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analyzed properly and the decisions are right— and probably not— we were warned that it was going to be a very frustrating experience, and what will be expected from us. But our experience was relatively good, and in the beginning, it was great— they trusted us, and they made some mistakes with promotion, and with each record, the company was disintegrating, more or less. So by the time we were finished, on that third record, as it was being released, the guy who signed us was let go, record company nonsense. But we weren’ t really happy when Boomerang came out. It was the third record; we knew that we were on thin ice, and the guy who signed us was almost out the door. So they weren’ t doing much promotion-wise, so we decided that we were gonna record this little EP, from a local venue right here in Zion, actually, an icearena, andwedidashowthere. Sowerecorded it, not really knowing what we were gonna do with it. And then we decided,“ Well, how about if
Gary Klebe, 2026 and a few months later, they shut down the entire company, sold the building, and moved what was left to New York. So we saw Elektra at its peak, and then in its valley, at its worst point. But artists have complained about that since the beginning, don’ t you think? They’ re not being paid what they’ re worth, and it’ s the label that will make all the money. It wasn’ t so sweet at the end. But Elektra, when we were first there, everything went platinum by anybody at that time— in that era, there were big sellers like that, and Elektra had their fair share— they had Queen and The Cars and all the Asylum artists. It was a very successful company. But one of the problems was that they started to think that that’ s what they could expect from anything that was put out there. But the industry changed, people were buying fewer records, and there were financial constraints that didn’ t allow that to happen anymore. And with us, it was just like,“ Well, we need a platinum seller here!” But we were just starting off— we’ d just learned how to play our damned guitars. We didn’ t have any time to develop, and they just weren’ t cut out for that. Other labels, maybe some of‘ em, would have been more into developing the band, knowing that we could sell 25,000, then 50,000 to build up. But really, every time we were at the plate, we felt like we had to hit a grand slam, and that just wasn’ t gonna happen.
IE: That Elektra trilogy is so timeless and definitive. And I would even throw the then-super-collectible Shoes on Ice in there, the live promo-only live album you made. It was all up there with the best work by the late Dwight Twilley and his exbandmate, Phil Seymour, who also passed away. GK: Yeah. Dwight was a good friend of ours, and a big loss, too. And this is just one example of
we just make cassettes, for fan club members, just kind of a special thing?” And Elektra heard about this, and they hit the ceiling, going,“ You can’ t be doing that! That’ s against the contract!” Which is really true, technically. But it was just for a small audience. But the next thing we knew, the wheels started turning, and Elektra said,“ Okay— WE’ RE gonna put it out!” So it was a freebie that was combined with ** Boomerang.” So they go from threatening to sue us to saying,“ Okay— I guess we’ d better put it out. There may be something TO this!” So again, it was the left hand not knowing what the right hand was doing, essentially.
IE: Final question: How do you maintain enough energy to come home from full-time work and still make records after closing on weekdays and on weekends? GK: That’ s the hardest part, really. Just working when you’ re already dog-tired. You have to really wanna do it. But you know, people think that recording is fun. It’ s not fun. It was fun when we were first shaking a tambourine to a two-track tape recorder— it was like,“ Wow! That’ s us!” But since then, we love it, but it’ s hard work
IE: But we’ re both still here, at least. And you’ re still making great music, and I’ m still able to write about it, for now. Knock wood! GK: Did you like the new record? You, it’ s... it’ s... Well, I dunno how to say this anymore. But I didn’ t know how people would take it— I was afraid of what folks would say. But I always say that if it’ s one third as good as a Shoes record, then I’ ve done my job. So I did worry about the reception. But so far, it’ s been really good, though.
Tom Lanham
14 illinoisentertainer. com may 2026