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Kim Vincent Fowley (July 21, 1939 – January 15, 2015) was an American record producer, songwriter, and musician who was behind a string of novelty and cult pop rock singles in the 1960s, and managed the 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]

Early life

[edit]

Born in Los Angeles, California,[2] Fowley was the son of character actor Douglas Fowley and actress Shelby Payne.[3] His parents later divorced and Payne married William Friml, son of composer Rudolf Friml.[4] Fowley attended University High School.

Career

[edit]

In 1957, he was hospitalized with polio and, on his release, became manager and publicist for local band the Sleepwalkers that included Bruce Johnston, drummer Sandy 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 both Alan Freed and Berry Gordy. His first record as producer was "Charge" by the Renegades, a group comprising Johnston, Nelson, Nik Venet and Richard Podolor.[5] He promoted records for the duo Skip & Flip (Skip Battin and Gary S. Paxton), including the No. 11 hit "Cherry Pie".[8]

1960s

[edit]

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 group the Hollywood Argyles. In 1961 he co-produced the instrumental "Like, Long Hair", arranged by Paxton, which became a No. 38 hit for Paul Revere and the Raiders. He arranged "Nut Rocker" for B. 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 for the Rivingtons. The following year he produced "Popsicles and Icicles" by the Murmaids, which reached No. 3 in the charts in 1963 and which was written by a pre-Bread David Gates, then a session musician and songwriter who had met Fowley while Kim was hitchhiking in Los Angeles.[1][9]

During the mid-1960s, Fowley publicized/consulted singer P.J. Proby and relocated for a time to London, England.[2] Fowley wrote the lyrics for the song "Portobello Road", the B-side of Cat Stevens' first single, "I Love My Dog".[2] He produced a Them 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 called Them Belfast Gypsies and a single "Let's Freak Out" under the name Freaks of Nature); an early incarnation of Slade known as the N'Betweens; Soft Machine (he produced "Love Makes Sweet Music", their first single); and the Lancasters, an instrumental rock group featuring a young Ritchie Blackmore. He worked with an up-and-coming band, the Farinas, and renamed them "Family".[2]

In London around 1967 Fowley collaborated with the Seekers' guitarist/arranger Keith 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 from Beethoven's ninth ("Choral") symphony.

Fowley worked on occasion as a recording artist in the 1960s, issuing albums such as Love Is Alive and Well.[2] In 1965, he wrote and produced a song about the psychedelic experience, "The Trip". In 1966 Fowley and Gail Sloatman (later Gail Zappa) recorded a spoken word single as "Bunny and Bear".[10][11] The record is a satire of Sonny and Cher.[12]

With Brian 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 by Ron 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 the Radio City City Sixty chart for the Sunday 1 to Sunday 8 January 1967 period,[17] and to no. 41 on the Radio Caroline chart on the 21st.[18]

He was credited for "hypophone" on the Mothers of Invention's first album Freak Out! When asked later about this, band leader Frank Zappa said that "The hypophone is his mouth, 'cause all that ever comes out of it is hype."[19] Other singles by Fowley as a recording artist included "Animal Man" from his 1968 album Outrageous; 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, from Topanga 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 by Michael 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 by MGM 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 to John Lennon that resulted in the last-minute appearance of the Plastic Ono Band at the Toronto Rock and Roll Revival on September 13, 1969, where Fowley was the MC. 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 album I'm Back and I'm Proud for Gene Vincent.[2] He co-wrote for Warren Zevon's first solo album, Wanted Dead or Alive.[24] Fowley collaborated with his friend Skip Battin during Battin's membership as bassist with the 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 the New 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]

1970s

[edit]

