By Kat Bein
By Shea Serrano
By S. Pajot
By Terrence McCoy
By Falyn Freyman
By Shea Serrano
By Jacob Katel
By Michael E. Miller
Listen to the music. It contains every variant of truth and lie. The music carries the capability of generating fantasy, turning it into reality. It can turn reality into fantasy. Music is art.
And so by both definition and simple observation, rock and roll made by area residents is art. And business is business. When business becomes part of the musical equation, the art suffers. Music is no longer simply music, purely art, it's business. So the problem I see in the allegedly dead (and nearly buried) local-rock scene is that money, as usual, is the bottom line. And nobody's making much money.
One example: When Linda Lou Nelson recently closed her local-music hub, the Cactus Cantina on South Beach, she gave as one reason her belief that local music is no longer viable, that the so-called scene is history.
Okay, say it is. Why? I know plenty of local bands that are worth listening to. I spoke to a number of people from all levels of the music industry, but what rings loudest are these lyrics: "There's a war here/It won't make the evening news/'Cause them rich folks/Only thinking about what they choose/It'd be different/If us poor folks held the cards...."
Arlan Feiles, of local band Natural Causes, wrote that, and sings the words in a way as clear and profound as the statement itself. And that's where it all begins: with a person who has something to say. Songs get written, a band forms, they take their act to clubs that allow for original music, and they play. Perhaps they record the songs, sometimes for distribution as a CD.
The band hopes the live shows develop a following that stirs enough people to create a "buzz." If the buzz is loud, a major label might take interest and maybe even sign the group to a lucrative deal, helping the music reach listeners around the nation.
"You have to be a good songwriter," says Tony Moyers, a manager at Peaches Records and Tapes and guitarist for Young Turk, a local band that signed with two major labels. And then the band began falling apart. "If you don't have good songs you won't get signed," he adds. And if you do have the songs (Young Turk certainly did), and you do get signed, that is hardly the end of the story.
"Major labels are looking for a band in their natural environment with a local following," offers Warren Wyatt of Wyatt Management Company. Wyatt handled Saigon Kick, who achieved gold-record status after signing to Third Stone/Atlantic. Then members began leaving Saigon, and its status as a band is currently up in the air.
"I'm not into the geographic scene," says Michael Kaplan, the A&R scout for Epic Records who signed Nuclear Valdez. He discovered that band by coincidence, not through research or by hearing any "buzz," though the Nukes certainly had one. After two albums, they were dropped from the label because they weren't selling enough records. "It didn't make sense for them to stay with us or for us to stay with them," Kaplan explains. "But I still love the Nukes." Alas, Kaplan's job has nothing to do with love and everything to do with money.
"The first record didn't catch, the second record depended on one song to make it happen or not," says Michael Lembo, Nuclear Valdez's New York-based manager. "Pearl Jam had just released their record. There's nothing you can do with an artist who's selling thousands of records and you're not. Luck and timing is the main thing. Beyond that it's persistence."
He mentions nothing about good songs.
"It's a complicated machine," Criteria Studios' Joel Levy says of the music industry. "Gone are the days when record companies would come out to see the band. They want to hear them in studio."
Levy has made an effort to help area musicians record at Criteria, a top-of-the-line studio often used by the biggest names in the pop pantheon. John Tovar -- whose TCA management handles the Mavericks (on MCA) and Marilyn Manson (signed to Nothing/Interscope) A also emphasizes the importance of recording. "I always tell bands," he says, "to forget about the label deal and get something out on their own."
Within the past year a number of local bands have released cassettes and CDs, among them Black Janet, Forget the Name, Natural Causes, Nil Lara, and Rooster Head. After issuing original material, both Mary Karlzen and Collapsing Lungs were signed by Atlantic Records. What more does it take? Radio airplay. "That's the missing link," notes Levy.
"No, there aren't too many outlets for people to hear your music on the radio," says local musician Glenn Allen. "If people don't hear your stuff, they won't come out to see you play and won't buy your records. If they don't see you, there's no buzz about you and an A&R rep will seldom hear about you."
Michael Stock hosts the folk and acoustic program on public station WLRN-FM (91.3) and he does play some local music. "The owners of the [commercial] radio stations just don't care," he says. "They don't have the courage to be different."