Tony Reed: Boogeyman

This is our most in-depth interview yet with singer-songwriter and producer, Tony Reed – frontman of Mos Generator and Stone Axe. Our Swiss contributor Calvin Lampert met up with Tony during Mos Generator’s recent excursion through Belgium, France, Germany, Italy, Portugal, Spain, and Switzerland.

First off, how’s the European tour been?

Very good. Better than we expected, actually. This is our first headlining tour in Europe, but our fourth time overall playing here. The crowds are better than we hoped for. We realized we had a fan base we didn’t know about. When you usually tour under someone, you always think they only come to see the headliner. I mean, it’s still pretty small, but we’re really excited to see that there is an actual fan base here.

That’s great to hear! Whilst we’re talking about tours, what do you do to kill the time in-between shows? Any rituals?

Not really. I try to get as much sleep in-between shows as possible. My ritual would be taking care of myself, I guess, which often means getting some rest. And record shopping! I’m always on the lookout for stores, and I already got myself a nice pile of records on this tour.

We’ll have a look at that later. But tell us how you came up with the name Mos Generator. What’s the story behind it?

When we started jamming and recording demos we didn’t have a name. The original rhythm section and I were old friends and we had known each other for a very long time, something around 10 or 12 years. We used to be together in another band in the early ‘90s and we had this one bass drum that just sounded amazing. Shawn [Johnson, original drummer] put it away in a garage and it eventually got moss all over it. So we called it the Moss Generator. And then when we went to record the first demos we wanted a better bass drum sound and I said: “Fuck, I wish we had the Moss Generator.” And then we decided to call the band just like that, but we took one S off, for some reason, I cannot remember. People confuse it with Mo’s or some other shit, but that’s how we got the name.

Did you ever recover the Moss Generator?

Yeah, we used it for the recording of Electric Mountain Majesty. We restored it. It was some kit from the 70ies. Cool drum.

Let’s talk about your 3 latest releases. Songs For The Firmament, first. It’s not only an album, it’s more than that, right?

Yeah, it’s also a film. A friend of ours filmed three bands in an airplane hangar in Seattle with no audience. Think of Pink Floyd’s Pompeii. We each did a thirty-minute set. For that, we brought in two extra members: another keyboard player and another guitar player to play some songs we normally cannot play live because of the massive overdubs. I ended up playing some mellotron and acoustic guitar. We only had a couple of days for these guys to fly up and prepare the songs. When it was done, I thought it was crap. It was fun to do, but I felt like it was a waste of time. Then I listened back to the tapes and turned out, it was good! The film got shown in a couple of theaters in Seattle and it’s gonna get a physical release as Blu-Ray in early 2017. I took our set and put it out on vinyl on Stickman Records, with whom we had worked together previously.

Alright, what about Lies of Liberty ’87? ?

Those were songs that I wrote when I was a teenager. I always wanted to record them properly. We recorded them as rehearsal tapes when I was 16 or 17, but now we just went into the studio and got the whole thing done in four hours. That’s twelve songs. Didn’t even use eight-tracks, we used six. Couple mics on the drums, no overdubs.

Was it hard to get into this faster, hardcore style again?

Not really. It took us about twenty minutes to warm up and we were ready to go. Jono can play really fast – he’s more of a metal drummer. He can do that Lombardo-type of ride cymbal, you know.

Where did the impulse come from to re-record these songs?

I did write a hardcore song a while back and put it online, and I thought to myself that we should do a whole album like that. It’s already out on cassette and we’re gonna do a vinyl release, as well.

So, let’s talk about Abyssinia, your big new album. What can you tell us about the song writing progress? Any changes, considering this was your first record with the new rhythm section?

Almost all of the songs were already written. The last three tracks on the record were actually recorded in 2008.

It definitely felt different from the previous records you’ve done. Maybe thanks to the new members? Some new impulses from there?

Yes and no, I’d say. Back when I used to play with Scooter and Shawn, I used to write music for their style. I don’t have to do that anymore now, Sean and Jono just fall in whatever I write. The only song that wasn’t written before was “Wicked Willow.” That’s the only one I hadn’t already demoed.

Where are your musical roots. How did you get into heavy music?

