in the 1970s. He has been described as "one of the most colorful characters in the annals of rock & roll", as well as "a shadowy cult figure well outside the margins of the mainstream".[1]
Born in Los Angeles,California,[2] Fowley was the son of character actorDouglas Fowley and actress Shelby Payne.[3] His parents later divorced and Payne married William Friml, son of composerRudolf Friml.[4] Fowley attendedUniversity High School.
In 1957, he was hospitalized withpolio and, on his release, became manager and publicist for local band the Sleepwalkers that includedBruce Johnston, drummerSandy Nelson and, occasionally,Phil Spector.[5][6] He spent some time in the armed forces and, by his own account, worked in the sex industry in Los Angeles in the late 1950s.[7] In 1959, he began working in the music industry in various capacities for bothAlan Freed andBerry Gordy. His first record as producer was "Charge" by the Renegades, a group comprising Johnston, Nelson,Nik Venet andRichard Podolor.[5] He promoted records for the duoSkip & Flip (Skip Battin andGary S. Paxton), including the No. 11 hit "Cherry Pie".[8]
During the early 1960s, Fowley was involved as co-producer/co-publisher with a string of successful records produced in Los Angeles. With Gary S. Paxton he recorded the novelty song "Alley Oop", which reached No. 1 on the charts in 1960 and was credited to the non-existent groupthe Hollywood Argyles. In 1961 he co-produced the instrumental "Like, Long Hair", arranged by Paxton, which became a No. 38 hit forPaul Revere and the Raiders. He arranged "Nut Rocker" forB. Bumble and the Stingers, which became a No. 1 hit in the UK in 1962 and talent scouted "Papa-Oom-Mow-Mow", a No. 48 hit forthe Rivingtons. The following year he produced "Popsicles and Icicles" bythe Murmaids, which reached No. 3 in the charts in 1963 and which was written by a pre-BreadDavid Gates, then asession musician and songwriter who had met Fowley while Kim washitchhiking in Los Angeles.[1][9]
During the mid-1960s, Fowley publicized/consulted singerP.J. Proby and relocated for a time to London, England.[2] Fowley wrote thelyrics for the song "Portobello Road", theB-side ofCat Stevens' first single, "I Love My Dog".[2] He produced aThem spin-off band led by two ex-Them members, brothers Pat and Jackie McAuley (who were only allowed to use the band name Other Them in the UK, but called themselves Them on the European continent, releasing an album calledThem Belfast Gypsies and a single "Let's Freak Out" under the name Freaks of Nature); an early incarnation ofSlade known as the N'Betweens;Soft Machine (he produced "Love Makes Sweet Music", their first single); and the Lancasters, aninstrumental rock group featuring a youngRitchie Blackmore. He worked with an up-and-coming band, the Farinas, and renamed them "Family".[2]
In London around 1967 Fowley collaborated withthe Seekers' guitarist/arrangerKeith Potger. Together (with Potger writing under the nom de plume John Martin) they wrote the lyrics to "Emerald City". Potger has said the song was originally quite unlike the eventual Seekers single, and that he heavily "Seeker-ized" the arrangement before presenting it to the group. The tune was based on the "Ode To Joy" theme fromBeethoven's ninth ("Choral") symphony.
Fowley worked on occasion as a recording artist in the 1960s, issuing albums such asLove Is Alive and Well.[2] In 1965, he wrote and produced a song about thepsychedelic experience, "The Trip". In 1966 Fowley and Gail Sloatman (laterGail Zappa) recorded a spoken word single as "Bunny and Bear".[10][11] The record is a satire ofSonny and Cher.[12]
WithBrian Parker, Fowley co-wrote "Sea of Faces" for UK group,Unit Four Plus Two when he was living in England with P.J. Proby. The group recorded the song but it was never released.[13][14] Another group,The Ways and Means who were managed byRon Fairway recorded it and it was released on Pye 7N 17277.[15][16] It became a minor hit for the band making it to no.39 on theRadio City City Sixty chart for the Sunday 1 to Sunday 8 January 1967 period,[17] and to no. 41 on theRadio Caroline chart on the 21st.[18]
He was credited for "hypophone" onthe Mothers of Invention's first albumFreak Out! When asked later about this, band leaderFrank Zappa said that "The hypophone is his mouth, 'cause all that ever comes out of it ishype."[19] Other singles by Fowley as a recording artist included "Animal Man" from his 1968 albumOutrageous; during the song he remarks, "It's too dirty, it'll be banned". All his efforts as a solo artist since 1970 have become cult items, both in reissue and bootleg formats.
