Champagne vaguely recalled this episode. Jerden doesn’t recall it but doesn’t dispute Sheeley’s account. At the same time, he points out that besides being a bass player himself, “I had extensive experience at recording bass in terms of techniques. At that time, I’d recorded Bill Wyman from the Rolling Stones and I’d worked with tons of great fucking bass players, so I knew how to get a bass sound.”
During separate interviews with Greg Prato and Mark Yarm years later, Susan said, “The only one that was difficult to manage was the original bass player—he had that notion that if you sign a major record deal, you can go and spend a lot of money. The rest of the guys were really great about being money conscious and realizing that the money you get is your money, and the way you spend it is going to be how much you have at the end.” Beyond her criticism of Mike, Susan said Jerden had something of a profligate attitude regarding the budget and encouraged the band to buy gear.5
Jerden disputed Susan’s claim, saying only two pieces of equipment were bought for Facelift. The first was a six-string bass that cost around five hundred dollars, which Jerden bought from Sheeley and paid for himself. This bass was used for the choruses to make the songs sound heavier.
The second piece of equipment was the Voice Box for “Man in the Box,” which the band paid for so Jerry could use it to perform the song live. “I think that Voice Box cost like a hundred dollars, and that was the hook sound for ‘Man in the Box,’ and to me it made the whole difference in making a hit record. I had them buy two things totaling maybe six hundred dollars for a hit song that sold millions. I didn’t tell them to go to the store and just start buying shit. Anything else they bought after that, I don’t know about and I had nothing to do with.” Jerden and Susan were getting along during the making of Facelift, but they would have a falling-out several years later.
Champagne backed Jerden’s account, saying they went to American Music in Seattle once because Jerry needed to buy picks and strings. Regarding Mike’s spending sprees alleged by Susan, Sheeley backed up Jerden’s account, saying Mike did not spend a lot of money on gear.
Champagne went to a club with the band members one night. As they were about to leave, Champagne saw Layne go in the bathroom, light a paper towel on fire, and throw it in the garbage can. “He’s like, ‘Run!’” Champagne recalled. “I’m like, ‘Oh, shit.’” They left and piled into Layne’s car, a station wagon Champagne thinks he borrowed from his mother. “It seems like everywhere that we went, we were running for our lives to get out of there.”
A frequent hangout for all of them was the Vogue. One night the bathrooms were so full, women were using the men’s room. At that point, either Layne or Jerry decided it would be easier to go outside. He was in the parking lot urinating when a woman sitting in the car behind where he was standing turned the lights on. Layne or Jerry, whoever it was, turned around and peed on the hood of the car. The woman was furious and started yelling. She followed him inside, still screaming. At that point, everyone bolted out of the club. Layne went into getaway-driver mode, got the station wagon, and drove up and down the street picking people up. “We are literally diving into the car, because people are chasing us. It was that bad. I swear to God. It happened almost every time we went there … some crazy shit,” Champagne said. It got bad enough that he started going to the Vogue by himself.
Champagne stopped by the band house once. His reaction was “Holy shit.” He remembers one girl going downstairs with Mike to have sex. After she had left, another girl came over and went downstairs with Mike. Champagne got the impression that Demri didn’t like that Mike was such a womanizer, because she thought he might be a bad influence on Layne. Jerden and Champagne said Layne was not using heroin at the time. However, they heard unconfirmed rumors at the time that Demri was using. People who knew Demri well do not know when or how her heroin use started.
The sessions at London Bridge wrapped up in December 1989. Jamie Elmer vividly remembers Christmas of that year, although it might have been 1990 or 1991. “Layne and Demri came over to where my mom was living, and my sister and I were there. And they had actually bought Christmas presents, because it was the first time Layne had money to buy Christmas presents.”
The band, Jerden, and Champagne relocated to Los Angeles after the holidays to finish the album, mainly vocals and guitar overdubs. “They had just rebuilt Capitol Records Studio A, and I was the first client in there, and my wife managed the studio.”
