Arthouse Records is the independent label founded by Robert Luther Smith, also known as Luther, a British R&B artist, songwriter, and producer with a career spanning five decades.
Born in Surrey and raised in Hertfordshire, Smith began recording music at age 10 and went on to work in studios from London’s Regent Sound to Red Bus during the height of the UK pop scene in the 1970s and ’80s. Originally performing under the name Luther in bands like The Hit Men and Zen, he later adopted the name Robert Luther Smith to distinguish his solo work. Strongly influenced by soul, funk, and American R&B, Smith’s music blends electronic production with live instrumentation, often shaped by his early exposure to artists like Jimi Hendrix, James Brown, and Stevie Wonder. He continues to release music through Arthouse Records, with a focus on digital production and sequenced arrangements that retain a human feel.
Please give us a brief overview of yourself and your achievements.
I started in 1973. I learnt to play guitar like Jimi Hendrix (more or less); that got lots of people asking me to play in bands. I learnt to play funk from American conscripts in Germany. The gig money was good. I also wrote songs. I’m a Londoner and started off rather like David Bowie. Getting signed to labels wasn’t hard. That all ended with my band Zen being on the Hot Chocolate Tour in 1982—54 dates, the biggest tour of its kind at that time. We recorded the album at Red Bus. That album is being re-released this year on vinyl by a French label. I went solo etc – all available on Arthouse Records. I’m a psychologist and I read history, especially biographies. As it happens, I just read Bowie’s autobiography. He was nine years older than me, and I appeared on the scene in 1974 (Chrysalis/20th Century/Denmark Street). Although the scene was the same, it had changed—probably because big money had just started to enter here in the UK.
Can you tell us about the meaning behind the name Arthouse and how it reflects the label’s identity?
My grandfather’s name was Arthur, and everyone called him Art. Arthouse to me has the usual association with “art” itself—high-quality songs, but not necessarily massive budgets.
How would you describe the musical ethos or aesthetic of Arthouse Records?
Pop, as in popular music, as in Pop Art itself. Commercial Art. Warhol, Lichtenstein, and Rothko. High-quality songs and lyrics, good recordings. Steely Dan is one of my favourites.
What changes in music culture have you noticed since starting the label?
When I started, there were lots of labels to go to. Now there are just three: Sony, Universal, and Warner Bros. From vinyl to cassettes to CDs to streaming and MP3s.
Tell us about your first release – what was special about that one?
1978’s “Stepping Stoned.” It taught me how tricky it was making vinyl records. I can now admit it was the rhythm of “Soul Love” by Bowie. Actually, the B-side, “Desperate Man,” was good too.
Tell us about the latest record you’ve released.
“Hole in My Heart” is a funky, danceable track specifically designed to be catchy. I’ve played and sung all the parts, which is a USP, I would think.
Check out the Arthouse Records website.
What are your plans for the rest of the year and beyond?
To release records, hopefully get some radio, and get “Hole in My Heart” into the charts. I have a follow-up, “Didn’t I Say?”, and many more. I think I’ve got a good story to tell and good music to go with it—or vice versa. My latest album is Blues Man, which explains my observational lyrics. I go from place to place and talk about what I see.
What have you enjoyed about working with MN2S Label Services?
I’ve found in MN2S what would have been a record company before: A&R, distribution, PR, etc. I supply the tracks, MN2S provides the distribution, and I have to make people take notice.