In 1970, Fowley moved to Helsinki, Finland, where he worked with the progressive rock band Wigwam,[25] whom he called "The Finnish Beatles."[26] Fowley produced the band's second album Tombstone 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 to David Bowie, who allegedly utilized the production style of the album for his next album (1971's Hunky Dory).[29] Fowley then moved to Sweden and produced the group Contact's album Nobody 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 LP The Day the Earth Stood Still the same year.[31] Upon returning to Los Angeles, Fowley co-wrote the song "Michoacan" which was recorded by the Sir Douglas Quintet and appeared in the 1972 movie Cisco Pike starring Kris Kristofferson.[29]

In 1971, The Byrds recorded three songs for the album Byrdmaniax that were co-written by Byrds member Skip 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 (minus Roger McGuinn) as sidemen and was used in the soundtrack of the Edie Sedgwick film Ciao! 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 album Skip Battin (aka Skip).[32]

Fowley produced the Boulder, Colorado-based rock 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] at Gold Star Studios in Los Angeles.[37] Fowley also produced three recordings by Flash Cadillac & the Continental Kids that were included in the film American 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's soundtrack album.[29]

In May 1972, Fowley was signed to Capitol Records for a long-term solo recording contract.[38] Capitol released Fowley's LP I'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 album I'm Bad in the summer of 1972, Fowley met Boston disk jockey Maxanne Satori, who introduced him to a pre-fame Jonathan 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 at Gold Star Studios on behalf of Warner Bros. Records.[42] Tracks from these sessions were released as bonus tracks on later issues of The Modern Lovers (1976),[44] the album The Original Modern Lovers (1981),[45][46] and the Warner Bros. Loss Leaders compilation Troublemakers (1980).[47]

In 1973, Fowley assembled the Hollywood 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 manager Marty 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 the minor league baseball team of the same name.[48] Upon assembling the group, Fowley rented a studio in the San Fernando Valley and put the band on a rigorous rehearsal schedule, utilizing songs written by songwriter Mars 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 labels Liberty Records, A&M Records and Columbia Records. A&M and Columbia began bidding against each other to sign the band. Columbia signed The Hollywood Stars on March 28, 1974, and Bill Szymczyk was brought in to produce the band's debut album, which was recorded at The 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 the Whisky a Go Go on November 10, 1974.[48]

In December 1973,[48] Fowley connected the Hollywood Stars with producer Bob 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" to Alice Cooper, who made changes to the lyrics and included the song on Welcome to My Nightmare (1975). Similarly, Ezrin took "King of the Night Time World" (also co-written by Fowley and Anthony) to Kiss, who altered the lyrics slightly and recorded the song for the album Destroyer (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 with Joan Jett.[52]

Fowley produced and wrote songs for the Helen Reddy albums Ear Candy (1977) and We'll Sing in the Sunshine (1978). He also co-wrote songs with Leon Russell during this period.

In 1978, Fowley formed the Orchids, another all-female rock band, with Laurie 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 the Whisky 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 at Mandrill Studios in Auckland, New Zealand.[54]

The Runaways 1975–1978

[edit]

Fowley had an idea for assembling an all-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 lyricist Kari Krome at a party held for Alice Cooper, put her on salary, and had her begin looking for female performers. Krome met Joan Jett and brought her to Fowley. Jett successfully auditioned for Fowley by playing ukulele to a Sweet album, and picked up rhythm guitar as her instrument. Soon afterward, Fowley met Sandy West in the parking lot of the Rainbow Bar and Grill, who agreed to play drums. Fowley had Jett rehearse with West at the latter's home in Huntington Beach, and auditioned the pair on the telephone to music journalist Ritchie Yorke. He then turned to two radio stations to advertise for further auditions, which brought bassist Micki Steele (later of The Bangles) and guitarist Lita Ford to the group. Steele left due to creative differences, and was replaced by Jackie Fox, whom Fowley colleague Rodney Bingenheimer found in the parking lot of the West Hollywood nightclub the Starwood. Just before adding Fox, Fowley and Jett discovered Cherie Currie at the teen nightclub The Sugar Shack[56] and brought her in as lead vocalist for the group.[57][58]