In 1968, Fowley joined forces with a young band,St John Green, fromTopanga Canyon in California, to produce their only album, which contains songs, musical soundtracks, comedy and dark poetry. The band members were: Ed Bissot (bass), Bill Kirkland (guitars), Vic Sabino (vocals, harmonica and percussion), Michael 'Papabax' Baxter (keyboards, arranger), and Shelly Scott (drums). The album was engineered byMichael Lloyd. Fowley later claimed it to be "one of the great lost records...Somebody will reissue it someday and people will start crying and jacking off and smoking dope to it. It's a great record. There's only a handful of records that I've made that are great."[20] The album was released byMGM on the Flick Disc label, but the group disbanded soon afterwards.[21][22]
He is credited with being the inspiration behind promoter John Brower's call toJohn Lennon that resulted in the last-minute appearance of thePlastic Ono Band at theToronto Rock and Roll Revival on September 13, 1969, where Fowley was theMC. At this event, Fowley invited the audience to light matches and lighters to welcome a nervous John Lennon to the stage.[23]
In 1969, Fowley produced the albumI'm Back and I'm Proud forGene Vincent.[2] He co-wrote forWarren Zevon's firstsolo album,Wanted Dead or Alive.[24] Fowley collaborated with his friend Skip Battin during Battin's membership as bassist withthe Byrds on a number of songs which appeared on their early 1970's albums: "The Hungry Planet", "You All Look Alike", "Tunnel of Love", "Citizen Kane", "Absolute Happiness", "Precious Kate", and "America's Great National Pastime".[2] The latter song was released as a single in late 1971. When Battin moved on to theNew Riders of the Purple Sage in 1974, Fowley and Battin co-wrote five songs for the New Riders: "On the Amazon", "Big Wheels", "Singing Cowboy", "Neon Rose" and "Strangers on a Train".[2]
In 1970, Fowley moved toHelsinki, Finland, where he worked with the progressive rock bandWigwam,[25] whom he called "The Finnish Beatles."[26] Fowley produced the band's second albumTombstone Valentine,[27] which was released in Finland on the Love Records label. The album was released as a double album in the US by Verve Forecast, with a second LP of extra tracks from the band's previous catalog.[28] According to Fowley, he gave a copy of the LP toDavid Bowie, who allegedly utilized the production style of the album for his next album (1971'sHunky Dory).[29] Fowley then moved to Sweden and produced the group Contact's albumNobody Wants to Be Sixteen for Swedish label MNW (Music Network) Records,[30] which landed in the Swedish Top 20.[25] MNW released the Kim Fowley solo LPThe Day the Earth Stood Still the same year.[31] Upon returning to Los Angeles, Fowley co-wrote the song "Michoacan" which was recorded by theSir Douglas Quintet and appeared in the 1972 movieCisco Pike starringKris Kristofferson.[29]
In 1971,The Byrds recorded three songs for the albumByrdmaniax that were co-written by Byrds memberSkip Battin and Kim Fowley.[32] Fowley produced a re-recording of one of these songs, "Citizen Kane," with Battin later in the year. The re-recording featured the rest of the members of The Byrds (minusRoger McGuinn) as sidemen and was used in the soundtrack of theEdie Sedgwick filmCiao! Manhattan (1972).[29] Signpost Records signed Battin to a solo recording contract in 1972,[33] and the Battin/Fowley team co-wrote every song on the resultant solo albumSkip Battin (akaSkip).[32]
Fowley produced theBoulder, Colorado-basedrock and roll revival act[34]Flash Cadillac & the Continental Kids for a television appearance in early 1972.[35] The group signed a contract with Epic Records in September of that year,[36] and Fowley produced their self-titled debut LP for the label[34] atGold Star Studios in Los Angeles.[37] Fowley also produced three recordings by Flash Cadillac & the Continental Kids that were included in the filmAmerican Graffiti (1973). These songs were "At the Hop", "She's So Fine" and "Louie Louie". The first two tracks were also featured on the film'ssoundtrack album.[29]
