One of the most happening labels in today's pop music scene is Rainbow Quartz Records, whose stable of artists are all purveyors of that cool, Revolver-esque cum mod brand of pop psych that many of us love. The head of Rainbow Quartz is Jim McGarry, a passionate music fan and entrepreneur who also happens to have a very altrustic side, as the bands on his label would attest. I had the pleasure of interviewing this pop music maverick who is not timid about speaking his mind. Here's what he had to say:

Who were your favorite artists when you were growing up?

This is an important question so I am going to give a comprehensive answer…it is important for anyone trying to understand what I am doing and where I come from musically to have the whole picture. I am in my 40's so here's the historical breakdown:

There were 5 distinct periods. The first being grammar school – during which I loved the Beatles ("Hard Days Night", "Help", "Magical Mystery Tour", etc.) and British Invasion (Gerry & the Pacemakers, Freddy & the Dreamers, The Petula Clark, Kinks, Dave Clark 5), Nuggets bands (Paul Revere and the Raiders, Count 5, etc) and America's (Turtles, The Association and the Mamas & the Papas).
The second period was late 60's - Doors, Steppenwolf, Cream, Hendrix, Yardbirds, Iron Butterfly, Jethro Tull, Jeff Beck, Savoy Brown, Johnny Winter and much of many of the Woodstock artists...I was a teenager at this point (toward the end of this period, Humble Pie, Bad Company, The Free, Black Sabbbath, Deep Purple, Dust, Rhinocerous and those kinds of bands although Bad Finger and The Raspberries were faves at around this point as well.

However, during the 3rd period (mid-70's) a lot of time was spent listening to David Bowie, pre-"alive" Peter Frampton, Be-Bop Deluxe, and early Robert Palmer (way before the asinine supermodel video). Which led into the new wave/punk rock era. I loved Monochrome Set, Teardrop Explodes, Echo & the Bunnymen, Wire and UltraVox (with John Fox) whose "System of Romance" is one of my favorite albums of all time. Talking Heads, Cars, Devo were great (especially "Buildings & Food" album). And I spent a lot of meditational time with Eno/Fripp/Bill Nelson. Most of the late 80's were weird and the whole Duran Duran/Flock of Seagulls/Spandeau Ballet thing was sickening although Simple Minds and Durruti Column were cool.
Which brings us to the late 80's - early 90's and Rain Parade, R.E.M., the Dentists, The Sneetches, The Stems, Field Mice, Game Theory, Flamming Groovies, and The Chrysanthemums, and the never discovered London band The Chemistry Set (whose unreleased album "Sounds Like Painting" is also one of my favorite albums of all time. I once walked out of a Rolling Stones Shea Stadium Concert to catch the Sneetches 1st NYC show at Tramps on a Saturday night. The Sneetches were the best guitar-pop band in America at this time --- while the Dentists were the best guitar-pop band in the U.K.
I loved the Feelies and Robyn Hitchcock. I once saw the Feelies open for R.E.M. at a smaller club in NY and The Feelies blew them off the stage – it was staggering.
In any event, this brings us into the late 90's/early 21st Century...and I think my current faves are obvious...just go to Rainbowquartz.com. Two of my favorite songs of the new millenium are "King Richard" by the Asteroid #4 and "Zensong #9" by The Strawberry Smell!

What was your favorite record label, and why?

I didn't have one but always admired Stiff, Imaginary, Alias, Sarah, Elecktra, Sire and Creation

Have you long had the aspiration to start a label?

No. It is totally by default. The current climate in the record industry is horrible and the music needed to be put out. I shopped bands as a music lawyer for awhile and got some bands some good deals – The Toadies sold over 1 million on Interscope. But the whole process was horrendous. When some snotty A&R girl who grew up on Long Island and whose daddy got her a job – tells me "I don't get this" – I said it is time to do this myself.

Were you (or are you still) a musician? What bands were you in?

Yes. I was a keyboard player in a late 60's band called The Organic Structure.

What was your first job in the music industry? Where did you go from there?

I never had a job in the music industry.

When did you start Rainbow Quartz, and why?

See answer #3.

Who was the first band you signed?

For Against.

Please give us the roster of bands on Rainbow Quartz.

