Paramount Records – Blind Skeleton

Paramount Records: From Furniture to Foundational Music (1917-1935)

Paramount Records, operating from 1917 to 1935, stands as a significant entity in the landscape of early 20th-century American music. Based in Port Washington, Wisconsin, this label played a crucial role in documenting and disseminating the sounds of its era, particularly through its renowned “race records” series. This collection captured seminal performances by blues luminaries such as Charley Patton, Blind Lemon Jefferson, and Ma Rainey. Paramount’s contributions extended beyond mere audio preservation; they were instrumental in laying the foundation for subsequent musical genres, including jazz, rhythm and blues, and rock ‘n’ roll.

The genesis of Paramount Records, however, deviates from the conventional narrative of music industry evolution. Rather than emerging from established musical hubs or under the guidance of industry veterans, Paramount’s origins lie in an unexpected quarter: the manufacturing sector. Specifically, the label began as an auxiliary venture of the Wisconsin Chair Company, a furniture manufacturer. This unusual parentage serves as a testament to the often unpredictable nature of innovation and cultural development. The transformation of a furniture maker’s side project into a cornerstone of American musical heritage represents a unique chapter in the annals of recording industry history, one that merits closer examination.

The Unlikely Birth of a Record Label (1917-1920)

The story of Paramount Records begins in the workshops of the Wisconsin Chair Company, a thriving furniture manufacturer in Port Washington, Wisconsin. In the early 20th century, as phonographs became increasingly popular household items, the company saw an opportunity to expand its product line. They began manufacturing wooden cabinets to house these new music-playing devices, primarily supplying them to Edison Records.

This foray into the world of recorded music sparked an ambitious idea within the company’s leadership. In 1917, in a bold move towards vertical integration, the Wisconsin Chair Company decided to start pressing their own records. The logic was simple yet innovative: why not provide customers with both the phonograph cabinet and the records to play in it? This decision marked the birth of Paramount Records, initially conceived as little more than a value-added component of the company’s furniture business.

Paramount’s early years were characterized by a focus on mainstream musical tastes of the time. The fledgling label’s initial catalog heavily featured classical music and popular tunes, mirroring the offerings of more established record companies. Recordings of orchestral pieces, opera arias, and contemporary ballads formed the backbone of Paramount’s early output. This conservative approach was likely driven by a desire to appeal to the middle-class white Americans who constituted the primary market for phonographs and records at the time.

Despite its humble beginnings and the initial limitations of its production facilities (records were pressed in a converted butter factory), Paramount quickly established itself as a serious player in the burgeoning record industry. The company’s willingness to experiment with a wide range of musical styles, even in these early years, hinted at the eclectic and influential catalog it would develop in the decades to come. As the 1920s dawned, Paramount Records stood poised at the threshold of a new era, one that would see it transition from a furniture company’s side project to a major force in American music.

Finding Its Groove: The Early 1920s

As the roaring twenties dawned, Paramount Records began to find its footing in the rapidly evolving music industry. The early years of the decade saw a significant shift in the label’s focus, mirroring broader changes in American musical tastes and social mores.

The rise of social dancing as a popular pastime led to an increased demand for upbeat, rhythmic music. Paramount, demonstrating a keen sense of market trends, began to pivot away from its initial concentration on classical and operatic recordings. Instead, the label embraced the new sound of dance orchestras and popular tunes. This shift was exemplified by recordings such as “La Veeda” by the Newport Society Orchestra in 1920, which captured the energetic spirit of the era’s dance halls.

Concurrent with this change in musical direction, Paramount made significant strides in improving its recording techniques. The early acoustic recording method, which involved musicians crowding around a large horn that etched sound waves directly onto a wax disc, was gradually refined. By the early 1920s, Paramount’s engineers had developed techniques to produce clearer, more balanced recordings that better captured the nuances of both solo performers and larger ensembles. This technical progress was crucial in allowing Paramount to compete with larger, more established labels.

