PROPHETS WITHOUT HONOR By Tony Paris

“I definitely think we've put out good product, giving the bands the main influence and decision-making powers in terms of what they want to sound like. All of these groups are ones with very definite ideas of what their music should be,” Danny Beard says with an air of confidence. The twenty-seven year-old native Atlantan is discussing the records and artists he's released through his independent record label, DB Recs. Apparently the artistic freedom he allows his artists, coupled with his own sense of musical taste, is a winning combination.

The label's first release, the single “Rock Lobster” b/w “52 Girls,” by the B-52's, sold 17,000 copies before the group was signed by a slightly larger outfit (Warner Brothers Records). Not bad for a little label that started three years ago out of the back room of a used record shop, where its base of operations remains today.

Since that first effort, DB Recs has released-singles by Kevin Dunn and Pylon as well as a Pylon album, Gyrate. Slated for release in the upcoming months are albums by Kevin Dunn and The Regiment of Women, The Swimming Pool Q's and The Method Actors.

The idea of the independent record label is not a new one. Ever since the major recording conglomerates began to take hold of the rock music industry, there have been small businessmen attempting to gain a piece of the action. Yet it was not until the middle of 1976, in England, when independent punk labels began to appear on the scene out of creative necessity that the small label began to garner strength in both chart action and commercial success. Outfits such as Stiff Records and Beggars Banquet launched the c21reers of Elvis Costello and Gary Numan, respectively, and posed a noticeable artistic threat to the integrity of some major labels' A&R departments. It's that same creative necessity, or rather lack of major label interest in local Atlanta bands that prompted Beard into developing DB Recs.

“There was a lack of music industry support organizations in this area. In terms of management and record labels and clubs and everything that should go along with bands, there was a lack of these organizations three years ago,” Beard observes. “I did not have any big ambition to own a record label. It seemed like I was in a position to do it because I had a little money, enough to press a record . . . It's not often they (independent labels) sell a great number  of records, but they get to the talent first because they are closer to it.  Although you wouldn't have to be very close to it to be closer than the major labels are here. There are a lot of good bands in this area and almost no attention from record labels.”

Initially, Beard was peripherally involved with The Fans' first EP. When it looked like The B-52's needed to do a single, he just did it. It was never an attempt on his part to grab hold of a young band with talent and make money.

“It (releasing an independent single to launch a band's career) worked with The B-52's, but they were going to be big no matter what. In terms of decisions the band made and we made, they were all the right ones…” says Beard.

Although DB Recs' releases have not resulted in the bands receiving gold record awards around the world (as with The B-52's after their signing with Island/Warner Brothers Records), they have all been well received, enabling the label to become a more solid entity, financially and otherwise.

“Originally, it was just me,” Beard explains, “because I didn't have the resources for more than that. Now I'm working with Kate Ingram (former music director at commercial radio stations KSAN, WBCN and WCOZ} who's had considerable music industry input and knowledge for years. As far as publicity, she takes care of that. We have various radio promotion people working on getting airplay around the country. I have distribution agreements set up with independent stores and distributors who handle imports, but I'm trying to get better distribution. Also, Sean Bourne now handles all graphics for the albums and single sleeves.” 

DB Recs has aligned itself with Armageddon Records, an English label. They've made arrangements to split the cost on the recording, mastering and pressing of albums they choose to release in their respective countries. Beard decided to work with Armageddon after Peter Dyer, one of the partners in the English label (who happens to live in Atlanta), heard the Dunn and Pylon singles and expressed interest in them.

As successful on a small scale as the label sounds however, it still has its share of problems. Most notable is the ability to gain commercial radio airplay - a major factor in generating sales.

“Radio is a total disaster area,” declares Beard, “as anybody who listens to it would know. There's a smattering of good commercial stations,” he continues, listing the few commercial stations that have played his product.  “As Peter would say, 'The 96 Rock's in this world aren't interested in anything that has any quality to it.’”

For the most part, sales have come about through word of mouth, concert appearances (as in the case of Pylon, which recently toured England), radio airplay on college stations and the press; and reliance on a certain amount -of good will engendered in certain areas by a small label trying to make it on its own. Ironically, Beard notes, his records and groups have received favorable response everywhere but in Atlanta. “It seems that in this area,” he says, “everybody is, as they say, a prophet without honor in his own land.”