RestoftheWorld

This page will be devoted to record labels which aren't classed as British, usually because they are made and sold in another country.

Label	Label Photo
Angelus (Australia) Angelus was an Australian Label produced in the late 1920s and early 1930s. It resembles the American Gennett Electrobeam label, even to using the heading "Electrobeam", but the two examples I have seen both use American Plaza group masters (i.e. Banner), and date from about 1930. Catalogue numbers are in a 3000 series.
Apex (Canada) Apex was the full-price "flagship" label of the Compo Company of Montreal. It was not the initial label of the firm, which appears to have been the shorter-lived Sun label. The history of Apex: Apex was introduced by Compo around the beginning of 1920. Compo had originated in 1919, run by Herbert Berliner (a son of Emile, who had moved himself and his company to Montreal in 1900 to escape legal battles). Compo's first activity was pressing records under contract for the Pollock Company of Elmira, Ontario (later moved to Kitchener) who had the Canadian rights to Okeh material, and for the Starr Piano Company of Canada who had the Canadian rights to Gennett. In the fall of 1919, Compo began issuing their own label, Sun; in a few months this was augmented (and would eventually be replaced) by Apex At this early point, Compo issues (including Apex) were all numbered the same; there was an Okeh-based 4000 series (which basically duplicated Okeh, though different pairings were sometimes used), a Gennett-based 9000 series (eventually used only on Gennett(C) and Starr-Gennett) and Compo's own 500+ series, along with a few minor series duplicating Gennett and Okeh product numbers. It is believed that the initial 500's were recorded (illicitly) in Berliner's Montreal facility. Around 1921, Pollock discontinued the Phonola label; Compo continued the relationship with Okeh for another year or so, issuing the product on an Apex 4000 series (there were a few other Apex 4xxx issues which duplicated Gennett numbers; all appear to use British sides, and the reason for the numbering is unknown to me). Around the same time, Compo made a connection with the Plaza Music Company; an Apex (et al, at this point) 8000 series was started, which drew from NYRL and Plaza's own 5000 matrix series. This would become the primary series for Apex. Shortly thereafter, the Starr-connected operation (by now labeled Starr-Gennett) began using its own numbering; Apex issues using Gennett sides were numbered down from 499, eventually reaching around 380 in 1925, when the Gennett connection was broken. At this point, Apex had three series; the 8000's, the 499-down Gennett-based, and the 500-up Compo and miscellaneous (including Pathe). Various client labels usually used either Apex or Starr catalog numbers. In 1924, Compo added the Domino label (apparently done at first for Metropolitan Stores of Canada, but later for general sale); these were numbered in 21000-21499 (related to Apex 8000's) and 21501+ (related to Apex 500+ but not parallel) series, and the numbers appear in the run-out of Apex issues of the sides. As other Compo labels were added, this same practice of including their issue numbers on the disc was continued (to the thorough confusion of many discographers!). In 1925, Compo broke all connections with Gennett and no more of their material was used; oddly enough, the Starr name and logo remained in use on a Plaza-based 10000 series as well as a 12/15/16000 series of Francophone records intended for the Quebec market (these also appeared under the Apex name...at first, and later for sale in New England where Compo had no rights to the Starr name or logo!). In 1928-29, the Apex 500's hit 799 and ran out of numbers; the Compo(etc.)-based series was supplanted by a 26xxx one. In 1929, the same thing happened with the 8000's; they reached 8999 and were replaced by a 41xxx series. However, at the beginning of 1932, Compo arranged the use of the Brunswick name through ARC (Plaza's successor); there was no need for two full-priced labels, and Apex was dropped (the 26xxx series became a Brunswick series). In 1936, Compo made arrangements to press and sell Decca in Canada, and Brunswick was dropped and the 26xxx series again changed labels (to Decca). In 1943, during the AFM ban, Compo wanted to issue some Canadian-made sides; they revived the Apex label and its 26xxx series to do so, and the label stayed revived in following years. After WWII, Compo, like many record companies in Canada, began obtaining Canadian rights to the flood of US independent issues. Some were pressed on Canadian versions of their US labels, but in 1952 Compo started a new Apex series, 76xxx, used only for this type of material. This series would reach into the 76400's by the time Compo dropped 78's in 1959. Herbert Berliner sold Compo to Decca(US) in 1950, and the latter firm was later acquired by MCA. MCA seems to have dropped Apex in the late 1970's, with the last known use being on Francophone LP's around 1980. The above information was kindly supplied by Steven C. Barr. Steven's book, "The Almost Complete 78 RPM Record Dating Guide" (II) (Mostly pre-1943) - (Yesterday Once Again Pub., 1992) is available from specialist sources, such as Kurt Nauck.
