Manhattan Records
Manhattan Records was an American record label founded in 1984 by record executive Bruce Lundvall as a division of EMI, focusing primarily on adult contemporary, pop, rock, and select jazz releases.[1][2] Lundvall, who had previously served as president of Columbia and Elektra Records, established the label as part of his agreement to join EMI and revive the Blue Note jazz imprint, allowing Manhattan to serve as a platform for mainstream popular music alongside Blue Note's jazz focus.[1][3] The label quickly built a roster blending established and emerging talent, signing artists such as Al Green; pop-rock singer Richard Marx, whose 1987 self-titled debut sold over four million copies in the U.S. and spawned hits like "Don't Mean Nothing"; and Grace Jones, who released the innovative album Slave to the Rhythm in 1985, a conceptual work produced by Trevor Horn that topped charts in several countries.[3][4] Other key signings included jazz saxophonist Joe Henderson, R&B artist Bernard Wright, and rock acts like Queensrÿche, whose 1988 concept album Operation: Mindcrime became a progressive metal landmark.[3][5][6] In June 1987, Manhattan Records merged with EMI America to create EMI-Manhattan Records, consolidating catalogs and operations under Capitol-EMI.[6] This short-lived entity, which continued releasing material from artists like Robert Palmer (Simply Irresistible) and Vixen until September 1988, was then discontinued, with its assets absorbed into Capitol Records and reorganized as EMI USA.[6][7] Despite its brief run, Manhattan's contributions to 1980s pop and crossover genres left a lasting impact, particularly through its role in bridging mainstream appeal with artistic innovation during EMI's U.S. expansion. The imprint was revived in 2001 under the Blue Note Label Group for select reissues and new releases; as of 2025, it operates as a branch of the Interscope Capitol Labels Group under Universal Music Group, though it remains a niche operation.[5]History
Founding and early operations (1984–1986)
Manhattan Records was established in September 1984 as a division of EMI, with Bruce Lundvall appointed as its first president.[8] Lundvall, a veteran executive who had risen through the ranks at CBS Records in the 1960s and 1970s before serving as president of Elektra Records' Musician imprint, leveraged his experience to create a label focused on adult contemporary, pop, rock, and rhythm and blues music targeted at a broad audience.[1] The label was headquartered in New York City, emphasizing an East Coast perspective to differentiate it from EMI's West Coast operations.[9] The formation of Manhattan Records was tied to Lundvall's broader agreement with EMI, which also tasked him with reviving the dormant Blue Note jazz label, though Manhattan operated as a distinct imprint for mainstream genres.[1] Early operations centered on artist development and strategic signings to build a diverse roster, with an emphasis on global market potential and multimedia opportunities.[8] Graphic designer Paula Scher created the label's visual identity in 1984, drawing inspiration from Piet Mondrian's Broadway Boogie-Woogie to evoke New York's urban energy through a grid of primary colors and bold typography.[10] Initial releases began in late 1984, marking the label's quick entry into the market. Robbie Nevil's self-titled debut album arrived in October, followed by Tania Maria's Made in New York and World Citizens' project in December.[8] The 1985 slate expanded significantly, featuring Al Di Meola's fusion album Cielo e Terra, Phyllis Hyman's soulful Living All Alone, and the high-profile anti-apartheid compilation Sun City by Artists United Against Apartheid, which blended activism with commercial appeal. Grace Jones' innovative Slave to the Rhythm, produced by Trevor Horn, also debuted that year, showcasing the label's ambition in experimental pop.[11] By 1986, Manhattan Records solidified its operations through further diverse signings and releases, including Glass Tiger's rock album The Thin Red Line, Sigue Sigue Sputnik's cyberpunk Flaunt It, and Pieces of a Dream's jazz-funk Joyride.[11] These efforts established the label as a hub for cross-genre talent, with distribution handled through EMI's network to reach international audiences while prioritizing innovative production and artist-driven projects.[11]Expansion and mergers (1987–1989)
