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Enigma Records
Enigma Records
Enigma Records
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Enigma Records (also known as Enigma Entertainment Corporation) was a popular rock and alternative American record label in the 1980s.

Key Information

History

[edit]

Enigma Records launched as a division of Greenworld Distribution, an independent music importer/distributor, in 1981.[2][3] Four years later, in 1985, Enigma severed ties with Greenworld and became its own company.[4] Enigma was initially located in Torrance, California,[1] then El Segundo, California[5] and finally Culver City, California.[6] Enigma was founded and run by brothers William and Wesley Hein.[3] Jim Martone joined the company in 1984.[7] Enigma focused on punk rock, alternative, and heavy metal music[1] though it also released techno (Synthicide Records), jazz (Intima Records) and classical music (Enigma Classics) through subsidiary labels.[4]

The label's first release was Mötley Crüe's Too Fast for Love.[4] The album was initially released under the band's own Leathür Records imprint but manufactured, marketed and distributed by what would become the Enigma Records team. After the band moved on to Elektra Records, the Enigma Records name was adopted and all subsequent artists were released under this new name. Enigma's next major success was with the pop band Berlin.[4][8]

Enigma Records was initially distributed through independent record importers/distributors such as Jem Records and Important Records. In 1984, Enigma entered into a joint venture with EMI America to sign and develop new artists. Among the artists signed under the venture were the Red Hot Chili Peppers and SSQ (later renamed Stacey Q and signed to Atlantic Records). In 1986, Enigma moved its distribution to Capitol/EMI,[4] a major record label, while leaving its Restless Records division with the independent distributors that had previously distributed Enigma. Poison, a glam rock band, and The Smithereens were two of the first artists released under the joint Enigma / Capitol relationship, both of which had significant success. That same year it launched a music video line, which was also distributed by Capitol.[9]

One of Enigma's biggest commercial successes was with the Christian rock band Stryper, which had several gold and platinum records on the label as well as significant international success.[10]

In addition to the primary Enigma Records label, the company had two smaller subsidiary labels as well as a music publishing company (La Rana / El Porto Music administered by Bug Music). Enigma Retro focused on re-issues of material licensed from other labels such as Straight Records, Bizarre Records, and DiscReet Records. The Restless Records division focused on alternative artists not intended for major label distribution. Enigma also released film soundtracks including The Terminator and River's Edge. Enigma released a compilation album, Enigma Variations, with various artists. Enigma had a joint venture with Mute Records and released certain Mute titles in the United States. Sonic Youth's landmark 1988 album Daydream Nation was originally released on Enigma Records, in association with Blast First Records.

Enigma was formally acquired by Capitol/EMI in 1989.[3][5] Some of its catalog and operations were merged into the still independent Restless Records in 1991.[11]

Enigma's Canadian division was closed in 1992 and was reorganized into FRE Records before shuttering in 1999, after which its back catalogs was sold to DROG Records.

The Enigma catalog is controlled by Capitol Music Group, owned by Universal Music Group which acquired Capitol's former parent EMI and the majority of its recorded music operations in 2012. Disney Music Group's Hollywood Records, distributed by UMG, handles the reissues of Stryper's Enigma albums. The catalog of Devo's albums and Enigma titles that were merged into Restless is owned by Warner Music Group, which acquired Restless's previous parent Rykodisc in 2006, and distributed by the Alternative Distribution Alliance.

Artists

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See also

[edit]

References

[edit]
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Enigma Records

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Enigma Records was an American founded in 1981 by brothers William and Wesley Hein, specializing in , heavy metal, , and related genres during the 1980s. Initially operating as a division of the Heins' Distribution company, it gained prominence for releasing early albums by influential acts such as Mötley Crüe (, 1981), , , , and (Daydream Nation, 1988), helping to launch several bands to mainstream success with gold and platinum certifications. The label distributed its releases independently through partners like Jem Records in its early years before entering a deal with in 1986, which included a sub-imprint Enigma/Capitol. Enigma expanded its roster to include diverse artists like the , , , , and , while also venturing into sublabels for , , and classical music. In 1989, acquired the label outright, integrating its operations and moving select artists to major EMI imprints. By 1991, Enigma ceased independent operations and merged with , with much of its catalog later managed by (now under ), though rights to high-profile acts like and the early remained with Capitol. The label's legacy endures as a key player in the 1980s underground and hard rock scenes, bridging indie innovation with commercial breakthroughs.