Fowley touted the new group The Runaways as "an all girl answer to Grand 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 album The 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 the Cash 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 in People 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 album Queens of Noise.[70] The album was released in December 1976,[65] was co-produced by Fowley and Earl Mankey, and again co-credited Fowley for arrangements and songwriting.[71]

In June 1977, The Runaways toured Japan,[72] recording the album Live 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 bassist Vicki 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 the Arrows song "I Love Rock 'n' Roll,"[74] which would go on to be an international number one hit for Joan Jett & the Blackhearts in 1982.[75]

Cherie Currie left the band in August 1977. Fowley recorded The Runaways' third LP, Waitin' for the Night, at Larrabee 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 album Beauty's Only Skin Deep, with Fowley co-producing. The album featured Currie going in an MOR 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 sister Marie 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 of The Tomorrow Show hosted by Tom 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 album Waiting 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]

1980s

[edit]

In the 1980s Fowley moved to Australia where he announced that he was "looking for the new Beatles or ABBA". His search turned up power pop band Beathoven who were still under a recording contract with EMI. Changing their name to the 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 featured Gilby Clarke and Kyle Vincent. Vincent was Fowley's personal assistant. Producer Fowley and attorney David Chatfield recorded the first album for Steel 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 from New Zealand. Adding Denise Prior, Missy Bonilla (then a typist for Denny Diante at what was CBS Records) and Cathy DiAmber (Catherine Dombrowski) with David Carr on keyboards, a Chicago guitarist Bill Millay and numerous session 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 of Eric Leach and Taz Rudd of Symbol Six, Brent Muscat of Faster 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 for George Clinton and Parliament Funkadelic, was recruited to come in to handle the day-to-day babysitting chores. Shanghai played the reopening of the Whisky a Go Go in April 1986 with Guns N' Roses and Faster Pussycat.[90] Their last show was at the Scream in Los Angeles in 1987.

2000s

[edit]

Fowley is featured in Mayor of the Sunset Strip, a 2003 documentary about the disc jockey Rodney 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 of Mayor 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 and Jukebox California. Video clips/scenes from these movies can be seen on YouTube and Myspace, 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 album Adventures 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 at Harry Houdini's mansion in Los Angeles.[92] He played three dozen gigs between June 2007 and February 2009 as the act Crazy 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 to Gidget Gein, which raised funds for Gidget's Hollywood Forever memorial.[93]

Capitol re-released several of his titles, and director Guy Ritchie used his song "The Trip" in the 2008 film RocknRolla. Fowley was regularly heard on Sirius 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 featured Michael Shannon as Fowley, alongside Kristen Stewart as Jett and Dakota Fanning as Currie.

In 2012, Fowley won the Special Jury Prize at the 13th Melbourne Underground Film Festival for his two feature projects – Golden Road to Nowhere and Black Room Doom.

2010s

[edit]

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 called Planet 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.

Death

[edit]

Fowley died of bladder cancer in Hollywood, California on January 15, 2015, at the age of 75.[95] He is interred at Hollywood Forever Cemetery.[96][97]

Sexual misconduct allegations

[edit]

In a 2001 interview, Michael Steele of The Bangles claimed Fowley fired her from The 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 that Joan Jett and Cherie 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]

Selected discography

[edit]

Bibliography

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Kim Fowley

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Kim Vincent Fowley (July 21, 1939 – January 15, 2015) was an American record producer, songwriter, musician, and music industry figure active from the late 1950s until his death, best known for discovering, assembling, and managing the all-teenage female rock band The Runaways in the mid-1970s. Son of actor Douglas Fowley, he began his career in 1959 amid the rock and roll era's early stirrings, producing novelty hits like "Alley-Oop" for The Hollywood Argyles and working with artists including Gene Vincent and Frank Zappa, while operating on the fringes of Los Angeles and London rock scenes as a promoter, scenester, and occasional performer. His approach emphasized raw energy and provocation, yielding cult successes but also drawing criticism for exploitative tactics, culminating in posthumous lawsuits and accounts from former Runaways members alleging sexual assault and predation on underage girls in his orbit. Fowley's legacy reflects a chaotic blend of innovation in proto-punk and glam rock with personal conduct that multiple sources describe as predatory, unverified in court during his lifetime but persistent in survivor testimonies.

