Dave Moulton

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It is the 30th. Anniversary of my 30th. Anniversary


I introduced the Fuso frame in 1984. Sales went pretty well right from the start, and I was able to quickly establish the Fuso name amongst all the many import brands from Italy and Japan. I built 18 different sizes in one centimeter increments. My aim was to have every size in stock (Unpainted.) at all time.

With top tube lengths and frame angles varying throughout this range of sizes, it meant one could get a custom fit from a frame that was in stock, and could be delivered, painted in your choice of color, in two or three weeks rather than having to wait several months to have one custom built individually. Plus the price was reasonable.

In 1987 I realized it had been 30 years since I built my first frame in 1957, under the tutelage of Albert “Pop” Hodge. (Picture right.)

I was 21 years old at the time, and had worked part time for Pop since I was 17. Pop Hodge was born in 1877, so was 80 years old at the time. Roughly the age I am now.

In 1987 I realized it was probably a good marketing strategy to label frames sold that year with a special 30th. Anniversary decal on the left chainstay.

As I already mentioned I tried to keep all sizes in stock, so I had between 60 and 100 unpainted frames hanging on the wall at any given time.

Many of the frames sold in the early part of 1987 were actually built in 1986, but were painted and sold in 1987, so therefore got the special decal. It was the only practical way to do it. Likewise many frames built in the last months of 1987 were unsold and unpainted on December 31st. that year. Those frames did not get the Anniversary decal.

I recently realized it is now another 30 years since 1987, so it is the 30th. Anniversary of my 30th. Anniversary. I other words 60 years ago I built my first frame. A point I would like to make is this, the chain driven bicycle was invented in 1885. Pop Hodge was born 8 years before that date, and started building frames around 1907.

Those early framebuilders were blacksmiths, and Pop brazed his frames in a hearth of hot coals. I not only learned framebuilding from this man, but learned the history of bicycle building and design.

I have lost count over recent years of the number of times I have written to bike manufacturers offering my knowledge for the price of my expenses in getting to their facility. Not once have I even got the courtesy of a reply.

The last one was just a few weeks ago, my attitude now is fuck it, I’m done. Please don’t suggest that I write a book, I am also through with writing books that no one buys. It is what I should expect really. The top bike makers are now large corporations, and my emails are probably getting deleted by some junior clerk who doesn’t even ride a bike.

Excuse the little rant there at the end, but I get frustrated at times. 


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How a movie changed the course of my framebuilding career

This is not an exact transcript of the video, but it does lay out the same story.

My video talks about how a movie had an indirect but definite effect on my career in the bike business, and how it later led to my building some special frames for a good friend.

1979 was the year I came to the US. A movie was released that same year named “Breaking Away.”

It was a coming of age story about a young boy with a passion for bike racing.

Also featured in the movie was a red Masi bicycle. The success of this movie lead to a mini bike boom for the Masi brand.

This in turn led me to a job opening the following year in Southern California as a bicycle framebuilder for Masi.

The frame shop I working in was run as a co-op with space rented out to various framebuilders and frame painters.

It was there I met American builder Brian Bayliss. That’s Brian on the left in this picture wearing the blue shirt.  With Brian in the white shirt is photographer David Ball. I met David Ball in 1982 when he came to visit his friend Brian Bayliss and as it happened I needed the services of a photographer to promote my own framebuilding business.

The image on the tee shirt I’m wearing is from a David Ball photo. This photo was one of several used in a Bicycling Magazine article in 1983.

I agreed to build David a frame in exchange for his work. He became a longtime friend and over the years I built other frames.

The first one I built in 1982 was a touring frame built in Reynolds 531 tubing. I wanted to do something different and experimental with the paint, and I came up with an intricate masked two tone green paint scheme.

It was a very labor intensive job but as it was for a friend and there was no actual dollar amount discussed, it didn’t matter. It was as much for my own satisfaction of bringing something I had in mind to fruition.

This frame and one other where I repeated the idea in two tone grey, was the inspiration for the paint scheme on my line of limited production frames named FUSO. I simplified the masking with a decal panel covering the transition between the two colors.

When I launched the FUSO brand in 1984, I again needed David Ball for promotional photos. This time I gave David the first Fuso bike built. Here is a magazine add I ran at the time with a Davis Ball picture this same bike.

The third bike I built for David Ball was a special one of a kind Fuso. It was really a custom frame that usually bears my own name, but we decided to make it a FUSO. Once again there was no discussion of price.

I always set a very high standard on all my work. But there is a limit on what you can charge for a product, and therefore a limit to how much labor you can put into that product.

