Livid Records Article (circa October 2009)

From the time Chuck Livid was 13 and playing guitar in pop/punk bands, he knew he wanted to do something with music for the rest of his life. Little did he know he would form his own record label, Livid Records, and aid bands around the world.

In 2006, Livid was in The Shrubs, a Miami punk band that strived to be taken seriously. To receive press coverage while still maintaining control of the music, he created the label. Although The Shrubs disbanded, he discovered his businessman side and stuck with Livid Records for other bands that deserve a shot.

In the dog-eat-dog music industry, Livid pushes that although they are not Sony Records, they give their all to create a close community through promotion and technology, but mainly, taking it to the streets.

With the digital world bringing everyone closer together, a grunge band from Switzerland, Daze, hit Livid Records up on MySpace. With a picky sense of sound, Livid decided to bring them to the states and released the label’s first record, Slow Down to Speed Up.

Demos are a constant influx to the office, but unlike most corporate whores, Livid listens to everything that comes his way. Able to sense the energy and passion in a band, he chose to release The Illustrated’s album, Alphabaggage, Daze’s second record, Gainesville Days, and most recently, Glocca Morra’s The Working Bones, A Health Decline.

Putting himself in bands’ shoes, he knows what it means to have an honest manager. “I try to guide bands in the right direction,” he said. “I’m not out to fuck anybody.”

The label also aims to support film and art. With Livid’s wife, Helena, spear heading illustration projects for bands, Livid tries to move all forms of art ahead and supports those who are passionate about creating. However, music will always be the focus at Livid.

“I want to help these bands no matter what, even if it costs me an arm and a leg,” Livid said.

Livid hears from countless bands every week, but the label is only looking to sign the bands that have motivation to take their sounds to the next level. Material gain is not what artists should be after, according to Livid. “I feel that a good label sees the band’s energy,” he said. “What I listen to specifically is the timing and oneness of the band.”

Livid requires bands to mail demos if they wish to be heard. Blasting MySpace pages is not taken seriously.

Livid also works to achieve quality audio recordings. Searching for the best-suited engineer to take care of the bands, Livid came across the inventor of the “Gainesville sound,” Rob McGregor. His clean, crisp tracks never disappoint, and he ensures that the band maintains their dignity.

“When [McGregor] records your music, he doesn’t try to dictate how you should sound,” Livid said. “What a lot of engineers don’t understand is that they’re being hired to record you and try to perfect your sound, not recreate it.”

The punk ethics that stream from bands like Dead Kennedys and The Ramones sport the “do-it-yourself” attitude. Growing up on those bands, Livid applies the lessons learned to his own label. He understands how bands work and can see both sides of the situation. Making money was and is never his top priority. What does matter to him, however, is that the band stays true to who they are.

“I always want our artists and listeners to realize that they’re not getting something that’s censored,” he said. “I think it speaks volumes if you’re a musician.”

To build a band, Livid believes, you cannot just jump on an eat-you-up-spit-you-out major label, but grow a community instead. With a firm public audience comes a solid business. Pushing a product on the consumer is a dead-end in his book. “I think it’s the most important thing when you show the band that you’re working with that you’re trying,” he said. “It’s not about dropping a million dollars. It’s about really getting out there.”

Although Livid refers to Livid Records as a business, there is no lying involved in trying to get to the top. He often advises bands out of his good conscience to what he thinks would be best, whether it benefits or hurts him. “I try to look at everything as an outsider,” he said. “I never look at what’s in my best interest. I look at what’s their best interest.”

-Katie Condon

Katie Condon is a Miami, Fl based journalist.  She’s freelanced pieces for www.outloud.com and The Lightning Strike.