Applaudando (Germany/Denmark/Sweden) This label was produced by a German company with probably one of the longest names in the history of recordings: Schallplattenindustriegesellschaft m.b.H., based in Halle near Leipzig. The name and antique-inspired design of the label was registered by the German patent office in October 1911 and record production started soon after this. Relying on matrix numbers, there seems to have been around 2000 (!) Applaudando records produced during the first years of the label’s existence. Most of these were probably by the company’s own ”house” orchestra, but there was probably also some matrix swapping with other small German record companies as well as with Beka. Applaudando soon reached markets outside of Germany as well. The Danish mail order firm of Jacob Skaarup in Copenhagen started importing and selling the label in 1912, but also soon began making his own local recordings for the label. These were made in his own office and stock rooms. Some rather well known Danish artists were recorded though some of them anonymously – probably since they were already under contract with Gramophone! In 1913 at the latest the producers of Applaudando had set up a Danish subsidiary company, Skandinavisk Applaudando A/S, probably with Skaarup as a shareholders. As a next step the label was registered not only at the Danish but also at the Swedish patent office (November 1913 and June 1914 respectively). At the same time Skaarup also began recording Swedish artists for that market, and the label even had a special catalogue series (1600) for vocal recordings in Swedish. Among these recordings are some of the earliest by Ernst Rolf, who would become Sweden’s leading entertainer during the 1920s. Other Applaudando records aimed at the Swedish market usually had the titles translated on the labels and the letter ”s” added after original catalogue numbers. However the distribution to the Swedish market seems to have been limited to a few mail order firms. The great war of 1914-18 seems to have put an end to Applaudando in Scandinavia as well as Germany, although the name pops up again briefly in 1924 when ISI-Werke in Leipzig declared it as one of its trademarks. Naturally there is no jazz or ”hot dance” music on Applaudando, but there has been found at least one ragtime record among the Swedish issues (”The Gaby Glide” on Applaudando 1150s). References: ”Svenska akustiska grammofoninspelningar” by Karleric Liliedahl (Stockholm 1987). Various articles in ”Skivsamlaren” 1979-80 and ”Orkester Journalen” 1970 (I am indebted to Anders Gustafsson, Enköping, for providing me with copies from these magazines). Label scan from record in the collection of Fredrik Tersmeden, Lund, Sweden, who also wrote the narrative regarding this label, for which I am very grateful. © April 2003
Autograph (USA) Autograph records of Chicago were recorded by Marsh Laboratories (president: Orlando Marsh) and were the first commercial electrically-recorded records, albeit of a rather primitive type, in 1924. The records are exceedingly rare, not surprising when you realise they cost $1.50 each. Many of the records were custom-produced and have no catalogue number. They were available from (probably) late 1923 until 1926. My thanks to Joe Moore for the label scan.
Banner (USA) Generally considered to be the "main" label of the Plaza Music Company of New York, Banner was launched in January 1922, using mainly Emerson and Paramount masters until opening their own recording studio in late 1922. The catalogue numbers were variously in 1000, 6000, 7000, 0500 and 32000 ranges. The label was axed in 1935.
Bell (USA) Bell records were a product of the Standard Music Roll Company of Orange, N.J. From 1923 until the end of 1927, the label was associated with Emerson, from where it drew all its masters. From then until the label's demise in July 1928, it drew on Gennett for its recordings.
Bellbird (Australia) Bellbird was an Australian record available abound 1930. It was a flexible, "unbreakable" record which came the closest (in my opinion) to the more modern vinyl records. As the material (believed to be vulcanite) was thicker than other flexibles, it retained its shape better and felt more like a proper record than Goodson, Filmophone etc. The only ones I've seen use American Grey Gull masters, and are numbered in a 3-digit catalogue probably starting at 101.
Beta (Australia) This was a paste-over label available in Australia during 1918-21. The original records are believed to all be Edison Bell Winners. The catalogue numbers matched the Winners to start with and then the first digit was dropped off the original Winner number. Thanks to Derek Kell for the label scan.
Biltmore (USA) Biltmore records' address was PO Box 224, Wall Street Station, New York City. Between November 1949 and August 1951 they issued about 120 records, mainly dubbed from 1920s Victor records. The catalogue numbers ran from 1001 to 1120. When Victor discovered this piracy, they forced them out of business, and then discovered that the pressings were done by Victor's own custom pressings dept!
