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Hunter: What is the most significant artistic accomplishment ofyour life, excluding anything with The Modern Lovers or TheTalking Heads, and music in general?

Jerry: There was a piece of sculpture I did in college that I real-ly like. My wife and I designed our house together. Though noone gets to see it except for us, It was reviewed in the New YorkTimes and it was on the cover of the Home Section. I’ve beeninvolved in the Casual God’s covers and things like that I’m very

proud of too.

Hunter: Do you think good rockis dying? Or is it that emergingartists just can’t get through thebureaucracy of the 5 majorlabels? You have produced andrecorded so much, for so manypeople (Crash Test Dummies,Rusted Roots, Big Head Toddand the Monsters, Foo Fighters,No Doubt, etc.)What are somesmaller independent labels thatyou might suggest? I guess that is2 questions, then.

Jerry: I won’t talkabout which of thelittle labels aregood, because I

don’t have thatmuch experi-

ence witht h e m .

I

m e a nI ’ m

i n v o l v e dwith that com-pany IOTA,which doesserve as the

joint to the small labels, and the itunes, and the legal downloadsites. I think that making sure whatever label people use that theypay attention to distribution, I think that is very important. Theone’s I know [lables] are kind of bigger ones like Sanctuary, thelarger of the small labels, so I’m not much of an expert on thereally little ones. I think there is good music being done, but Idon’t find... there’s not something that feels really, for me, new.

I’m not hearing it. Certainly the time when Talking Heads wasaround, and CBGB’s was big, it felt like that was a new style ofmusic and a new understanding of how to play, a new philosophy.I think that what came out of Seattle in Grunge, or what they nowcall “Grunge Music” was an exciting time because it was a kindof rawness in reality. And that being said its not like I don’t likealbums that are being made, there are some good albums out. I dothink that the major labels are running scared. I think they reallyneed success early on. And that doesn’t really go towards build-ing artists and building their careers. You know, you have to takean artist from a 50,000-75,000 independent base of fans, andmove them to the next level. People don’t get that chance any-more. And I think that’s a big-huge mistake. They have a tenden-cy [record lables] that if someone starts to get a successful recordthey exploit it so to the hilt, so that its 2 ½ years until you canmake another record. Their audience, at the time let’s say, washigh school girls. And when they were in high school it related tothem. Well [the audience] they’re now in college and why wouldthey necessarily even relate to the songs anymore? They try towrite songs now, knowing that their demographic has just movedon, I mean it was much better when bands did records every year.I think that my prescription for the record industry is 10 songs,$10, and once each year. If you did that labels would be moreaccepting of experimentations, because when you start gettingmore products and it starts coming through like that there areways where it doesn’t get twisted. Now the larger the sales theyare looking for are the more it [the music] gets marginalized.

Hunter: And do you think that will largely lead to a trend in sin-gles as opposed to full length albums? What do you think?

Jerry: If you can buy songs individually, people have a tendencynot to buy an entire album until they know they like 2-3 songs. Inthe old days you built an audience. I’d go out and buy every WHOor Rolling Stones or Beatle’s record, no matter what it was whenthey came out. Just a few bands have established that relationshipwith their audience recently. Green Day has done a pretty goodjob and obviously Coldplay and Radiohead have too. I think it hasa lot to do with the fracturing of the bond between the artist andtheir audience because of the amount of time between records.You know it’s not very hard for a band that’s already establishedto take longer, because people are already in your system. But inthat initial stage, I think it’s much-much better to put out moremusic. Not like you’re just sitting there getting tired listening toone record, but so there is new and different things, instead of “Idon’t really like this anymore.”

Hunter: When you were in the height of a major promotionalmachine, like you were with The Talking Heads, how much con-trol does the band itself retain over the day to day promotions or

Talking Heads - Today I sit down with Wisconsin born Jerry Harrison, of the famedTalking Heads. What follows is a section of the transcript regarding his thoughts on life, music,family and a little bit of everything else. One thing I didn’t know, he taught design at Harvardafter his graduation from the same school.

wadimagazine.com 19The University of Oregon won the first NCAA basketball tournament.

are you just getting lost in a whirlwind of marketing directives?

Jerry: Well Talking Heads was certainly unique; I mean we hadmore control over our career than almost any band at that time.Partially that is because we started slower, and we never got indebt to the record companies. We always made money on theroad; we never borrowed tour support money from the recordcompanies. And also, because they were afraid of us, becausewere smart and they didn’t push us around like they pushed mostpeople around. That’s very, very rare. And, as far as major promo-tion goes, we were never at the level of someone like BritneySpears, where her experience was just getting pushed and pushedand pulled. I mean for some of this you have to have a managerthat understands the things that you wouldn’t like. TV shows, thatmaybe you don’t want to be on David Letterman, or Jay Leno.Mabye you think that Conan is as far as you would go, becauseyou think he’s cool. But with this desperation to sell records peo-ple have a tendency, more and more, to just do what they can,whatever there is. I even saw this when the members of TheTalking Heads went on in their solo careers. We didn’t have thetime to build-you were trying to make things happen a little morequickly. You know with David there were times when he said “Idon’t want to do the Tonight Show.” But then, as a solo act, therehe is on the Tonight Show. It’s almost like you don’t have thepower of the convictions of also being younger and taking thetime to work it. So, when a person asks how awful it could be, itwasn’t like that. But you do get tired though. The spokespersonfor the band is usually the singer. Your throat gets sore fromsinging. When I went out with Casual Gods I just tried to performevery day and do all these interview’s every night and you’re justtrying to get an hour of sleep. It wasn’t near as much fun as justbeing in the band and everything.

Hunter: What responsibility if any do you think that more suc-cessful established musicians have to a younger generation ofmusicians? Like in country or a genre’ like that their appears to bea real generational affection that you don’t often see in Rock orIndie scenes. Do you think there is a responsibility in everythingfrom resulting record sales to name brand recognition?

Jerry: The clearest way to do it is to be careful who your open-ing acts are. To chose them very carefully. Then make sure theyget a good sound check and that they aren’t being sabotaged. Butthat’s very concrete and clear. Really, you can talk about peopleon the radio and mention them in articles. “Oh I heard this greatband!”

Hunter: Do you have some favorite new band you would like toplug? Or is there a couple of them?

Jerry: OAR, I think they are up and coming. I just produced theirnew album which is just fantastic. Jackie Green, a blues artistfrom the Bay Area, he is very good and really growing as a musi-cian. Mother Truckers is cool, but they are kind of a cover bandthat does other stuff. Do you know them?

Hunter: Yeah, I know of them.

Jerry: I love them. Yeah, they just moved to Austen in Texas, Ithink.

Hunter: I heard they moved somewhere weird, and I think theyare going, or went on an Asia tour for MTV. But they are funnyAlternative Country, that I personally like. As a producer of manyother people’s musician do you have a preference between analogand digital, do you think analog will die?

Jerry: As a producer I use both. I like ProTools, because I’veknown the creator for many years, it is a good system. In particu-lar when you are struggling to produce young musicians wherethe benefit of everything little thing is really helpful, the comput-er is good. I love what analog tapes sound like. CD’s have a lim-ited range, which now seem golden compared to MP3’s, the ideaof how pristine and great it can be can often get lost by the timeit gets to a CD anyway.

…

Hunter: Thanks Jerry.

Jerry: Talk to youHunter.

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