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JUDE COLE Releases First New Album In 21 Years 'Coup De Main'

His first love, songwriting, remains steadfast and true, which is why he's releasing his first new music in 21 years.

JUDE COLE is a simple but driven man. Throughout his long and storied career, he's worn many a creative hat, whether it be as a singer, songwriter, guitarist/sideman, film composer, producer, manager or even a stint as music critic and interviewer to acts like The Rolling Stones, Alice Cooper, Bob Seger and dozens of other superstars. His first love, songwriting, remains steadfast and true, which is why he's releasing his first new music in 21 years.

COLE is reigniting that passion with the release of his self-produced sixth album, COUP DE MAIN, which is out now on all digital outlets via Fresh Coffee Records, as well as the self-produced COOLERATOR, a collection of covers of his favorite songs from the 1950s, which was released July 27 on all digital outlets .

"I never wanted to bookmark myself," COLE explains. "I really do enjoy creating new music, and I don't care to look back all that much. I have the Gold and Platinum records in my tank, but I don't hang them on the walls. I don't always like to look at past achievements - I prefer right now and a little of what's next. I spent the last 22 years managing artists like Jason Wade and Lifehouse and being a very behind-the-scenes writer, producer and manager. For me, these two new solo projects allow me to do what I've always done creatively, but with a new ability to actually stand back and appreciate it."

To that end, COLE has most definitively moved the artistic needle forward with the contents of his two most recent solo releases. COUP DE MAIN shines the spotlight on COLE originals that showcase his multi-genre mastery, while COOLERATOR brings a modern-day retro-cool vibe to a score of doo-wop favorites both classic and under-served.

COUP DE MAIN encompasses a variety of styles, from the opening mid-tempo gambit of "Taking Away My Home" to the acoustic and ethereal lament of "Only Far Away" to the progressive swing of "Wax Wings." COLE displays some formidable forward-leaning, atomically inspired chops on "The Dark," which soars into the heart of the stratosphere with a generous cosmic assist from acclaimed fellow producer/artist, Patrick Leonard. "We've been friends and very close neighbors for a long time, and he would literally walk his small synth down to my studio and plug in," details COLE. "He did all the synth work on this song, and I think it's one of the reasons it sounds the way it does. Patrick knew that's what I was going for - and since he even produced Pink Floyd, he nailed it. He's a wonderful, wonderful musician. I can't say enough about him."

Not only that, but Lifehouse drummer Ricky Woolstenhulme, Jr. gave COLE and Leonard all the space they needed on "The Dark" to really stretch things out. "I asked Ricky to listen to some specific Pink Floyd records," he reveals. "I mean, Nick Mason plays everything so painfully simple. He allows all the moving parts to do their job because he's not in the way. Rick took all that to heart. He gave us a consistent bed of ride cymbal, kick and snare, topped with a few timeless drum fills. It really was fun to emulate that '70s sound."

"They furnished off an apartment with a two room Roebuck sale

The Coolerator was crammed with TV dinners and ginger ale

But when Pierre found work the little money comin' worked out well

C'est La Vie say the old folks, it goes to show you never can tell"

-Chuck Berry

Meanwhile, over on another sonic fulcrum, COLE gets to celebrate his pure doo-wop jones on the aforementioned COOLERATOR. Bear witness to his loving take on The Charts' rare gem "Deserie" ("one of the most beautiful doo-wop songs ever"), the twangy Chuck Berry/Rockpile vibes of "Dear Dad," and the horn-supported rock & stroll of Guitar Slim's "It Hurts to Love Someone (When They Don't Love You)." This collection has been a long time coming. "COOLERATOR is a piece of work that's been over ten years in the making - and it's not any sort of epic work you would think would take me ten years," he says with a hearty laugh. "It was really just a pet project in between a lot of other hats, inspired by the true heart and soul of '50s and '60s doo-wop music."

The overall intention for COOLERATOR was to keep it simple and look for the right performance, "I always wondered how they made those records and why are they so soulful... why they're so moving. When you hear about '50s music, it's often bobby socks and malt shops. I know that's part of the Americana culture, but it doesn't really reflect the groups that were singing on the street corners."

