Historic Long Island Record Labels & Studios: Dutch East India Trading

The independent label and distribution company Dutch East India Trading (DEIT) was a prominent part of the Long Island, New York music-industry scene during the 1980s and 1990s. The company served both as an importer/distributor of overseas music and as the home for a number of U.S.-based sub-labels. The Dutch East India Trading was headquartered in Rockville Centre, New York -- and possibly in Island Park before that -- and ceased operations around 2000.

DEIT’s founder/owner is often cited as Barry Tenenbaum, who began in the mail–order business importing UK/European records under the name Lord Sitar Records, and after amendments to U.S. copyright/import law evolved his business into licensing and distribution through DEIT. After U.S. import laws changed in the late 1970s, Tenenbaum expanded into licensing and domestic distribution, creating Dutch East India Trading as both a label group and a major independent distributor. Under Tenenbaum’s oversight, DEIT developed a network of distribution and also incubated labels such as Homestead Records and Giant Records (independent; a DEIT imprint) among others.

Through its network of imprints—including Homestead Records, Giant Records, Rockville Records, and others—Dutch East became a central player in the dissemination of punk, post-punk, hardcore, and alternative rock. It provided early or career-defining releases for bands such as Sonic Youth (whose guitarist Lee Ranaldo reportedly grew up around Glen Cove), Big Black (featuring future Nirvana producer Steve Albini), Dinosaur Jr., Sebadoh, The Feelies, Nick Cave & The Bad Seeds, Government Issue, and Dag Nasty. Its operations made Long Island, and particularly Rockville Centre, a quiet epicenter of independent music distribution, connecting U.S. record shops with emerging international acts.

Among its most enduring contributions was the release and U.S. distribution of BBC John Peel Sessions, which Dutch East handled through its partnership with the Strange Fruit label. These releases captured raw, studio performances by British and European acts including The Cure, New Order, The Fall, Siouxsie & The Banshees, The Smiths, Pink Floyd's Syd Barrett, and The Wedding Present—making previously unavailable recordings accessible to American fans. College radio stations and independent record stores across the country relied on Dutch East’s network to acquire these albums, solidifying the company’s reputation as a tastemaker that bridged transatlantic alternative cultures. The company’s catalog ranged from heavy metal and punk to experimental jazz and world music, as distributed nationwide to independent shops and mail-order clients.

Within the company’s most visible sublabel, Homestead Records, management reflected a generational arc of underground music leadership. After its founding under Dutch East’s umbrella, Sam Berger initially managed Homestead until 1984, when he was succeeded by Gerard Cosloy, the creator of the influential art-punk fanzine Conflict. Cosloy is believed to have served as the label’s sole employee until 1987, when Craig Marks joined him as assistant manager. Both resigned in 1990, after which Ken Katkin reportedly managed the label from 1990–1992, followed by Steven Joerg from 1992–1996.

Despite closing around the year 2000 following industry consolidation and legal disputes (including a royalties case involving Uncle Tupelo), DEIT’s legacy endures through collectors, reissue labels, and musicians who credit it for sustaining the infrastructure of independent music long before the digital age.

Researched by Darren Paltrowitz on November 1, 2025.