Ear drums pulsate as Mike Bennett, international percussionist and co-owner of Music Evolutions, passionately plays a private set in the intimate setting of his Sherman Oaks studio. / photo by Christopher Guzman

by Christopher Barnes-Baxter
photography by Christopher Guzman

Lights are blazing, the music is blasting. The crowd is rocking, and everyone is screaming your name. This may seem like another average teenage dream, but in actuality, it is Mike Bennett’s everyday reality. His appearance—black finger nail polish, lip piercing, long hair—screams punk-rocker on the surface, but that is a false mask to just how international and humble this guy is. From flamenco to pop rock, Mike has created a name for himself through his music versatility and his mastering of not only the drums, guitar and synthesizer but also percussion instruments from around the world. He has booked gigs since he was 16 in multiple venues and even staged a southland tour. Coming from a family involved in law enforcement, his musical interest was separate from the family business. “This is not something that came second nature to me; I practiced my ass off,” Mike says. At first, music was just a fun obsession. “It took me to the end of college to realize that I actually wanted to buckle down and do music,” he says.

Not too cool for school

All that practice paid off. During his first college year, a Cal State Fullerton music professor referred his name to a big band musician, which led to Mike being invited to go on tour with Maynard Ferguson, a well-known Canadian jazz musician. But Mike did not go. He was 19, and while he understood that this was a rare opportunity, he also realized that it takes more than just experience to gain longevity within the music industry. He needed to educate himself and gain more practice within the Los Angeles market. “I knew that if I left school then, I would never come back.” He began using the college campus as a place to not only establish networks, but as a musical resource as well. Despite being a La Verne native and attending elementary, Romona Middle School and Bonita High School, the University of La Verne was not his first college choice. Among his choices were Boston University, California State University, Fullerton and the University of California, Berkeley. And while Mike ultimately ended up studying at Fullerton for his first two years, he then decided to enroll in the music program at the University of La Verne. During his time at ULV, Mike not only used the available facilities to practice his art, but he also was able to perform at least twice a semester with the help and guidance of Reed Gratz, professor of music. Mike says Reed not only provided him a strong music foundation, but he also was able to work with him to fine tune his craft and to open up many performance opportunities. As the old saying goes, “It is not always about what you know; it is about who you know” and, according to Mike, a person’s networking skills can make or break a musician. “Every student should know Reed Gratz. He is such a great resource and a knowledgeable man,” Mike says.

“As a student, Mike was definitely one of our stars here at the University. He was and is very driven, and, nowadays, that’s the only way a musician can make it in the world,” says Reed. “With his determination, he was bound to do something important. I had never seen a student like him; he was not out in the clubs every night partying, he was working.” Reed thinks highly of Mike, not only for his ability to play so well, but for his humility and humble personality. Reed says he never took on an arrogant attitude when interacting with his peers. “I really admire the fact that he always wanted to learn; he always approached people in a humble manner.”

Tricks of the trade

It was not Mike’s pure talent that made him successful within the industry; it was his determination and proactiveness that launched his career. “I do not sit by my phone and wait for it to ring; I am not the waiting type,” says Mike. This aggressive demeanor propelled him to be the lead drummer of Hilary Duff’s band. Day in and day out, he would go on Google to search for information about drummers leaving bands. Then he gained a helpful tip from a friend that a drumming position was open for Hilary Duff. He sourced the location and made his presence known to all the big names while at the audition. Mike did what he does best—played his heart out and walked away with the job. Now that her tour has ended, Mike says his experience playing with Duff was one unlike any other. He was able to travel the world and go to places that he never imagined. As he explains, there was a sense of community within the band; they were not just band members, they were a family.

Most musicians do not realize the plethora of jobs that are out there for artists; they usually pass up the gigs that have low pay or are at low-key venues; nevertheless, sometimes those gigs will lead to promising future ones. “This industry is all about networking, even if it comes down to taking the crappy jobs just to get the exposure,” says Mike. “The people that you least expect will get you a job.” Those unexpected contacts have led Mike to playing with big names such as Richie Kotzen, Marie Digby, Hilary Duff, Jamie Foxx, Mary Mary, Gordon Goodwin’s Big Phat Band and more. Saying “yes” more than he says “no” when booking potential gigs is coupled with Mike’s other performance philosophy that musicians must treat every gig as though it is their last performance. “Just because the gig is not one that you may prefer, does not mean that you should not play at a 100 percent level.” Mike also stays marketable due to his versatility. Michael Ryan, ULV adjunct professor of music and leader of a musical group that plays in a nuevo flamenco genre, attests to Mike’s versatility. “He has studied our music and gives the right tempos and rhythms that allows us to play our best. When the music gets passionate, he is right there driving the intensity. His ability to give such support makes him a great percussionist and drummer.”

