Lookout was perhaps the only record label that I would seek out. I knew of Operation Ivy. (They were quite big among the high school crowd.) I also had Mr. T Experience on a regular rotation. I was somewhat distraught when told in 2000 that the East Bay scene was not what it used to be.
Larry Livermore traces his view of the history of the East Bay music scene. He had a band called the Lookouts (which included the future Green Day drummer, Tre Cool.) He was living "off grid" in far Northern California, but would come down to play in the Bay Area. The seeds of the movement were set with Tim Yohannan and Maximum Rocknroll. This covered the punk scene and also earned enough to help fund the setup of 924 Gilman in Berkeley. This all-ages, volunteer run venue became the home to the East Bay punk scene. Livermore also created a "Lookout" magazine about the local music.
When it came time to record a record, the name "Lookout" was used since it already had some recognition. Livermore founded the label with David Hayes after impulsively offering to produce a record for Operation Ivy. The label gradually grew. Hayes left and Livermore brought in a few others to help with it. Things were small for some time. It was based out of his "off grid" location. Later he moved into town, with the label being run out of his $100/month rent controlled apartment. It was very DIY, even as it became more popular. The label tried to have a tight focus on good bands with the right "sound". The business side was mostly run by Livermore, with two others helping out. This was likely the condition of things when Green Day was having supply problems.
After Green Day hit it big on a major label, their back catalog was in high demand. Suddenly Lookout was raking in money. East Bay pop-punk was the next big thing, and all the bands also got a boost. Bands were eager to be associated with Lookout and majors were looking for the next Green Day. Now would have been the ideal time to cash out. However, Livermore desired to hold to the indie spirit. Lookout instead would die a slow painful death.
The problems started with adding employees. They added one employee. Then needed bigger office space. Soon a number of employees and a store followed. There were more expenses. Then there was Screeching Weasel. Ben Weasel wanted money to buy a house. The advance was too much for Lookout. Instead he went to another label. Then he started accusing Lookout of Withholding royalties. Livermore thought Lookout was on the good side, and was going to follow legal advice to seek a declaratory judgement. One of his employees said he would live if he did. Livermore could not handle that and resigned himself, turning the label over to him. Things went downhill from there. Catalog sales slowed. The label spent more trying to find the next big thing. Eventually, they started withholding payments. Record contracts stated any band could leave if royalties were more than 6 months late. With most of the money making bands gone, there is little hope of the label living on.
The book is a well written history of the punk music scene. It was mostly made up of kids. (There was even talk of people "growing out" of the music as they enter college.) There are various internal struggles and ego battles, along with ideology dogmatism. It feels like a happy pop-punk song, full of energy and optimism, but not devoid of conflict. It is easy to feel present in the music scene, adopting the parts that feel best. Livermore presents himself as a hard worker, yet owns up to his mistakes.
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