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I met Eric Friedl the day he moved to Memphis. It was the early 1990s, and he came to help his college friend Sherman Willmott. Sherman was transforming Shangri-la, a Midtown storefront that once offered brain tune-ups, massages, and floatation tank sessions, into a vinyl record shop. The era was soaked in boredom. To pass the time, we used Eric’s Fisher Price movie camera to make pixelated videos of our favorite songs. We tried to form a band, hunted for juke joints across Memphis and North Mississippi, and embarked on culinary quests to ethnic restaurants, grocery stores, and the food aisle at Big Lots. Eric created a fanzine he called Wipeout! A Guide for Goners. He brought it to me on the late shift at Kinko’s Copies for production.
In 1993, Eric returned from the second Garage Shock music festival in Bellingham, Washington, with a demo cassette from the Tokyo band Guitar Wolf. That was the start of Goner Records. That same year, he formed the Oblivians with Greg Cartwright and Jack Yarber. In 2004, Eric and business partner Zac Ives opened a physical storefront for Goner Records and launched Gonerfest, an annual music festival that brings together bands and fans from around the world. Gonerfest has grown to become a major independent music festival, showcasing a wide array of punk, garage rock, and other indie music acts and solidifying Memphis’ status as a music destination in the 21st century. Along the way, Eric married Jeannine McLane, a creative force in her own right. They have two children, a dog, two cats, and a yard full of turtles.
Despite our friendship, which spans over 30 years, Eric remains a mystery. His inscrutability is what drove me to interview him for Memphis Music Confidential. Although Eric’s impact on the music world extends beyond his own performances and recordings, I didn’t just want to talk about music. I wanted to ask him about life, his political leanings, and his philosophical bent. His responses are frank and revealing. They offer an unfiltered glimpse into the mind of a true visionary who has created a platform for countless bands to reach new audiences, and through that, has built a vibrant community around independent and underground music.
What drew you to music?
I liked music from a very young age. My favorite records were Abbey Road, The Banana Splits LP, and the War Of 1812 symphony because it had cannons. I liked silly music and loud music.
Do you consider yourself radical or anti-establishment?
I try to champion stuff that is underappreciated, and always try to support the underdog. I'm constantly looking for something new and new opportunities. Usually once someone has made it they turn conservative and are mostly interested in protecting their assets and position in society. I think all that should be much more fluid. Change is fun.
What are your thoughts on the current state of the independent music scene and its cultural impact?
Too much to go into. I think everything is changing. I hope eventually for the better.
Looking back on the bands you've been in and everything you've done with Goner Records, what are you most proud of, and what do you still hope to achieve?
I am most proud of bringing great records into the world, and also being able to connect with people from Memphis and all over the world. Want to be able to do this, or something similar, going forward. We'll see.
When the Oblivians first broke up in 1998, were you trying to escape anything?
Each other, probably. The band was never supposed to be a serious thing but it had turned into one and we needed a break from each other.
What about your relationships with Greg Cartwright and Jack Yarber—and what about your self-identity—changed when the Oblivians reunited in 2009, and when you recorded Desperation in 2013?
We had some time to not be a "full time" band. We got to enjoy each other's company and musical ideas again. I think we were always fans of each other's stuff, so it was fun to get back together. Desperation was a really fun record to make.
Where did you meet Zac Ives, your partner in Goner Records?
We bonded over The Real Kids’ music and both ran around with Jay Reatard in the ‘90s in Memphis. I was doing stuff with Jay, and Zac was playing in bands with him. We also worked together at Towery Publishing. We decided to find some endeavor to get into, and pushing Goner to the next level ended up being what worked.
Do you ever feel uncomfortable about the popularity of any of your projects, such as the perennially sold-out Gonerfest, which is now in its twenty-first iteration?
I'm always nervous that folks will go away or the fest will bomb. I'm always happy when people show up. I'm glad they trust us to put on a fun, always different festival.
Before moving to Memphis in the early 1990s, you lived in Hawaii, California, and Boston. After over 30 years here, do you feel a strong sense of local identity?
Somewhat, but there is so much about the city that I don't know or can't claim because I didn't grow up here. I'm very defensive of Memphis, but also very saddened by the realities of this city.
You have children who are old enough to be aware of local, national, and worldwide societal issues. How do you talk to them about it?
They know a lot just through living in this society. I think they see that most people want everyone to have the same chances in life, but that society isn't really set up that way. They also understand that adults don't trust the main American institutions any more and I think that's confusing to them on some level. We talk about instances as they come up in a natural way.
We're six months into Mayor Paul Young's first term. How's it going?
To be honest the last six months have flown by for me, I really haven't had time to keep track of changes. It seems that nothing has changed in terms of the city's view of itself, and crime both petty and serious does not seem to have slowed. I don't know that all this is a result of anything other than forces already in motion, not anything the Mayor is doing or not doing.
You've written record reviews in the past, and have openly discussed your love of certain music critics, such as Lester Bangs and Richard Meltzer. What facets of music criticism particularly appeal to you?
I like impressionistic reviews that are set off by music more than a review that tries to tell you if a record is good and why. I think great music can be boring and terrible and terrible music can be the best thing in the world. And that can change, depending on your mood and what you need to hear at any one time. I liked Meltzer and Bangs because they were wiseguys who seemed to be unafraid to take record reviews to new places.
What types of people do you find irritating?
People who seem desperate to constantly assert their social standing, from ostentatious "stuff"—clothes, jewlery, shoes, whatever, or dropping names constantly and being up on latest lingo. I do not care.
What music did you listen to as a child?
Beatles, AM top 40 radio, Dr Demento. Devo.
Were you a lonely kid?
I don't remember being lonely but I did have a bunch of time just spent spacing out in my room... I think that's essential to let your brain process life.
Have you ever fantasized about living in another time?
Not beyond "I'm glad we have running water. What if we didn't?" kind of thing. Or getting to go surfing before there were a million people in the water.
This is a vast understatement, but you have a tremendous record collection. What are you inspired to buy these days?
I can't really afford to buy records any more. I do pick up unusual used stuff that probably won't sell in the store. If we can sell it, I want to get it to someone in the Goner store.
Do you ever feel obligated to support live performances or buy records?
I do with the shop... I feel like if we don't support music, or stock bands' records, who will? But there's a limit. Personally I do want to get out and see people trying to do new things, but family and other responsibilities don't allow me to get out to as much as I would like.
Are you presently working on any new projects?
Working towards a new True Sons Of Thunder album and a new AAAA New Memphis Legs LP with James Arthur & Forrest Hewes. Got some book ideas for Goner, we'll see if anything comes of them. I really enjoy bringing other people's work into reality... Putting things up on streaming platforms just doesn't have the same bang as holding physical books or LPs.
More information about Gonerfest 21, September 26-29 2024.
More about Goner Records.
Memphis Music Confidential is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.