Mike also has his hands in producing and teaching. His book, “Demystifying Drumming” has sold many copies nationwide. He began writing it while on tour with Duff. The book is essentially a technical book, filled with essays about drumming and percussion. “It is difficult to do just one thing in this industry, especially if you want to be successful,” he says.

Although Los Angeles is a tough market filled with those who will take advantage of the young and inexperienced, there are ways to achieve industry success. Having a good business sense will get you far in Los Angeles, especially if one is good at developing positive relationships and has talent. “Successful musicians in this industry are good business people,” he says. Humility is also a vital factor. No one wants a show boat musician who is full of himself. “Every musician needs to have a lot of humility in whatever they do,” says Mike. His appearances on television shows such as “The Tonight Show,” “The Ellen DeGeneres Show,” “Jimmy Kimmel Live,” “Good Morning America” and “The Today Show” have given much exposure to his talent and his personality. Fame, he says, is something that is flattering but at the same time weird. “It’s a bit creepy when I show up to different places and people know a ton of information about me.”

Mike’s versatility in the music industry has now led him to producing and composing music for artists and live bands. With the help of friend and fellow musician Dave Wood, he has opened up a studio called Music Evolution in Sherman Oaks. There, they provide state-of-the-art services that range from guitar and drum playing to piano and songwriting. Currently, Mike is not taking on as many gigs as he used to, allowing him to focus more of his energy toward his studio and his position as a clinician.

Mike Bennett generates his own positive high energy through his passion and his versatile style. He believes not only in himself but his craft too. And while the bright lights, screaming fans and rocking crowds call out his name, he answers with a humble, grounded belief system that came from within him, not outside.

Music Evolution co-owners Mike Bennett and Dave Wood (right) met each other while performing with Hilary Duff. The two spent several years building their own production studio in Wood’s home in Sherman Oaks. Dave has performed with Lil Wayne, Gladys Knight and Jesse McCartney, among other artists. He has also written a book titled, “The Secret Guitar Method." / photo by Christopher Guzman

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Left to right Lining up their talents, Salinger’s Tony Perez, Herbert Ha, Taylor Harb and Javier Verni look toward making it in the music business. Formed around guitarists Ha and Verni, Salinger has grown to incorporate different instruments and styles into its sound. / photo by Christopher Guzman

by Michael Escañuelas
photography by Christopher Guzman

Outside of a Starbucks coffee in Chino Hills, Herbert Ha and Tony Perez arrive separately from their self made practice studio in El Monte. “Watch out, I’m still sweaty from practice,” Herbert warns as he exits his car. The band is working hard to prepare for a handful of upcoming concerts and striving to make their live show something worth catching. While none of them has given up full-time day jobs, they feel their band is on the edge of music business discovery. “What we rely on most is our live show. We don’t have a lot of material to push out,” Herbert explains. Even so, for Salinger, an indie rock five-piece based out of Chino Hills, music is not just a hobby, but a practical part of life. Compiled of Herbert Ha, on lead vocals and guitar, Javier Verni, on guitar, Tony Perez, on drums, and Taylor Harb, on cello, this group of musicians, who either go to school full time or hold full-time jobs, makes up the band Salinger. Although their name may not be known beyond their home town, this band is working its way to exposure in many new and effective ways.

Utilizing self-made studios, booking their own tours in states like Washington and Oregon, and even recording and producing their own demos, Salinger is just a local example of how the music scene has developed in the past decade into its own self run entity. “Do it yourself” (DIY) has become the motto of many artists in not only California but also throughout the entire United States music scene. Age old attention getting methods like dependence on labels, managers and booking agents have quickly grown outdated and been replaced by outlets that let the bands themselves take control of their work and reel in the benefits. The measure of success for a band has greatly changed; the rock star concept is quickly becoming a taboo. For bands like Salinger, this change presents the opportunity to create and show their music to more people than even thought possible before the new millennium.

This new movement is taking control of the music business but not only are bands taking control of their musical careers; so too are producers, engineers and venue owners. With new digital methods of distributing music, playing concerts and recording, the business of music is finally being controlled by the musicians.

Getting the album out

The music scene that resides within the La Verne area is just like any other; it is always changing and growing. For Salinger, the road to becoming a band started with a trip to Oakland to record a five song demo. The band began in 2008 as a singer/song writer project created by band front man Herbert Ha. After booking some time in a friend’s Oakland studio, Herbert and band mate Javier Verni went north to record their first demo, “Lovers,” which would become the band’s demo. Followers of Salinger say it holds a focus on heartfelt lyrics combined with a strong push toward musical diversity. “I was struggling with a lot things at that time; that is why It feels more organic, more heartfelt,” Herbert says about the band’s early material.

