Irregular Records are a small independent record label in Brighton, Sussex, publishing records which (if you are into categorising) are mainly folk, political or chanson. Contact us at email@example.com.
For this album, Robb Johnson is joined by Jenny Carr on keyboards, John Forrester on bass; and his son Arvin Johnson on drums. The album is being promoted by a major tour. See also the track list below.
Sunday 25th September -
South Downs Festival, The Regis Centre, Belmont Street, Bognor Regis PO21 1BL
Friday 30th September - The Sage, St Mary's Square, Gateshead Quays, Gateshead NE8 2JR
Saturday 1st October - The Green Note, 106 Parkway, Camden, London NW1 7AN
Sunday 2nd October - The Folk House, 40a Park Street, Bristol BS1 5JG
Sunday 9th October - The Prince Albert, 48 Trafalgar Street, Brighton BN1 4ED (with the band that recorded the album)
Tuesday 11th October - The Green Room Theatre, Behind the Dorking Halls, Reigate Road, Dorking RH4 1SG
Thursday 13th October - Katie Fitzgerald's, 187 Enville Street, Stourbridge DY8 3TB
Friday 14th October - Gregson Lane Folk Club, Nets Bar, Gregson Lane, Hoghton, Lancashire PR5 0FD
Saturday 15th October - The Castle, High Street, Porlock, Minehead, Somerset TA24 8PY
Thursday 20th October - The Musician, 42 Crafton St W, Leicester LE1 2DE
Friday 21st October - The Maypole Theatre , 42 Brook Street, Derby DE1 3PH
Saturday 22nd October - Hartlepool Folk Festival
Friday 28th October - t'Eye, Belsele, Belgium
Sunday 6th November - The Square & Compass, Worth Matravers, Swanage BH19 3LF
Thursday 10th November - The Tom Thumb Theatre, 2A Eastern Esplanade, Cliftonville, Margate CT9 2LB
Saturday 19th November - Lodsworth Village Hall, Heath End Lane, Lodsworth, Petworth, West Sussex GU28 9BY (with the band that recorded the album)
1. September 1939
2. A Hollingdean Lullaby
3. We All Got Wings
4. Suzie's Party
5. When The Tide Comes In
6. Dear Franz
7. A Room In The House Of Love
8. The Sidmouth Promenade
9. A Whole Lot Less
10. Better Than Tv
11. That Mystery Beat
12. Babbacombe, At The Closing Of The Day
13. The Future Starts Here
14. When The Tide Comes In (Bonus Track)
15. The Sidmouth Promenade (Bonus Track)
16. The Future Starts Here (Bonus Track)
Irregular Records – A Brief History by Robb Johnson
At the start of the 1980s I was playing in a band called Grubstreet. We decided to approach record companies with some demo cassettes. This proved to be a deeply depressing experience. I particularly recall one A&R haircut called Wally Brill at A&M Records; listening to someone who plainly imagined that the aforementioned haircut was a substitute for intelligence arrogantly dismiss my work convinced me that this whole process was a complete waste of time and energy.
My friend Brooce The Moose pointed out that it was actually possible to manufacture records independently: not just singles like punk rock had done, but albums too. This also meant you had complete artistic control, which seemed – and to be honest still seems – more important than music biz commercial success.
There are the problems of distribution, promotion and finance (the first LP was funded by loans from friends and relatives, and the sale of a rather nice, if unnecessarily blue, custom-made Stratocaster) but although rarely ever showing anything remotely approaching a profit, Irregular has managed to be more or less self-financing – income from the last album pays for the next one. After a few uneasy relationships with various distributors, Irregular Records are now distributed by Proper Music Distribution.
Generally Irregular Records get filed under “Folk”, which is usually vying with “Jazz” or “Easy Listening” for the title of smallest and most obscure section in the shop, which doesn’t help matters either, but theoretically all you have to do is head into your nearest HMV etc. and persuade the haircuts that work there to find it and order it on their computers – be prepared for a plethora of excuses as to why this isn’t possible, or why once having reluctantly found an Irregular album on their computer, it is absolutely impossible for them to order it. We ought to institute an award for the most audacious or mendacious way of saying “Ican’tbearsedwhydon’tyoujustbuyRobbieWilliamslikeeveryoneelse?”
Irregular Records are also available on Amazon.
Initially Irregular Records was intended as a means to release my own recordings, the first of which appeared, and sort of just sat there mouldering in boxes in my dad’s garage, in 1985. However, in 1987 the second album “Skewed, Slewed, Stewed & Awkward” did a little better, and eventually I seem to have sold or given away all 500 copies. In 1991 Irregular released its first CD, and by the end of the 90s Irregular was releasing albums by people who, for one reason or another, thought it was a good idea to operate under the Irregular flag of convenience. We also started the UNLaBELLED label, with the intention of supporting and encouraging artists who are in the process of establishing a wider, national reputation.
There is not much of an Irregular business plan: I make CDs, and if Irregular can be of help to artists whose work I like, then so much the better. I think that Irregular may well be one of the longest-surviving independents that has remained truly independent.
Irregular Records has mainly released work by artists whose primary interest is in literate song, though we also like a bit of world music fusion stuff too.
Robb Johnson, Managing Dogsbody