The Blues Revolution (1922-1929) and Black Swan Records (1924)

In 1922, Paramount Records made a decision that would forever alter its trajectory and leave an indelible mark on American music history. The label launched its “race records” series, dedicated to recording and marketing music by African American artists primarily for African American audiences. This move was not motivated by altruism but by astute business acumen; Paramount recognized an underserved market with significant potential.

The “race records” series quickly became Paramount’s crown jewel, featuring an unparalleled roster of blues talent. Artists like Charley Patton, often called the “Father of the Delta Blues,” Blind Lemon Jefferson, whose intricate guitar work influenced generations of musicians, and Ma Rainey, the “Mother of the Blues,” all found a home at Paramount. These artists, along with others like Skip James, Son House, and Blind Blake, recorded some of their most influential work for the label. Paramount’s willingness to record raw, authentic performances set it apart from competitors and helped define the sound of early blues recordings.

The impact of Paramount’s blues output on the genre cannot be overstated. These recordings preserved and popularized regional styles, particularly the Delta blues, bringing them to a wider audience. They also set standards for blues performance and composition that continue to influence musicians to this day. The Paramount catalog became a crucial document of African American musical culture in the early 20th century, providing a foundation for the development of jazz, rhythm and blues, and rock ‘n’ roll.

In 1924, amid its blues revolution, Paramount made another significant move by acquiring Black Swan Records. Founded in 1921 by Harry Pace, Black Swan was the first widely distributed record label owned and managed by African Americans. Despite its groundbreaking nature and initial success, financial difficulties led to its sale to Paramount.

The acquisition of Black Swan was significant for several reasons. It eliminated a competitor in the race records market while simultaneously expanding Paramount’s catalog and artist roster. Black Swan had recorded a diverse range of African American music, from blues and jazz to classical performances, which complemented Paramount’s existing offerings.

Paramount integrated Black Swan’s catalog and artists into its operations, reissuing many Black Swan recordings under the Paramount label. This integration brought artists like Ethel Waters and Fletcher Henderson into the Paramount fold, further strengthening its position in the race records market. The merger also symbolized the consolidation of the black music market under white-owned labels, a trend that would continue in the industry for decades.

The period from 1922 to 1929, encompassing both the launch of the race records series and the acquisition of Black Swan, represented the zenith of Paramount’s influence on American music. The label’s blues recordings from this era, in particular, stand as a testament to its significant role in preserving and promoting a crucial chapter of American musical heritage. As the decade drew to a close, Paramount had established itself not just as a successful record label, but as a key player in shaping the sound of American popular music.

The Golden Age of Paramount (1925-1930)

The period from 1925 to 1930 is often regarded as the Golden Age of Paramount Records. During these years, the label reached its creative and commercial zenith, producing an extraordinary body of work that continues to influence American music to this day.

Paramount’s roster during this period read like a who’s who of early blues and jazz. In addition to established stars like Charley Patton and Blind Lemon Jefferson, the label introduced new talents that would become legends in their own right. Louisiana-born Huddie Ledbetter, better known as Lead Belly, recorded several sides for Paramount, including his iconic rendition of “Goodnight, Irene.” The mysterious Delta bluesman Skip James laid down his haunting falsetto and intricate guitar work on classics like “Devil Got My Woman” and “Hard Time Killin’ Floor Blues.” Meanwhile, the powerful voice of Ida Cox graced numerous Paramount releases, cementing her status as one of the preeminent blues singers of the era.

Paramount’s marketing strategies during this period were as innovative as their recording output. Recognizing the importance of the African American press, the label placed regular advertisements in publications like the Chicago Defender. These ads, often featuring vivid, hand-drawn illustrations, became an art form in themselves. Paramount also distributed colorful posters to record stores and published its own mail-order catalog, “The Paramount Book of the Blues,” which included artist biographies and lyrics alongside record listings. These marketing efforts not only boosted sales but also helped create the mystique that still surrounds many of Paramount’s artists.