For many aspiring musicians, jamming with friends is just the first step in starting a band. But beyond creating music, a band must go through many steps to release material. For Salinger, this process began with recording the first EP “Lovers” and self releasing the album. “At the time, it was more of a personal goal, especially for me,” Herbert says. “I really wanted something solid to put out, something packaged, something pretty.” The band self released its album totally, making the packaging and selling the album at its shows. Currently, Salinger sells its music through the online retailer Band Camp, a free service that allows artists to sell their music online and not be forced to pay fees.

For local bands, to record an album takes many hours of work and much money. The process includes paying for studio time, recording the material and then mixing the music for release. Salinger gained its studio time with a friend in Oakland. For the “Lovers” album, the cost approached $700 for recording and an additional $400 to complete the packaging. When referring to future recordings, Herbert addresses the cost and time constraints with caution. “We have the songs to record a full length, but a band like us basically has to do everything on our own.” “Even though we work, it’s really hard to get the money into a studio and spend that much time.”

The days of driving to venues and distributing flyers, hoping people give them the time and day are gone. Websites like Facebook have paved the way for self promotion, along with sites Purevolume and BandCamp. Band members can build a buzz just by sitting in front of their computers. “Ten or 15 years ago, bands would network at venues, and bands would play with each other and get on compilations,” Tony says. Before file sharing, compilations were a necessity for a label and an opportunity for smaller bands to be heard. Now, promotion is focused online though social networks, allowing bands to directly interact with fans. Besides allowing bands to promote and sell their music online, sites like YouTube and Vimeo allow artists to create videos and post their music in a completely different art form. In turn, fans post videos promoting their favorite bands, allowing for viewership to millions. “We welcome anyone to come record things; they have our permission to put it online; we don’t care,” Herbert says.

Computers have changed the music industry, and it makes one wonder whether DIY ethics are ruining the authenticity of bands, artists or even the music. “Wanting to travel and doing what you love, like playing music—that’s one thing the digital world can’t take away,” Herbert says. For local bands, playing shows is essential. The passion that drives the music scene can be proven within a band’s live show. It is the only outlet that allows artists to fully display a band’s talent. Salinger took to the road and headed north to play a small tour. Cities within Oregon, Washington and California were chosen to share the band’s sound. But unlike tours for well known bands, smaller bands have a more difficult time getting crowds to show up for touring gigs. Some of the band’s shows either were cancelled at the last minute or had few people in the audience. “We’re a little band from a city no one knows, but it was our first tour, so we took what we got from it,” says Herbert. “You have to go into it almost expecting to play for no one.” But like with any business, one cannot pave the way to the top without treading the bottom. Not all bands can endure the challenges of self booking tours, or even managing a band through self-made ethics, but bands like Salinger are driven by the passion of their music.

Producers and studios

Pablo Hernandez stands outside his humble Ontario home located on a short cul-de-sac that backs up to the 10 freeway. The freeway wall barely blocks the overpowering highway noise that one can not only hear but feel. Considering the noise pollution, it would be unexpected to find his garage houses the control center of a quality home self made studio. Pablo is a self taught student in the art of producing and engineering music. His studio, which houses a large 36 channel mixing board, an abundance of microphones and a large spacious area, is a work in progress that records his band “Resa’s” material, along with several other projects. “I don’t have any training,” Pablo says. “I started backwards, and I learned on my own with the help of friends.” Pablo’s work began after being laid off from his job as fire alarm technician. After learning that a friend had a large mixing board from the ‘80s collecting dust, the musician quickly jumped at the opportunity to set up the equipment in his garage. With time, Pablo added more recording tools like microphones, cables to extend to the front house and interfaces to create a modest home self made studio. “I didn’t really know anything. We just messed around learning just basic things,” Pablo says.

Before building his studio, Pablo created and wrote music with different bands. Using internet tools to obtain programs to record, Pablo quickly learned to manipulate the technical side of music. “I always have been a nerd for the behind the scenes stuff,” he says. He established a connection between the garage, which housed the mixing board and computers, and the main house, where bands played their instruments. Then, Pablo built his excellent resume as a producer and an engineer. “I don’t want to be an engineer, but at the same time I was learning from him all the technical stuff,” Pablo says. “I had to, to be able to communicate what we wanted to do.” Pablo’s self taught skills have given him an advantage of recording his bands material along with helping out friends with recording.

The path to excellence came from recording his own band, hours of reading and the expert advice of friends. Pablo was then able to make a drastic decision in his musical career and develop musical field versatility. In a music scene that demands so much from artists, it helps to have the advantage of recording knowledge to guide your band. “We can do other skills other than playing music,” Pablo says. “We have what it takes to communicate who we are.”

