‘Compromise in the search for popularity is the reason the music industry gets dumbed down.’ The story of German Shepherd Records.
The Prick Jaggers. Fall Fan Dave. Stripey Zebras. The Teenage Propshafts -
all acts that have had music released by Greater Manchester indie label German Shepherd Records. It’s since downsized into Half Edge Records but continues to tilt at the windmills of the music industry by releasing what they want, when they want. Ian Moss - one half of the operation, along with veteran scenester Bob Osborne - explains how it all came about and what being truly independent is all about.
In 2012, I was leading a band called Kill Pretty - on the surface all appeared to be sweetness and light, but in truth I was disenchanted with the rigidity of working with a fixed group and my frustrations were giving rise to a disharmonious atmosphere. That meant tensions simmered.
We had our supporters: Bob Osborne was one of a clutch of DJs at Salford City Radio, along with John Montague, Tony Thornborough and the now-late Stephen Doyle, who gave us regular airtime. Bob had, in fact, set up a Bandcamp site that released the radio sessions we’d recorded and began lending his organisational skills to us as a manager. The two of us formed something of an alliance, as he sensed my willingness to involve myself in the creation of a more experimental style of music- making, with improvisation replacing regimented structures.
Bob presented me with two pieces of music to work on; lyrics were written and with considerable assistance from Steve and Laura of the band Monkeys in Love we completed the tracks. ‘We should release them as a single,’ declared Bob. ‘We need a label,’ said I. ‘Yes, we can do that - what do you want to call it?’ said Bob. Without any premeditated thought, I replied, ‘German Shepherd…’ And thus, our single ‘Humble Bee’ / ‘Smackhead Band’ by House Mouse & Space Museum became release number one on German Shepherd Records.
I had stacks of archive material from pre-internet days that I wanted to release by my previous bands, including The Hamsters and The DoDos. Almost at once we realised we could expand our operations to include other artists. Bob had a multitude of contacts, and I was out and about in town mixing with musicians on a nightly basis – artists like West Coast Sickline, Rose and The Diamond Hand, Staggs, Poppycock (featuring Una Baines) and The Prick Jaggers soon joined our family of artists.
The ethos of the label was simple: we would operate as a strictly non-profit umbrella for our acts. They would retain the rights to their music and publishing - no contracts, just a verbal agreement based on mutual trust. We aimed to eliminate the usual label/promoter/management paradigm, releasing our artists’ music via Bandcamp with all monies accounted transparently and going to the artists. Bob and I simply had to agree we liked something we heard for it to earn a release. We released an awful lot of music. But equally, we passed on a lot too - some that we knew had the potential to sell well, but we didn't want to encourage derivative imitations of Oasis, Arctic Monkeys and so on. In the words of Malcolm X… no skulduggery, no flim flam, no compromise, no sell out.
Bob worked tirelessly on the label providing the technical know-how and acting as administrator - scheduling releases, writing promos and mailing a long list of DJs in the hope of radio play. Some things hit and were picked up, but we grew to understand how, on the whole, to be conservative and formulaic is a major requirement for music industry acceptance. We developed a thick skin to protect us from the rejection of our acts' music on the grounds that it was too weird and experimental for their formatting. ‘Sod ‘em,’ was my response. Despite this, the label grew.
From the start, we had supported various charities when we could: Shelter, Asthma UK, the World Wildlife Fund and many others have received donations. In a small way we attempted to do good. We gathered a roster of acts from all across the UK and from Germany, the United States and Australia. People who had been in name acts – including The Fall, Subway Sect, The Birthday Party, Einstürzende Neubauten - appeared on our releases. Captain Sensible sang our praises, but it remained a struggle to gain the commercial foothold which we felt our artists deserved. Alana Bondi was a great example of a wonderful talent who went unrecognised. Moff Skellington was - and is - an absolute wonder; totally unique and a joy to listen to, improving and brightening our lives with his wisdom and charm.
Then Covid came and brought time for reflection. We were noticeably older; the workload placed on Bob had become tiring and was wearing him down. Should we stop, we asked ourselves?
No, we answered.
We still had the motivation to continue, but were lacking the energy we had when we had started the label. We decided German Shepherd must be humanely put to rest and, in its place, we conceived a slimmed-down, more bespoke label of around 12 acts to be called Half Edge Records. Guided by the same principles, we aimed to put out entertaining music for the discerning listener. My various collaborations as part of 2 Lost Souls, The Parasite, Cracked Hands and Stepbrothers continued to be released and find some favour. We retained Staggs, Adventures of Salvador, West Coast Sickline, The Harveys and - of course - Moff Skellington and added newer, exciting sounds from the likes of Neon Crabs, Precogs and Occult character.
I look back on what we've achieved with a great deal of satisfaction. We remained true to ourselves - which is important. We achieved cult status amongst the more esoteric music lovers worldwide. We created opportunities to be heard for well over one hundred different artists and released close to 800 albums EPs and singles. As we never set out to make money, our success or lack of success can’t be judged in financial terms. So, has our adventure into running a label been a success? You'd better believe it!
I’ll leave the last word to Bob: ‘Perhaps we have been a little bit too esoteric for our own good, but that's the nature of art, isn't it? Compromise in the search for popularity is the reason the music industry gets dumbed down.’
German Shepherd Records and Half Edge Records - latest releases and information here.