Bluebird (USA) This was Victor's response to the depression - a quality record at 35 cents, less than half the price of a Victor at 75 cents. The label was very successful, not surprising when you consider that the recordings and production were of the same high standard as the more expensive Victors. In addition, the label offered many top-rank artists. The label was discontinued in 1950.
Broadway (USA) Broadway was one of the lower-price records available in the 1920s. It drew mainly on Paramount and Banner masters, and occasionally Crown and Emerson. The label was discontinued in 1931.
Brunswick (USA) Brunswick were originally a piano manufacturer. Their lateral-cut discs, introduced in 1920, were very popular and the company could boast a very broad spectrum of music from popular to operatic. The depression brought financial difficulties and the company was bought by ARC and became their "expensive" label. The label was phased out in 1940. More details and pictures
Cameo (USA) Launched in February 1922, Cameo records were produced by the Cameo Record Corporation of 100, est 38th Street, New York. They cost 50 cents each and were sold principally at Macy's. Later on the company became part of the Plaza group, before disappearing in the early 1930s.
Capitol (Australia) This was a paste-over label, in this case the label being hidden was English Parlophone. The label appeared in 1927, the date when the Australian Houses of Parliament (pictured on the label) opened. My thanks to Derek Kell for the label scan.
Cetra (Italy) Sorry, I know nothing about this label, but as I had one in my collection, I thought I'd include it on the site.
Challenge (USA) Challenge records were sold by Sears, Roebuck and Co. The label appeared in late 1925 and included masters from Gennett, Paramount and the Plaza Group (e.g. Banner). The records were not pressed on very good quality material; they generally have noisy surfaces when compared to the parent labels mentioned above. The label disappeared after about 3 years.
Champion (USA) A Gennett subsidiary, Champion records first appeared in September 1925 and lasted until December 1934, outliving its parent label by four years! Decca bought the rights to the catalogue around this time, and reactivated the label in mid-1935 for about a year.
Clarion (USA) There were two distinct Clarion labels in America. The first is pretty rare and short-lived; it dates from the early 1920s and seems to be linked with Cardinal. The second, more familiar is a Columbia product. Initially many Clarion records were re-issues of earlier Columbias, but soon became an affiliate of the Harmony-Velvet Tone-Diva labels, but many sides issued on Clarion can be found nowhere else. The fare was unashamedly popular; Ben Selvin, Annette Hanshaw, Kate Smith, The Boswell Sisters etc. The quality of the recordings and pressings were as good as Columbias of the period (i.e. very fine). Numbering started at 5001-C and ran until about 5477-C.
Clover (USA) Produced by the Nutmeg Corporation, Clover drew on Emerson and Grey Gull for its masters and was available during the mid-1920s. The catalogue numbers are in a 1000 series and the label is rare.
Columbia (USA) Columbia's roots are in the very earliest experiments for record, with Tainter & Bell's wax-coated cylindrical records in the 1880s. The company prospered until 1923 when it was bought by the English branch of Columbia, and subsequently sold on to be part of the ARC group in the early 1930s. The label was left to wither for some years before being reactivated in 1938 as part of CBS.
Connorized (USA) The Connorized Music Roll Company issued records for a short time from October 1921 to late summer 1922. The catalogue series started at 3001, running for about 100 issues, using solely Gennett masters, usually correctly labelled, but often cross-coupling the original issues.
Conqueror (USA) Originally one of the Plaza group of labels, it later became one of the ARC labels, out-living all it's stable-mates and becoming a subsidiary label of Columbia-CBS along with the revived Okeh label. Catalogue numbers started at 7000 in early 1926, reaching nearly 10000 when the label was discontinued in the spring of 1942.
Cristal (France) One of the European affiliates of the Crystalate Co of England.
Crown (USA) Crown records in America was an independent label, producing its own masters, for the popular market. Adrian Schubert was responsible for the studio band, but many others like Lou Gold, Smith Ballew and, notably Gene Kardos (issued under Joel Shaw's name) make recordings. Some are described on the label as "long playing" and play for up to 5 minutes, using a very fine groove, similar to Hit-of-the-Week. A background hum is sometimes audible, but not too obtrusive. The catalogue numbers started at 3000 in autumn 1930, reaching over 3500 in late 1933 when the label disappeared. Some were issued also on Broadway & Gem in America and on Imperial and Edison Bell Winner in Britain.
