Like the steam engine in the children’s book story that could, Futureman Records has been the little label that could – always beating the odds, doing the work, always adapting the changing landscape of the music business but always serving the music and the musicians in its stable.
Futureman on Bandcamp – CLICK HERE
Futureman on Discogs – CLICK HERE
The Legal Matters – CLICK HERE
HISTORY & BACKGROUND:
Tell us a bit about your background as a musician and some of the bands you’ve played in.
I’ve been playing guitar and singing in bands since the late 80’s, but all of those band variations included Chris Richards. We started as Hippodrome, which eventually morphed into the Phenomenal Cats, then into our current Legal Matters (with Andy Reed). Our last record “Conrad” came out on Omnivore, and we’re deep into recording #3 right now. Gonna be good!
Tell us a bit about the time when you decided to start your label/company – walk us through the reason d’etre for doing this crazy kind of calling. Also, you have a unique model with your label being digital only and affiliating with other labels, as well. Tell us a bit about how this all came about and what’s the story behind the logo!
Futureman Records started back in 1999. Rick McBrien from Paranoid Lovesick and I came up with an idea to do a tribute to “The Who Sell Out”, that would include all the commercials and connecting bits. An admittedly crazy thing to attempt, but over the course of a couple of years we pulled it off. We never actually got it released though. Once digital releases became a thing, I did get it up on Bandcamp in 2012, and that was Futureman’s first official release. But we’re not actually digital only anymore! We definitely started out that way for the first few years. We’d find records we loved that –only- had physical releases and set the artist up with the digital side. But that eventually morphed into a more traditional set-up. We currently offer physical for most of our stuff and have for a few years. After doing this for so long, other labels with shared goals popped up, and friendships developed. Big Stir was an obvious match as their main focus was helping to foster our pop community, which was right in line with us. Partnering up gave us both a little more reach. We like win/win.
What are some of the more difficult areas of working in the music business that most people have no idea about?
I doubt there’s anyone who isn’t intimately familiar with this at this point, but since recording and releasing has gotten so simple to do, the internet is a glut of people competing for clicks. So much noise, and it’s super hard to break through. I’m always hoping Futureman’s rep gives me a bit of a leg up, but it’s a constant battle.
As label folks doing this for a real time, we often get asked who some of our favorite artists that we have signed and worked with are. Take as much space as you want – talk about some of them.
I’ve been lucky to have been able to work with some of my favorite artists, re-releasing some of my all-time favorite records. I got to work with Erik Voeks on a new digital release of his all-timer “Sandbox” that included 7 previously unreleased home demos. The Gladhands, TubeTop, The What Gives, Dumptruck, and The Toms just to name a few more. Add to that newer releases from Pop Co-Op (which features Steve Stoeckel from The Spongetones), and Ralph Covert and John McMullan on the recent “Lost Hits of the 80’s”. That’s a lot of legends.
What have been some of your favorite releases in 2019 and so far in 2020 – both on your label and in general, in any genre?
Gonna stick with us for now. We spent a LOT of time putting the “Garden of Earthly Delights – An XTC Celebration” tribute record together and it finally came out in early March 2020. 32 artists on the double-cd and another 19 added as digital only tracks and I love every single one. We’ve had an amazing response to that record. The 2nd Pop Co-Op record, called “Factory Settings” came out the first of April and it’s one of my favorite records of the year. 2019 brought The Toms’ “The 1979 Sessions”, which were previously lost, but recorded during the same weekend marathon sessions that gave us the seminal debut. Absolute classic stuff. Joe Sullivan released “Growing Up Schlockstar”, his 2nd album. Might not be a well-known name but he and it are classic power-pop.
Also had a new one from Sweden’s Tor Guides which I absolutely love. Not to mention Futureman faves Gretchen’s Wheel, bertling noise laboratories, and The Hangabouts! Check our page!
What is on the docket with your plans for the 2020? What has you particularly excited and geek to bring into the world?
We’ve got the debut record from one of our absolute favorite songwriters, “Bees and Bees and Bees” by Brandi Ediss. The songs will destroy you in the best way. Coke Belda has a soon-to-be pop classic coming out in early May. After that we’ve got the new one from Tom Curless and the 46% and the 2nd album from Scotland’s The Vapour Trails which is jangle heaven. Should see a proper vinyl release for one of my all-time fave records, King Radio’s “Are You the Sick Passenger?” New Gretchen’s Wheel, new Phil Yates & The Affiliates, and we’ll undoubtedly start on our next tribute record!
Don’t Think About It – Just Type: 3-5 albums that you can’t imagine not ever being released because they changed your life.
- Every Beatles album.
- Entire XTC catalog.
- #1 Record/Radio City
- The first Del Amitri record.
- At Home With Cherry Twister
So, embracing the streaming world – or resisting?
Eh, both? It’s a necessary evil for lesser-known bands to cast as wide a net as possible in most situations. So I always talk to the artist about what they’re looking for, and if full digital distribution is on the list then I take care of. I almost never use streaming services myself though, but more out of laziness than any militant stand. The scary thing though is that we’ve heard it mentioned more than a few times that young people don’t buy music –at all-, in any form. They just stream. Yikes.
