The pages of 'Record Retailer' and 'Music Week' of the 1970s contain quite a number of references to labels which were planned but which, in the event, never saw the light of day here. Some of the companies behind them made records which they leased out and which surfaced on other companies' labels; some seem to have never got past the planning stage, for one reason or another; and some only appeared in other countries. This section of the site is dedicated to labels which might have been but which - in the UK at least - never made it.
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ALEXANDER
'Music Week' of the 17th of November 1973 reported that Alexander Records, a new label set up by importers Alexander Associates, was having distribution problems, as a result of which its launch was likely to be held up until the new year. The new year came, but, for some reason, the Alexander label didn't.
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AMERICAN PROGRAMME BUREAU
American Programme Bureau was described by 'Record Retailer' of the 4th of March 1972 as the UK base for a UK / European talent agency. It appears to have been the UK arm of a Massechusetts-based company, American Program Bureau. According to the report it was planning to launch its own label 'later this year'; however, the plans seem not to have come to fruition.
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AQUARIUS
Mentioned in 'Record Retailer' of the 18th of October 1969. The article said that Don Arden planned to launch Aquarius 'next year', and that as well as having a record label the company would handle management and promotions. Ken Mewis was to run the label, and three bands had been signed to the management agency - The Nashville Teens, The Cherokees, and Samson. Singles by two of them duly appeared, but on Parlophone with a credit to Aquarius rather than on an actual Aquarius label - presumably the company opted for licensing deals rather than going ahead with its own label. The singles in question were 'Tennessee Woman ' b/w 'Train Keeps Rollin'' by the Arizona Swamp Company, who were the Nashville Teens under another name (R-5841; 1/70), and 'Venus' b/w 'Wool And Water' by Samson (R-5867; 10/70). There may be others out there.
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BARNABY
Andy Williams's company. Barnaby had its own label in the States, and the 'Gossip' column of 'Music Week' of the 3rrd of March 1973 claimed that it was expected to be launched here by Polydor in July. An article in 'MW' of the 5th of May reined-in expectations to a certain extent: Barnaby material would appear under a split MGM / Barnaby logo. No releases were scheduled as yet, but all the early Everly Brothers material would be included. In the event just two Barnaby singles came out, both of them on the standard MGM label with a credit to Barnaby Records in small text. They were 'Headed For The Country' b/w 'Slow Poke' by Doyle Holly (2006-272; 7/73), and Ray Stevens's 'Love Me Longer' b/w 'Nashville' (2006-335; 10/73). Barnaby soon moved on to Janus Records, and subsequent releases came out on the Chess or Janus labels (q.v. both).
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BLAZE
Blaze was announced in 'Music Week' of the 13th of October 1979 as new venture by Carlin Music president Freddie Bienstock and co-director Mike Collier. It was intended to be a sister-label to Disco label Flamingo (q.v.); Bienstock is quoted as saying that the company needed a second outlet. The first Blaze release was due out on the 9th of November and was to be 'C'est La Vie' by Seattle-based band New Day. That single duly appeared, but on CBS with Blaze reduced to an additional logo. There don't seem to have been any more Blaze products issued.
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BUTTERFLY
An interesting one. 'Record Retailer' of the 13th of February 1971 reported that Chrysalis (q.v.) was to have an independent offshoot, Butterfly Music & Records. First signing to the new label was Terence Clarke, and as yet no outlet had been fixed. In the issue of the 12th of June 'RR' added that Butterfly was to be Chrysalis's outlet for Pop material, records which weren't suitable for release on the parent label - Chrysalis had established a reputation for serious music, with the likes of Jethro Tull and Blodwyn Pig on its roster. According to the article the first releases were scheduled for the autumn and were to be by Mike D'Abo and by David Bowie, who at that point had yet to find fame. Unfortunately the plans hit a snag: 'RR' of the 31st of July carried the news that a firm called 'First Class' owned and used the 'butterfly' logo, which was "bad news for Chrysalis". Butterfly, as a label, seems to have been abandoned, and Chrysalis appears to have settled for licensing the material to other companies. A single by Terry Clarke, 'Lady' b/w Army Captain's Daughter' came out on Polydor (2058-191; 2/72) with Chrysalis credited as publisher; Mike D'Abo's 'Belinda' b/w 'Little Miss Understood' was issued on A&M (AMS-7016, 7/72) with a publishing credit to Butterfly Music; while David Bowie's 'Changes' b/w 'Andy Warhol' surfaced on RCA (RCA-2160; 1/72), with co-publishing by Chrysalis Music. It's strange to think that if it hadn't been for that 'First Class' company all those familiar Bowie hits might have been on Butterfly rather than RCA.
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CLEAN
Mentioned in 'Record Retailer' of the 16th of October 1971, Clean was described as a new label, a joint venture between Atlantic Records (q.v.), Robert Stigwood, and film / theatre writer / producer Earl McGrath. No date had been set for its launch, but it was to be handled by Atlantic. Clean duly appeared as a label in America, but only one of its products saw the light of day in Britain: a single by Delbert & Glen, 'I Received A Letter' b/w 'I Feel The Burden', which came out on the Atlantic label as K-01267 in February 1973, some four months after its American issue on Clean (CN-60003).
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CLOUT
According to an article in 'Music Week' of the 7th of April 1979 former music journalist Matthew Nugent had formed Clout Records in January. Its first release was intended to be a single by New York band Mumps; it would be out soon, and the band would be doing a UK tour. Sadly, neither that nor any other record on Clout seems to have appeared.