Early Life

Upbringing and Family Background

Kim Fowley was born on July 21, 1939, in , , to parents active in the entertainment industry. His father, , was a known for roles in films such as Singin' in the Rain, while his mother, Shelby Payne, worked as a model and occasional . Fowley's early childhood was characterized by significant instability due to his parents' and subsequent abandonment. At the age of two, his mother placed him in a foster home in College Grove, and he experienced repeated placements in as his parents prioritized their careers over consistent parenting. This environment, amid the glamour and grit of Hollywood, exposed him to the entertainment world's undercurrents from a young age, contributing to a self-reliant and adaptive disposition. He also faced severe health challenges, contracting twice during childhood, which left him with a limp and required extended recovery periods. Despite these setbacks, Fowley overcame the physical limitations by his late teens, an experience that reportedly instilled resilience and a tendency toward self-mythologizing narratives of survival.

Initial Musical Aspirations

In his teenage years, Fowley immersed himself in the and rock 'n' roll scenes prevalent in mid-1950s , drawing inspiration from acts like ' "Whispering Bells" and Jerry Lee Lewis's "High School Confidential," as well as pioneer , whose raw, energetic style resonated with Fowley's preference for unpolished, cult-oriented sounds over refined commercial fare. As a high school hustler, he began producing rudimentary black records, reflecting an early, self-directed engagement with the music without reliance on established channels. Fowley started songwriting around age 13 or 14, learning the craft informally from his step-grandfather, a co-founder of ASCAP and co-writer of "," who imparted business savvy and compositional techniques absent from any formal education. Lacking structured training, he adopted a pragmatic, first-principles mindset, prioritizing opportunistic hustling over traditional pathways, leveraging familial ties in entertainment—his father was an actor in films like —to grasp industry dynamics early. By late adolescence, Fowley secured entry-level roles through persistence and connections, including odd jobs as an assistant to in 1959, where he absorbed studio etiquette and promotion tactics. These gigs functioned as informal apprenticeships, enabling him to produce his first record, "Charge" by the Renegades, in 1959, marking his shift from amateur experimentation to tangible output amid the chaotic indie label ecosystem. This phase underscored his raw ambition, treating music as a hustle amenable to quick, low-stakes trials rather than polished artistry.

Professional Career

1960s: Novelty Records and Early Productions

In 1965, Fowley released "The Trip," a self-written and produced single that satirized the emerging psychedelic culture through its spoken-word intro and surf-influenced instrumental, marking an early foray into novelty records amid the surf and scenes. The track, issued on the Tower label, exemplified his low-budget approach to crafting cult hits by blending hype narration with twangy guitar riffs, reflecting the era's transition from to mind-expansion themes without achieving mainstream chart success. Fowley extended his songwriting into garage and pop territories, penning "Portobello Road" as the B-side to Cat Stevens' 1966 debut single "I Love My Dog," capturing a whimsical London street scene in folk-tinged lyrics. He also contributed "Like Long Hair" to , a raucous track aligning with their mid-1960s garage rock energy and anti-establishment vibe. For The Seeds, Fowley wrote "Fallin' Off the Edge of My Mind," a frenzied garage number that underscored his talent for amplifying raw, proto-psychedelic sounds in collaboration with emerging Los Angeles acts. By mid-decade, Fowley ventured into solo recordings, releasing Love Is Alive and Well in 1967 on Tower, where he handled vocals, multiple instruments, and production to deliver a eclectic mix of folk-rock and novelty sketches amid the swell. His 1968 follow-up Outrageous amplified this satirical edge with aggressive, self-performed tracks like "Animal Man," foreshadowing punk attitudes through abrasive delivery and multi-instrumental experimentation on the small International Artists label. These efforts highlighted his formula for quick, provocative productions that prioritized cult appeal over commercial polish, often recorded in makeshift Hollywood settings.

