Interviews

Rich (Vagrant)

Interview with Rich on Nov 30, 1999 by Archive Bot

Dan has recently interviewed Rich Egan, who's the owner of Vagrant Records.

PB: Can you give us a brief synopsis of Vagrant's history as a label? Is there any significant meaning behind the name or anything?
RE: It was 1991 and I had just gotten fired from mailroom job at a real powerful talent agency (its a pretty funny story involving hitting another employee in the eye with a paperclip...but maybe another time). I figured because of that I would never get a job anywhere else in the music business, so I started my own company. I didn't know shit about running a label so I floundered around for 3 years while I went to college and tried to figure out how the hell to make it work. I put out a couple 7"s from bands that promptly broke up. As clueless and broke as I was, the one thing I was sure of was that I wasn't going to quit doing it. So, in 1994 I took on a partner and together we scraped together enough of our tip money (we were both waiters) to put together a box set of 7"s called West x North-South. It was basically a collection of west coast punk bands  (Down By Law, Face To Face, Seaweed, Samiam, The Meices, Fluf, Tilt, Alcohol Funnycar, Treepeople & J Church). Again being the clueless entrepanuar that I was, I spent WAY too much money putting the thing together and being the punk rock purist that I was, I sold it for WAY too cheap ("what do you mean charge for postage???"). Anyway, I took out my monthly $110 worth of advertising (one ad in Maximum RocknRoll and one in Flipside) and sold the set mainly through the mail. We sold out of the 1,000 box sets in a week and decided, after much trepidation, to pour the profits into a CD version. That sold an astounding (to us) 5,000 copies and we turned a modest profit. That pretty much set up the company in several ways---not only financially, but it also established relationships with a lot of great bands who would help us tremendously in the years to come---most notably, Face To Face. After that it was a couple more 7"s and the Face To Face "Econo-Live" 10 inch EP. That sold 5,000 copies just through mail order. From there it we did the Before You Were Punk compilation. Again Face To Face stepped up to record a track and after getting them in, it was easier to sign up the rest of the bands---Good Riddance, NUFAN, Guttermouth, Blink-182, Unwritten Law and the Mr. T Experience among them. That became a semi-phenomenon (to us anyway) and sold nearly 50,000 copies--and pretty much got us rolling as a "real" company --in only six short years!!! Face To Face then tapped us to do their Live album and that put us on the map for good. It has sold about 80,000 copies. Like I said, that bands contribution to our label cannot be overstated---nor can our gratitude to them. They basically could've worked with whoever they hell they wanted and they chose us. As for the name Vagrant---what else would you call a company with $2,000 in start up money (I guess we could've called it Doomed Records---but Vagrant looked better on paper).

PB: What was your inspiration behind starting a record label? Also, did you ever anticipate it to be this huge?
RE: My inspiration for starting the company was that I wanted to put out music I loved and I was naive enough to think I could. As for anticipating it being this "huge"....first off I don't see us as being huge. Epitaph is huge, Fat is huge. We aren't even in those labels league in terms of sales, staff, bands etc....I can't say I anticipated us getting to this point, but I did hope for it.

PB: Did you look up to anybody as a role model, for starting a label, or just as a kid growing up in the "scene"?
RE: Yes, the bands I loved when I was younger---The Replacements, Husker Du, Minor Threat, Social Distortion, Descendents, Black Flag etc.--all started out on independent labels. I distinctly remember seeing "Another State of Mind" when I was just a real little kid--and the part on Ian Mackaye & Dischord just floored me---I had this real idealized vision of what owning a label would be like---you know---running it out of the back room of your house, putting on shows, hanging out with cool bands---it was a punk rock fantasy. I came to realize that it's a lot harder than it looks. But I gotta say that to this day, Dischord remains my main inspiration as far as labels go. I just really admire Ian's dedication. Also, when it comes to taking care of the bands on the roster---I looked to Fat Wreck Chords---they just do it right.

PB: Currently, what's your favorite band (not counting the ones on your label), and what album(s) are in your stereo or on your record player?
RE: My favorite bands are the ones I listed above (though I'd throw in the Clash, Johnny Cash, Tom Waits and Bob Dylan too). Aside from the bands on Vagrant which are---as corny as it sounds---my favorite bands, I like The Explosion record a whole lot, Hot Rod Circuit is good, Dropkick Murphys has been getting a lot of play---as well as old stand by favorites like Jawbreaker, Lifetime, J Church, Rancid, Kid Dynamite and Pond.