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CMC
Several music publishing companies had their own record labels: Southern Music had Spark (q.v.), Campbell Connolly had Camp and Concord (q.v.), and so on. 'Record Retailer' of the 28th of May 1969 indicated that Carlin Music intended to join them: it was to enter the field of record production and eventually launch its own label, CMC. 'RR' of the 12th of September 1970 reported that manager Freddie Bienstock was going to provide news of a major signing and information about distribution arrangements in October, and the label should be launched by the end of the year. Ray Walter had been appointed as general manager of CMC and its associated publishing arm, Peterman Music. 1971 arrived, but the CMC label seemed to be dragging its heels. 'RR' of the 13th of May claimed that the new label was 'expected'; but then the issue of the 10th of April revealed that Carlin was having doubts over whether it should launch its own label or use one of EMI's established ones. Grunt Futtock and Davey Sands had been signed as artists, and their first releases were due to come out before the end of the month. In the event Sands's 'The Puppet Man' b/w 'Oh What A Naughty Man' appeared on Parlophone (R-5899; 4/71); no new material by Grunt Futtock surfaced, but their single 'Rock 'N' Roll Christian' b/w 'Free Sole' had come out on Regal Zonophone (RZ-3042) in January, presumably while the debate about the CMC label was still going on - the 'B' side was published by Carlin. CMC was described in 'RR' of the 20th of November as 'Carlin's production unit'; presumably it was responsible for other releases, but none appeared on a CMC label.
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CRUSADE
'Record Retailer' of the 8th of November 1969 alerted its readers to the fact that John Mayall was planning to launch his own label, Crusade, via Atlantic, with the first release to be an album featuring an interview with Ella Louise Lenoir. That album seems not to have come to fruition, but over the course of the next three years Crusade was responsible for one album each by J. B. Lenoir ('J. B. Lenoir'; 1970)and Shakey Jake Harris ('The Devil's Harmonica'; 1972). Both came out on Polydor rather than Crusade, though the company received credits on both sleeve and label, and neither record was released in the UK.
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DAKAR
Launched in the USA by Carl Davis in 1967, and associated with Brunswick, Dakar enjoyed success in its home country with the likes of Tyrone Davis and Hamilton Bohannon, but it never featured as a label in its own right in the UK. At one time, however, it seems to have come reasonably close. Dakar's material appeared on several different labels, including Atlantic from 1969 till 1972, but 'Music Week' of the 25th of March 1972 claimed that the company had signed a three-year licensing deal with Polydor. The new label was to be launched in the summer, and promotion was to be handled by Contempo International, which did the same job for Stax and Mojo. The first release under the deal was to be 'I Had It All The Time' by Tyrone Davis, with Jackie Wilson's 'I Get the Sweetest Feeling' following it. Sadly the launch never happened. The Tyrone Davis single never appeared here, while the Jackie Wilson came out on MCA (MU-1160) in July - records on Dakar's big-sister-label Brunswick had been issued on MCA since 1968. Then in its issue of the 19th of August 'MW' reported that the Polydor deal hadn't been finalized because of contractual difficulties with Brunswick material. Decca's contract with Brunswick was due to expire in November, and negotiations were being carried out with a number of other companies. A month later, 'MW' of the 23rd of September announced that Brunswick / Dakar had signed a three-year deal with Decca; Dakar product would be available immediately, with Brunswick material becoming available from the 1st of November. As a result of the deal the Brunswick label was re-established here, but idea of a separate Dakar label was dropped.
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DOVE
There seem to have been a couple of Dove labels planned in the early '70s, neither of which appear to have fledged successfully. According to 'Record Retailer' of the 10th of July, the earlier Dove was due to be started by Andrew Cameron-Miller (late of Reflection Records, q.v.) and David Lewis; the first release was scheduled to be an LP by Anne Bakke. However, there doesn't seem to be any evidence that either that LP or the label ever saw the light of day. Six months or so afterwards the 'Gossip' column in 'RR' of the 15th of January 1972 hinted that publishers Schroeder Music were planning to form Dove Records. 'RR' of the 4th of March added that the plan was to launch the label in the near future; Ken Boyle would be responsible for it, and was signing acts, while Aaron Schroeder would be in charge. Unfortunately this Dove, too, appears to have come to nothing.
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EXCELLENCY
One of a number of possible new labels that were put forward at various times by the Hemdale company - see below. 'Music Week' of the 11th of November 1972 reported that Hemdale's music division had been consolidated under a new firm, Excellency Music & Records, which was to be run by John Velasco. Hemdale's prospective 'Hemdale' label, announced in 'MW' a couple of months earlier, was henceforth possibly going to be known as 'Excellency', and a distribution deal was being sought. Before anything concrete could happen Hemdale and Excellency were bought by a firm called Equity Enterprises, which established the WWA label (q.v.) instead. Excellency did however get mentions as a production company or a music publisher on several records on the WWA label: Black Sabbath's 'Sabbath Bloody Sabbath' LP, Snafu's album 'Situation Normal', and singles by Captain Zahl ('O Rainy Days' b/w 'Don't Start The War', WWS-010; 6/74) and Scott English ('Something's Missin' In My Life' b/w 'Moonliht Lady', WWS-014; 8/74).
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FANCIBIRD
The British arm of an American company, Flamingo Music Inc., from Miami Beach, Florida. Fancibird was run by Sam Coslow (of Flamingo), Johnny Howard and David Rabin. It seems to have had quite big intentions: 'Record Retailer' of the 14th of August 1971, reporting on the planned launch of the label, said that the company had signed a three-year contract with Decca which called for a minimum of 24 records to be released. Fancibird was working out of premises in Gloucester Mansions, Cambridge Circus, London WC2, and its first release was to be a single by Danny Street, 'My Little Guy' b/w 'You Blew It'. 'RR' of the 4th of September added that the second single was to be Hot City's 'I Believe In My Life' b/w 'Leaving'. Both of those singles came out in October, but on the London label with a Fancibird logo rather than on a Fancibird label. The Danny Street was numbered HLU-10342, the Hot City HLU-10344. Early the following year they were joined by a Mel Tormé single, 'Whose Garden Was This' b/w 'Phone Call To The Past' (HLU-10355; 1/72), but that seems to have been the lot.
