Demon Music Group

Demon Music Group is a British independent record company whose business is centered on the ownership, licensing, restoration, repackaging, and reissue of recorded-music catalogues. Its output has historically concentrated on physical formats, especially compact discs, vinyl records, multi-disc box sets, and music DVDs, distributed through supermarkets, specialist retailers, and other international channels. The company also develops compilation brands and releases selected projects by contemporary or currently active performers. The business began in 1980 as Demon Records, founded by Andrew Lauder, a former United Artists A&R executive, and Jake Riviera, who had previously been associated with Stiff Records, Radar Records, and F-Beat. Demon initially operated as a singles-oriented label. Its early releases included work by the Subterraneans, the Spectres, TV21, and Department S. Department S provided the label's first significant British chart result when “Is Vic There?” reached number 22 on the UK singles chart. Further success followed with Bananarama's “Aie a Mwana.” Demon soon broadened its strategy from one-off singles toward longer-term artist and catalogue activity. Edsel Records was created in 1981 as a reissue imprint focused particularly on albums from the 1960s and 1970s. Other labels and catalogues were subsequently added, including Hi Records, associated with Memphis soul, and Drop Out, associated with psychedelic rock. The Zippo imprint supplied a home for American alternative and psychedelic-rock artists including the Dream Syndicate, Green on Red, True West, and Rain Parade. Corporate changes helped shape the modern group. The company used the legal names Object Enterprises Limited from 1982 to 1991 and Music Collection International Limited from 1991 to 2000. In 1998, Demon was acquired by Crimson Productions and combined with the Westside Records operation. The enlarged business later traded under the Demon Music Group name. Its catalogue activities included European licensing of the Hi Records catalogue as well as reissues and compilations drawn from recordings controlled by the company and by external rights holders. Compilation publishing became one of DMG's most visible commercial activities. The company developed multi-genre and themed series such as Absolute Hits, the five-disc 100 Hits sets, Music Club Deluxe, Nascente's world-music collections, and Harmless releases focused on funk and urban music. The 100 Hits range reportedly sold 1.5 million units during its first 18 months, demonstrating the appeal of low-priced, theme-based physical compilations. DMG's catalogue work has also included artist-focused projects, deluxe editions, archival packages, music-video releases, and licensed collections. The group operates through a portfolio of imprints and brands, including Demon Records, Edsel, DMG TV, Demon Vision, Harmless, Nascente, Crimson, Music Club Deluxe, 100 Hits, Demon Digital, Little Demon, THE Red Box, and Imp. Their roles vary from artist albums and vinyl releases to reissues, genre collections, digital products, and audiovisual editions. Projects associated with the wider operation have included releases connected with Jane McDonald, Marti Pellow, Daniel O'Donnell, Foster & Allen, and The Soldiers, alongside catalogue material by performers such as Johnny Cash, Elvis Costello, Frank Sinatra, T. Rex, Sparks, Marc Almond, and Siouxsie Sioux. Demon's catalogue model also involves licensing masters from third parties. A notable example was the licensing of Ant & Dec recordings from Phoenix Music International for greatest-hits compilations. In 2013, the re-charting of “Let's Get Ready to Rhumble” gave the Edsel label an unexpected UK number-one single. By the end of 2020, Crimson Productions had placed numerous Gold series compilations on the UK albums chart, using a mixture of DMG-owned recordings and masters licensed from companies including Sony Music. The company has therefore combine…