Unlike how Salinger’s members support their music careers through full-time jobs, Pablo was inspired by the loss of his fire technician job. “My job was just a job,” Pablo says. With the job loss, Pablo followed his music passion, which took a backseat to a full-time job. He decided to make it his career. “I changed my mind set to I can get by if I apply myself.” With the job field quickly become a ghost town, making rash decisions to pursue music has become a growing norm among artists. The do it yourself movement allows for artists to take the music scene into their own hands. For producers and engineers, there are many paths to take, including school—or like Pablo—building your own studio and learning through hands on experience. “There are so many options out there,” Pablo says. “It’s much easier to become an engineer nowadays.”

Venues open the door

For many bands, the art of live performing is their only exposure method and a personal connection with their fan base. Within the Inland Empire there are only a handful of performance venues compared to large cities like Los Angeles. One local venue not only embraces the local scene but also was built on the DIY ethics that push so many artists. After quitting his job as a teacher, Donavan and Rachel Foy opened in August 2006 their “The Wire Music and Arts Venues” in the heart of downtown Upland. “We wanted it to be something that we were really into, and we were both really into music,” says Donavan. “There wasn’t a legitimate venue for bands to play around here.” But just like any local business, The Wire was built with a hands-on mentality that still holds true four years later. Along with a modest staff, The Wire is run, booked and even cleaned by the owners. “I do everything from booking to cleaning toilets,” Donavan laughs. “It’s not glamorous, but it’s what we wanted to be.” Since its opening, The Wire has been a place made for the primary reason of music. “A big decision we made was it being all ages and not serving alcohol,” Donavan says. “We want it to be a place where people come to see music.” Similar venues like Chain Reaction in Anaheim and The Glass House in Pomona also have an all ages policy and do not serve alcohol.

For many business owners, the art of staying open comes from making right business decisions and learning from your mistakes. For Donavan and Rachel, owning a venue proved to be a unique business venture that came without an instruction book. “Since we first opened, we are always learning and figuring out what works and doesn’t work,” explains Donavan. “There’s isn’t anyone in our line of work that I know that I can get advice from.” The two base their business ethics and judgments on their experience playing in and working with local bands. These ethics include staying true to the focus of music and always being hands-on. These goals are achieved through do it yourself methods like booking and maintaining the venue. “All I ever did was go to shows, and now it’s my job,” says Donavan.

As long as the local scene of music thrives, there will always be a need for a performance place for the arts. The Wire is one of several local places that serves the do it yourself music scene and keeps artists from going broke. The Wire’s reputation is an important attribute to their business ethics. “That’s how it works with anything that is not corporate,” says Donavan. “How else are people going to find out about it? It’s word of mouth; it’s what you hope for.”

When it comes to do it yourself ethics for bands, producers and venue ownership, word of mouth helps keep the scene alive. Artists continue to play and display their art just to get people talking. Engineers and producers record and work as much as possible, even sometimes for free just to get their names out there. Venues treat bands and concert goers with respect with hopes that more artists book with them. The art of do it yourself is linked through several different ethical methods. With the power of digital technology, if one has the passion to drive your art forward, their always seems to be a way. “That’s the bottom line of when you do things yourself,” says Donavan.

Salinger’s lead singer Herbert Ha, drummer Tony Perez and cellist Taylor Harb share their passion for music as the indie band takes over the heart of Pomona’s Main Street Art Walk at PB&J Nov. 13. Salinger frequently performs at several intimate venues in the Pomona Arts Colony and expects to record new material soon, under the direction of producer Pablo Hernandez. / photo by Christopher Guzman

Self-taught engineer-producer Pablo Hernandez records DIY bands from his personal studio in Ontario. The old 36 channel mixing board sitting in Hernandez’s garage symbolizes the work that he puts into creating his own at-home studio. With a zest for production symbolized by the toys and trinkets that surround his studio, Hernandez has incorporated self-taught tools and techniques to create a unique recording style that is credited with launching local bands to their next musical level. / photo by Christopher Guzman

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by Michael Escañuelas
photography by Michael D. Martinez

Things are very wrong in the music industry. Walking into Rhino Records in Claremont, one can see customers buying CDs, books and magazines of their favorite bands, but the real interest lies in the back of the store, which houses two long rows of newly pressed vinyl records. These are not the vinyl records one would find in his parents’ garage, but actually recently pressed and repressed vinyl from both new artists and old.

With album sales going down and most of the big box stores like Best Buy and Wal-Mart liquidating their music sections, it is hard to believe that a store like Rhino Records could still exist. But with the recent numbers supplied by SoundScan, small indie shops like Rhino Records are actually rising in sales. With the age of iTunes in full swing, it is hard to pin point where the music industry is really going. This fear of unpredictable trends could explain the rise in vinyl sales during the past couple years.