In May 1972, Fowley was signed toCapitol Records for a long-term solo recording contract.[38] Capitol released Fowley's LPI'm Bad in June of that year.[39] Fowley's follow-up solo LP,International Heroes, was mixed in February[40] and released in March 1973.[26][41]
While on tour to promote his solo albumI'm Bad in the summer of 1972, Fowley met Boston disk jockey Maxanne Satori, who introduced him to a pre-fameJonathan Richman and the Modern Lovers.[26][42] Fowley returned to Boston after the completion of the tour and arranged to have engineer Stuart "Dinky" Dawson[43] record a demo with The Modern Lovers in Dawson's home studio.[26][42] Later in autumn 1973,[29] Fowley worked with the band again, this time recording them in Los Angeles atGold Star Studios on behalf ofWarner Bros. Records.[42] Tracks from these sessions were released as bonus tracks on later issues ofThe Modern Lovers (1976),[44] the albumThe Original Modern Lovers (1981),[45][46] and theWarner Bros. Loss Leaders compilationTroublemakers (1980).[47]
In 1973, Fowley assembled theHollywood Stars, his first "conceptual band". Musician, songwriter and future Hollywood Stars member, Mark Anthony, was working as Fowley's chauffeur at the time. At one point, Anthony spoke to New York Dolls managerMarty Thau at a party and asked him how the New York Dolls were formed. Thau stated that the members were "a bunch of broke street kids hanging around." Upon hearing this, Fowley decided to create a West Coast answer to the New York Dolls in a similar manner, taking the band name from theminor league baseball team of the same name.[48] Upon assembling the group, Fowley rented a studio in theSan Fernando Valley and put the band on a rigorous rehearsal schedule, utilizing songs written by songwriterMars Bonfire, and by himself and producer/songwriter Peter Lion. The band played an invitation-only concert[49] at Studio Instrument Rentals in Hollywood, which brought a crowd of 380 people, including representatives of the labelsLiberty Records,A&M Records andColumbia Records. A&M and Columbia began bidding against each other to sign the band. Columbia signed The Hollywood Stars on March 28, 1974, andBill Szymczyk was brought in to produce the band's debut album, which was recorded atThe Record Plant over the course of 34 days. Early in the recording process, Szymczyk abandoned the project, leaving the engineer to produce the album.[48] Soon afterward, Columbia dismissed The Hollywood Stars' A&R representative in an internal staffing change,[50] decided not to release the album and dropped the group from the label.[49] Despite the band's local popularity, internal tensions and industry stigma from the failure of the Columbia Records deal led to the decision to break up the band. The group played their final performance headlining theWhisky a Go Go on November 10, 1974.[48]
In December 1973,[48] Fowley connected the Hollywood Stars with producerBob Ezrin, who worked with the band on arrangements for their song "Escape",[51] which was co-written by Fowley and Hollywood Stars member Mark Anthony. Although Ezrin initially passed on working with the band further, he expressed interest in utilizing two of their songs. Just before the band's breakup in 1974, Fowley went back to Bob Ezrin and offered him usage of the two songs. Ezrin then took "Escape" toAlice Cooper, who made changes to the lyrics and included the song onWelcome to My Nightmare (1975). Similarly, Ezrin took "King of the Night Time World" (also co-written by Fowley and Anthony) toKiss, who altered the lyrics slightly and recorded the song for the albumDestroyer (1976). Ezrin also asked Fowley to write lyrics for "Do You Love Me?," another song that was recorded for Kiss'Destroyer LP. Fowley worked on the lyrics for the latter song in 1975 while assembling the band The Runaways withJoan Jett.[52]
Fowley produced and wrote songs for theHelen Reddy albumsEar Candy (1977) andWe'll Sing in the Sunshine (1978). He also co-wrote songs withLeon Russell during this period.
