Celluloid began by releasing American no wave and French avant-garde pop by artists such as Métal Urbain (who were signed to London's Rough Trade Records in the UK), Mathematiques Modernes, James Chance and Alan Vega.
Thanks to the guidance and participation of now rising producer, Bill Laswell, the 1982 catalogue had expanded to encompass early hip-hop artists such as Afrika Bambaataa (under projects Time Zone, and Shango), Beside (Bernard Zekri's wife), Fab 5 Freddy, Grand Mixer DXT, Phase II -all recorded at Martin Bisi's studio called then O.A.O.
Much of the hip-hop projects was produced by the group Material, who had already recorded a number of sides for Celluloid, and whose prime mover Bill Laswell would play an increasing role in the label's fortunes for the next five years.
As well as funding Laswell-related productions by Praxis, Time Zone, Shango, B-Side, Deadline, Last Poets, and even a resurrected Jimi Hendrix (appearing posthumously with Lightnin' Rod on the bluesy 12-inch (300 mm) "Doriella Du Fontaine"), Karakos also started a number of associated labels.
Moving Target catered for the niche post-rock/reggae market, releasing material by Sly and Robbie, Yellowman, Dennis Bovell, Blurt, The Fleshtones, Splatcats and, incredibly, The Flying Pickets.
The label, meanwhile, continued to release records that did not involve Laswell; this eclectic selection included Eric Dolphy's Iron Man and Conversations, John McLaughlin's Devotion, and Welcome To Dreamland, a compilation of Japanese pop overseen by Fred Frith.
African music also featured heavily in Celluloid's mid to late eighties output: Kassav, Toure Kunda, Fela Kuti, and Mahlathini and the Mahotella Queens all released albums through the label.