The influence of Paramount’s Golden Age on American music cannot be overstated. The label’s recordings from this period preserved musical styles that might otherwise have been lost to time, particularly the Delta blues. These records became the foundation for much of what followed in popular music. The raw, emotional performances captured by Paramount influenced not only subsequent blues artists but also the early rock ‘n’ roll pioneers of the 1950s. The label’s willingness to record a diverse range of regional styles also contributed to the cross-pollination of American musical forms, helping to shape the eclectic nature of 20th-century popular music.

Moreover, Paramount’s success demonstrated the commercial viability of African American music, paving the way for future labels and artists. The label’s race records series helped establish blues and jazz as significant commercial genres, contributing to their eventual recognition as uniquely American art forms.

As the 1920s drew to a close, Paramount stood at the pinnacle of the race records market. Its catalog represented a vital document of African American musical culture, and its influence extended far beyond its primary audience. However, as the new decade dawned, Paramount would face challenges that would ultimately lead to its downfall. The Golden Age was coming to an end, but the music recorded during this period would ensure Paramount’s lasting legacy in the annals of American music history.

Challenges and Decline (1931-1935)

The dawn of the 1930s brought a series of challenges that would ultimately lead to Paramount Records’ demise. The label, which had thrived during the Roaring Twenties, found itself ill-equipped to navigate the turbulent economic and technological changes of the new decade.

The Great Depression, which began with the stock market crash of 1929, had a devastating impact on the recording industry as a whole, and Paramount was no exception. As unemployment soared and disposable incomes plummeted, consumers had less money to spend on luxuries like phonograph records. Paramount’s primary audience, working-class African Americans, were particularly hard hit by the economic downturn, leading to a sharp decline in sales of race records. The label struggled to maintain its extensive roster of artists and ambitious recording schedule in the face of dwindling revenues.

Concurrent with the economic challenges, the recording industry was undergoing a technological revolution. The introduction of electrical recording techniques in the mid-1920s had already begun to render Paramount’s acoustic recording methods obsolete. By the early 1930s, the rise of radio as a popular medium for music consumption further disrupted the market for recorded music. Paramount, with its outdated equipment and production methods, found it increasingly difficult to compete with larger labels that had more readily adopted the new technologies.

Conclusion

The story of Paramount Records is a testament to the unpredictable nature of innovation and cultural impact. From its unlikely beginnings as a furniture company’s side venture to its position as a cornerstone of American blues and early jazz, Paramount’s journey mirrors the dramatic changes in American society and culture during the early 20th century.

In less than two decades, Paramount evolved from pressing generic popular tunes to recording some of the most influential blues artists of all time. The label’s willingness to take risks, its astute recognition of untapped markets, and its commitment to authenticity in its recordings allowed it to punch far above its weight in the competitive record industry of the 1920s and early 1930s.

Paramount’s enduring impact on American music cannot be overstated. The label’s race records series, in particular, preserved musical styles and performances that might otherwise have been lost to time. The raw, emotional power of Charley Patton’s Delta blues, the intricate guitar work of Blind Lemon Jefferson, and the commanding presence of Ma Rainey were all captured for posterity on Paramount recordings. These records not only documented a crucial period in the development of blues music but also laid the groundwork for the rock ‘n’ roll revolution that would follow in the 1950s.

Moreover, Paramount’s success demonstrated the commercial viability and artistic value of African American music, paving the way for future labels and artists. The label’s innovative marketing strategies, including its vivid advertisements in the African American press, helped create the mystique that still surrounds many early blues artists.

While Paramount Records may have been a victim of the economic and technological changes of the 1930s, its legacy lives on. The music recorded by Paramount continues to inspire and influence musicians across genres. The label’s output remains a vital resource for musicologists, historians, and anyone seeking to understand the roots of American popular music.

In the end, the story of Paramount Records reminds us that great art can emerge from the most unexpected places. A furniture company in Wisconsin may seem an unlikely birthplace for a musical revolution, but in capturing the sounds of early 20th century America, Paramount Records earned its place in the pantheon of music history. Its journey from phonograph cabinets to the bedrock of American blues is a uniquely American story of innovation, opportunity, and the power of music to transcend its origins and shape a nation’s cultural landscape.