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The I.R.S. story starts with its co-founder, British music executive Miles Copeland III; he and his brothers Stewart and Ian were the sons of a UsefulNotes/{{CIA}} agent who was stationed in the Middle East. Copeland got involved in the late 60s/early 70s {{Rock}} scene in UsefulNotes/{{London}}, helping to bring the members of ProgressiveRock band Wishbone Ash together, then creating the short-lived record label and management company BTM (British Talent Management). (The other Copeland brothers also got music jobs during this era; Ian became a booking agent, while Stewart became the drummer for Curved Air.) BTM went out of business just as the punk movement was beginning, so Copeland quickly switched to the new music; in 1977, he began a family of punk labels (Illegal, Step Forward, Deptford Fun City), all of which were distributed by a parent company called Faulty Products. Illegal released the first single by Stewart's new band, Music/ThePolice, before Miles got them signed to Creator/AAndMRecords.
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The I.R.S. story starts with its co-founder, British music executive Miles Copeland III; he and his brothers Stewart and Ian were the sons of a UsefulNotes/{{CIA}} agent who was stationed in the Middle East.UsefulNotes/TheMiddleEast. Copeland got involved in the late 60s/early 70s {{Rock}} scene in UsefulNotes/{{London}}, helping to bring the members of ProgressiveRock band Wishbone Ash together, then creating the short-lived record label and management company BTM (British Talent Management). (The other Copeland brothers also got music jobs during this era; Ian became a booking agent, while Stewart became the drummer for Curved Air.) BTM went out of business just as the punk movement was beginning, so Copeland quickly switched to the new music; in 1977, he began a family of punk labels (Illegal, Step Forward, Deptford Fun City), all of which were distributed by a parent company called Faulty Products. Illegal released the first single by Stewart's new band, Music/ThePolice, before Miles got them signed to Creator/AAndMRecords.
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Eventually, I.R.S. switched distributors from MCA to Creator/{{EMI}} in 1990. However, the hits gradually stopped coming, and I.R.S. went out of business in 1996. As a fitting [[BookEnds bookend]], Buzzcocks, whose compilation ''Singles Going Steady'' was the first I.R.S. release, also ended the label with its ''All Set'' album. There were also two brief {{revival}}s of the I.R.S. brand during TheNewTens, neither of which was very successful.
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Eventually, I.R.S. switched distributors from MCA to Creator/{{EMI}} in 1990. However, the hits gradually stopped coming, and I.R.S. went out of business in 1996. As a fitting [[BookEnds bookend]], Buzzcocks, whose compilation ''Singles Going Steady'' was the first I.R.S. release, also ended the label with its ''All Set'' album. There were also two brief {{revival}}s of the I.R.S. brand during TheNewTens, TheNew10s, neither of which was very successful.
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* Music/IggyPop[[note]]I.R.S. reissued ''Zombie Birdhouse'', originally on [[Music/{{Blondie}} Chris Stein]]'s Animal label[[/note]]
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* Music/IggyPop[[note]]I.R.S. reissued ''Zombie Birdhouse'', originally on [[Music/{{Blondie}} [[Music/{{Blondie|Band}} Chris Stein]]'s Animal label[[/note]]
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* Music/{{Squeeze}}
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* Music/{{Squeeze}}Music/{{Squeeze|Band}}
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/{{The Damned|Band}}, Music/{{The Fall|Band}}, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/{{The Damned|Band}}, Music/{{The Fall|Band}}, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label I.R.S. really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/{{The Damned|Band}}, Music/TheFall, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/{{The Damned|Band}}, Music/TheFall, Music/{{The Fall|Band}}, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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* Music/TheFall
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* Music/TheFallMusic/{{The Fall|Band}}
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* ''Film/OneFalseMove''
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* Music/TheDamned*
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* Music/TheDamned*Music/TheDamnedBand*
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/TheDamned, Music/TheFall, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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Buoyed by The Police's success, Copeland went to A&M in 1979 and persuaded them to distribute I.R.S., which began as an American outlet for the Faulty imprints, as well as other small English and American punk labels. During its early years, I.R.S. gave noteworthy British bands such as Music/{{Buzzcocks}}, Music/TheDamned, Music/{{The Damned|Band}}, Music/TheFall, and Music/ThrobbingGristle their first American releases. It also established Faulty Products as an independent US outlet for signings A&M wasn't interested in, such as Music/DeadKennedys (whose Creator/AlternativeTentacles label was distributed by Faulty for a while) and Music/TheBangles. (On a literally related note, around the same time Ian began a booking agency called '''F'''rontier '''B'''ooking '''I'''nternational, which continued the [[UsefulNotes/AmericanLawEnforcement government agency]] FunWithAcronyms ThemeNaming for the Copelands' projects.) However, the label really took off when signings such as Music/TheAlarm, Fine Young Cannibals (in North America only), Music/TheGoGos, Music/{{REM}}, and Music/WallOfVoodoo began having mainstream hits. The label's newfound success came at a cost, though: R.E.M., probably one of the best-known acts on the label both then and now, left in favor of signing onto Creator/WarnerBrosRecords under the promise of full creative control and improved international distribution, having felt shafted in both departments ever since I.R.S. switched distribution to Creator/{{MCA}} in 1985.
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!!I.R.S. Records acts with Wiki/TVTropes pages:
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!!I.R.S. Records acts with Wiki/TVTropes Website/TVTropes pages:
