Been quiet lately but so busy… compiling my life’s work into a folder with each song… finished, unfinished, released or unreleased compact with mp3, wav, lyrics… altogether for quick access.  Also any alternative version gets put into a separate folder.  It’s taken so much of my focus i’ve barely been able to do anything else.  But I do have some good news.

I’m going to print CD’s and vinyl of both Coup De Main and Coolerator, as well as release later this year a new album full of all the singles or one-offs that have been recorded and never made a record.  Maybe even some of the more quality demos.  They will all be for sale in physical copy, and yeah, well…. it’s about time!

Happy Easter to all, belated Passover etc.

Love, Jude

https://soundcloud.com/jude-cole-music/dreams-like-this-demo

I came across this one today.  Having almost forgotten about it, it was written for 14 year old Lindsay Pagano.  Her record was abandoned by Warner Brothers for internal changes, and they didn’t care Paul McCartney guested on one of the tracks.  Heartbreaking really, but C’est La Vie…

I wrote this in a bedroom studio in Calabasas in 1999 while my kids were in grade school just a block away.  They were some great times days.  I’d work most of the day, then walk up and meet them after school and we’d walk back to play basketball or i’d let them ride their bikes around.  Hard to believe how young I was, thinking I was so old!

Anyway, I recorded this just as a demo.  It was done on MOTU… anyone remember that DAW?  Pretty much how I learned digital recording.  Pretty soulful too.  Gonna try to just get my life in music up online because so much of it has lived in boxes, unheard.

This track was completely rearranged for Lindsay’s version, which is up on all the streaming platforms.

Hope you all are doing well out there and hope all the winners have received their items.  Another coming soon!

PS the photo above is me as a 14 yr old in the Quad Cities of Illinois… Silvis to be exact, with some high school girl-friends Cindy Lundeen, Kelly Honn, Mindee Ruthey and Kim Dorbek in the background..  Gary, of Gary’s Music Mart is seated playing bass.  He was a good guy.
Cheers, -Jude

Speaking of pop music, it’s become a slight obsession of mine to think about this dimly defined pop or powerpop genre in regards to bass guitar.

Let’s be honest, when it comes to great bass players, the best of the best in technical terms are probably in the soul, jazz and gospel categories.  There you’d find everyone from James Jamerson to Jaco Pastorius to Sharay Reed…. and the list would be in the hundreds.  Then there are funk & disco players, who could also make any ‘greats’ lists.

But I’m zooming in on a field that one could say was spawned by The Beatles, though it’s roots are derived from other eras like 20’s American and Ragtime music.  These bass lines walk up and down with an independence.  They don’t follow the kick, as rock players do, but they dance around it.  Mainly a guitarist, I played bass on much of my own music, and always tried to emulate this kind of playing when I could.  It’s a song within a song.  You can take the vocals and entire track out save bass and drums, and the track doesn’t fall apart like it would in a reverse scenario.  It requires a special skill or technique, sound and sensibility.  It’s timing, like a great comedian.

One example of this would be ‘Getting Better’ by The Beatles.  Verse opens, 4/4 time, bass is playing staccato quarter notes, two low and two high establishing a pace and story, but in less than a half minute comes the chorus and it’s like McCartney breaks out of his cage with wings.  (pun intended)  The bassline walks, creates it’s own melody, changes root chords along the way, all the while keeping the march that was established by the verse… and in four bars!  To me, that’s the magic of records over songs.  Bass is generally how I listen and judge a record.  A good song is everything, but then again, so is a good record.

Those of you on Facebook, please share this link if you can as I’ve vowed to stay away for a time.

So with that, I give you my top 12, starting at the bottom:

#12 – Graham Gouldman.  This underrated pop player with 10cc has a knack for hiding in the shadows.  However, when you really listen to his parts, you realize he’s more of a master than he lets on.  Great examples of this are The Things We Do For Love, Honeymoon With B Troop, Blackmail and of course, I’m Not In Love.

#11 – Larry Knechtel.  All around master musician, Larry could play anything.  When it came to bass guitar, he played on most of Bread’s records, The Monkee’s, Nilsson & even some Paul Simon.  His skill was subtle, but he had a great instinct of staying out of the way while influencing the next part with his lead-in lines.  The Doors didn’t have a bass player, but they should have, and it should have been Larry Knechtel.

#10 – Kevin Parker.  Tame Impala is Kevin Parker, and bass is just one of the many instruments he does well.  The Less I Know The Better, Let It Happen, Feels Like We Only Go Backwards and No More Lies are a few examples of his creative instincts and ability to deviate from the norm.  He’s a fearless musician who has something I always wanted… an ability to let it flow without obsessing too much.  Or should I say, that’s the impression he gives.  If I’m wrong, even more respect.