From the inception, For Against, Nemo (Belgium), Me (U.K.) Time Lodgers (Norway), Miles Dethmuffin, Coax (ex-Dentists), Real Universal, New Radiant Storm King, Lida Husik (then licensed to Caroline/Astralworks), Cotton Mather, The Shazam, Myracle Brah, Pete Thompson, The Fletcher Pratt, The Asteroid #4, Fraff (U.K.), The Gallygows, The Gripweeds, The Contrast (U.K.). And on my urban-electronica-dub-reggae label Amethyst: Dr. Israel, Lazy K, Soothsayer, Barshem and Faceless (whose album "Different Sounds" is I think one of the best, most overlooked ambient - electronic albums.

How is it that an American resident started a label that has most of its distribution in the U.K.?

Economics. England is the size of one large American state.... it's more manageable and I am a perennial anglophile.|

The bands on Rainbow Quartz have a very distinctive 60s influenced brand of pop psychedelia. Do you purposefully look for bands who sound like this? If so, is it because it's your favorite style of music, or is it because you think it will sell?

It's my favorite style of music.

Your most recognized band is Cotton Mather. How do you explain their explosion in popularity?

They are the best guitar-pop band in the world; no shit, it is that simple.

The star of The Shazam has also risen quite rapidly lately, particularly in the U.K. Please give us your thoughts about that.

Honest music, no bullshit, and they are equally rocking and melodic.

What is the greatest live show that any of your bands have done?

Cotton Mather - Barfly, London, Chinese New Year, Feb 2000...Liam Gallagher actually did one of those "bow down" maneuvers and the walls were literally dripping wet with sweat...it was the Beatles backed by the Clash, with Fripp and Hendrix trading leads – Whit Williams is an amazing guitarist. And Myracle Brah played one of the best guitar-pop shows I've ever seen in my entire life, on Tuesday night April 24, 2001 at the Monarch in London (however, the other RQ bands on the bill were also terrific).

Why do you think your bands, particularly the American ones, do so much better in the U.K. than in the U.S.?

UK audiences & critics are into music, they don't have a fucking vacuous skateboard culture...the American youth are in a very tenuous state...and American major labels have poisoned audiences w/ Britney, N' Snyc, The Backstreet Boys, and mediocre cookie cutter bands. The U.S. record industry is like a factory that churns out SAFE product – it is for the most part soulless and risk free.

Are there any bands out there who you would like to sign?

Yes, but I wouldn't give away trade secrets.

Which band that's already signed do you wish you had signed first?

I offered to put The Pushkings out in England, but they got all precious – thought they were going to be the next big thing, then blew me off. And that's a good thing because their second album sounded like the fucking Jackson 5, all funky and shit.

You're also an attorney. What area of law do you practice, and how does it relate to your role as a label head?

This requires a very, very complex answer -- we'll do this another time.

You're quickly getting the reputation as a label head who really cares about his bands, and one who would go to the wall for them. What is your philosophy with regard to running Rainbow Quartz?

Goofy question.

Editor's note: You won't want to miss the Rainbow Quartz Night at this year's International Pop Overthrow, on Tuesday, July 31, at The Knitting Factory! Rainbow Quartz bands scheduled to play include The Asteroid #4, The Fletcher Pratt,The Strawberry Smell, Myracle Brah, and The Grip Weeds. It's going to kick some major pop butt!!! You can also check out all of the Rainbow Quartz bands at www.rainbowquartz.com

Feelin' kinda surly at the moment---and still in funk #49 over the tragic death of Joey Ramone, one of my all-time pop heroes---so I thought I'd shoot my mouth off re: The State of Pop Today (or What I Like and Dislike About The Music We Love At This Very Moment).

Please remember that these are only one popdude's opinions, and your mileage most likely will vary wildly. Void where prohibited by law.

Like: Cockeyed Ghost's new record, Ludlow 6:18. Easily there best yet. A tour-de-force, almost, with Adam Marsland's sharpest vocals ever and some great tunes.

Dislike: People who assume I hate Ludlow 6:18 because I haven't exactly gone gaga over other Cockeyed Ghost releases. It's called having an open mind, people; look into it.

Like: Jonny Polonsky's new EP on Eggbert Records, There is Something Wrong With You. Christ, whoever thought the former major label pop nerd could sound like Steven Tyler with a six-pack of pop hits?

Dislike: Mike Randle and Rusty Squeezebox's solo discs on Eggbert. The only thing worse than a new Baby Lemonade snooze fest is TWO solo albums by the boys who deal the Sominex. Zzzzzzzzzzz..........

Like: www.fufkin.com. Lotsa good pop reviewers with definite opinions over there.