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FESTIVAL
Big in its native Australia, Festival licensed its products to other companies in the UK, but at one time there were hopes that it might have its own label identity here. 'Record Retailer' of the 18th of June 1969 reported that Festival was setting up a UK office with Mike Sloman as managing director. It was looking for new talent, probably to be licensed for release through one of the majors. 'RR' of the 30th of July was able to reveal that the first UK Festival product was to be a single by the Baker Street Philharmonic, 'Love At First Sight' b/w 'Tycho', on Pye (7N-17808); the article added that Festival would be 'launched under its own logo eventually'. Many other UK Festival productions were released through Pye and later through EMI: in addition to several records each by Labi Siffre and Olivia Newton-John there were more obscure items such as 'At The Sign Of The Swingin' Cymbal' b/w 'Just Like That' by Brass Incorporated (Pye International, 7N-25520; 4/70), and Terry Lawrence's 'Medicine Man' b/w 'Let Me Be Free' (Pye International, 7N-25558; 7/71). All had the same credit to Festival Records International, but the Festival label as such never materialized.
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FOLPAC
A slightly odd one. 'Record Retailer' of the 30th of September 1972 claimed that Folpac, a frozen-food company based in Leicester, was investigating the possibility of launching its own label and was seeking to acquire a complete catalogue to form the basis of its venture. John Woodward was to be in charge, and talks about distribution were being held with two majors. Noting seems to have come of the investigations, so presumably the company decided to stick with its core business.
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FOX
One of two labels planned by importers Vixen Records. 'Music Week' of the 14th of February 1976 announced that Vixen intended to launch two new labels: Vixen, for licensed foreign material, and Fox, for home-grown product by UK artists. The management / agency / concert branch of the Vixen Fox group was looking to give recording deals to five acts, and overseas licensing deals were to be sought at MIDEM that year. Distribution was intended to be through Vixen's own set-up. There's no sign that these plans came to fruition.
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GAMA
Management / agency company Gemini, formed in February 1972, was reported in 'Music Week' of the 27th of October 1973 as having signed a production deal with Decca, which could lead to the introduction of its own label, Gama. Until that time, product was to be issued on Deram. Subsequently records by Gemini artist Michael Chapman came out on Deram with a Gama logo on the label, and Gemini band Camel put out several albums and singles on Decca, again with a Gama logo, but the Gama label as such seems to have been limited to an occasional appearance abroad. The Gama logo can also be found on a 1977 single by The Loftus Roadrunners, 'Queens Park Rangers' b/w 'Drive Me Down To Queens Park Rangers' (QPR-1); the Discogs site gives the label of that single as Gama, but for my money the catalogue number and the big QPR logo make it a QPR label release. You can decide for yourselves; take a look at the 'QPR (1977)' page. Gama directors Max Hole and Geoff Jukes did however come up with the Criminal label (q.v.) in 1978.
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GEE GEE
At one point in their career the Bee Gees had ambitions to start their own label. 'Record Retailer' of the 25th of October was able to state that it was to be called 'Gee Gee', and that it was likely to be launched under its own logo, through Polydor, on the 21st of November. As well as the Bee Gees themselves, the artists involved were to include Billy Lawrie, Pat (P.P.) Arnold, Graham Bonnet and Tin-Tin. The first single to be released on Gee Gee would be the Bee Gees' follow-up to 'Don't Forget To Remember'. The American trade magazine Cash Box added that the band's forthcoming LP 'Happiness' (which eventually came out under a different title) would be on the label, and provided the information that originally Gee Gee had been intended to be called 'Diamond' - the name had to be changed because of a clash with an established American operation of that name. Singles by three of the artists duly appeared, over the course of the following eight months, but they were all on the Polydor label, with no mention of Gee Gee. They were 'Roll Over, Beethoven' b/w 'Come Back Joannie' by Billy Lawrie (56363; 11/69); The Bee Gees' 'I.O.I.O' b/w 'Sweetheart' (56377; 3/70); and 'Toast And Marmalade For Tea' b/w 'Manhattan Woman' by Tin-Tin (2058-023; 5/70). Subsequent releases were also on Polydor, which suggests that for some reason this particular Gee Gee failed to make it to the starting gate.
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GRIT
American. An article in 'Record Retailer' of the 29th of May 1971 broke the news that U.S. company Alshire International was launching a new label, 'Grit', and that UK Rock group Icarus had been signed up. As an aside, the article added that Pye's current agreement to release Alshire material would expire in September. The Grit label debuted in its home land that same month, but the few of its releases which appeared here came out on Pye or Pye International. It looks as though Alshire had a production unit in Britain, for in addition to Icarus a UK band called Brownhills Stamp Duty had a single out on Grit in the USA, 'Pigeon' b/w 'Julia' (G-103; 1971). Oddly 'Pigeon' didn't come out in Britain until 1974, as Pye 7N-45386, and with a different 'B' side, 'Fill My Boots'. By that time Brownhills Stamp Duty had released two other singles on Pye, both with a production credit to Alshire: 'Hey There Lonely Girl' b/w 'Caroline' (7N-45217; 2/73), and 'Kyrie Eleison' b/w 'Who's Got The Love' (7N-45324; 2/74). Icarus's American single on Grit, 'Love Is A Thing' b/w 'Thing Thing' (G-102; 1971) didn't get a release in Britain, but their 'Marvel World Of Icarus' album came out on Pye International in 1972 and is now very collectable.
