Record Makers and Breakers: Voices of the Independent Rock 'n' Roll Pioneers

Preface

Preface This book is first and foremost an attempt to capture the record makers ’ truly fascinating stories, in turn biographical, analytical, funny, and occasionally tall. Also, I want to highlight the historical importance of the independent record men and women within a vanishing world before it is too late. The general thrust is more a series of case studies than an encyclopedic account of the independent record business. If there appears to be an excess of insider detail at times, I make no apologies . I contend, simply, that the subject deserves this sort of approach. Besides, I have been ever mindful of the strict and wise counsel of Art Rupe, of Specialty Records: “You will realize that taking on a writing project, particularly one requiring considerable research and scholarship for historical accuracy, will be extremely challenging.”1 Along the way, my interviewees, who I think represent a broad spectrum of the pioneering participants, lend their voices by weaving in and out of integral events such as the birth of the post–World War II independent record industry; the battles between the performance rights organizations BMI and ASCAP; musicians’ union strikes; the introduction of the LP and 45 single records; the eruption of rock ’n’ roll; the payola scandal; and the inevitable decline of the first-wave independent era. Yet the original recordings still have impact. The prime period covered is 1944 to 1963, with intentional overlaps on either side of the calendar. There may be some repetition of certain events from different viewpoints , but each reference has relevance. With the independent record business boasting a closely integrated working model, I touch on the important ancillary aspects of the industry: music publishing, recording studios, record manufacturing and pressing plants, distribution (including one-stops and rack jobbing), record shops, the jukebox industry, radio/television/movies, trade magazines, record promotion, international licensing, conventions, booking agencies and artist management, photographic studios, and even the oft-forgotten children’s market. Except for the broadcasting and movie elements, much of this infrastructure (the engine room of the record industry) has been explored only fragmentally in the past. As record men/distributors Joe Bihari and Henry Stone told me, there is not much information on the important distribution side in rock ’n’ roll history books. Even the intriguing jukebox business has been confined mainly to glossy pictorial coffee table books. By the same token, where are the books on music publishers? In the course of trying to present a rounded picture of the indie record business, I found many surprisi -xvi_1-592_Brov.indd 9 11/19/09 10:43:54 AM x preface ing overlaps and secret liaisons along the way. Naturally, I hope this book will inspire further research. No academic qualifications were required to become a record company owner, not even a rigid apprenticeship. Indeed, labels were sprung by a weird and wonderful assortment of entrepreneurs, including record retailers, disc jockeys (known also as disk jockeys), even lawyers and record collectors. Then there were investors (in turn, shrewd and foolhardy), outright speculators, and the rest. Generally, it was necessary to have an abundance of creative ideas, a vibrant personality, a facility to spot talent, a hard work ethic, an awareness of the latest trends, a need to move quickly (in thought and deed), and an ability to sell. A slick record company name, distinctive label design, and a stash of capital did no harm, either. Although my focus is on the independent record makers, it is impossible to ignore the work and influence of the major labels and their personalities. And I have not. Supposedly fringe figures are given attention, too, because they had definite roles to play in the record food chain, from the studio and pressing plant to the phonograph player at home. For example, everybody in the industry at various times knew record executives Berle Adams and Mimi Trepel, promo man Howard Bedno, branch manager Colonel Jim Wilson, and distributor’s salesman Harold Ladell (who moonlighted in his disc jockey alias of Mr. Blues), but few outsiders did. It is time for the less visible to have their turn in the spotlight. The interviewees, therefore, range from the internationally known to the undeservedly unknown. Most of the conversations were taped in person, a few were recorded over the telephone, and letters and e-mails were also exchanged. When discussing fastmoving events from several decades ago, it is inevitable that some recollections have become hazy, disjointed, or on occasion factually mistaken. Even the...