Industries

Ace's Space: Artist/Producer Bill Cutler Interview

Artist/Producer / San Francisco

[Author's Note: This is the second in a series of Q&A's with artists, musicians, promoters, managers, publicists and other industry insiders by yours truly. The general focus is to get an idea of how these people do their thing, with an eye towards surviving/coping in the current state of the music business.]

Bill Cutler is a native New Yorker who transplanted to San Francisco during the "Summer of Love" era. Starting from his days as a singer/ songwriter performing in Greenwich Village clubs, Bill has had a successful, if understated, career as an artist, with releases on several major labels, and, more recently, on a smaller indie label called Magnatude Records, distributed via Rykodisc.

However, like so many others, Bill wasn't entirely pleased with how his recordings were produced, so he began learning the craft, and in so doing, developed a side career as a producer working on a wide range of indie and major-label artists. Later on, Bill became a personal manager for various young and talented Bay Area acts, often resulting from his capacity as a producer.

To get more info on Bill's remarkable career, drop by Bill's site, which also has a video mini-doc describing career highlights (produced and shot by RCTV/RC Studios, and yours truly) and two excellent music vids from his current solo record, 'Crossing The Line'.

Q: Welcome Bill! Why don't you briefly describe your beginnings in the Music Biz, leading up to your 1st major label deal, and what became of it?

A: I got my start in the music business in New York in the 1960s. I was a songwriter from the age of 16 and I used to play at Greenwich Village folk clubs like the Gaslight Cafe. I opened a few shows for well-known artists and began recording my songs for publishers at the Brill Building, where most of the great songwriters of the day were working. I didn't get my first record deal until after I moved to San Francisco in 1970. I auditioned for the band David Rea & Slewfoot in 1972 and became the group's rhythm guitarist. We were signed to Windfall/Columbia and made an album at The Record Plant in Sausalito, which was a brand new studio in those days. Bob Weir was the co-producer, so that put us right in the heart of the psychedelic music scene. That band lasted a few years, but once Clive Davis was fired as president of Columbia, we were dropped from the label along with the Sons of Champlin and many other West Coast signings from the Clive era.

Q: You, like many artists, evolved from being strictly a performer to then being a Record Producer, and you've dabbled in Management as well. How did that come about? What are some of the notable recordings you've worked on, both well-known and personal faves?

A: I never liked the way other people made my recordings sound, so very early on in my performing career, I vowed to learn how to make records. When I was in my second California band, Heroes, I began working pretty regularly at Wally Heider's Studios on demos for our band and that's where I started honing my producing chops. It wasn't really until 1979, when I was in my punk band, Nu-Models, that I began producing other artists. The first significant album I produced was for The Lloyds, a SF group with a terrific female singer named Lulu. After that, the phone started ringing, and I worked on indie releases with Chrome Dinette, Vauxhall (with Jorma Kaukonen), and many others. I've produced or co-produced with all kinds of artists from rock to hip hop, but certainly working with Jerry Garcia, Jewel, Kingfish, and Flame were all memorable. Management came about when I saw that most of the groups I produced would die on the vine if there was nobody to take their music to record companies. I co-managed a few bands and then managed Spike 1000, who I signed to Sony in 2000.

Q: After years of producing and at times, managing acts, you had a short-lived project called The Mystery Tramps. First, tell us the genesis of the project, and also what is the significance of the band name?

A: In 1993, I had an idea for a rap group that would combine a 60s influence with contemporary hip-hop. So I decided to cut an experimental track doing a cover version of Bob Dylan's "Like a Rolling Stone" as a rap song. I partnered with Mark V, a hip hop producer, and Michael Ehrlich, who financed our project. Because we were covering Dylan's classic song, we named the group Mystery Tramps, from the lyric in the original song. Once the track was cut, I sent it to Dylan's publisher; just to make sure Bob had no objections to a rap version of "Rolling Stone". The publisher liked it and played it for Bob. I asked for permission to use a sample of Dylan's original vocal hook: "How does it feel?" and Bob granted us permission. We were all amazed he said yes! It was the first Dylan sample ever approved. The group was signed to Imago/BMG records and the single was quite a sensation at the time.

Q: You released a long-awaited solo record called 'Crossing The Line' on Magnatude/Ryko, which went through an extraordinary journey before eventually being released. Give us the remarkable story behind the record, and how it's performed in the current climate of the biz. Also: Will we see a follow up anytime soon?

A: I had cut half an album of my own songs back in 1975 with Jerry Garcia playing lead guitar during the Grateful Dead's break from touring. Before I could do the second half of the album, The Dead went back on the road and the tapes were stored away. Unfortunately, there was never an opportunity to finish the project and I went on to other things. After I put out the Mystery Tramps single, in 93, I went to see Jerry and bring him a copy because Jerry was a huge Dylan freak. Jerry suggested we go back in the studio and finish my album when he got his next break from the road. That never happened and, of course, Jerry died in 1995. In 1998, I went back in the studio and cut the second half of my album, using the players from the old sessions, as well as guitarists like Jorma Kaukonen, Jerry Miller from Moby Grape, David Nelson from the New Riders, Mark Karan from Ratdog and others who fit the material. It was finished in 2001, but because there were all kinds of unsettled issues with the Garcia Estate, it took 7 years of legal wrangling to secure the clearance to use Jerry's name on the album. I finally released it in 2008 on Magnatude. It's been a wonderful feeling to complete this work and have it so widely accepted. I have some wonderful songs for a follow up and I hope I get the chance to record again. I love working with Pete Morticelli, the president of Magnatude.

Q: You've been through much of the meat grinder of the music biz, both as an artist and in other capacities. What are some cautionary tales you can offer, and/or sage advice?

A: There really is no shortcut to being a great artist. All you can do is follow your passion and make the music you believe in. Trends will come and go, but great art endures. Don't be afraid to take big chances--no one ever changed the world being the 2nd Beatles or the next Prince. Be yourself. Don't be afraid to take advice from those with more experience, but don't go against your instincts. If something sounds too good to be true...it probably is. Hard work and building an audience is what it is all about.

Q: What are some recent projects you're involved in?

A: I just finished producing an all acoustic jazz album for George Cole, who is a very talented guitarist and songwriter from the East Bay. I'm currently doing pre-production for an album by a rock band from the South Bay called Citabria, with a unique sound, who are developing quite a following.

Q: Where can people find out more about you, if so inclined?

A: I have a website: BillCutler.com with samples from "Crossing the Line" and a good overview of my producing career.

Q: Any other tips, final thoughts, cheap shots or bon mots for those crazy enough to want a career in the Music Biz?

A: Today the music biz is not just about being an artist, but also about being an entrepreneur. Learn how to grow a small operation, build a fan base, and serve your audience. The record label is no longer the parent that can provide everything a band needs. You are in charge of your own future.

On the Web:

Bill's official website

Bill on Facebook

Buy:

Crossing The Line

ARTISTHEAD - The Musician's Complete Business Resource

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