#9 – Sting.  This sound was going to happen in the UK with or without Sting and The Police.  There was too much buzz about reggae not to influence the many brit kids with guitars to borrow the genre and try to get it on the radio.  Sting actually did it with much success, and though I wouldn’t give him an A for originality, he certainly had his way with great lines in songs like Can’t Stand Losing You, Walking On The Moon, Spirits In The Material World, Canary In A Coalmine.  A pick player, it feels like he might have played rock most of his life, then that fateful shift happened and boom!  Out went the lights.

#8 – Brian Wilson.  With Brian, it’s hard to give entire credit to any sole musician in the studio, even Carol Kaye or Ray Pohlman, because he was involved in every note of every instrument.  A true arranger and learned musician, not only did he play bass on most of The Beach Boys records, but his arrangements are still being studied to this day.

#7 – Carol Kaye.  They’ll do a documentary on her and she’ll be even more legendary, breaking ground for so many women and men alike.  Talk about fearless, she held her own with the best of the best of that era, and that’s no easy feat.  Tommy Tedesco, Hal Blaine, Don Randi, Larry Knechtel and Carol F’ing Kaye.  Wouldn’t It Be Nice, Good Vibrations, Scarborough Affair, The Beat Goes On… and on and on and more and more.

#6 – Ray Pohlman.  Another Wrecking Crew legend, Be My Baby, God Only Knows, Wichita Lineman.  Need I say more?

 

#5 – John Entwistle.  Eminence Front, Baba O’Riley, Won’t Get Fooled Again.  One could almost credit Entwistle for inspiring the ‘Rock’ bassist.  He was never in his own way, and never disrupted the song.  He often followed the kick, but much like a Warhol or Picasso, they invented and experimented because they absolutely knew how to paint an apple and the human anatomy.  Entwistle knew how to dance around a song, and often chose not to.  You have to love that about him, and The Who.

#4 – Bruce Thomas.  This begins to narrow it down to what I love about bass the most.  Bruce’s lines are always right for the song.  Pump It Up, Oliver’s Army, (I Don’t Want To Go To) Chelsea, Accidents Will Happen… such a melodic bassist he walks through songs in the same way McCartney does, with just a little more punk rock attitude.  If there’s an Elvis Costello record without The Attractions, I’m not gonna like it as much.  Well, save the first one, which is a whole other story of great players.

#3 – Bill Wyman.  If there were no other songs in his repertoire than (I Can’t Get No) Satisfaction, it would still be enough.  But there are hundreds of others where Bill humbly carries the floor with Charlie Watts, including Tumbling Dice, Honky Tonk Women, Beast Of Burden and Miss You… only straying from the groove when absolutely necessary to the song.  But just listen to the bass line in the chorus of Satisfaction and imagine that any other player would have follwed the guitar part.  Not Bill.  Pure dope.

#2 – Colin Moulding.  Mayor Of Simpleton, Earn Enough For Us, Generals & Majors,  Respectable Street.  The most naturally gifted McCartney influenced bass player I’ve ever heard, his bass lines march to the beat of their own drum.  Highly underrated and from what I’ve read, reclusive to a fault.  Andy Partridge was no slouch writer, but XTC’s greatness in recordings have a lot to do with Colin’s expert playing and parts.

#1 – Paul McCartney.  Something, Penny Lane, Come Together,  Getting Better, or even Coming Up and Goodnight Tonight from his solo career…  Paul’s bass lines are always a song of their own and every time.  The man was not a lazy writer.  He wrote the chords and melody, then the lyric, then the bass part.  A flawless player and arranger, so much so that you almost can’t imagine a tune he ever crafted being anything different than the way it was.  Best ever.

Hillary Clinton was 18 in ’65. By ’75 she and the baby boom generation had their grips on the power class of America. Of course good ol’ boys from the oil rich south, or prim & proper Penelope’s from upper east side Manhattan hadn’t moved on yet. They didn’t know their time was up. In fact, they didn’t believe it ever could be.  But…

The educated and entitled (for the times) youth, came.  With cries of freedom, protest songs & riots, hippy love-ins and new ideas for a better life.  A unique inability to see anyone’s side but their own… but it was hard to deny them their anger.  Vietnam was looming like an enemy cloud for anyone to point at and say ‘yeah?  who are you f”ing kidding?’.

The French Film revolution of ’64 influencing the American Film revolution of ’68… Hopper, Peckinpah, Scorsese, Coppola… making Rock Hudson & Doris Day films feel like Kip Winger and Jon Bon Jovi at a Nirvana concert.

Lorne Michaels taking over late night TV after secret threats from Carson and Milton Berle… Johnny went on for some years still, but there are always outliers. Talents, chameleon enough to make it work. The Milty’s and Red Skeltons, well… they were reduced to variety shows the old timers watched. Running on fumes, but it’s really all that was left for them.

