Independence Days Read online

  Introduction

  The status of independence within the music industry is broadly regarded as the autonomous operation of an entity outside the framework of the major labels. The definition of a ‘major’ has evolved through the last century and beyond; from the early conglomerates such as Victor, Columbia and Edison, to the era discussed in this book (post-1976 to late 80s). At that point EMI, Sony, BMG, PolyGram, WEA and MCA were dominant to the extent that they acquired a secondary title, ‘the big six’. Today the major labels have thinned through acquisition and take-over to just four titans; Sony, EMI, Universal and Warner, with much talk of further contraction.

  In theory, any label that is not tied to the above institutions can be considered independent. In practice, an independent record label for my purposes is taken as one that does not resort to majors for help with its production, distribution or marketing. However, while a puritanical view is possible, it is not necessarily useful, in that all of the larger independents have at some stage moved in and out of relationships with major record labels. Though this may have produced ideological discomfort, it was often a necessary entanglement, in several instances key to survival.

  Some small exposition here in terms of criteria for inclusion. Stiff Records, arguably the most iconic of independents, really only had legitimate claim to that status for a fleeting period; yet this would be a lesser (or perhaps an ever lesser) book were the personalities and artists that Stiff gave us – originally from a wholly independent platform – not included. Beggars would not have survived without a timely cash injection from WEA. Even Rough Trade would employ PolyGram’s London Records strike force to help break The Smiths. Mute would eventually pass into EMI’s hands, albeit late in the game. So it goes, as someone at Stiff once remarked.

  I have focused on the major independents of the period, the stature of several meriting discrete chapters. I have also looked at various tributaries, often piecing them together in an attempt to better demonstrate the interconnections at work. Sometimes this has not been an easy fit, but I quickly abandoned the idea of attempting a chronological narrative overview; some of the stories being sufficiently involved that to zoom in and out would render them impossible to follow.

  Of course, there are many labels that could have been included that are not; the weighting of coverage similarly depends on factors including access and resources. Sometimes the rationale was pragmatic rather than theoretical. For example, I have stopped short of profiling Creation Records. Although it would enjoy its headline success in the nineties, Creation’s first release was in 1983. Frankly that story has been explored rigorously enough by David Cavanagh in My Magpie Eyes Are Hungry For The Prize, whose thoroughgoing nature anyone labouring in this field should remain intimidated by. It was useful to cut off the qualifying period around 1987, when The Smiths signed to EMI, and by which time the emergence of dance music would begin to reshape the perception of independent music.

  Similarly, the story of Sarah Records, the C86 compilation bands, etc, fall outside of my self-moulded remit. C86 for many heralded the moment, too, when ‘independent’ morphed into ‘indie’, a term broadly descriptive of a musical style rather than a technical classification denoting autonomy. And while I make a case for the decade-ish period under consideration as a distinct and artistically meritorious one, I hope I have avoided falling into the trap of gerrymandering this into a seamless and self-contained arc when we all know any artistic culture doesn’t work like that. Conversely, I have continued to follow the trajectory of selected independent labels beyond 1987. In most cases, it simply made for a more rounded narrative.

  It should also be noted that I have mentioned an earlier independent generation only in passing as part of my opening chapter. There are sound reasons to argue that Island and Virgin are the pre-eminent British independents. Yet as influential as their efforts may have been, these were different beasts entirely from the generation of labels under discussion here; who all sprang directly from the arrival of punk.

  A number of potential interviews were derailed by the collapse of Pinnacle distribution in November 2008, towards the end of the project. It hardly seemed fair to pester those dealing with the potential collapse of their business with questions about what they did 30 years ago (“Where were you on the evening of 17 June 1978, Mr Birkett?”). One can only hope for their survival; though the lesson of previous independent distribution bankruptcies is that many will disappear. But I still submit that the interviews provide a reasonable cross section of the most important characters populating the stage in the timeframe concerned.

  There is a tension here. While this book argues (usually implicitly though I did get carried away a little in the afterword) against the widespread adoption of the diminutive ‘indie’ as a prescription for guitar-based post-punk music promulgated largely by white boys with guitars, that is the focus of much discussed here. Realistically it was not possible to encompass the innovations of independently fashioned reggae, dance music and hip hop (and I am not unaware of the ethnic apartheid hinted at) within the discourse in a satisfactory manner.

