I LOVE MY LABEL,...

Record labels aren't just businesses, or just a channel between musicians and the public. They're an identity, an aesthetic, and an iconic part of the mythology of music. Motown, Stax, Virgin, Island, Columbia, Blue Beat, Postcard - all names that will instantly bring to mind the artists signed to them, and the eras and genres associated. Thinking back to my introduction to music as a kid, the paper label in the middle of the 7" single was just as interesting to me as the music itself. The record company logo, the artwork (if there was any), the information about the artist and song too. Delving through my parents collection (mainly my Dads), certain labels became attached to certain types of music. The Bell and Rak record labels are forever attached to Glam Rock, the former being the home of the now disgraced king of glam, Gary Glitter, as well as his backing group, The Glitter Band, who had several big hits on their own, whilst the Mickie Most-owned RAK, with its distinctive ship label, was home to Suzi Quatro, Mud, Arrows, as well as Hot Chocolate, Smokie, and later on, Kim Wilde. David Bowie and Sweet were on the legendary RCA Victor label, home to Elvis Presley. Other labels that stood out for me were A&M - Squeeze were one of their artists -, Polydor (Slade, The Jam, The Who), and the swirly logo of rock label Vertigo, home to my Dads many Status Quo singles. Their "Paper Plane" single had me mesmerised, the A-side label being a large version of the logo, and i remember watching it go round and round on the turntable until i felt dizzy.

As i got older and discovered more music, indie music became part of my ever expanding tastes, as did the labels: Rough Trade (The Smiths), Factory (Joy Division/New Order, Happy Mondays) and their differing but interesting histories, especially the chaotic Manchester icon Factory Records, set up by local tv personality and entrepreneur Tony Wilson, to specifically sign, record and promote Manchester musicians. Many books, articles, and documentaries have been made about this unique label and the distinctly cavalier way in which it was run: for the art and the music, not for profit. And although not many of their signings achieved chart success, Factory has gone down in history.

The other label that would become important and fascinating to me was Stiff. Started by music industry mavericks Dave Robinson and Jake Riveria in 1976, their motto was "if they're dead we'll sign them". Not literally, but they would go on to sign acts that no-one else would touch, and in the process release some legendary music: Elvis Costello, Nick Lowe, Ian Dury, Madness, The Pogues, Tenpole Tudor, Wreckless Eric, Devo, and the first UK punk single, "New Rose" by The Damned. A label with stories to tell. An umbrella under which oddities and freaks could gather to release their wildly differing but uniquely independent music upon an unsuspecting public.

It's an oft-repeated question as to whether record labels are still relevant in the internet age, when anyone with a laptop can record and release their music without talent scouts, signing contracts or even playing gigs. I think we need labels even more, especially the maverick independents, to provide a sense of identity in a sea of downloads, streaming, and Youtube channels. Artists need to be nurtured, promoted, to be given a chance to stand out from the online noise. I missed labels during the few years where i downloaded most of my music from iTunes, because a song deserves to be more than just a digital file on a computer. It needs to be physically out there to really mean something, to make a lasting mark.

One of the things that prompted me to write this post was the discovery that the RAK label has been reactivated, as a singles club releasing actual 7"s, with the iconic ship artwork, and housed in the familiar royal blue paper bags. This wasn't purely an exercise in nostalgia though: they've signed new bands, all releasing a single with an original song, backed with a cover of a track from the RAK back catalogue. Stiff was reactivated in 2007, 21 years after folding, signing new acts. With the recent vinyl revival and interest in physical formats, the future looks bright once again.