In June 1987, Manhattan Records underwent a significant merger with EMI America Records to form EMI-Manhattan Records, a strategic consolidation by parent company EMI aimed at streamlining U.S. operations and broadening the label's genre portfolio, which now encompassed jazz, pop, and rock acts from both imprints.[6][12] The combined entity operated as a division of Capitol Records, leveraging the resources of EMI's North American structure to enhance distribution and artist development. This merger integrated Manhattan's established jazz roster—featuring artists like Bobby McFerrin and the Manhattan Transfer—with EMI America's rock and pop catalog, enabling cross-promotional opportunities and expanded market reach.[5][13] In 1987, Joe Smith was appointed president and CEO of Capitol-EMI Music amid leadership changes at the company.[14][15] EMI-Manhattan pursued aggressive A&R strategies to capitalize on the merger's synergies. Key releases during 1987 and 1988 highlighted the label's diverse output, including Queensrÿche's concept album Operation: Mindcrime (1988), and Bobby McFerrin's Grammy-winning Simple Pleasures (1988), which topped the Billboard 200 and sold over four million copies in the U.S. alone.[6] These successes underscored the merger's potential for commercial impact, though internal challenges at EMI, including personnel shifts, began to surface amid broader industry consolidation.[14] By September 1988, EMI-Manhattan Records was officially discontinued as a distinct imprint, with its catalog, artists, and operations transferred to Capitol Records and the emerging EMI USA division to further centralize EMI's American portfolio.[6] Despite the shutdown, the EMI-Manhattan branding persisted on select represses and releases into 1989, such as reissues of Kate Bush's catalog. In 1989, the merged operations underwent a full rebranding to EMI Records USA, effectively absorbing remaining assets and marking the end of the short-lived entity's independent identity within EMI's evolving corporate framework.[12] This transition reflected EMI's ongoing efforts to adapt to competitive pressures in the late 1980s music industry.[14]Dissolution and absorption (1990s)
Following the absorption of Manhattan Records into Capitol Records in 1988 to form EMI Records USA, the label's catalog and operations persisted under this new entity through the early 1990s, with EMI USA handling reissues and distribution of Manhattan's back catalog, including titles from artists like Bryan Ferry and the Manhattan Transfer.[6] By mid-1997, EMI underwent significant restructuring amid declining market performance and internal turmoil, leading to the closure of EMI Records USA. The label's artists, staff, and catalog were consolidated and redistributed primarily between Capitol Records and Virgin Records America, which had been acquired by Thorn EMI in 1992.[16][17] This move effectively dissolved the standalone identity of EMI Records USA, including the integrated Manhattan Records assets, as part of EMI's strategy to streamline its U.S. operations around its two flagship labels.[18] The absorption marked the end of Manhattan Records' independent operations, with its catalog—encompassing jazz, pop, and reissued EMI holdings—subsequently managed under Capitol and Virgin imprints, though some represses retained Manhattan branding into the early 2000s.[6] This restructuring reflected broader industry consolidation in the 1990s, as major labels like EMI sought to reduce overhead and focus on core brands amid shifting consumer preferences toward digital formats.[19]Revival and current status (2000s–present)
In 2001, EMI relaunched Manhattan Records as a division of EMI Classics, aiming to revive its focus on contemporary adult-oriented pop and jazz-influenced music. Veteran producer Arif Mardin was appointed co-vice president and general manager alongside Ian Ralfini, with the duo tasked with signing and developing artists in the adult contemporary space.[20][21] The revival sought to capitalize on the label's legacy from the 1980s, targeting sophisticated pop acts while leveraging Mardin's production expertise from his decades at Atlantic Records.[22] Under Mardin's leadership until his death in 2006, the revived Manhattan issued a limited number of releases, emphasizing high-profile adult pop and crossover projects. Notable signings included returning artist Richard Marx, whose association with the label dated back to his 1987 debut, and efforts to bridge pop with jazz elements in line with EMI's broader catalog strategy.[23] The label operated with a small roster, prioritizing quality over volume amid EMI's restructuring in the early 2000s music industry downturn. In 2006, EMI reorganized its adult music divisions, placing Manhattan under the Blue Note Label Group, headed by Bruce Lundvall, to consolidate jazz, classical, and pop operations.[24] This integration expanded Manhattan's scope to include crossover genres while maintaining its adult contemporary core. Following Universal Music Group's 2012 acquisition of EMI's recorded music assets, Manhattan became part of the Capitol Music Group within UMG's Interscope Capitol Labels Group.[25] As of the 2020s, Manhattan Records remains an active imprint under Capitol Music Group, primarily managing its historical catalog from the 1980s and early 2000s revival era, with occasional new releases in niche areas such as crossover classical and world music.[5] The label's operations are based in Hollywood, California, and it continues to support reissues and digital distribution of its archived recordings through UMG's global platforms.[26]Artists and releases
