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
National (GB) A Pre-WWI German produced record using Beka masters. Some copies have a sticker (where the copyright stamp is on my example) which states "Scala Special Issue" and a catalogue number, possibly of the standard Scala issue.
National Music Lovers (USA) NML (as it is usually referred to) is one of the more unusually attractive labels, and suggests a specialist label. Despite the many different catalogue series and colour combinations, the label derived all it's masters from the cheaper labels such as Paramount, Emerson and Plaza (Banner).  The dance series (see label example) used a catalogue number range starting at 1000 in October 1922 and reaching just over 1200 in 1928 when the label disappeared.
Neophone (GB)
Neptune (GB) These were produced by Crystalate for Curwens, the music publishing company, around 1917. The masters were from Invicta/Guardsman.
Nicole (GB) One of the very earliest disc records, Nicole records were made from a semi-unbreakable material which looks a bit like linoleum. The sound is rather rumbly because of the material. Nicole Freres of Ely Place, Holborn Circus, London had been musical box manufacturers since 1815, so it was natural that they should branch out into records. Nicole records were available in 7" or 10" size and were initially single-sided. By the start of WWI, Nicole records had ceased to be produced.
Nordskog (USA) Andrae Nordskog of Santa Monica, California introduced his label in 1921, claiming "First on the Pacific Coast" on the labels. It was short-lived, however, the catalogue running only from 3001 to 3027. My thanks to Joe Moore for the label scan. However, the rather inaccurate colours are my fault, not Joe's. In reality, the label is a dark red with gold printing.
Nursery Rhymes (GB) A 5½" disc produced by Crystallate to "compete" with the two "Fairy" labels used by Edison Bell and Vocalion, Nursery Rhymes issued just that during a short life in the 1920s. There were no catalogue numbers as such, each disk was identified by a letter (the one shown here is "D"). Whether a full 26 discs (or more?) were issued, I don't know.
Octocros (GB) Octocros records were produced as a result of a dispute between Cinema operators and the Performing Rights Society, when cinemas were prevented from playing records to the public without paying a fee. So, Octocros records were made specially for use in cinemas only, and were produced for Synchrophone Ltd. These records first appeared in 1934, using old masters from the defunct Piccadilly label, issued anonymously on an orange & white label (similar design to the later blue one shown right) with a 30-digit catalogue number. The following year, a new series of specially recorded item started, issued on the more-familiar blue & white label. he catalogue numbers started at 1001, and the matrix numbers at 5000 (Piccadilly had nearly reached 4700 before their demise a few years before).  A 2000 series catalogue issued some French recordings, from companies such as Ultraphon (mainly by Leon Kartun and his Orchestra). The main series almost reached 1400 (the matrices over 6000) when the label was discontinued in 1937.  The label concentrated on dance band recordings (usually by bands who had no other contract) and it is a gold-mine for enthusiasts of the period. There were also many organ recordings (as you'd expect of a cinema-based company).
Odeon (Various) Probably one of the most international label names, Odeon records seem to have been available in almost every country in the world. Initially a product of the International Talking Machine Company of Germany (starting in 1903), by 1906 they had studios in London, and the Odeons were being manufactured by Crystalate in Kent. Prior to WWI, the records were usually of an odd size, like 10¾" and 13¾". After a break caused by the war, Odeon records reappeared in 1921 as an import, until 1925. In 1931, the brand was absorbed into the huge EMI empire. Generally Odeon record have a link with Lindstrom, Parlophone & Okeh in their various countries.
Odeonette (Germany) No prizes for guessing that this is a baby Odeon! A 7" disc, actually, available (at least) during the 1920s, and of German origin.
Okeh (USA) In 1916, Otto Heinmann set up the American branch of the German Lindstrom company. He chose as the name of the company, an old American Indian word meaning "it is so", and spelled it as it sounded: "Okeh". The early labels emphased the O and H in larger type as they were the initials of the owner, and the Indian brave's head was used as the trade mark to show the origins of the word. The catalogue numbers started at 1000, the matrix numbers at 100. The first Okehs were vertical-cut, but after a year, the company changed to the more popular lateral-cut style. The company pioneered "location" recordings in the 1920s when they went on their famous travels to record artists from the more remote parts of America, including many "local" jazz & blues musicians. In 1935, the label was discontinued by CBS, who then owned the name. It was revived in 1940, a shadow of its former self, and continued into the 1950s.
