In
the Name of Progress is your first major label CD. Describe how you came to
the attention of Columbia?After gigging for several years, writing, recording, and developing a strong following in Northern California a local producer took notice and introduced our music to the right people. From there it snowballed into label interests and eventually a deal with Columbia.
What were your reasons for moving on to a major label, after recording and selling your own indie CD and doing very well with it? Would you recommend it for other bands that were in your position?
We did well as far as small local bands go. We were just selling CDs to earn enough money to make more. The main goal was to get our music out there, and the move to a major was a natural evolution of what we were doing. With a major you have the ability to reach a much wider audience. There’s better distribution, production, promotion etc. My advice to other bands: I suggest you do what best suits you and make sure you are ready for a major label.
How is the process of recording a major label CD different from an independent release? What about marketing and promotion?
With the indy it was just us pretty much. With the new CD we had producers minds adding ideas to the mix. Good ideas that we would have never thought of on our own. The songwriting was still left up to us though, which may or may not be the case for a lot of newly signed bands. And, of course, the marketing and promotion is miles from anything we could have done on our own. [Columbia] has teams of people all over the country working this record.
I grew up in the Bay Area. How do you think the music scene there has
improved/not improved? What are some of the best venues for a band starting out to play at now?
To be honest, and I can’t really speak for the city of SF because we rarely got a gig there, but the scene in the East bay is dying. Before we started the album there were very few, but just enough, venues supporting local music. We made our mark in the few bars that would allow all ages shows. We mostly played community centers, Vet's halls, and places like that where local promoters, or bands, would rent out of pocket. We got back home after about a year and the bars either closed, got shut down, or stopped having shows. Local city governments are cracking down on local music venues. They are also trying to drive out rock shows to "clean up" their towns. Plus, promoters conducting shoddy business deals and ripping off bands and venues is killing the scene as well. There are so many talented bands in towns across America that aren't getting a fair chance because of all these things, which only adds to the strain of this struggling industry. So, to end this long ass answer, I say to everyone—including the fans, promoters, club owners, bookers, and city officials—a thing we used to put on every show flier we sent out: "SUPPORT LOCAL MUSIC". And, now as a signed band I say, “Get off the fucking computer, go outside, see a show, get in a mosh pit. Go to a record store and touch a CD. Smell the smell of aging poster paper and dust that is settling on the vinyl racks.
Who has been your favorite band to be on the road or play with?
It was really cool playing with Pearl Jam and being part of Lollapalooza. So far every tour we've been on has been awesome.
What do you feel sets you apart from other bands in your genre?
What genre? Ha ha…I dunno…our live show. People say is energetic. We also show a few different styles on our album. Not every song sounds the same.
What would be the top 3 things you would recommend a band starting out do?
1. Get along and make sure everyone is in it for the same reasons. 2. Write, write, write. 3. Gig, gig, gig. (4. When the time comes get a lawyer!)
What is the worst/best thing about being on the road?
Best thing is the fact that you’re doing it. You’re in a band making music and living out a dream. The worst thing is being away from family and friends.
What was your most embarrassing moment on stage?
Whenever a piece of equipment goes out in the middle of the set. Anything we do ourselves that could be considered "embarrassing" we pretty much take full responsibility of and write it off as "part of the show".
Where are some of your favorite places to play live?
Wow, there has been so many cool places for different reasons. Some places like Eugene, OR. or Monroe, LA. are cool, not because of the venue but because the people there are so receptive to new music. It is so refreshing to play for crowds like that. Then there's places like Worcester, Mass. that have old theaters like the Palladium. Old theaters are the best. Then there are places like Portland, ME and Flint, MI that have both -- cool crowds and cool venues. But, anywhere we play we make the best of, even if there's 7 people there. We give them the same show we would a crowd of 5000.
What is the best advice you ever received?
Don’t be a jerk. In this small industry it is not worth it to be a jerk or to be difficult to work with because chances are you will have to work with the same people over and over again in this business and a good reputation goes a long way.