Edsel Records

Edsel Records is a British record-label imprint established in 1981 as a subsidiary of Demon Records. Unlike Demon’s original focus on contemporary singles and artist-led releases, Edsel was created primarily to reissue albums from the 1960s and 1970s. Its catalogue-oriented role has made it especially visible among collectors and listeners seeking expanded editions, remastered albums, archival sets and compilations. The imprint emerged during a period when Demon, founded in 1980 by Andrew Lauder and Jake Riviera, was developing a network of specialist labels. Demon’s early activity included singles by acts such as Department S, whose “Is Vic There?” became an early chart success, but the company soon broadened its operations. Edsel provided a dedicated home for older recordings and helped establish the wider Demon business as a significant participant in the British catalogue and reissue market. Edsel’s releases have generally drawn on licensed or acquired recordings rather than following the conventional model of developing a current artist roster. Its work has included reissues of albums by established artists, deluxe and multi-disc editions, and collections assembled around particular performers or periods. In 2013, the label issued a substantial reissue programme covering Robert Palmer’s Island Records catalogue. It has also been involved in greatest-hits projects using licensed recordings, including releases connected with Ant & Dec. One such project unexpectedly led to a number-one re-charting of “Let’s Get Ready to Rhumble” in the United Kingdom in April 2013. Edsel operates within the broader Demon Music Group structure. Demon began as a British independent label and later passed through corporate changes, including ownership by Crimson Productions and the development of Demon Music Group as a catalogue and compilation company. The group’s activities extend across physical CD and vinyl releases, compilation series, music DVDs and specialist imprints. Edsel remains the part of that portfolio most closely identified with reissues and archival presentations. The label’s history has also included criticism from specialist music audiences. In 2013, listeners questioned the mastering quality of Edsel’s Robert Palmer CD reissues after audio analysis suggested that some source material may have originated from lossy MP3 files. Edsel manager Val Jennings rejected the allegation, while an independent producer consulted by the music publication SuperDeluxeEdition reportedly found spectral characteristics consistent with MP3-derived mastering. The dispute illustrates the scrutiny faced by reissue labels, for which source quality, mastering provenance and documentation are important parts of the product’s value. Edsel’s significance is therefore less about a conventional pop identity than about archival stewardship and catalogue presentation. Its positioning combines specialist reissue work with commercially accessible compilation activity, serving both collectors interested in historically important recordings and general listeners purchasing familiar albums in refreshed or expanded formats.

Edsel Records was created in 1981 as a subsidiary of Demon Records, a British independent label founded the previous year by Andrew Lauder and Jake Riviera. Lauder had held an A&R position at United Artists and had previously worked with Riviera on Radar Records and F-Beat. Demon initially planned to issue individual singles and recorded releases by emerging or independent acts, but its business developed into a broader group of labels and catalogue operations. The creation of Edsel reflected a deliberate division of labour within the Demon operation. Demon could continue working with contemporary artists and specialist genres, while Edsel concentrated on reissues of recordings originally released during the 1960s and 1970s. This made the imprint part of the expanding British market for archival pop, rock, soul and related catalogue recordings. The label’s work typically involved bringing older albums back into circulation, often in CD formats and later through expanded or remastered editions. During the 1980s, Demon added other specialist operations, including labels associated with Memphis soul and psychedelic rock, while its Zippo imprint released albums by American alternative and roots-rock artists. Edsel remained distinguished by its emphasis on reissues rather than by a single contemporary genre identity. Its releases consequently depended on licensing arrangements, catalogue ownership and the availability of historically significant recordings. Demon’s corporate structure changed over time. The company was known as Object Enterprises between 1982 and 1991 and as Music Collection International between 1991 and 2000. In 1998, Demon was acquired by Crimson Productions and was combined with the Westside Records operation. The wider business subsequently became known as Demon Music Group, a company primarily involved in catalogue rights, reissues and compilation releases. It later operated under the ownership of BBC Studios. Edsel continued as the group’s principal reissue-oriented imprint. The label’s catalogue activity has covered both individual artist albums and broader compilation projects. A notable 2013 undertaking involved the release of the complete Island Records album catalogue of Robert Palmer. Edsel also issued licensed greatest-hits material connected with Ant & Dec. The latter project produced an unusual chart event when “Let’s Get Ready to Rhumble” re-entered the UK singles chart and reached number one in April 2013. Edsel’s reissue practices attracted criticism during the Robert Palmer programme. Audio enthusiasts examined the discs and argued that some masters appeared to have been produced from MP3 files, citing an apparent cutoff around 16 kHz and other spectral characteristics. Edsel manager Val Jennings strongly disputed the claim. SuperDeluxeEdition sought an opinion from producer Nick Watson, whose reported analysis found the audio consistent with lossy-source mastering. The episode remained a point of discussion among collectors because reissue buyers generally expect high-quality source material and transparent mastering standards. Within the Demon Music Group portfolio, Edsel has therefore functioned as a catalogue brand rather than a conventional artist-development label. Its identity rests on the commercial and archival re-presentation of established recordings, with physical formats, expanded editions and compilations forming its principal output. The imprint’s history is closely tied to the growth of the UK independent reissue sector and to Demon’s transformation from a small new-release label into a broader catalogue-management and compilation business.

