4AD is a British record label owned by Beggars Group. It was founded in London under the name Axis Records by Ivo Watts-Russell and Peter Kent in 1980 as an imprint of Beggars Banquet Records.[1][2] The name was changed to 4AD after the release of the label's first four singles. Later that year, Watts-Russell and Kent purchased the label from Beggars Banquet to become an independent record label, and Kent sold his share to Watts-Russell a year later.
In 1999, Watts-Russell sold 4AD back to the Beggars Group. The label's history was detailed by Martin Aston in the book Facing The Other Way, released in 2013.[4]
History
Ivo Watts-Russell and Peter Kent, employees of the Beggars Banquet record store and label, founded Axis Records (named after the Jimi Hendrix album)[5] in late 1979 as a property of Beggars Banquet, that was run by the two of them.[6] After the first four Axis singles in early 1980,[6] it became apparent that the name Axis was already being used by another music company[7] and the name was changed to 4AD, an abbreviation of the word forward.[8] Other names which they had considered included 1980AD, 4WD and 1984.[9]
An initial idea for the label was that it would be a "testing ground" for Beggars Banquet; successful acts would graduate up to Beggars Banquet after a year at 4AD. The only band to follow this path would be Bauhaus, who were signed to Beggars Banquet in late 1980, before Watts-Russell and Kent purchased the label outright.[6]
The two were the sole owners for about a year. Kent sold his share to Watts-Russell at the end of 1981, and started a new Beggars Banquet subsidiary, Situation Two Records.[6] Watts-Russell would maintain ownership of the label, and act as its president, until the late 1990s.
Watts-Russell invited the graphic designer Vaughan Oliver and the photographer Nigel Grierson to create sleeve art for the label, and as a result, 4AD acquired a visually distinctive identity. Its artists, such as Cocteau Twins and Dead Can Dance, developed cult followings in the mid-1980s,[6] but 4AD continued to evolve, and, after signing Throwing Muses and Pixies, the label increasingly concentrated on underground American rock music. In 1983, 4AD had a minor hit in America with the Modern English single "I Melt With You". In 1987, 4AD had a UK number-one hit with the collaged "Pump up the Volume" by M|A|R|R|S[6] (licensed to 4th & B'Way/Island Records in the US).
The label's deal with Warner Bros. Records in the United States in 1992 would start the beginning of a new phase in 4AD history. New signings that year included American underground acts Kendra Smith, Tarnation, Air Miami and The Amps. The following year Watts-Russell started a sub-label, Guernica, which would release records by Unrest, That Dog, and Bettie Serveert.[10]
In 1999, Watts-Russell sold his share in 4AD back to the Beggars Group (as it had by then become), but the label continued to release music and add new artists to its roster.[11] Simon Halliday took control of the label at the end of 2007. Immediate successes were Bon Iver's critically lauded debut For Emma, Forever Ago (CAD 2809) and Dear Science by Brooklyn's TV on the Radio (CAD 2821). In 2008, the Beggars Group re-aligned itself so that several labels, including Beggars Banquet itself, were folded up on to the 4AD label.[12][13] Bands including The National were moved to 4AD as a part of this merger. In 2009, the label released, amongst others, St. Vincent's second record Actor (CAD 2919) and Camera Obscura's My Maudlin Career. The following year, 4AD saw the release of The National's High Violet and acclaimed albums from Ariel Pink's Haunted Graffiti, Blonde Redhead and Deerhunter.
In the next three years, 4AD oversaw new releases from Scott Walker, Bon Iver, Iron & Wine, and Tune-Yards, whilst also expanded its roster with a number of beats and electronic acts[14] in the shape of acts including Purity Ring and Grimes, with the latter releasing one of the best received albums of 2012. Additional signings to the label include bEEdEEgEE, of Gang Gang Dance, Lo-Fang, and British producer SOHN. At the start of 2014, the label also announced the additions of Future Islands and Merchandise, followed by D.D Dumbo.
In 2015, the label released critically lauded albums by Deerhunter and Grimes, amongst others. The following year, the label and The National landed their first UK No. 1 record with Sleep Well Beast.[15] Latest signings to the roster include Aldous Harding and British band Dry Cleaning.
In April 2021, the label released Bills & Aches & Blues, a compilation album featuring bands from 4AD covering songs the label had released over its 40 years.[16]
While 4AD did not handle any distribution outside the United Kingdom for many years, it had many willing distributors in many countries; Virgin Records for France, Nippon Columbia distributed much of the label in Japan, while PolyGram subsidiary Vertigo Records released many of the label's records in Canada. The USA had always been a tough market for 4AD, even though its records sold well there as imports. Only a few of the label's acts had deals to license their recordings in the US, among various labels.