Oliver (GB) Another of the Crystalate mini disks, Oliver seems to vary in size between 5½" and 6", similar to Mimosa, but I have one 7" dating from about 1930, using masters also available on Victory. Like Mimosa, they were available from the early 1920s until about 1930.
Olympic (GB) Olympic records were produced by the Sound Recording Company for Levy's Phono and Cycle Stores of High Street, Whitechapel, London.
Omnia (France) This was a French Pathe product, available in the late 1920s. Omnia records were lateral cut, electrically recorded and 8" in diameter. Recording quality is fair and surfaces are smooth. I don't know the extent of the catalogue, but they are much easier to play than the vertical-cut originals!
Operaphone (GB)
Oriole (GB) This was another attempt at the record market by Levy's of London (see Levaphone). The first of 4 different series of Oriole records were released in May & June 1927, and 15 different records were released, though the recordings generally dated from a year or two earlier. They were all from American Vocalion's "race" catalogue and numbered 1000 to 1012 plus 2000 and 2001 for 4 sides by white cabaret artists.
Oriole (USA) First produced in 1921, Oriole records were sold in McCrory's stores for 25c, with a catalogue starting at 100. Masters were sourced initially from Emerson & Grey Gull, but the vast majority over the years were from Plaza and later from ARC, until the label was discontinued in April 1938
Our Flag (GB)
Palladium (GB)
Panachord (GB) Launched at the same time as it's American counterpart, Melotone, in May 1931, Panachord also looked  very similar with it's striking silver-on-blue label. The numbering started at 25000 and ran up to 26046 when it was discontinued by it's then owners, Decca, in November 1939.  (A short-lived 12" Panachord with numbering from 9001 was also produced). Recordings were mainly American, from Melotone and later ARC and Decca, but there were a few home-grown recordings, mainly done by Levy's specially for the label, then subsequently by Decca, again exclusively for Panachord, though one or two were also released on Decca as well. Some of the early Warner-Brunswick issues are rather gritty, but generally, they are smooth-surfaced and play very well throughout. Initially priced at 2/-, they soon dropped to 1/6 and then in 1935 to 1/- before being increased back up to 1/6 in September 1937 for the last couple of years.
Paramount (USA) A highly prized label for all jazz and blues enthusiasts, Paramount made its first appearance in 1916 which was, as you might expect, a vertical cut disk, but by 1920, normal lateral disks had taken over. There were several different catalogue series, the 12000 race catalogue being the one most sought after by jazz enthusiasts and the 20000 was the dance & popular series. Electrical recordings arrived in 1926 and the label survived until 1932, though during the last few years, recordings were confined to those made at Grafton only. Masters from other companies such as Plaza (Banner) were also issued on Paramount.
Parlophone (GB) The introduction of Parlophone in Britain marks the resurrection (as far as the record industry is concerned) of trading with Germany after WWI. The Lindstrom Company (of Germany) set up the new factory in Hertfordshire in 1922 or 23. From that the company grew to be a major label, merging into EMI, but always seeming to keep its own identity, and is still occasionally used even today (2003). American masters from Okeh, and German ones from Odeon were used plentifully. The main catalogue series were the E-5000 (red label), E/R-3000 (this series seemed to be given either prefix), the R-100 (purple, later blue and still in use today) and the F-100 magenta label.
Pathe (GB/USA) Pathe Freres (of France) introduced their discs (vertical cut, naturally) in October 1906, having already established studios in London, Milan & Moscow. The first discs varied enormously in dimensions from 7" to 20" in diameter and usually playing at 90 rpm, with a wide u-shaped groove, starting at the centre. By 1914, when the American branch was set up, things had become more standardized and records were 10" to 12", 78 rpm, and outside-start, though still with a u-shaped vertical groove. The British and American records looked almost identical (see illustration of British label). The vertical groove format was retained until about 1925, after which, the lateral-cut Actuelle became the main Pathe product outside of France.
Pathe (France) In the early 1890s, Charles & Emile Pathe, owners of a bistro in Paris, decided to install a, Edison-style talking machine, manufacturing it themselves. By 1896, the making of players and cylinder records had become big business and the company  soon expanded into Italy, in search of the big names in opera. Discs were introduced in 1906, as explained above, but in France, the Actuelle name was never used, the lateral-cut discs were still called Pathe. The company later became part of the EMI group.
