These pages are just notes about the labels which may be found on 78s. Click on the label to see a larger image. Many labels have more pictures, information and sometimes listings which may be found by clicking on the link.  I have included labels from all periods, not just the 1920s and 1930s, just because I find them all interesting!  
         All label scans are from my own collection unless otherwise noted. Information about the labels is from various sources, including my own researching, but Brian Rust's "The American Record Label Book" was very useful as was Don Taylor's "The English 78 Picture Book" and various articles by Frank Andrews and Arthur Badrock in "Hillandale News" and "The Talking Machine Review".           
        In order to make the pages more managable (and quicker to load), I have split this section into alphabetical parts. Click on the appropriate letter below to see the section you want.      

A   B   C   D   E   F   G   H   I   J   K   L   M   N   O   P   Q   R   S   T   U   V   W   X   Y   Z

Label	Label Photo	Other
Gaiety (Australian) Gaiety in Australia issued material from Vocalion similar to ACO in Britain. American matrices were from Vocalion and Gennett. Catalogue numbers are in a P-100 series and seem to date from the later ACO period of about 1926-27. My thanks to Derek Kell for the label scan.
Gallotone (South African) A long-established label which is still in existence today, having been started in 1926 by Eric Gallo. The records themselves were made in England until 1950 when the first pressing planet was opened just outside Johannesburg. The example shown looks like it was made by Decca and probably dates from the late 1940s. In 1985 Gall joined forces with GRC (Gramophone Record Company) to form Gallo-GRC; the GRC part was subsequently dropped so that the company is now Gallo Music Group. My thanks to Fredrik Tersmeden for supplying the scan and information.
Gamage (GB) Gamage was produced by The British Homophone Company for A. W. Gamage Ltd, of Holborn, London. They are very rare nowadays and little is known about what may be found on this label, or for how long it was available. They use the same source of masters as Homochord, i.e. English Vocalion, American Vocalion and possibly Emerson, too. The catalogue numbers are in a G-600 series and they don't quite seem to reach G-700.
Gem (USA) A hard-to-find label dating from the early 1930s, Gem was pressed by RCA Victor, for Crown Records, using Crown masters. The catalogue numbers were the same as the equivalent Crown, but it should not be assumed from this that all Crown records were also available on Gem, (or the reverse, for that matter).
Gennett (USA) The Starr Piano Co of Richmond, Indiana decided to launch their own record label in 1917 and named it after the surname of the principals of the company. They were the Gennett brothers, hence the label name. The records were initially fine-grooved vertical cut discs with a 5-minute playing time, but  after the end of WWI, the label switched to the more conventional lateral cut. The catalog series started at 4501. From <ay 1925 to January 1927, there was a red-label series which ran from 3001 to 3412, followed immediately by the rare "Elecrobeam" series which started at 6001 and ran until 7324 by the end of 1930, when the last commercial records were issued.
Globe (Australia) Globe records were pressed by the Homophon company for sale in Australia during the pre-WWI years. Masters from both Beka and Favorite were used. My thanks to Derek Kell for providing the label scan.
Globe (USA) There are two distinct Globe records in America. The first was produced by Arto Records at the start of the 1920s. The had the same catalog as Arto, but with the first digit a 7 instead of a 9. There was also a K-1 series that ran for about 100 issues. In 1922, production was taken on by Grey Gull records (see example) and continued until the late 1920s using the usual Grey Gull material.
Globos (GB) These records date from 1906-7 and were available from Frank Rauth or 9, Christopher Street, Finsbury Square, London. They were allegedly indestructable and cost 2/- for single sided and 3/- for double sided discs.
Gnom (Germany) A six-inch sized record probably dating from the late 1920s.
Goodson (GB) One of the more eccentric flexible records available during the late 1920s and early 1930s, Goodson (named after the company's owner, Jack Goodson) were made out of a flexible white material known as Rhodoid. They cost 1/9 (about 9p) and purchasers were encouraged to play them with a used needle! U.S. masters were from Emerson, Grey Gull, Banner & QRS. Own-produced masters were used later on. The vast majority are dance records with the occasional more "serious" item thrown in, sometimes using early continental masters. The sound quality is quite good, but, like most flexibles, they suffer from warping.