In 1992, Watts-Russell signed a five-year distribution deal with Warner Bros. Records so that nearly all 4AD releases would be released in the United States. When the deal ended, he offered to sell the label back to Beggars Banquet. Dead Can Dance's output, however, stayed with Warner Bros. until the sale back to Beggars Group.
The deal with Beggars Banquet was completed by early 1999, and since then it has owned 4AD and its distribution worldwide. This led to many negotiations for the label's back catalogue, like getting back American distribution rights for Pixies, Dead Can Dance and Cocteau Twins.
In 2013, the music historian Martin Aston wrote in Facing the Other Way: The Story of 4AD:[17]
The attention to cataloguing aided the collectability of 4AD (the prefixes extended to DAD, GAD and HAD). It was all part of the bespoke detail that set independent labels apart from the majors. It created an identifiable culture that had grown big enough to support its own distribution system and trade magazine.
For the most part, 4AD's official UK releases follow a standard scheme for designating catalogue numbers. Although there have been some variations over the years, some general rules can be devised to easily determine the format (LP, CD, etc.) and year of release by looking at a 4AD catalog number.
Prefix
The first part of a catalogue number is a prefix that contains a variation of "AD," based on the 4AD name. Some standards are:
4AD only released one LP on DAT format, Cocteau Twins' Blue Bell Knoll, which was designated CADT 807.
Numerical designation
The second part of the catalogue number is a number that represents the year of release (via the number of years since 1980, following the '1980 Forward' theme), and the order of release in the particular year. For example, This Mortal Coil's LP It'll End in Tears is CAD 411. The "CAD" represents that the release is an LP, the "4" in 411 represents 1984, and 11 marks the 11th release of that year. This is the vinyl LP release; cassette versions have "C" added to the prefix (CADC 411 in this example); CD versions have "CD" added at the end (CAD 411CD).
A side effect of this scheme is that it made it seem like 4AD had hundreds of releases early on. In the 1990s, 4AD changed the first part of the number from "100s" to "1000s," temporarily making the number not correspond with the number of years since 1980. Releases in 1990 used "00" directly after the prefix (e.g., the Pixies' Bossanova, CAD0010, released in the fall of 1990); 1991 used "10" directly after the prefix (e.g., This Mortal Coil's Blood, DAD 1005, released early in 1991), 1992 used "20," and so on for the rest of the 1990s.
Wanting to return to numbering with the years since 1980, 4AD had to provide a workaround for releases in the year 2000. Since the "20" numerical designation had been used in 1992, all releases in 2000 used "2K" (e.g., Mojave 3's Excuses for Travellers, CAD 2K05, released in early 2000). Between 2001 and 2009, the catalogue numbering scheme returned to the original format, with the first two digits of the number representing the years since 1980 (e.g., Blonde Redhead's 23, CAD 2717, released in 2007; the 27th year since 1980). Things have not been too consistent since, and there have been several gaps. 2010 releases feature the numerical designation 3X, as "30" had already been used in 1993.[18] This process appears to have come to an end with the few xAD37nn releases of the early months of 2017. The catalogue numbers of all releases since April 2017 (beginning with The Far Field by Future Islands, 4AD0001CD/4AD0001LP) have begun with 4AD00nn and ended with letters indicating the release format. No indication of release year is given.
4AD Sessions
The 4AD Sessions are an ongoing series of video recordings with various acts from the label's roster. Following on from the Deerhunter session at the Studio Plateaux on Platts Eyott island in 2008, the recordings see 4AD artists performing back-catalogue covers and alternative versions of their own material. They are housed on the label's website.[19]
Related Research Articles
Cocteau Twins were a Scottish rock band active from 1979 to 1997. They were formed in Grangemouth on the Firth of Forth by Robin Guthrie and Will Heggie (bass), adding Elizabeth Fraser (vocals) in 1981. They signed with the record label 4AD in 1982 and released their debut album Garlands. In 1983, Heggie was replaced with multi-instrumentalist Simon Raymonde. The group earned critical praise for their ethereal, effects-laden sound and the soprano vocals of Fraser, whose lyrics often eschew any recognisable language. They pioneered the 1980s alternative subgenre of dream pop and helped define what would become shoegaze.
Heaven or Las Vegas is the sixth studio album by Scottish alternative rock band Cocteau Twins. It was released on 17 September 1990 by 4AD. It is the band's second major-label release, following Blue Bell Knoll in 1988.
Come On Pilgrim is the debut mini-album by the American alternative rock band Pixies, released on September 28, 1987, on 4AD. Produced by Gary Smith, the release consists of eight tracks from a seventeen-song recording session that the band had recorded at Fort Apache Studios in March 1987.