Paxton (GB) One of the very last 78 labels to appear, in the 1960s and still available in the early 1960s, Paxton appears to be like a music publishers label (similar to Chappell), in that the music is generally orchestral, varying from classical to big band, usually by lesser-known composers. Bandleader Eric Winstone made some recording foir this label; at the other end of the scale, the London Philharmonic Orchestra (as the London Promenade Orchestra) also made many records for Paxton. The Recordings were made by Levy's in London.
Peacock (GB) Peacock records were pressed by Decca and British Homophone for sale in Peacocks Stores which were (and still are) based in the Midlands (in England). All three series date from 1933-34 and may well have been available at the same time. They are extremely rare, not surprisingly as no catalogue, adverts or record sleeves pertaining to Peacock Records has ever been found. More details, photos and label listings
Pelican (GB) One of the many short-lived pre-WWI labels available in Britain, Pelican records, costing 1/1, later 1/-, were first produced in 1913, lasting until early 1914. The records were made abroad for the Universal record Syndicate and later for J. Blum & Co and the masters were drawn from, among others, Jumbo & Edison Bell. The catalogue numbers used a P-1 series. Oddly, despite the name of the label, the obvious trade-mark of the bird, though shown in adverts for the records, never appeared on the label.
Pennington (USA) Pennington records were produced for L. Bamberger & Co of Newark, New Jersey by the Bridgeport Die & Machine Co of Bridgeport, Connecticut. The label drew on masters mainly from Paramount, but also from Emerson, Olympic and Blu-Disc, including the extremely rare early Duke Ellington recording of "Choo Choo" and "Rainy Nights" on Pennington 1436. The catalogue numbers are generally in a 1000 series, but sometimes they match the Paramount records from which they are drawn.  My thanks to Joe Moore for the label scan.
Perfect (GB) Perfect records were quite short-lived in Britain. It was introduced in late 1927 and was available for about a year. The masters were from almost all from American and French Pathe. Only a few, early on, were were recorded in England, and they were acoustic. A number of masters with English matrix numbers (N90000 series) were used throughout Perfect's life, but these were all recorded in France specially for the label, and, as far as I know, unavailable anywhere else. The Catalogue number started at P-300 and ceased at P-435. Columbia bought the company in 1928 and some of the last few Perfects may be found pressed by Columbia, with smooth laminated surfaces  playing beautifully. In 1983, Arthur Badrock, in conjunction with EMI, produced a booklet with an (almost) complete listing and a history. For information on its availability, click here.		For further details on the European dance band recordings on Perfect, click here
Perfect (USA) Perfect records were introduced by Pathe in America in 1922. The original label was quite plain with an octagonal design, but soon the familiar design (later used on English Perfect labels) was introduced. The catalogue series were a 14000 range for dance music and a 11000 series for vocal. The records cost 50 cents originally, reducing to 39 cents (or 3 for $1) in early 1925. The label fell into the hands of ARC in 1929, but survived until 1938, by which time the sun-worshipping girls had gone for good!
Perophone (GB/Australia)
Philharmonic (GB)
Phoebus (GB)
Phoenix (GB) Launched in 1913, Phoenix was Columbia's answer to the cheap imports; they cost 1/1 and were a good challenge to the likes of Coliseum, Scala et al. The fare was the usual mix of popular music - vocal, marches, ragtime, xylophone & banjo solos. The catalogue was numeric with a 0 or O prefix. starting at 01, and with an X-series matrix. Some were made in USA and the labels stated this under the label's name. Phoenix records were available for about 2 years.
Phona-Disc (GB)
Phoneto (GB/Australia)
Phonycord (GB / Germany) Originally a German record, later Phonycord records were made in Britain. They were available during 1930 and 1931, and were pressed in a coloured celluloid-like material (available in many colours) very similar to Filmophone. The masters were a mixture of German Artiphon, English originals, and the American matrices were from Grey Gull. The English issues used a P- catalogue series running from P-74 to P-135, while the German ones used a series starting a 1, running to 691, but using only odd numbers! There were also German 2000, 3000, 4000, 6000 and 8000 series. The Grey Gull masters can be found in both series, while the British series also included German matrices.
