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Tabu Records

Tabu Records was an founded in 1975 by music executive , focusing primarily on R&B, , and genres during its peak years. The label emerged in the wake of Avant's previous venture, Sussex Records, which had folded earlier that year, and quickly established itself as a key player in by signing innovative acts and achieving commercial success through strategic distribution deals. Under Avant's leadership, Tabu Records released its flagship debut album Stormin' by the Detroit-based funk group in 1977, executive-produced by Avant himself and featuring the hit single "Lovin' Is Really My Game," which helped define the label's early sound blending soulful grooves with danceable rhythms. By the late 1970s and into the 1980s, the label distributed through and later (Sony Music), nurturing a roster that included Argentine composer , soul singer James Robinson, and the experimental rock band , while prioritizing urban contemporary sounds that resonated with diverse audiences. Tabu's most enduring legacy came in the 1980s with the production team of , who crafted platinum-selling hits for flagship artists like —whose 1983 track "" became a club staple—the sultry vocalist with her 1984 single "I Didn't Mean to Turn You On," and the smooth R&B Alexander O'Neal, whose 1985 debut album spawned multiple chart-toppers including "Innocent." These releases not only propelled the artists to stardom but also influenced the evolution of modern R&B, with Jam and Lewis later becoming powerhouse producers for acts like . In the early 1990s, Tabu shifted distribution to A&M Records, releasing 37 singles and 11 albums during a two-year partnership that ended in 1993, followed by a brief alignment with Motown under Avant's chairmanship there from 1993 to 1996. The label ceased original operations in 1999 amid industry changes, but it experienced revivals for reissues: first as an imprint of Capitol-EMI's The Right Stuff label from 2002 to 2011, then through Universal Music Group's Icon series in 2011 and Demon Music Group's expansions in 2012, ensuring its catalog of over 100 releases remains accessible to new generations. Avant's vision for Tabu emphasized empowering Black talent and breaking barriers, contributing to his nickname "The Godfather of Black Music" and cementing the label's role in shaping the soundtrack of American popular culture from the disco era through the rise of contemporary R&B.

Founding and Early Development

Establishment by Clarence Avant

Clarence Avant, a pioneering figure in the music industry, entered the label ownership arena by founding Sussex Records in 1969 in Los Angeles, California, after establishing himself as a manager and promoter of Black artists. The label achieved notable success with releases such as Bill Withers' breakthrough albums and Dennis Coffey's instrumental hit "Scorpio," which reached the top of the Billboard charts, but it relied on distribution through Buddah Records from 1970 to 1974. However, persistent distribution challenges with Buddah, compounded by financial strains including $48,000 in unpaid federal tax liens, led to Sussex's bankruptcy in June 1975, resulting in the IRS seizing and auctioning off its assets. Undeterred by the setback, Avant launched Tabu Records in 1975 as an independent venture in , motivated by a desire to fill gaps in the representation of within the industry, where major labels often overlooked urban sounds and emerging talent from Black communities. This new label aimed to empower artists by providing a dedicated platform for their creative output, building on Avant's earlier advocacy for equitable opportunities in music. Tabu Records operated from a modest office in with a small initial staff focused on talent scouting and , emphasizing an agile structure to nurture innovative sounds. The label targeted genres such as , , and , with a particular emphasis on urban contemporary styles that captured the evolving rhythms of musical expression. To support its rollout, Tabu soon secured a distribution deal with .

