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Era Records was an independent American record label in Hollywood, California. It was founded by Herb Newman and Lou Bedell in 1955 as a pop, country and western, and jazz label. In 1959 Bedell sold his interest in the label to Newman. Era had a No. 1 hit in 1956 with Gogi Grant's "The Wayward Wind" written by Newman. Musicians with hits on Era include Ketty Lester ("Love Letters"), Larry Verne ("Mr. Custer"), Donnie Brooks ("Mission Bell"), Dorsey Burnette ("Tall Oak Tree"), Art & Dotty Todd ("Chanson D' Amour"), and The Castells ("So This Is Love").

Rialto Records was a record label based in Chicago, Illinois in the 1920s. It was owned by the Rialto Music House (330 S State St), sold at their stores at promotional prices. The records themselves were pressed by Marsh Recording Laboratories (Suite 625 Kimball Building, 306 South Wabash Avenue, Chicago, Illinois). The most famous record they produced was the only release known of Jelly Roll Morton's unaccompanied recording of "London Blues," made in 1924.

Tower Records was an American record label active from 1964 to 1970. A subsidiary of Capitol Records, Tower often released music by artists who were relatively low-profile in compared to those released on the parent label, including artists—such as The Standells and The Chocolate Watchband—later recognized as "garage bands". For this reason Tower is often associated with the garage rock phenomenon of the 1960s.

Schirmer Records was a United States based record label, active in the 1940s and 1950s. Schirmer released recordings of jazz, swing music, and classical music, by artists ranging from Eddie Condon to Rudolf Friml.

Broadcast Twelve Records was a United Kingdom based record label introduced in 1928 to partner the regular "Broadcast" brand records introduced in 1927. These brands replaced the Aco Records label. The manufacturer of the discs were the Vocalion Gramophone Company. "Broadcast" discs were 8-inch (later increased to 9-inch) and "Broadcast Twelve" discs were 10-inch 78rpm gramophone records, but with small labels and a fine groove pitch so they would play as long as regular 10- and 12-inch discs respectively. They ceased production in 1934.

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Pathé introduced a line of "needle-cut" records, at first only for the USA market in 1920. The needle-cut records were laterally-cut discs designed to be compatible with standard phonographs, and they were labelled Pathé Actuelle. In the following year, these "needle-cut" records were introduced in the United Kingdom and within a few more years they were selling more than the vertical Pathés, even on the continent. Attempts to market the Pathé vertical-cut discs abroad were abandoned in 1925, though they continued to sell in France until 1932.

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Fire Records was an American independent record label, set up in 1959 by Bobby Robinson. Amongst others, it released records by Lightnin' Hopkins, Elmore James, Buster Brown and Arthur Crudup. At one point it was thought Fire had issued the last commercial 78rpm disc in the United States. Although this has been dis-proven, the label is still known for their late-issue 78s.

Clover Records was a United States based record label of the 1920s. According to their labels, Clover Records were manufactured by "The Nutmeg Record Corporation", which was part of the Emerson-Consolidated corporate group. Much of Clover's output were pressed from masters originally recorded by Emerson Records and Grey Gull Records. The output consisted primarily of dance music and popular vocals.

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Everest Records was a record label based in Bayside, Long Island, started by Harry D. Belock and Bert Whyte in May 1958. It was devoted mainly to classical music.

The Standard Talking Machine Company was an American record label created in October 1901 and operated until March 1918. The Chicago, Illinois based company distributed several models of phonographs from Columbia Graphophone Company parts and issued single-sided and double-sided disc records from Columbia Records masters. Despite the label name, the discs were not quite ’Standard’; the spindle hole at the center of the discs was 9/16 inch, larger than the industry standard. This made discs produced by other companies such as Victor and Columbia unable to be played upon Standard Disc phonographs, entrapping the buyer into purchasing only Standard Disc records.

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