In the last six months, vinyl sales have spiked more than 50 percent according to Nielsen SoundScan. Those very records that once plagued your parents’ garage are now the hot new media, overtaking the music industry and, in some cases, actually saving record stores from extinction. Many artists, both unsigned and signed, are now releasing their albums on vinyl along with digital downloads. In some cases, artists like Weatherbox on Doghouse records actually released just a vinyl version of its most recent album, “The Cosmic Drama,” and chose to ignore a CD release. Philadelphia natives Balance and Composure, on the No Sleep Records label, released their label debut on vinyl. “I don’t think of it as resurgence for vinyl,” says Pete Lyman, a mastering engineer at Infrasonic studios in Los Angeles. “Vinyl is the first real music delivery to the consumers so it’s not like this new technology.” This resurgence may be something new in mainstream media, but, for many collectors and music enthusiasts, the idea of vinyl never left the garage.

The art of collecting

“It’s a resurgence but, for me, not really,” says Jose Calixto, sitting in the comfort of a Starbucks chair in La Verne. “It’s more accessible now; you can go to Best Buy, and there is vinyl. Before, you had to hit up punk rock distributions to get vinyl.” A local musician and graphic designer who collects vinyl, Jose plays in the local band 12 o’ Clock in English. He uses the advantage of traveling with his band to visit record stores and enhance his vinyl collection.

Vinyl collecting is not only something that benefits the artists who distribute them, but also the music fan who longs for something physical. In an age where the digital single has overtaken the album, it is growing harder and harder for music collectors to actually collect tangible music. “It’s good for collectors like me,” says Raymond Markel, a local musician and Cal Poly, Pomona student. “Vinyl is bigger, more difficult to find and valuable. It’s the perfect way to show just how much you like a band.”

Throughout Web sites like vinylcollective.com, limitedpressing.com and eBay, vinyl collectors bid to obtain some of the rarest vinyl in the music scene today. These items include records from classic artists like the Beatles and Jethro Tull, to contemporary artists like Brand New, New Found Glory and Against Me! Collectors are at the heart of the art of collecting vinyl. The recent resurgence of vinyl comes from the fact that so many music enthusiasts have gone that extra mile to obtain it.

From behind the register

In the spirit of supporting locally owned independent stores, 2007 saw the creation of Record Store Day. Inspired by comic book stores that hold their own yearly event, the day (held the third week of April) recognizes the independently owned record store. Many artists and labels release limited edition vinyl albums exclusively to participating record stores. The event also features artists playing in stores to promote the event. In Claremont, Rhino Records dressed its store with balloons, filled its racks with limited edition vinyl and invited Yo La Tengo to play the store in honor of the special day. The result: a long line of customers opened the shop and a large crowd filled the store during the performance.

“It used to be that another store was your competition; that’s no longer the general viewing,” says Dennis Callaci, general manager of Rhino Records for the last 20 years. Opened in 1976 and independently owned since 1981, Rhino Records has supplied vinyl records to consumers long enough to see the trend of vinyl sales go up and down. “The format was pretty specific when it started to have a resurgence with hip hop and electronic,” says Dennis. “That’s when we first started to sell a lot more vinyl.”

A major attribute to vinyl’s refusal to drown against the ocean of new technology was the support from local independent shops like Rhino Records. Although one could go into a Best Buy and find a small amount of vinyl, Rhino has one of the largest selections of both used and new records in the local area. Dennis’ career has shown him the many trends that have sprouted throughout the years, especially with the recent popularity of the once dated format. “We would try to sell a record for 99 cents 10 years ago,” Dennis laughs. “Now those records are in demand, so when one comes in used through the front door, it’s gone in a matter of a week.”

With the rise in popularity of digital singles and the availability of music in big box becoming more limited, record stores are becoming music consumers’ only option. “I don’t see the big box getting into LPs; I see them getting out of music, which is what they’ve been doing the last few years,” says Dennis. Recently, many stores have felt the failure of the compact disc. Rhino Records’ system of buying and selling used CD and vinyl has allowed the store to succeed from both the failure of CDs and the resurgence of vinyl. For the store, buying and supplying vinyl is a different process than just ordering CDs. “The vinyl is not returnable, so you really have to know your customer,” says Dennis, regarding vinyl’s distribution. To gather vinyl to place on store shelves, Dennis must find a distributer of the product and specifically order it. This results in a mixture of odd pricing issues, and the hope that someone will buy the records in order to make money. “With LPs, it’s all over the map; they don’t quite get it still. They’ll do a pressing or a reissue and make it $34.99; you’re pricing people out of that market.”

Independent labels keep vinyl alive

Distributing vinyl has always been something for which small independent labels are known. Now, with the recent resurgence of vinyl, large labels like Universal and Sony are releasing major acts on vinyl. In Best Buy, one can find the new Guns and Roses album for sale. Web stores like Amazon.com carry many vinyl titles. The concept of vinyl has caught on, and many labels and distributors are beginning to see the benefit of pressing vinyl album versions or even releasing only a vinyl version. And while many big labels are beginning to produce vinyl, when looking at their track record of keeping the music industry healthy, it is hard to believe that they will do what is right, even with the format’s recent success. “The record industry is filled with a lot of morons who don’t know what they’re doing, and they’ve done things so poorly over the last 20 years that I’ve been here,” Dennis jokes.