Bryan Carlstrom was an assistant working at Capitol Records, floating between three different projects at the time, one of them being Facelift. Carlstrom had not heard of the band before they came to the studio. Because he was hearing only bits and pieces of the record, he hadn’t really formed much of an opinion on the band. Outside the studio, Carlstrom hung out and smoked pot with Layne. Carlstrom’s impression at the time: “Kind of a Birkenstock kind of hippyish kid, really skinny, pretty innocent kid, to tell you the truth. He looked really young, really childlike, aside from I think he had a goatee, a goatee with a couple of beads in it or something, very childlike.”
Champagne described the remodeled Studio A as “a million-dollar coffin,” meaning that if you went into the middle of the room—which was about the size of a gymnasium—and spoke, “you could see your words stop in the air like a cartoon word bubble.” He had Layne go out in the middle of the room with only a stool to place a water bottle, an ashtray, and his sunglasses.
“Turn the lights down low so you can barely see me,” he told Champagne, who was in the control room. He agreed, and responded, “Okay, I got to turn down the control room lights, too, so you can just barely see me.” Champagne said Layne nailed his vocals on the first take pretty much every time. Jerry was the same. According to Jerden, “When I was doing lead vocals, I’d double them. And then any harmonies we did, which were not extensive, we’d just do maybe a third harmonic harmony, but it wasn’t that stacked vocals that came out on Dirt.”
Phil Staley came to the studio while Layne was recording his vocals. Champagne thinks there might have been an element of surprise to the visit. Layne was happy to see him. Beaming with pride after hearing his son sing, he turned to Champagne and asked, “Man, where the fuck did he learn how to do that? I just got the chills!”
The band asked Jerden where they could find a strip club. “Go to the Tropicana,” he told them, which he described as “a tourist strip bar.” Champagne went with them the first time. “I started half of that mayhem,” he said. “The first night that we went there, Mike was goofing around with this one stripper, and he paid her to walk up to me, grab the back of my head, and shove it—she had massive breasts—shove my face and rubbed it, and she had the worst perfume I’ve ever smelled, and it was all over me.”
When Jerden visited them at the Oakwood Apartments complex where they were staying, he saw they had a Tropicana calendar, featuring pictures of the girls. They put an X over each girl they had slept with. During the recording sessions, the band played a show at a club called English Acid. A lot of Tropicana girls showed up at the gig.
In mid-March 1990, Alice in Chains took a short break from the recording sessions for Facelift in Los Angeles and returned to Seattle. Shortly after, the local music scene would be rocked by a tragic loss.
Chapter 10
1990—one of two roads.
—ANDREW WOOD
MOTHER LOVE BONE front man Andrew Wood—dubbed by Experience Music Project’s senior curator, Jacob McMurray, “the Freddie Mercury of Seattle” for his charismatic, goofy personality—had been quietly struggling with a heroin addiction since the mid-1980s. According to music journalist Jeff Gilbert, Wood’s heroin addiction was a secret held “in closed circles” by the people close to the Mother Love Bone camp, especially in comparison to Layne’s and Kurt Cobain’s addictions a few years later, which were public knowledge. “People knew, but it was something you didn’t go around talking about.”
Wood had had drug and alcohol problems f
or years. In a handwritten piece of paper dated from 1989 that Wood called a “Drugalog outline,” which his family shared with filmmaker Scot Barbour for the documentary Malfunkshun: The Andrew Wood Story, he chronicled his nearly lifelong progression through drugs and alcohol. He started using heroin in 1985 or 1986. He moved to Seattle, moving back in with his father after getting hepatitis from dirty needles. According to The Seattle Times, “His body turned yellow and his liver was shot.”1
During a December 1986 interview with The Rocket, Wood said he and his Malfunkshun bandmates had quit drugs “a few months ago,” and specifically stressed to the interviewer, Dawn Anderson, that it was okay to print that. Their song “With Yo’ Heart (Not Yo’ Hands)” is about heroin and hepatitis.2
Friends staged an intervention around Thanksgiving of 1989, after which Wood checked himself in to Valley General Hospital in Monroe, Washington. It is likely during this treatment that Wood prepared his Drugalog. The final entry in the document reads, “1990—one of two roads.” While there, he told his fiancée, Xana La Fuente, that if he ever had to make a choice between his music career or his sobriety, he’d choose the latter.3
Mother Love Bone played a show at the Central Tavern in Seattle on March 9, 1990. This was Andrew Wood’s final public performance. He had been out of rehab, was allegedly drug-free for 100 to 116 days, and had been working with a therapist and attending AA and NA meetings. On March 15, 1990—a few days before the scheduled release of Mother Love Bone’s album—Andrew Wood’s brother, Kevin, had a premonition Andrew had relapsed. He called Andrew out on it, a charge he would deny.4
The next day, he was supposed to meet with Jeff Ament to work out at a gym. Wood had been on the program to get in shape for his live performances. Wood called Ament, telling him he wasn’t feeling good. “His voice was kind of scratchy,” Ament wrote. “Looking back on it, he was high, but at the time I didn’t notice that. He sounded sick; no big deal.”5
Wood was supposed to meet with his tour chaperone that night, whose job was to ensure that he stayed sober. He called Kelly Curtis and told him he wouldn’t be able to make it to practice and that his fiancée was going to think he had done drugs.