In 1978, Fowley formed the Orchids, another all-female rock band, withLaurie McAllister, the last bassist from The Runaways, and Sandy Fury,[53] a 13-year-old rock prodigy on rhythm guitar and vocals.
In 1979, Fowley signed new artists, such as Tommy Rock, the Popsicles, and the Orchids. Fowley promoted "Kim Fowley Night" featuring these bands at theWhisky a Go Go. Fowley brought Stiv Bators & the Dead Boys, the Popsicles, and the Orchids into Leon Russell's Cherokee Recording Studio in Hollywood to record "LA, LA (I'm on a Hollywood High)". Also in 1979, Fowley produced the five man group Streettalk atMandrill Studios inAuckland, New Zealand.[54]
Fowley had an idea for assembling anall-female rock band in a time when, according to guitarist Joan Jett, "there were no young girls at all playing guitar or any sort of instruments."[55] In early 1975, Fowley met songwriter Kari Krome at a party held forAlice Cooper, who has stated that the idea for an all-female rock band originated from her, and was initially dismissed by Fowley. Krome met Joan Jett and brought her to Fowley. Jett successfully auditioned for Fowley by playingukulele to aSweet album, and picked uprhythm guitar as her instrument. Soon afterward, Fowley metSandy West in the parking lot of theRainbow Bar and Grill, who agreed to play drums. Fowley had Jett rehearse with West at the latter's home inHuntington Beach, and auditioned the pair on the telephone to music journalistRitchie Yorke. He then turned to two radio stations to advertise for further auditions, which brought bassistMicki Steele (later ofThe Bangles) and guitaristLita Ford to the group. Steele left due to creative differences, and was replaced byJackie Fox, whom Fowley colleagueRodney Bingenheimer found in the parking lot of the West Hollywood nightclub theStarwood. Just before adding Fox, Fowley and Jett discoveredCherie Currie at the teen nightclub The Sugar Shack[56] and brought her in aslead vocalist for the group.[57][58]
Fowley touted the new group The Runaways as "an all girl answer toGrand Funk,"[59] and the band signed to Kim Fowley Productions for management in September 1975.[60] The lineup of Jett, West, and Steele made its live debut[61] at the Whisky a Go Go September 28–29, opening for the newly reformed Hollywood Stars.[62][63]
Phonogram/Mercury Records' West Coast director of A&R Denny Rosencrantz agreed to sign The Runaways on December 12, 1975.[58][64][65] The band finished their debut albumThe Runaways in May 1976.[65] The album is listed as "Produced and directed by Kim Fowley", and gives Fowley arrangement and numerous songwriting credits.[66] Mercury released the album in June 1976 to an initial position of No. 188 on theCash Box top albums chart, favorable reviews, and numerous radio and album adds,[67][68] as well as sales of 70,000 units.[65]
The Runaways were the subject of a writeup inPeople magazine in September 1976. A week later, Fowley severed his ties with the band, and forfeited his rights, titles, claims and merchandising ownership to Mercury Records.[69] Mercury refused to accept Fowley's stakehold in the band and turned it back to him the following week.[65] Fowley and the band reconciled in November, and returned to the studio to record their followup albumQueens of Noise.[70] The album was released in December 1976,[65] was co-produced by Fowley andEarl Mankey, and again co-credited Fowley for arrangements and songwriting.[71]
In June 1977, The Runaways toured Japan,[72] recording the albumLive in Japan while on the tour.[73]Live in Japan included several songs written by Fowley.[29] Jackie Fox left mid-tour and was replaced by bassistVicki Blue when the group returned to America.[73] While the band was still a five-piece and with Blue as a new member, Fowley had the band learn theArrows song "I Love Rock 'n' Roll,"[74] which would go on to be an international number one hit forJoan Jett & the Blackhearts in 1982.[75]
Cherie Currie left the band in August 1977. Fowley recorded The Runaways' third LP,Waitin' for the Night, atLarrabee Studios the same month, with the band as a four-piece and with Joan Jett on vocals.[76][77]
