The Passenger
I always seem to get things backward. Not everything but stuff you'd just assume you'd get right. Like, I've always hidden the parts of me that ultimately, once exposed, attracted people to me. I got that backward always. The other seemingly obvious thing that a guy like me wouldn't get backward is how I approached the Lifter years. The years of being signed to Interscope, making the record, and touring relentlessly for a year were almost done purely in sobriety. You just wouldn't think that's how it would go considering my equation of junky plus music equals success. And there were certainly a few little relapses thrown in that period for good measure, but for the most part, I was just totally sober throughout all of it. I think you need a pretty hefty backup machine to remain strung out on the road. You need hangers-on and roadies and all that stuff. A lone junky on the road is generally just going to be a sick junky.
I was strung out as I was about to sign to the label, and I reached out to a well-known AA guy named Bob Timmons. A lot of people didn't like Bob because he was one of the first hired sobriety coaches or whatever they were called. But he didn't know me from Adam, and he got Interscope to put me through rehab before they even signed us. He just straight up called Jimmy Iovine. He ran the label, and God only knows what he said, but the next thing I know is I'm in Exodus rehab, and Interscope is paying for it. They had no reason on earth to do that. Hell, most labels would just say to hell with the whole deal. We don't need to be taking on another junky-led band, but Bob got them to do it, and I got sober, and he never asked for anything of me. I loved that guy. He passed away some time later, but I'll forever be in his debt for how he went to bat for me then.
Once I got out of rehab, which was the classic 28-day experience, we signed the deal. It was truly like nothing and everything I'd always dreamed about. Before Nirvana, bands like mine simply didn't get signed. But Nirvana blew that wide open, and all of a sudden, every label wanted the next Nirvana or at least an actual rock band that wasn't hair-farming heavy metal. There was a bidding war for us which was surreal. It seemed like we'd be taken out to the best restaurants in LA every night by a different label A&R guy. A&R stands for artist and repertoire. These are your point people at the label. They're your champions. The value of having a truly good A&R guy can not be exaggerated. We loved it and swore to milk this experience for all we could. Not in any greedy way but more in the sense that we knew the odds of becoming actual rockstars were microscopically thin, so we just wanted to enjoy the ride for as long as possible. We're the passengers, and we ride, and we ride.
Everything changed. We got what seemed like a fortune to sign. We hadn't really accounted for how much of it went to so many places besides our pockets, but it sure seemed like a lot. And then we signed a publishing deal for another whole bunch of money. We all quit working. We bought all new gear, and they bought us a van to tour in. When all was said and done, we each lived off of 800 dollars a month. We probably should have kept those jobs a little longer, as it turned out. But fuck! We were so excited. It was so surreal to be a band on a true major label. Boy, were we naïve.
When you're signed to a label, some sort of memo goes out telling everyone to love you. If you see them in the building, tell them how great they are. If they happen to make it into the office, shower them with CDs and talk about how much the radio stations are waiting for their first single. Just love the FUCK out of them. I don't think it's all nefarious; I just think the entire music industry fuels itself with glad-handing and phony praise. Christ, you'd think we were the fucking Beatles the way everyone treated us. And, of course, it felt GREAT; at the moment, you just get swept up in all of it and bask in the praise and the future imagining of platinum records and thousand-dollar whores every hour. At least, that's what I heard them utter.
A record can be made for a few thousand dollars these days. Maybe a couple of tens of thousands if it's some wildly epic concept piece. But in those days, a simple rock record could cost the band somewhere between 2 to 5 hundred thousand once all the producers, mixers, and mastering were paid for. In those days, the people who made the records, the people who actually pushed the buttons, made a fortune, and they got points on the record, too, should it hit. It was a crazy world of almost limitless money being thrown at bands with practically zero chance of ever making it back. But everyone got paid, and the labels used it as a tax write-off, and the bands owed them back all this money. God only knows how many records we would have needed to sell to break even. Are there even that many CD players north of the equator? But we were dazzled by praise and imaginary money, and so we just kept going. The dinners kept happening, and the pats on the back from everyone there who had their own phone line kept coming. We were hooked. Boy, were we hooked.