PB: Compare and contrast your taste in music from when you were a teenager in the "scene," to the present day. Has it changed significantly?
RE: It really hasn't changed THAT much since I was a kid. I still look for honest songs, smart lyrics and good melodies. I'm a sucker for a good pop song. I will say that I'm a lot less tolerant of crappy music than I used to be. I can't stand safe, cute, generic, sounds-like-everyone-else bullshit punk rock. I also hate "wacky" music. There are, like, two bands in punk rock who can pull off the "funny" thing effectively---NOFX and....uh.... actually---make that one band that can pull it off. Everyone else who tries it should be shot.

PB: Who was the first band signed to the Vagrant roster, and why did they initially catch your eye?
RE: The first band we signed was Boxer---even though the Gotohells think THEY were. I read an interview with Boxer in Punk Planet where they described their sound as a mix of Lifetime, Face To Face and Gameface---three bands I really like. So we emailed em and had them send us a demo. I gotta be honest I didn't make it through the first two songs---I was like " yeah, whatever". But then Jon, who runs Vagarnt with me, listened to it and said---"You gotta hear track 3". It was a song called "Georgia" and the raw passion and emotion of that song made me listen over and over again. I couldn't stop. So we offered to bring the band out from Boston to make their record (The Hurt Process) and they did. They broke up shortly after releasing it, but to this day it remains one of my favorite albums we've put out. It's tragic that they didn't stay together because they were awesome. 

PB: Are there any specific aspects you look for in a band before deciding to sign them?
RE: Good songs, good people, good live show, good work ethic.

PB: Does Vagrant currently have their respective eye on any particular bands to sign in the near future?
RE: Nope.

PB: Obviously, the recent signing of the Alkaline Trio, Saves the Day and Rocket From the Crypt are huge additions to the Vagrant family. What aspects do you think each of these bands bring to the table, and what kind of impact do you think they'll have on your label?
RE: Ok, I'll try not to be too long winded.... Alkaline Trio---best young band in the country right now. I think they are going to be a very important band in the years to come. I haven't been as moved by a band songs and lyrics since Jawbreaker's "24 Hour Revenge Therapy". Saves The Day---Already at the top of their class and yet have more potential than any band around. They are growing and maturing as songwriters and people with every passing day. The progression from their first record to their second record is astounding---I can't even imagine what the next record has in store. They have only scratched the surface of where they are headed. Rocket From The Cypt---Legends. Pure and simple. One of the finest bands in the world in any genre. One of the best live bands I've ever seen. Jon Reis is more punk rock and works harder than anybody else I've met in this business. I still have to pinch myself when I think about them being on our label. As for what impact they will have on the label--- I have no idea. I do know that since signing them a lot more people know about the label. So in that sense, it is good for all of us.

PB: Some people regard Vagrant as a label that only signs "popular" bands to sell records, and simply make as much money as possible. What are your thoughts on these allegations?
RE: It always amazes me that this so called "punk" rock scene that is supposedly so supportive has so many jealous, petty individuals who derive so much pleasure from tearing others down. Anytime anyone---labels, bands, promoters---start enjoying ANY modicum of success. The sharks start circling---ready to tear into you at the first site of blood. But to address that "criticism"....first off, it isn't true. No Motiv, The Gotohells, Koufax, Boxer, Automatic 7 and The Anniversary were all pretty much completely unknown when we signed them. The Get Up Kids were certainly doing well, but nowhere near where they are now. And as for the other bands---two (Alkaline Trio & Saves The Day) came off other independent labels who either a) didn't get their records into stores effectively or b) didn't offer the bands enough support in terms of touring, recording funds etc. so at that point it was either a larger independent label or a major label and neither band wanted to go a major label. Rocket From The Crypt had been on a major label and been fucked over for so long, I think they just got sick of it and were looking to make a change. We sign bands we love, regardless of their popularity. We've just been lucky enough to sign some bands who already had their shit together when they got here.

PB: Do you receive a lot of negative criticism in regard to the bands you decide to sign, or records you release? 
RE: Aside from the above criticism from a vocal minority, not really, no. The overwhelming majority of people have been extremely supportive.

PB: Over the past few years, I've noticed the notorious Buddyhead thoroughly enjoys ridiculing your label, the bands on your roster and the records they put out. Is there any reason for this, or are there just bitter, hostile feelings between both parties?
RE: I can't understand it. I was a really big fan of his work on Starsky and Hutch---shit I thought he was the best part of the show. Then when the show went off the air, I lost track of his career, he did mostly guest spots on bad episodic TV shows. So, no I wasn't bitter or hostile, I just don't think anything he did afterwards was as strong as his work on S & H. He must just be pissed about that and.....huh?......aren't we talking about Huggybear? Oh, BUDDYHEAD!?!?!?....shit, sorry. Well, uh...wow...don't I look foolish....Ok, uh....I think it was really a good site and I'm sorry they went out of business.

