Keeping It Real
A Chat With Drive-Thru Records Co-Owner Richard Reines
By Josh Bashara
Drive-Thru Records is suddenly becoming the punk rock label to belong to. Bands like New Found Glory and Finch—just to name a couple—have broken out of the underground and into the mainstream thanks to Drive-Thru's meticulous attention to their artists and above all, a love of the music they put out.
Richard Reines and his sister, Stephanie, created the Geffen-parented label eight years ago. Today Drive-Thru represents 13 artists, all who might still be playing in their basements if Reines and Co. hadn't given them the shot they needed, when they needed it.
The Music Phone Book spoke with Reines from his office in sunny California about why he runs his company the way he does, and what local bands should and shouldn't do when trying to chase down a label these days.
How did Drive-Thru Records get started?
It started up on our dining room table with one line that we'd use for the phone and fax. We had one computer, one credit card and no money.
What kind of music does Drive-Thru feature?
I hate categories, but It's somewhere in the pop/punk/emo thing. Categories are really stupid.
What got you to where you're at today?
Working fourteen hours a day, seven days a week. One of our bands—FenixTx—got on the radio and then a bunch of labels came into the picture. After three years of struggling—almost going bankrupt—we got a deal with MCA. We thought that would help solve our problems, but it was actually one of the worst deals ever for us. We've been struggling with that deal for almost five years now.
Has file sharing affected your label in any noticeable way?
Our sales go up every year, but just knowing that for every one sale there's probably a hundred people who burned it—It's pretty disgusting. But our sales do keep going up.
Do you think that labels in general don't spend as much time grooming their artists as they used to?
Definitely. There is no way major labels—and most indie labels—spend enough time developing their bands. It's horrible.
Does Drive-Thru spend the time?
We do it as long as it takes. We're 100 percent behind the band—that's what We're known for.
Why is that so important?
Because we want the bands to have careers. We're looking out for their future. We don't run things so much like a business as a family. I'd rather see a band do well and be happy and not resent us. When we sign a band, we take their whole lives into our hands. When We're taking someone's lives and careers into our hands, there's no way We're going to let them down.
How does an unsigned band get the attention of a label like yours?
It's all up to the music. I hear tons of bands every day—our bands play us bands, our friends play us bands, our interns play us bands—everyone plays us bands all the time. If a band is good, people are going to talk about them. You can tell when It's coming from their friends and you can tell when It's real.
So what's the criteria a band has to meet to get signed?
It's 100 percent our personal taste. If we love their music, We're signing them—I don't care if they draw only two people in their hometown. For example, when we signed New Found Glory, they were drawing 20 people to a pool party. It didn't matter to us. Almost every band we signed—except for Homegrown—started from absolutely nothing.
What's the best was for a band to approach your label?
Well, sending in demos, emailing us. If your band is good, we'll find you. I tell that to bands all the time; if your band is great, you'll be found—you'll be discovered. It's not a science—it happens every time.
Any rumors about labels and the record industry you'd like to put to rest?
No, most rumors are true. Most people [in this business] are sketchy and two-faced. They care about all the money and nothing else—they screw over bands left and right. I see it happen all the time. Bands come to us all the time—even if We're not signing them, we'll give them advice to help them out and warn them. The industry is really sketchy, but I'm sure every industry is.
As fans start to download music more and more, and artists begin to create more music with ProTools in their basements, do you think labels will ever get cut out completely?
I don't think bands would be able to handle it. I deal with bands all the time, and they can barely get their shit together to do a three-day tour. I can't imagine a band doing the stuff themselves that a label does for them. For example, there is a band on Mp3.com with well over three million downloads by now. Everyone knows who this band is, but when they go on tour, they draw zero people in every city. Labels have a huge function. Yeah, you can do it on your own, but without labels I think it'd be really, really hard for bands to get to the next level.
For bands that might not know, what's the difference between being solicited and unsolicited?
Solicited is when [a label] asks to hear your demo and unsolicited is when you just send in your demo [without an invitation].
So how does a band get their material solicited?
I assume It's because a manager or agent or a promoter approaches the label and asks to play the demo. Personally, though, I can't stand managers. I'll listen to a demo that a band gives me way faster than a demo that a manager gives me, unless I already have a relationship with the manager.
Why don't you like managers?
Managers are 100 percent about money; It's how they make their living. Every decision they make is based on money and not on a band's career. Ninety-five percent of managers; all they're about is radio and major labels and money—It's disgusting. I see it happen way too often: they ruin bands and ruin everything that's pure and great about music. I can't stand it. I hate it.
What's the single most important piece of advice you can give to a band looking to get signed?
don't sign a management deal. You don't need a manager until you're on a label and you really need help. Getting a manager before then is a bad idea.
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