Dislike: Certain pop reviewers who refuse to write anything negative about any artist. C'mon, folks, I love pop as much as the next person---hell, MORE---but it sure ain't all good. Not even close. There's no crime in being honest about it.

Like: The Audities Internet mailing list. Plenty of nice, knowledgeable folks who definitely know their pop stuff.

Dislike: A few peeps on said list who only post whenever they have something to hawk (be it a gig or whatever), or simply to talk endlessly about themselves. Transparent as hell, it is.

Like: Damn near everything Robbie Rist has ever been involved in musically. One of the most unique, incendiary voices in the pop biz, a crack producer, an awesome drummer and a hell of a nice bloke, to boot.

Dislike: Certain popsters' significant others---and I can name about three right off the top of my head---who simply cannot bear to read anything even remotely negative being written about their mate. Oh, Yoko...

Like: Talking pop with folks from out of town every year at IPO. Sometimes the conversation is better than some of the acts (I said sometimes).

Dislike: Pop people who hound you to write a review of their disc, then come damn close to going postal when you have the audacity not to like it.

Like: Jeremy Morris. Is there anyone roaming the planet who's any nicer? I think not.

Dislike: "Jeremy" by Pearl Jam.

Like: eBay. Scored a copy of the Lancelot Link and the Evolution Revolution LP for only $9.99!

Dislike: eBay. I've had two lovely people stiff me on 99-cent transactions. Grrrrrr......

Like: Solin, the unknown home recording popster from Delaware, who sounds like Chris von Sneidern's older brother. Nice, nice, nice...

Dislike: The Drysdales. Patrick Potts is a decent chap, but his band...well, his band sorta blows. Rinky-dink bar band-cum-pop sounds that wouldn't even sound good after going on a bender. Nifty marketing idea: have them tour with Koufax.

OK, I'm out...I've made enough enemies for one column.....

Sunday, April 15, 2001. Joey Ramone dies in a New York hospital, succumbing after a battle with lymphoma, one of the deadliest of cancers. While I had been aware of Joey's illness and prepared myself for the inevitable, the news hit me like a swift punch to the stomach.

I met Joey Ramone briefly in 1978. The Ramones were playing a gig that night at Champaign, Illinois' Red Lion, a cozy, atmospheric club. My best friend at the time and I blazed up Interstate 57 from Charleston, Illinois, psyched and ready to rock. We arrived at the Red Lion and found our place in line just as The Ramones began their soundcheck inside. The music was being delivered inside with intensity AND volume, and a seat outside allowed pretty clear (auditory, at least) access to the music. Following the soundcheck, The Ramones exited through a door at the side of the building, right by my place in line. Joey was the last one to exit. Although I had seen plenty of pictures of him on record covers and in magazines, I wasn't prepared for his physical presence. Taller and ganglier than I expected, I remember being surprised at how physically BIG he was. He stopped and talked for a few minutes, as he was interested in what records we had in our brown paper bags (we had just been record shopping), gave us his own recommendations, and extolled the virtues of Punk magazine. The thing I'll ALWAYS remember about Joey is that he really seemed to be like a living cartoon character, which in my opinion is high praise.

The show that night was awesome. I'll never forget the sound, fury, and great PRESENCE The Ramones had onstage. The power of those Marshall stacks were damn near overwhelming (the stage power went out two or three times, putting the boys into an artistic snit that made the event even cooler in my eyes), and the whole show was just SO DAMN COOL that you were jealous of your East Coast contemporaries who were able to partake of this experience on a regular basis.

We blasted The Ramones in the tape deck all the way home. I followed their career for the next several years, basically until bassist Dee Dee left. A few months ago, I picked up the latter CDs of their career...the ones I had passed on after they left Sire Records. Good records that (while not as good as their prime) were much better than I had been led to believe. Now I'm glad I bought them. I truly believe that in the end, The Ramones' music, like that of the Beatles and Beach Boys, will be timeless.

So when Joey passed on April 15, I was truly sad. A great innovator, songwriter, humorist, and cool guy has left us.

Gabba gabba hey, Joey. God bless, and thanks for the good times. Your spirit and music will live forever.

First off, I'd like to extend my thanks to David Bash for asking me to write this column. Hearing him announce the reputable writers who'd be contributing, followed by my own name, was a bit like hearing the list of performers, “John, Paul, George, Ringo, and Phyllis” but I'm happy to be included nonetheless. Thanks David.

