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The Mighty Mighty BossTones - Part 3
StarPolish: Similarly, people had questions about the
production of the records the band has mad,e in that indie records
tend to have a different sound than major-label records. Were there
issues of creative control with the major records, or did the sound
just change as the band got older? And what advice would you give
to bands that don't have a ton of money to make a good record?
Dicky: There is no mystery to
it. There are a lot of poor, [not-so-talented] artists that make
really good records these days because the technology - and the
amount of money you can put into it -- is unbelievable. With that
being said, I think our first record cost three thousand dollars,
and took three days. We worked with the same producer we made our
last album with. If you want to talk about producers and production
and moving on, I think we're getting better as songwriters, and
getting better in the studio and working, and we're learning how
to make BossTones records. I definitely think things have improved.
If you don't want to think that, and you want to think the indie
records are just better, then fine, I love those records, too. I
guess what I am saying is: strategize! If you've got a minimal amount
of money, get in [the studio] and strategize. Use your time wisely,
and know where to trim the fat. Have your work done before you go
in there, have your songs solid, and make sure everyone knows his
or her part.
StarPolish: Do you have any advice on specific areas of
where to trim the fat, as you put it, in regards to inexperienced
bands going into the studio?
Dicky: Focus on the songwriting
before you even go in there. If it's not a good song and you say,
"Oh well, once I layer it with guitars I can cover it up," it's
not going to work. You'll still have a bad song with really good
guitar sounds. So get it done before you go in. I think the fat
usually trims itself; the things that you usually want to cover
a song with usually come last, and money and time usually never
allow certain things to happen. [At that point] you usually realize
that maybe it was a bad idea for your friend Johnny to bang a cowbell
all over the [track] because he's your buddy. That usually never
ends up happening because time runs out. I don't know if this is
good advice, but it's off the top of my head.
StarPolish: That's great advice. Shifting gears a little
bit, StarPolish bands had questions about managers. A lot of the
artists on StarPolish are unmanaged and are looking for management.
Do you have advice on picking managers, or suggestions about what
to look out for when selecting one?
Dicky: Just wait. Your temptation
will be to grab the same guy that banged the cowbell and say he's
your manager, all so you can eliminate headaches and [have] the
phone calls go through his house. Instead, during the early stages
of the band, start designating jobs and responsibilities to each
other. When the time comes for you to need a manager, you don't
want someone that knows less about the business then you do. I'm
not talking about the phony bullshit end of the business; I'm talking
about the legal end -- what's yours and what's not. Labels would
love to deal with Cowbell Johnny because they'll just mow him over.
In reality it's not going to do you any good, so you've got to cut
him loose. Plus, you'll then feel like a dick [cutting him later],
because "Cowbell Johnny" was there from the beginning - I think
something like that happened to the Cherry Poppin Daddies. My best
advice would be to say to Johnny that by no stretch of the imagination
are you the manager, but if you want to help out, that's cool. Wait
until the time is right -- and it will be obvious when it is - for
hiring a manager. But for phone calls and getting shows, if you're
in the early stages of your band then you should be able to handle
it.
StarPolish: When the time is right, what are the most
important considerations in choosing a manager? Is it an artistic
understanding of the band, or an understanding of the industry?
Dicky: A combination. You take
meetings and see who you jive with. You've got to have a decent
feeling that for the most part, they have an understanding of the
industry and the ability to make sure you get the most solid deal
you can get. But I feel that is secondary to whether they understand
you, and whether they are willing to put their name and career behind
you - whether they are will go into a meeting and say, "My client
needs this and this," and not be afraid to ask for it because they
don't truly believe in you enough to sacrifice and risk their own
reputation. I would say that you need to hit it off with the guy
and make sure that you see eye to eye, and that he understands what
it is you're trying to do.
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