1970s: Punk Influences and The Runaways

In the mid-1970s, Kim Fowley shifted focus toward and band management, assembling as an all-female teenage rock group in on August 5, 1975, by pairing drummer with vocalist-guitarist . Fowley recruited additional members including bassist and guitarist , promoting the band as a provocative counterpart to established acts. The group signed with in early 1976 under Fowley's production oversight, emphasizing raw energy and independence in their sound. Fowley co-wrote the band's debut single with , released in 1976, which captured the era's rebellious punk-adjacent spirit through its confrontational lyrics and driving rhythm. The track reached number 106 on the Billboard chart and number 57 in , marking an early breakthrough for female-led rock despite limited mainstream airplay. Their self-titled debut album, produced by Fowley and released on June 1, 1976, peaked at number 194 on the , featuring high-energy tracks that blended glam influences with punk's disruptive edge. Fowley's promotional tactics for involved shock-value staging and relentless touring, including U.S. and international dates that highlighted the band's youthful defiance amid internal band dynamics. This approach yielded two albums in 1976–1977, fostering a and challenging gender norms in rock by prioritizing performance intensity over polished production. Paralleling this, Fowley's 1972 solo album exemplified his raw, unfiltered style—drawing on and experimental elements—that prefigured punk's rejection of convention, influencing his later band projects through its emphasis on visceral authenticity.

1980s–2010s: Continued Productions and Eccentric Projects

In the , Fowley pursued international opportunities, relocating to to identify and develop new acts akin to major pop phenomena. He managed the power pop group The Innocents, producing material for them in a challenging local market dominated by harder-edged sounds. This period also saw him compile and release in 1980, a collection highlighting earlier productions with a focus on his signature raw aesthetic. Additionally, he contributed to Swedish band Leather Nun's 1988 album International Heroes, extending his influence across European underground circuits. Fowley's output remained nomadic and eclectic, leveraging personal networks to produce for niche performers while navigating declining mainstream viability. His role as a scene connector persisted, facilitating collaborations in punk-adjacent and realms, though commercial success proved elusive amid shifting industry priorities toward synthesized pop and MTV-driven visuals. Entering the 2000s and 2010s, Fowley focused on reflective and archival endeavors alongside intermittent productions. He authored Lord of Garbage, an autobiographical volume blending poetry, notations, and accounts of his formative Hollywood experiences, published as part of a planned multi-book series. This self-published work underscored his cult persona, prioritizing unfiltered personal history over polished narrative. He also featured in documentaries like (2003), offering insights into LA's rock underbelly and affirming his enduring lore among insiders. Sporadic productions for underground acts, including explorations with experimental and rap-infused projects, sustained his prolific pace, though outputs grew uneven as health issues loomed. Fowley's persistence in these decades preserved his status as a provocative fixture, bridging eras through eccentric, low-budget ventures rather than blockbuster hits.

