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Paramount Records

From Alfawiki
Paramount Records
Company typeSubsidiary
IndustryMusic industry
PredecessorUnited Phonographs
Founded1918
FounderWisconsin Chair Company (via United Phonographs)
Defunct1935
FateClosed due to Great Depression; masters sold or discarded
Headquarters
Port Washington, Wisconsin
,
United States
Area served
United States
Key people
Fred Dennett Key, J. Mayo Williams, Aletha Dickerson
ProductsJazz and blues records (race records)
ParentWisconsin Chair Company (United Phonographs)

Paramount Records was a notable American record label famed for its jazz and blues releases during the 1920s and early 1930s, showcasing artists such as Ma Rainey, Tommy Johnson, Blind Blake, and Blind Lemon Jefferson.

Early years

Established in 1918 by United Phonographs, a branch of the Wisconsin Chair Company, Paramount began producing records in 1919 under both the Puritan and Paramount imprints. Although Puritan ceased operations in 1927, Paramount continued to operate from the parent company's manufacturing plant in Grafton, Wisconsin, issuing important early blues records between 1929 and 1932. The label maintained offices in Port Washington, Wisconsin, while record pressing occurred at 1819 S. Green Bay Road, Grafton. Leadership was provided by Fred Dennett Key. Recording sessions were frequently held in studios located in Chicago.

Originally, the Wisconsin Chair Company specialized in crafting wooden phonograph cabinets for Edison Records. By 1915, it launched its own phonograph products through its subsidiary, the United Phonograph Corporation, but these ventures failed to achieve commercial success by the end of the decade.

In 1918, Paramount records made their debut, manufactured by New York Recording Laboratories, Inc., a subsidiary of the Chair Company based in Port Washington despite the New York designation. Promotional materials claimed recordings were produced in a New York facility.

At first, Paramount struggled to establish a unique identity, releasing popular music with average sound quality and shellac material. The introduction of electric recording technology led to further declines in both audio fidelity and shellac standards, although some well-pressed discs from this period have become sought-after collectibles. By the early 1920s, Paramount was incurring losses and mounting debt, prompting the company to offer contract pressing services at competitive rates.

Race records

Initially engaged as a pressing contractor for Black Swan Records, Paramount acquired Black Swan after it faltered and shifted its focus toward producing records created by and intended for African American audiences. These race music recordings—particularly those in the 12000 series—became Paramount's most profitable segment. It is estimated that Paramount accounted for approximately one-quarter of all "race records" released between 1922 and 1932. The company utilized its Chicago offices and network of agents to identify and record blues and jazz musicians.

The race record line commenced in 1922 featuring vaudeville blues performers such as Lucille Hegamin and Alberta Hunter. A strong mail-order distribution system played a crucial role in establishing this early success.

Most of these race music sessions were organized by African American entrepreneur J. Mayo Williams ("Ink" Williams), who operated without an official title but was responsible for recruiting Black artists and marketing the records to Black consumers. Unbeknownst to Williams at the time, this market segment had become Paramount’s primary source of revenue.

Despite persistent challenges with poor sound quality and substandard pressings, notable hits like Blind Lemon Jefferson’s 1926 track "Got the Blues" were re-recorded at higher-quality studios. Both versions have since appeared on various compilation albums.

In 1927, Williams departed for rival label Okeh Records, taking Blind Lemon Jefferson along for a single session that produced "Matchbox Blues." Recordings from both Paramount and Okeh can be found on several compilations for comparison. In 1929, while Paramount was constructing a new studio facility in Grafton, they sent Charley Patton, discovered by retailer H. C. Speir, to record at Gennett Records in Indiana. Patton laid down fourteen influential tracks there that contributed to his recognition as the "Father of the Delta Blues."

Following Williams’ exit, his assistant Aletha Dickerson inadvertently managed operations until wage reductions in 1931 led her to resign amid growing financial strain.

Depression, shutdown, and reissues

The Great Depression led to the collapse of numerous record companies, including Paramount, which halted recording activities in 1932 and fully closed by 1935.

During this era, Paramount, like many other labels, disposed of most of its master recordings by selling them as scrap metal. It is reported that some masters were discarded into the Milwaukee River by staff amid the company's closure. Attempts to locate these original masters—such as underwater explorations documented on PBS's History Detectives and author Amanda Petrusich's investigative efforts for her book Do Not Sell At Any Price—did not yield results.

When Riverside Records reissued Paramount's historic recordings, they utilized copies from producer John Hammond's personal archive.

Two collections of remastered Paramount tracks were released by John Fahey's Revenant Records and Jack White's Third Man Records: The Rise and Fall of Paramount Records, Volume One (1917–27) and Volume Two (1928–32). These vinyl box sets feature 800 songs each, along with period advertisements and photographs, two detailed books about Paramount’s legacy and its artists, and six 180-gram LPs presented in custom oak cases inspired by 1920s phonograph carriers.

Only a limited quantity of Paramount singles with catalog numbers ranging from 12584 to 13131 remain today, many of which are either damaged or missing.

See also

External links

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