Thursday, November 4, 2010
Frontier Records founder Lisa Fancher is with TVD all week as we celebrate the label’s 3oth Anniversary.
KNOW YOUR PRODUCT… NO, YOU'RE PRODUCT!
It took about a year or so to get it together but I finally released the Flyboys EP in March 1980. When I called them with the good news they told me they already broke up… Alright! DOA! Bob Say from Jem and Moby Disc took some but no enough—50 count boxes filled my parent's garage. My glorious career as a mogul never got out of the gate, I worked at Bomp! when Suzy needed me and also at Vinyl Fetish on Melrose.
Our customers were legendary at VF, punks, goths, whatever you call Thick Pigeon-heads, celebs such as John Belushi , Jonathan Demme and not yet celebrities llike Matt Groening too. Once I waited on Bono and Larry from U2: both of them were both lovely and Bono asked lots of questions about L.A. bands and what records we were selling lots of. I acted like I didn't know who they were, one of the earmarks of a VF employee (or boss) was that we were way too cool for school. When Bono said he'd put me on their guest list +1 for their 11/81 Hollywood Palladium show, he actually did it!
Thin White Rope - photo by Greg Allen
Later down the line it was lucky I bought so many rare punk 45s and import 12" at VH, they've long been saving my kiester when I was financially strapped. Which was most of the time after 1991… That was where I first heard Salvation Army's "Mind Gardens" 45, I tracked them down via Rodney B and begged Michael Quercio to be on Frontier. We had the most incredible in-stores, even for Frontier releases such as Salvation Army and Christian Death. I love me a conflict of interest especially when it's sanctioned by my bosses, Henry Peck and Joseph Brooks.
I was on a decent little roll having released GROUP SEX, the Adolescents "blue" album, TSOL's DANCE WITH ME, China White DANGERZONE and Christian Death's ONLY THEATRE OF PAIN and Suicidal Tendencies' debut. I told the lion share to various indie distributors (none of which are extant) but I also drove 50 count boxes of LPs from Rhino in Westwood to Zed Records in Long Beach in my sweet '76 Pinto.
Sometimes, oftentimes, I sold collectible records at the Orange Country record fair, at Gilman Street in Berkeley and Pasadena City College. I was sick of working seven days a week so I decided to cut the cord selling rare records and make Frontier my only gig in1985 selling only, I hoped, NOT hard-to-find records. It was fun to talk to hear that story of how a collector scored a Beatles' butcher cover for .05 cents but it was time to move on.
Graham Hatch actually approached me and told me I needed to hire an employee. He used to work at Greenworld and suggested we get some interns because interns work for free! I never heard of such a thing. Genius. He put up a notice at CSUN and it dragged in bffs Betty Fresh and Dougee Fresh (no, those are not their real names) who would do whatever tasks we required perfectly but giggled amongst themselves the entire time. Other interns slept the whole time or called SST for promos or tried to Xerox their fanzines when we weren't looking. It's an imperfect system. True story— Betty still works here (with some interruptions as she became an almost PhD at UCLA) and there is NO WAY I could have dragged this label around this long without her. She is my rock, there's no easier way to say it. It would be nice if I knew how to do something but I suppose it's too late for these kind of regrets now.
Graham came along post-punk Frontier, even post-Paisley Underground when we were trying to break Naked Prey, the Pontiac Brothers and Thin White Rope. I never really had to do any heavy lifting in the hardcore phase as everyone was clamoring for those records even before they came out. Suddenly we were spending a fortune placing ads in fanzines and sending zillions of promos to college radio. The more we spent, the less copies we seemed to sell.
In the early days I tried to release as few records as possible for max impact but in the late '80s we had to have many more releases in order to afford the office in North Hollywood and the handful of employees. And then I sent Graham to NJ to head the east coast office… We always had a great roster of guitar-based bands (always hated keyboards with rare exceptions) but the more we spent on promotion, the less copies we seemed to sell. Somewhere along the way the critics and DJs that used to say "Wow, do we get to keep these" were like "Who are you guys again?"
LPs and cassettes gave way to CD-mania, fortunately we were still buoyant because all previous releases were hastily remastered for CD. Even though I personally hated CDs and refused to buy them way past the point at which it was adorable, I wasn't crying about selling people records they already owned for even more money!
The best and most overwhelming era was when we were working the aforementioned TWR, P Bros, Naked Prey, Young Fresh Fellows, EIEIO, Dharma Bums, Flying Color and AMC. Many distributors had folded and stiffed me over the first several years and but it was an epidemic by the late '80s. JEM, Sounds Good and Greenworld went down in rapid succession burned me for well over $100K, we had to scale back in a major way.
Bob Buziak actually offered us a major label deal while helming RCA but his forward-thinking regime was shown the door, but not before we got a very decent push for Thin White Rope's SACK FULL OF SILVER. Even though we were purged as well, BMG picked up the label for a pressing and distribution (P&D) deal. Too small for them, fail. Then we went to Ryko in 1993, great people wrong fit. I signed the fantastic Flop from Seattle, the perfect hybrid of punk and pop songwriting genius. Also discovered Portland's Heatmiser with two great songwriters, Neil Gust and Elliott Smith. Walked hand in hand with Flop into a Sony deal. Was left at the altar by Heatmiser and was badly damaged psychologically. Pretty much didn't want to work with new bands after that though I gave it one last bash with the Shame Idols from Alabama.
Betty Fresh and Lisa - photo by Carole Pixler
To keep the label alive whatsoever, I licensed the top sellers to Epitaph in 1996 but quickly found I couldn't pay anyone (or even myself) with the punk classics somewhere else. It was a relief when my Jill of all trades, Betty Fresh, went to UCLA and publicist John Troutman returned home to Seattle. And I got me a day job for the first time since about 1983… Me and Lynyrd Skynyrd, working for MCA. Yeah!