Well, my parents listened to Sabbath to and heavy rock in general, so I just naturally gravitated towards it. And when I heard Kiss when I was 9 in '78 or something, like that was life changing. I knew I wanted to become a musician. I already liked music and had records, but it was that moment that made me pick up an instrument. But I didn’t start playing until I was 12, because I didn’t have the means to do so.

What was your first instrument, then?

Drums. And I just picked up whatever I could from then on.

So you were already a multi-instrumentalist at a very young age.

Yeah, and I started recording very early, as well. I recorded everything I did – all these years. Me and my buddy did try our hands at Sabbath, Judas Priest, and all the other classics.

And what was the first record you ever bought?

Kiss Alive!

Alright, what does the average day in the life of Tony Reed look like?

Get up super early, at around 6 o’clock in the morning. Coffee and toast. Watch some TV, I just got done watching Breaking Bad again. Then I go to the studio, working on whatever band I am working with, mastering a record, mixing something. That’s what I’ve done for a living the last twenty years.

And how did you get into the whole sound-engineering thing?

Well, like I said, I have a recording of the first time I ever played drums. It just came along with being a musician. I documented everything I did.

And what made you decide to pursue it as a career.

Well, that’s what I was good at. There really wasn’t anything else I was going to be good at in life, or rather wanted to be good at, so that’s what I became. I used to run around with a four-track, recording the bands in town for free as practice before opening my own studio in 1994. It was small and only eight tracks, but people came from all over Seattle and the surrounding towns, and it all just kind of proceeded from there.

Do you only work with rocks bands, or do you also with bands from other genres?

Well, I specialize in rock. What I am most interested in is what I am best at. I can record all kinds of music, because I listen to all kinds of music, and as a producer you have to listen to a bunch of stuff to work with different kinds of genres, but I prefer rock.

Do you think that your working together with other bands has an influence on your work in Mos Generator?

I wouldn’t say so. I’ve been pretty much set on how I do things for 25 years. But, for example, touring with Elder and watching Nick play made me go, “Wow that’s really cool, that’s a good idea.” I get more of an impact as a player from watching other people play, no matter how good or bad they are. You can always learn something there.

How does one capture the ideal stoner-doom sound?

Well, to be quite honest, I tend to stay away from that type of music. I opt more for a high-energy type of rock, at least as far as producing goes. Mixing is a whole other story. I guess for me, the essence is trying to capture the band in a live-setting. For example, I had the chance to work on the Saint Vitus live record, which was great since I’ve been listening to them since my youth. I watched them play every night when I was touring with them and when they came to the studio I knew exactly what to do. Instead of separating everything and making it perfect, you just let everything become one. Unless I want a certain sound for a certain instrument, I always try to go for a live setting in the studio. No headphones. Full volume. Get it right. It doesn’t always work out. Sometimes we have to fix something on tape, but I always try to make it happen.

What is the most challenging music to record and produce?

Huh. Gotta think about that one, 'cause nowadays I am more occupied with mastering and mixing. Well, when I have to mix something that is already recorded, sometimes I run into some issues with the way those things were recorded. Mic-placement, tuning, that kind of stuff. And when it comes to mastering, sometimes the cymbals are too bright and the vocals are too low. You can’t really fix that stuff, since it sits on the same frequency. It needs to be re-recorded. I wouldn’t even go with a particular style or genre of music, it’s just certain ways of conducting engineering and recording.

So, it’s best to all do it yourself.

Yeah, but I am slowing down on that. Still gonna do the occasional recording, though. I am going to Australia to record the new Seedy Jeezus album. Did the first one there, as well.

Do you do a lot of these out-of-house recording jobs?

From time to time. I recorded something for a band in Denmark. I do stuff all around the US. I was supposed to do something in Germany, but that fell through. What I like about these jobs is that you usually end up recording in the rehearsal spaces of the bands, where they are at their most comfortable. The most comfortable performance from a band is usually their best. For example, with Seedy Jesus we ended up recording it during daytime in a club where they were playing very often, and it turned out great.

Let’s talk a bit about your record collection. What are some of your favorite releases in there?

Well, I am very proud of my Sabbath section. Probably got about sixty-plus records in there. Lots of bootlegs, multiples, and compilations. Got rid of some very expensive stuff, as well, to buy a mellotron. Had a Nirvana 7” that I got $2,000 dollars for. I finally found a copy of Voivod’s Outer Limits that was only pressed in Germany and I’ve been looking for that one a long time. But some of my favorite records aren’t really worth that much. I noticed that I have become fond of listening to records that sound really good – stuff like Steely Dan. It’s just very pleasantly recorded and mixed. Sounds great on vinyl. Big Bowie fan, as well. Lots of reissues there. These bastards get me all the time with those damned reissues and boxsets. Gotta have them all! I have all the songs already, but they’re in a different order here!