Founding and Early Operations

Establishment by the Hein Brothers

Enigma Records was founded in 1981 by brothers William Hein and Wesley Hein in . The label emerged as a division of their existing music importer and distributor company, Distribution, which had been established earlier by the Heins along with Boudreau. This integration allowed Enigma to leverage Greenworld's established network for importing international records and supporting domestic independent artists from the outset. From its inception, Enigma targeted niche rock subgenres, concentrating on , , heavy metal, and . This focus reflected the brothers' interest in underserved segments of the music market during the early 1980s, when mainstream labels often overlooked these styles. The label's early catalog emphasized raw, energetic sounds that appealed to underground and emerging scenes in the U.S. Operating as an independent without financial backing from major corporations, Enigma prioritized high-fidelity audio production to distinguish its releases in a competitive . Distribution remained independent, initially handled through and later via specialized importers, enabling flexible outreach to specialty retailers and avoiding the constraints of big- deals. This setup fostered a approach, allowing the to build credibility within indie circles before expanding operations.

Initial Releases and Distribution

Enigma Records entered the music industry in 1981 as a division of Greenworld Distribution, an independent importer and distributor based in Torrance, California, marking its debut with the manufacturing and distribution of Mötley Crüe's Too Fast for Love. Originally self-released by the band on their Leathür Records imprint in a limited run of 900 copies, the album was quickly picked up by Enigma for wider release, establishing the label's early focus on hard rock and heavy metal acts from the Los Angeles scene. Early operations relied heavily on Greenworld's infrastructure for pressing, marketing, and physical distribution, which allowed Enigma to handle a growing roster of punk, alternative, and rock releases without the immediate need for major label partnerships. This arrangement persisted until 1985, when Enigma separated from Greenworld to operate independently, though it continued to leverage regional networks for initial market penetration. As an independent entity in the early , Enigma faced significant logistical hurdles typical of the era's indie labels, including reliance on one-stop distributors that often prioritized major label product, leading to inconsistent shelf placement and limited national exposure. Based on the West Coast, the label's reach was initially concentrated in and surrounding states, where access to local retailers and radio was more feasible but constrained by the majors' dominance in broader U.S. markets and the high costs of nationwide shipping and promotion.

Expansion and Peak Era

Key Artist Signings

Enigma Records, under the direction of founders William and Wesley Hein, adopted an aggressive A&R strategy in the early to build its roster by targeting emerging talent in the vibrant music scene. The brothers, leveraging their background in music distribution through , scouted acts at local venues and showcases, focusing on the burgeoning and movements while also dipping into the punk and alternative underground. This approach allowed Enigma to secure exclusive deals for bands that major labels initially overlooked, fostering a diverse catalog that blended high-energy with innovative alternative sounds. A pivotal signing came in 1983 with , whose self-titled debut EP—capturing the raw sleaze of the scene—was released on Enigma's Time Coast imprint, marking the label's early foothold in LA's explosion and helping propel toward mainstream attention. The Hein brothers' hands-on involvement extended to act , whom they signed in 1984 after attending a loft showcase in , impressed by the band's distinctive yellow-and-black aesthetic and high-octane performances; this deal exemplified Enigma's willingness to champion niche yet commercially viable acts amid intensifying competition from majors like Elektra and Atlantic. To broaden its appeal and counter major-label poaching, Enigma entered a 1983 joint venture with America, enabling signings like and , whose self-titled 1984 debut album introduced the funk-punk fusion that defined early . These acquisitions, scouted from LA's underground clubs, contributed to Enigma's reputation for a hard rock/metal-heavy roster with alternative edges, including acts like and Lizzy Borden, solidifying the label's role in nurturing the era's diverse heavy music landscape before larger partnerships shifted distribution dynamics.

