By the end of the year they had played from Boston to Washington, DC to Buffalo. They covered a lot of ground considering they probably never got paid more than $200 for a show. Any of you Rutgers folks see them at the Melody?
At the end of the year I went to see them at CBs and they played a show of all new songs, all songs that they'd written during this year on the road. There were some really fucking great songs in the mix. Some were so-so tunes, but a few songs of substance, I thought.
Meanwhile, back at the ranch, Richard had really lost interest in the record label. He and his partner had started an online music distribution company and he was focused on developing that. That's where he wanted to spend his time. That's where he wanted to spend his money. In short order I was moved over into that new enterprise as the head of sales and marketing.
IBB took me out for a burger at silver spurs and called me out. We did what you said. 100 dates in 360 days. You wanted us better, we are better. We have new songs and we want to make an album.
I went to Richard and explained the situation. He agreed to record a few tracks at a cheap studio in Brooklyn. They recorded three songs, Richard was happy with two of them. He took these two finished songs and played them for his old buddy Seymour Stein. Seymour is reputed to have the "Best Ears In The Business." Maybe so, maybe so. He didn't like In Between Blue. He didn't like the singer. He didn't like the drums. He didn't like the songs.
Richard felt he'd done his part. He brought it to bat and it struck out. Then Richard commenced on what had to be the longest road trip of any businessman's career. He went from Australia (two weeks) to Singapore (two weeks) to Japan (two weeks) to Vancouver (one week) to Toronto (half a week) to Oslo (one week) to Copenhagen (one week) to the South Of France (two weeks). They guy just went into music conference mode and didn't come out of it for air. While he was gone I privately funded the recording of an entire album for In Between Blue. I spent $30,000 (roughly) of my own money to make the record.
My friend Andrew Baum, Bruce's brother, David's cousin, he had cut an album at a studio in Hoboken that I saw as a diamond in the rough studio. Jolly Roger Studios had a gem of a 24 track mixing board, great mics and equipment. I asked the two guys who produced Andrew's album to work with In Between Blue. The first guy is Michael Mazzarella. Michael I knew pretty well. He plays and sings in an awesome band called the Rooks and he worked at Atlantic Records for a long time. He really worked with In Between Blue for weeks before getting into the studio. He ultimately picked the songs that would be recorded, and then polished those songs with the band, putting many of them into a format that would be more palatable to radio programmers and just applied good song writing skills to rough hewn tunes. My only input at this stage was that the two songs Richard recorded would be included on the album, and that they should also record a cover song. In particular a Beatles cover. The band didn't really want to record any covers, and if they were to record a cover, why not something more interesting and adventurous than a Beatles song? In a private meeting they settled on Sex Dwarf as the song for them to cover. I said no, a Beatles song. We went back and forth, and finally convinced them that Tomorrow Never Knows is actually a pretty cool song. So they agreed to work on that. (This Beatles strategy had paid off with godhead, whose cover of Eleanor Rigby turned quite a few heads.)
The second half of the production team is a guy named Dave Domanich. Dave engineered Lenny Kravitz's first four albums. He was Lenny's guy. Dave had been a New York City studio engineer for thirty years, working with bands such as Gladys Knight and the Pips. He was solid. Although he didn't own the studio we'd be working in, he pretty much worked there exclusively, so he knew all the equipment's eccentricities, the ins and outs, and the good local take out places in Hoboken. Dave is a bit bigger than I am in all dimensions. I'd say 6' 4" 260 with hair down to his ass. I think he looks like he could be a Doobie Brother.
It took roughly five weeks to record seven originals and one cover tune. For fun I gave the band $500 to go up to Boston and record one song at a friend of theirs studio. This song would be a duet with a woman from a band they always played with up in Boston, Lunar Plexus. They brought those tracks back to New York where Dave and Mike mixed them. One final trip out to Jersey for a Mastering session and the album was done.