PB:  One of the most successful and popular bands on your label, The Get Up Kids, have also received their share of ridiculing, from their huge rockstar tour bus for instance. I assume it must be very nice and comfy inside but what's the deal with that thing, is it really necessary? It's enormous!
RE: Alright first off, The Get Ups MADE our label---if it wasn't for them and Face To Face, nobody would give a shit about us. So, in that regard, they can fly around in a goddamn 747 and I would back em up on it. Second, The Get Up Kids can do whatever they damn well please with their money. It's theirs---they earned it---and they can spend it however they want.This goes back to that petty, jealous bullshit. Here you have the biggest indie band in the world---succeeding on their own terms, no major labels, no radio or video b.s. They sell out HUGE fucking venues around the country, have low ticket prices and support their friends' bands. So since people can't bag on their music, their business ethics or attitudes, they have to find something to pick on. Is the bus neccesary? Ask bands like the Promise Ring, Saves The Day, Shelter or any other band who has cheated death in a van accident whether they would've rather been in a bus. As for what it's like inside, I wouldn't know, they never let me come on it.

PB: I know some owners need to step down off their "high horse" and get over the fact that they just run a label, and not some multimillion dollar firm or whatever. But as an owner of a prosperous label like Vagrant, what is your opinion on the current, most notable labels? Labels such as Drive Thru, Revelation, Fat Wreck, Jade Tree, Epitaph, Victory (etc.) for instance. Do you believe they're efficiently ran and maintained, from an owner's perspective?
RE: I really couldn't say. All I know is that Fat has never had a band leave the label (Face To Face doesn't count because they were never officially "on" Fat), neither to my knowledge has Jade Tree, so they both must be doing something right. As for Epitaph, I think it's really cool that they've branched out and signed bands like Tricky, Tom Waits and Merle Haggard. I know very little about Drive Thru or Revelation and I have no comment on Victory Records whatsoever.

PB: What are your thoughts on having a major label aid in the distribution of a supposed"independent" label? Like the Drive Thru/MCA, and Mojo/Universal agreements.
RE: Well, hmmm....In terms of Drive Thru, I've only ever heard A New Found Glory so I don't really have an opinion on that situation. Mojo is just a joke of a label with fake bands and slimy business tactics....I don't think they ever pretended to be anything more or less than that. From my experience with major labels, most of them are filled with the lamest, most out of touch idiots you could ever imagine. Why anyone would hand their label over to one is beyond me.

PB:  In your opinion, what are the not-so-obvious differences between an ordinary major label, like Captiol, for instance, in contrast to your label, Vagrant? Perhaps from an owners perspective, there are a few aspects that are either left out and/or misconstrued.
RE: One misconception is that major labels can make ANY record sell as long as they spend a ton of money on it. It just ain't true---shit, the labels even believe this. People are not as stupid as corporations think they are. The other thing that is hilarious to me is when major labels call us up (or in one case, another independent label) and say "so how much do you want for the Get Up Kids?" and I'm like..."excuse me? what are they a used car?" So, when the band inevitably asks them "what can you offer that Vagrant can't?" They always, without fail, say "Well, we can get you on the radio". This is such a joke, because if they COULD get ANY band they wanted to on the radio, wouldn't they be getting a lot more of their bands on the radio? So we usually say, "ok, can you guarantee that in writing?"....which usually shuts em up.

PB: Do you foresee Vagrant becoming a major label in the future, if not, something similar or close to one?
RE: There is only one condition under which we'd sell the label to a major. We'd have to be prepared to wash our hands of the whole thing and just walk away. Like I said, major labels are run by morons for the most part. I started this label so I wouldn't have to deal with people like that, so I certainly wouldn't want to work for them. In addition, the bands on Vagrant would have to be o.k. with such a sale. In either case, I don't see it ever happening---ever. However, I would be lying if I said I didn't want Vagrant to become as succesful as it can be. I have no aspirations of starving for "the cause"...but it's going to be on our terms, and we won't cheat our bands to get there. I've said it before, I would like Vagrant to be to punk rock what Motown Records was to soul and R&B.

PB: Say in approximately 10 years, where do you see Vagrant Records? Whether it'd be from a financial perspective, or the reputation of the label itself.
RE: I have absolutely no idea. I hope all our bands will be stinking rich and I'll we'll have enough employees to allow me the time to coach my son's little league team. I would love to think people could look at back at Vagrant and say, "They consistenly put out quality records and they never compromised". In other words, the same way I look at the labels I admired--Dischord, Twin Tone, Touch N Go, SST etc. That would be awesome.