Rock & Roller Coaster

"We're not looking for a shot at the big time. We just want to make great music."

Funland singer/guitarist Peter Schmidt says he likes to do interviews, if only because they force him to think about the things he's relegated to memory. As he sits on a couch alongside guitarist Clark Vogeler, his bandmate and close friend for almost five years, Schmidt is being forced to reconsider his so-called "shot at the big time" -- a short-lived deal with Arista Records that produced one EP and a lifetime's worth of bad memories. Now, a few months after the release of their first full-length CD, The Funland Band, on the Dallas-based Steve Records label, the two musicians sit and wonder how it all happened so suddenly, and so slowly.

One of the few constants of the Dallas music scene since late 1990, Funland has experienced the brief highs and the unrelenting lows built into the music business. Schmidt, Vogeler and drummer Will Johnson have performed in front of tiny audiences in no-name towns, and they've been on the roster of a label headed by one of the most respected members of the music business; they've savored potential fame, and they've gagged on its aftertaste. But always, they've been a damn good band, one of the best power-pop entities ever to come from Dallas, and one of the strongest. They've endured a most trying set of circumstances -- a major-label deal gone sour, a manager fired, five bass players come and gone last year alone. By all rights, Funland should have called it quits a long time ago, but they're still together. And they've never sounded better.

"We didn't know each other before the band," Schmidt says. "But we found out that there's something a lot deeper here [than just music]. There's a certain respect we have for each other we didn't want to let go just because we weren't going to get to make music for a corporation anymore. We still liked each other, and we still believed in each other."

In the spring of 1992, Funland set out on a journey that would begin in New York City and end in disillusionment and disgust. Their manager at the time promised them a shot at a young band's dream -- a recording contract with a major label and all the frills such a deal would provide -- and so they headed north to play two showcases. The first was at CBGB, the hallowed home to the New York avant-rock scene of the late '70s; the other was at the discotheque Danceteria. These performances were the rock equivalent of training camp, opportunities for the band to show off its wares for the artist-and-repertoire executives various labels had sent to scout out a future prospect.

One A&R man who was quite taken with the band was Richard Sweret of Arista, who had previously worked only with dance bands. Funland's then-manager, Leslie Aldredge, scoffed at the idea of signing with Arista -- she considered the home of Barry Manilow, Air Supply and Whitney Houston a joke of a label -- and was sure she'd get the band picked up by the more prestigious Elektra Records. Still, she agreed to a meeting with Sweret.

So on a lovely spring day, the four members of Funland sat in Sweret's office with another A&R man, Tom Sarig, and listened patiently as the two anxious execs laid out their plan. Because Arista, especially its powerful boss Clive Davis, was anxious to get a band that would provide the label with alt-rock credibility, Sweret and Sarig promised Funland anything they wanted -- their own label imprint so the band wouldn't be so closely associated with such a Top 40 organization, a touring van and a credit card on which they could rack up unlimited expenses.

Almost a year later, Funland released its Arista debut, Sweetness, an EP that barely hinted at the potential the band had displayed during shows. It managed to sound both slick and unfinished, its bright spots ("Fall Away") obscured by its dim ones (the silly "Amarillo" and an embarrassing Air Supply cover). Such live standouts as "Impala" and "I'm Not Sorry" were left off, and the CD was remixed more than once after Arista executives found it unsuitable for release. Two years after it arrived in stores, then quickly disappeared, the band looks back at Sweetness with considerable bitterness.

Yet Funland was determined; they headed to Nashville to cut demos for a full-length CD, on which they had planned to use Sugar producer Lou Giordano. The tapes from that session are first-rate, containing many of the songs ("Impala," "Angry Girl," "Feedback" and "Spinal Music" among them) that would later make it onto The Funland Band. But Sweret rejected the songs like a scolding teacher.

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Robert Wilonsky
Contact: Robert Wilonsky