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Topic: Scepter Records

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	The Scepter/Wand Story
		Scepter Records was formed in 1959 in New York, and Florence Greenberg was determined to do a lot of the promotion for her artists herself.
		It was recorded in Beltone Studios in Manhattan, with Doris Coley singing the unforgettable opening line, and Florence and her son Stanley co-producing.
		She brought the record to radio stations and made friends with popular deejays such as Douglas "Jocko" Henderson and "Murray the K" Kaufman (these friendships are reflected in several of the first dozen albums on Scepter).
	www.bsnpubs.com /scepter/scepterstory.html (3943 words)

	Jambands.com \| Columns::Mike Gruenberg \| In My Life: BJ Thomas Interview \| 2002-08-24
		BJ The first record I did was in 1960 and I was 18 years old, it was called "The Lazy Man." We had a band and I started singing when I was 15.
		After we recorded it, I told Steve that I didn't think there was a hit on it, but on the other hand, I wasn't in the best of shape at that point in my life, so my judgment may not have been too sharp.
		Scepter didn't have the money to promote and even though Paramount seemingly had the money, but they were not committed to this project.
	www.jambands.com /Columns/MGruenberg/content_2002_08_24.00.phtml (3617 words)

	Tim Lawrence Articles
		This was the first time that any record company had attempted to sell the "giant single," and the Salsoul head compounded the risk by employing a DJ who had never set foot in a studio to mastermind the reediting process.
		The record had begun life as a non-commissioned remix by Howard Metz, the DJ at Circus Maximus in Los Angeles, who received a promotional copy of the seven-inch and decided to reinvent and extend the three-minute-five-second vocal version and the four-minute-forty-second instrumental flip side (both of which had been mixed by Cheren).
		For sure, mixers had already edged their way into the recording industry, but Gibbons was the first to get his hands dirty on the cutting room floor, and his triumphant intervention meant that he and his comrades could now do more than tell record companies which songs were likely to make it in the clubs.
	www.timlawrence.info /articles/2005/keep_on.php (2816 words)

	Wand Records - Wikipedia, the free encyclopedia
		Wand Records was started by Florence Greenberg in 1961 as a subsidiary of Scepter Records.
		In 1976 Florence Greenberg decided to retire from the business and sold her record labels to Springboard International.
		Artists on Wand Records included artists like The Isley Brothers and The Kingsmen.
	en.wikipedia.org /wiki/Wand_Records (104 words)

	NYNO Records: Allen Toussaint
		In his early twenties, the young musician was hired by the local Minit Records to supervise its recording activities.
		Toussaint’s output in the seventies included some of the most seminal recordings of the funk and disco era, including Dr. John’s "Right Place, Wrong Time" and Labelle’s "Lady Marmalade," while his horn arrangements were featured on such legendary rock recordings as The Band’s "Rock of Ages," Paul Simon’s "Kodachrome," and others.
		In New Orleans, Toussaint is revered for his distinguished record in public service, consistently devoting his talents to a variety of community and charity programs including New Orleans Artists Against Hunger and Homelessness, an organization he co-founded with Aaron Neville.
	www.nynorecords.com /allen.shtml (1319 words)

	And We Danced - West End Records Profile
		West End Records is known as one of the most innovative of the independent record labels that helped shepherd the sound of Disco from its mass commercial collapse in the late 70's to a rebirth in the early 80's as a key element of Garage and House.
		Paradise Garage was opened by Michael Brody, partner of Mel Cheren, and West End Records released a number of mixes by legendary DJ Larry Levan.
		West End Records was formed in the aftermath of the closing of Scepter Records, one of the key record labels in the earliest days of Disco.
	www.andwedanced.com /labels/westend.htm (640 words)

	And We Danced - Prelude Records Profile
		Prelude Records closed down in 1986 and Schlacter sold the label's catalogue to Canada's Unidisc Records, but Prelude continues to be well remembered among Dance music fans and historians.
		Marvin Schlachter worked at Scepter Records for nearly a decade until leaving to head a new label, Janus Records, formed as a subsidiary of Chess Records.
		The recordings featured the vocals of Jocelyn Brown, Christine Wiltshire and Gina Tharps, but, according to Marvin Schlachter, the production and mixing talents of Patrick Adams and Francois Kevorkian were the real stars.
	www.andwedanced.com /labels/prelude.htm (613 words)