Key 1980s signings and hits
Manhattan Records, as a division of Capitol Records, actively signed a diverse roster of pop, rock, and R&B artists during the 1980s, contributing to its reputation for fostering mainstream successes in the competitive music landscape. The label's strategy emphasized high-profile debuts and established acts transitioning from other imprints, often resulting in chart-topping singles and multi-platinum albums that blended genres like synth-pop, funk, and alternative rock.[5] One of the label's breakthrough signings was singer-songwriter Richard Marx, whose self-titled debut album released in 1987 became a cornerstone of Manhattan's pop output. The record peaked at number 8 on the Billboard 200 and spawned multiple hits, including "Hold On to the Nights," which reached number 1 on the Billboard Hot 100 in 1988, and "Endless Summer Nights," a top-5 single that same year. Marx's polished, radio-friendly sound exemplified the label's focus on accessible ballads and AOR tracks, selling over 4 million copies in the US.[27] R&B veteran Natalie Cole also joined Manhattan in 1987, marking a pivotal shift in her career toward contemporary pop-soul. Her album Everlasting blended classic soul with 1980s production, yielding the single "Pink Cadillac," a cover of Bruce Springsteen's tune that climbed to number 5 on the Billboard Hot R&B/Hip-Hop Songs chart in 1988. The album itself reached number 31 on the Billboard 200, revitalizing Cole's commercial presence with its upbeat tracks and collaborations.[28] In the rock realm, Manhattan signed the Red Hot Chili Peppers for their 1987 album The Uplift Mofo Party Plan, which captured the band's evolving funk-punk style and peaked at number 148 on the Billboard 200. Though not an immediate blockbuster, it featured the single "Fight Like a Brave" and laid groundwork for their later success, with the album certified gold by 1989. Similarly, progressive metal act Queensrÿche's 1988 release Operation: Mindcrime on EMI-Manhattan became a cult classic, reaching number 50 on the Billboard 200 and earning acclaim for its concept-album narrative and tracks like "Eyes of a Stranger."[29] David Bowie's 1987 album Never Let Me Down, issued under EMI America Records, showcased the icon's mid-1980s pop experimentation, peaking at number 34 on the Billboard 200. The lead single "Day-In Day-Out" hit number 21 on the Hot 100, while the album's themes of urban life resonated with Bowie's established fanbase, though it received mixed reviews. Thomas Dolby's 1988 effort Aliens Ate My Buick further highlighted the label's synth-pop leanings, with eclectic tracks like "Airhead" charting modestly but influencing electronic music trends.[30] The label also nurtured dance and R&B talents, such as Grace Jones with her 1985 album Slave to the Rhythm, a conceptual work produced by Trevor Horn that reached number 6 on the UK Albums Chart and featured the title track as a top-10 US R&B single. Evelyn "Champagne" King's 1988 album Flirt delivered house-influenced grooves, with the title track peaking at number 3 on the Billboard Hot R&B/Hip-Hop Songs chart. Additionally, Pet Shop Boys' US releases, including Actually (1987) and Introspective (1988), brought electronic sophistication to Manhattan's catalog; "What Have I Done to Deserve This?" featuring Dusty Springfield soared to number 2 on the Hot 100 in 1987.[31][32]| Artist | Key Release (Year) | Notable Hit(s) | Chart Peak (US) |
|---|---|---|---|
| Richard Marx | Richard Marx (1987) | "Hold On to the Nights" | #1 Hot 100 |
| Natalie Cole | Everlasting (1987) | "Pink Cadillac" | #5 R&B |
| Red Hot Chili Peppers | The Uplift Mofo Party Plan (1987) | "Fight Like a Brave" | Album #148 Billboard 200 |
| Queensrÿche | Operation: Mindcrime (1988) | "Eyes of a Stranger" | Album #50 Billboard 200 |
| David Bowie | Never Let Me Down (1987) | "Day-In Day-Out" | #21 Hot 100 |
| Thomas Dolby | Aliens Ate My Buick (1988) | "Airhead" | Album #70 Billboard 200 |
| Grace Jones | Slave to the Rhythm (1985) | "Slave to the Rhythm" | #6 UK Albums |
| Evelyn "Champagne" King | Flirt (1988) | "Flirt" | #3 R&B |
| Pet Shop Boys | Actually (1987) | "What Have I Done to Deserve This?" | #2 Hot 100 |