For the past year, no one group can be more involved in the resurgence of vinyl than the indie label. Small sister labels to the majors like Doghouse Records, Vagrant Records and Merge Records have promoted the release of vinyl records of their bands. For most major labels, the concept of doing vinyl records could prove to be too costly or unnecessary.

For label owner Chris Hansen, founder of No Sleep Records, vinyl is something he wanted to do from the very beginning. Sitting on a small concrete wall outside Pomona’s Glass House, wearing a gray sweater adorned with “No Sleep Records,” Chris explains his label’s story. It is based in Huntington Beach and includes acts like The Wonder Years, Balance and Composure and La Dispute. “I always wanted to do a label since high school. When I first started, I definitely wanted to do a lot of vinyl.”

Since starting his label in 2006, No Sleep Records has released several albums on vinyl. One of No Sleep’s first vinyl releases was an EP by The Wonder Years titled, “Won’t Be Pathetic Forever.” The release premiered on three different colors: orange, brown and purple. A plain black second pressing followed. “Vinyl has that everlasting appeal to it. It has a raw sound; the artwork is so much bigger,” Hansen says. The experience of pressing vinyl for the first time was a learning experience for him, to say the least. The release was plagued with misprint issues and long turnaround times. “The turnaround is six to eight weeks, and you want to go with the eight weeks just to be safe,” Hansen says. “I knew it was going to take a while, but I didn’t know it would take as long as it did.”

The resurgence of vinyl is just another example that shows the next generation rejecting the way music is sold. The idea of a compact disc is slowly becoming an outdated technology. For years, CDs were the dominate force. Now, with iTunes, Amazon and illegal downloading, consumers are looking for something more tangible and, most importantly, collectable when shopping for music. “The younger kids, they still don’t know what vinyl is yet,” Hansen says about the consumers of vinyl. “They buy vinyl because it looks cool; most people who buy vinyl these days don’t have a vinyl player.” Like many labels now are noticing, there is something to vinyl that brings out the music fan. Recently released vinyl is more collectable and higher in value. “It takes a lot longer to make money off vinyl,” Hansen says. “Vinyl is something you do because you love what you’re doing; you love music.”

Bands supporting the movement

Music has evolved greatly during the past couple years. For bands, the method of distributing music has gone forward and backward. Sitting on a step outside a venue anxiously waiting to play, Kenny Vasoli, former lead singer of the pop-punk band The Starting Line and current front man to the band Person L, discusses his band’s efforts to retreat back to the classic methods of distributing music. “I really like listening to older records because that’s the way it’s supposed to be,” Vasoli says, regarding the band’s most recent release, “The Positives.” Many bands have been following the direction of Person L and releasing vinyl pressings of their music. “It’s always fun to work on projects whose primary destination is vinyl, because we concentrate on making it sound good, rather than making it sound loud,” says Pete Lyman, a 10-year mastering engineer and 16-year band recording artist. The process of distributing band music in the digital age far exceeds the options that bands had when vinyl was first introduced. Now, for a band to distribute its album through vinyl is a means for fans to gain a new musical experience. “When you’re listening to a record, you’re really dedicating time to listen to it, so I think people are starting to discover that experience,” Lyman says.

Although music lovers have a new listening experience, for bands, the success of selling vinyl can contribute to the bands’ style or genre. “For more DIY style bands, vinyl seems to do better. They have a core fan base that knows more about music or appreciates it more,” says Hansen. Music distribution may be evolving, but with the movement of vinyl sales rising, the art behind music is still important to music consumers.

From the start of his No Sleep Records label in 2006, Chris Hansen was an advocate for distributing vinyl records of his bands. “People buy vinyl because it looks cool; most people who buy vinyl these days don’t have a vinyl player,” he says. / photo by Michael D. Martinez

General manager of Rhino Records in Claremont for more than 20 years, Dennis Callaci has seen the rise and fall of musical trends. His store holds analog treasures while also meeting the demands of the digital music enthusiast. / photo by Michael D. Martinez

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Since opening in 1996, the Glass House has played host to a wide range of chart-topping bands, including No Doubt, White Stripes and Rage Against the Machine. The Class House is located at 200 West Second St. in the Pomona Arts Colony. / photo by Rhiannon Mim

by Megan Sebestyen
photography by Rhiannon Mim

On the back wall of the small shop, CDs crowd the narrow shelf, each competing for attention. Each shiny album cover displays a scrawled signature where a member of the band took the time to personalize his/her album. Picking a single CD is difficult, as each brightly colored cover tempts the viewer with promises of a story behind the signature. Supernatural, a rapper from New York, has several signed CDs on display. The band members of The Faint make it a point to stop in every time they pass through town.