	CMT.com : The Esquires : Biography
		It was Sheppard's intention to record the Esquires on Constellation, on their own single and backing Edwards on one of his records, but the failure of the latter single, coupled with the collapse of Constellation late in 1966, made for some changes.
		The first was a shift to the Bunky label, which Sheppard salvaged out of the wreckage of Constellation, and the second was the addition of Millard Edwards to their lineup.
		They left Scepter after one year and were back with Bunky Sheppard beginning in 1969, before jumping briefly to Capitol in 1970 for one single ("Reach Out").
	www.cmt.com /artists/az/esquires_soul_/bio.jhtml (814 words)

	curtis blandon
		I signed a record deal with Tower Records in 1967, (Tower Records is a subsidiary of Capitol Records, also known as the 'house that Nat built").
		At the time, Scepter Records was going through changes with their number one recording artist, Dionne Warwick.
		Tired of recording records that were considered hits, and ultimately placed on shelves or improperly promoted; I decided to take a break from recording and formed a band.
	www.curtisblandon.com /bio.html (2085 words)

	Dance Music Hall of Fame (Site not responding. Last check: 2007-10-01)
		He was instrumental in having Scepter be the first record company to create a 12-inch single for DJ'S. This innovation was greeted with immediate success from all and eventually saw its idea being picked up by other labels.
		He is also acknowledged as one of the first contributors to the still on going For The Record Record Pool.
		The latter earned Scepter Billboard nominations for single of the year and new artist of the year as well as a nomination For Mel as best edit of the year.
	www.dmhof.com /dmhofi2005/producers/melcheren.html (573 words)

	BJ Thomas (Site not responding. Last check: 2007-10-01)
		Collaborating with songwriter Mark Charron, a member of the Triumphs, the group recorded an original song, "Billy And Sue", and released it on the Bragg label without national success (it was re-released on Warner Brothers Records in 1964 but again failed to take off).
		It was released on Scepter Records, a New York company and vaulted to number 8 on the national singles chart in the USA.
		Although he switched record company affiliations frequently, moving from ABC to MCA in 1978, to Cleveland International in 1983, and to Columbia Records in 1985, Thomas maintained his status in that field until the late 80s.
	musicstore.mymmode.com /artist.do?artistID=3934 (512 words)

	West End Records (Site not responding. Last check: 2007-10-01)
		At one point ABC bought Dunhill Records which allowed Cheren to work with artists like The Mamas and the Papas, Three Dog Night and Richard Harris (the artist behind the original version of "MacArthur Park").
		During the Garage years, Cheren's relationship with the club's influential DJ Larry Levan blossomed, resulting in some of the most memorable records to come out of the late Seventies and early Eighties.
		Summer '98 saw the first new release from West End Records -- Taana Gardner's old-school-meets-new school single "I'm Comin'." West End continues to remaster and rerelease their rare classics, remixes of classics and is currently preparing new artists for their West End Records debuts such as Linda Clifford and Marty Thomas.
	www.westendrecords.com /staff/mel.php3 (1067 words)

	Prelude Records @ Disco-Disco.com
		My involvement with Scepter Records was from the very beginning having started it with Florence Greenberg and the music at that time was certainly different than it was when the Disco era came about.
		I think major record companies for the most parts are tremendous marketing machines and that they obviously depend upon the smaller labels to find and start new directions in music.
		MicMac Records was the largest and leading label of Freestyle music in the late-80s to the early-90s and their most famous artists were Johnny-O and Cynthia.
	www.disco-disco.com /labels/prelude.shtml (3785 words)

	Spectropop Group Discussion Archives: Digest Number 699 - 07 Dec 2002
		Part of my job at Scepter records was to write new songs to existing background tracks that would be used as a B-side for new records.
		I'm researching an article on a record from c.'72, by The Dickens, which was pressed in promo copies but withdrawn at the last moment.
		As far as the Archies, suffice it to say that, unlike Ron Dante, Toni was not paid royalties on the records, so there was no particular reason for her to stick with it.
	www.spectropop.com /archive/digest/d699.htm (2858 words)

