Former Bassist For Bif Naked Cranbrook, Canada’s Ferdy Belland
Interview By: Ginger Coyote
Punk Globe: Thanks for the interview, Ferdy. I know you are in Canada but I need to recognize the area code where exactly are you located?
I’m in Cranbrook, British Columbia – the Key City of the Kootenays! Sunshine Capital of BC, right along the Blue Canadian Rockies! We’re just north of the Idaho Panhandle. Strategically located right in the southeastern corner of the province. Very close to the major cities of Calgary, Lethbridge, and Kelowna.
Punk Globe: Is Ferdy short for another name?
My full name is (brace yourself) Ferdinand Richard Belland, Jr. – but, oh hell, even my Mom doesn’t call me “Ferdinand,” even when I get in trouble. Everybody’s tongues don’t trip over “Ferdy” so much.
Punk Globe: What made you choose bass as your weapon of choice?
It started off as an excitable teenage rush to be part of the local garage bands all my high school buddies were suddenly forming. Everybody else was playing electric guitar, so I grabbed a bass. At first, I thought: hey, this is a snap! Four strings? No chords? How hard could it be? I soon found out how deep of a well the bass really is, as an instrument and as a melodic voice. I first taught myself by playing along with Ramones tunes, which was awesome since any beginner musician needs the satisfaction of achievement and success. Still, when you’re trying to figure out Rob Wright’s basslines in NoMeansNo tunes, or Klaus Flouride’s basslines in Dead Kennedys songs, you quickly realize that you’ve got to move beyond mere root notes. I was also listening to thrash metal and prog rock as well as punk, so I drew influences from ten different musical directions. Fast-forward 35 years and here I am, still rocking it out on the bass. Music makes up the most significant part of my personality, and I’ve been blessed with a colorful and exciting life, and I owe it all to the bass.
Punk Globe: Do you play any other instruments Ferdy?
I play acoustic guitar on the side. Electric bass and upright bass are my main instruments, but as I developed and progressed as a bassist I turned my growing musical knowledge to the guitar and it also gives me a lot of artistic joy and musical thrill. I love melodically intricate players like Leo Kottke and Nick Drake and Michael Hedges and Stephen Stills and Joni Mitchell and stuff like that, and I try to emulate that. Open tunings and whatnot. Adventurous folk-rock, if you will. As a bassist, I’m a team player inside a band unit, but I do enjoy singing and accompanying myself on guitar, where I’ll play coffeehouse gigs and such. You should see the looks on all my punker and metalhead friends when they come out to see my solo gigs – they’re used to seeing me thrash around onstage with distorted high-octane bass and then they see me sing all seven verses of “Wreck of the Edmund Fitzgerald.” But then I’ll play protest tunes by Leon Rossellson and Billy Bragg and they calm right down. Funny shit, that.
Punk Globe: You played bass with my long-time friend Bif Naked. Tell us about that?
I knew who Bif was in the old school Vancouver scene back in the early 1990s when she was singing lead with Chrome Dog and I was playing bass with Cellar of the Sun – which featured future Leftover Crack frontman Ezra “Crack” Cannon. I never actually met Bif, but I was blown away by her stage presence and performance energy, whether she was rocking out for 50 people at the Niagara Hotel or ruling the stage at the 1992 Highwood Festival in front of 4,000 people. All the Vancouver-area Riot Grrrls adored her and embraced her, and she was one of the most powerful personalities in the Vancouver scene at the time. And then Peter Karroll came along and launched her solo career for real and she became Canada’s Sweetheart! Local Girl Does Good!
I finally met her in person about ten years ago. My fellow Cranbrook musician J.D. Ekstrom was her guitarist for five years, and it was a great pleasure to become friends with her. What you see is what you get. One of the sincerest, nicest, gentlest, funniest, smartest, and most empathetic people I’ve ever had the privilege to know. Not an ounce of pretentiousness or arrogance or iciness or anything. Very worldly and well-read and utterly ageless. It was refreshing to know that the Bif Naked that’s promoted to the public is the same Bif Naked who’ll welcome you into her home, whip you up the tastiest Indian food you’ve ever eaten, and refuse to let you help wash the dishes afterward (laughs). She’s awesome.
