RICK LEVY – The Veteran Of The 1960s Music Industry

Interview with Rick Levy

1. Hello Rick, you have a new book at the moment. Please give us a description of the book and describe us the process of writing it.

Writing HIGH in the MID 60s was never originally intended to be a book..memoir..whatever. I started journaling while touring with Hermans Hermits (2000-2002), primarily to discover and uncover lost memories, and how and why my life evoled the way it has. As the realization dawned and grew that was the the “everyman,” the bridesmaid.not the bride, I became enthralled and excited that, in fact, my passion has burned now for over 50 years. Because I was never a star, yet continued to move forward, the reality set in that, indeed, the journey has been the goal. This was the reason I thought my life sotry could hold interest for others who feel a spark, or want to develop a talent, and what it might entail. While the thoughts and intentions swam in my brain for over 15 years, the real writing, re-writing and editing began about 3 years ago.

2. What it was like living in the music industry of the 1960s?

The 60s were, and remain, the most vibrant time of popular music..Everything was fair game..radio played all genres..Teen culture was incredibly important..Where I grew up, In Allentown Pa..there and surrounding areas had many many teen under 21 nightclubs..all with LIVE bands..no alcohol..just pure innocent fun. THE LIMITS..my first band, was one of the early area bands, and we honed our skills in clubs, fraternity parties, high school dances. Etc. Our earliest recordings “THE LIMITS-Garage Nuggets 65-68” is available online. As a kid..I wanted to learn the business and its served me well, as I now manage, publish, book, etc.

3. Do you think that the current situation where everyone turns into singles instead of the albums, reminds you of the 1960s?

Singles were the language of the day..because in the 60s.>AM radio was king..and the short 2min song was the rule. SO artists had to churn out singles every month or so..incredible productivity..Albums were primarily hits with some filler material..Singles were cheap to buy..so kids could buy them..Yes..seems to be some parallels with todays marketing.

4. What are your memories of your first major label contract?

My Philadelphia band WAX..(which you reviewed a few years ago)..was a prog rock band..signed to BOB CREWE’s label..Bob produced Mitch Ryder, 4 Seasons, Leslie Gore and more..and had a deal with Atlantic. We received a huge advance considering the times (1970)..we were young, excited, and headed to NEW YORK to record in the famed Record Plant..while we were in the small studio, John Lennon and The Who were in the big ones on either side..We thought we were going to be stars..but a few weeks later, The Internal Revenue Service shut Crewes label down for not paying taxes..and our dream turned into a nightmare..This is my BIG label story..fucked up! But..It made me want to control my destiny even more.

5. Were you aware of the advantages and disadvantages of signing a contract back in the day?

Advantages were you got money and support from a major (had Crewe’s label stayed viable..we probably would have made a significant impact..as members of WAX went on to very successful careers. The lost tape album “MELTED” which we released in 2010 receive rave reviews.. Disadvantages were..of course the labels screwed you royally..charging back every expense and more, plus young bands had very little to say about production, song selection etc. But in the 60s-70s..you needed a major or major distirubution to get radio play.

6. How did you decide to run an indie label and what is your general advice for people who plan to run an indie label?

When the LIMITS regrouped around 1980..one of the guys (Pete Smoyer) had a studio and was a great engineer..it was a luxury..so we started LUXURY records..and I became obsessed with learning distirubtion and promotion..This was the early days of college radio..and THE LIMITS albums were hits..even tho majors had not realized the imiportance of college radio. I also licensed albums inFrance and UK (and yes..we got screwed out of royalties there too)..but I really learned a lot..attended seminars..and RICK LEVY ..as a music business person (besides an artist/musician) became known in the business..Many in the industry know me more as manager than artist..which is fine..I can get both done well. If you got an indie..make sure for every dollar you spend in the studio..plan to spend 4x that in promotion..its ALL ABOUT MARKETING AND PROMO>

7. There is a recent trend of indie “net” labels who operate only online regarding distribution of music with no physical presence at all. Would you support a business model like that?