Major Distribution Partnerships

Enigma Records began its operations under the distribution umbrella of Distribution, its parent company founded in 1978 as an importer and wholesaler. This arrangement supported Enigma's initial releases starting in 1981, including early punk and rock titles like Mötley Crüe's , which Greenworld handled domestically after its independent pressing. By 1985, Enigma separated from Greenworld to operate as an independent label, seeking broader to scale its growing roster of alternative and metal acts. A pivotal early alliance came in July 1983, when Enigma signed a agreement with to co-select and develop artists requiring specialized marketing. Under this deal, selected acts like the , , and The Cruzados received promotion through EMI's resources while retaining Enigma's alternative focus, marking Enigma's first major step toward major-label infrastructure without full acquisition. The label's distribution evolved further in 1986 with a four-year agreement with , part of the Capitol/EMI group, which established the Enigma/Capitol sublabel for enhanced national and international reach. This partnership shifted Enigma from independent channels to a major network, enabling robust album promotion and global exposure for its metal roster; for instance, Poison's debut Look What the Cat Dragged In, released via Enigma/Capitol, sold over three million copies in the U.S. and propelled the band to worldwide arenas. Similarly, Stryper's albums like To Hell with the Devil gained amplified marketing support, contributing to their breakthrough in the scene through international touring and sales. By 1989, the arrangement culminated in comprehensive EMI distribution, solidifying Enigma's mid-1980s growth phase.

Acquisition and Dissolution

Sale to Capitol/EMI

In 1989, Capitol/EMI announced the acquisition of a 50% interest in Enigma Records from founders William and Wesley Hein, purchasing the stake for $22 million and paving the way for full integration into the major label's operations. This transaction ended Enigma's independent era, following a distribution agreement with Capitol/EMI that had been in place since 1986. The financial motivations behind the deal centered on Enigma's valuable back catalog and the surging popularity of its roster, exemplified by the success of artist , whose 1988 album Open Up and Say . . . Ahh! ranked as Capitol's top-selling release over the prior five years. Immediately after the acquisition, Enigma's operations began merging into Capitol's structure, with the label continuing under the parent company for a brief period before further transitions.

Post-Acquisition Transitions

Following its acquisition by Capitol/EMI in 1989, Enigma Records underwent significant operational restructuring as it was absorbed into the major label's broader framework, marking the beginning of its transition from an independent entity to a operation. By late , the label was grappling with internal challenges, including a series of high-level staff departures that eroded its original leadership and independent ethos. Co-founder Wesley Hein resigned as president in January to join , followed by president James Martone's resignation in July , after which William Hein assumed presidential duties alongside newly appointed chief operating officer Joseph Regis. These changes coincided with rumors of an impending split from Capitol-EMI, Enigma's distributor and 50% partner, further straining its autonomy. The pressures intensified in November 1990 when Enigma laid off more than two dozen employees amid ongoing restructuring efforts, signaling a decline in its distinct identity as a nimble independent focused on rock and metal acts. Additional staff exits followed into 1991, such as executive vice president and general manager Ralph King moving to lead the newly formed Rincon Records, and media relations director Lisa Gladfelter departing after four years to . By mid-1991, these transitions culminated in the label's dissolution, with its operations effectively ceasing as a standalone entity within Capitol/. In the wake of the dissolution, Enigma's artist roster was redistributed to other labels, often EMI subsidiaries or affiliated majors, while catalog became fragmented across multiple owners. For instance, band , one of Enigma's signature acts with multiple and releases, was briefly without a label before signing with , a Disney-owned imprint, for their 1991 Can't Stop the Rock (The Stryper Collection 1984–1991). Portions of the Enigma catalog and operations were merged into the independent in 1991 by William Hein and Regis, preserving some titles outside the Capitol/EMI umbrella, though much of the remaining back catalog eventually fell under via subsequent acquisitions. This fragmentation underscored the end of Enigma's cohesive independent presence, as artists and assets were scattered to sustain careers and rights management.

Artists and Discography

Roster Overview

Enigma Records, founded in 1981 by the Hein brothers, built a diverse roster spanning punk, alternative, and , with over 70 acts signed over its decade-long operation, including approximately 40 notable ones. The label's early signings in the early focused on punk and emerging alternative bands, reflecting the indie distribution roots of , while mid- expansions targeted mainstream rock and metal through partnerships like Enigma/Capitol.

