Neil Simon's Rumors, directed by Eyawn Harry. At a large, tastefully appointed Sneden's Landing townhouse, the Deputy Mayor of New York has just shot himself. Though only a a flesh wound, four couples are about to experiencea severe attack of farce. Gathering for their tenth wedding anniversary, the host lies bleeding in the other room and his wife is nowhere in sight. His lawyer Ken and wife Chris must get 'the story' straight before the other guests arrive. As the confusions and miscommunications mount, the evening spins off into classic farcical hilarity.
Rep. Peter Welch (D-Vt.), a co-sponsor of the Marino bill, noted that the DEA’s use of its authority to freeze drug shipments from company warehouses began to decline sharply after 2011, years before the new law was enacted.
Cadence started releasing singles in early 1953, with Julius LaRosa's "Anywhere I Wander." Archie
Bleyer, the owner of the record label, used LaRosa's birth date (January 2, 1930) as the record number
(1230) for his first issue. For almost the first year, all the Cadence singles were by LaRosa, and Bleyer
even used the same series to put out a couple of Julius LaRosa's EPs. When it finally came time to
release a non-Julius LaRosa single in October, 1953, Bleyer started a new series with 1420, and issued
"Foolish Waltz"/"Inca Dance" by harmonica virtuoso John Sebastian, whose son would found the Lovin'
Spoonful a dozen years later.
The 1320 series became the main series for singles, and the 1420 series was only used sporadically for three singles over the next three years. In fact, by the time the 1320 series had reached 1420, the earlier issues were forgotten or ignored, and new singles with those numbers were issued.
Bleyer later started a separate series for EP issues, the CEP-100 series, which lasted from 1957 to 1961. The extended play 45 rpm (EP) was popular only from about 1955 to about 1961, and in some ways was a passing fad, replaced by Jukebox 33 "little LPs" in the early 1960s. Cadence issued at least three of these jukebox 33s, but apparently passed up another of the late '50s-early '60s fads, the 45 rpm stereo single. They did issue a few stereo 33 singles, however.
As far as stereo recordings were concerned, there was no single date that Cadence switched to stereo recordings, primarily because Bleyer recorded in a variety of studios in several cities, each with its own equipment capabilities. We have tried to indicate with an asterisk (*) those single sides that have been issued elsewhere -- mostly on LPs -- in true stereo. For a listing of where these songs have appeared in stereo, please see the Cadence Album Discography.
The first Cadence singles label was a red-orange with black print, with "Cadence..." at the top. This label started with the first single, 1230, but by 1232, Bleyer had designed a new maroon label (see below). Not one to waste money, the label blank for the first label was used occasionally even after the maroon label was designed, and is known to have been used at least as late as the early pressings of "Hernando's Hideaway" on Cadence 1241. Early promotional versions of this first label (at right, above) were on white labels with black print.
By the third single, 1232, Bleyer switched to a new label design. The early 78s were red with silver print, but the 45s were a maroon with silver print, both with "Cadence" on the bottom around the edge of the label.
After 1232, the Cadence labels no longer had the drawing of Julius LaRosa at the top, even for LaRosa's singles. Instead, the artists' name was in large letters at the top of the label, and "Cadence" in very small letters at the bottom. This design, maroon with silver print, was used for both 78s and 45s, and promotional copies were issued with black print on a white label stock. This label continued to be used until some time between 1241 and 1247, when Cadence switched to the well-known "metronome label" described below.
The third label was the "metronome label," featuring a silver top of the label with a metronome with the word "cadence" in maroon print. The bottom of the label was maroon with silver print. From the start in 1953, Cadence issued both 78 rpm and 45 rpm singles. They issued 78s at least until early 1959, as the Everly Brothers' "Take A Message To Mary"/"Poor Jenny" (Cadence 1364) is known to exist on 78.