	Beg Me by Various Artists: Reviews (Site not responding. Last check: 2007-10-01)
		Big Apple-based Scepter Records was among the handful of independent labels to have survived the British Invasion of the 1960s.
		Their longevity was rooted in a solid roster with something for every taste, ranging from the intricate harmonies of R&B vocal girl groups to loose raucous frat rock with practically everything in between.
		Remarkably, Scepter was not helmed by a business-savvy entrepreneur or a veteran music industry renegade.
	www.mp3.com /tracks/332973/reviews.html (133 words)

	JUDY CLAY
		Like many singers who started with gospel, she moved to soul in the '60s, releasing a string of non-hit singles for the Ember, Lavette, Scepter and Atlantic labels which are esteemed by British "Northern Soul" fans today; she also sang backup vocals for soul singers like Wilson Pickett and Solomon Burke.
		But none of her recordings seemed to catch on, the intensity of her voice making her, perhaps, an acquired taste for the pop market.
		Atlantic signed Clay and paired her with Vera again to record "Reaching for the Moon." Like their earlier duets, the song caught on with the fl community and seemed destined to be a breakout hit.
	staxrecords.free.fr /judyclay.htm (2685 words)

	[No title]
		I got a job working for Scepter Records, an R & B label, when I was 19.
		To take a song that was recorded in the 1940's and to have the original trumpet player play on the song again, I thought that was a cool thing.
		She was the co-producer of these albums and responsible for almost all of these recordings in a sense in terms of her take on what songs to do.
	www.allaboutjazz.com /php/article_print.php?id=16404 (2151 words)

	Beat Street Records - The Central Satellite (Site not responding. Last check: 2007-10-01)
		If one's tracking down the roots of disco then you are bound to bump into the handful of releases that Scepter Records put out ahead of all of the competition.
		Although Epic Records never put out too many releases during the early years, this is none the less further evidence that the major labels jumped onto the 12" disco bandwagon with a vengeance.
		In 1976 The Gentlemen and Their Lady was precisely the sort of record that was central to the two camps of Northern Soul fans.
	www.beatst.com /asp/bscollector2.asp (1104 words)

	The Renaissance Center - Home - News - BJ Thomas 2004
		Thomas became Scepter’s most successful solo artist as he followed up with chart hits Eyes of a New York Woman and Hooked on a Feeling before exploding with the Burt Bacharach/Hal David-penned Raindrops, which Thomas performed on the 1970 Oscar telecast.
		After Scepter Records went out of business, Thomas went a new country-pop direction when he landed at ABC Records and hit with (Hey, Won’t You Play) Another Somebody Done Somebody Wrong Song in 1975.
		Throughout his career, Thomas had also recorded inspirational songs on the Myrrh label, earning platinum records and becoming one of the top selling contemporary Christian artists of the time.
	www.rcenter.org /Home/News/Concerts/BJThomas2K4.asp (812 words)

	Inside The HITs: Book Part I
		Their sound is quite harsh and metallic, but in fact the entire record is overly bright, perhaps due to poor acoustics or a dull studio playback system.
		Elvis’ records, however, were aimed alternately at boys and girls.
		Such discussions may seem gratuitous, but someone has to design a record jacket, marketing campaign and come up with a “look” that connects with the right group of record buyers.
	www.bostonskylinerecords.com /ith/book_part01.htm (1674 words)

	Colonial House Inn
		Often referring to himself as a "charity junkie," Mel was first recognized in 1982 when he became actively involved with the Gay Men's Health Crisis (GMHC).
		Summer '98 saw the first new release from West End Records - Taana Gardner's old-school-meets-new school single "I'm Comin'." West End continues to remaster and rerelease their rare classics, remixes of classics and is currently preparing new artists for their West End Records debuts.
		As C.E.O., Cheren has appointed Kenton Nix as President of Payback Industries, Inc. Nix produced many of West End Records mega-hits including Taana Gardner's "Heartbeat" which sold over 800,000 12" and 7" records combined and was the song sampled in Ini Kamoze's "Here Comes The Hotstepper" which in 1996 went to #1 worldwide.
	www.colonialhouseinn.com /melcheren.htm (1112 words)

