The Record Man and The Indie Label: Why A&R Exec Michael Caplan Launched Elm City Music

April 30th, 2012 by Trenton

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NEW HAVEN, CONNECTICUT: In these days of complete major label disarray, it’s no surprise that new indie labels continue to arrive at a quick pace.

Elm City Music founders Michael Caplan (left) and Vic Steffens.

Most of the fresh arrivals on the scene today are launched by youthful idealists, brimming with ace taste and Internet savvy – and decidedly low on actual music business experience. But being a seasoned veteran still counts for a lot in this industry, which remains as much of a bottom-line business as any other.

That’s where the newly minted Elm City Music comes in. This Connecticut-based label got going in 2012 under the leadership of two executives, who have been there, done that – and have the guts to try it again. Co-founder Michael Caplan worked A&R for Sony Music for 25 years, signing a slew of top acts in his tenure, including the Allman Brothers Band, Tower Of Power, Living Colour, Keb’ Mo’, Ginuwine, G. Love and Special Sauce, Matisyahu, Los Lonely Boys and many more.

Along with co-founder/producer/session musician Vic Steffens (played with the Rolling Stones, Donovan, Ben E. King; produced/recorded Lita Ford, The Blues Brothers, Bobby Brown), Caplan and Elm City’s debut release came last month in the form of Omerta from heavy metal supergroup Adrenaline Mob, which features members of Dream Theater, Symphony X, and Disturbed.

So what happens when two pros who really know their stuff start a new label – and do it their way? Find out why Caplan thinks Elm City and its artists are playing from a position of strength.

Are you crazy? Why start a music label now?

It’s the only thing I’ve ever done. I started when I was 16 working at Cutler’s, a great mom & pop record store in New Haven, CT, and I still believe the tried and true: If you deliver great music to a consumer, they will want to support you monetarily.

In your 25 year career at Sony, you signed a lot of very successful acts – from the Allman Brothers Band, to Living Colour, and Los Lonely Boys. What’s the common thread among artists like that?

I always believed in signing unique, special talent. The one constant thread across my stuff was that I was always looking not just for great songs, but for interesting artists.

It was the anti-American Idol philosophy, where the search was for singular and unique talent. Each artist that I signed has a unique story to it. I’d have to fool my bosses to be able to sign a black heavy metal band like Living Color, or three Mexican-American guys like Los Lonely Boys.

But I always thought that A&R wasn’t just the talent scouting part of it, because once you sign an artist, the question is, “How do you get them across to the masses?” And also, “How do I get them 20% of the attention from the company, instead of 2%?”

Elm City is an indie label with experience.

Once you set your sights on a particular artist, how would you convince them to go with your label, instead of someone else’s?

I’m proud to say there was never an artist I wanted that I didn’t get. I’m passionate. I believe in what I’m doing, and that came through. Also, most of the time it turned out that what I wanted, no one else did – no one was competing with me for a Hasidic reggae rapper like Matisyahu I assure you!

What happened for you in the runup to starting Elm City?

In 2003, I left Sony to start Or Music, doing Los Lonely Boys and Matisyahu. I was convinced the label system was breaking down. My love was for artists like G Love and Keb Mo — artists that made money, but weren’t appreciated by Sony. These artists weren’t considered sexy. I felt labels were only looking for home run hitters, instead of single and doubles, which is where I felt the market was going.

Once I went indie, Los Lonely Boys started taking off, and Sony approached me about coming back to work. I said, “Let’s get together and partner on it with your strengths and our strengths.” That worked for a while, but eventually in 2006 I went back to Sony. Better the devil you know…

And then I left again in 2009, to start One Haven music, which I did in conjunction with the Orchard. But at a certain point, it didn’t really fit with their business model. That’s when I started Elm City Music.

What’s you’re A&R philosophy at Elm City? And again, how will you convince artists to work with you as opposed to someone else?

We’re going to be boutique in that we will have only four or five artists at any given time on the roster. But through our EMI distribution deal, which is heavily stepped up, I’ll be able to have both the benefits of the small and large. We’ll have the ability to work with talent, spend a lot of time on it, yet have the reach of a national promotion and marketing arm to take it all the way.

The first band is a heavy metal band, but the second band is a heartland rock & roll act. The third is a rap group from Brooklyn, and the next one on the horizon is a band that’s in the style of Freddie Mercury fronting Muse. Those releases will be spread out over the next 6-9 months.

First up from Elm City: "Omerta" by Adrenaline Mob

Tell us about your first release, Omerta from Adrenaline Mob. How will you be supporting their new album both traditionally and non-traditionally?

It’s a metal band, so it’s not about super-finesse. We’re doing a very deep viral marketing/radio/press/tour support campaign — all the time-honored traditions. They happen to be incredibly excellent, so it’s just about getting it across to the masses.

I’m proud to say Omerta debuted #62 with a bullet on Billboard. Because it’s a metal record, there’s a time-trodden path, although it’s embellished with social networking stuff.

A lot of times I’ll pick acts that need to go down new and unique paths. This isn’t one of them.

Lastly, what defines success for a label, and its artists, today?

Ultimately, making a profit. In some cases that may be later than sooner, but it’s about doing it sensibly so that it never gets crazy. My greatest stewardship was working with Morris Levy, running his record chain [Strawberries], and I learned how to be an independent entrepreneur.

Then in my years at Sony, I felt like I was an indie undercover at a major label. When I left Sony the first time, the Allman Brothers probably made more money for them then a lot of other acts, but to Sony it wasn’t sexy at all. It wasn’t respected.

But I think that to be able to sustain is what’s sexy. To not shoot your wad. To be able to read records quickly. A good record man – and that’s what I call myself, the last of the record men! (laughs) — can smell it. You know when a record is working, when it’s not, and you have to be nimble enough to be able to catch the wind — in whatever direction it’s going.

— David Weiss