This Mortal Coil were a British music collective led by Ivo Watts-Russell, founder of the British record label 4AD. Although Watts-Russell and John Fryer were the only two official members, the band's recorded output featured a large rotating cast of supporting artists, many of whom were otherwise associated with 4AD, including members of Cocteau Twins, Pixies and Dead Can Dance. The project became known for its gothic, dream pop sound, and released three full albums, beginning in 1984 with It'll End in Tears.
Xmal Deutschland, often written as X-Mal Deutschland, was a German gothic rock band. Founded in 1980 with a completely female line-up, they had chart success both in and outside their native country. Their last album was released in 1989.
Pod is the debut studio album by American alternative rock band the Breeders, released by 4AD records on May 29, 1990. Engineered by Steve Albini, the album features band leader Kim Deal on vocals and guitar, Josephine Wiggs on bass, Britt Walford on drums, and Tanya Donelly on guitar. Albini's production prioritized sound over technical accomplishment; the final takes favor the band's spontaneous live "in studio" performances.
It'll End in Tears is the first album released by 4AD collective This Mortal Coil, a loose grouping of artists on the label brought together by label boss Ivo Watts-Russell. The album was released by 4AD on 8 October 1984, and reached #38 on the UK Albums Chart.
Ivo Watts-Russell is a British music producer and record label executive. He was joint-founder with Peter Kent of the independent record label 4AD. He has produced several records, although he prefers to use the term "musical director".
The Mirror Pool is Lisa Gerrard's first solo album, released by 4AD in 1995.
Treasure is the third studio album by Scottish alternative rock band Cocteau Twins, released on 12 November 1984 by 4AD. With this album, the band settled on what would, from then on, be their primary lineup: vocalist Elizabeth Fraser, guitarist Robin Guthrie and bass guitarist Simon Raymonde. The album also reflected the group's embrace of the distinctive ethereal sound with which they became associated.
Vaughan Oliver was a British graphic designer based in Epsom, Surrey. Oliver was best known for his work with graphic design studios 23 Envelope and v23. Both studios maintained a close relationship with record label 4AD between 1982 and 1998 and gave distinct visual identities for the 4AD releases by many bands, including Mojave 3, Lush, Cocteau Twins, The Breeders, This Mortal Coil, Pale Saints, Pixies, and Throwing Muses. Oliver also designed record sleeves for such artists as David Sylvian, The Golden Palominos, and Bush.
Colin John Newman is an English musician, record producer and record label owner. He is best known as the primary vocalist and songwriter for the post-punk band Wire.
Filigree & Shadow is the second album released by 4AD collective This Mortal Coil, an umbrella title for a loose grouping of guest musicians and vocalists brought together by label boss Ivo Watts-Russell. The supergroup consists primarily of artists attached to the 4AD label, of which Watts-Russell was the co-founder and the owner and director. The album was released in September 1986, and entered the UK Independent Music chart on 11 October 1986 and peaked at #2, spending 16 weeks on the chart in total.
Blue Bell Knoll is the fifth studio album by Scottish alternative rock band Cocteau Twins, released on 19 September 1988 by 4AD. This was the band's first album to receive major-label distribution in the United States, as it was originally licensed by Capitol Records from 4AD for North American release. After a period of being out of print while 4AD reclaimed the American distribution rights for their back catalogue, the album was remastered by guitarist Robin Guthrie and reissued in 2003. Vocalist Elizabeth Fraser named the album after a peak in southern Utah called Bluebell Knoll.
"Dark Entries" is a song by the English gothic rock band Bauhaus, released as a stand-alone single in January 1980 by Axis and later issued on 4AD and Beggars Banquet. It features the 1944 painting Sleeping Venus by Paul Delvaux as cover art.
Clan of Xymox is the debut studio album by Dutch dark wave band Clan of Xymox, released 1 July 1985 by 4AD.
Heidi Berry is a British-American singer-songwriter. In the late 1980s and early 1990s, she recorded and released four critically acclaimed solo albums on the British independent record labels Creation and 4AD, for which she is best known.
Sixteen Days / Gathering Dust is an EP released in 1983 by This Mortal Coil, a supergroup assembled by Ivo Watts-Russell for his record label, 4AD.
Scar is a mini album by English rock band Lush. It was released on 9 October 1989 on 4AD. Originally intended to be a three-track single release, Scar was produced by John Fryer and the band themselves and recorded at London's Blackwing Studios in 1989.
Sleeps with the Fishes is the lone collaborative album from Clan of Xymox founding member Pieter Nooten and Canadian guitarist/producer Michael Brook, released by 4AD on 12 October 1987. Intended as Nooten's debut solo album after a brief split from Clan of Xymox, the record turned into a collaboration with Brook after a suggestion from 4AD label founder and boss Ivo Watts-Russell. Though not a huge commercial success, Sleeps with the Fishes was described by AllMusic as "essential listening for fans of 4AD, ambient music, minimalism, experimental electronic music, and morose themes alike... an overlooked masterpiece."
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