Touch and Go Records stands as one of the most influential and respected independent labels in American underground music history, having evolved from a handmade punk fanzine into a cornerstone of alternative rock culture. Founded as Touch and Go magazine in 1979 in East Lansing, Michigan, by Tesco Vee and Dave Stimson, the label grew from its humble fanzine origins to become one of the key record labels in the American 1980s underground and alternative rock scenes.

The transformation from zine to record label began in 1981 when Tesco Vee, captivated by the emerging hardcore movement in America and bored with the punk sounds of the day, began releasing records by the Necros, The Fix, The Meatmen, and Negative Approach. The label's trajectory changed significantly when Necros bassist Corey Rusk joined with Tesco to run the label in 1981, and by 1983, Tesco handed Touch and Go over to Rusk and his wife Lisa when he left Michigan for Washington, D.C.

Under the Rusks' leadership, Touch and Go relocated to Chicago and established itself as a pioneering force in noise rock and alternative music. The label carved out a reputation for releasing adventurous noise rock by the likes of Big Black, The Butthole Surfers, and The Jesus Lizard, helping to spearhead the nationwide network of underground bands that formed the pre-Nirvana indie rock scene. This era saw the release of groundbreaking albums from artists like Scratch Acid, the Didjits, Slint, Girls Against Boys, and Killdozer, establishing Touch and Go as a tastemaker label that consistently pushed musical boundaries.

Touch and Go helped preside over the shift from the hardcore punk that then dominated the American underground scene to the more diverse styles of alternative rock emerging at the time, making it instrumental in the evolution of independent music in America. The label's artist-friendly approach, characterized by handshake deals and 50-50 profit splits, earned the loyalty and respect of musicians and helped build an influential catalog of punk and alternative artists.

The label continued to evolve through the 1990s and into the new millennium, adding acclaimed acts like Shellac, Yeah Yeah Yeahs, TV on the Radio, CocoRosie, and Ted Leo and the Pharmacists to its roster. Touch and Go also established Quarterstick Records as a sister label in 1990, further expanding its reach within the independent music community.

However, Touch and Go faced significant challenges in the 2000s. Following a 1999 legal dispute with the Butthole Surfers over contract termination rights, which the band ultimately won in the US Court of Appeals Seventh Circuit, Touch and Go began requiring bands to sign written contracts rather than relying on handshake deals. The economic pressures of the late 2000s forced further changes, with Corey Rusk announcing in February 2009 that Touch and Go would downsize itself, citing the current state of the economy as the reason for shutting down manufacturing and distribution services for many independent labels.

Since 2009, Touch and Go has specialized in releasing limited editions of releases from its bands and other associated acts, like the remastered 30th anniversary of Slint's Spiderland, but has also released new material, like Shellac's To All Trains. While operating on a smaller scale than its peak years, Touch and Go remains active under Corey Rusk's continued leadership, serving as both a living archive of American underground music history and a testament to the enduring power of independent record labels to shape musical culture.

The label's legacy extends beyond its impressive catalog to its role in establishing the infrastructure and ethos of modern independent music. Touch and Go proved that labels could maintain artistic integrity while achieving commercial respect, creating a blueprint that countless independent labels would follow in the decades to come.