When those restrictions are lifted something special results, like this. This frame was built in Columbus SLX tubing but with the stiffer SPX down tube, and rear triangle. The seat stays are oversize 5/8 inch diameter as opposed the usual 9/16 diameter.

The seat stay top eyes are given the same treatment as my custom frame with a piece of tubing inlayed to form a concave affect. It has my signature on the top tube.

It was built close to my Criterium geometry, but without the high BB. (Didn’t need it I knew it would never be raced.) This coupled with the stiffer mix of tubing makes for a bike that demands that you ride it fast. It is very responsive and climbs hills like you wouldn’t believe.

David Ball has a touring bike I built, which he tells me is still his favorite bike, this one is the type of bike that is for short fast rides and will kick your ass every time you take it out.

What I mean by that statement is, a bike like this by the way it looks and the way it rides will push you to your limits of fitness. Whatever those limits might be


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Two from the Seventies

Just this last week I was contacted by two owners of bikes I built in the 1970s. Leyland Vail contacted me and sent pictures of his 1979 Paris Sport. Repainted and the original decals gone, but I definitely recognize my own work. I don’t mind the road grit on the bike, it is proof that it is still being ridden.

Leyland was 18 years old when I built this one for him using the French Super Vitus 971 tubing, and French Prignat lugs. Leyland also speculates that he is probably the youngest original owner of one of my oldest US built frames. He could well be.

The other contact was made by Ian Jackman from Newcastle upon Tyne, in England. He had recently bought a custom bike from the original owner. Built in 1977, Ian asked me what I could tell him about the frame, but my UK frame number record book lists only a customer name and a frame number. It doesn’t even have the frame size. (21.5 inches.)

The reason? Back in 1977 I was simply building frames and writing the frame numbers in a book just the keep track of how many frames I was building. Furthest from my mind was the thought that I would be corresponding with owners 40 years later. Even further from my mind were visions of the Internet and email.


Footnote: Here is a link to my new YouTube video.  1/29/17

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Understanding Accents

My latest venture, namely a YouTube Podcast was met with mixed reviews, as I expected.

The main criticism was that people could not understand me. I do try to speak slowly, but I am up against this in my daily life.

For example, in restaurants making a request for something as simple as a glass of water, is more often than not met with a blank stare. 

If I were living in a country where everyone spoke precise English, I could understand, but America has not spoken it for years. So if anyone should be allowed to butcher the language it should be me, a native of that country.

The England I grew up in was a mix of regional accents, you could travel just thirty miles and find a totally different dialect. I’m sure today, with people being more mobile that is not so much the case.

I evacuated out of London early in WWII because of the bombing. I lived in the South West of England  from the age of 4 years, so when I returned to the East End of London after the war, I was 10 years old and had a thick rural accent from the South West.

I was ridiculed and bullied horribly by the tough street wise kids who had stayed in London for most of the war. I quickly adapted and picked up the Cockney dialect, it was a survival thing. That is the accent I would keep (More or less.) for the rest of my life.

I say more or less, because when I first came to the US in 1979, I may as well have spoken a foreign language. No one understood a word I said. In the interest of survival I had to adapt. With the London or Cockney dialect, the “H” and “T” are not sounded, neither is “th.”

Actor Michael Caine is known for trivia, and his cockney accent. To do a Michael Caine impression one should end with, “Dere’s no’ a lo’ a people know dat.’ Translated: “There’s not a lot of people know that.” But if you sounded every “T” and “Th” it would not even be a close Michael Caine impression.

In order to be somewhat understood as I went about my daily life, I gradually started putting back the “Ts” and the “H” (Aches.) Many English people on coming to the US speak a precise BBC English, and everyone goes, “Oh, I love your accent.” Personally, I hate it. I told one young man to stop talking like “A poor man’s Hugh Grant.”

I have lived in the US for 38 years, not quite half my life. The accent I have now is a “Basterdized” London accent. But at least it is my accent, it is who I am. It is part of my personality. At over 80 years old it ain’t gonna change now. For my part, I will talk slowly and you for your part, might pay attention and listen carefully. 

If I go back to England, people think I have an American accent. In the US people ask, “What’s that accent, Australian? Irish?” They will guess anything but English.

The written word is a whole different entity, it is an art form all its own, I will not give up writing here. As for the podcast, I will keep it separate from the blog on YouTube. Anyone interested can find it there. If no one is interested or they can’t understands it, it will die a natural death.


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My No Visitor Policy

Here is something new for the New Year, a Podcast. If people like it, there will be others

View on YouTube where you can view full screen if you wish: https://www.youtube.com/watch?v=7zXF0IbKI_c