Piccadilly (GB) One of the most attractive British labels, Piccadilly was introduced in October 1928 as the budget line for Metropole Records, though the labels all state "Piccadilly Records Ltd" with no mention of Metropole. They sold in huge numbers for 1/6 (initially), reducing to 1/1 in 1931, before disappearing in April 1932. The catalogue numbers started at 100 and ran to 934, and the English matrix numbers, initaially in an M-series (from Metropole) then switched to a 1000-series. American recordings were initially from Emerson, and subsequently from Grey Gull and finally there were a few from ARC/Banner.  Ther was also a red-labelled classical series using a 5000-series catalogue. The recording quality varied, but the pressing were usually very smooth, though rather brittle.
Pickofall (GB)
Pigmy (GB) One of the many tiny records available in the early 1920s, "Pigmy Gramophone", as they were styled, were 5½" in diameter and were pressed by Crystallate, using the same masters as their "Mimosa" records of the period. The catalogue numbers ran from 1 to about 70 and the records were the usual mix of early dance music and popular vocal & instrumental selections.
Pik-Nik (GB) An incredibly rare label, there were only 6 different Pik-Nik records ever issued. They were a type of card-backed celluloid, similar to Durium or Hit-of-the-Week, but thicker. Unfortunately this doesn't seem to have prevented them warping, but it is almost impossible to flatten them without destroying the record. All six items were dance band items, recorded specially and only for the issue on Pik-Nik. More photos and a label listing
Pilot (Germany) Pilot records first appeared in 1913, having previously been called "Polyphon". The change of name is thought to have been due to the "Polyphon" beeing associated with the rather old-fashioned disc musical-box. Like Polyphone, Pilot records were German throughout and they used 5000 and 8000 catalogue series. As with most other German-made records, they disappeared from the market during World War One.
Pioneer (GB) First appearing in 1914, Pioneer records cost 1/6 each, but, if you traded in an old record in part-exchange, the price reduced to 9d. They were pressed for J. Blum and Co, initially in Germany, then subsequently  by the Disc Records Co of Harrow. The labels were initially black, later changing to red, and they were quite short-lived, being only available until early 1915.
Plaza (GB) Plaza was British Homophone's main label entry for the 8" market.  They first appeared in 1933, and had the familiar "strobe" design of all other BH products of the period. To keep costs low, they usually had a non-copyrighted title on one side, often mixing dance band items with classical ones. The recording quality was good, but the very tight grooving (similar to, but not as fine a "4 in1") means they do often turn up excessively worn). Catalogue numbers ran from P-100 to just over P-400. ceasing production when BH sold out their record production in 1935. Click here to see a listing of this label.
Polyphon (Germany) In Germany, the Polyphon label was available from the very early days of disc records, before 1905, until beyond the end of 78s, even into the 1970s. In England it first appeared in 1910 using a 5000 and 8000 catalogue series. Some issues were labelled "Klingsor" (generally the same design but with a black label), but the label name was finally changed to Pilot in 1913. (see above)
Popular (GB) Popular records first appeared in 1913, part of the onslaught of "cheap" labels which appeared at that time. Made by the Crystalate Gramophone Company using masters from the Sound Recording Co, they were initially an oversized 10" record, before settling to a standard 10". Catalogue numbers were in a P-series, probably starting at 100 and running to over 1100 by 1922 when it was superceded by Imperial.
Portland (GB) The Portland label was a Curry's product, the label being a paste-over upon existing (probably outdated stock) records, usually Edison Bell Winner records. The earliest seen are in a pale blue with an almost illegible gold print (and a 1000-series catalogue number) pasted over early (WWI) Winners, followed by the more familiar violet label (9000-series catalogue) which, amazingly has "Curry's (1927) Ltd" on the label. These records themselves usually date from 1923-24!
Possum (GB/Australia)
Premier (GB)
Puritan (USA) First appearing in 1920, Puritan records were made by the United Phonographic Corporation of Sheboygan and were sub-titled "America's Best Record"! By 1922, the records were produced by Bridgeport Die & Machine Co and cost 50 cents, rising to 75 cents later on. Masters were taken from Paramount throughout the label's existence and the catalogue series was usually an 11000-series. The label ceased production in 1927.