I got the bass gig with her band right out of the fucking blue. The story goes like this:
It seemed her then-current bassist had gradually been wearing out his welcome and walking on thinner and thinner ice with overbearing attitudes and such. Bif was playing this huge Pride Festival on Parliament Hill in Ottawa in the summer of 2018 – she was delivering an excitable pump-up speech to the crowds – while the bassist was berating the drummer and guitarist behind her – and his bullying was caught on the the mic! Apparently Bif gave him a withering glare that could have frozen a lake before finishing up the pump-up speech and rocking out the rest of her set. Immediately afterward, once she was offstage, she blew her top. Got on the phone with Peter Karroll and told him that either the bassist was fired or she was going to quit her own band! Peter reminded Bif that there was another slew of upcoming gigs that had to be honored and that he’d call up some hotshot session musician on speed dial or whatever, and then:
Bif: “Absolutely not! I want this band to be fun again. I need someone who’s pleasant to be around, I need someone who’s an accomplished and dedicated player, I need someone with a gung-ho professional attitude – and I know a guy. You need to give Ferdy Belland the right of first refusal to join the band.”
Peter: “Huh? Who the fuck is Ferdy Belland?”
Bif: “Peter! He was the guy at my wedding who came up to you and had you sign all his Karroll Brothers records!”
Peter: “Oh! Him! Oh yeah, he’s great! Sure thing, Bif!”
So I’m getting on my jacket and heading out the door to meet a friend for beers when my phone rings and it’s Bif!
Ferdy: “Hey Bif! Long time no talk! How are you doing?”
Bif: “Hey Ferdy. I’m fine, thank you. Look, this happened…” (explains) “…so, do you want to join my band?”
Ferdy (instantly): “Yes. YES! My God, thank you SO MUCH! Er, so what happens next?”
Bif: “I’m so glad you agreed, Ferdy! Peter will be calling you in twenty minutes!”
(reschedules with a buddy, eagerly waits 20 minutes, phone rings again)
Peter: “Hello Ferdy. You come very highly recommended by my artist.”
Ferdy: “Thank you so very much for the opportunity, Peter. I promise you that I won’t let you down.”
Peter: “Bif has a show coming up in Edmonton in two weeks. Headlining the Frosh Week Homecoming Festival at Grant MacEwan University. Can you learn 20 Bif Naked songs in two weeks?”
Ferdy: “Absolutely, Peter. Do you need me to sing background harmony vocals as well?”
Peter: “You sing too?”
Ferdy: “You bet. What’s the band’s onstage dress code?”
Peter: “You don’t have a problem adjusting your apparel to fit the gig?”
Ferdy: “Of course not.”
Peter: “Basic black.”
Ferdy: “You got it, Peter.”
Peter: “Okay Ferdy, here’s the deal: I’m going to consider this upcoming Edmonton show as your trial-by-fire audition. I’m going to fly you out to Edmonton on my dime. I’ll have a valet pick you up at the airport and take you to the festival site. I’ll set you up overnight in the Hyatt Regency Hotel. Not only will I pay you for playing a 90-minute set with my artist, but you’ll have a per-diem for your live-out allowance and a backstage rider for food and drink. If you pull this off, you are officially the full-time bassist for the Bif Naked band. Deal?”
Ferdy: “Yes, Peter. Thank you so much!”
I learned her repertoire solid in four days and spent the following week and a half just running the tunes endlessly, over and over and over again until they became automatic and unconscious under my hands. That’s the goal with learning any songs, let alone songs being learned under sudden professional pressure. So the big day came, I hopped a plane from Cranbrook to Edmonton, the valet whisked me off to the University, I met Bif and Steve (Allen, guitarist) and Chiko (Misomali, drummer) backstage, Bif gave me a big hug, said good luck, and off we went. I took the stage with them cold, with no rehearsal – and I nailed it. The crowd went wild for Bif, as they always do, and it was a visceral thrill for me. Afterward, backstage, Chiko clinked bottles with me in salute and said: “Wow, that was good, man – it’s like you’ve always been playing with us.” Which was one of the all-time best musical compliments I’ve ever been given.
My time with the Bif Naked band remains some of the brightest moments in my musical life. I shared huge festival stages with 54-40 and Big Wreck and Our Lady Peace and the Trews and K-OS. I played to the largest audience I’ve ever performed for 28,000 people at the 2019 Canada Day Celebrations in Surrey BC. We went to the Bahamas to play the Trailer Park Boys Cruise, which was beyond a blast and worth a full-length interview just on its own. Every show I played with her was a joy. She was a joy. It was a great personal achievement for me, having finally come to a musical place that I dreamed about when I was a teenager. And it was even better to be a bandmate for such a truly special person such as Bif. I got backbenched in August 2021 when Peter Karroll decided he wanted back onstage, and what Peter Karroll says goes. It hurt at the time, but I always was a hired gun, like all the other people who’ve come in and out of Bif’s band over the years. I remain friends with Bif and Chiko, which was important to me.