Cherie Currie contractually owed an album to Fowley's management,[56] so just a few weeks after leaving The Runaways, she went into Larrabee Studios to record her debut solo albumBeauty's Only Skin Deep, with Fowley co-producing. The album featured Currie going in anMOR direction, which Fowley chose in order to play on Currie's liking for mellower music.[73] Fowley co-wrote "Beauty's Only Skin Deep", "Science Fiction Daze" and "Young and Wild".[78] One song on the album, "Love at First Sight", featured Cherie's twin sisterMarie Currie on harmony vocals. Fowley sent conflicting stories to Japan about whether or not Cherie did indeed have a twin sister who sang on the track, creating a frenzy of interest when Cherie and Marie arrived to Japan for a two-week tour to support the album.[73] The album was released in 1978 to Japan and to Europe but was not released in the United States.[78][79]
In October 1977, Fowley and Joan Jett appeared on an episode ofThe Tomorrow Show hosted byTom Snyder. The show aired October 11, and was dedicated to the topic of punk rock.[80] While on the show, Snyder mentioned that Fowley will be "quitting [working with Jett] in 48 hours," which Fowley affirmed as correct.[81] In a feature on the Runaways dated November 12, 1977,Sounds magazine writer Sandy Robertson confirmed that "Kim Fowley will no longer be producing The Runaways, the new albumWaiting For The Night [sic] being his last work with them."[82]
The Runaways'Waitin' For the Night was released in October 1977.[83] The album is listed as "Produced and directed by Kim Fowley", with the tracks "Wasted", "School Days" and "Waitin' for the Night" written by Fowley.[84]
In February 1978, a spokesman for Fowley corrected information stating that Fowley had exited The Runaways as producer, claiming to the contrary that Fowley was still with the group and "to be considered its producer of record".[85] The Runaways signed with American Entertainment Management for personal management the following month.[86] Fowley followed this up with the publication of several legal notices claiming ownership of "The Runaways" service mark, recording authorization, and merchandising rights.[87][88]
In the 1980s Fowley moved to Australia where he announced that he was "looking for the newBeatles orABBA". His search turned up power pop band Beathoven who were still under arecording contract withEMI. Changing their name tothe Innocents, he secured a new record deal with Trafalgar Records and produced several songs for the group. They too became a cult band in later bootlegs/reissues. Fowley produced the first demos for the iconic power pop band,Candy, which featuredGilby Clarke andKyle Vincent. Vincent was Fowley's personal assistant. Producer Fowley and attorney David Chatfield recorded the first album forSteel Breeze at Rusk studios in Hollywood and got Steel Breeze their recording contract with RCA. Casey Kasem, on the edition of March 12, 1983, of American Top 40, describes how Fowley discovered Steel Breeze while going through approximately 1200 demo tapes that were about to be discarded by a local Hollywood nightclub, Madame Wong's. "You Don't Want Me Anymore" was the first single from the band's self-titled album and quickly jumped into the Top 20 on the Billboard Hot 100 supported by a video that was a favorite of early MTV, and peaked at No. 16. The next single, "Dreamin' Is Easy", also made it into the Top 40.
In 1984, still owning rights to the name "the Runaways", Fowley rebuilt the image around Gayle Welch, an unknown teenager fromNew Zealand. Adding Denise Prior, Missy Bonilla (then a typist forDenny Diante at what wasCBS Records) and Cathy DiAmber (Catherine Dombrowski) with David Carr on keyboards, a Chicago guitarist Bill Millay and numeroussession musicians. Fowley, assisted by New Zealander Glenn Holland, sought to cash in on the fame of the former Runaways members who had gone on to significant success in their individual solo careers. In 1985, he returned to the United States and recorded further songs with the Innocents' David Minchin.[89]
In 1986, Fowley spotted the band Shanghai (consisting ofEric Leach and Taz Rudd ofSymbol Six,Brent Muscat ofFaster Pussycat,Patrick Muzingo, and Todd Muscat of Decry) at the Troubadour. After seeing their performance he asked, "Are you ready to make a record?!" They immediately moved in with Fowley and began writing and recording songs.David Libert,Alice Cooper's ex-road manager and agent forGeorge Clinton andParliament Funkadelic, was recruited to come in to handle the day-to-day babysitting chores. Shanghai played the reopening of theWhisky a Go Go in April 1986 withGuns N' Roses and Faster Pussycat.[90] Their last show was at the Scream in Los Angeles in 1987.