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HEAT
One of a number of labels projected by Equity Enterprises - see 'Hemdale' immediately below. An article in 'Music Week' of the 7th of April 1973 said that Equity's 'World Wide Artists' arm had set up a new subsidiary, Tweedrye Management; it was to have five companies under its umbrella, one of which was Heat Records. Ken Mewis, previously the label manager of Immediate Records, was to take on the same role with Heat; a distribution deal was nearing completion, and the launch was expected within two months. Some three months later 'MW' of the 14th of July announced that World Wide was to launch three new labels: WWA (q.v.), Roller Coaster (see below), and Heat. The first release on Heat was to be an LP by Tony McPhee, which was scheduled for release on the 9th of September; it would be followed by an album by Groundhogs. In the event the WWA label was the only one to appear, and Heat was reduced to being mentioned as a production company and / or publisher on the McPhee and Groundhogs records. It also received production and / or publishing credit on singles by Jeff Phillips ('I'll Never Fall In Love Again' b/w 'Billy Bullfrog', WWS-003; 11/73) and Bandy Legs ('Ride Ride' b/w 'Don't Play Games', WWS-011; 7/74).
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HEMDALE
A management and later film production company started by David Hemmings and John Daly. 'Music Week' of the 26th of August broke the news that Hemdale had signed a management contract with Black Sabbath, and that along with previous signings Yes the band was expected to spearhead a new label, 'Hemdale', which was possibly going to be distributed by WEA. A couple of months later, however, 'MW' of the 11th of November stated that Hemdale's music division had been consolidated under a new firm, Excellency Music & Records, which was to be run by John Velasco. There were plans for the launch of a new label - now possibly to be called 'Excellency' - and a distribution deal was being sought. Two months after that, came a report in 'MW (13th of January 1973) that Hemdale and its music division, by now called 'Worldwide', had been taken over by Equity Enterprises. The article added that Equity hoped to buy a record company and a pressing plant in order serve as a base for the launch of its own label. Further convulsions followed, which led to two more labels - Heat (see above) and Roller Coaster (see below) - being planned, and finally to the emergence of an actual label, WWA (q.v.).
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HONEY BEE
The successor to Paul Murphy's Buk Records (q.v.). Buk had been closely associated with the German company BASF (q.v.), and, according to 'Music Week' of the 16th of April 1977, there had been confusion between the two when BASF started winding down its UK operations. In order to distance his own operations from those of BASF, Murphy started a new company, Honey Bee, which retained the rights to all Buk product and signed some of Buk's artists. The article stated that Honey Bee records would initially be released in the EMI International label with a Honey Bee logo added, but that Murphy anticipated developing a fully-fledged label identity for the company in due time. Four EMI International / Honey Bee singles appeared, over the course of the next nine months, but sadly Honey Bee's development into a label never took place here. The singles were 'Love Makes You Cry' b/w 'Your Move' by Crisp (INT-531; 4/77); April's 'Summer In The City' b/w 'After Midnight' (INT-535; 7/77); Tony Monopoly's version of 'Let The Heartaches Begin' b/w 'Better By Far' (INT-538; 8/88); and 'City Lights' b/w 'Wanting Your Love' by Kevin Johnson & Northwind (INT-545; 1/78). Happily Honey Bee did achieve label status in Germany, though it seems to have come and gone in 1977 - thanks to Steve Mitchell for letting me know. Honey Bee was based at 7, Molyneux Street, London W1.
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IMAGE
Image was described in 'Music Week' of the 16th of April 1977 as being Phil Solomon's latest label - Solomon had been behind Major Minor and was currently running Galaxy Records (q.v. both). According to the article Image was intended to be Rock orientated, and the project was being shaped for launch 'in the next few weeks'. Unfortunately nothing more seems to have been heard of it.
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IMB
The projected record label of Robin Hemmings's 'International Music Business' company. According to 'Music Week' of the 9th of July, Hemmings had been at EMI, and the main business of his company, which had been recently set up, was as a royalty and tour accounting consultancy. As well as launching its own record label it had plans to expand into the areas of management and publishing. The article added that the IMB label would concentrate on New Wave, Soul and Jazz, and would be looking to source material from the USA not just the UK. Sadly, despite all these hopes, no records seem to have ever been issued on IMB.
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JDA
There's not much to say about this one. An article in 'Record Retailer' of the 24th of January 1970 said that JDA was to be set up as a new record / publishing company by Al Saxon in partnership with Dave Roberts and Gino Rabbaiotti, but it doesn't seem to have got past the planning stage. A year or so later Saxon appears to have become involved with the Phoenix label (q.v.); that may perhaps have been a result of JDA failing to get off the ground.
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KINGSWAY RECORDERS
Intended to be an outlet for recordings by Ian Gillan, and named after the studio which he owned. 'Music Week' of the 20th of May 1978 stated that, following an amicable split between Island Records and the Ian Gillan Band, Kingsway Recorders was to issue product on its own label. Manufacture and distribution were being negotiated, and the first release was intended to be an album, 'Live At The Budokan Vol. 1', which was scheduled for September. As it happened, the album came out on Island in Japan in 1978 but didn't see the light of day in the UK until 1983, when it was issued in combination with Vol. 2 by Virgin. Kingsway Recorders got a production credit on the Virgin labels, but appears never to have become a label in its own right. There was already a Kingsway company (q.v.) in the '70s, so perhaps there may have been a possibility of a clash over ownership of the name.
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LION INTERNATIONAL
Lion International was a holding company for British Lion films. It was bought by the J. H. Vavasseur group of companies in or shortly before 1973, and became the group's entertainment arm. It received its one and only 'Music Week' mention in the issue of the 11th of August 1973, in an article which stated that it planned to move into the music business both in the fields of music publishing and record production, and that it intended to start its own label at a later date. British Lion - and presumably Lion International - was bought by EMI in 1975, before the new label had a chance to get past the planning stage.
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MAC
MAC - the initials stood for 'Mike And Chris' might have been the record label of a company called Solid Gold Productions, which was run by Mike Hurst and Chris Brough. The Solid Gold Organisation was enjoying a great deal of success with Showaddywaddy at the time. 'Music Week' of the 22nd of January 1977 said that Solid Gold had done a production deal with Decca; if it proved successful the deal would lead to a new licensed label, probably called 'MAC'. Artists handled by Solid Gold and involved in the deal included Fumble and Ray Fenwick. There had already been a Fumble single, 'Rock 'n' Roll School' b/w 'On The Road To Fame' (F-13671; 9/76) on Decca, with a credit that ran 'Produced by Mike Hurst for MAC Records'; it was followed by another, 'Carol, Please Come Home' b/w 'Giving The Best Years Away' (F-13702; 4/77), and by a single by Shirley & Johnny, 'Chapel Of Love' b/w 'The One Who Loves Me' (F-13684; 2/77), which had the credit to 'Mac Records' rather than 'MAC'. Neither of the post-agreement singles seem to have made enough of an impression for MAC to make the step up to label status. For some reason no Ray Fenwick MAC-produced records came out under the deal.
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MARQUEE
Projected as the record label of the Marquee Group, which included the studios and the famous club. 'Music Week' of the 8th of August 1973 revealed that Marquee had started producing records, under the name of Marquee Record Productions, and that it would eventually introduce a label. Three records had already been made and placed with companies: 'Love Song' b/w 'It's A Beautiful Day' by Mike Starrs (Pye, 7N-45256; 7/73); 'Memories' b/w 'Second To None' by Ice (Philips, 6006-314; 7/73), and Big Cherry's 'Give A Dog A Bone' (Penny Farthing, PEN-712; 7/73), all of which were produced by Tony Atkins. None of the three had any reference to Marquee on the labels, but subsequent records produced by Atkins for the company - and there were quite a number of them - did give Marquee a credit, usually in the form of 'Marquee Record Productions', 'Marquee (London) Productions', 'Marquee Productions Ltd', or something similar. On occasion 'Music Week' referred to the company signing artists, including Geoff Whitehorn, who was recording a single and an album (15th of December 1973), and a band called Quadrille (16th February 1974). Between 1973 and 1975 several Marquee records came out in Europe on labels such as Pink Elephant (Netherlands) and Telefunken (Germany), sometimes - as in the case of Mike Berry's 'I'm A Rocker', 'Gettin' It On' by Zipper, and the Parker-Moeller Reunion's 'Love Has Won' - without getting a release here. The odd one or two surfaced in Australia and the USA. In addition to Pye and Philips, other companies released Marquee records in the UK. The ones I know to were: Antic, with 'Hoodoo' b/w 'Crash About' by The Crash Brothers (K-11502; 7/74); Transatlantic, with Richard Digance's 'Working Class Millionaire', b/w 'Dear River Thames' (BIG-519; 1974); and GM, with Mike Starrs's 'The Will' b/w 'Witches Brew' (GMS-9042; 1975). Unfortunately, however, the Marquee label as such appears never to have come into being. The last reference to Marquee records in the 1970s came in 'MW' of the 29th of January 1977; the article claimed that a series of 'Live At The Marquee' LPs was planned, each featuring four or five different artists, but nothing seems to have resulted.
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MCA'S REGGAE LABEL
A slightly odd concept, perhaps, given that the company had shown no great interest in that direction. 'Billboard' of the 3rd of February 1970 reported that MCA was planning a new label devoted to Reggae; a production deal had been signed with Count Prince Miller, who as a consequence would shortly be heading for Jamaica on a scouting trip. The label, as yet unnamed, was expected to debut early that year, but, for whatever reason, it failed to do so. There were five Miller productions in the genre from December 1969 to May 1970, by The Banana Boys, The Downbeats, Danny Ray & The Falcons, Errol Daniels (two), and Miller himself, but they all came out on the standard MCA-U.K. label.
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MONSTER
Monster appears to have been a production company, but 'Music Week' of the 15th of July 1978 described it as a newly-formed licensed label of Jet Records. Snips had signed to the company, and the first Monster release was scheduled to appear in the Autumn. Several Monster records came out on Jet, notably early releases by Rock band Magnum, but Monster only ever appeared as a logo on the Jet label and never made it to 'label' status. Other Monster artists on Jet were Neo and Bernie Tormé.
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MUSICOR
Throughout the 1960s American company Musicor had licensed some of its records - mainly by Gene Pitney - to EMI; they had appeared on the His Master's Voice, United Artists, and, more frequently, on Stateside. October 1970 saw a change of licensee, to Pye, with Musicor product now coming out on the Pye International label. According to 'Record Retailer' of the 6th of February 1971, the intention was for Musicor to eventually be given its own label identity. The company enjoyed a hit in the UK with the novelty synthesizer single 'Popcorn' b/w 'At The Movies' by Hot Butter (7N-25583; 6/72), but despite that success it seems not to have been in great shape. Its issues remained on Pye International, and its deal with Pye appears to have expired in the autumn of 1973. Gene Pitney was responsible for most of the Pye-era records, but there were also a couple of releases by The Platters and one each by Joe Wilson ('Sweetness' b/w 'When A Man Cries', 7N-25550; 5/71), George Jones ('A Good Year For The Roses' b/w 'Let A Little Loving Come In', 7N-25547; 3.71), and Jimmy Radcliffe ('Long After Tonight Is All Over' b/w 'What I Want I Can Never Get', 7N-25614; 6/73).
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NEMS'S PROGRESSIVE LABEL
Following the expiry of its arrangement with CBS, in 1970, there were plans to reactivate the NEMS label and to supplement it with one dedicated to Progressive music. The plans were first mentioned in 'Record Retailer' of the 24th of October of that year; then on the 9th of January 'Billboard' went a little further, saying that the company was considering a Prog label, via EMI, with the launch expected in late January or early February. Sadly, nothing more was heard of the scheme, not even a proposed name for the new label, and NEMS itself wasn't reactivated until 1975.