Controversies

Sexual Misconduct Allegations

Jackie Fuchs, the former bassist of The Runaways under the stage name Jackie Fox, publicly alleged in July 2015 that Kim Fowley raped her on December 31, 1975, when she was 16 years old. The incident reportedly occurred at a New Year's Eve party in Orange County, California, following a gig by the band at a local club, where Fuchs claimed Fowley administered drugs to her in what she described as a "date rape-type situation." Fuchs stated that the assault took place in a room at the party, witnessed by her friends Helen Roessler and Trudie Arguelles, as well as teenage songwriter Kari Krome. She detailed the account in a Huffington Post investigative feature and subsequent interviews, noting its lasting psychological impact, but no criminal charges were filed at the time, and Fowley, who died in January 2015, had denied similar accusations prior to his death. In April 2023, Kari Krome, a songwriter who contributed to The Runaways and witnessed Fuchs's alleged assault, filed a civil lawsuit against Fowley's estate in Los Angeles Superior Court, accusing him of sexually assaulting her starting in 1975 when she was 13 years old. The complaint alleged a pattern of grooming, sexual battery, and molestation by Fowley in music industry environments during 1975–1976, including repeated abuses that exploited her aspirations in the LA rock scene. Krome, legally named Carrie Mitchell, claimed in court filings that these acts caused severe emotional, physical, and psychological distress, and the suit sought damages under California's laws extending statutes of limitations for childhood sexual abuse claims. The lawsuit also named DJ Rodney Bingenheimer as a co-defendant for related assaults on Krome, but focused on Fowley's role in initiating predatory behavior toward underage girls in professional settings. Reports from associates in the 1970s Los Angeles punk and rock scenes have described Fowley's pattern of abusive conduct toward young women, often involving intimidation, drug use, and exploitation during band formations and parties, though these accounts did not lead to convictions during his lifetime. Fuchs and Krome's claims, both linked to ' early development under Fowley's management, highlight allegations of drug-facilitated incidents targeting teenagers in the music industry, with no contemporaneous legal actions pursued against him.

Responses, Denials, and Cultural Context

, in a statement released on July 11, 2015, denied witnessing any assault on Jackie Fuchs by Kim Fowley, asserting, "Anyone who truly knows me understands that if I was aware of a friend or bandmate being violated, I would not stand by. I would not have witnessed that from the first day and not done something about it." similarly rejected claims of observing an unconsensual act, stating on July 12, 2015, "If Joan, Sandy and I saw an unconsensual rape, we would have done something," emphasizing their youth and commitment to the band but insistence that no such intervention was required as they saw no violation. These accounts from Jett and Currie, who were present at the 1975 party in question, contrast with Fuchs's recollection and highlight discrepancies in witness testimonies from the event. No criminal charges were ever filed against Fowley for the alleged incidents during his lifetime, which ended on January 15, 2015, despite Fuchs consulting a criminal in December 2014. Posthumously, civil lawsuits have targeted his estate, including a 2023 suit by songwriter Kari Krome alleging and grooming starting at age 13 in the early , claiming repeated violations without consent. Fowley, known for his provocative persona, had not publicly addressed specific claims in detail prior to his death from , though contemporaries described his behavior as part of rock's exaggerated mythology rather than leading to legal accountability at the time. The 1970s Sunset Strip scene, where Fowley operated, featured widespread underage involvement in rock culture, with "baby groupies"—teenage girls often as young as 13—frequenting clubs like the Rainbow Bar and Grill amid rampant drug use, , and minimal adult oversight. Documented patterns included musicians and promoters exploiting lax age enforcement and parental disengagement, as chronicled in firsthand accounts from participants like , who detailed consensual but boundary-pushing encounters normalized by the era's hedonistic ethos. This milieu, fueled by the sexual revolution's emphasis on liberation and rock's rebellious image, contributed to blurred lines between , predation, and consent, though such norms do not retroactively justify non-consensual acts and reflect empirical realities of enforcement gaps before stricter laws.

Later Years and Death

Health Decline and Final Projects

Fowley underwent surgery for in February 2012, marking the onset of a prolonged battle with the disease. By 2014, the cancer had advanced, contributing to a marked decline in his physical condition and reduced mobility as treatments intensified. Despite these challenges, Fowley maintained professional engagement in 2014, including a November interview reflecting on his extensive career in music production and management. He also pursued mentoring opportunities, discussing potential management arrangements with young musicians even amid painful cancer treatments in the final months of the year. These activities highlighted his enduring commitment to discovering and promoting new talent, undeterred by physical limitations.