  Initially, when this project was proposed to me, it was on the basis of a ‘celebration’ of independent record label culture. And to a certain extent that is what you have. However, the more I became enmeshed in the story, the more I realised the caveats to such unabashed heraldry. Villainy, deceit and gluttony were in ample supply too. In this story there are Fagins, Sykes, Bumbles and Artful Dodgers galore and, by my own crude arithmetic, as many Captain Blighs as Fletcher Christians. At least one Thomas Gradgrind, too, for that matter.

  I’d like to think I’m in good company in drawing faintly ambivalent conclusions. “I think there is always the danger of assuming that ‘indie’ somehow means ‘good’ or morally correct, neither of which I think are right at all,” John Peel would state in an interview with Martin Aston. “There’s an awful lot of crap gets issued by indie labels and a lot of the stories I hear from the bands who’ve got involved with some of the bigger, allegedly indie labels, are as horrifying as those from bands involved with established major record companies. So the idea that it represents an area of superior morality is a non-starter. But the fact is, the best thing that came out of punk was the demystification of the whole process of making records.”

  The wolf in sheep’s clothing battle-cry of ‘we’re independent’ rings hollow on several occasions throughout this book. Amid practice that is often so sharp you could shave with it, the more telling divination, ultimately, is the degree to which these labels were part of the industry of human happiness. One inescapable conclusion is that several independents treated their employees and artists in a wholly disgraceful manner that would never have been countenanced by a major – if not necessarily because of moral scruples, simply for fear of falling foul of employment law suits. It is wrong to entirely divorce some from the Thatcherite creed that ran almost exactly parallel, too. Much as most would publicly shun such an association, these were entrepreneurs in the purest sense. Independent label bosses are separated from that rhetoric solely by motives; and some were not truly separate at all.

  Yet it was an extraordinary period of innovation, of chance taking, of opportunities grasped and ruinous mistakes. The story of The Cartel, for example, represents a specific and highly politicised attempt to forge a completely new path for the music industry. That its denouement was ignoble does not detract from the intentions it began with and the very profound impact it had on democratising music making during the eighties.

  More than one sage voice within this text will posit that most of the great music of the last 30 years started out, or was inculcated by, independent record labels. It is in no way a hysterical argument.

  Acknowledgements


  This book is dedicated to Joyce Horspool, Ian and Annette Wrench; without whose support, it would never have been completed.

  Eternal thanks and gratitude to my partner/life support Dawn Wrench and to my two beautiful boys, Hugh and Laurence. Hoping you grow out of that Arsenal fixation soon. Also, to my ever doting parents. The fools.

  I am writing this in the certain knowledge that it will be presented in the best light possible by designer Russ Bestley. I count myself immeasurably fortunate to be able to enlist not only someone who possesses a first-rate ‘eye’ but also genuine expertise in the subject matter. Bit of a ‘Carlsberg’ moment, really.

  I would like to thank Iain McNay for the original idea.

  I am grateful to all those who agreed to interviews; especially those who were so encouraging and sympathetic to my task.

  Several journalists were generous with their time, contacts and advice in the preparation of this project. Thanks and hello to all at Next Big Thing. In particular, I am deeply grateful to Marcus Gray for, generously, sharing his research notes on early independent record labels, which proved invaluable. Also, Joel McIver, Kieron Tyler, Ken Hunt, Phil Sutcliffe, Andy Fyfe, Rob Fitzpatrick and Pierre Perrone all selflessly gave me useful information, quotage and leads. Chuck Warner at Hyped2Death graciously clarified my own fumbling efforts at summarising the contrast between American and UK independent infrastructure and distribution.

  Others who contributed support, advice, encouragement, occasional nutrition:

  Roger Sabin, Josef Loder, Sharon Elliott, Sue Pipe, Gareth Holder, Kate and June Mo-Dette, Mute support staff Sinead and Zoe, Zoe Street-Howe, Gordon Wilkins, Robin Saunders, Jack Thunder at Excess Press, Dizzy Holmes, Rhodri Marsden.

  Notes on Interviews

  The vast majority of the interviews contained herein are new. Several of the quotes for the Cherry Red chapter are derived from my research for the Pillows & Prayers and 30th anniversary box sets. In half a dozen instances, quotes are taken from earlier interviews conducted in my so-called career, which may or may not have been published previously, and there are a small number taken from my earlier book, No More Heroes. Dead Kennedys material was drawn from the aborted sleevenotes to Fresh Fruit For Rotting Vegetables. Also, a couple of interviews were conducted for Cherry Red TV, either by myself, or Iain McNay. So best to ‘fess up to that also. I’ve added a list of interviewees not just as some kind of ‘feel the width’ gesture, but as a way of acknowledging and thanking all those who took the time out to submit to interviews, answer queries, etc.

