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Fred Mollin has composed for cult classics (Friday the 13th), produced hits for multiple legends, and made lullabies that helped generations of babies drift to sleep. Now, he's telling his story in Unplugged, a new memoir filled with behind-the-scenes moments, music milestones, and candid industry tales.
We sat down with Fred to talk Elvis, Elton, and everything in between.
What role did music play in your childhood?
"I grew up in Merrick, Long Island—pure Leave It to Beaver suburbia. My parents didn’t play music, but my siblings did, and by six I was buying Elvis records. I turned trash cans into drums. When The Beatles hit at 11, that was it—I wanted guitars, screaming girls, the whole life."
You initially wanted to be the star on stage?
"Yes, until I was 21. Then I helped a friend with a demo—it led to a record deal, and I realized I loved being behind the scenes, shaping the sound, directing the vision."
So what does a record producer actually do?
"Some producers are there to roll something up, but really, it's like being a film director. You’re overseeing the entire vision of the record. Every note, every take... you fulfill the artist’s vision and elevate it."
Your big break?
"At 23, we produced Sometimes When We Touch—our third record with Dan Hill. The U.S. label told us, 'This better be a hit or we drop him.' Then we heard Barry Man’s rough piano vocal with Dan’s lyrics—and we knew. It was magic."
What happened after that hit?
"Offers rolled in. Clive Davis called and said, 'Move to L.A.—I’ll give you work.' And he did. We were just kids. It felt surreal."
What was it like working with Michael McDonald?
"I cold-called him—he was new in the Doobie Brothers. I said, 'Will you sing background vocals?' He said, 'Sure, come on down.' We’ve been friends ever since.
And Billy Joel?
"We worked together on duets—one for Johnny Mathis and one for Jimmy Webb. He’s the real deal."
You mentioned Willie Nelson made a huge impression—in just 15 minutes?
"Willie pulled up in his bus in Nashville. The doors opened, smoke wafted out—and I don’t mean engine smoke. He stepped off, said, 'Where’s the mic?' Didn’t even say hello. I walked him to the booth, rolled tape, and he did three takes of one verse and chorus. Perfect. Then he said, 'Sounds good?' I said, 'Yes.' He goes, 'Gotta go.' Gone."
90210 and Friday the 13th are on your resume. Quite the contrast.
"My brother was a producer on 90210. I scored the episode where Tori Spelling's character marks a milestone in her relationship. Pretty big moment. Then I scored 72 episodes of Friday the 13th: The Series and two of the films. It's wild—one minute you’re scoring horror, next minute you're making lullabies."
Speaking of the Disney Lullaby albums...
"In 1999, Disney’s Jay Landers asked if I’d do a meditative instrumental lullaby album. It took off—we made seven more. It might be the most meaningful work I’ve done."
What made you decide to write "Unplugged?"
"I had so many stories I didn’t want to forget. I started dictating them into my phone. Eventually, I had enough to shape into a book. It’s not a vanity memoir—it’s a look behind the scenes. The music, the people, the moments."
Favorite chapter?
"Producing The Austin Sessions with Chris Kristofferson in ’97 was unforgettable—he's one of the most sincere people. Same with Johnny Mathis, turning 90 and still the kindest soul."
Anything you didn’t include?
"Two chapters. One was about the pranks my partner and I pulled in the '70s—my editor said people would hate me. The other was a 'What I Like/Don’t Like' chapter. I listed artists I wasn’t fond of. Editor said, 'Don’t burn bridges.' She was right."
Any raw stories you kept in?
"There’s one about Harry Nilsson. He was a genius but could be dark. He did something at a party that nearly ended very badly for me. But I kept the story in. It’s the truth."
What do you hope people take from the book?
"That I’m a decent guy. That it’s okay to laugh. That I stayed true to the work."
What’s on your playlist now?
"Beatles, Beach Boys, Buddy Holly. Music from my youth brings me comfort."
Dream collaborators?
"Elton John and James Taylor."
What would you tell young Fred at the record store buying Elvis?
"Be patient. It’s going to work out."
Fred Mollin: Unplugged is available now on Amazon & Barnes & Noble
fredmollinunplugged.com
"If you can make a life in music—that’s success. Not #1 hits. A life."
"It's wild—one minute you’re scoring horror, next minute you're making lullabies."