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Wednesday, July 25, 2012

Your Band is Worth Taking Seriously, Money or Not: Just Ask the Union Electric

Posted By on Wed, Jul 25, 2012 at 6:02 AM

  • Jess Luther

After three years of shows and an equally accumulating number of seven-inches, St. Louis folk rock group the Union Electric releases its first full length CD Time is Gold. Members Tim Rakel, Glenn Burleigh, Melinda Cooper and Mic Boshans are more than just St. Louis music veterans; they are staples and creators of the local scene and have been for years. They each individually participate in numerous bands (some of which were playing while Rugrats was still my favorite show on television).

The whole band talked to us about the new album, scheduled for release July 28 at Off Broadway. Mic Boshans worked the coffee house/bar that is Foam, but of course, he popped his head in at our table frequently to check up on us and throw in his own words of wisdom.

See Also: Homespun review of Time is Gold.

Cassie Kohler: What was the directional aim for Time is Gold? Was there something you wanted to change from the Tunnels/An Irish Orphan 7"?

Tim Rakel: This is a collection of some slightly newer songs and some songs that were left off of the vinyl so far. The CD works as an album on its own, but it does have some songs from the vinyl releases and one from a cassette compilation.

Glenn Burleigh: It was like clearing the deck. We've been playing all these songs for years now, and I think everybody wants to do new stuff.

So it's a fresh start?

TR: Yeah, it's kind of like the idea of an anthology. The next record will be all stuff nobody has heard quite yet.

You guys have a tendency to feature other local musicians in your recordings. Are there any guest star on this album?

TR: Oh yeah, Kevin Buckley, who recorded some of the songs, played drums and fiddle. Beth Bombara played keyboard, drums and sings. Dave Anderson from Tenement Ruth played pedal steel. Matt Pace from Rats and People [Motion Picture Orchestra] is on there. Josh Weinstein from the May Day Orchestra plays bass.

GB: Pat Boland from the Conformists did back-up vocals and [there was] Robert Sarazin Blake out of Bellingham, Washington.

Melinda Cooper: We got really lucky. All of them are such talented people and I would pay to get to see any of them play anywhere.

Time is Gold is the first full length CD the Union Electric has released. All previous albums are seven-inch vinyl EPs. What is it about the seven-inch structure you really liked?

TR: It started as a practical way of just getting things out there. We wanted to record something to put out and have to sell at shows. It was a more reasonable goal to set for ourselves.

GB: Also we couldn't afford to record a full record [band laughs]. Spending $1,000 to $2,000 on a record isn't anywhere near our budgets.

What about the vinyl medium versus CD?

GB: CDs are convenient because some people buy them and you can send them across the country. If we had recorded Time is Goldon vinyl, it would have cost us three times as much for a twelve-inch. But, I've always preferred vinyl.

You guys called vinyl "tangible art" on your Kickstarter page for the Tunnels/An Irish Orphan 7".

TR: Yeah I think I said that. Just the idea that there is a record and they have life somewhere. Even if it's sitting in the $1 bin in New Zealand, at least we know it's out there. A digital music server might crash, and all that might be gone. Where as that piece of vinyl will be sitting around until it snaps in half.

GB: If you are going to buy something from a band, for the most part, you are buying an artifact. Vinyl sounds better that CDs and people will pay for vinyl because it is actually a different product than what you get from a download. A download is exactly the same information as on a CD, where as a record is still its own separate entity.

Mic Boshans: Vinyl is charming and it ages. It's also a commitment and means you take [your music] seriously enough to put it out on vinyl.

So, do you guys prefer the single's EPs or full length albums?

TR: I think its a nice pattern to fall into. Put a few singles out and then put together a full length.

MC: A full-length record is exhausting. You get so sick of the songs. We really got worn out on it, but with the few song singles it was like, "Great, five minutes then I'm done."

GB: I think the single versus full length is also kind of a fail safe. We don't have label infrastructure here. If a new indie band is coming out with an album, they usually do a couple of seven-inch releases. There aren't labels in St. Louis that have that kind of cash to invest in bands. So in a way, even though it took us a couple of years, we have done the full product roll out that a lot of bands would have had done by their supported labels.

TR: Yeah, we did, in a course of two years, what Guided By Voices did in the course of two months.

MC: We're not out to make this record that is going to be played on Clear Channel Radio and make millions of dollars. I don't think any of us are out to get rich doing this. This is a lifestyle. This is what we know how to do and what makes us feel good to do. So we are just going to release the stuff as it comes and as we have the resources to do so.

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