A&M Records

Sting in Alachua County on his first solo tour in October 1985

 After writing about Dark Horse Records, I went to Wikipedia and clicked on their original distributor A&M Records and found that the label would be relaunched. However, no sources such as Billboard, Rolling Stone, NME, Variety or the like were cited, making this a mere rumour, as Wikipedia can be unreliable if anyone can just put something up, making Fleet Street look like Utne Reader. A&M has been largely dormant in recent years, especially since the late '90s when PolyGram were sold to Universal. The former bought A&M, Island and Polar a decade earlier. In the US, A&M were clustered with Interscope and Geffen. The split between Universal Studios and Music Group in 2003 changed things further. Octone moved from J/BMG to A&M after the old BMG launched their JV with Sony in 2004 and Maroon 5 would eventually appear on Interscope. Sting has been carrying the torch of A&M since he was in the Police in the late '70s and only a few classical releases are on sister label Deutsche Grammophone (he'll be in Syracuse again in April with Billy Joel). Rick Wakeman had a solo deal with A&M coming out of the Strawbs, but it complicated what he could do in Yes at first, and A&M didn't always support his decisions, and he left the label and Yes in 1980, despite personal issues at the time.

Polydor UK did relaunch A&M on their end once and signed Duffy (on an equally brief reboot of Mercury [not counting Nashville like with MCA] across the pond). Jim Diamond released his first two solo albums on A&M, yet put out his fourth on Polydor, which could either have been to complete the old deal because an A&R left, or was an unrelated new one. His widow would have to answer that.

Supertramp would work their way up to become of the biggest successes for A&M. Roger Hodgson would stay on his own after leaving in 1983 for the first couple solo LPs before a long hiatus. The Carpenters safe as houses sound brought gold and platinum despite their Karens eating disorder. Amy Grant blazed a trail for the Lord being between A&M and Christian label Myrrh making her catalogue more available and becoming the cross-over queen. The Canadian branch had Bryan Adams, Gino Vannelli, Andy Kim, Susan Jacks, Terry Jacks, Bruce Cockburn, Véronique Béliveau, Jann Arden; Sharon, Lois & Bram; Fred Penner, and Raffi (even the Cancon kiddie scene counts). The boys tried to sign with A&M, but were turned down (their loss). Styx and Supertramp were the biggest international acts at the Toronto arm and overall in Canada since the Beatles and Elvis Presley, I would suppose.

I gave you the Cliffs Notes version of A&Ms history, yet we need something that confirms a new one is about to start. The label has a rich legacy and you'd never think it was technically indie in the old days.

Dedicated to the memory of Jerry Moss, who would have been proud to see the label return, despite the two legal rows he and his former colleague Herb Alpert have had with the two subsequent owners over its corporate culture (Alpert moved his lot to a new label since then).

George Harrison remasters and Dark Horse Records: 50 Years On

George Harrison at the Princes Trust appeal, 1987.

 George Harrisons family signed a deal last year with BMG to move distribution of his solo label Dark Horse Records and administration of his publishing. His old friend Bob Dylan started the trend (even though he outright sold his work). A few reissues have already come out, primarily on vinyl, such as the first two solo releases Wonderwall Music and Electronic Sound on limited edition picture disc, to straight reissues of the last couple Cloud Nine and Brainwashed. The newest is Living in the Material World 50th Anniversary (albeit a year and a half too late, but it can only "Be Here Now" [where oasis got the names of both that and "Wonderwall"]). Getting more praise now like his former colleague John Lennons solo album from 1973 Mind Games, expanded last year by their Sean, which was underrated when the elder Lennon and Harrison were both still alive ("You know how it is," the former would say).

One reviewer said that All Things Must Pass had been done enough. However, because of the new contract, one must consider that like Paul McCartneys solo and Wings output prior to 1975, it is no longer on Apple (although his first two had licenced it for new LP reissues for old times' sake). Back to Harrison, his triple smash could either do the same thing, or it would be like in 2001 less than a year before his passing when it was remastered with a new design and was neither on Apple or Dark Horse, but on a one-off vanity label called GnOM (you'd have to look it up, and it was the last solo reissue in his lifetime). The more recent edition would be out again with the new information, but Apple could be loaned out just like Parlophone is with Beatles proper reissues for up to 1967 since EMIs sale in 2013.

Late 1974s Dark Horse album may be next. Named to fill the void since Harrisons old deal wouldn't be done until January 1976. Rolling Stone slated the tour and he never lived it down. His voice was a state. I wonder if Peter Jacksons MAL AI technology could be used to do up a live show if a recording made by Harrison himself exists, coming after Get Back and "Now and Then", or if a decent bootleg is available since it technically can be claimed. Live albums used to have studio overdubs in those days, but this is something Live at the Star Club is reportedly getting (that'll be considered for a future post).

1981s Somewhere in England could have an expanded edition because a number of songs were declined by then-distributor Warner Bros./WEA (Warner Music Group), which were only available later as B-sides, remaster bonus tracks, on Sothebys-rare limited edition CD EPs that came with a book, or on bootlegs (the diehards get it). Their Dhani has his work cut out. There may be even more in the vaults.

Then there's the complication of compilations. The Best of George Harrison was supposed to be the best of both worlds (largely the old guard), but was just a sendoff by EMI to compete with Thirty-Three and a Third in November 1976. The Best of Dark Horse: 1976-1989 is the only one he approved of and is long out-of-print and has no Beatles tracks whatsoever. Let It Roll was a posthumous release. It would be having to licence Beatles tracks from Universal, Apple or Sony (Concert for Bangladesh versions outside North America because of Dylans [on Columbia US/then-CBS, yet on sister label Epic] return to the stage and industry policies at the time, as well as for pre-1968 publishing). Even a new collection could be considered.

Dark Horse in recent years returned to its original vision of signing other people. Joe Strummers estate (The Clash) and Billy Idol are two of the latest to join the fray. Reissues of past artists like Splinter, Henry McCullough (Wings), Keni Burke and Stairsteps, Attitudes and Ravi Shankar (we can't forget him, of course) should be explored, although some already are reissued, so I'm just catching up here.

Absolutely no ChatGPT was used. George would be very concerned about AI if he were still with us, I'm quite sure. He probably would have approved of it being to used to clean up the audio, but not to replicate voices and instruments, because that's what people are afraid of, and Ringo had to assure everyone that John wasn't being imitated by a bot, because it's not like the "new" Steve Marriott album (which is a mockery at a level even Yoko wouldn't stoop to, but we won't go there today). I just know that Harrisons legacy is in capable hands and will continue to bring in new generations of fans.