Dandy (USA) A rare and rather mysterious label, Dandy drew on Emerson and Grey Gull for their masters in a similar manner to Clover (q.v.) and was on the market at the same time, but the source of the label itself remains unknown to me. The label gives no clue as it shows no place of origin.
Decca (USA) Decca was formed in America by UK Decca chief, Edward Lewis and Jack Kapp, of Brunswick records in 1934, and Kapp immediately filled the catalogue with top-flight artists, many of them film stars. Bing & Bob Crosby, The Dorsey Brothers, Guy Lombardo, The Mills Brothers, Ted Lewis, Casa Loma Orchestra, Ginger Rogers, Frances Langford, Dick Powell, Gene Kelly... the list is endless. Decca catered almost exclusively for the popular market, and very successfully too. The catalogue numbers started at 100. The company was bought by MCA in 1974
Derby (Germany) Derby records were available in 10" and 8" sizes. The 10" ones at least seem to draw from Carl Lindstrom masters in Germany. They seem to date from the early to mid 1920s. The 8" ones I've seen seem to date from about 1929.
Diva (USA) Diva was one of Columbia's budget labels, similar to Harmony and using a parallel catalogue series (2000 higher than the equivalent Harmony issue). The first ones appeared in 1925 and, like Harmony, the records were mainly acoustic until 1930 (some vocal performances were electrically recorded). From then until 1932, most were electric; a superior product at a budget price.
Domino (USA) These were a product of the Plaza group, who produced Banner and Regal in America. Domino records were available between 1924 and 1933, though there was a break in production between 1930 and 1932. Some early Domino records have unique performances not available elsewhere; otherwise they were also available on the various other labels in the group.
EDBI (France) This was a 9" disc produced in France, and made of an unbreakable material, similar to Duophone (but not the layered type).
Edison (USA) Thomas A. Edison's name is synonymous with the development of sound recording, but his foray into record producing seems eccentric nowadays. His records were 1/4" thick and could only be played on specific machines. The recording quality, however, despite being usually acoustic, was far superior to almost all other manufacturers. Edison gave in, eventually, and produced a few normal needle-cut electric discs, but the company ceased production soon after.
Ekophon (Sweden / Germany) The Ekophon label was produced by the German Carl Lindström AG especially for the Swedish market. The name was registered at the Swedish patent office on July 6, 1920 and the first records issued the following spring. There were to be 20 different catalogue number series for various kinds of music, most of them in four number series prefixed NS. The musical material used was mainly a mixture of German recordings (during the label’s first years often recordings that had already been issued on other labels such as German Artiphon and Beka, but also the Swedish Harmonium label) and recordings by Swedish artists made in Berlin as well as in Sweden. To complicate matters many of the German recordings were issued under Swedish-sounding pseudonyms. For example Swedish pianist/composer Gunnar Boberg’s name was used on dozens of German studio band recordings with which he had absolutely nothing to do! Until 1924 all records were pressed in Berlin and used the same matrix number series as Beka. That year Ekophon took over the Swedish Skandia label’s studio and pressing plant in Sundbyberg outside Stockholm, from then on continuing Skandia’s matrix series. About the same time Ekophon itself was transfered from Carl Lindström AG to the Swedish branch of Odeon, who used Ekophon as its budget label until early 1927 when it was replaced by Parlophon. There were six different label designs for the 10” records, the first five of which were variations on the same basic motive: an elk among spruces (see first picture). The 6^th type is entirely different, showing a picture of the royal palace in Stockholm (see second picture). Besides this there were also two series of 6” children's records using the same label design as the earlier Mignon label. To the jazz and hot dance collector Ekophon is of interest for two reasons. Locally they produced some of the very earliest attempts by a Swedish band to play jazz, namely the April 1923 recordings by a band led by pianist Sven Rüno. Amongst the musicians on this session was American-born black banjo player Russell Jones. To the international collector the NS 1500, 1600, 1700, 2500 and 2600 series are of particular interest. Thanks to Carl Lindström’s connections with Okeh in the USA nearly 70 issues using masters from that company were released on Ekophon. With the possible exception of one coupling by The Tampa Blue Jazz Band (NS 1671) there is no pure jazz among these titles but some fairly well known white dance bands such as Vincent Lopez’, Ray Miller’s, Sam Lanin’s, Okeh’s studio band directed by Milo Rega and various Green Brothers aggregations. The NS 1700 instrumental series also issued several Hawaiian tunes by artists such as Anthony Franchini and Frank Ferera (see first picture). Mysteriously enough there is also one single Ekophon record (NS 1689) which uses a Gennett master on one side! References: ”Svenska akustiska grammofoninspelningar” by Karleric Liliedahl (Stockholm 1987) Label scans from records in the collection of Fredrik Tersmeden, Lund, Sweden
Emerson (USA) Victor Emerson formed this record company in 1916, having worked for Columbia records for 17 years! The records were various sizes, the usual 10" ones first appearing in 1919. The recording quality and surface of the records was generally excellent. The electrical recordings from 1926 are rather thin and distant, however.
