History Creator / RadarRecords

In late 1977, Stiff Records co-founder Jake Riviera, who was also the manager of Music/ElvisCostello and Music/NickLowe, had a falling out with his partner Dave Robinson. Riviera left Stiff, taking Costello and Lowe with him, and decided to start a new label. He joined forces with Andrew Lauder, a respected executive at [[Creator/LibertyRecords Liberty]][=/=]Creator/UnitedArtistsRecords[[note]]Lauder originally worked at Liberty, which was absorbed into UA in the early 1970s[[/note]], who had signed acts ranging from Music/TheBonzoDogBand to Music/{{Buzzcocks}}. Together, Lauder and Riviera formed Radar Records, with financial backing from WEA Records; the first releases emerged in February 1978.

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain, 999), [[PsychedelicRock psychedelia]]-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), NewRomantic (Music/{{Visage}}), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the UsefulNotes/{{Texas}} label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

!!Radar Records acts with Wiki/TVTropes pages:

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), [[PsychedelicRock psychedelia]]-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the UsefulNotes/{{Texas}} label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), [[PsychedelicRock psychedelia]]-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

...and that was the end until TheNineties. With {{Britpop}} taking off and acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a semi-indie label with the credibility to attract fresh new talent. Therefore, a revived version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, [[{{Grunge}} Grungy]] American group Morning Glories, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget and Acacia sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). Music/JoyDivision recorded a demo for the Genetic sublabel before deciding to stick with Creator/FactoryRecords, but the band's back catalog would eventually wind up distributed by Warner on both sides of the Atlantic. In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). Music/JoyDivision recorded a demo for the label before deciding to stick with Creator/FactoryRecords, but the band's back catalog would eventually wind up distributed by Warner on both sides of the Atlantic. In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). Music/JoyDivision recorded a demo for the label before deciding to stick with Creator/FactoryRecords. In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (Music/LaDusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

In late 1977, Stiff Records co-founder Jake Riviera, who was also the manager of Music/ElvisCostello and Music/NickLowe, had a falling out with his partner Dave Robinson. Riviera left Stiff, taking Costello and Lowe with him, and decided to start a new label. He joined forces with Andrew Lauder, a respected executive at Liberty[=/=]Creator/UnitedArtistsRecords[[note]]Lauder originally worked at Liberty, which was absorbed into UA in the early 1970s[[/note]], who had signed acts ranging from Music/TheBonzoDogBand to Music/{{Buzzcocks}}. Together, Lauder and Riviera formed Radar Records, with financial backing from WEA Records; the first releases emerged in February 1978.

...that turned out to be far too eclectic for WEA's tastes, especially since few of Radar's acts besides Costello and Lowe sold to expectations. (The fact that the entire music industry had suddenly slumped after years of being hugely profitable didn't help.) Therefore, Radar was more or less shut down at the end of 1979. Riviera and Lauder formed F-Beat, yet another new label for Costello and Lowe, which was distributed by WEA and then [[Creator/RCARecords RCA]]; meanwhile, WEA kept the Radar imprint alive for a few final releases by the Inmates, Yachts and Bram Tchaikovsky and one stray new act, {{Power Pop}}pers DJ Kane and the Millionaires. Radar Records made its last releases in early 1981...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans and Europeans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids, Metal Urbain), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

...and that was the end until TheNineties. With {{Britpop}} taking off and acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a semi-indie label with the credibility to attract fresh new talent. Therefore, a revived version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, [[{{Grunge}} Grungy]] American band Morning Glories, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

...and that was the end until TheNineties. With acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a semi-indie label with the credibility to attract fresh new talent. Therefore, a revived version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, [[{{Grunge}} Grungy]] American band Morning Glories, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

In late 1977, Stiff Records co-founder Jake Riviera, who was also the manager of Music/ElvisCostello and Music/NickLowe, had a falling out with his partner Dave Robinson. Riviera left Stiff, taking Costello and Lowe with him, and decided to start a new label. He joined forces with Andrew Lauder, a respected executive at Liberty[=/=]Creator/UnitedArtistsRecords[[note]]Lauder originally worked at Liberty, which was absorbed into UA in the early 1970s[[/note]], who had signed acts ranging from Music/BonzoDogBand to Music/{{Buzzcocks}}. Together, Lauder and Riviera formed Radar Records, with financial backing from WEA Records; the first releases emerged in February 1978.

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), HardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

...and that was the end until TheNineties. With acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a new semi-indie label with the credibility to sign and develop fresh new talent. Therefore, a new version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, [[{{Grunge}} Grungy]] American band Morning Glories, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), hardRock (The Good Rats), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including a 12" EP of early Pere Ubu singles, GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

...and that was the end until TheNineties. With acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a new semi-indie label with the credibility to sign and develop fresh new talent. Therefore, a new version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, [[{{Grunge}} Grungy]] Americans Morning Glories, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

...and that was the end until TheNineties. With acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a new semi-indie label with the credibility to sign and develop fresh new talent. Therefore, a new version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.