Initial Releases and RCA Partnership

Tabu Records' first release was the single "Wake Up and Be Somebody" by in 1976, an empowering anthem highlighting the group's horn-driven arrangements. The label followed this with 's debut album Stormin' in 1977, marking its flagship entry into the R&B and landscape. Produced by Jerry Peters, the album featured a blend of soulful ballads and upbeat tracks, including the single "Lovin' Is Really My Game," which gained traction as a dancefloor favorite. Despite receiving positive critical reception for its energetic grooves and vocal harmonies—earning an 8/10 rating from for its vibrant fusion of and elements—the album achieved only modest commercial success, failing to crack major charts amid the competitive late-1970s market. Complementing the R&B focus, Tabu diversified its early catalog with jazz-influenced releases from composer , beginning with Gypsies in 1978, which incorporated Latin rhythms, orchestral swells, and improvisational piano work to establish the label's eclectic sound. Initial singles from these efforts, such as those drawn from Stormin', further showcased Tabu's commitment to a broad R&B palette, blending grooves with sophisticated arrangements to appeal beyond mainstream trends. These releases built on founder Clarence Avant's prior experience managing the independent Records, adapting lessons in artist development to Tabu's nascent roster. In 1976, Tabu entered a distribution agreement with RCA Records for manufacturing and nationwide logistics, enabling the small label to leverage RCA's established infrastructure for pressing, shipping, and retail placement without building its own facilities. This partnership provided essential operational scale during Tabu's formative phase, allowing focus on A&R while RCA handled physical production and market reach. However, the deal was short-lived, lasting until 1978, as Tabu sought greater creative and promotional autonomy. The early years presented challenges, including a constrained marketing budget that limited radio and for releases like Stormin', compounded by the era's rapid shifts—peaking in but facing early signs of saturation and stylistic fatigue. These factors contributed to subdued sales figures, with albums selling modestly in the tens of thousands rather than achieving blockbuster status, underscoring the risks for an independent label navigating volatile genre trends.

Growth and Peak under CBS

Key Artists and Breakthrough Hits

During the CBS era, Tabu Records solidified its roster with key artists who propelled the label to commercial prominence through innovative R&B productions. The S.O.S. Band, signed in 1979 and debuting with their self-titled album in 1980, became a cornerstone act, blending electro-funk elements with smooth harmonies that defined the label's evolving sound. Their breakthrough came with the 1983 album On the Rise, which earned RIAA gold certification for sales exceeding 500,000 units and peaked at No. 7 on the Billboard Top R&B/Hip-Hop Albums chart. The lead single "Just Be Good to Me" reached No. 2 on the Billboard Hot R&B/Hip-Hop Songs chart, showcasing the group's signature electro-funk grooves and establishing a template for Tabu's mid-1980s output. Cherrelle joined Tabu in 1984, debuting with the album Fragile, which highlighted her versatile vocals over electro-funk and quiet storm arrangements. The standout track "I Didn't Mean to Turn You On," produced by Jimmy Jam and Terry Lewis, peaked at No. 8 on the Hot R&B/Hip-Hop Songs chart and No. 79 on the , marking her first major hit and underscoring Tabu's knack for crafting crossover appeal within R&B subgenres. followed in 1985 with his self-titled debut album, which peaked at No. 18 on the Top R&B/Hip-Hop Albums chart. Key singles included "Innocent," peaking at No. 11 on the Hot R&B/Hip-Hop Songs chart, blending quiet storm sensuality with subtle funk rhythms. This period reflected Tabu's strategic shift toward electro-funk's synthesized beats and quiet storm's lush, romantic ballads, genres that and helped pioneer through their productions for these artists. The label's focus on such sounds yielded multiple Top 10 R&B hits, cementing its role in the R&B landscape while avoiding exhaustive listings of every release.