“Did you?” Curtis asked.
“No,” Wood responded.
Also on that same day, Mike Starr said he ran into Wood in Kelly Curtis’s basement. Wood asked him for a ride home. Mike passed it by about three blocks, after which Wood got out. When he did, Mike said he “went up to this Mexican guy when he got out.”
David Duet, the singer of Cat Butt, saw Wood copping drugs at the Denny Street house, which, as he told Mark Yarm, was inhabited by “a bunch of crazy kids … and there was a drug dealer that lived there … I used to spend the night over there sometimes. I would wake up and there would be a cast of characters there. Multiple people moved in and out of that place. They had parties, and bands played in the basement.” David added, “I saw him that day. It was devastating ’cause it’s one of those people you did not expect.”6
La Fuente was at a work meeting that night and left at 10:00, instead of her usual 6:30 or 7:00 time. Two coworkers asked for a ride home, which she agreed to, but it added another thirty to forty minutes to her trip home. When she got there, Wood was lying facedown, unconscious on the bed. According to The Seattle Times, which attributed this information to Wood’s father, who had heard it from La Fuente, Wood’s arms were sprawled out at his side, his face was tinged blue, and he had blood in his mouth. There was a needle puncture in his arm, with a syringe found nearby. La Fuente called 911 at 10:10 P.M., and the dispatcher told her how to administer CPR while paramedics arrived. Although initially presumed dead, at 10:34 P.M. Wood was revived and placed on a respirator.
He was admitted to intensive care at Harborview Medical Center in Seattle at 12:40 A.M. He initially showed signs of improvement, but a CT scan showed brain swelling. La Fuente called several people with the bad news, probably too many people. “I wish I would have never called anyone and told them he was there,” La Fuente told Mark Yarm. “Because of that scene there. A lot of people didn’t deserve to be part of that. There were a lot of groupies showing up.”7
La Fuente may not have been entirely responsible for the “scene” at the hospital. A few other people overdosed that weekend as well—possibly caused by the same batch of heroin. One of them was the keyboardist from the band Sleepy Hollow. His bandmates, including future Tad roadie Ben Rew, were at the hospital at the same time Alice in Chains and other friends of Mother Love Bone were there to see Wood.
“I think Jerry Cantrell thought I was there to pretend I was cool, because there were a lot of people that were there that shouldn’t have been there. There’d be like random chicks. So I think it got confused that I was there for the wrong reasons, and Jerry brought it up,” Rew told Mark Yarm. “He asked me why the fuck I was there. It was as simple as, ‘My fucking keyboard player is dying in there, asshole!’ That normally will spark some confrontation. Basically, I think I lunged at him. And I think Jeff and some other guys and my guitar player Rick got in between us. I was pretty stoned at the time.” Rew’s keyboardist would spend the next four and a half months in a coma before he eventually recovered.8
Wood’s roommate, Chris Cornell, was touring with Soundgarden in Brooklyn at the time, and the band’s tour manager got the bad news. The tour manager didn’t tell the band until after the show, so it wouldn’t affect their performance.