...that turned out to be far too eclectic for WEA's tastes, especially since few of Radar's acts besides Costello and Lowe sold to expectations. (The fact that the entire music industry had suddenly slumped after years of being hugely profitable didn't help.) Therefore, Radar was more or less shut down at the end of 1979. Riviera and Lauder formed F-Beat, yet another new label for Costello and Lowe, which was distributed by WEA and then [[Creator/RCARecords RCA]]; meanwhile, WEA kept the Radar imprint alive for a few final releases by the Inamtes, Tachts and Bram Tchaikovsky and one stray new act, {{Power Pop}}pers DJ Kane and the Millionaires. Radar Records made its last releases in early 1981...

...that turned out to be far too eclectic for WEA's tastes, especially since few of Radar's acts besides Costello and Lowe sold to expectations. (The fact that the entire music industry had suddenly slumped after years of being hugely profitable didn't help.) Therefore, Radar was more or less shut down at the end of 1979. Riviera and Lowe formed F-Beat, yet another new label for Costello and Lowe, which was distributed by WEA and then [[Creator/RCARecords RCA]]; meanwhile, WEA kept the Radar imprint alive for a few final releases by the Inamtes, Tachts and Bram Tchaikovsky and one stray new act, {{Power Pop}}pers DJ Kane and the Millionaires. Radar Records made its last releases in early 1981...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauder also signed Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

With Costello and Lowe providing a (seemingly) solid sales base, Lauder began assembling a stable of mostly British acts, with a few Americans mixed in. The roster included PunkRock (Music/IggyPop and James Williamson, Richard Hell and the Voidoids), psychedelia-tinged NewWaveMusic (The Soft Boys), PowerPop (Yachts, Bram Tchaikovsky, Pezband), British R&B (The Inmates), {{Rockabilly}} (Ray Campi, Mac Curtis), {{Krautrock}} (La Dusseldorf), and even a SingerSongwriter (Loudon Wainwright III) and RecordedAndStandUpComedy (Film/NationalLampoon). Lauderalsosigned Music/ThePopGroup, whose AvantGardeMusic reportedly scared WEA's American labels away from distributing the label there. (Radar eventually signed a licensing deal with US [[Creator/PolydorRecords Polydor]] that included the Inmates, the Yachts and Bram Tchaikovsky.) Radar also did some interesting reissues, including GarageRock from the WEA catalogue (The Shadows of Knight, The Electric Prunes) and PsychedelicRock from the Texas label International Artists (Music/The13thFloorElevators[[note]]Lauder had tried to sign the Elevators to UK Liberty, but their manager wanted too much money[[/note]], The Red Krayola; Radar also released an album and single by the late 70s version of the Krayola). In short, Radar had an insanely eclectic roster...

...that turned out to be far too eclectic for WEA's tastes, especially since few of Radar's acts besides Costello and Lowe sold to expectations. (The fact that the entire music industry had suddenly slumped after years of being hugely profitable didn't help.) Therefore, Radar was more or less shut down at the end of 1979. Riviera and Lowe formed F-Beat, yet another new label for Costello and Lowe, which was distributed by WEA and then [[Creator/RCARecords RCA]]; meanwhile, WEA kept the Radar imprint alive for a few final releases by the Inamtes, Tachts and Bram Tchaikovsky and one stray new act, {{Power Pop}}pers DJ Kane and the Millionaires. Radar Recordsmade its last releases in early 1981...

...that turned out to be far too eclectic for WEA's tastes, especially since few of Radar's acts besides Costello and Lowe sold to expectations. (The fact that the entire music industry had suddenly slumped after years of being hugely profitable didn't help.) Therefore, Radar was more or less shut down at the end of 1979. Riviera and Lowe formed F-Beat, yet another new label for Costello and Lowe, which was distributed by WEA and then [[Creator/RCARecords RCA]]; meanwhile, WEA kept the Radar imprint alive for a few final releases by the Inamtes, Tachts and Bram Tchaikovsky and one stray new act, {{Power Pop}}pers DJ Kane and the Millionaires.

And that was the end until TneNineties. With acts like Music/{{Nirvana}} and Music/GreenDay selling millions, the UK branch of Creator/WarnerMusicGroup (the corporate successor to WEA) decided to start a new semi-indie label with the credibility to sign and develop fresh new talent. Therefore, a new version of Radar began in 1995, funded by WMG but distributed by indie specialists Pinnacle. Headed by veteran small label exec Rob Collins (whose previous companies K.422 and Product Inc. had worked with bands like Music/{{Swans}}), the revived Radar signed bands like PowerPop PowerTrio Midget, artsy Prolapse, funky Acacia, WorldMusic combo Summit, {{Glam Rock}}ers Heave and Glitterbox, and angsty Pure Morning. The Pop Group even reissued some of their older work. However, only Midget sold in large enough quantities to please Warner, and by the fall of 1998 Radar Records had fallen off the radar once again.