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Most people don't understand the love of records. It's not a fetish, a disease, a perversion or an addiction. It's a thrill.
It's the allure of shiny sleeves that jump with graphic cut and class, liner notes filled with curious information and a fan-like devotion to detail — who played what and when and why it was never released in this form before — stacks of records lined up waiting to be played, to be flicked through and selected according to mood. It's the genuine pleasure and excitement inspired by good music — loud, soft, fast, slow, old, new, smart or naieve — but it must in someway be real and sincere ... perhaps this is the only true criterion.
Most people don't understand this. Even worse, most people in record companies don't understand it! They seem to labour under the misapprehension that records exist purely in terms of product and marketing. Drop this, sign that, release as much as possible and see what sticks to the charts. Sometimes (for these discerning people who enjoy sweeping generalisations) the record business seems like a giant advertising agency filled with upwardly mobile types dedicating considerable time and effort to creating an impression. (An impression on what or on whom? You may well ask, I haven't yet worked it out). Therefore it is a relief to hear Andrew Lauder, head of at least three record labels, say "I love records".
Mind you, a glance at the catalogue for his labels Demon and Edsel might tell you the same thing. Here are records lovingly selected and presented; artists like Screamin' Jay Hawkins, The Merseybeats, Julie London, Yardbirds, Del Shannon, Dr John, Mobey Grape, Loudon Wainright, James Booker, Lamont Dozier, Vivian Stanshall, not to mention Elvis Costello and the Attractions. Titles like Let's Stomp, Frenzy, Get Down With It, Surfin' Craze, Soul Deep, Five Cool Cats, Get A Buzz, Fame And Wealth, Classified, Drop Down And Get Me, Bigger Than Life, Check This Action, Six Of One And ... Half Dozen Of The Other. Covers that look like they have a life of their own. Notes that use the words and phrases "rare," "classic," "legendary," "long-overdue," "Underrated," "never before," "ultimate," "unique," "collectors item," "acclaimed" and "undiscovered" in great abundance. They are everything labels should be; witty, stylish, sincere with good taste and lots of personality.
Andrew Lauder is arguably everything a record company head should be. Not what you'd expect admittedly -- his walls aren't covered in gold discs. His intercom doesn't cackle with constant interruptions, he doesn't hold everything to place a long distance call to David Bowie in New York. He's tubby and balding, drinks tea (two sugars), wears a rock 'n' roll bootlace tie and is genuinely pleasant, friendly and enthusiastic.
He was head of Liberty and United Artists Records up until UA was swallowed up and digested by EMI in the late 70's. He then formed Radar, a semi-independent label associated with WEA that got off to a great start with Nick Lowe's hit single "I Love The Sound Of Breaking Glass" and Elvis Costello's tour-de-force This Year's Model but became somewhat odd and diverse with acts as varied as the dubious Yachts, the disturbing Pop Group and the dismal Bram Tchaikovsky (never mind reviving old L.P.'s by the 13th Floor Elevators and The Electric Prunes). "It was probably a bit ill conceived," says Andrew Lauder with a smile. When Radar fell apart, he moved to Island to work in A&R. After a short spell there, he left to form F-Beat with Elvis and manager Jake Riviera.
"F-Beat is really the in-house management label. I suppose you could say I'm the head of F-Beat records," Andrew says uncertainly.
There are a number of companies looking after the interests of Elvis Costello (and to a lesser extent Nick Lowe) all sharing the same building and the same three directors, Elvis, Jake and Andrew. Andrew mainly takes care of the records. They are, after all, the things he loves. He loves them so much he couldn't wait to find ways to release more.
"We started up Demon and Edsel really as a bit of a hobby," he explains, "in as much as I was used to having a lot more records out and doing a lot more, having been at Liberty and UA for a long time. Between Elvis and Nick Lowe albums you were incredibly busy for short spaces of time when things were being released, and the rest of the time it was like you were looking for something to do almost. So Demon and Edsel we started very much as a hobby, home-made label. And originally it was new groups and singles."
Amongst their first one off singles were by NME journalist Nick Kent's group The Subterraneans and the Department S debut hit "Is Vic There?." "It was kind of fun for a bit," says Andrew. "But we ended up a bit like an A&R department for other record
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