Cadence used a variety of labels for disc jockey release. There was a black-and-white version of the metronome label, but that was only used some of the time. Even more plentiful are "Advance Disc- Jockey Pressings" of various sorts, even some using typed labels such as shown at left. Surprisingly, the disc with the typed label is not an acetate, as is usually the case with typed labels, but an actual vinyl pressing of the record.
Two other variations are shown at left. There were several others. Actually, there are so many variations of the "advance pressing" labels that Cadence may have had them designed and printed up individually, using a plain white label blank.
Different pressing plants also resulted in slightly different fonts and label copy positioning for labels. Both the copies at left are originals. Note the different placing of the record number, for instance.
Cadence was not known for colored vinyl pressings (except for the Andy Williams LP noted on the Cadence Albums Discography page). At left, the first 45 is a regular issue, while the blue vinyl 45 at right is a counterfeit. A close examination of the blue vinyl 45 shows a fuzzy label with too much red color, poor silver coloring, the logo cut off by the center hole (something we have not seen to this extent with legitimate issues), and shoddy vinyl with bumps and pits. If anything, Archie's issues were on quality vinyl. Even the (legitimate) red vinyl Andy Williams album To You Sweetheart Aloha was pressed on top quality vinyl.
Cadence issued a two-EP set called 8 Top Hits in 1955 using a blue and silver label. The label included the notation that this was the "Blue Label Series." There was also a 12" LP and a 10" LP with the blue label, but none of the regular 45s are known to us to have used the blue label. In mid-1961, somewhere between issues 1402 (maroon label) and 1404 (red label), the regular Cadence label switched from the maroon metronome label to a red label with black print and a black band around the edge with "CADENCE RECORDS" written three times.
Cadence also issued several stereo 33s in a promotional package for the stereo juke boxes in 1961. The package at left was a kraft-colored bag with five stereo-33 singles, a card showing the cover of the new LP Never on Sunday , and a sheet of juke box strips. This package was issued in 1961 just before the changeover to the red label.
Cadence also issued several "Little LP" 33s, each with six or seven tracks, again for juke box use, but these were mono. Like the juke box package shown above, the first "Little LP" 33s were also issued in 1961, but after the regular labels had changed from the metronome label to the red label. The first six Little LPs used a gold color variation of the red Cadence label. By late 1962, the label used on the Little LP issue of The First Family was the regular Cadence red label.
Cadence had a special paper sleeve for their 45s, as did many other labels. They also issued picture sleeves from time to time, such as the black-and-white sleeve used with Cadence 1337.
Chordettes black-and-white picture sleeve featured group member Janet Ertel's daughter Jackie and Jeff Kron. This is from Cadence 1366.
Cadence started using color sleeves at about 1349. Shown are the sleeves for 1349 and 1374.
Cadence was not above issuing the same photo on both sides of two different picture sleeves. Here are the sleeves for 1369 and 1376.
Johnny Tillotson picture sleeves for 1377 and 1391.
Small hole on Cadence CEP-1003 may indicate a non-US series. Late in the life of the label, Cadence began a reissue 45 series, using a gold counterpart to the red label, and using the 1600 catalog series. There were twelve singles issued in the Cadence Gold series, all released in November, 1961.
One commonly-asked question is, "Who was that singing with Andy Williams on I Like Your Kind of Love? [Cadence 1323]. The label says that Andy's girlfriend is played by Peggy Powers, but I've never heard of her before or since. What's up with that?"
A recent posting on the web notes that Peggy Powers was a stage name for a private voice teacher in New York whose real name was Carmen Montoya. Archie Bleyer was famous for having all kinds of extra people in the studio, experimenting with people doing sound effects, male, female, or mixed backing vocal groups, and in this case, a female duet partner for Andy. From the absence of further recordings on the label (or any other, as far as we can tell), Ms. Powers was apparently hired as a studio singer for this one session.
We would appreciate any additions or corrections to this discography. Just send them to us via e-mail . Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with Cadence Records, which is currently owned by Barnaby Records. Should you be interested in acquiring records listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 1999, 2011 by Mike Callahan.