	CMT.com : Don & The Goodtimes : Biography
		Don and the Goodtimes were a Pacific Northwest group formed in 1965 by Don Gallucci (keyboards) and Bobby Holden (drums), veterans of the band scene in Portland and the surrounding area.
		They cut records for Scepter Records' Wand label and for the
		The group didn't find a national audience, however, until Dick Clark chose them as the house band on his 1967 ABC afternoon program Where The Action Is. They made the move to Los Angeles and a contract with Epic Records followed that year, along with a single and an album.
	www.cmt.com /artists/az/don_the_goodtimes/bio.jhtml (240 words)

	West End Records @ Disco-Disco.com
		Mel had been the Head of Production for Scepter Records and he was actually one of the guys who started the Disco Era...
		This was still at Scepter and as he says himself; "The idea came from Tom Moulton, because he suggested that if we put the record on 12" we could spread the grooves and make it hotter for the club DJ's.
		This record, Mel tells me, was, according to Grand Master Flash, the first record to be used in the first rap and scratch records.
	www.disco-disco.com /labels/westend.shtml (3133 words)

	Irving/Almo Music
		In 1965, Wayne went to Scepter Records with Ed Silvers, where he produced the Shirelles, the Kingsmen and the Guess Who.
		He spearheaded campaigns that resulted in multiple recordings by Three Dog Night, the Lettermen, Bobby Sherman, the Jackson Five, Johnny Winter and Art Garfunkle.
		His "Raiders" were also responsible for over 50 "cover" records of "Theme From Summer '42" before the composition received a Grammy or Academy Award nomination.
	artiewayne.com /pg6.html (482 words)

	Scepter - OneLook Dictionary Search
		noun: the imperial authority symbolized by a scepter
		Phrases that include Scepter: scepter records, star and scepter prophecy, to wield the scepter, toyota scepter
		Words similar to Scepter: sceptered, sceptering, sceptre, verge, wand, more...
	www.onelook.com /?w=Scepter&ls=a (185 words)

	My First Band - Devoted to amateur garage bands from the 60s.
		We all were pushing our records at the WMCA good guy shows.
		One night the back up band that was hired to accompany Percy Sledge and Lenny Welsh didn't make it to the gig because of a car accident, a pretty bad one.
		The studio up at RCA was huge, and part of the office had a great view of the city at night.
	www.myfirstband.com /FirstBandJEdge.html (525 words)

	Scepter Album Discography
		A fl oval with a gray and white outline coming from the left and going around the center hole, "SCEPTER RECORDS" in white on this fl oval to the left of the center hole.
		"SCEPTER RECORDS" was in fl in a white oval rimmed in fl above and to the left of the center hole.
		We have no association with Scepter Records, which is currently inactive.
	www.bsnpubs.com /scepter/scepter.html (3186 words)

	City Hall Records:Catalog Search Results (List) (Site not responding. Last check: 2007-10-01)
		This is the first and only CD to carry all the major early hits of this important '60s/'70s U.S. chartmaker.
		Also features his Northern Soul favorite "I Don't Have A Mind Of My Own." These recordings were produced by such important names as Burt Bacharach, Chips Moman, Huey P Meaux and Stevie Wonder.
		All text and graphics © 2002 City Hall Records - All Rights Reserved
	www.cityhallrecords.com /item/1670.htm (74 words)

	Scepter Records Hits & More 1964-1973 by B.J. Thomas CD
		Scepter Records Hits & More 1964-1973 by B.J. Thomas CD Artist
		Scepter Records Hits & More 1964-1973 - Import CD
		Remember to focus your comments on Scepter Records Hits & More 1964-1973 - Import CD.
	cduniverse.com /search/xx/music/pid/6746474/a/Scepter+...+1964-1973.htm (250 words)

	LP Cover Gallery and Track Listings - Page 16
		Marisa's note: The track listings are slightly different, but these are exactly the same recordings*.
		I'm using the track listings from the Scepter album.
		Marisa's note: Again, these are the same recordings* on different labels.
	www.radiobastet.com /covgal/covgal16.html (457 words)

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