Role of

(James Samuel Harris III) and , both natives of the music scene, initially gained prominence as members of 's backing band The Time before pivoting to production roles at Tabu Records. Their collaboration with the label began in 1982 when they started writing and producing tracks for , even prior to their official dismissal from The Time by in 1983 following a missed during a tour. This transition was facilitated by Tabu founder , who recognized their potential and provided mentorship, allowing them to establish Flyte Tyme Productions in as a hub for innovative R&B work. At Tabu, Jam and Lewis took on comprehensive production responsibilities for several flagship artists, shaping the label's output through the mid-1980s. They handled the full creative direction for the S.O.S. Band's albums starting with III (1982) up to Diamonds in the Raw (1987), delivering hits that blended grooves with emerging elements. Similarly, they produced Cherrelle's entire early catalog, including her debut Fragile (1984) and the gold-certified High Priority (1985), featuring the duet with . For O'Neal, their involvement spanned his self-titled debut (1985) to Hearsay (1987), where they crafted soulful ballads and uptempo tracks that became R&B staples. These efforts not only defined the artists' sounds but also solidified Jam and Lewis as Tabu's go-to production team under Avant's guidance. Jam and Lewis's innovations were instrumental in evolving Tabu's post-disco aesthetic, integrating the —a fusion of , and —into mainstream R&B. They pioneered the extensive use of synthesizers and drum machines, notably the , to create layered, rhythmic textures that transitioned the label's music from 1970s disco influences toward a more electronic, urban contemporary style. This approach emphasized programmed beats and keyboard-driven melodies, providing a polished, futuristic edge that distinguished Tabu releases amid the 1980s R&B landscape. Their production techniques, often recorded at Flyte Tyme Studios, prioritized emotional depth in vocals while employing innovative to enhance accessibility on radio and dancefloors. The duo's contributions profoundly impacted Tabu's trajectory, elevating it as a premier destination for 1980s R&B production and driving commercial breakthroughs for its roster. Their work with the S.O.S. Band, Cherrelle, and O'Neal generated multiple gold certifications, with albums like O'Neal's Hearsay (gold-certified in the US, 3× platinum in the UK) and Cherrelle's High Priority (gold-certified in the US) achieving sales success that collectively exceeded millions of units worldwide. By fostering a signature sound that bridged regional funk innovations with national appeal, Jam and Lewis helped Tabu capture a significant share of the urban music market, influencing subsequent R&B production trends and cementing the label's reputation during its CBS era peak.

Distribution Shifts and Later Periods

Sony Era Transitions

The acquisition of Records by Corporation, announced in November 1987 and completed in January for $2 billion, integrated Tabu Records into Entertainment's portfolio, as Tabu had been under distribution since 1979. This shift expanded Tabu's global reach through Sony's international infrastructure, allowing for broader promotion and sales of its R&B and catalog. However, the merger introduced heightened corporate oversight, fostering tensions between Tabu's independent creative ethos—championed by founder —and Sony's standardized operational protocols. Under Sony's umbrella, Tabu sustained key artistic output, exemplified by the S.O.S. Band's seventh studio Diamonds in the Raw, released in 1989. Produced by , the marked a transitional sound for the group, incorporating elements amid evolving personnel, including new lead vocalists and Fredi Grace. Similarly, Alexander O'Neal's 1991 All True Man, also helmed by Jam and Lewis, delivered the that peaked at No. 5 on Billboard's chart, serving as Tabu's final significant hit during this era. The period brought operational challenges for Tabu, including declining sales as the music landscape pivoted toward hip-hop's ascendancy in the late , diminishing demand for traditional R&B acts. Internal dynamics shifted as scaled back his day-to-day role at Tabu, focusing increasingly on broader industry leadership, such as his appointment as chairman of Records in the early . These factors contributed to a transitional phase marked by reduced artistic momentum. Business-wise, Tabu's distribution agreement with extended through 1991, incorporating adjustments to royalty structures and marketing budgets to align with the parent company's global strategies, though these changes highlighted the label's diminishing autonomy. By 1991, Tabu transitioned away from Sony distribution to , signaling the close of its CBS-Sony chapter.

A&M and Motown Eras

In 1991, Tabu Records entered a two-year manufacturing and distribution agreement with , marking a shift from its previous partnership with CBS/. This deal facilitated the release of several projects amid a period of limited activity, including Cherrelle's fourth studio album, The Woman I Am, in 1991, which featured singles like "Tears of Joy" and reflected the label's ongoing emphasis on R&B artists. New signings remained scarce, as Tabu focused on existing roster members such as the S.O.S. Band and Alexander O'Neal, with only 11 full-length albums issued across formats during the agreement. The A&M pact concluded without renewal in 1993, following PolyGram's 1989 acquisition of A&M. Tabu then transitioned to distribution through Motown Records, another PolyGram imprint, after founder was hired as Motown's president in August 1993. This arrangement, spanning 1993 to 1996, produced sparse output as the label wound down operations, with fewer than five major releases overall, including the S.O.S. Band's S.E.W.S. compilation in 1994 and Alexander O'Neal's Love Makes No Sense in 1993, his final album for Tabu, which peaked at number 20 on the R&B Albums chart and included singles like "In the Middle." Tabu's commercial trajectory declined in these years, hampered by evolving music trends that favored emerging and over the label's core R&B sound, alongside challenges in securing fresh talent. Avant's expanded responsibilities at , where he oversaw broader operations, further shifted his attention away from Tabu, leading to a gradual scaling back of the imprint's activities by the mid-1990s.