Genre Categorization

Heavy Metal and Hard Rock
Enigma's metal roster was a cornerstone of its success, featuring high-energy acts that capitalized on the glam and thrash scenes. Key signings included Mötley Crüe, whose debut album was initially distributed by the label in 1981 before wider release; , whose self-titled EP was distributed by Enigma in 1983; , the flagship band signed in the mid-1980s for albums like (1986); , contracted in 1986; ; Hurricane; , debuting with in 1987; Lizzy Borden; ; ; Wild Dogs; XYZ; Znowhite; and . These acts exemplified Enigma's push into commercial metal during its peak era. Punk and Hardcore
The label's punk offerings drew from Southern California's underground scene, signing acts in the early 1980s to capture raw energy and DIY ethos. Notable examples include 7 Seconds; ; ; ; Channel 3; ; , whose Bucky Fellini arrived in 1987; ; ; ; T.S.O.L.; and . This wave emphasized fast-paced, rebellious sounds, with many debuts aligning with Enigma's initial independent distribution focus. Alternative and Indie Rock
Enigma diversified into alternative territories, particularly in the mid-1980s, supporting experimental and acts alongside select mainstream crossovers. The roster here featured for select releases starting in 1988; , with The King & Eye in 1989; ; , signed around 1986; in 1984; ; ; ; ; They Might Be Giants; ; and others like , , and . These signings highlighted the label's role in bridging indie innovation with broader rock appeal. Other Genres
Enigma occasionally ventured beyond rock, including via and , as well as one-off releases in pop and experimental realms like and with Skid Roper. Sub-imprints like Synthicide () and Intima () expanded the scope but remained minor compared to the core rock focus.

Chronological Signing Waves

Early 1980s signings (1981–1983) emphasized punk and nascent metal, with foundational acts like Mötley Crüe (1981) and (1983 EP), establishing Enigma's indie credentials through Greenworld distribution. By the mid- (1984–1987), the roster swelled with metal and alternative heavyweights amid major partnerships, including (1984), and (1986), (1986), and (1987), coinciding with the Enigma/Capitol joint venture that amplified commercial reach. Later years (1988–1991) saw continued metal output like Chris Poland's Metalopolis (1990) before the label's acquisition. This progression mirrored the era's shift from underground punk to arena-ready rock.

Notable Releases

Enigma Records achieved significant commercial success through key releases that capitalized on the 1980s heavy metal and surge. The label's of Mötley Crüe's debut album in 1982 marked one of its earliest breakthroughs, building on the band's independent 1981 pressing to reach wider audiences and cement Enigma's foothold in the scene. Ratt's self-titled EP, released in 1983 and distributed by Enigma, served as a pivotal launchpad for the band, featuring raw tracks like "Tell the World" and "U Got It" that generated substantial underground buzz and paved the way for their major-label deal with . This six-song effort highlighted Enigma's ability to nurture emerging talent in the genre through distribution. Stryper's third studio album To Hell with the Devil, released in October 1986, became the label's flagship release, blending with evangelical themes and achieving RIAA platinum certification in 1988 for sales exceeding 1 million units in the United States. The album earned a Grammy nomination for Best Gospel Performance By A Duo Or Group, Choir Or Chorus. The album's production emphasized polished guitar tones and anthemic hooks that resonated during the era's metal boom. Enigma's independent marketing strategies, including targeted promotions through college radio and the 1986 launch of a dedicated music video distribution line via , amplified the visibility of these releases without relying on major-label infrastructure. The label prioritized high-fidelity mastering in its productions, collaborating with pressing facilities like Capitol-EMI to deliver clear, dynamic sound quality suited to the era's vinyl and cassette formats. By the late 1980s, Enigma had amassed over 200 releases in its catalog, with multiple titles earning gold and platinum status amid the explosive growth of heavy metal sales, which saw the genre dominate and drive millions in industry revenue.

