CLINTON ST. QUARTERLY By Steven E. Cahill Making a successful record requires more than musical talent — it takes money, sophisticated recording equipment, and experienced sound engineers. In addition, promotion, radio airplay and record distribution are necessary to ensure strong record sales. The music industry is a multi-billion-dollar business in America, yet national record companies are increasingly cautious to sign new “ unproven” acts because money is tight and record sales are dropping. Also, critics say that corporate record companies care less that the music is good or artful — they’re iriterested in selling a product, and lots of it. In response, more and more Portland-area musicians are ambitiously taking matters into their own hands by producing and recording their own records locally. “ There are definitely more local artists making records,” comments Jay Webster, manager of Recording Associates in Portland. “ I t’s a viable alternative and a positive step for artists who believe in themselves.” Most regional artists interviewed agree. “ We considered several good reasons for making our own album locally,” explains bassist Michael Kearsey of Upepo, who produced that band’s first album, International Ties. “ We’ve worked around this area for a long time and we know we’ve got a lot of fans who will buy our records. We haven’t been able to get the attention of a national record company, and maybe putting out our own album will help. “ Also, a record is an effective promotional device and gives the band some prestige,” Kearsey adds. “ We expect to do most of the promotional work ourselves, and we’re optimistic that we’ll sell successfully.” Recorded at Desitrek Recording Studio on the Nebula Circle record label. International Ties was released in March. A “Making an album is clearly an advantage for musicians seriously building careers,” confirms Desitrek’s Doug Durbrow, .sound engineer for Upepo’s album. “ A ''record lends status to an act and puts artists in a better bargaining position with national recording companies.” Durbrow speculates that because the national economy is unstable, record companies may be “ more inclined” to buy locally recorded, well-produced master tapes. “ In the recording function alone, artists progress,” he adds. “ They learn to analyze their sound, make it better and do it more efficiently.” “On a local level, producing an album is not generally a big moneymaking venture,” suggests Bryan Cole Darby, leader of Everything’s Jake, a Portland group which recently recorded its first album at Sound Smith Studios in Portland. “ Although we sold 1,000 albums in the two weeks following release, an impressive number for a local band, we still don't Expect to make much money when all the costs are figured up. Still, the album is getting us some recognition, and it’s a great way to present our act to booking agencies, club managers and big record companies.” “ Portland recording studios are mostly second rate, and most engineers are not real experienced,” says Jeff Lorber, a national recording artist who made his first album locally. “ But that’s only logical to assume, since this region doesn’t have the big money and super-technology of areas like L.A. and New York.” Lorber made his first album, The J e f f Lorber Fusion, at Ripcord Studios in Vancouver, Wash., for “ about SI ,000 and the keys to my ’64 People’s Food Store OPEN 7 days a week Everyone welcome 3029 SE 21st 232-9051 CO-OP Organically Grown Produce, Nuts, Grains Garden Seeds Raw Milk, Fertile Eggs Spices, Tofu, Miso Freshly ground Peanut Butter UNITED FRONT BOOKSTORE MAYDAY SALE SATURDAY, MAY 3 10% off all items BOOKS RECORDS GREETING CARDS POSTERS T -SHIRTS 2701 SE Belmont 233-9270 MON-FRI11-8, SAT 11-5 41
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