Dave, the guitar player, worked at DC Comics, in their production department. He got one of the designers there to handle the entire album layout. Chuck, the bass player, lived with a photographer who handled all the photography. In the end we had a beautiful 12-page full color booklet, just like the big boys get.
The final track listing:
1. A Happy Place (2:56)
2. Celbrity (3:11)
3. Orbiting The Planet Of Love (5:00)
4. Sweetness (4:25)
5. Aalok (4:16)
6. Predator Becomes The Prey (4:15)
7. Small Vices (3:57)
8. Stay With Me (2:56)
9. Everything Is Wrong (including you) (5:32)
10. Tomorrow Never Knows (4:08)
11. And It All Comes Down To This (7:00)
Richard Produced tracks 5 and 7, track 6 was recorded up in Boston. Please ask me for a copy of this album. I have about six hundred of them in my office. We never really sold any of them. It's such a shame. I knew Richard didn't want to release it so the game became getting someone else to buy it from us, from me. I set up a series of showcases. The last showcase was at a club called Shine. My friend Mike, who was the drummer in my band in college, he is one of the owners of shine, or investor, or whatever. So he helped me set it up. I put two other bands on as openers, good local groups. I got Sam Adams to sponsor the showcase, 12 free cases of beer. I packed the place. We did a cross promotion with Nerve Magazine, which was still in print at the time, and their whole sexy staff came out. A&R guys two deep at the bar. Lawyers, record company reps, you name it. I flew the band's PR lady, whom I'd just hired, in from LA. I was putting her up at the Soho Grand. (She was also godhead's PR pro.)
At 11pm In Between Blue got up there and played the best set I'd ever heard them play. They just absolutely killed it. Every note, every moment, every song was gorgeous. Technically, everything was also perfect. I'd hired a professional sound guy to help out the club technician. It sounded like U2 at the Garden. Just perfect.
But, in the end, no one bought it. And over the next few weeks the band just got more and more discouraged at the thought of having to get back out on the road for another 100 dates in 300 days, which is what was needed to sell the album. First the bass player quit the band to move to Baltimore and marry his girl. Then the drummer wanted to spend more time on some other side project that was paying more money. He and his girlfriend had a baby on the way. Then the singer went a little bit nuts, and his girlfriend went even nuttier, sleeping with her best friend's boyfriend, wrecking both her relationship with IBB's singer, and her relationship with her best friend. But that breakup forced the singer to live out of the rehearsal space for a while and things just seemed very dead endish.
The guitar player tried to keep things afloat for a while, but realized that without the others, it was hopeless. I think he went and got a better paying job. He was a very talented designer himself and the only thing keeping him back from good money was his need "not to be tied down. My band comes first." but now the band didn't really exist. All of this happened after I had already ordered 2500 CDs which arrived in two stages, the first thousand early, press, industry mailings, invites, press kits, etc. and the second thousand for retail, which would ship and be returned eventually. Finally the last 500, all of which are in my office, with some to spare, which were earmarked for radio promotion. I pulled the plug on the promotion when the band started falling apart.
I'm sure there's an object lesson here. Don't spend your own money on these projects. Pay attention when the veteran you work with waves off a project. Don't get emotionally involved with a band when you have to make money decisions.
It wasn't a total loss. I learned a hell of a lot about making albums. Every facet of making this album I was involved with, and that was awesome. Also, we licensed songs from the album to a few indie movies, including one film that gained some real attention for winning the audience award at the Slam Dance film festival, a film called American Chai. The guys recorded a song for a Police tribute album. That album got pretty good reviews and they were often sited as being a bright spot on the collection. They recorded Invisible Sun.
Perhaps most importantly, I still listen to the album. I really love it.
Really, PM me if you'd like an album. I'd be happy to send it to you with my complements. Maybe you'll listen to it and think I am completely insane for thinking this group had something special going on. Or maybe, like me, it will become an album you return to every few months.
I think when I explain how I met Mike Daly, knowing this stuff will help fill in some gaps.