Extended Q&A with Greg Glover
April 11th, 2007

Yes, yes. Arena Rock’s Greg Glover is releasing an absolutely bitchin’ compilation of cover songs recorded by some of Portland’s best and most notable musicians (titled Bridging the Distance, in stores Friday, April 20). He’s also arranged to have all the record’s proceeds benefit local non-profit p:ear. You can read all about it in this week’s music feature “Mixed P:ears,” WW, April 11, 2007. You also hear all about putting the comp together, straight from the horse’s mouth, right here. What follows is my uncut conversation with Glover:

How did Bridging the Distance come about? Who approached who?
Just after moving here in ‘04 from New York, I actually thought about dissolving my label, Arena Rock. I was at odds with my partner due to the fact that his interest in the label seemed to be nonexistent. The few promising artists (commercial-wise) on our roster were either breaking up (Superdrag, The Gloria Record, On!Air!Library!) or graduating to larger labels (Calla). I sought advice from other label owners, friends and relatives, but it was a family friend, Frank Blumeyer, who encouraged me not to give up. Frank’s a lifelong philanthropist and suggested I might gain new enthusiasm for running my label if I first did something positive in my new community. I took his advice and then did some research on local non-profits. After talking with p:ear and seeing them at work, I knew that’s where the focus should be.

When did you first think of the covers comp idea? Was the idea for the artists to record covers of older songs–the coherent theme of spanning/bridging–inspired by p:ear or just something you thought would be cool/interesting?
Well, I’d done one compilation back in New York called This Is Next Year which featured 42 Brooklyn-based artists. My goal was for it to serve as a benefit for B.A.R.C. (Brooklyn Animal Resource Coalition). It didn’t break-even, but I believe more people found out about B.A.R.C. through the press it garnered. Let’s face it, compilation albums, in general, have a short shelf life. I’m in record stores all the time and rarely do I browse the “Various” section. Any awareness that you can create right off the bat is essential, because very soon it’ll get filed away with all the other comps. This time I thought it may increase interest in the project if the compilation had a central theme: cover songs.

You mentioned that the record took three years to make. What were some of your major obstacles?
Getting all the tracks turned in! So many bands are out of town recording or touring. When they are in town they’re busy drinking (laughs). All the bands were a pleasure to deal with, but I gotta give extra props to the Decemberists. They may well be the “biggest name” on Bridging the Distance, yet they were the very first to turn in their song. Not only were they dead-set on Fleetwood Mac, they were very efficient!

Are the artists featured your first picks? Did anyone say “no” when approached about the comp?
No one came out and said “no.” The Shins, the Gossip and the Helio Sequence were busy recording their albums. A few bands split up. I never heard back from Scout Niblett’s label, and for some reason something from Kristin Hersh and the Blow didn’t materialize. I also figured getting a track from Modest Mouse would be next-to-impossible, and I don’t have Malkmus’ phone number.

Did anyone pick the same songs or have a hard time agreeing to the songs being “exclusive” recordings?
I’d originally said “No Beatles, Stones or Led Zep,” because I thought that would be too easy. I also had the idea of “More Hooters, Mr. Mister and Loverboy,” but soon realized not everyone shared my tastes of yesteryear. We ended up with a wide range of tracks, and I think only the Joggers and the thermals wanted Led Zep. The Thermals were first so they got it. Yeah…I caved for Hutch [Harris]. The Joggers, in my opinion, ended up with one of the highlights on the comp by doing the Yes song. If I’m not mistaken, I think all of the songs appear here for the first time, which is pretty neat considering how much material there is.

Can you explain how you decided on what tracks would be the bonus, digital-only tracks? Do you think that will discourage folks from buying the hard copy?
I ended up with more songs than I could fit on a single CD and not enough to fill two. Besides, that would’ve taken another year! I also had a difficult task of balancing the “known” with “lesser-known” artists, but didn’t want to leave off anyone who wanted to contribute. Mostly, it came down to who turned in their tracks first. I don’t think offering bonus tracks online will discourage people from buying the hard copy, I really don’t. That’s why we made the package look nice. In the end, it doesn’t really matter as long as it creates awareness for p:ear.

Did you have any trouble convincing the artists to donate all the records’ profits to p:ear?
Not at all. Each artist knew that p:ear would be the cause and were eager to be involved.

Likewise, what’s Arena Rock’s incentive? Clearly, p:ear is an awesome cause, but you must have put an awful lot of free time (literally) into putting this together?
The incentive was to do something creative and positive here in Portland utilizing my record label as a means to do so. I think I accomplished that. It did take nearly three years, and I think a lot of the bands were wondering what the hell I’d done with their songs (laughs). Between waking at ungodly hours to do the morning radio show, doing my weekend show and running the label in the afternoons, there isn’t much “free time” except for a pint every now and then. I simply had an idea for a great cause and a ton of great artists willing to help out. I also needed and album cover, so that was motivation for me to start taking photos again.

Do you think gaining exposure was the artists’ main incentive besides p:ear?
Some of the artists don’t necessarily need the exposure, while a few of the smaller ones might gain a bit, but I don’t think that was their motivation for contributing. Also, no one will think that Arena Rock is responsible for the Dandy Warhols or the Decemberists because they’re on this compilation. However, if there is such a thing as karma, I’ll most certainly take it. Please, please…may the next Talkdemonic record sell half a million copies! (laughs)

What kind of distribution will the comp receive via Redeye? Does Redeye see any of the $14.99 retail cost?
Redeye have been amazing. They put Bridging the Distance on the cover of their sales catalogue that goes to every retail account in the country and have managed to secure several complimentary listening stations at key accounts (which should also be applauded). I would not expect Redeye to press these CDs and utilize their staff to help market this project and not take their usual distribution fee. Look, I’ve invested a lot of time, effort and money in this, but it’s not like I’m sending a bill to p:ear if Bridging the Distance doesn’t make money. I don’t see how it couldn’t be a success, though. In my book it already is.

Where in Portland will the disc be available?
People can order direct from Arena Rock’s website www.arenarock.com. Hopefully, all the music stores have ordered copies from Redeye or a one-stop. If not, they can contact me and I’ll make sure they get copies. Also, if any non-music stores such as coffee shops, boutiques etc. would like to sell Bridging the Distance, they can call Arena Rock HQ: 233.3775.

Timing must have had some effect on your artist choices; who would you be really excited to have on the comp if you were starting it now?
Besides the ones I mentioned earlier, I’d have to say the Shaky Hands. I wish I’d signed them before Holocene did. Damn you Scott [MacLean]! (laughs)

Do you have a favorite track on the comp? Personal highlights?
Are you kidding? That’s like asking a parent which child is their favorite (laughs). Next question.

If you were going to record a “classic,” what would it be?
Shit. Just as hard. Hmm…..off the top of my head? The Outfield. “Say It Isn’t So” or “Since You’ve Been Gone.” One man’s trash is another man’s classic, you know? (laughs)

It seems one of your goals is to represent a certain period of Portland music while creating a unique and almost metaphorical item that reflects the goals of p:ear, literally bridging gaps. Do you feel it achieves that goal?
I wish I could take credit for the title of the project. My label manager at Arena Rock, Dawn Pierson, came up with the title Bridging the Distance, which reflected how different some of these songs are yet served a purpose for one common good. I’m extremely proud of this, and the artists involved should be as well.

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