The fact is, JUDE COLE is a career artist who's always looking at the next creative signpost up ahead, with nary a glance back in his rearview mirror. And with Chuck Berry as his COOLERATOR guide and inspiration, C'est la vie -it goes to show you never can tell how blues, rock, rhythm, and jazz will all come together to join him on whatever artistic roads he plans to travel down next.

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Interview: Jude Cole

Photo by Kiersten Friesen

There’s a lot of squeaking going on in the background when singer-songwriter Jude Cole calls from his home studio in Los Angeles: his new puppy is chewing a toy. By the end of the chat, Cole discovers that the dog has switched to chewing through a wire on an expensive piece of equipment, so he must hang up before more damage is done. In between, though, he talks of the two albums he’s released this year: Coup De Main , a collection of his original songs, and Coolerator , a covers album of ‘50s songs. These are his first new releases in 21 years, but before he went on hiatus, Cole had put out five critically acclaimed studio albums, starting with his 1987 self-titled debut. Here, he explains what he’s being doing during the past two decades – and what made him decide to return to recording and releasing albums.

It’s been 21 years since your last release – how did you know now was the right time to do so again?

JUDE COLE : I’ve been pretty busy for twenty years – I started managing [artists], and then that led back to writing a lot of songs with Jason Wade , who is the lead singer and the writer for Lifehouse . I managed and produced a lot of their records, and then co-wrote with them quite often. Then I managed others along the way. I still do manage Lifehouse, but I’m not looking for new clients. So with COVID and everything else, it’s just kind of like, “Maybe I’d like to focus on me again.”

Now you’ve released one album of original material and another of cover songs in the same year, which is unusual – how did you decide to do it that way?

JUDE COLE : I always write songs. I’ll write a lot, but it doesn’t make the record. But these, I felt, were worthy. I always ask myself the question, “Why am I writing the song?” If I can answer that question, then usually I like the song. And if I can’t, then generally, it doesn’t need to be said. The Coolerator [covers] record has been a project for over ten years; I’ve just been nudging it along every step of the way whenever I have the time. I’m an artist, I always have been, but I think maybe before artist you could say I’m just a fan. I love to try to emulate the records I love, and I love to try to sound as good as, or in some cases different than, the [original] record.

With so many songs to choose from, how did you pick which ones to cover?

JUDE COLE : I tried to keep them mostly obscure. So in other words, I didn’t do “Blueberry Hill” by Fats Domino ; I did “It Hurts to Love Someone” by Guitar Slim . That was a song that I loved equally that is not quite as well known. I did include “I Only Have Eyes for You” and “I Wanna Be Your Man” – those are the two songs that most everybody would know on that record. But the other ones are pretty obscure. I tried to keep it like, “These are great songs and I think they’ll sound familiar, but they’re not the tried-and-true mainstays.”

And with your original songs, were there any that are particularly meaningful to you?

JUDE COLE : For Coup De Main , I think the song “Taking Away My Home” was pretty significant. There seems to be so many regulations in life now. I think the government, at any point, can go into any woman or man’s house and say, “You’re in violation of something.” In Europe, it’s worse. They have 150 violations you could possibly have for items on your coffee table. But it’s gotten really bad here, too. And I’ve gotten into a little bit of a conflict with the state here on a few issues, and I just thought, “Man, it’s so intrusive.” That song was pretty meaningful. This other song called “Partners In Time” was an actual event that happened to me as I was going home from the studio one night in the ‘90s. It was about a man that I picked up that looked like he was lost at a bus stop in the middle of the night. Turns out he had Alzheimer’s, and luckily, he had his address and phone number printed on his bracelet. So he rolled up his shirt sleeve and showed me his address and I took him home. So I was able to capture that exact story in that song, and I was very pleased with it. That’s a real snapshot of my life, right there. Songs like “The Dark,” “Wax Wings” – they have their meanings. I’ll let the individual listener get their own meaning out of it.

How did you know you should be a musician in the first place?

How did you make the leap from being a big fan to becoming a professional musician yourself?