If you ever need a quick ego boost, just walk into the offices of any label you might find yourself signed to. You'll be swarmed by countless people telling you how much they love your demos and how great the record is gonna be and how it's going to surely be a hit, and we're really putting all of our muscle behind this one. And surely some of those people were honest. Some were truly into us, and we had made a great demo and a few singles. I mean, we didn't get signed for nothing. But the level of just constant praise and validation is simply intoxicating. You believe it all. You see this whole new life ahead of you filled with models and cars and houses and drugs and ever-lasting adoration. It felt fucking good.
But, you know, it rarely comes true. When you sign to a label, at least a major label, you sit down and literally sign on all the little flagged pages of this tome of a contract. I remember it being like 2 inches thick. It probably wasn't, but it was definitely substantial. And what it is is the end result of months of negotiations between your lawyer and the label's lawyer. Just back and forth and change this and change that. But the truth is that there's really nothing to negotiate for a small new band. These lawyers could have met for coffee at a Starbucks and hammered this thing out before their coffee was cold. It was just a very standard 7 record deal that included tons of standard pages that hadn't even been considered by anyone for decades. For instance, the contract had some clause stating that the band did or did not have to pay for the lacquer masters of the vinyl record release. I can't remember the details, but the point is that records didn't even exist then. They've made a comeback, but there was never, ever going to be a Lifter vinyl.
Oh, and the 7 record deal. That's a gem too. A 7 record deal was pretty much standard fair for any new band. It was always described in terms of how many of the 7 records were guaranteed and how many were options. Ours was a 2 and 5 deal. So what that meant was that we and the label had agreed that Lifter would be able to make and they'd promote two records. Depending on how those records did, the next 5 were optional. I don't even know if both the label and the band or just the label held the power of decision, but it hardly mattered. Ultimately we made one record, and it flopped, and the second guaranteed record was just forgotten about. I'm sure if we had wanted to fight them based on the contract and assuming we'd win, they'd simply let us make a cheap record and then just shelve it. Done and dusted. But we didn't even get to that part. The point is that all those months and months of pretending to craft this unique document meant to protect our rights as artists was just a pile of shitty copy machine paper with a couple excited and lied-to smears of ink here and there.
And just like that, we were a major label band. We had a great A&R guy. Brian Huttenhauer was his name. He was new to Interscope and was considered a wunderkind. He'd been responsible for all of Soundgarden's success before he left A&M and came to Interscope. We really liked him, and we could tell he really believed in us. We knew because he was critical at times. He wasn't all just pats on the back. He wanted us to make the best record we could. He'd signed our friends' band, The Campfire Girls, and another friend's band, Low and Sweet Orchestra. So now it began. We had a record to make. Which meant we needed to find a producer, and that would basically dictate where we'd record. Jeff and I flew out to NY to interview a bunch of different producers. I'm not sure why Johnny didn't go, but he couldn't have been happy about it. I know I was back to using by then because I remember shooting a speedball in the hotel room and almost falling out right before we were meant to go meet one of these guys. I got sober again before making the record. Eventually, we settled on Sean Slade and Paul Kolderie. They were hot at the moment from doing the first Radiohead album and creating that iconic Kchunk! Hook in Creep. I think they'd done the first Hole record by then as well. If you Google them and their discography, you will not see Lifter mentioned anywhere, but you will see Suddenly Tammy!
These guys worked in their studio called Fort Apache in Boston. So after a couple months of fairly low-intensity rehearsals but a lot of shows (we played A LOT of shows), we rented a house in the middle of winter a couple blocks from the studio, and we got to work.
Fucking Hell, it was cold! Wicked cold as they say there. Hell, half of the time, we'd take a cab the four blocks just to not have to walk in the subzero air. The feeling of being able to do something at this level was incredible. I mean, we were actually recording a real album for a real label with real producers at a real studio in an entirely different city. Now, it feels like all of this is being paid for by the label, so it feels even more magical. But, of course, that's not how it works. We had to pay it all back.