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PACE
Pace received its only mention in 'Music Week' in the issue of the 4th of March 1978: a paragraph in the Gossip column referred to it as being managed by Gary James, who had formerly been a promotions man with Bus Stop records. The new label was supposed to be launched in April, with distribution by Lightning, but the launch seems never to have happened.
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PLAYBOY
The record label of Hugh Hefner's 'Playboy' empire. Playboy started out as a serious label in the USA in 1972; it eventually signed a licensing agreement with Pye in the UK, which led to several of its more potentially commercial records appearing in this country on Pye International with a credit to Playboy as the originating company. There seem to have been around nine such singles, involving Barbi Benton, Mickey Gilley, Lois Fletcher, Charlie Kulis, Willie Henderson, and Hamilton, Joe Frank & Reynolds (later Hamilton, Joe Frank & Dennison). Then in 1977 'Music Week' of the 4th of June broke the news that Playboy had signed a three-year licensing deal with RCA for its complete catalogue, and would be assuming its own label identity. The label would be managed by Phil Dexter, who also handled Playboy in the USA. Back in the States, however, the parent label was encountering financial difficulties, as a result of which it folded, the following year. It may be because of these difficulties that the deal with RCA seems to have come to nothing - no Playboy records appeared here either on RCA or on Playboy itself.
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PLEASURAMA
Pleasurama was a leisure company, whose main line of business was in Bingo, amusement machines and the like. 'Record Retailer' of the 24th of January reported that the firm had decided to move into the music business, and was launching a record label, a publishing company and a management agency. A pressing and distribution deal had been signed with Decca. Six months later, 'RR' of the 13th of June was able to announce that the company's first single, 'It Takes A Little Bit Longer' b/w 'I Cried And I Cried', by Chris Cobb, would soon be available. Unfortunately for label enthusiasts it came out on Decca, as F-13036, with Pleasurama Records merely getting a production credit. The pace quickened: new artists were signed - Baskin & Copperfield ('RR', 8th August), Gaynor Jones, and Delsey Mackay ('RR' 22nd August) - and more singles were issued, but they were still on Decca with a production credit to Pleasurama. Then in October the company shortened the name of its music arm to 'Rama', "In order to give itself a more progressive and up-to-date image" according to an article in 'RR' of the 3rd of that month. 'RR' of the 17th of October announced the arrival of another band, Sky Pony; their single, 'Jubeldown' b/w 'Chubby' came out on Decca (F-23082) with a production credit to Rama Records. It is noticeable that Rama productions were given numbers in Decca's F-20000 series, while Pleasurama ones had numbers in the main Decca F-10000 one; perhaps the terms of the licensing agreement had changed. Rama had ambitions: 'RR' of the 21st of November 1970 said that a new Prog-Rock-orientated label, Xanadu, had been added to the company's stable, with a band called Lock Jaw as its first signing. Roger Watson, previously with MCA, had been recruited as label manager. Not long afterwards, however, the impetus seems to have died. Xanadu never appeared, and 1971 saw only the release of two final Baskin & Copperfield singles, 'Moonbeams' b/w 'Long Grass' (F-23131) in February, and 'Roly Poly' b/w 'We Got Love' (F-23174) in May. Both were on Decca with a Rama Records production credit. After that, parent company Pleasurama seems to have given up on the music business and returned to its primary interests.
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QUIVER
According to an article in 'Record Retailer' of the 15th of November 1969, Austrian recording engineer Werner Schwartz intended to build a sound centre in London; he also planned to launch a new record label, Quiver Records, and to set up an independent distribution network. 'Billboard' of the 22nd of November added that the studio was being built in Shaftesbury Avenue, and that Schwartz would be in London in December to set the final details for the new firm. In February of the following year, 'Studio Sound' magazine provided some more details: the studio, Quiver Records, was being financed by an American / German consortium and was to cost £640,000. The project was "in the hands" of Schwartz, who had formerly been with Ariola and Odeon, and John Alcock, of Unitrack, was to act as studio consultant. 24-track, 16-track and 8-track recording facilities would be available. Something may have happened to derail the plans, or at least to provoke a name-change, as there's not trace of a London-based Quiver studios or indeed of Quiver Records.
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RADIO GERONIMO
Music station Radio Geronimo was founded by Terry Yason, Geoffrey Bass and Hugh Nolan. It came and went in 1970, broadcasting late at night at weekends on airtime purchased from Radio Monte Carlo. It received its sole mention in 'Record Retailer' in the issue of the 13th of July, in an article which claimed that the radio station intended to start its own mail-order-only record label. The label never arrived, but apparently Radio Geronimo did start offering a mail-order service selling other companies' records at cut prices.
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RAINMAKER
A production company run by Bryan Morrison, whose other businesses involved management, publishing, songwriting and a booking agency. 'Music Week' of the 15th of April 1978 reported that Morrison had signed a deal with Anchor Records (q.v.) for a new label, which was to be headed by Dave Hill. At that time there was considerable speculation in the industry about Anchor's future; in an interview with Billboard the following week a spokesman for the company claimed that the worries were misplaced and that the company was in good financial shape. Among the plus points that he raised was the availability of product from Rainmaker. Sadly Anchor effectively hit the buffers towards the end of the year, through no fault of its own. By that point it doesn't seem to have issued any Rainmaker material, certainly not on the Rainmaker label. Dave Hill, who had been an A&R man at Anchor, left Anchor and founded Real Records (q.v.) in or around April 1978, but Bryan Morrison doesn't appear to have been involved in that company.