Passing and Immediate Reactions

Kim Fowley died on January 15, 2015, at age 75 from complications while receiving care in . His wife, Kara Wright Fowley, was present at his home when he passed shortly before 8 a.m. Contemporary obituaries portrayed Fowley as a quintessential rock and eccentric hitmaker whose career spanned decades of novelty , punk production, and industry networking, often emphasizing his unorthodox genius amid a checkered reputation. Initial tributes from peers, including former collaborators, highlighted his songwriting and production prowess—such as co-writing tracks for and —while acknowledging his polarizing persona without delving into deeper cultural reevaluations. A funeral service on January 22, 2015, at drew over 100 attendees from the music scene, including , , , and , who offered eulogies focusing on Fowley's formative influence on their early careers and his irreverent showmanship. These remembrances underscored his role in launching acts like , even as allegations from band members lingered publicly unresolved, with no legal proceedings concluded by his death.

Legacy and Impact

Musical Contributions and Innovations

Fowley's songwriting and production emphasized disruptive, minimalist techniques that challenged polished studio norms, fostering a raw aesthetic evident in his 1965 single "The Trip," an early proto-psychedelic garage track that lyrically and sonically anticipated the DIY ethos of later indie movements by simulating through simple and unrefined energy. This approach extended to his involvement in over 300 recordings across the , including singles with acts like and , where low-fidelity production—relying on basic amplification, minimal overdubs, and emphasis on live-band grit—prioritized attitudinal intensity over sonic clarity, directly contributing to the genre's revival in punk-era compilations. Such methods disrupted conventional hit-making by validating low-budget viability, as seen in empirical outcomes like the cult endurance of his novelty-to-garage arc despite initial commercial obscurity. A pivotal innovation came in 1975 when Fowley assembled and produced , the first all-female band, engineering their sound with punk-inflected aggression and co-writing tracks like to project unapologetic power, thereby proving the format's structural feasibility in a male-dominated field. Though the band's debut album charted modestly at number 194 on the and peaked outside the Hot 100, this empirical demonstration of viability—through rapid band formation, targeted songcraft, and raw demo-style recordings—causally enabled subsequent all-female acts, such as , whose 1981 Beauty and the Beat topped the charts by building on the precedent of self-contained rock competence without reliance on novelty framing. Cross-decade, Fowley's techniques synthesized novelty experimentation with punk realism, innovating by treating production as opportunistic assembly rather than perfectionism; his credits on diverse singles, from psychedelic curios to blasts, influenced garage revivalists by modeling causal pathways where limited resources yielded enduring cult artifacts, as evidenced by reissues and homages in 1970s-1980s underground scenes. This disruption of conventions—prioritizing speed, attitude, and market-testing over refinement—verifiably shifted genre mechanics toward accessibility, with data from his extensive output underscoring a pattern of enabling raw expression that outlasted immediate hits.

Cultural Assessments and Balanced Evaluations

Kim Fowley has been characterized by music historians as a visionary "" figure for his role in identifying and promoting talent from underrepresented groups in rock, particularly through forming , the first all-female teenage band, which challenged gender norms in a male-dominated industry during the mid-1970s. This achievement is credited with paving the way for subsequent female-fronted acts and influencing punk and movements, as evidenced by the enduring popularity of songs like "," co-written by Fowley, which remains a staple in rock canon despite the band's short tenure. Supporters highlight his unorthodox methods as effective in an era of raw, unfiltered rock entrepreneurship, where his ability to assemble and market overlooked demographics yielded commercially viable outputs that outlasted personal controversies. Critics, however, portray Fowley's manipulative and abrasive persona as emblematic of exploitative dynamics in the music scene, with accounts from former associates describing a chaotic environment marked by and power imbalances, though these often reflect anecdotal recollections rather than corroborated patterns of systemic across his broader career. Evaluations note that interpersonal tensions, including those involving underage participants in a hedonistic , were not uncommon in the pre-#MeToo rock milieu, where boundaries were frequently blurred by cultural norms of excess, yet Fowley's defenders argue his "" approach—self-admitted in interviews—prioritized artistic disruption over conventional ethics, yielding innovative results without evidence of derailing victims' long-term trajectories, as seen in the post-Runaways successes of and others. Posthumously, following Fowley's death in 2015, reevaluations intensified with resurfaced allegations, including a 2023 lawsuit against his estate by Runaways songwriter Kari Krome alleging assault as a minor, yet these have not materially altered his discography's availability or cultural footprint, as reissues and references to his productions continue unabated, underscoring a pragmatic assessment where empirical musical outputs eclipse persona-driven scandals in historiography. This balance reflects a realist view of Fowley as a flawed catalyst whose barrier-breaking innovations in punk-adjacent genres persist amid contextual critiques, without retroactive erasure of his contributions.