The whole online thing is a blessing and curse..Sure its..good anyone can get music out there..but not everyone SHOULD..I believe the “bar” continues to let lower and lower for acceptability..back in the day..you not only need great catchy hook songs..but you nad to PLAY great live..cause it was all about performing..With todays technology..anything can be mad e to sound good..but Im not sure it all should be..

8. You have worked with many bands as a manager, what are your most significant experiences and what is your secret to keep the artists focusing on their work?

Ive been so blessed to work w Tommy Roe, Box Tops, Jay & Techniques, Freddy Cannon, Hermans Hermits..etc..My job has been, and is..to make sure the shows are advanced properly..that the artist need only focus on performing, and that all the business is tied up neatly..financially, and logistically. And when promoters see that I am also ON THE GIG as player..its a relief..cause if any problems to occur, I am right there..not 3000 miles away in some office. The book HIGH IN T HE MID 60s goes into many great show and road experiences..with various acts..but just being on a show w JAMES BROWN, and getting to jam w JAMES BURTON are two standout experiences..Plus of course playing the CAVERN in Liverpool w TOMMY ROE and the BOX TOPS getting inducted into the MEMPHIS MUSIC HALL OF FAME in 2018.

9. You are the guitar player and the manager of the band The Box Tops, what is the current status of the band?

The BOX TOPS are great..pure and simple..Even though we lost Alex Chilton in 2010, founders BILL CUNNINGHAM, GARY TALLEY, along w myself, and two other guys..and LIVE HORN SECTION..present the catalogue in a way that’s being accepted all over the world..In just 3 years since reforming..we’ve hit the top echelon of our genre..playing THE HAPPYTOGETHER TOUR, Concerts at Sea, upcoming Flower Power Cruise, and of course induction into the Memphis music Hall of Fame..No one can replace alex, but Gary, bill and myself all sing leads on various songs..and the band is the TIGHTEST I’ve ever worked with..Very very authentic Memphis rock n soul. NO egos either..very very important!!

10. How do you position (in terms of marketing) bands from the 1960s and the 1970s to the younger generations?

We are finding that the BOX TOPS music..and the whoel MEMPHIS sound transcends age pretty well..its like classic blues, or soul..young people..once they hear it..and sucked in..We do use social media, instagram, etc..and periodically will play younger hip venues..just to expose younger people to this timeless, but very importat branch of the rock n roll tree..Seems to be working..and even 6 year olds know the words to the LETTER..Gimme a ticket for an aeroplane..its been in movies, commercials..etc.

11. What is your collaboration with the David Lynch Foundation?

I started Transcendental Meditation TM..in 1972..Many young people were looking for spiritual expansion beyond the drug experience, and of course the Beatles, Donovan, Mike Love went to India w Maharishi Mahesh Yogi in 1968. I became a TM instructor in 74, and although I don’t teach now, I still practice TM everyday. I find the quiet stress release and creative growth is a grat balance in my life. Because of my being in the music business, it was natural for me to get involved with David Lynch Foundation..providing TM scholarships to at risk youth, veterans w PTSD, and other segments of society. Although I do many things..also including making pottery and practicing yoga,I try to be 100% present and committed in whatever activity I do.

12. What do you predict for the future of the music industry?

I don’t know about the music biz anymore..kids think that X FACTOR Americas Got Talent..etc. are the way to a career..I think the bonding of being on the road..building a real loyal following..forget all the glitz and glamor..that shit fades away..You gotta love the journey..the ups and downs..and I think the industry just wants quick hit big money acts..and move on to the next.

I am honored to do this interview and hope people will buy my book HIGH IN THE MID 60s

Can get on my site www.ricklevy.com, or amazon..

And also some great CDS avail online too

THE LIMITS..GARAGE NUGGETS 645-68
THE LIMIS..SONGS ABOUT GIRLS (our LUXURY RECORDS era)

And WAX..MELTED all avail online.