  List of Interviewees and Correspondents:

  Alan Cowderoy (Stiff)

  Alan Hauser (Fresh/Jungle)

  Alan Jenkins (Mole Embalming/Cordelia)

  Andrew Loog Oldham (Immediate)

  Andrew Nicholson (Pathetix/TJM)

  Andy Blade (Eater/The Label)

  Andy Leighton (Fried Egg)

  Andy Ryder (Medium Medium/Cherry Red)

  Andy ‘Shesk’ Thompson (Xntric Noise)

  Andy Murray (Stiff)

  Anthony Meynell (Hi-Lo)

  Barbara Gogan (Passions)

  Barry Island (Tights/Cherry Red)

  Ben Watson (music critic/academic)

  Bid (Monochrome Set/Rough Trade/Cherry Red/el)

  Bill Drummond (Zoo/KLF)

  Bill Gilliam (Alternative Tentacles/Upright/Workers Playtime)

  Bob Last (Fast Product)

  Bob McGrather (author/discographer US R&B indies)

  Boff (Chumbawamba/Agit Prop)

  Brian Sheklian (Grand Theft Audio)

  Brian Young (Rudi/Good Vibrations)

  Bruce Findlay (Zoom/Virgin)

  Cath Carroll (Miaow/solo/Factory/New Hormones)

  Cathal Coughlan (Microdisney/Rough Trade/Kitchenware)

  Charlie Gillett (Oval/DJ)

  Charlie Mason (Xcentric Noise)

  Chuck Warner (Messthetics/Hyped2Death)

  Daniel Miller (Mute)

  Dave Barler (Glass)

  Dave Henderson (Dining Out/Illuminated)

  Dave Newton (Mighty Lemon Drops/Whaaam!)

  Dave Parsons (Sham 69/IRS)

  Dave Robinson (Stiff)

  David Jaymes (Leyton Buzzards/Small Wonder)

  David Marlow (Virgin/Zig Zag Small Labels Catalogue)

  David Rome (Drinking Electricity/pop:aural)

  Derek Chapman (Backs)

  Derek Hammond (Yeah Yeah Noh!/In Tape)

  Diamanda Galas (solo/Y Records)

  Dick Lucas (Subhumans/Bluurg)

  Dick Witts (Passage/Object/Cherry Red)

  East Bay Ray (Dead Kennedys/Cherry Red)

  Ed Ball (King’s Cross/Whaam! etc)

  Ed Garrity (Ed Banger/TJM/Rabid)

  Ed Mooney (TJM)

  Edward Christie (Abstract)

  Elizabeth Surles (Starr/Gennett Archive)

  Eugene Reynolds (Rezillos/Sensible)

  Gareth Main (Bearded Magazine)

  Gary Beard (Pwdwr Records/Llygod Ffyrnig)

  Gary Marx (Sisters Of Mercy/Merciful Release)

  Gem Howard-Kemp (Secret)

  Geoff Davies (Probe)

  Geoff Travis (Rough Trade)

  George Borowski (The Out/Rabid)

  George Maddison (Carpettes/Small Wonder)

  Graham Bailey (2nd Layer/Cherry Red)

  Graham Fellows (Jilted John/Rabid)

  Guy Trelford (Northern Ireland punk author)

  Helen McCookerybook (Chefs, Attrix, Graduate, author)

  Howard Finkel (Cherry Vanilla/IRS)

  Iain McNay (Cherry Red)

  Iain Shedden (Jolt)

  Ian Astbury (Cult/Situation 2)

  Ian Ballard (Damaged Goods)

  Ivo Watts-Russell (4AD)

  Jamie Hill (Revolver)

  Jeff Pountain (Again Again/Do It)

  Jeffrey Kruger (Ember)

  Jello Biafra (Dead Kennedys/Fast/Cherry Red)

  Jeremy Valentine (Cortinas/Step Forward)

  Joel McIver (Journalist)

  John Brierley (Cargo Studios)

  John Broven (author/early US independents)

  John Craig (Safari)

  John O’Neill (Undertones/Good Vibrations)

  John Repsch (author/Joe Meek)

  Jon Langford (Mekons/Fast/CNT)

  Jonny Brown (Band Of Holy Joy/Rough Trade)

  Kate Korus (Mo-Dettes/Rough Trade)

  Kathy Freeman (Accelerators/Eric’s)

  Keith Glass (Rough Trade)

  Kevin Hewick (Factory/Cherry Red)

  Kevin Hunter (Epileptics/Crass)

  Klaus Flouride (Dead Kennedys/Cherry Red)

  Linder (Ludus/New Hormones/Factory)

  Manic Esso (Lurkers/Beggars Banquet)

  Marc Riley (Fall/In Tape)

  Mark Brennan (Link/Captain Oi!)

