By Hans Morgenstern
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By Julie Seabaugh
Every musical community has its share of characters, bon vivants and hangers-on. Some show up just to see and be seen, while others actually contribute something to the conversation. In our town, however, few people have earned the respect of their peers while cultivating a cult of personality quite like Fred Friction. For more than a decade, Friction played drums (and musical spoons), wrote songs and sang with the Highway Matrons. As the proprietor and figurehead of the late, great Frederick's Music Lounge, he assumed the role of ringmaster, talent-booker and raconteur of the homey south-city club.
Since Frederick's closed three years ago, Friction has kept a lower profile. He continues to host Fishin' with Dynamite on KDHX (88.1 FM) and makes regular visits to area open-mic nights. These visits prompted him to try out a cache of new songs, which ended up filling out the newly released Jesus Drank Wine, Friction's debut as a solo musician. It's a record filled with ragged blues and brokedown country, with the lyrics swinging from elation to desperation over the course of a dozen tracks.
It's also a record filled with some of the city's best musicians. Resophonic guitar hero Tom Hall, guitarist-about-town John Horton and noise-manipulator Eric Hall contribute, as do members of bands such as Miles of Wire, the Red-Headed Strangers and the Dock Ellis Band. Such a lineup stands as a testament to Friction's stature in town, and the goodwill he's created through nurturing and championing emerging talent.
3509 Lemp Ave.
St. Louis, MO 63118
Category: Bars and Clubs
Region: St. Louis - South City
In addition to his new record, Friction recently began booking shows in the basement space at the restaurant Iron Barley. Dubbed Fred's Six Feet Under, the space currently hosts live music on Friday and Saturday and promises an intimate venue for fans of local talent.
Over Stag beer and cigarettes at the Tower Grove South bar Stella Blues, Friction discussed the dual resurgence of both his musical career and his role as talent-booker. If his persona as a bar-owner, radio host and man-about-town seems a bit larger than life, Friction's gentle demeanor and thoughtful, measured manner suggest that a sweet soul rests in his gruff exterior.
Christian Schaeffer: What got you back in the songwriting and playing mode?
Fred Friction: I've been writing off and on all the time and going to open-mic nights. I came here to Stella [Blues], and Jon Bonham and Tommy Halloran do an open mic on Monday nights. Tommy got to talking to me and introduced me to Patrick Crecelius, a graduate from Berklee College of Music who just moved back recently to St. Louis. Patrick has a small studio and was looking for a project. Tommy advised him to get together with me and said that I was coming out with a couple of different new songs every couple of weeks and probably had some material together. I was very fortunate to make the acquaintance of Patrick.
Part of what I like about the record is that it sounds like what you think a Fred Friction record should sound like. It doesn't sound like a studio record, in the sense that it's not too polished.
We went out of our way to keep it raw around the edges. Patrick would want to show off his production skills, and working with me, that was a problem in and of itself right there. There were a couple spots that were rough, and he suggested editing here and there and I told him not to. And there were other places where we need to nip and tuck.
Was there an overall aesthetic you were shooting for, where you wanted it rough around the edges?
I told him to keep Exile on Main St. in mind. This was going to be a record with various styles on it. I definitely didn't want to put out a novelty record of any sort, but I wanted some levity in there. As far as a loose concept, it's about one person going through life and what they're experiencing. Humor belongs in there, and a lot of it is rather bleak, but I think optimistic in the long run.
To be honest, I wasn't sure what to expect when I played the record. I knew you from the Highway Matrons, but I think a lot of people my age — I'm 27 — know you from the Music Lounge and know you from seeing you around, but don't know you as a musician.
Undoubtedly, there's gonna be some people thinking it's a record of all spoons songs. I played spoons on one track because I put myself in the listener's seat. There's no way I could go through 40 minutes of somebody playing spoons and playing their lungs out. But I wanted that element in there on something. And I was happy to get a broad cross-section of talent from all across and around St. Louis. There's at least seventeen or eighteen other people on the record.
Looking at the liner notes and seeing everybody who's on it, the album seems like a good representation of St. Louis talent.
I knew who I wanted to add particular items to the songs — who was good at what. And I decided I was gonna put a record out and call in all the favors and see if these people can help me out. And everyone I got in touch with was able to make a showing and contribute to the record. There were even people that couldn't make it, so I had plenty to choose from — all associations I had working at the club and booking the entertainment.