JUDE COLE : I started in bands in the Midwest. My dad was astute enough to keep a log of our dates. I look back on the dates that I did at that age, and I was very busy. There were a lot of dances that I missed at my high school, parties and things like that, because I was playing at other high school dances. And birthday parties, weddings. We played almost every weekend. And when we played, it was four sets a night, so that was a lot of experience that I got from twelve years old until I left home at eighteen.

Then after you moved to L.A. and established yourself as a successful solo artist, why did you switch to being a manager?

JUDE COLE : I had a wife and two kids. And Nirvana came out and did a real Etch-a-Sketch on the music business. If you were a metal band at that time, you were dead. I didn’t fit into any category, so it didn’t label me dead. But it did label me completely insignificant. Another thing that happened simultaneously is that my manager at the time, who also managed Van Halen , thought I should be a much bigger star and was mad at Warner Brothers for not promoting me enough, and so he took me off of the label – and then he died. So I was left without a manager and without a label. I had to negotiate my own deal with Island Records . They kept me for a short time, and then dropped me. I was depressed and I had two boys and not a lot of money coming in. I was watching TV one night and this Tony Robbins infomercial came on. I’m like, “This guy looks too damn happy.” And so I bought the thing – and it really opened my mind to thinking there are things I’m able to do, and it’s not just being an artist. So I started to develop a couple things. I got Lifehouse signed to DreamWorks , so my management career was off and running. I did about a year and a half stint with Extra on television where I could interview all the superstars of the day. I got to play bass guitar with Del Shannon . I’ve just done a lot of different things that have given me some perspectives on every facet of the music business. And now I can make my records and I don’t expect them to blow up anywhere, but I still love to make them and I still love to continue to grow as an artist and get better. I think at this point, it’s probably the most fun it’s ever been, only because I really am doing it out of love. Much the same way I did when I was in my early teens and just trying to learn records on the radio and be good. That was really fun, too. So it’s kind of come full circle.

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Interview: Emily Wolfe

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My posting on social media’s days are numbered.  I had to deactivate my FB page since being hacked … yet again … this time thanking all for being ‘fans’ … which sounds so like me!  What’s next, me proclaiming ‘I’m from the government and i’m here to help’?

This is my internet space, and I will post songs, photos and what’s on my mind here.  If no one reads it in this lifetime, perhaps one day someone will see there was a guy who received no Grammy, no AMA, no awards whatsoever save a few BMI airplay achievement medallions and certificates, but was an artist true to his form, no matter the audience.

So many proclamations I read about what it takes to be a ‘real artist’.  John Mellencamp said you have to do it, you have to tour, because it’s in your blood if you’re a real artist.  This may be true, but I see little correlation between being an artist and touring.  In fact, to me they’re almost polar opposites.

Writing, rewriting, demoing, recording, producing, mixing… these are an art form of their own.  It starts from nothing.  Eventually you end up with something that is your signature sound,  lyrics that reflect your life experience.  Well, if you’re not just hacking the latest radio or Spotify trend that is.

Many say it’s a gift from the universe that if you don’t snatch up, someone else will.  I always liked that description because for me, that’s the closest to how it feels.

Touring, in my opinion is in large part a carny act.  You have a lobby call, early.  You head to an interview or two, then it’s time to eat.  After lunch you have sound check.  Then you have an hour to go to your hotel room or bus and relax, hang out, shower and prepare for the show.  Once the show starts, typically speaking you do the exact same thing you did the night before.  Then it’s back to the room or bus and onto the next city.  It’s groundhog day.

This is not to say it doesn’t take some creativity to invent an entertaining live show.  I’ll tell you this, it certainly takes an athlete.  But once it’s created you do it night after night, week after week, month after month.  zzzzz 

Ok mr. devil’s advocate, I know there are a few performers who are free-form and wing it.  Jazz musicians have to play live to keep up their skill, their spontaneity, and I get that.  But with popular music that’s not the norm.  The norm is “HELLO CLEVELAND, I LOVE THIS CITY!” … followed by the next night’s “HELLO PITTSBURGH, I FUCKING LOVE THIS CITY!”