I really started to appreciate Neurosis just right after they released that huge boxset. They’re all gone now, except some ridiculously overpriced copies at Discogs. I feel you, man.

Oh yeah, boxsets drive me crazy. Love them!

So, what would you say are the defining records in your life?

Already mentioned that one, but Kiss Alive!, being the first one. Master of Reality and Sabbath Bloody Sabbath, as far as Sabbath goes. 2112 and Fly By Night for Rush. Then there are other records that I really enjoy, without them having a major impact on me, like Siouxsie and The Banshees’ Tinderbox. There are just some records that remain a part of your life for a certain time. I even have a list on my phone with my favorite albums. I tend to be a bit forgetful at times and when I am geeking out about music with other people it comes in handy. Kiss Alive! isn’t even on there, since it’s so fucking obvious. But even outside of that list, there are some bands I love to listen to. Joni Mitchell, Steely Dan – I like to listen to very mellow music on the road. I wear earbuds with music when I sleep. Last night it was Bob Welch, for example. And you know, the good thing is that there has been this resurgence of those lost '70s albums. The ones that are so hard to find finally get reissued. I feel like it all started with Pentagram, and I am lucky to have been involved in several of these restorations of old '70s albums. Sometimes I get sent these records that are worth several thousand dollars and I have to get out all the clicks and pops to make them sound better. That’s a fun job!

That must be amazing, having been tasked to work on these lost gems.

It is. When I worked on that Iron Claw album I got a bunch of outtakes, as well, that I had never heard before. I am flicking through these practice recordings from 1971. It’s amazing!

Is there anything in your collection that people would be surprised you’re listening to?

Well, my collection is huge, so there’s bound to be some odd-one-out stuff in there. I got the first five Sade records, if that counts. But yeah, stuff like Joni Mitchell. Can’t say soul, a lot of people listen to good soul music. I dig scary and intense soundtracks. There is stuff that people around me hate when I am playing it. But it’s not Europe – you ain’t gonna catch me listening to any '80s hair. But I do like soft rock like Ambrosia or later Doobie Brothers. Digging Hall & Oates and ABBA a lot, so that may be stuff that sticks out in my listening habits. The thing is, I am not a huge fan of them, but there are bits and pieces in their music that I really like. Sometimes I try to put these things inside of my songs, mostly melody, vocal-wise. If you’re listening to acoustic Mos songs, you may pick that up. By the way, I’m about three-fourths of the way into a full acoustic Mos Generator record. “Lonely One Kenobi,” “Wicked Willow,” “Easy Evil,” all these songs done acoustically. All stripped down. We’re always working on something.

And what about modern bands? Anything you really like in the current music scene?

Well, I hear a lot of modern music because I work on it, but as far as really digging it goes, Elder and Motorpsycho, Bigelf – but not the latest records – and bunch of other bands I cannot recall off the top of my head. Mammothwing, for whom I did a mastering job. Sad that they broke up, it was one of my favorite records of 2015.

Let’s talk about your own little '70s project, The Lost Chronicles of Heavy Rock. Is Volume One going to get a physical release and is there a Volume Two planned?

Listenable Records is hopefully going to do the physical release. As for a Volume Two, I’ve got hundreds of covers recorded. A lot of it isn’t even rock. I put up a cover of Heatwave’s “Boogie Nights” on Soundcloud, but it ain’t heavy rock.

So maybe just put out a record with disco covers on it?

Well, there is some challenge behind it, since it isn’t really my style of music. But I do like to challenge myself as a player and recording engineer.

Speaking of challenge, what was the most challenging song you ever covered?

Probably “Court of the Crimson King.” That one Atomic Rooster song I did had a hard piano part, and I am not the greatest keyboard player. I worked on it till I got it. That “Court of the Crimson King” is the one I am the most proud of. I feel like I could play that one in front of King Crimson without feeling ashamed! (laughs)

It’s a great cover, I enjoyed it a lot. Is there any song you’d like to cover, but have somehow not been able to do so yet?

