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Sub Pop
Comment:
"Sub Pop was winging it 20 years ago," said Mudhoney frontman Mark Arm. "No one knew how royalties worked, no one had a contract — it was just, 'You wanna put a record out? Sure, let's do it.'" While the Seattle label — make that [i]legend[/i] — has certainly figured out how to balance a spreadsheet, their sign-now-ask-questions-later spirit has never wavered. No wonder virtually everyone we know has a life-changing Sub Pop moment, sparked by such classic albums as [i]Bleach[/i] (the knotted hooks of "About a Girl" and "Love Buzz"), [i]Oh, Inverted World[/i] (the breezy balladry of "New Slang"), [i]Superfuzz Bigmuff[/i] (the Stooges-gone-Seattle stomp of "Touch Me I'm Sick"), and [i]Give Up[/i] (the skittering beats and smoothed-out melodies of "The District Sleeps Alone"). Put it this way: Sub Pop is one of the only labels we can think of that can't be judged by critical and commercial success alone — not when it's spent its entire history burning its way into pop culture consciousness, actually [i]improving[/i] the music industry (and our lives) in the process.