American Recordings (record label)

Lore & Background

The label Def American Recordings was founded after Rick Rubin left Def Jam Recordings in 1988. Early signings included Slayer, Danzig, the Jesus and Mary Chain, and comedian Andrew Dice Clay. Its first major success came with The Black Crowes' 1990 debut album Shake Your Money Maker, which was certified triple platinum. Rubin changed the name to American Recordings in 1993 after reportedly seeing the word 'def' in the dictionary, believing it contradicted his anti-establishment image. A mock funeral for the word 'def' was held on August 27, 1993, at Hollywood Memorial Park, attended by a few hundred invitees.

Reader's Guide

American Recordings holds significance as a label that bridged multiple musical worlds under Rick Rubin's leadership, from the thrash metal of Slayer to the country revival of Johnny Cash. Its history reflects the shifting landscape of the music industry, with distribution moving from Geffen to Warner Bros., then Columbia, Universal, and back to Warner Bros., before a 2012 deal with Universal Republic Records. The label's catalog includes critically acclaimed albums like Slayer's Reign in Blood, which fans consider one of the most important in heavy metal, and The Black Crowes' chart-topping releases. Despite sub-labels like Infinite Zero (a partnership with Henry Rollins) not surviving the 1997 departure from Warner Bros., American Recordings continued to sign and release work by artists such as ZZ Top and The Avett Brothers, maintaining its reputation for creative diversity and commercial impact.

Did You Know?

• The first Def American release was Slayer's South of Heaven (1988).
• The label's sub-label Infinite Zero was a partnership with Henry Rollins that specialized in reissues of obscure albums.
• In 2007, Warner Bros. Records acquired the rights to the extensive American Recordings catalog, including Johnny Cash and Slayer.

Founding Vision and Eclectic Roster

After Rick Rubin departed Def Jam Recordings in 1988, he established Def American Recordings as his own creative vehicle. The initial roster revealed a deliberately eclectic vision: heavy metal acts like Slayer (who followed Rubin from Def Jam), Danzig, The Four Horsemen, Masters of Reality, and Wolfsbane sat alongside indie rockers the Jesus and Mary Chain and controversial comedian Andrew Dice Clay. Rubin also maintained his hip-hop connections by signing the Geto Boys and Sir Mix-a-Lot. The label's first release was Slayer's Reign in Blood, which interestingly still carried a Def Jam logo on its initial pressing before Rubin secured the rights for his new imprint. Danzig's 1988 debut became the first record to display the Def American logo. This founding period established the label's identity as a home for artists who defied easy categorization, spanning genres from thrash metal to alternative rock to hip-hop.

The Mock Funeral for 'Def'

In 1993, Rubin made the decision to strip "Def" from the label's name, reportedly after looking up the word in a dictionary and concluding that its presence in a mainstream reference contradicted the anti-establishment ethos he wanted to project. The rebranding was marked by an elaborate mock funeral for the word "def" on August 27, 1993, at Hollywood Memorial Park (now Hollywood Forever Cemetery). The guest list was a who's-who of counterculture: Black Panthers arrived with prop shotguns, while Tom Petty, Rosanna Arquette, Flea of the Red Hot Chili Peppers, Sir Mix-a-Lot, and The Amazing Kreskin all attended. Warner Bros. chairman Mo Ostin served as pallbearer, and Reverend Al Sharpton presided over the service. Over 1,500 mourners gathered, placing flowers and personal memorabilia in the open casket before the word was interred. The procession featured a 19th-century-style horse-drawn hearse and a six-piece brass band playing "Amazing Grace," leading to an after-party called "Ciao Def" at a bowling alley.

Distribution Wars and Catalog Splits

American Recordings' distribution history reads like a corporate chess match spanning decades. The label initially rode on Geffen Records through Warner Bros. from 1988 to 1990, but Geffen refused to distribute the Geto Boys' self-titled album due to its controversial content, prompting Warner Bros. to absorb distribution directly from 1990 to 1997. In 1997, Rubin signed with Columbia Records, which handled distribution until 2001, when Universal Music Group's Island Def Jam division took over. By 2005, the label returned to Warner Bros. for most artists, though Johnny Cash's recordings were excluded. A 2007 legal battle between Warner and Rubin over the terms of their former arrangement—where American was to sign artists and provide creative services while Warner handled only promotion and distribution—resulted in a catalog split: Warner acquired the extensive back catalog including Cash, Black Crowes, Slayer, and Danzig, while the current roster (minus Tom Petty) moved to Sony BMG. In 2012, Rubin's exit from Sony led to a new deal with Universal Republic Records, bringing ZZ Top and The Avett Brothers under the revived banner.

Commercial Breakthroughs and Sub-Label Experiments

Def American's commercial trajectory accelerated in the early 1990s. The Black Crowes' 1990 debut, Shake Your Money Maker, became the label's first major success, eventually earning quintuple platinum certification from the RIAA. Their 1992 follow-up, The Southern Harmony and Musical Companion, delivered the label's first number-one album. In hip-hop, Sir Mix-a-Lot scored a number-one hit with "Baby Got Back" and a platinum album titled Mack Daddy. Heavy metal remained a pillar: Slayer accumulated several gold-certified albums, and Danzig enjoyed notable commercial success. Rubin personally produced many of these recordings while also directing related ventures. Over the years, the label's roster expanded to include ZZ Top, Tom Petty, Johnny Cash, The Mother Hips, Trouble, and System of a Down. Sub-labels like Onion Records, Ill Labels, Wild West, Whte Lbls, and Infinite Zero (a partnership with Henry Rollins specializing in obscure reissues) extended the label's reach, though none survived the 1997 departure from Warner Bros., and their recordings were deleted.

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