Interview: Lagwagon’s Joey Cape Tells Us About One Week Records
Not everyone wants to, can have, or afford to make an album in a sterile, high-budget recording studio that is instantly capable of deflating 
an artist’s financial standing so much, that the album becomes a financial flop before it’s even released.
Recently, Joey Cape, the frontman for Lagwagon and guitarist for Me First and the Gimme Gimmes, has come up with a solution that provides comfort to those interested in more of a homey type experience: One Week Records.
Officially launched in May, One Week Records is based out of Cape’s San Francisco home and at its core is designed to guide an artist towards making a 10-track album in a week. Said album can feature all original content, covers, or even a more stripped down version of a raucous song the artist may have previously released.
Best of all, the artist is welcomed into Cape’s home for the week and provided with a bedroom and bathroom, as well as an open invitation to the family’s kitchen table for coffee in the morning.
“So far, I think they love it. I know my daughter does…she’s 10,” responds Cape when asked how his family is reacting to the musical visitors. “The idea of having a house guest for her, no matter who it is, is very exciting for her. For me, it’s the best part of the gig, because I’ve had this duplicity in my life forever. I have two lives that I live: I tour and am always off doing music somewhere, and then I have my family at home. The two rarely meet. It’s really cool [that they do now]. Everything about it is nice.”
To this point One Week Records has released solo offerings from Chris Cresswell of The Flatliners, as well as Brian Wahlstrom of Scorpios, while other sessions have already come and gone. Demand, however, is growing, so much so that Cape is already pondering what he’ll have to tell someone when he’s unable to bring them in.
“First of all, I really need to like the music and they have to be doing something that I feel like I can collaborate with…and add to,” he says of his initial vetting process. “If I’m not feeling the tunes, there’s really no point running the tape machine.”
In terms of motivation for this project, Cape’s explanation is simple: he wanted to make albums that weren’t neutered by excessive production. That and he’d already made many of his solo albums at home, thus proving that such an environment can churn out positive results.
“I think the upside of having a limited time [to make an album] is that you can’t over-produce,” admits Cape. “I always really liked demo tapes that were really stripped down. Then you’d hear the big production, but you’re still in love with that original version you heard.”
Cape mentions that a solid chunk of pre-production is handled before an artist even reaches his home. This gives him an idea of what’s in store, and subsequently allows him to schedule the week ahead.
From there, it really all depends on how the sessions go. Cresswell, recalls Cape, was able to bang out his album in a crisp five days. Yet, with 
another artist – not mentioned by name – it took all 48 hours of the last two days to make sure everything got done.
Once the recording process is complete, the artist is handed a Sharpie and asked to design the album cover. Soon enough, the finished product is put online and sold digitally for $5. Cape and the artists split the money down the middle.
Business aside, Cape really just thinks that what One Week Records truly offers is a brief, yet lasting experience.
“It’s one week of their life, and they get to come to San Francisco – which is a great city. And they get to hang out with me, and I’m awesome,” says Cape with a laugh. “I don’t know, I think it’s one week to make a 10-song record and it’s a very stress-free environment.”
He continues: “I’m a musician, and if I had the chance to record with a guy that I think is really cool; stay in a city that I like for a week of my life; make a great record that’s mostly about performance and vibe; that would be great.”
-Adam Grant
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