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RAM
A non-realized forerunner of the Greenwich Gramophone Company label (q.v.). 'Record Retailer' of the 19th of September 1970 told the world that Les Reed of Chapter One Records (q.v.) was joining forces with Barry Mason to launch a new label, Ram, which would be aimed at the Progressive Rock market. No distribution had been arranged, but a band called Hot Soup had been signed up. The next mention of Ram in 'RR' came in the issue of the 6th of March 1971, which said that Tony Reeves had been decided upon as label manager and that it was reckoned possible that the name 'Ram' would be replaced by 'Greenwich'. The change duly happened, and no more was heard of Ram; nor indeed of 'Hot Soup' - perhaps they, too, changed their name.
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ROCKING CHAIR
Belgian, intended to be a subsidiary of Jean Meeusen's independent company Supreme Records. 'Billboard' of the 13th of November 1971 reported that Meeusen planned to launch Rocking Chair in Belgium as a continental outlet for British artists. The idea was to record UK artists in Belgium initially and to lease the resulting tracks to major companies here; an office in London and the launch of the Rocking Chair label in Britain were expected to follow 'within six months'. According to the article Meeusen had been in London the previous weekend, trying to sign a "name British recording act" for the new label. The attempt seems to have been unsuccessful, as there don't appear to have been any records released on this particular Rocking Chair label, either here or in Belgium. There were a couple of one-off albums issued on other Rocking Chair labels in the '70s, but they were nothing to do with this one.
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RSR
Noted in 'Music Week' of the 24th of February 1979 as being planned by a new company, RSR Entertainments. According to the article the company was being launched by Paul Robinson, David Shaw and Roland Rennie, whose surnames presumably provided its name. There were plans for a publishing company and for the RSR record label under a pressing / distribution deal. The article mentioned an unreleased 1969 Lionel Bart album of 'Gulliver's Travels', and said that Justin Hayward had been signed to the company, but the 'signing' may have been nothing more than a misunderstanding - Hayward had sung on several tracks on the album. The company operated out of premises in Bolton Street, London W1. 'Gulliver's Travels' remained unreleased, and tracks from it didn't reach the public until the CD era, but RSR produced an album by the Roy Webb Band, 'I Ain't Signing Nothin'', and at least a couple of singles. Unfortunately for label collectors none of them came out on RSR. The album wasn't released in the UK, only in the Benelux countries (on Ariola) and Germany (on Strand); the singles were released here, but on the Orchid label (q.v.) with a credit to RSR as the originating company. The singles were 'My Love Ain't Lovin' Me None' b/w 'Simple Song' by The Reg Webb Band (OR-100; 11/79), and 'Come And Tell Me Why You're Leaving Me' b/w 'Middle Aged Teddy Boy's Lament' by Nick Satan & The Rockin' Devils (OR-104; 3/80). After that the company seems to have struggled, and a winding-up petition was made against it in May 1981, which seems to have spelled the end.
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SLIPPED DISC
An example of a label owned by a major company not coming to anything - well, not coming to very much. 'Music Week' of the 9th of August 1975 announced that Elektra / Asylum (q.v. both) intended to launch a new label, 'Slipped Disc', for one-offs and recordings by UK artists. It was currently in the planning stage, with the logo being decided upon in the USA, and the launch was to take place later in the year. Until that time Slipped Disc product would come out on the Elektra label, the first release being a single by Lou Christie, 'Summer Days' b/w 'The One And Only Original Sunshine Kid'. That single came out the following month, as Elektra K-12188; it also came out in America, but on the Slipped Disc label (E-45270; 11/75). America also got another Slipped Disc single, in the form of Michael Allen's 'The Big Parade' b/w 'Rosemary Blue' (E-45288; 11/75), which didn't get a UK release; but that was the last. When Elektra moved from EMI to WEA in the UK the Slipped Disc label was shelved ('MW', 3rd July 1976), and it remained on the shelf.
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SPAR
The well-known grocery store. 'Music Week' of the 15th of December said that a jingle which had been accompanying Spar adverts was to be released as a single under the title of 'Top Twenty At Spar'. It would have a track by Spark Records artist Edgar J. Allan, 'Got You On The Run' as its 'B' side, and would be available both through records shops and through Spar itself. There's no sign of the single online, which suggests that the release never took place. The Edgar J. Allan track had been issued the previous month as the 'B' side of his 'Happiness Corner' single (SRL-1102; 11/73).
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STAIRWAY
A production company run by independent producer John Samuel, operating out of premises in Victoria House, South Lambeth Road, London SW8. Stairway's possible venture into running a record label was first mentioned in 'Music Week' of the 10th of December 1977. The article stated that the company had a publishing arm, 'Samsong Music', and that it had Gus Yeadon, Dave Weaver and Beverley Saint-Claire on its books. It planned to sign three more acts, cut singles and follow-up product, and then make a distribution deal with a major. Stairway's next mention in 'MW' came in the 'Gossip' column of the 4th of March 1978, in a paragraph which claimed that the label was to debut in May with an album and single by Buster James. The following month an article in 'MW' of the 8th of April said that the company was still looking for two new acts, and that the Buster James album would be out in May or June. May came and went without the album appearing; then 'MW' of the 10th of June announced that Stairway was looking for a licensing deal for a single by the band, 'Take It Or Leave It', which it hoped would come out in mid July. Sadly, no deal seems to have been found. The Buster James records remained unreleased until the band - which is still going (2020) - put the 'Take It Or Leave It' album out on CD themselves. Nothing more was heard of Stairway.
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STUD
A production company, formed by Jack Baverstock and Johnny Goodison. Stud Records had already placed an album by Arc ('Arc .... At This') and couple of singles by Union Express with Decca by the time 'Record Retailer' of the 13th of November 1971 carried an article on it. The article described Stud as a 'Pop production unit' and said that its records were currently on Decca but that a Stud label would follow. Four more Union Express singles came out over the course of the next two years, again with a production credit to Stud Records, as did a single by Rivington Pike, 'With A Little Love' b/w 'I'll Be There' (F-13329; 2/72), but Stud never became a label in its own right.
