Amy Ray: Daemon Records
by Russell Hall
Performing Songwriter, June 1999
When it comes to big label record deals, you can take the artist out of the indie world, but you can't always take the indie out of the artist. Just ask Amy Ray. After spending several years recording for an independent label herself, Ray, as one-half of the popular folk duo the [sic] Indigo Girls, signed to Epic in 1989. A year later, she became smitten with the idea of starting a non-profit label whose roster would include some of her favorite songwriters. In the midst of the Indigo Girls' first major-label tour in 1990, she founded the small Atlanta-based company, Daemon Records.
During the nine years since Daemon's inception, the label has concentrated mostly on signing acts located in the Southeast. In return for distribution and publicity (and, of course, the status conferred upon them by the label), artists are expected to tour regularly, and to take primary responsibility for overseeing their own careers. Among the artists currently on the roster are Danielle Howle, Terri Binion, Belloluna, PH Balance, and 6X--all of whom are based in or near the burgeoning Atlanta market. Future plans include expanding the roster to include a handful of acts located in other parts of the country as well. Recently, Ray talked about the manner in which Daemon was founded, as well as its history and philosophy.
What prompted you to start Daemon?
There were several reasons. For one thing, I had a lot of musician friends for whom I was a big fan, and they weren't putting records out. Either they didn't have the money, or else they didn't have the motivation or the know-how. I wanted them to release albums, and I knew this would facilitate that. Another reason was, the Indigo Girls had just signed to a major label the year before, but my heart was still in the indie world as far as what I wanted to support and how I wanted to use my resources. And then there was a political element sort of over-arching everything, too--the idea of trying to do things that help create change in the power structure or in the paradigm that exists. I felt that this could be one way to sort of work towards that for myself, by creating a label where musicians would have an active part in things. They would learn how the music business works, and basically feel like they were taking care of themselves. That way if they singed onto a major label or struck out on their own, they would know the ropes and would have more confidence.
Did you intend from the start for the label to be non-profit?
Yes. We don't have non-profit status per se, but it is in fact not-for-profit. The label has never made a profit, so it's never been necessary to apply for non-profit status. But yes, I intended for anything that came in to go right back into the next project. I also intended to do special albums every few years that were earmarked for benefits other than the arts.
What sort of benefit albums has [sic] Daemon done?
We did Jesus Christ Superstar: A Resurrection, recording the rock opera exclusively with Georgia musicians. The money earned from that goes to gun conrtol efforts and gun education and funding of programs in urban areas to help find things for kids to do other than things that get them into trouble. That album has earned about $50,000 for those causes. We also put out an album called Honor, that's a compilation of all different types of artists, ranging from Soul Asylum, Bonnie Raitt, Exene Cervenka, and John Trudeau. The album also features several Native American acts, and all the money from that goes toward an environmental campaign called Honor the Earth.
What is the most expensive thing about operating the label?
The way the label is set up, I pay the employees and all the office expenses myself, so it doesn't come out of people's recording budgets. But when we do an album for somebody, the initial costs are the recording and all the promotional materials--things like posters, pictures, and packaging. After that, it's phone calls and mail-outs. And that's it, basically, along with the cost of manufacturing the CDs. And all of us do things like use only recycled paper--things that tend to cost a little more--in order to stay true to our environemntal dedication.
How is distribution handled?
We distribute through Koch, who does a wonderful job, and who also gives us some leeway. For instance, we do mail order, we have a website, and we take orders over the internet. Also, the musicians are allowed to sell CDs on the road, and they keep part of that money for themselves. That provides a means of having a bit of tour support. And every now and then there will be a record sotre we will work with one-on-one. Koch lets us do all that, so I feel pretty good about the arrangement. But still, distribution is the key to everything. If you're not in constant contact with record stores and not staying on top of that, a band could be touring like crazy and getting good radio play and still not sell CDs.
How are studio arrangements made?
The artist can do whatever he or she wants. Whenever we give someone a recording budget, they can go wherever they choose. They just have to turn in the music.
What criteria do you use in deciding wheher you will bring an artist on board?
Songwriting is the number one consideration, although it can be in just about any style. there are a few styles--a strict jazz record, for instance--that I would have trouble with because it's a specific field that requires specific contacts, and we haven't ventured into that area yet. And there are certain genres where I wouldn't feel I was doing the artissts any service by putting their record out because I might not know that genre very well. But, for the most part, we don't really care what style the music is.
The second thing I consider is self-motivation, or whether or not I feel like a band is going to tour and really work hard and is willing to be part of the team. I want to feel they're really invested in their career in a spiritual way as much as anything else. That's a big deal to me.
Do you meet with every artist you might potentially sign?
Yes. And we usually correspond through letters and phone calls, too.
Who were some of the first artists signed to the label?
The first band was a group called the Ellen James Society, who were really great. And then there was a songwriter named Gerard McHugh, whose songs the Indigo Girls have covered. He's still one of my favorite songwriters, and he's still around. It's people like him who made me want to put the label together because he's a great songwriter who wasn't putting out music and who's under-exposed. And Kristen Hall was someone I worked with early on. In the beginning it was mostly friends, and after that there was a brief period when I worked with people I had always wanted to work with but didn't really know. Since then, it's been bands that I hear about or that I go see or friends of friends.
How many Daemon artists [have] gone on to sign with major labels?
Kristen Hall did. She was on a Windham Hill (imprint) called High Street. And James Hall went on to sign with Geffen. Michelle Malone is another, although she continues to do projects for Daemon off and on.
How involved are you in the day-to-day operations of the company?
A lot, but not as much as I was at first. When I first started the label I did everything. And then (Daemon publicist) John Brand came to work for me, and then Andrea White. Nowadays, especially when I'm on the road, I'll e-mail them approximately every three days. Everybody will check in, and I'll write them a list of what I need them to do. Or they might say, "This is what I'm doing--what do you think?" Generally, they're better at their job than I could be. I've dlegated a lot, but I'm also involved day-to-day, and I know exactly what everybody's doing. If I feel there are specific things they should be doing, I tell them, but I feel secure that they know more than I do about what their jobs are.
Do you have a physical facility?
My computer is my facility, so I work out of wherever I am. And then we have a small office that's maybe 20'x25'. That's where everything is located, all the CDs and so forth. And of course Koch stores things as well. But the facilities are really simple. It's just a warehouse that a friend of mine owns, and we use some space there. We have a fax machine, some phones, and a computer--and that's it. We're pretty modest in what we have. We don't have a lot of money to play around with.
Do you get any support from Epic, for various Daemon projects?
Yes, I do. My publicist at Epic, Lisa Markowitz, helps a lot. And in the beginning, she really helped John learn to do what he does. Sometimes I'll call Epic's radio people and ask for help, too. They're pretty much always available to me, as far as advice goes, and even with resources sometimes.
Are there any big changes you foresee in the operation of Daemon?
I think we've finally hit our stried. The label's been around for a while, and we've been through a lot of problems, but it's been a learning experience. Quite honestly, it's taken me a long time to learn what my strengths and weaknesses are and how to work with various musicians. Emily and I are different from other musicians in a lot of ways--in the nature of our relationship and in the way we work. I got into this expecting everyone to be like us, and they're not. That's really been good for me. I imagine the label will move along steadily and put out four or five albums a year and try to build from a place that's focused and tight.