Demon Music Group traces its origins to Demon Records, established in Britain in 1980 by Andrew Lauder and Jake Riviera. Both founders had substantial experience in the independent-record sector. Riviera had been involved with Stiff Records, while he and Lauder had also worked together at Radar Records and F-Beat. Demon was initially conceived as a label for individual singles rather than as a large catalogue operation. Early releases came from acts including the Subterraneans, the Spectres, TV21, and Department S. The latter's “Is Vic There?” became Demon's first notable chart success, reaching number 22 in the United Kingdom. Bananarama's “Aie a Mwana” provided another early success. The label changed direction during its first years, seeking more durable artist relationships and a broader catalogue base. Lauder left for Island Records in 1981, although he returned the following year. Also in 1981, Demon established Edsel Records as a reissue imprint, concentrating on albums from the 1960s and 1970s. This move established the archival and historical-repertoire orientation that would become central to the group. Additional specialist imprints followed, including Hi Records, associated with Memphis soul, and Drop Out, aimed at psychedelic rock. Zippo expanded the company's reach into American alternative rock, issuing records by artists such as the Dream Syndicate, Green on Red, True West, and Rain Parade. The corporate entity changed names as the business developed. It was known as Object Enterprises Limited between 1982 and 1991 and as Music Collection International Limited between 1991 and 2000. In 1998, Demon was acquired by Crimson Productions and merged with the latter's Westside Records operation. The combined company subsequently became known as Demon Music Group. This structure allowed it to combine its own label heritage with licensed catalogues and compilation expertise. The group also became the European licensee for the Hi Records catalogue. Compilation publishing became a major part of the company's commercial identity. DMG and its associated labels issued collections spanning pop, rock, soul, funk, jazz, world music, and other genres. The Absolute Hits brand offered single-disc popular-music collections, while the 100 Hits range used five-disc budget box sets organized around particular genres, decades, or themes. Other specialist brands included Harmless for funk and urban music, Nascente for world music, and Music Club Deluxe for expanded two-disc packages. The company also operated audiovisual and digital labels, including Demon Vision and Demon Digital. The business continued to combine catalogue exploitation with artist-led projects. DMG TV was used for artist album projects, while the wider group issued or supported releases associated with performers such as Jane McDonald, Marti Pellow, Daniel O'Donnell, Foster & Allen, and The Soldiers. Demon Vision releases drew on artists including Sparks, Siouxsie Sioux, Marc Almond, The Beautiful South, Johnny Cash, Elvis Costello, Sammy Davis Jr., T. Rex, and Frank Sinatra. The company also licensed Ant & Dec recordings from Phoenix Music International for greatest-hits projects. In 2013, the Edsel label benefited when “Let's Get Ready to Rhumble” unexpectedly returned to the UK chart at number one. Demon's reissue practices have occasionally generated criticism. In 2013, collectors questioned the mastering of Edsel's complete reissue programme for Robert Palmer's Island Records albums. Audio-analysis discussions focused on apparent frequency limitations and stereo artifacts that some listeners interpreted as evidence of compressed digital source files. Edsel manager Val Jennings rejected the claim, while an external producer consulted by SuperDeluxeEdition judged the examined audio consistent with an MP3-derived source. The dispute illustrates the scrutiny faced by archival labels from specialist collectors, particularly when reissues are marketed as definitive editions. By 2020, Crimson Productions was regularly charting with its Gold series of three-CD “hits and mixes” sets. The series included collections for artists such as Bros, M People, and the Bangles; most of the recordings were licensed from Sony Music, while a smaller number came from catalogues owned by DMG. Crimson also signed contemporary acts including Le Flex and the country-pop trio the Adelaides. The group is now owned by BBC Studios and remains focused on catalogue rights, licensing, archival reissues, compilation publishing, and physical and digital music products.

• 2020

  Crimson Gold series charts

  [1]Demon Music Groupen.wikipedia.org

  Crimson Productions continues to place Gold three-CD compilation albums on the UK albums chart.

• 2013

  Edsel project reaches number one

  [1]Demon Music Groupen.wikipedia.org

  A licensed Ant & Dec compilation helps “Let's Get Ready to Rhumble” re-enter the UK chart at number one.

• 2000

  Corporate identity becomes Demon Music Group

  [1]Demon Music Groupen.wikipedia.org

  Following earlier corporate names including Object Enterprises and Music Collection International, the business adopts the Demon Music Group identity.

• 1998

  Acquisition by Crimson Productions

  [1]Demon Music Groupen.wikipedia.org

  Crimson Productions acquires Demon and merges it with its Westside Records operation.

• 1982

  Andrew Lauder returns

  [1]Demon Music Groupen.wikipedia.org

  After a period at Island Records, co-founder Andrew Lauder returns to Demon as the company develops additional specialist imprints.

• 1981

  Edsel Records launches

  [1]Demon Music Groupen.wikipedia.org

  Demon creates Edsel as a label focused primarily on reissues of 1960s and 1970s albums.

• 1980

  Demon Records is founded

  [1]Demon Music Groupen.wikipedia.org

  Andrew Lauder and Jake Riviera establish Demon Records in Britain as an independent singles-oriented label.

• 1980

  First major chart success

  [1]Demon Music Groupen.wikipedia.org

  Department S's “Is Vic There?” reaches number 22 on the UK singles chart.

Independent catalogue-focused music company specializing in reissues, compilations, licensing, and physical-media releases across multiple genres.

• Reissue label · 1981

  Edsel Records

  Edsel is DMG's principal archival and reissue imprint. It has issued expanded editions and catalogue projects based on albums from earlier decades, including substantial artist-specific campaigns. Its catalogue-oriented role distinguishes it from Demon labels focused primarily on new releases or budget compilations.

• Compilation series

  100 Hits

  100 Hits is a budget compilation brand built around five-disc sets organized by genre, period, or musical theme. The series became one of DMG's most commercially visible physical products and reportedly sold 1.5 million units during its first 18 months.