Discovering ARE YOU EXPERIENCED was monumental and Jimi was there at low tide too. I should say Hendrix' music, he was quite dead when I found myself writing advertising copy in the Creative Department at MCA Records in 1998. My 17-year-old Honda Prelude died on the way to my job interview with a true advertising genius named Jonas Livingstone—damn right I took that job. His higher-ups wanted Jonas out so they made his life hell on a daily basis. Jonas called me into his office, half-mad like Colonel Kurtz and demand that I give him 400 variations on an 12-word headline for something like the upcoming EXPERIENCE HENDRIX best of. I never learned more in 13 1/2 years of school more than I did from him in a few short months. But force him out they did and because I was Jonas' ally—not because of my work-- they fired me in 1999 when MCA "merged" with Polygram and they had to shed bodies. When security ushered me out, I felt like the luckiest person on earth… like I caught the last helicopter out of Saigon when it fell.
Posted by Jon at 2:12 PM
Story/Stereo, the brilliant (and free!) convergence of words and music at Bethesda's Writer's Center returns with a new edition tomorrow night (11/5) with readings from Doreen Baingana and Alison Pelegrin and music from Medications' Devin Ocampo.
It's been somewhat of a tradition in advance of these evenings to spend some time with the musicians on the bill. This time around Devin spills the beans on one of his favorite records of all time.
And it's a bit of a surprise.
One of my favorite records of all time is Prefab Sprout's first LP "Swoon." It's a record that I'm almost embarrassed about loving because, at first, it seems comical and dated to those that didn't grow up with it. In some ways, it's a typical 80's over-produced English pop record (which was to be hammered home with the subsequent Thomas Dolby produced records) but to my ears it had punk attitude and swagger.
Mostly because the odd time signatures and unconventional song structures took me by surprise and seemed a middle finger to the average listener. The singer, Paddy McAloon, also had this voice that felt at times uncomfortable, but always cool.
His melodies were anything but normal and the bizarre way he approached vocal dynamics and word play just killed me. The closest comparison for me would be Shudder To Think and I actually think I initially liked Shudder because they sounded kinda like Prefab.
Honestly, most people I play this for don't get it at all and either think it's un-listenable or just way too cheesy. One person who did get it immediately and who has been one of the few that I can share this fascination with is Chad Molter. This record probably informed our music as much as any other and is almost a dirty little secret that we both shared all these years.
Prefab Sprout - Cue Fanfare (Mp3)
Prefab Sprout - Green Isaac I (Mp3)
Prefab Sprout - Couldn't Bear to Be Special (Mp3)
Prefab Sprout - I Never Play Basketball Now (Mp3)
Posted by Jon at 10:28 AM
It's our Thursday flashback, culled from the rare and (ultra) obscure crates of 80’s vinyl, curated by our pal Gil:
Fabel – Songs Of The Spheres
This obscure indie LP was conceived by the New York based brother duo of Nick and Ron DiFabbio in the mid 80’s. Both of these guys were very talented in the engineering, production and mixing side of the music business. They also had a penchant for the instrumentation as each one plays keyboards, guitars and programs sound effects.
Suffice it to say, these talented brothers were all over this alternative new wave rock album and made the right choice to break out from behind the production and mixing shadows. The band played at a variety of local New York City clubs, but was never able to garner a national audience.
Side One displays a reserved anthem like approach to the songs with soaring programmed arrangements and studio shine. Side Two pushes the envelope into more experimental territory and the brothers seem to let their hair down to tell you how they really feel about creating music.
There are major tempo changes, lyrical shifts and a driving edge to many of the songs….Check out the escalating sounds of “Raising Hell To Heaven” ….the synth induced “Sign Of The Times”....and the urgency of “Bleed The People”…. This first and believed only album was independently pressed and distributed via Brontosaurus Records, New York.
Fabel - Bleed The People (Mp3)
Fabel - Raising Hell To Heaven (Mp3)
Fabel - Sign Of The Times (Mp3)
For more obscure and unknown titles, check out Vinyl Obscurity.
Posted by Jon at 9:32 AM
Those off you who pop by here even infrequently must know of our undying adoration for Harry Nilsson and the catalog of music he left with us. One of our very first theme weeks, if not the first, was a Harry Nilsson Week.
Jeff Wells at Hollywood Elsewhere put the absorbing and well crafted Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?) on my radar perhaps as far back as 2006 or 2007—but its release remained in limbo for some time. But alas, after several years and infrequent theatrical screenings, today is the official release day of the documentary on DVD.
And we've got five of them to give away to five of you.
Some background via IMDB: "The documentary explores the enigmatic life and music of Harry Nilsson in an attempt to answer the question, "Who is Harry Nilsson?" The film includes new and archive audio and film including interviews with Robin Williams, Yoko Ono, Van Dyke Parks, Randy Newman, Ray Cooper, the Smothers Brothers, and Micky Dolenz.
"Who is Harry Nilsson?" uses promotional films, music videos, and home movies; segments from the unreleased documentary made during the recording of Son of Schmilsson (Did Somebody Drop His Mouse?); and excerpts from Nilsson's rare TV appearances in his BBC specials, the Smothers Brothers Comedy Hour, Playboy After Dark, and in an episode of The Ghost and Mrs. Muir.
As mentioned, we've got five copies of the DVD to get to five of you in exchange for your comment to this post. Share with us your favorite Harry song or memory, and the five most compelling responses will receive a DVD copy of Who Is Harry Nilsson (And Why Is Everybody Talkin' About Him?)
We'll give you to 11/9 to enter this one and winners will be selected from the continental U.S. only. Remember to leave us a contact email address as well!
Posted by Jon at 7:46 AM