What’s odd about these visits by band members, though, is that they are not visiting a record store, but rather a used bookstore in Pomona located across the street from a concert venue where they perform. Supernatural buys poetry here while members of The Faint buy books to read during their long days on the road.

Across the street lies the source of the musical influence: the Glass House Concert Hall. The venue brings bands, bands bring crowds, and the crowds bring business to downtown Pomona.

“The Arts Colony in Pomona has become co-dependant. The ebb and flow of the businesses here rely heavily on what is happening across the street at the Glass House,” JoAnn Kaiser, co-owner of Magic Door IV Used Books, says. “We get band people in here all the time. And when the band comes in, so do the fans.”

Outside the Glass House, a long line of concertgoers stretches down the sidewalk, with fans eagerly clutching their tickets for the night’s show. Each time the main doors open, the crowd crushes forward, anxious to immerse themselves in the sounds within. Caught in their excitement, the crowd moves forward as one, not noticing that they share no commonalities other than their taste in music.

Two young girls giggle behind their hands, torn between trying to either ignore or earn the attention of the two older men with lip piercings and death-metal t-shirts who stand beside them. The owners of Magic Door IV Used Books shut down their store across the street from the Glass House and scuttle to the line for their sixth show this month. But when the doors finally open, and the crowd flows forward, they all seem the same; their concert wristbands have brought them together to this one place.

At this location on Pomona’s Second Street sits the concert hall that has earned a reputation as one of the best small venues for all types of music lovers. The variety of concerts performed here and the big-name bands draw music lovers from all over the Inland Empire and Los Angeles area. “It’s a very friendly venue,” Kaiser says. “A lot of performers from Los Angeles come here because they find the audience friendly.”

University of La Verne Events Scheduling Manager Doug Waite first visited the Glass House eight years ago to see Stereolab. “[The Glass House is] nicer than some. It’s certainly not a fancy venue. But for the right group, like the alternative groups, it’s the right venue. It gives people in the Inland Empire a place to go.”

The Glass House is especially popular because it hosts great bands for an all-ages audience. The Glass House has hosted bands such as the Pixies, the Yeah Yeah Yeahs, Rage Against the Machine and Say Anything.

“When a band I really love comes through, I’d rather see them there,” says Christina Zamora, manager of the Glass House Record Store. “The shows there are just a little more intimate and smaller.”

Even from the beginning, the Glass House handpicked all the bands that came through. “I’ve seen a lot of great bands who were new to the scene given a chance to play there,” former Glass House employee Joe Black says. Black is currently an art and entertainment director for booking agency 51 Buckingham.

Talent booking agent Jon Halperin says that he brought in bands like Tokyo Police Club, Plain White Tees, White Stripes and Of Montreal in the years before they were famous. “We book what the public wants. I need to book what bands kids and young adults are interested in seeing. I have to think like I am 20 years younger.”

Halperin said the majority of the audience is aged 15 to 25, though the bands vary greatly in musical genres. In order to cater to the interests of their audience, the Glass House has a MySpace page where users can see the show schedule, message other concertgoers, and even utilize links to purchase tickets. Shows usually occur about five nights a week, and Halperin tries to vary the bands who play together as much as possible. The doors open at 7 p.m., and the place fills to capacity nearly every night by 10 p.m., closer to the time when the headlining band performs.

Zamora said that the Glass House is comparable to the Troubadour and the Music Box in Los Angeles. All these venues are produced by GoldenVoice, which also sponsors events such as the annual Coachella Music Festival in Palm Springs.

This year, the Coachella Music Festival, held from April 17 to 19, featured artists like Conor Oberst, the Killers and Paul McCartney. Because of the connection between the Glass House and Coachella, Oberst also performed April 15 at the Glass House.

When the Glass House opened in 1996, the first show featured No Doubt. Black remembers being at the first show. At the beginning of his career with the Glass House, Black wore many hats; including the security person, the band load-in and sound production guy, and filled many other jobs as needed.

Black says downtown Pomona wasn’t always a haven for artists.

“Before the Glass House, there were vacant buildings. There were literally tumbleweeds rolling down the street,” Black says. “I’ve lived in Pomona since 1988. It used to be a ghost town. There wasn’t even an arts colony.”

Since those years, though, Pomona has cultivated quite a charming art community. Every second Saturday, the Glass House Record Store has a free in-store performance and art show to coincide with Pomona’s Downtown Art Walk.

The streets around the Glass House provide opportunities for before and after shows. Across the street sits Magic Door IV and La Bomba Thrift Shop. Around the corner, the older crowd can enjoy drinks at dba256 Gallery Wine Bar; while the younger concertgoers munch chips and salsa or play pool at Jimenez Mexican Restaurant.