Fowley is featured inMayor of the Sunset Strip, a 2003 documentary about the disc jockeyRodney Bingenheimer.
Also in 2003, Fowley made a return trip to London, where he made an in-store appearance at Intoxica Records on Portobello Road and curated and performed an evening of music and entertainment at the Dirty Water Club at its then base at the Boston Music Room in North London.
Fowley became an experimental filmmaker after the DVD release ofMayor of the Sunset Strip. His written and directed works include:Black Room Doom,Dollboy: The Movie,Satan of Silverlake,The Golden Road to Nowhere,Frankenstein Goes Surfing,Trailer Park's On Fire andJukebox California. Video clips/scenes from these movies can be seen onYouTube andMyspace, and feature a cast of regulars including but not limited to musical oddities such as the Fabulous Miss Wendy, Giddle Partridge, Richard Rogers (Crazy White Man) and Clown Porn Queen Hollie Stevens.
Fowley released the 21-track solo albumAdventures in Dreamland on WEED/Innerstate Records in 2004. It contains the songs "Mayor of the Sunset Strip", "Terrors in Tinseltown", and "Ballad of Phil Spector".[91]
In 2008, Fowley was reunited with Cherie Currie atHarry Houdini's mansion in Los Angeles.[92] He played three dozen gigs between June 2007 and February 2009 as the actCrazy White Man, a duo featuring him on vocals and Richard Rogers on guitar. The bulk of the Crazy White Man shows took place during 2008 and included the Tribute toGidget Gein, which raised funds for Gidget'sHollywood Forever memorial.[93]
Capitol re-released several of his titles, and directorGuy Ritchie used his song "The Trip" in the 2008 filmRocknRolla. Fowley was regularly heard onSirius Satellite Radio with a four-hour show on Saturdays and Sundays.
Currie wrote a memoir of her time in the Runaways, which was turned into the film,The Runaways, released on March 19, 2010. The film featuredMichael Shannon as Fowley, alongsideKristen Stewart as Jett andDakota Fanning as Currie.
In 2012, Fowley won the Special Jury Prize at the 13thMelbourne Underground Film Festival for his two feature projects –Golden Road to Nowhere andBlack Room Doom.
In his last years, Fowley worked on writing and publishing his autobiography, which he divided between three distinct books. He released the first volume of his autobiography,Lord of Garbage, published by Kicks Books, in 2012. It covers the years 1939–1969 and describes his early childhood and beginning years in the music business. The second volume of his autobiography was intended to be calledPlanet Pain and to cover the years 1970–1994. The last volume was intended to be finished on his deathbed and to be released posthumously because, as the 2010s began, Fowley was terminally ill.[94] On September 24, 2014, Fowley married longtime girlfriend and music executive Kara Wright-Fowley, in a private ceremony in Los Angeles.
Fowley died ofbladder cancer in Hollywood, California on January 15, 2015, at the age of 75.[95] He is interred atHollywood Forever Cemetery.[96][97]
In a 2001 interview,Michael Steele ofThe Bangles claimed Fowley fired her fromThe Runaways for refusing his sexual advances.[98]
In July 2015, six months after Fowley's death,Jackie Fuchs (who had performed under the stage name Jackie Fox with The Runaways) claimed that Fowley had raped her in 1975 during a New Year's Eve party while he was involved with the band.[99] Fox also alleged thatJoan Jett andCherie Currie witnessed the rape. Jett denied seeing the incident, but songwriter Kari Krome, as well as other bystanders who did not intervene, have corroborated it. Currie claims to have spoken up and then stormed out of the room.[100]Look Away, a documentary about sexual abuse in the rock music industry features Fuchs' story.[101]
In 2023, Kari Krome filed a lawsuit against Fowley's estate alleging that he had repeatedly sexually assaulted her when she was 14 or 15 years old.[102]
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