Since IPO is the celebration of things-international as well as things-pop, I figured I'd begin by recounting a recent trip my husband Gary and I took to Norway. I was aware that Norway can be chilly in February (painfully aware, at least once the numbness subsided), but climate had little to do with my intention to visit Norwegian psych-popsters, Dipsomaniacs. And as both an addendum to the climate discussion and a preview of my saga below, I doubt that any Caribbean vacation could equal the true warmth of this trip.

Given the dedication of IPO to seeking exposure for worthy pop artists worldwide, what better way to launch a column on its website than with a celebration of the international pop experience, with a personal slant. About a year and a half ago, I was introduced to the music of the Norwegian band Dipsomaniacs by the blessed hand of college radio. Then, following eight months of immersion in the band's intricate, vintage-pop sounds, I was introduced to the Dipsomaniacs themselves at the sonic lovefest we call IPO.

A bit of background on the band, for any of you scratching your heads and reaching for your Trouser Press Guide to '90s Rock. Over the past few years, Dipsomaniacs have spun poetic tales that are both entrenched in '60s pop and psychedelia and uniquely stamped with a sound distinct from anything preceding them. My own introduction to the band came with their third and most recent album, the lush Braid of Knees - an album comprised of songs that meshed the purest Beatleisms with folky-psych inspiration from decades past and painted it all with inspired arrangements and sweeping baroque brushstrokes. As I later found when I heard the rest of the catalog, much of the band's material seemed to borrow from the melodic pop sense of the Beatles, with vocals heavily reminiscent of Lennon, boasted a jangly Byrds influence and a love of pioneering psych, and all still shone with a current experimental aesthetic. The type of songs where not everything jumped out on first listen, screaming to be heard; rather there was a growing intimacy, the process of getting acquainted with them where new details emerged over time - a melodic twist, a clever turn of phrase, a subtle near-hidden layer in the arrangement. A pervasive '60s spirit, mood-hopping from joyous to eerie with the touch of a mellotron. The lyrics more dreamlike than tangible, more evocative of emotion than plot, and all the more remarkable for being penned by a non-native speaker. I was then, and remain, hooked.

Naturally, their IPO set was a thing of beauty to me, and a rare opportunity for which I'll always be grateful. Even more rewarding was the chance to get to know them during the week we all spent in L.A., all of us immersed in the IPO and Southern California experiences. So when they innocently asked me to come visit them the following winter during the recording of their next album, my mental wheels (those squeaky ones that deal with Finances) began to turn. Seven months and countless email messages later I found myself stepping off a plane in scenic Trondheim, Norway - exhausted, gripped by an air of surreal, and incredibly excited.

Packed into the ensuing week were the opportunity to catch up with my new-old friends, experience the wintry calm of this quaint University city, and witness the band's preparations for recording their next album. Days wandering the frozen-lined streets of lovely fjord-rimmed Trondheim, followed by nights in the studio and quaint cafes...I can think of worse ways to pass the time.

The time spent in the studio with the band was especially rewarding, as you might imagine. It's not every day I'm privy to these such in-studio mechanics that conspire to drive the magic. Though the original plan was for the band to begin recording their fourth album that week in February, an unforeseen label switch (Have you heard the one about the Indie being swallowed by the Major?) and the politics that such a disruption can entail had them rethinking their schedule. Fortunately, the band was still heartily in favor of rehearsals that week, both of the mellow acoustic and full-blown electric variety, and without a doubt these private impromptu concerts were a worthy substitute for the more detail-focused, first stages of recording they would have undertaken otherwise. Which, I suppose, is all a fancy way of saying this: there are few events more rewarding than seeing a favorite band rehearse still-evolving, divinely-inspired material in a beautiful state-of-the-art studio, for your eyes and ears only.

The opportunity to observe these recording preparations - the rehearsals, the nitty-gritty development of the new material, the sonic fleshing out of the notebook sketches, the band dynamic as they discuss, create, and improvise their own future - was an experience I feel incredibly lucky to have had. Though just a pre-album cross-section in time, this is truly a glimpse of that hidden realm where the magic is made. For this fan, gaining entry to such an enchanted realm verges on the sublime.

And so goes the story of What I Did On My Winter Vacation. On a final note, those generous Norwegians didn't let us board the plane without stuffing our bags with numerous local pop goodies, so perhaps I'll regale you next time with thoughts on a few of the Norwegian pop treasures I've recently acquired.

Vi sees om en måned...