The counterculture captured the love and imaginations of the youth and the world. In politics, film, music, TV, fashion and more. They grew their hair, grew their beards, burned draft cards, burned bras, smoked weed, had intellectual arguments… hell one could say they even influenced The Beatles, and they did!

It was a permanent change of the guard. America had been the way it was from post prohibition until this new groovy period, or should I say 35 years to be exact. To hang on any longer to the traditions of their fathers just made no sense. They saw thru it. It had become creepy, glossy, phony, and ‘on the take’. This culture had to go – Bring in the new!

And here we are now. 2025. Hopper directed ‘Easy Rider’ in ’69. Lorne started SNL in ’75. Easy Rider was 56 years ago. SNL, 50.

Is it any wonder we are experiencing change? If then were now, or should I say if now were then, Lorne Michaels and Martin Scorsese would have been red-faced ranting into bullhorns for us to heed the call of the pork-pie hat politics of the 20’s. Rob Reiner would have proclaimed that ‘life was better with real gangsters like Capone, not slick Hollywood mogul types’.  (and he would have been right!) Gloria Steinem would have insisted we hold onto those corsets and undergarments, and never ever let a man see you without your hair in place!

So life is changing. You can feel it. For some, all the better, and others whole-heartedly committed to making it the worst possible experience ever. Nevermind the young girls and women/mothers slain by coyotes and cartels when they had dreamed to have a new life in the promised land of Joe Biden, with torn-down walls and open doors, yet left to survive the run to freedom on their own.  Nevermind the hard working American tax dollars funding one side of the political spectrum under the guise of a thousand different ‘inclusive’ notions.  Forget money laundering to buy homes like jellybeans for our political elite.  The blatant and down right shameful photo-ops at the border.  The pretense that our media was in some ways fair.  The pretense that Hollywood has been in some ways fair.  The notion that any one of these industries produce an ‘artist’ that would ever give up their careers and give it to a non-binary person of color.  No, no… only your job.  Mine takes intelligence and talent that only “I” possess…

Yes, here we are.  Counterculture, give yourself a round of applause, you’ve had a great run.

Now sit down and shut the fuck up.

In December of ’24 I decided to take my own advice and just remain mostly quiet, listen to others, watch behaviors and try not to judge… and of course enjoy the beauty of each day.  Lots of hour-long walks, dog on leash, railroad tracks and squashed coins for an innocent and free 15 minutes of the day. It’s been a gift to get to know myself these last few years.

Of course I’ve been writing music and recording new records as well.  I’ll be releasing some things very soon.

Many changes in friendships, family, and acquaintances too.  It’s not something I chose, really.  More a choice that was impossible not to make given the circumstances.  To walk away is a healthy step when you respect yourself more than some around you, regardless of how many years, blood ties etc.  To be pulled into a game of accepting bad behavior, codependency, manipulation and being used… if our fears prevent us from walking from this, then we’re willing to accept their definition of us over our own.

That coupled with all the research done about how the world really works has led to, first, a lot more questions… but also a kind of dark night of the soul, meaning a complete displacement of the planet earth, the people in it, and possibly even the God we pray to.

On the other side however, is a room you can’t see from the matrix.  A kind of rebirth.  A new awakening.

Don’t get me wrong, this isn’t a boastful statement about how I’ve arrived!  I doubt we ever actually do achieve this, but the reward in seeing the other side of ‘dark night’ is a new lack of need for much.  The lack of fucks to give, acceptance, the need to win, the embarrassment of defeat, to shine, to be praised, to be right or wrong. It’s fleeting and ego driven.  It’s actually quite meaningless unless it brings joy.  Of course there are pragmatics, like food, accommodations etc.  But beyond the obvious, most of it’s for display.

I notice conversations differently.  ‘So what do you do?…  Oh really, wow … where do you live… amazing!’

Ha.  We interview people to see if they can be of any use to us.  It’s not a horrible thing, just maybe in LA it’s a bit more blatant and obvious.

Politically speaking, everyone has an opinion.  Most of these opinions are formed from a voice coming out of a screen, sharing ‘news’ with you that you generally believe.  Then you go spitting nails into your little social media platform and ‘damn right i guess all my peoples feel served now!’

No, actually you just lost 20% of your friends.

I have one thing to say about politics.  Whoever ends chemtrails gets my belief they have our best interest and health in mind.  Until then, I’m going to like some things a lot, dislike other things, and keep one eye open.

For now I just wanted to greet those of you kind enough to subscribe, and let you know in the next week or so we’re going to pick 5 winners for a signed EP of ‘In Plain Sight’, and a small satchel with 3 coins that I personally flattened on California railroad tracks.  It’s my way of sharing some of my joy, both in music and in personal times.

Very best to all,

Love, Jude