• Compilation series

  Absolute Hits

  Absolute Hits is a multi-genre compilation line associated with Crimson Productions. It packages popular singles and familiar repertoire into accessible single-disc collections for broad retail distribution.

• Record label · 1980

  Demon Records

  The original Demon imprint developed from a singles label into a broader catalogue brand. In the modern group it is associated particularly with physical releases, including vinyl projects and selected artist or archival titles.

• Genre compilation label

  Harmless

  Harmless specializes in compilations and catalogue products centered on funk, soul, and urban music. Its releases use genre expertise and themed sequencing to serve specialist listeners as well as general compilation buyers.

• World-music compilation label

  Nascente

  Nascente is DMG's world-music-oriented imprint. It is associated with collections such as the Beginner's Guide series, which introduce regional and stylistic traditions through curated compilations.

• Music video label

  Demon Vision

  Demon Vision handles music DVD and other audiovisual catalogue products. Its artist-focused releases have included performance and video material associated with performers such as Johnny Cash, Elvis Costello, Sparks, and Frank Sinatra.

• Compilation series

  Crimson Gold

  Gold is a Crimson Productions line of three-CD collections marketed around an artist's hits, mixes, or recognizable catalogue. The series has combined DMG-controlled material with masters licensed from outside rights owners, including Sony Music.

• 2013

  Dispute over MP3-derived mastering allegations

  Collectors questioned whether Edsel's Robert Palmer reissues had been mastered from compressed MP3 files after audio analysis identified a 16 kHz frequency cutoff and stereo artifacts. Edsel manager Val Jennings rejected the allegation, while an independent producer consulted by SuperDeluxeEdition said the examined characteristics were consistent with an MP3-derived source.

  Source

Read more

• 2020Crimson Gold series

  United Kingdom

  Crimson Productions expanded its Gold line of three-CD hits-and-mixes collections, drawing on both DMG-owned catalogues and recordings licensed from external companies.

  Outcome. The series generated repeated UK album-chart appearances, including a Dr. Hook set at number 54 in December 2020.

  Source
• 2013Ant & Dec greatest-hits licensing campaign

  United Kingdom

  Edsel licensed Ant & Dec recordings from Phoenix Music International and assembled greatest-hits releases aimed at renewed interest in the duo's earlier pop catalogue.

  Outcome. “Let's Get Ready to Rhumble” unexpectedly re-charted at number one in the United Kingdom.

  Source
• 100 Hits compilation programme

  United Kingdom · International

  DMG built a broad retail campaign around inexpensive five-disc compilations covering genres, eras, and themes. The programme helped make catalogue music accessible through supermarkets and specialist retailers.

  Outcome. The 100 Hits range reportedly sold 1.5 million units in its first 18 months.

  Source
• Beginner's Guide series

  International

  Nascente's Beginner's Guide collections presented introductory surveys of world-music traditions and other genres through themed, curated releases.

  Outcome. The visual approach of the series was later noted as resembling the design concept used for Blur's 2009 EMI collection Midlife: A Beginner's Guide to Blur.

  Source

• 2020

  Expansion of licensed compilation outputStrategy

  Background

  Crimson Productions was seeking repeated chart visibility through themed artist compilations while using both owned and externally controlled recordings.

  Action taken

  The company expanded the Gold three-CD hits-and-mixes series and also signed contemporary acts including Le Flex and the Adelaides.

  Aftermath

  Gold collections continued to appear on the UK albums chart, demonstrating the continuing commercial role of catalogue compilations.

  Source

• 2013

  Robert Palmer catalogue reissue programmeProduct launch

  Background

  Edsel undertook a release programme covering Robert Palmer's Island Records catalogue.

  Action taken

  The label issued the complete set of eight albums in the programme.

  Aftermath

  The releases prompted a public dispute among collectors over the apparent use of compressed digital source material.

  Source

• 1998

  Acquisition and merger with Westside RecordsM&A

  Background

  Demon was operating within a changing independent-label market and had developed multiple specialist imprints and catalogue relationships.

  Action taken

  Crimson Productions acquired Demon and merged it with its Westside Records operation.

  Aftermath

  The combined operation developed into the Demon Music Group, with expanded compilation, licensing, and reissue activities.

  Source

• 1981

  Move into archival reissuesStrategy

  Background

  Demon initially concentrated on one-off singles but sought a more durable business model and broader artist catalogue.

  Action taken

  The company launched Edsel Records to issue reissues of albums from the 1960s and 1970s.

  Aftermath

  Reissues and catalogue exploitation became central to the group's long-term identity.

  Source

1. 1Demon Music Groupen.wikipedia.org