“Butterfly Bleu” by Iron Butterfly off Metamorphosis. It’s a thirteen-minute song, and I’ve started tracking the drums. Lots of great guitar work there, but it isn’t psychedelic – it sounds more like a heavier version of the Allman Brothers. Or side two of Nektar’s “A Tab in the Ocean” – the whole side – this epic fucking prog thing. I love prog. King Crimson, Genesis, all the '70s prog is right down my alley. But I also enjoy more modern stuff like Bigelf and I like the direction that Opeth has taken. Not a big fan of their previous works, but they had me when they started sounding like Jethro Tull.

Oh yeah. Ghost Reveries is among some of my favorite records, but I certainly don’t shun them for the direction they have taken. I still miss “Growlpeth,” though. Maybe a bit of a touchy subject, but was it hard to get started again with the new line-up of Mos Generator. I mean, Mos Generator MK1 was a thing for how many…?

Fourteen years, and we’ve been playing music together since 1990. Letting go of Shawn and Scooter was the most difficult thing I have done in my entire life. It’s what made making Abyssinia really hard. I felt a lot of guilt for doing that, but they just couldn’t tour, they couldn’t give what needed to be given. They’re still very mad at me, hardly talk to me, and they’re what I’d consider to be my best friends. I can’t believe I replaced these amazing musicians with a set of whole other amazing musicians. I feel super blessed that I can actually continue Mos Generator. I was afraid it wasn’t going to work and that I would be making Mos Generator records by myself, and I don’t wanna do that. I want the input of other people. Abyssinia was mostly me, but now when we write it’s an interchange between us, and I really like that.

Let’s go to some lighter subject. Best food in Europe?

We had a Kebab in Berlin. The line took us an hour. It was fucking freezing. I ate that thing and it was worth it. So good! Also lots of great meat and cheese over here. Sometimes we just go to McDonalds.

Old familiar.

We get taken care of really well here. We’re well fed by the clubs.

So, what are the plans for the future of Mos Generator?

We’re recording new stuff this year. We already got fifty minutes of material and we already have plans to go into the studio this summer again to record another album’s worth of material, then we’ll pick what songs will end up on the album. The rest will go off to 7”. I think we’re going to start a 7” club where when you buy in you, get a 7” every year, and it will be exclusive to the members of the club. We’d try to make these really special. We did some rare stuff before that has been sold on eBay for a hundred bucks. Thirty-three records, and we hand-wrote the song titles on each one of them. As for when the big record will be out, that’s yet to be seen. Maybe not even 2017. But we’ll put out other things in time. We never rest.

Alright, last question. This one is a bit out of the usual, but imagine this: you’re a demon. Which five objects would one have to lie in a pentagram to summon you?

Wow, that’s a really tough one to answer, since it has nothing to do with music. Let me think. Alright: a Starbucks coffee, iced vanilla latte. A Laney Supergroup Head. That Master of Reality OG Vertigo Pressing that came in a box. Still need that one. A Pad Thai dish from my favorite Thai restaurant in town. And a bath. A hot bath.

Tony Reed’s Favorite Albums of All Time

• Siouxsie & The Banshees - Tinderbox
• Motley Crüe - Too Fast For Love
• ZZ Top - Tres hombres
• AC/DC - Let There Be Rock
• Necromandus - Orexis of Death
• Robin Trower - Bridge of Sighs
• Aerosmith - Rocks
• Rainbow - Rising
• Deep Purple - Machine Head
• The Who - Tommy
• Voivod - Nothing Face
• Sweet - Give Us A Wink
• Van Halen - Van Halen II
• Rolling Stones - Let It Bleed
• Slayer - Reign in Blood
• Celtic Frost - To Mega Therion
• Iron Maiden - Number Of The Beast
• Accept - Balls To The Wall
• Black Sabbath - Mob Rules
• Captain Beyond - Captain Beyond
• Ozzy - Diary of a Madman
• Capital Punishment - Push Comes To Shove
• The Cars - The Cars
• The Knack - Get The Knack
• Black Sabbath - Master Of Reality
• Black Sabbath - Sabbath Bloody Sabbath
• Steely Dan - Aja
• Rush - Permanent Waves
• Iron Butterfly - Metamorphosis
• Marvin Gaye - What’s Going On
• Beach Boys - Pet Sounds
• David Bowie - Man Who Sold The World

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