According to Soundgarden’s soundman, Stuart Hallerman, “We did tell them after the show, and Susan was out with us, and she started plying herself and Chris with liquor to dull the pain a bit. Driving back to Manhattan, Susan was like mumbling and falling over in the van. It was maybe the only time I’ve seen Susan drunk. The band played the last show of the tour in Hoboken the next night, and Chris and Susan flew out and got to the hospital.”9
Once at Harborview, “All the band was around, and his girlfriend. They told us when we got there that they were going to take him off life support,” Susan recalled.10
According to Scot Barbour’s documentary Malfunkshun, by 11:20 A.M. on Monday, March 19, Wood was unresponsive, with no reflexes or signs of brain function. Wood’s parents decided to remove him from life support, but La Fuente would not let them until Cornell arrived.
According to La Fuente, “His whole family was at the hospital, like twenty people. They all went in and saw him. Then all of his friends went in and saw him. Then I went in, had cut his hair off, and kept it. I played some Queen for him—they were his favorite band. The doctors turned everything off, and I just held him really tight and listened to his heart until it stopped. It took like fifteen minutes.” He was twenty-four years old. A coroner concluded he died of hypoxic encephalopathy—lack of oxygen to the brain—as a result of his overdose.11
A public memorial service was held at the Paramount Theatre on March 24. Ken Deans and La Fuente spoke. There was a video tribute put together by friends. David Wood, Andrew’s father, addressed the audience, saying, “My son was a junkie.” He urged the crowd not to do drugs. He addressed the surviving members of Mother Love Bone: “I want you guys to go on and be the biggest stars you could be. I want to see you guys on TV. If you’ve got to get another singer, don’t get a junkie.”12
A private wake was held at Kelly Curtis’s house immediately after the memorial. There were between twelve and twenty people there, according to Ken Deans, mostly local musicians. “The fans went home. His friends went to Kelly’s,” Chris Cornell wrote. Nancy Wilson of Heart brought her three springer spaniels along. “Everybody at the place took turns getting down on the ground and hugging the dogs because it was really comforting.”13
Cornell remembered being in the crowded living room, with La Fuente telling everybody, “This is just like La Bamba,” the 1987 Ritchie Valens biopic. At that moment, he heard “slapping footsteps growing louder and louder as they reached the front door and Layne flew in, completely breaking down and crying so deeply that he lo
oked truly frightened and lost. Very childlike.” Cornell added, “He looked up at everyone at once, and I had this sudden urge to run over and grab him and give him a big hug and tell him everything was going to be okay.
“Kelly has always had a way of making everyone feel like everything will turn out great. That the world isn’t ending. That’s why we were at his place. I wanted to be that person for Layne, maybe just because he needed it so bad. I wasn’t. I didn’t get up in front of the room and offer that and I still regret it. No one else did, either. I don’t know why.”14
Mike walked in and said, “Who wants to smoke a joint?” He immediately regretted the insensitive nature of his comment when he saw Cornell in tears looking at a photo album of Wood.15
Nick Pollock came to the wake and ran into Layne, and the two talked a bit. “I remember hanging out with Layne and how upset Layne was because he was much closer to him than I was … I remember [Layne] being upset and I’m pretty sure he was crying, and I remember becoming emotional talking to him about that situation,” Pollock recalled.
“I think I felt a certain amount of that for Andy Wood. I was not friends with him. I was an acquaintance. Layne knew him more because they had played, and I believed that he identified with that, and he felt his pain and the way he dealt with it.” Asked if Layne was distraught at the wake, Deans said he was, but noted everyone else was as well.
Mother Love Bone was thought to be on the brink of stardom. No one knows what might have been if Wood had survived. Just before his death, Mother Love Bone’s management had received a bonus check from Polygram Records. “I remember sitting with Kelly at the house and we’re looking at this check for $250,000, and he’s going, ‘Fuck, I got to send it back.’ It was the signing bonus for finishing the record,” Ken Deans explained. “The check came on Friday and Andy died on [Monday], so it hadn’t been deposited yet.” Mother Love Bone broke up, but bassist Jeff Ament and guitarist Stone Gossard stuck together and started the band that would become Pearl Jam. In retrospect, Wood’s death was not an isolated incident but a foretaste of things to come.
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