By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
It's just before New Year's Eve, and Roger Morgan is packing up his home, along with boxes of singles and CDs, moving his Unclean Records label from Austin to San Antonio. As career moves go, it's hardly an obvious one, but Morgan has no problem leaving the town that calls itself "The Music Capital of the World"--a place with a burgeoning underground of fellow indie rock and roll labels such as Trance Syndicate, Rise, Sector 2, Austin Throwdown, and others--and relocating to a bigger city to the south with a far less active and focused new-music scene.
"It's so expensive to live and operate here [in Austin]," Morgan explains, "and our best hope for some kind of success is down there...Part of me thinks that we'll be more useful [in San Antonio]. At the point when we started up the label, there weren't that many labels in Austin. But now it seems like there's a lot of activity here--people coming up, forming their labels. That's cool, I like that. I like to think that I helped with that--a little bit of encouragement to go lose money and be insane--but I did warn all of them. I told 'em, 'Man, you're crazy for starting a label.'" Morgan laughs at the thought. "'You're gonna go through hell for a while.'"
Morgan's own optimism springs from two San Antonio groups on Unclean, Sons of Hercules and The Dropouts, both of whom have not only become honorary Austin acts with their frequent River City appearances, but so-called "buzz bands" on the national underground circuit. In addition, Carl Normal--the leader of Stretford, another Unclean act--has relocated to the Alamo City. But San Antonio is hardly the next Seattle, or the next anything: "The scene is really apathetic," Morgan shrugs.
Still, out of such adversity has come music with perhaps a bit more pluck than the starry-eyed slackerdom that infects Austin's underground. With their sharp Stooges-meets-Ramones-in-mom's-garage attack, the Sons of Hercules might well be the best straight-ahead, post-punk band in Texas, while their compatriots in The Dropouts have been developing a feisty and bluesy brand of street rock that marks them as a '90s version of The Yardbirds.
Sons of Hercules frontman Frank Pugliese thinks it's "amazing" Morgan would relocate from a music center to a city with a music scene just this side of comatose. "I don't understand it," Pugliese says, laughing. "[Roger] asked my opinion, and I told him he should stay put. That shows how much my opinion counts."
But for Morgan, what counts is the music Pugliese and his band play--which, oddly and perhaps appropriately enough, echoes the sounds the veteran punk-rocker Pugliese has made for 20 years with such San Antonio acts as The Vamps, The Mystery Dates, and The Morlocks. "I don't know why it's happening there," Morgan says of the "unpretentious" San Antonio sound his label touts. "It's a working-class thing. It's definitely a working-class town.
"All those bands have jobs," explains Morgan, who now also manages the Sons. "That's kind of a nice change. Up here [in Austin], a lot of the bands I hang out with are bums. They don't have any money. They're bumming money off of me. I go down there, and everybody buys me drinks."
But free drinks or even some measure of success aren't what ultimately motivates Morgan. Instead, it's the continuing ripples of the Spirit of '76--the punk-rock revolution and its do-it-yer-damned-self ethos. Growing up in Tulsa and hating it, Morgan was a music fan from his youth, thanks to the records his parents allowed him to own--and the ones they kept from him.
"The most influential point in my life is when I was about nine or 10, and they wouldn't let me have a Jimi Hendrix album," Morgan recalls. "So I immediately went out and bought it."
He found his road to Damascus when, in 1978, the Sex Pistols played Tulsa's Cain's Ballroom, once the home base of Bob Wills and The Texas Playboys. Not long after, he moved to Denver, Colorado, where he formed a band called The Lepers, and started Unclean as a vehicle to release Lepers records. He also recorded Denver's Dead Silence and Anti-Scunti Faction, and became something of a friend with ex-Dead Kennedys frontman Jello Biafra, who frequently visited the Mile High City to see his folks.
"Anytime I would stop putting out records," Morgan says, "Jello would call and bug me and say, 'What are you doing? You don't have anything else to do.'"
In the early '80s, Morgan moved back to Tulsa to take a well-paying job during the oil boom that helped support his habit of releasing vinyl records from anonymous bands. During his stint in Oklahoma, he released records by longtime Tulsa punk pioneers N.O.T.A. (or "None of The Above") on Unclean. Then the bottom dropped out of the oil business, Morgan landed on unemployment, and, once more, he felt compelled to escape Tulsa.
During a trip with N.O.T.A. to Austin, Morgan became enthralled with the town's thriving scene, but when he finally moved to the Capitol City in 1986, he found the very scene of which he had become enamored had "died"--old clubs had closed and the good bands had broken up or signed to major labels or both. "I arrived and didn't find any bands," he explains.