Record Label Puts A2 On Music Map

Schoolkids', Ann Arbor's homegrown independent record label, has helped several deserving Ann Arbor musicians garner national attention. And now one of those artists, George Bedard, has done the same for his label. Bedard's recent Schoolkids' release, "Upside!" has just been named "Best Blues Disc of the Year" by CD Review magazine.

In their upcoming January issue, CD Review proclaims: "George Bedard just may be the newest star in the roots music sweepstakes. He's one of the best rockabilly-swing jazz guitarists you never heard of, but should." They call "Upside!" Bedard's "long overdue debut on the fledgling Schoolkids' label."

For Steve Bergman - owner of the popular downtown store, Schoolkids' Records and the driving force behind the label - Bedard's critical acclaim is a harbringer [sic] of the potential he sees in the local music scene. "There's a lot of talent here that's going to be of interest to people around the country," says Bergman. "We thought Ann Arbor should be known. (Detroit too.) There are great artists here! Can you believe it, no one knew about George Bedard? What a waste. And what a waste for George. He should have five albums out by now."

In the last two years. since its inception, Schoolkids' Record Label has issued 12 recordings and is working on at least seven others. Most of the artists are Ann Arbor notables: boogie-woogie pianist Mr. B, blues duo Madcat & Kane, the aformentioned [sic] George Bedard & The Kingpins, songwriter extraordinaire Dick Siegel, rockers Steve Nardella and Scots Pirates (The Scott Morgan Band), newgrass quartet The Deadbeat Society, popsters Tracy Lee & The Leonards (on cassette only), and most recently, bluesmen Big Dave and the Ultrasonics.

The label's out-of-towners are "midwest creole" master Steve Ferguson (of NRBQ), and power popsters Jamie James and the Kingbees (a reissue).

Schoolkids' Record Label is an outgrowth of the Schoolkids' Records store, which opened in May, 1976. Originally the store was part of a wholesale and distribution cooperative by the same name, based in Gainesville, Florida. Bergman broke away from the cooperative after seven months in Ann Arbor. The store (on E. Liberty) has become an Ann Arbor institution of sorts and is currently undergoing its third expansion. The label, Bergman says, "allows us to put more soul into our product." He also feels that a record label is an important community resource, one that can "put [this] community on the map."

Bergman classifies the type of music on the Schoolkids' Label as "roots," or "classic American music" - rock 'n' roll and its precursors (blues and jazz). "We're picking up roots artists," he explains, "because nobody else is going to do it. One of the reasons nobody else is doing it is because it's not going to be amazingly profitable because it's not going to be trendy. But I think roots music is going to sell because there's always going to be people interested in it, though it may not be the next big thing."

Trendy or not, just about all of the Schoolkids' recordings have received national media attention. Of course, George Bedard is the biggest news currently. As for the other artists, Mr. B has found fans at National Public Radio and Dirty Linen magazine. Dick Siegel's re-issue, "Snap," was picked up by Rounder Distribution in Italy, which has paved the way for an upcoming tour of Italy. Steve Ferguson has received excellent write-ups in Rolling Stone and Musician Magazine. Madcat & Kane were given a four-star review in CD Review. And Scots Pirates received a three-and-a-half-star rating from Rolling Stone, and has been critically acclaimed in Billboard and the Village Voice.

Another indication that Ann Arbor Schoolkids' recording artists are gaining notoriety beyond the city limits is that about 50% of their CDs have been sold locally, and the other 50% out-of-town. (This is in contrast to non-Ann Arborites on the Schoolkids' Label whose sales market is 80% out-of-town.)

Schoolkids' nationwide distribution network is undoubtedly its biggest draw for artists to join up with the label. "For our band," says "Big" Dave Steele of Big Dave & The Ultrasonics, the Schoolkids' association means that "we're going to get distribution to places where we probably wouldn't have access." He lists the west coast, the east coast and Europe as places where his release will be available.

Shari Kane (of Madcat & Kane) lists another advantage to being a Schoolkids' recording artist - credibility. "When you speak to an agent and tell them you're on the Schoolkids' Label and have Rounder Distribution, it gets you places." Schoolkids' relies on five independent distributors (including Rounder) in the U.S., as well as a few overseas distributors. In addition, the artists sell their product at their shows.

Bergman looks at the Blind Pig Record Label, which came out of the Blind Pig Bar, as the precursor to the Schoolkids' Label. (Mr. B and George Bedard used to record on the Blind Pig label.) The former owner of the Blind Pig moved to Chicago in the late 70s and took the label with him. Since that time, Bergman says, "a label just begged to be done."

In the years Bergman spent thinking about a label, he learned about the pitfalls that small labels tend to fall into. Namely, he says, "You can't get distribution, and if you can, you can't get paid." Schoolkids' Label, however, has an advantage because the store has well-established ties with many distributors. This, says Bergman, "puts us in a good position because we're good customers of these distributors so they'll carry our label if only out of courtesy. And because we always owe them money, it's easier to get paid."

"It's tough to get picked up by a distributor unless you've got a real known commodity," continued Bergman. "Most of the people we're dealing with have a reputation but they're certainly not a household name. It's something you've got to build."

Schoolkids' has no set formula for its agreements with recording artists. "Sometimes the artist has already recorded," explains Bergman, "and they come in with the master tape, and they need someone to produce it and distribute it, get their artwork together, and promote it. In other cases they're all ready to go and they just need someone to distribute t." There are also cases, says Bergman, where "we do it start to finish, where we pay for everything right from the word 'go' and produce it."

In the case of Scots Pirates, they made their recording three years ago and released it on the French label Revenge. Over the next two years they sought out a US label for their recording, and ended their search with Schoolkids'. Revenge financed the recording, the band paid the manufacturing costs, and now Schoolkids' handles their U.S. distribution. In contrast, the Steve Ferguson recording was a Schoolkids' venture from the start.

While Bergman claims that no one will get rich off the profits from this label, "the way we do things, we could easily break even. Some of the larger independent labels need to sell 20,000 copies to break even," he continues. "We're making ends meet on 2,000. On some of our projects we're going to have to sell 5,000 to break even. Five-thousand is pushing it. Two-thousand is pretty easy."

Wondering what's next on the Schoolkids' release list? In January look for a recording by Detroit rockabilly legend Johnny Powers. Other CDs on tap are one by organists Winston Walls and Jack McDuff (who were recently at The Ark), and one by Steve Springer of the Trinidad Tripoli Steel Band. Steve Ferguson will be reuniting with other members of NRBQ (New Rhythm and Blues Quartet) to record another album and Scots Pirates, as well as Madcat & Kane, are each working on their next recording. Also look for another Dick Siegel release, which is now being recorded in Texas.

While there is no set plan for Schoolkids' Record Label in the coming years, Steve Bergman has a vague notion of where he'd like to see the label go. "I hope that in the next three to five years our label [develops] a really good catalogue with some real depth to it. I want to be in the position to be able to do more projects [with artists] that deserve to have stuff out. And that means we've got to make some money so we can afford to do that."

"Can you believe it, no one knew about George Bedard? What a waste. And what a waste for George. He should have fíve albums out by now." - Steve Bergman