Legacy and Impact

Influence on Rock and Metal Genres

Enigma Records played a pivotal role in the emergence of the glam metal scene during the early by providing a platform for key acts to gain initial exposure and refine their sound. The label distributed Ratt's self-titled debut EP, released on Time Coast Records in 1983, a raw yet polished collection that blended heavy riffs with a glamorous image, distinguishing the band from contemporaries and laying the groundwork for their subsequent major-label breakthrough with in 1984. This release helped solidify the Sunset Strip's reputation as a breeding ground for , influencing the genre's evolution by merging British heavy metal influences like with American swagger. Similarly, Enigma's issuance of Poison's debut album Look What the Cat Dragged In in 1986 amplified the subgenre's visual and sonic excess, with hits like achieving Top 10 status and propelling the band's androgynous, party-centric aesthetic into mainstream rotation, thereby defining hair metal's commercial peak. In parallel, Enigma pioneered the integration of Christian themes into heavy metal, most notably through Stryper, whose 1984 debut EP The Yellow and Black Attack marked one of the label's early successes in the nascent Christian metal subgenre. Stryper's follow-up albums, including the gold-certified To Hell with the Devil in 1986, fused hard rock aggression with evangelical lyrics, challenging secular metal norms and earning airplay on non-Christian stations like KNAC while garnering coverage in publications such as Kerrang!. By distributing Stryper alongside other white metal acts like Barren Cross and Guardian to high street retailers, Enigma bridged religious and hard rock audiences, establishing Christian metal as a viable crossover phenomenon that influenced subsequent bands in blending faith with the era's bombastic style. Beyond specific acts, Enigma's operations as an independent label in the pre-Napster demonstrated viable models for smaller imprints to rival major corporations through targeted signings and strategic distribution partnerships. By focusing on and heavy metal while leveraging for wider reach, the label enabled indie acts to achieve platinum-level sales and genre-defining releases, inspiring alternative pathways for underground talent to penetrate mainstream markets without immediate major-label dependency. This approach not only boosted the visibility of LA's glam and scenes but also underscored the potential of indie ecosystems in fostering innovation amid the decade's corporate-dominated industry.

Current Catalog Ownership

The Enigma Records back catalog experienced significant fragmentation after the label's acquisition by in 1989 and its subsequent dissolution in 1991, with rights dispersed across multiple entities during EMI's mergers and industry restructurings. Much of the core catalog, including key rock and metal releases, remains under the control of through its subsidiary, which inherited EMI's assets following UMG's 2012 acquisition. Specific artist catalogs have been separated due to post-acquisition transitions. Stryper's Enigma-era albums, such as To Hell with the Devil and In God We Trust, are owned and reissued by Disney Music Group's Hollywood Records, which signed the band after Enigma ceased independent operations and has handled their distribution since the early 1990s. In contrast, Devo's Enigma releases like Smooth Noodle Maps and Total Devo fall under Warner Music Group, as they were merged into Restless Records in 1991 and subsequently acquired by Warner via Rykodisc in 2006. As of 2025, the fragmented catalog is broadly accessible via streaming services such as , where tracks appear under imprints like , , and Warner Music, often as part of artist compilations or remastered digital editions. Reissues under these owners, including CD represses and vinyl limited editions, continue to support ongoing availability and preservation of the material.

References

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  20. https://www.discogs.com/label/653-Restless-Records
  21. https://www.billboard.com/music/music-news/poison-sues-capitol-for-underpaid-royalties-1045026/
  22. https://blabbermouth.net/news/death-angel-the-enigma-years-1987-1990-four-cd-box-set-due-in-october
  23. https://blabbermouth.net/news/stryper-to-don-original-yellow-and-black-costumes-for-to-hell-with-the-devil-30th-anniversary-tour
  24. https://www.discogs.com/artist/116901-The-Dead-Milkmen
  25. https://www.billboard.com/music/rock/devo-book-brand-unmasked-8465405/
  26. https://www.allmusic.com/album/release/the-king-eye-mr0001305997
  27. https://www.billboard.com/music/music-news/poison-sues-label-over-royalties-1306989/
  28. https://blabbermouth.net/news/former-megadeth-guitarist-chris-poland-is-working-on-liar-memoir
  29. https://biglovevinyl.com/product/stryper-to-hell-with-the-devil/
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  31. https://ultimateclassicrock.com/poison-look-what-the-cat-dragged-in/
  32. https://wpdh.com/30-years-ago-stryper-releases-to-hell-with-the-devil/
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  34. https://www.universalmusic.com/label/capitol-music-group/
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  36. https://www.discogs.com/release/608215-Stryper-In-God-We-Trust
  37. https://www.discogs.com/release/13494928-Stryper-The-Yellow-And-Black-Attack
  38. https://www.discogs.com/release/12627174-Stryper-Against-The-Law
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