Gotham (USA) One of the many small record companies that sprang up in America in the 1940s
Grafton (GB) A fairly elusive label, Grafton records were available from 1924 until 1927, initially with a green label, changing to red quite soon. U.S. matrices were from Emerson & Federal to start with, but subsequently, all were from Pathe, both American and English masters. Numbering started at 9001 and may not have reached 9300 by the time the label was withdrawn. Click here for a listing (not yet complete) of this label
Grammavox (GB) This was the principal label of the Sound Recording Company od Swallow Street, Piccadilly, London and the records were available from 1910 to about 1915. The pressings were done by Crystalate. The records themselves were oversized at 10¼" and played at 77 rpm.  The catalogue numbers were in an E-1 series (sometimes without the prefix).
Grammophon (Germany)
Gramophone (GB) Although the word "gramophone" referring to a player of disc records became a generic term, it was originally the trade name of the Gramophone Company and the records were therefore Gramophone Records. The "recording angel" trade mark used by the company in it's Berliner period was retained from 1902 to 1909, when Nipper and the gramophone appear and the label name changed in 1910 to "His Master's Voice". Gramophone records were available in 7", 10" and 12" sizes and were all single-sided.
Gramstop (GB) These were pressed by Crystalate immediately following WWI, probably for the religious music publishers, Morgan and Scott Ltd.
Grand Pree (Australia) The earlier Grand Pree records are pasted over Winner records, but later ones are manufactured (with a properly pressed label) by Pathe, using Actuelle masters. All date from the early to mid 1920s.
Great Scott (GB) A very rare label from Scotland (based in Glasgow). The few I've seen tend to be of Scottish music, but there are a few dance bands (see illustration).  See also Chris Hamilton's website at http://www.ardlarich.org.uk/ for more details about this label & record company. scan kindly provided by Charles Hippisley-Cox.
Grey Gull (USA) Grey Gull Records of Boston, Mass, seem to have first appeared in May 1919. The records were fine-groove vertical-cut playing for over 5 minutes with an H- series catalog. The same records appear to be available on a standard lateral L- series disc as well. Following this (unsuccessful) experiment, the company started issuing standard discs only, generally from other sources, until they set their own studios up in about 1925. They concentrated on low-priced popular material for the whole of their existence. Grey Gull ceased trading in 1930.
Guardsman (GB) Launched in 1914, Guardsman records were a successor to Invicta records. The records were initially pressed by Crystalate using Invicta masters (some early issues are just a small sticker over old stock). The numbering was in a 3-digit series continuing from where Invicta left off, and the label seemed to vary in colour at random. In 1922, Vocalion took over the pressing and, using their own masters and those from Gennett & Vocalion, continued the label until 1928 when they ceased 10" records, by which time the numbers had reached the early 2100s. The likeness of a guardsman on the label was taken from a painting by Francis Barraud (who also painted the famous HMV trademark) of Lieutenant Hassell.
Harmony (USA) Launched in 1925 as Columbia's "cheap" label, they are notorious for their rather boxy acoustic recordings which continued until 1930. It is believed that Columbia had invested heavily in some new acoustic equipment just before the rights to use the Western Electric system became available. Rather than lose the investment, they used it for their new budget label. Some solo vocal recordings were electrically recorded, as were all later records from about 1930 to 1932, when the label was withdrawn.
Heart (GB) Heart records were available for a short period just prior to WWI, in 1913-14. They were pressed in Germany using Dacapo masters and also had Dacapo catalogue numbers.
Herald (GB/NZ) Herald were pressed by Edison Bell for a Mr Pidgeon, who marketing the records in New Zealand from 1913. The catalogue numbers were in a 1000 series.
His Master's Voice (GB) Probably the most famous name in record production in the world; certainly the trade mark is! The name was introduced in 1910 as the main trade name for The Gramophone Company. HMV records (as they are generally known) was the premium product, costing more than all the others and with the top artists. The name has survived the merger with Columbia in 1931 and all the subsequent shake-ups of the record industry and still stands for quality!
Hit Of The Week (USA) The first commercial Hit-of-the-Weeks appeared in 1930. They were made of a layer of a celluloid-like material called Durium, with a backing of laminated card. With a 1000-series catalogue, they had fine quality recordings (one side only) and a smooth playing surface, and sold at news-stands for 15 cents. Despite some top-flight names, the label was in difficulties within 12 months. To try and revive the label, they introduced a 5-minute disc. However, in August 1932, the label disappeared for good.