These business owners are often among the crowd of concertgoers. “We’re heavily influenced by the Glass House. We see four to six shows a month,” Kaiser says. “On show nights, we close when the headliner goes on, either because that’s when business stops, or so we can see the show.”

After shows, fans will often come to the Magic Door and ask to buy the books that the members of the band bought.

“Literate bands have literate fans,” Kaiser says. “The bands and the fans really connect here.”

Employee Brian Ortiz checks the stock at the Glass House Record Store. The store hosts free musical performances on the second Saturday of every month during the Downtown Art Walk. / photo by Rhiannon Mim

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Science Fiction Theatre, a rock band based out of Rancho Cucamonga, was formed in 2004 and performs regularly at The Wire. Matt Jimenez sings and plays lead guitar. / photo by Rhiannon Mim

by Victoria Allende
photography by Rhiannon Mim

The Wire Music and Art Venue in Upland is a dream-come-true for owners Donavan and Rachel Foy. The Wire is a small, well-kept venue that is almost hidden among the row of shops on Second Street, in downtown Upland. When the red double doors are closed, it is unclear what is on the other side. But once the overhead spotlights turn on and shine above the front entrance, the venue comes to life. Behind those secretive double doors, beautiful wood floors pave the path from the entrance to the stage.

While The Wire appears small, it is the perfect setting for an intimate performance. As bands hit the stage, the lights dim and the music fills the all-ages venue. It is the perfect spot for new and local bands to showcase their talents to family and friends.

The Foys wanted to own a place where local bands could play. Rachel recalls driving around looking for the perfect place for their business.

“We found this place and it ended up being the right place for us,” Rachel says.

After a few obstacles, the Foys began construction on the venue in May 2006 and opened the doors to The Wire Music and Art Venue in August 2006. The couple, who work year-round, have yet to take a real vacation since the venue’s opening. “This is our main job, and more,” Rachel explains.

As the drummer for the band, The Ready Aim Fire, Donavan is the perfect person to own The Wire. His experience as a musician allows him to relate to the lifestyle and needs of local bands, which is their priority.

“We are here for the local bands,” Rachel says.

Their hard work is paying off.

Robert Thiel, a member of the band Screaming Remedy, has played at the venue twice.
“It’s very nice,” Thiel says. “It’s very comfortable playing here.”

He also enjoys working with the Foys.

“They’ve been great. They are very nice,” Thiel says.

The Wire is not only a venue for local bands to perform, but also a place to record music as well. Bands who are interested in recording a live performance of their show have the opportunity to receive an edited copy of their performance. The Foys have invested in the necessary editing equipment, such as ProTools LE7, to give bands the best recorded sound and editing quality. The Wire also specializes in providing bands with the opportunity to get in the recording studio. The Foys pride themselves on offering affordable pricing to bands who want to use their recording facilities, unlike many other pricey studios.

The Wire doesn’t stop at just having the best recording equipment and sound system, it also has an experienced staff. The Wire is a musician-friendly environment. All of the employees who work at The Wire are either in their own bands or are musicians.

Tristan Porter has been an employee at The Wire since November 2006. He has performed at the venue a few different times with various bands he has been a part of, including Harrison Ford and Deeragon Attack. He appreciates the atmosphere the Foys have created.
“They are doing a lot of great things for the younger crowd,” Porter says. “A lot of towns don’t have a good place for bands to play at. I grew up playing at coffee shops and warehouses. This blows all the other places I played at out of the water.”

Fellow artist Brian Hess enjoys performing at The Wire with his band Singlefaze.

“We’ve played there three different times,” Hess says. “Our experience has always been wonderful.” He is especially pleased with the venue’s great staff, particularly Donavan.
In addition to their great staff, Hess enjoys the sound quality that the venue provides during performances.

“The stage sound is incredible,” Hess explains. “They have a lot of good things going for them.” Hess and his band plan to return to perform at The Wire in the future.

What does the future hold for the Foys and The Wire? Donavan and his band have been working on their album. “They are going to be releasing their first full-length album in June,” Rachel says. “They recorded it all at the venue.”

Aside from the album release, the couple plan to keep working hard to achieve all their goals. With a devoted, hardworking pair like the Foys, anything seems possible.

photo by Rhiannon Mim

Every month The Wire features art on an empty brick wall in the entrance of the building. The owners decided that they could help local artists while filling up an empty wall. David Ward, an art student at Cal Poly Pomona, hung two of his paintings for the April gallery. / photo by Rhiannon Mim

photo by Rhiannon Mim

photo by Rhiannon Mim

photo by Rhiannon Mim

photo by Rhiannon Mim

Rachel and Donavan Foy, owners of The Wire. / photo by Rhiannon Mim

photo by Rhiannon Mim

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