Legacy and Catalog Revival

Absorption into Universal Music Group

Following the conclusion of its distribution agreement with Motown Records in 1996, Tabu Records entered a period of dormancy lasting until 1999, during which no new releases were issued amid broader industry consolidation efforts by major labels. This inactivity reflected the challenges faced by independent imprints as corporate mergers reshaped the music business landscape. In 1998, Seagram Co., the parent company of (UMG), acquired NV—the Dutch entertainment conglomerate that had owned since 1993—for $10.6 billion in cash and stock, marking the largest transaction in recording industry history at the time. The deal, completed in December 1998, integrated PolyGram's assets into UMG, including subsidiary labels like Motown and associated imprints such as Tabu Records, leading to Tabu's official closure in 1999. As part of the merger, Tabu's , artist contracts, and associated rights were transferred to UMG's urban music division, which encompassed labels like and to centralize R&B and soul catalog management. This absorption preserved Tabu's historic output under UMG's stewardship but effectively ended its independent operations, dissolving its distinct identity within the larger conglomerate. Founder , who had served as 's chairman from 1993 to 1999 and on PolyGram's board during the same period, transitioned to advisory roles in music publishing and executive consulting outside the label structure.

Reissues and Modern Availability

In the early 2000s, licensed the Tabu Records catalog to EMI's imprint, which focused on reissuing the label's 1980s material through America. This initiative resulted in expanded CD editions of key albums, such as the S.O.S. Band's debut S.O.S. (1980) and Alexander O'Neal's self-titled album (1985), released between 2002 and 2011 with added bonus tracks and remastered audio to enhance accessibility for contemporary audiences. In 2011, released s from the Tabu catalog as part of its series, including Icon by and Icon by , featuring greatest hits and remixes. A more comprehensive revival occurred in 2012–2013 under Demon Music Group, which digitized the full Tabu catalog and issued deluxe CD and vinyl reissues, including artist-specific anthologies for , , and . The highlight was The Tabu Records Box Set (2013), a four-disc spanning 1977 to 1993 with remastered tracks, rare mixes, a 60-page , and a bonus DVD of music videos, marking the label's most extensive post-closure commercial release. These efforts were supported by licensing partnerships with (UMG), enabling broader distribution and initial streaming availability on platforms like . From 2020 to 2025, no major new reissues have emerged under the original Tabu Records name, reflecting its dormant status following absorption into UMG, though the catalog remains actively managed without plans for revival as an independent entity. Digital accessibility has grown significantly, with compilations like Tabu Records Greatest Vol. 1 and Vol. 2 available on streaming services such as , allowing global listeners to explore hits like "Take Your Time (Do It Right)" by . Limited vinyl pressings by boutique labels, such as occasional represses of Alexander O'Neal's (1987), have catered to collectors, but these are sporadic and not part of a coordinated program. Notably, this original R&B-focused Tabu Records should not be confused with the unrelated Tabu Recordings, a contemporary label active since the 2010s. These reissues have sustained cultural interest in Tabu Records' 1980s R&B output, renewing appreciation for its sophisticated style amid nostalgia-driven revivals of the era. The catalog's influence persists in modern through sampling, with tracks like Cherrelle and Alexander O'Neal's "Saturday Love" (1985) interpolated by artists including Next in "Wifey" (2000) and referenced in works by , while the S.O.S. Band's "The Finest" (1986) has been sampled by and others, bridging classic with contemporary genres.