To me it’s brutal.  Living with, again typically speaking, 4 or 5 guys in a bus is not an intuitive way for a man to be. We’re not designed this way after the age of 25.  This is why so many bands stay together but don’t like or even speak to each other anymore.  In the case of The Who, for example… Roger and Pete exit the stage from different sides, get in their limos and see each other at the next show, onstage, never uttering a word to one another.  It’s been that way for many years.  Just not in our DNA to live in tight quarters with other men.  Women same.  Men/Women, yikes…

Lennon/McCartney knew it after a few short tours, and  in 1966, 2 years after going to the toppermost, they stopped.  They were like, wait, we could be writing new songs and instead we’re out here taking bows for the songs we already wrote… not what we want to do!  So they stopped.  And the world thanks them.

For li’l ol’ me… I did many other things to keep from touring.  I managed for 22 years,  produced some records, ran a small label for awhile, developed many new artists… and now I get to enjoy what I love most, songwriting and record making.  I hope you enjoy my new home and the songs, photos and videos I offer.  They are mine, based on a life lived and devoted to what I love… music.

82 Comments

I’ve never quite understood the touring mentality; part ego/part money I’m guessing. But I do know a handful of musicians in local bands who aren’t in it for the ego/money and simply need to scratch that itch and perform. I don’t play nor can I sing, so I am relegated to be in the audience to enjoy those who can. Or driving in the car thumping on the steering wheel. Or digging-up a VCR-recorded 1993 Tonight Show episode on You Tube to catch what was then a live performance. While I can appreciate Jude’s focus on the art-side of the industry, I can only hope there is still an itch to perform for us in the audience… a live stream would be incredible!

Bravo! Carry on, man.

Thanks for the artists insight. So interesting for a music fan. Loved it.

Great to see you create your own space without the FB drama and BS that comes with it. You are a true artist and it is good to see you can be in a space to thrive in.

I’m glad that you are doing what you love most , concentrating on your music and getting back to songwriting and record making . I am happy for you and fans like me and so many others are happy too. Your talent as a songwriter, musician, is undeniable, your music, your voice exceptional. The way you turn a story into song is exquisite,, the delivery magnificent and first rate always. Selfishly I would love to see you perform live one more time , but I get it and understand and respect where you are coming from . At least I had the privilege and honor to see you twice here in Chicago , truly memorable. There is none better in my eyes , wishing you nothing but the best , and so looking forward to new post and music from you

I can’t say it any better than Angelo did. I’m a musician myself and I truly appreciate your songwriting, production and musicianship. You should have won a Grammy (and/or an AMA), but it wasn’t meant to be like so many other talented artists (e.g., Brian McKnight, Queen and my good friend Robert Berry). Unfortunately the way the music business is today, it’s not probable and that is sad. I would have loved to have seen you live, but I can see that is not going to happen. I wish you all the best in the future and keep making music and doing what you love.

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J. Cole Announces Spring 2023 Dreamville Festival Dates

Next year's event will take place in Raleigh, N.C.

By Gil Kaufman

Gil Kaufman

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J. Cole announced the return of his Dreamville Music Festival on Wednesday (Nov. 2), revealing that the event will return in spring 2023. In fact, after a two-year pandemic layoff and a reboot this spring, Dreamville is expanding to two days next year, with all the action slated to unfold in Raleigh, North Carolina’s Dorothea Dix Park on April 1-2.

5 Best Moments From Day 2 of Dreamville Music Festival 2022

Trending on billboard.

“Dreamville Festival wants to keep growing and building off the success of the expanded two-day event last year. Our team is excited to reunite with our Dreamville family from around the world next spring,” said Dreamville Festival President Adam Roy in a statement. “Day ones, JID fans, Ari fans, music fans, everyone is welcome. Consider this your personal invite. Come through, you won’t want to miss Dreamville 2023.”

Cole will once again curate next year’s lineup — which has not yet been released — with organizers promising “incredible music performances featuring Cole’s own favorite musical artists and collaborators who are traveling worldwide to perform in his home state of North Carolina.” A special ticket pre-sale will soon be available for Dreamville fans tho sign-up for the official festival email or text newsletter here .

Check out the announcement below.

View this post on Instagram A post shared by Dreamville Fest (@dreamvillefest)

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