  Mark Standley (V2/TJM)

  Martin Mills (Beggars Banquet)

  Matt Dangerfield (Boys/NEMS/Safari)

  Michael Bradley (Undertones/Good Vibrations)

  Mick Mada (Probe)

  Mick Mercer (Journalist)

  Mick Rossi (Slaughter & The Dogs/Rabid/TJM)

  Mike Alway (Cherry Red/el)

  Mike Heneghan (Rough Trade/Beggars Banquet etc)

  Mike Kemp (Spaceward Studios)

  Mike Stone (Beggars Banquet/Clay)

  Miles Copeland (IRS/Step Forward/Illegal)

  Morgan Fisher (Cherry Red)

  Nick Dwyer (Molesters/Small Wonder)

  Nick Ralph (Midnight)

  Nigel Dick (Stiff)

  Patrik Fitzgerald (Small Wonder)

  Paul Burgess (Ruefrex/Good Vibrations)

  Paul Haig (Josef K/Postcard)

  Paul McCallum (Puncture/Small Wonder)

  Paul Rosen (Irrelevant Wombat)

  Penny Rimbaud (Crass)

  Pete Frame (author)

  Pete Gardiner (Stiff)

  Peter Christopherson (Throbbing Gristle/Industrial)

  Petula Clark (Polygon)

  Po
ly Styrene (X-Ray Spex)

  Richard Berry (No Future)

  Richard Boon (New Hormones/Rough Trade/The Catalogue)

  Richard Jones (Cherry Red/No Future)

  Richard Scott (Rough Trade/The Cartel)

  Richard Williams (Passions)

  Rick Goldstraw (John Cooper Clarke/Rabid)

  Robb Johnson (Irregular)

  Robert Lloyd (Nightingales/Cherry Red/Vindaloo)

  Robert Worby (Distributors/CNT/Red Rhino)

  Robert Wyatt (Rough Trade)

  Robin Greatrex (Razor)

  Robin Hurley (Red Rhino/Nine Mile)

  Roger Armstrong (Chiswick/Ace)

  Roger Doughty (Revolver)

  Roger Sabin (Lecturer)

  Sandy McLean (Fast Forward/53rd & 3rd)

  Saul Galpern (Bonaparte/Kamera)

  Scotty Parker (Fatal Microbes)

  Sean Mayo (Revolver)

  Sean O’Neill (Undertones/Good Vibrations)

  Seymour Stein (Sire)

  Shend (Cravats/Small Wonder/Crass)

  Simon Boswell (Illuminated/soundtrack composer)

  Simon Edwards (Heartbeat/Riot City)

  Simon Morgan (Nine Mile)

  Simon Napier-Bell (artist manager, etc)

  Spizz (his Spizzness)

  Stan Brennan (Soho Records)

  Steve Counsel (Puncture/Small Wonder)

  Steve Drewett (CNT etc)

  Steve McGarry (Rabid/Illustrator)

  Steve Melhuish (Napoleon)

  Steve Shy (Shy fanzine)

  Stuart Moxham (Young Marble Giants/Z Block)

  Stuart Murray (Fast Cars/TJM)

  Ted Carroll (Ace/Chiswick)

  Terri Hooley (Good Vibrations)

  Theo Morgan (Polygon)

  Thomas Leer (Cherry Red)

  Toby Mamis (Runaways/Cherry Red)

  Tom Bailey (Thompson Twins)

  Tony Visconti (producer)

  Tosh Ryan (Rabid)

  Tracey Thorn (Cherry Red)

  Trevor Midgeley (Dandelion)

  Vini Reilly (Durutti Column/Factory)

  Notes on Release Dates, etc

  All release dates were cross-referenced with Mario Panciera’s invaluable, astonishing 45 Revolutions (Hurdy Gurdy Books).

  Contents