Punk Globe: Bif and my band White Trash Debutantes along with Lick The Pole played an after-hours party for Music West in the mid 90’s do not remember who Gerry Jenn was playing with but she was there. I doubt you were in the band then.
Nope, I wasn’t in her band back then, unfortunately. I could only imagine what a backstage party would be like with Rebecca Russell and Gerry-Jenn and Bif and yourself all in close quarters, all excitable and animated and fueled on complimentary vodka. I probably would’ve spent my time nervously adjusting my collar with a big dippy grin on my face. Rock and roll is awesome.
Punk Globe: You mentioned playing with other projects please gives us details.
My main band is Phaeton, an all-instrumental prog-metal quartet. If one is into stuff like Dream Theatre or Animals as Leaders or Devin Townsend or Symphony X then you’ll enjoy what we do. There are no vocals. We let the guitars do all the singing, which is fine by us, seeing how we’re not keen on all the Cookie Monster growling that’s being beaten to death by too many modern metal bands. We just released our second album earlier this year and we’ve been receiving a startling amount of rather flattering critical response for it – I mean, music journalists from Argentina and Germany and Brazil and the UK and Croatia and Denmark are saying really nice things about us. One magazine even gave us a higher rating than the new Jethro Tull album, if that means anything. We’re currently booking Canadian shows for September onwards and are in talks with the Musician’s Union so we can perform in the US and the EU. It’s the most technically challenging music I’ve ever written or performed, but the four of us are careful to take a melodic songwriting approach to how we create. It’s too easy for a lot of modern prog bands to get carried away with Flash for the sake of Flash. And we truly kick-ass live. With Phaeton, ‘prog’ is not a four-letter word, if you catch my drift.
I also play bass with Garuda, which is a psych-rock power trio. My buddy Steve Pierson plays an electrified sitar as a lead instrument if you can believe that craziness, and my friend Jason Deatherage is a spastic jackhammer behind the drums. For that band, I play a 7-string hybrid bass with a combined fretted and fretless neck, which is an eye-crossing object to look at, let alone trying to play the damn thing. We just played at the Electric Highway Festival in Calgary, where we opened up for the mighty stoner-rock band Sasquatch.
https://garuda1.bandcamp.com/track/ancient-chains
And just to assure your readers that an oddball like me deserves passing mention in Punk Globe, I also play bass in the Brotherhood of Lost Souls, which is as punk as it gets for Yours Truly these days. We’ve got this hard-driving Hellacopters / Zeke / Turbonegro gutter-rock sound where I get to flesh out my inner Glen Matlock on my beat-to-shit Fender 4-string. Balls-to-the-wall songs about broken hearts and broken glass. We recently opened up for Econoline Crush, which was a big deal for all of us. We’re looking forward to recording our debut album and breaking into the nearby underground scenes in Lethbridge and Calgary. The punk promoters at Calgary Beer Core will do us proud!
Punk Globe: You are also a journalist I read an article you wrote on DOA. I have known DOA since their first trip to San Francisco. I had so much fun with them. Miss Randy and Dave so much. Who do you write for?
I’ve had an enjoyable parallel career as a music journalist since 1992. I wrote for a shwack of Vancouver publications: Terminal City Weekly, REK Magazine, the Nerve Magazine, The Skinny, BeatRoute, and The Georgia Straight. I’ve interviewed DOA’s Joe Keithley several times, and he’s always good to talk to. I’ve found the best journalism emerges when you can set your subject at ease and convince them to do all the talking, so you don’t have to paraphrase too much to beef up the story. Joe has a bottomless well of vivid memories and hilarious on-the-road war stories and he’s the real meal deal when it comes to First-Generation hardcore heroes that still walk their walk as well as talk their talk. I currently write for the online regional news magazine E-Know as well as the good old Cranbrook Townsman. I take satisfaction knowing that if arthritis ever robs me of the ability to play bass, I can still hunt and peck on a computer keyboard and get my creative rocks off through writing.
Punk Globe: You mentioned working with our mutual dear friend Chris Walter. Tell us about that.
