GONE GLAMPING: Roger Manning, Jr.

The indie rock hero, in-demand keyboardist, and all around good guy talks about his first solo release in nearly a decade. (Photo by Tim Manning)


Roger Manning, Jr. has had a remarkably varied career so far.

He was co-founder of the brilliant San Francisco Power Pop band Jellyfish; since their break up, he’s played in a mix of influential rock and synth bands like Imperial Drag, The Moog Cookbook and TV Eyes. Manning has long been Beck’s go-to keyboardist and in between he’s been able to finish three remarkably distinct solo records.

Unfortunately, given other commitments, his solo work has been on the backburner for a while. A decade, in fact. But thanks to a major Pledge Music campaign, Manning is about to release his latest EP, Glamping, along with re-introducing his classic solo releases with a slew of extras. The campaign, which allows fans to pre-order the music, comes with a number of creatively inventive items they can bid on, like Manning’s 1960’s bell bottoms, his keyboards and record shopping trips.

A week or so before the new EP comes out, Manning got on the phone to talk through the campaign, the 10-year delay between solo albums and why you won’t have to wait very long for the new one.

It’s been about a decade since your last solo record. Why did now seem like the right time to finally make this happen?

Well, one year after my last solo record seemed like the right time, but life had other plans in store for me. Doing a solo record is always a challenge, particularly if you’re not a well-known artist because you have to pull together the finances. So, I did solo albums back to back in ’06 and ’08, but the cold hard fact is that those records required so much time to get them right – the way I wanted them to sound – that I was happy that I just broke even. Certainly, in Japan we had a great run and did some shows and sold some records, but my A&R person was so happy that we didn’t lose any money.

In 2007, I put out my electronica record (Robo-Sapiens) on Malibu, but that coupled with some life changes and personal things, I started Glamping somewhere around 2012/2013. Freelance work and touring with Beck has taken up the rest of my musical time. Frankly I get more of my bills paid that way and I enjoy it, but my solo works does start to fall through the cracks and I got to the point where I thought I’m never going to finish this if I don’t do something about it. Then a friend said, “Hey, just put an EP out. Finish that first.” That simplified everything, and the good news is I’ve got eight more songs that are more than halfway done.

Depending on how this Pledge campaign goes, every nine months or less, I want to put out a new batch of material. The whole point of this launch is to corral all my fans across the world into one place and go “here’s the deal, I’ve got plenty of music for you guys and will continue to write my butt off if you make it known what you like.” This is my first love, it’s how I got started in the business and I’ve got plenty to share.

You mentioned the Pledge Music campaign. Over the past year or two more and more artists are using this as opposed to traditional labels and some – Dave Pirner from Soul Asylum was one – have mentioned that it was difficult at first to go to the fans and get them to help finance the records, this way. Did you have any reservations?

I think I was just like Dave. In fact, we’re around the same age and both had bands in a similar era and both of our projects have had peaks and valleys. I agree, the whole concept out of the gate seemed bizarre to me until it was explained to me. Unlike the last record company model, if anything this brings you closer to people. You’re cultivating relationships you already have and just going deeper with the community that’s interested in music.

The whole point is to try and bring more people to the party and when I started looking at it differently, letting go of the old model so to speak, I really saw the potential for this and what it means for me as a songwriter for the rest of my life, regardless of what the record label model is doing, which you know if continuing to be turned on its head.

Through your solo work and the bands you’ve been in, you’ve worked with a number of different record labels – big, small, indie and major. Is there any part of you that feels a sense of schadenfreude as a musician at the current state of record labels?

I have a small opinion on this. There were certainly some injustices on behalf of the artists with the old model. There were a lot of upsides too. Each model has its pros and cons. I fortunately was taught early on to look at the labels as nothing more than a loan agency. If I want to buy a house, like it or not I have to go through a mortgage company and I’ve got to pay out the ass in interest. That’s the game that’s in place in our society in 2018. Like it or not, that model helps me get into a home that’s way beyond our means.

The record label took an unknown band form San Francisco and they did their dance with MTV and they did their dance with radio all over the world and I watched it all happen. Basically, back then you had to win the lottery. There were a hundred bands at any given moment vying for a record label’s attention and maybe five percent of them were given a shot. And even then, if the record company was promoting 10 of those groups in a release season, maybe they were only concentrating on three or four of them. Also, you had A&R people in the ‘70s and ‘80s who were not really in fear of their jobs. There was an aspect of job security. If the first band you signed didn’t have a hit record, you weren’t fired the next week.

Labels, although they all wanted big smash hits, they were into cultivating bands back then. I joke that if U2 were signed in the last 10 years they would have been dropped already. There first few albums hardly sold in the U.S. in the beginning. They would have been dropped nowadays and their A&R man would have been fired… Now it’s just a fear-based community with everybody trying to copy the songs that made some noise last week on the radio. You have an artist and an artistic community that seem to not be phased by their one-dimensionality lack of variety environment. I’m not dissing any of these bands in the top 40, but I was spoiled. I grew up in a different era.

So, with Pledge music, you can put out whatever music you want without anyone telling you to trim the song lengths or change things around…

Exactly. I quickly learned that this campaign was only going to have as much success as I was applying myself to doing the day-to-day work. Suddenly I was my own A&R man, I was now making creative decisions out of the music world that I wasn’t used to making – day-to-day business stuff. That’s fine because I was feeling impowered, but it takes up time.

After all these years, I’m enjoying the empowerment of self-reliance and I’m learning things this time around that I know I’m going to do differently with the next campaign. I just love the fact that the Internet, pledge campaigns and certain aspects of the industry now allow for this… For me, there’s more pros than cons. I am so thankful for this community of folks for hanging in with me as long as they have. As part of that thank you, let’s do this some more.


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