By Jim Schutze
By Rachel Watts
By Lauren Drewes Daniels
By Anna Merlan
By Lee Escobedo
By Alice Laussade
By Scott Reitz
When Matt Barnhart moved back to Denton earlier this year, he found himself facing a big decision, the kind of choice that can change your life no matter what the answer is. It had already been a year filled with tough choices for Barnhart, from deciding to leave St. Louis after living there just longer than a year to scrapping the record label he had started in 1996 and starting another one from scratch. Each decision affected the other: He had returned to Denton mainly because the area's resurgent music community seemed like the best place to run his new label, Quality Park Records, as well as to record bands with his longtime partner Matt Pence. The move paid off almost immediately, leading to an alliance with another local producer, Dave Willingham. The trio combined their respective operations at Willingham's 70 Hurtz studio in Argyle, renaming it the Transcontinental Recording Company (the name of Barnhart's former label), and Barnhart began preparing for Quality Park's next release.
And that's when Barnhart had to make another big decision. Originally, he had planned to issue only an odds-and-ends compilation of songs Centro-matic had recorded during the past three years, a low-key release between real records for the band. But by the time Barnhart had returned from St. Louis, the situation had changed completely, and the group was ready to put all of its trust in Quality Park. After being burned by Austin-based Doolittle Records, Centro-matic wanted to work with someone who knew and understood the group and its music, and no one fit the bill better than Barnhart. He and the band had been together from the beginning, when Centro-matic was just Will Johnson and a four-track recorder; Automatic Records, Barnhart's first label, had released Johnson's debut single. Now, Centro-matic wanted Quality Park to release its next album, and Barnhart had to ask himself whether he was ready to do it. It would be an important record for both the band and the label, and he had to make sure he could handle it. It turned out the decision wasn't that tough after all.
"That really made me take the label very seriously, Centro-matic deciding to do a very serious album with me," Barnhart says, "one that we would hire a publicist for, and radio promotion people, and do a lot of serious work trying to get a good national foothold there. Because of that, I had to look inside myself before I agreed to do it. It was like, well, I have this label, and it's pretty much a hobby, and that's all it is. When they asked me to do that, and we both agreed to do it, we had to put a lot of faith in each other. I had to put a lot more stock into the label, which is something I enjoy doing, obviously, so it's not a problem. The good side of that is guys like Little Grizzly and Baptist Generals and Wiring Prank -- and if I decide to take on anyone else -- they can benefit from whatever good work happens with Centro-matic."
If Centro-matic's track record is any indication, there will be enough benefits to go around. The album Quality Park will release in January or February could be the best rock record released here or anywhere next year, the kind of album that could turn the label into a legitimate force, more than just another local label. But Quality Park isn't big enough to make anyone nervous yet, or so it would seem. So far, the label's output can be counted on one hand, with fingers to spare: Little Grizzly's Please Let Me Go, It Wasn't Meant to Be and Centro-matic's The Static vs. The Strings Vol. I, both released this year. Even if you take into consideration the Little Grizzly and Centro-matic singles Barnhart put out on the Transcontinental Recording Company, or the pair of out-of-print seven-inch discs he issued under the Automatic Records name in 1996, the sum barely spills over onto another hand.
Yet Quality Park has done enough in a short time to unnerve a few people, including the local music-industry honcho who called Barnhart recently, worried that the label was trying to muscle in on his distribution racket. Barnhart laughs when recalling the conversation, amused by the fact that the tiny operation he runs by himself out of his Denton apartment could worry anyone, much less a wheeler and dealer who tools around in a sports car. But it's not really what Quality Park has done that excites some people and scares others -- it's what Barnhart and the label have the potential to do. Quality Park is one of the few local labels that thinks outside of the confines of Dallas, Denton, and Fort Worth, supporting the scene while it attempts to expand it.
To that end, Barnhart has made releases by several other local labels -- including Willingham and Philip Croley's Two Ohm Hop, Leaning House Jazz, and Western Vinyl -- available through the Quality Park Web site (www.qualityparkrecs.com). And copies of Centro-matic's The Static vs. The Strings will come with a print version of the catalog. It's a throwback to the old SST Records catalogs that grouped a diverse collection of bands under one umbrella, letting everyone see the entire menu instead of just one page. You might prefer Centro-matic, but that doesn't mean you won't enjoy Wessell Anderson too, or Light Bright Highway. For Barnhart, it's more about getting the word out than selling records.
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