Basically, this is how record deals work and how incredibly fucked most bands get. They sign a huge deal. Huge to them, at least. They get a huge advance that they usually blow on new gear, or maybe they're kinda smart, and they put some away and keep their little job, but then they have to pay a percentage to the lawyer. And then the managers get a cut. And of course, you have to have an accountant because, well, you just do evidently, and they take a cut. But you still feel pretty special because at least now you're actually making a living from doing this thing you love. But what about all the recording costs? How do you pay them back? We're talking hundreds of thousands of dollars here. Well, the basic math is that most new bands sign a deal that gives them somewhere between 10 and 13 percent on each record sold. These are called mechanical royalties. I have fine artist friends who bitch and moan about galleries that take a 50% cut on any art sold. Well, when you're a little band, the label gets roughly an 88% cut. So before you see a fucking penny, you need to sell enough records to pay them back all those hundreds of thousands of dollars based on your percentage. So let's say you get a deal for 150 thousand advance and spend 250 thousand on recording. You're now on the hook for 400 thousand dollars. And the way you pay that back is based on record sales. So let's say the CD costs ten dollars. You're cut is $1.20. That's if it's a normal 12% deal. The record company keeps that and subtracts it from the 400k you owe, so, doing the math at a dollar twenty per record sold, you need to sell roughly 333 thousand records before you start seeing any money coming back to you, and all those same cuts to the lawyers and the managers and the accountants still apply. So basically, you need to sell fucking millions of records before you're anywhere near being anything near rich or an actual rockstar.
Now, if you have a hit and you'd better have a couple if you plan on selling all those records well, then you start making money from the publishing angle and the radio airplay. That's an entirely different world and has absolutely nothing to do with the label.
The bottom line is that major labels make their fortunes on the backs of dumb, excited young bands who have just had their dreams handed to them. Almost no band ever pays that money back, and it's not like they come after you for it, but it just gets written off as a tax dodge by the label. That's almost just as good for them.
But here's the kicker. After all of that. After all the contracts and all the cuts and all the minuscule sales, which amount to nothing but debt and tax write-offs and even if a band hits and that money does get paid back, guess what? The record belongs to the label. The band does not even own their own music anymore, at least not those recorded versions.
The entire enterprise is an inverted pyramid with the artists, the bands at the very bottom. They get fed last after everyone above them gets their cut from music that they had absolutely nothing to do with. We just give our music away.
Thank God a lot of this has changed with the advent of the internet and bands being able to out their own material, but there are still ways to fuck them. Spotify, for instance. Don't even get me started.
But you know what? We knew all this. And while some of it came as a shock when we'd learn certain details, we still knew our chances of becoming actual rockstars were paper thin despite all the flattery and pats of the back. We just wanted to enjoy every moment of this ride, however long it lasted. And I just was driven by the idea that I refused to wake up one day at age 40 or whatever and feel the soul-crushing regret that I didn't try and give it my all. And I succeeded.
We made a great record. A true hell of a great record. To this day, I'll get random messages on Facebook from someone who loved our record as a kid or teenager, and they'll go to great lengths telling me what it meant to them and fuck, that makes all of it perfectly fine with me. I never became a rockstar, but there are a few thousand people out there whose souls I truly touched, and that means everything to me. Our record was titled Melinda (Everything was beautiful, and nothing hurt). I borrowed the phrase from Kurt Vonnegut Jr. Melinda was the Melinda I've written about. Every song was about her and our breakup. Sappy? Maybe. But you what? Hearts actually do get broken, and I don't give a fuck if it's sentimental to sing about it. I needed it. There were plenty of shows with me crying as I sang certain songs. That's a weird feeling. Crying in front of a huge audience while producing ear-splitting walls of sound and singing songs that you'd rather not have ever had to write. But, as Kurt Vonnegut would say, "so it goes."
And then we had to go on tour. So let’s take a ride and see what’s mine.