Creative Output

Key Songwriting and Production Credits

Fowley co-produced the novelty rock single "" for in 1960, utilizing improvised percussion from bottles and wastebaskets to achieve a raw, energetic sound that propelled it to #1 on the for a week. In 1963, he produced "Popsicles and Icicles" for The Murmaids, a girl-group track written by that peaked at #3 on the through its layered harmonies and simple, catchy arrangement emphasizing vocal interplay over instrumentation.
ArtistTitleYearRoleNotable Achievement
Soft Machine"Love Makes Sweet Music" b/w "Feelin' Reelin' Squeelin'"1967Producer; co-writer (B-side)Debut single marking early British , produced in collaboration with manager to capture improvisational energy.
The Seeds"Falling Off the Edge of My Mind" / "Wild Blood"1967–1968Producer singles emphasizing distorted guitars and attitude, released amid the band's cult following in .
Belfast Gypsies (Them spin-off)Album and singles1967ProducerOversaw recordings for ex-Them members Pat and Jackie McAuley, focusing on raw R&B transitions to .
Gene VincentI'm Back and I'm Proud1969ProducerComeback album aiding Vincent's late-career revival, incorporating roots with Fowley's hands-on supervision amid the artist's health challenges.
The Runaways"Cherry Bomb" (from debut album)1976Producer; co-writer (with )Recorded in a storeroom for gritty acoustics, the track bubbled under at #106 on the US chart but gained enduring cult status for its defiant teen-anthem energy.
These credits highlight Fowley's efficiency in and novelty markets, often leveraging minimal resources and opportunistic partnerships to yield over 50 singles across garage, , and genres, prioritizing commercial viability through direct artist involvement rather than polished studio excess.

Solo Works and Publications

Kim Fowley released his debut solo album, Love Is Alive and Well, in 1967 on , featuring a mix of psychedelic and novelty tracks that reflected his early experimental style. Subsequent solo efforts included Outrageous in 1968, which incorporated elements, and The Day the Stood Still in 1970, known for its eccentric spoken-word and musical interludes. By the early , he issued I'm Bad (1972) and International Heroes (1973), albums that showcased his self-produced persona blending influences with satirical lyrics. In the late 1970s, Fowley compiled earlier solo recordings into Living in the Streets (1977), a collection spanning tracks from the early decade, including "Born to Make You Cry." His solo output continued sporadically into later decades, with releases such as West Coast Revelation in 2010, Death City and 666 in 2012, emphasizing raw, unpolished rock and personal reflections amid his health struggles. These works, often self-released or on independent labels, highlighted Fowley's role as a figure rather than a commercial artist, prioritizing artistic provocation over mainstream appeal. Fowley's publications centered on autobiographical writings published by Kicks Books, beginning with Lord of Garbage (Volume One) in 2012, a blending , , and notations from his early life and career, composed partly during hospital stays. This was followed by Planet Pain, the second volume, which included poems set to music by The Gories on a related EP, continuing his stream-of-consciousness style chronicling decades in music. No third volume was completed before his death, though the series aimed to cover his full experiences as a "low-bit" and . These books, self-reflective and unfiltered, provided rare direct insight into Fowley's worldview, distinct from his collaborative discography.

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