• 2013

  Robert Palmer catalogue reissues are released

  [1]Demon Music Groupen.wikipedia.org

  Edsel issues the Island Records album catalogue of Robert Palmer in a major archival reissue programme.

• 2013

  “Let’s Get Ready to Rhumble” reaches number one after re-charting

  [1]Demon Music Groupen.wikipedia.org

  A licensed Edsel greatest-hits project connected with Ant & Dec helps bring the recording back to the top of the UK singles chart.

• 1998

  Demon is acquired by Crimson Productions

  [1]Demon Music Groupen.wikipedia.org

  Crimson Productions acquires Demon and merges it with its Westside Records operation, contributing to the corporate development of the later Demon Music Group.

• 1981

  Edsel Records is established

  [1]Demon Music Groupen.wikipedia.org

  Demon Records creates Edsel as a subsidiary specializing primarily in reissues of albums originally released during the 1960s and 1970s.

A specialist British reissue imprint focused on restoring, repackaging and commercially redistributing historically important recordings, primarily through physical album editions and compilations.

• Catalogue reissues · 1981

  1960s and 1970s album reissues

  Edsel was established to return albums from the 1960s and 1970s to the market. These releases form the core of the imprint’s identity and generally serve listeners seeking historically important recordings in renewed physical editions.

• Artist catalogue reissues · 2013

  Robert Palmer Island Records catalogue

  In 2013, Edsel issued a broad reissue programme covering Robert Palmer’s Island Records albums. The project represented the label’s catalogue-led approach while also prompting public debate about the quality and provenance of the mastering.

• Greatest-hits compilation · 2013

  Ant & Dec greatest-hits compilations

  Edsel licensed Ant & Dec recordings from Phoenix Music International for greatest-hits compilations. The associated catalogue activity helped return “Let’s Get Ready to Rhumble” to the UK number-one position in 2013.

• 2013

  Dispute over MP3-derived mastering claims

  Audio enthusiasts alleged that some Robert Palmer reissues had been mastered from lossy MP3 sources, citing frequency and stereo artefacts. Edsel management rejected the allegation, while an external technical opinion reported by SuperDeluxeEdition was described as consistent with the critics’ findings.

  Source

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• 2013

  Issue the Robert Palmer Island catalogueProduct launch

  Background

  The label pursued a substantial artist-catalogue project based on Robert Palmer’s Island Records recordings.

  Action taken

  Edsel released the complete Island Records album catalogue in reissue form.

  Aftermath

  The project generated collector interest and criticism concerning the audio mastering sources.

  Source

• 1981

  Create a dedicated reissue imprintStrategy

  Background

  Demon was expanding beyond its initial singles and contemporary-label activities and needed a distinct identity for older catalogue recordings.

  Action taken

  The company established Edsel Records as a subsidiary focused primarily on reissuing 1960s and 1970s albums.

  Aftermath

  Edsel became the catalogue-reissue arm within the wider Demon label structure and later Demon Music Group.

  Source

1. 1Demon Music Groupen.wikipedia.org