Homo Baby (GB) This was a 6" disc produced by British Homophone and pressed by The Gramophone Company in 1926. Numbering started at 1 and ran to just over 50. All recordings were acoustic.
Homochord (GB) The German Homophon Company started exporting their Homophon, later Homophone records to England in 1906 and started the Homochord label in 1913, both labels fading out in England during WWI. In 1921, the Homochord label was revived, pressed by the Universal Music Company and subsequently Vocalion, Pathe and the Gramophone Company all had a hand in producing these quite exotic-looking records. The British Homophone Company also produced their own masters and took complete control of pressing by the late 1920s. The label finally disappeared in 1934.
Homocord (Germany)
Homophon(e) (GB) This was the predecessor to the Homochord label, being produced by Homophon in Germany from 1905, establishing a London studio in 1906 though still pressing the records in Germany. The label lasted until the outbreak of WWI in 1914.
Hudson (GB) Hudson records appeared first in 1934, issuing mainly light classical and strict-tempo dance music. Some of the dance records are by bands which made no other recordings, such as Howard Baker and his Orchestra, whose singer on record was a very young Vera Lynn, making her first recording. Some are labelled "Hudson Trusound", made for Cinemas and distributed by Winads Ltd. Hudsons are quite rare and the label was only around for a few years.
Imperial (GB) Imperial records were produced in England by the Crystalate Gramophone Company from 1920 until 1934. The catalogue numbers started at 1000 and ran up until 2953, but, uniquely, the numbers went backwards from 1000 for earlier masters being re-issued. American matrices from the Plaza Group (aka Banner) and later from Crown were issued copiously throughout the whole period. There were also a number of 3½" promotional discs, click here for more details. More details and pictures
Invicta (GB) Despite the very British patriotic look to the label, Invicta was made in Germany by Berolina Schallplatte mbh., using master from Dacapo and other companies. The catalogue numbers were in a 3-digit series starting at 100 and reaching into the 400s by the time the name was changed to Guardsman in 1914. The later Invicta records, with dark blue & gold labels, were pressed by Crystalate.
Jaycee (GB) This was a Crystalate-produced product dating to the mid-1920s. Records used a J-100 series catalogue number which lasted for only about 18 issues.
Jazz Collector (GB) Founded in 1949, this label specialized in reissuing rare jazz classics from the 1920s. It was made for the Jazz Art Society of 65, Bramber Road, West Kensington, London. The catalogue numbers started at L-1 and ran for over 100 issues. All were dubs taken from the originals and vary somewhat in quality.
Jewel (USA) The first Jewel records were obviously something to do with early Grey Gull records with a similar catalogue series. In 1927, the second, more familiar label, appeared. (see scan). It was a Plaza group label, and as such contained the same mix of mainly popular music. It is not known who the label was produced for, but it is thought they sold for a little as 15c. The last known issues were in 1932.
JLCO (GB) A very colourful pre-WWI record, JLCO discs were pressed in Germany using Bel-Canto masters and catalogued in a 5000 series.
John Bull (GB) Another very patriotic-looking label, but produced in Germany on the "tally-man" system. This was sold door-to-door and the customer would get a free gramophone after signing an agreement to buy a set number of records (about 50) over the next year, at 2/6 each. John Bull records first appeared in 1909 using masters from Beka and Favorite, and later on, other German and British companies became involved, until the company ceased in 1913 and all old stock bought by the Albion record Company.
Jolly Boys (GB) A 6" disc pressed by the Gramophone Company in 1926 using masters also available generally on Homo-Baby. It was short-lived with a catalogue running from 101 to 110.
Jumbo (GB) The first Jumbo records appear in 1908, as a cheap equivalent to Fonotipia. The records were initially made in Germany, but subsequently pressed by Crystalate and later the Mead Works in Hertfordshire. Masters came from Fonotipia, Lindstrom and Beka. The catalogue numbering started at 1 (often not shown on the label initially, but stamped into the smooth area around the label) and ran up to about 1580 in 1919,  when the label name was changed to Venus.