I met Chris Walter when we were both freelancing with Nerve Magazine. He’s always been a well-respected strong leading personality in the Vancouver scene, so I’d always see him around at punk gigs at the Cobalt or whatever – but I was always impressed with just how prolific a writer he is. I mean, you hear about Stephen King’s daily regimen of getting up early in the morning, getting to work at his computer, and focusing single-mindedly on writing until he gets 2,000 words down that he’s completely happy with – sometimes it takes him four hours, sometimes it takes him nine hours, but every damn day for the past fifty years that guy has been puking out story after story after story. I see the same dedication with Chris.
I mean, Chris has, what – thirty books published, or so? You read about famous writers like Dashiell Hammett or Thomas Harris who barely wrote six books apiece over their entire careers, and Chris spits out books the way Guided By Voices spat out albums. Chris is a keenly observant soul who captures the grit and the grime of underground punk-skizbag life in a very convincing voice, and he’s got a punk version of the beatnik prose to his writing style…Jack Kerouac meets Lester Bangs meets Irvine Welsh. My favorite stuff he wrote was his non-fiction band biographies – I loved his book on Personality Crisis, and his Winnipeg Hometown Heroes, and I need to get his bios on the Dayglo Abortions and SNFU. And he published that one crazy science-fiction book by Simon Snotface too!
And I’m proud to say that I was the guy who convinced him to write that one book about the Oral History of Canadian Punk, even though the darn shnook never gave me a dedication in italics after the title page! (laughs) But I forgive him his trespasses. He’s a true Canadian punk hero and deserves a much larger reading audience than he has. I tried to convince him that the Oral History book would’ve been a project that could have landed him a mainstream literary agent and got him published with McLellan & Stuart or Penguin Random House or any of the big Canadian publishers, but he’s got a lot of Story left within him, and his days aren’t over by a long shot.
Punk Globe: You mentioned being an actor. Tell the readers what they might have seen you in?
Ha! No Oscars on my bookshelves! Most of my acting has been in community theatre, so unless anybody out there saw me play Bernardo, the leader of the Sharks, in the 1998 Cranbrook Community Theatre production of “West Side Story,” then no dice. I enjoy acting very much, and I always kicked myself that after all the years I spent in Vancouver that I never tried breaking into Hollywood North, even as an assistant gaffer or whatever. But now I’m old enough to play disgruntled-dad roles, so perhaps Netflix awaits!
Punk Globe: Please tell us what is on the horizon for you in 2023.
My partners and I bought the Armond Theatre in downtown Cranbrook back in 2020, right before the pandemic erupted – good timing, hey? We’ve been gradually renovating it with the aim of transforming it into a multipurpose performing arts facility. Live music, live theatre, spoken word events, lecture hall, convention and conference destination, wedding venue, seasonal events, everything under the sun. There’s a hell of a lot of small-town bureaucracy hoops to jump through, and it moves at such an agonizingly slow pace, but we’re not in a hurry to fail, and we’re moving along inch by inch, headache by headache. So that in itself keeps me busy.
But the music is what keeps driving me. It’s an embarrassment of riches, almost. Prog-metal with Phaeton, psychedelic rock with Garuda, gutter-punk with the Brotherhood of Lost Souls, electric blues with Ethan Askey and the Elevators, and my solo gigs. I’m still young enough to believe in what I’m doing, and I’m too old to change my ways now.
Punk Globe: Describe yourself in three words.
Effervescent. Ebullient. Exasperating.
Punk Globe: Punk Globe is turning 46 years old this month. Any last words for Punk Globe readers?
Punk’s Not Dead, indeed. Especially nowadays as Western society is gradually morphing into a digital version of the Victorian Age, with ever-widening gaps between the haves and the have-nots. We need punk more than ever. I always embraced the concept of ‘punk’ as being whatever you wanted it to be – a musical style, a fashion sense, a political stance, a lifestyle choice, and it never needed to be codified by the cliche of a purple mohawk and a spiked leather jacket. I look at old photographs of first-generation punk rockers of the late 1970s, attending DOA gigs at the Smilin’ Buddha Cabaret in Vancouver, or attending Ramones gigs at CBGBs in New York City, and those folks look a hell of a lot like the folks who came out to see the Ripcordz live at the Brookstock Festival: T-shirts, tattered jeans, stained denim, the occasional beard. Punk, for me, was a welcoming club that took in all the misfits, and it wasn’t some uptight clique where you got sneered at if you liked Rush as well as the Damned. United we stand, divided we fall – right? And good on Punk Globe for flying the colors for nearly fifty years. Long May You Run.