HM | The Hard Music Magazine

RECORD COMPANIES
The other day, for some reason, I referenced some really good old music for our interns. It had something to do with the lyrical content (and an insider mocking their own culture). The band was Scapegoat and the song was “What Up?” and it’s a very, very funny dig on the Hispanic low-rider culture that was created by some really good musicians that came from a Hispanic heritage.

“I cannot see, my bandana’s too low
I need a new car, cuz my Chevy’s too slow
I’m driving down the road just as fast as I can /
Get out of my way, cuz I’m a Mexican
I got a tattoo of the Mother Mary, you cannot see it cuz my back’s too hairy
St peter’s hanging from my rear view mirror
“Ahi viene la Migra, let’s get outta here!” **

what up, what up, what up, what up, what up with it?
what up, what up, what up, what up with it, dude?
x2

I got pulled over, I do not know
the Suicidal cop said, ‘you’re drivin’ too slow
but he was a homie from South LA
gave a quick high five and we were on our way
the three amigos I admire the most
the father the son and the holy ghost….”

** = [ Translation (from a member of Scapegoat): "Here comes the Immigration, lets get out of here!"
It's important, because what's written on the Blog means ...nothing!
Especially to a spanish speaking person...hee hee ]
This band was so good. The five-song demo that my friend gave me is one I enjoy hearing very much. The band had a casual yet heavy groove going on. They weren’t too far away from Primus or Suicidal Tendencies in terms of sound. My friend Charles Gates worked with them in the studio to record these songs. For one reason or another, they did not get signed and release this great material. It’s too bad my friend never got the ability to run a label, because he was a good evaluater of talent. He played in the band in high school, so he got lots of musical training and an ear for tonal quality. His dad was one of the regional sales reps for one of the most important areas (at the time) — Southern California. He grew up relating to and learning the music business. He was an employee of Ocean Records when The Crucified was recording there.

On a side note, Charles tells me that the original painting for the Pillars of Humanity album cover was an amazing three-dimensional painting that somehow got “flattened” in the pre-press process, losing its impact. I wish I could see this artwork someday…

At one point I almost started a label with Charles. I mean, technically, we did. He and I guided Heaven’s Metal Records back in the early 90s when Intersound distributed our product. However, we were only putting out video magazines (on VHS tape) and compilation albums (we can actually say we had signed P.O.D. before anyone else, ha ha — as well as Precious Death, E.D.L. and Fourth Estate). We didn’t have the capitol to sign any bands and do anything with them, so we stayed with these specialty “companion-to-the-magazine” type products. For example, a real label needs the cash to put a band in the studio and record them properly. Then they need to pay someone for publicity to radio, print and internet (sometimes television), and then there’s marketing expenditures, like cardboard cutouts, posters, stickers or other such items that get sent to stores and media outlets. We didn’t have that, so we really weren’t a “real” label.

If someone had ever given Charles the responsibility and authority to run a label, though. I bet we’d be better off for it now.

Another dear friend that I wonder a few “what if’s” about is Mikee Bridges. He was once somewhat of an advisor for a new label. He told the label heads, “You should sign this band. They’re called The W’s. They’re going to blow up.” The label was like, “Nah, Joe and Kevin (the Jonas Bros.) don’t feel the same way. They know what they’re doing. They have a track record of great success. We’re going to listen to them. Thanks for the advice/idea, anyway…” (I changed the name of the sibling production team to protect their identity…)

In less than a year, another enterprising label (Five Minute Walk Records) signed The W’s and they exploded, becoming the torch bearers for the swing scene that flooded the Christian alternative rock world for some years during the 90s. Even after that “I told you so” moment (to his credit, I doubt Mikee ever said those angry words), they still did not let him run even part of (say, the alternative side) their label. It’s too bad. With the access he had to the Northwest punk/rock scene, he surely could’ve given several good artists their first shot.

It’s a shame that sometimes the guys (or gals) with talent and energy don’t get noticed. Sometimes it’s because they might be too busy honing their skills and/or doing the stuff that innovative people do. Other times it might be because the person with the power gets persued by lots of people wanting his or her money. Then the leader making the decision might make the best choice that was given to them, without ever hearing some good ideas and grooming new leadership. It’s too bad we don’t see more big “machines” or companies run with the sort of visionary leadership that produces innovation.

It didn’t take long to ponder this type of situation before I realized, ‘You know what? We’ve got a great example where these two things — power/resources — are combined with vision and know-how. Tooth & Nail Records.’

I don’t like flattery. But all praise is not flattery. Flattery is kind of a motivation-under-the-surface kind of use of praise. It’s praise given for a purpose (usually to benefit the one with the lips). Praise, on the other hand, sometimes just happens when a person deserves it. For example, when a certain tight end for Cincinnati made a catch yesterday in their game against Rutgers (which involved two teams I really don’t have much affinity for), I couldn’t help but say, “Nice catch!” I would have done so, even if I had been rooting for Rutgers or perhaps even playing linebacker for the defensive team. It was just a great play.

It doesn’t take a brain surgeon to look around the Christian hard music scene and realize that Tooth & Nail Records is bringing great art (and bands) to our scene. They’ve got the combination I was talking about before — vision, an eye and ear for talent and the mechanisms to get the stuff made and put out there for us all to enjoy. Contrast this with the labels out there (the vast majority of them) that have the mechanism, but no real vision or heart for radical music. You’ve probably heard more than a few stories about a great band (especially in the smaller CBA market) that is held back by a label that “doesn’t know what to do with them.”

In a whacky (why did he bring this up) story, I wish I could’ve grabbed some authority from the label that had Guardian back in the early 90s. They had a ballad called “Never Gonna Say Goodbye” and a heart-warming video (with footage of people getting fed in a soup kitchen) that surely would’ve gone over big-time on Country Music Television. I shared my un-asked-for advice with the label and got a fairly positive reaction, but nothing happened. Crap! I bet you a million dollars of Monopoly Money that this video would’ve received incredible fan reaction and rotation on those country music video stations. Now, of course, this would’ve provided kind of a hard-to-follow challenge for the metal/hard rock band trying to not turn off their country audiences if they indeed did take off on Country radio, but still…

Anyway, I think it’s just obvious that a very cool record label exists today and we are the better for it. Congrats to Tooth & Nail for bringing the cool rock-nobody-else-would-touch and innovative rock/metal/alternative that they have been for 15+ years now. They’re probably not a perfect entity, but the founder is certainly doing some things right, hiring the right people, etc. As a fan, I’m glad that happened.

Tags: Brandon Ebel, Charles Gates, Crucified, Mikee Bridges, Scapegoat, Tomfest, Tooth & Nail