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THE GREAT BRITISH RECORD COMPANY
Among the snippets of news from London in its 'From The Music Capitals Of The World' section, 'Billboard' magazine of the 21st of June 1975 included a couple of lines saying that Larry Page, the 'boss' of Penny Farthing Records, was launching a new label, 'The Great British Record Company', which was intended to push UK product. The label was to be given a red, white and blue logo, logically enough. Sadly, nothing seems to have come of the plan, and Penny Farthing's UK recordings continued to come out on the Penny Farthing label.
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TOADSTOOL
Presumably intended as a companion to the Mushroom and Cactus labels (q.v. both). 'Music Week' of the 24th of June 1972 broke the news that Chalk Farm Studios - which owned Mushroom and licensed Cactus - intended to launch a new Reggae / Pop label called Toadstool in the summer, and that its first single would be by 'Catina'. The single, 'Don't Stroke My Pussy' b/w 'Version', came out in August, but it was credited to Katina and was on the Cactus label, catalogue number CT-3. Cactus developed into a fully-fledged Reggae label, and the idea of Toadstool seems to have been abandoned.
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TRIPLE 7
'Record Retailer' of the 9th of August 1969 carried a report that, with singer Anita Harris's contract with CBS being due to expire at the end of the month, producer Mike Margolis and Brian Lane were contemplating the launch of their own label with her. The label itself came to nothing, but Triple 7 received a credit as a production company on Harris's next two singles, which came out on Columbia. They were 'Genesis' b/w 'Put On A Little Music' (DB-8846; 12/71), and 'You And I' b/w 'Captain Biscuit' (DB-8962; 12/72). That seems to have been the lot, as far as Triple 7 was concerned, though Margolis continued to produce records by Harris.
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UPTOWN
One which nearly made it. 'Music Week' of the 27th of May 1978 revealed that Uptown Records of Mablethorpe had started its own label, and that the first release would be a four-track EP by the Disco Zombies, a Leicester-based 'New Wave' band. The EP was scheduled to retail at 99p, and would be available through distributors Relay and Stephen Gold. Unfortunately a shortage of pressing capacity at the chosen manufacturing plant led to the release being cancelled. It took ten months for the company to get the master tape back, and the record only became available in September the following year. By that time Uptown had sold its registered trade mark to EMI, as that company was importing Jazz records on a label of that name from America and wanted to own the registration. As a result the Disco Zombies EP came out on the Wizzo label (q.v.) as WIZZO-1. The picture sleeves credited Uptown Records, so presumably they were printed before the change of name.
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URGENT
'Music Week' of the 15th of October 1977 described Urgent as a new indie label, licensed to Arista Records (q.v.) under a long term deal. its address was 29 James Street, London, and it had been formed by Chips Chipperfield and Pete Hawkins. The plan was for Arista to be offered first refusal on any productions, with the remainder being privately pressed and distributed out of the James Street headquarters. The following couple of years saw the release of four singles by The Pleasers and two by Blood Donor, all on Arista with a credit, 'An Urgent Record Production'. Whether because of a lack of rejects or for some other reason - perhaps those two groups took up all the company's time - there were no privately-pressed releases and Urgent never surfaced as a label. The early '80s Urgent label, a vehicle for The Hitmen, doesn't seem to have been any relation. to this one.
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VIXEN
One of two labels planned by importers Vixen Records. As stated under 'FOX' above, 'Music Week' of the 14th of February 1976 announced that Vixen intended to launch two new labels: Vixen, for licensed foreign material, and Fox, for home-grown product by UK artists. The management / agency / concert branch of the Vixen Fox group was looking to give recording deals to five acts, and licensing deals for overseas product were to be sought at MIDEM that year. Distribution was intended to be through Vixen's own set-up. There's no sign that these plans came to fruition.
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WILD CAT
'Record Retailer' of the 20th of March 1970 made the surprising claim that Reggae label Trojan Records (q.v.) was contemplating a Rock 'n' Roll label, to be called Wild Cat. The company did dip a toe briefly into the Pop market, but Wild Cat remained only a tantalizing 'what if'.
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WORKHOUSE
Another projected label from a production company. 'Music Week' of the 3rd of November 1973 said that the Workhouse label would make its debut on the 15th of that month as the result of a deal between Workhouse Productions and A&M Records (q.v.). The releases would be Reggae and Soul, both areas which were under-represented on A&M. Ken Parker's 'We Must Be In Love' b/w 'Wish I Could Make You Mine' and 'Sho-Be-Do-Be Do' b/w 'I Love You True' by Alton Ellis were to be the first two singles, and another, by Billy Cole, was lined up. Workhouse was to be an offshoot of the studios of that name, formerly know as Maximum Sound Studios, and Dave Hadfield was to be the producer of the records. The Parker and Ellis singles duly came out, but on the A&M label, with Workhouse only featuring as a logo. The catalogue numbers were AMS-7092 and 7093 respectively, and they were both issued in November. No material from Billy Cole was released on A&M, but a single 'Extra Careful' b/w 'Bump All Night' surfaced in 1975 on Power Exchange (q.v.), as PX-104, with a credit to Workhouse - but no logo. That seems to have been Workhouse's last production.
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YORK'S PROGRESSIVE LABEL
And finally, a project that didn't even get as far as being named. 'Record Retailer' of the 17th of July 1971 reported that York Records (q.v.) intended to launch a 'progressive' label later in the year, and that the artists on it would include Wooden Horse and Jackie Flavelle. Flavelle released an album, 'Admission Free' (FYK-408) the following year, and Wooden Horse managed two albums and two singles, but all of them came out on the standard York label.
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