Everybodys (USA) Produced by the Everbodys Record Company on New York, it was fairly short-lived. Less than 90 different records were issued in 1925. The masters were mainly from Emerson and some from Paramount, but a handful were originals using an SAH- series of matrices. The catalogue numbers were in the 1000-series and all were acoustically recorded. It is quite a rare label.
Fox Movietone (USA) A very difficult to find label, Fox Movietone were available during the mid-1930s and used masters from ARC and Bluebird. Some of the masters were not available elsewhere, making them even more desirable.
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.
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 catalogue series started at 4501. From May 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 (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 catalogue 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.
Gnom (Germany) A six-inch sized record probably dating from the late 1920s.
Gotham (USA) One of the many small record companies that sprang up in America in the 1940s
Grammophon (Germany)
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.
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 catalogue. 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.
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.
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.
Homocord (Germany)
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.
Karneval (Sweden) This is a unique label, used only for one single issue. It was produced and sold as a part of the carnival arranged by the students at the university of Lund in 1934. The Lundian carnival tradition dates back to 1849 and different forms of specially written songs have long been a part of the tradition. During the early 19th century certain songs tended to become official ”theme songs” of the carnival, and special comepetitions were arranged for music and lyric writers among the students. The theme song of 1934, ”Prins Karneval regerar” (= Prince Carnival rules), was composed by Gösta Olsson with lyrics by Åke Ohlmarks who would later become famous as the Swedish translator of J R R Tolkien’s ”Fellowship of the ring” among many other things. It was backed by a waltz called ”Karnevalsvår” (= Carnival spring). Although the music was the work of amateurs the record itself was entirely professionally produced. The lyrics were sung by Hilmer Borgeling (1904-69) who was for more than two decades one of Sweden’s most prolific studio vocalists, and the music was arranged and conducted by Hanns Bingang (1894-1950) who was at the time head of recordings for the Swedish branches of HMV, Kristall and Odeon. Strangely enough none of these companies but the fairly new Sonora company seems to have been responsible for the production of the record. Apparently the record was not a financial success for the students, and the next attempt to release a commercial recording of the carnival theme had to wait until 1966! And since not all the records of 1934 were sold there is still a small stack of mint condition copies left in the archive and museum of the Academic Society (Akademiska Föreningen) in Lund. Unfortunately they are not for sale… My thanks to Fredrik Tersmeden for the scan and information about this label.
Kristall (Germany) This label obviously had some affiliation with the British Crystalate company, with a design very similar both in design & colour to the 12" "Crystalate" records.
Liberty Music Shop (US) The Liberty Music Shops of New York were a huge supplier of popular records during the 1930s. Many records (often Victors and Brunswicks) will be found with the top half of the label covered by a LMS sticker. Their own label, available from about 1934 until 1942, featured dance bands, cabaret artists and musical stars. The recording was generally done exclusively for the label by ARC, Decca or Victor. The label was revived later on, mainly for LP reissues.
Lincoln (US) Lincoln records were a subsidiary of Cameo records and were first produced in 1924, costing 50c each. The catalogue started at 2000 and reached about 3400 before the label was dropped by ARC who took over Cameo in 1930. The material was the same as that on Cameo, with artists generally under pseudonyms.
Little Wonder (USA) These 5½" single-sided records were produced by Henry Waterson between 1911 and 1919 and Columbia did the pressings. Most of the artists (anonymous, of course) were well-known Columbia artists, but these were separate recordings, not dubs of the 10" issues. Early issues had etched "labels", before the more usual paper ones were used. The records were 10c each. The numbers (catalogue & matrix being the same) started at 1 and ran to 1300.
Lucky Strike (Canada)
Madison (USA) Although generally considered to be one of the Grey Gull group of labels, Madison seems to have a life and identity of its own. Many of the masters used are from Grey Gull, but there are 3 matrix groups that are unique to Madison, and the label continues on with new recordings long after Grey Gull ceases to produce records at all. More details and label listings
Mag-Nis (France)
Marathon (USA) Manufactured by the Nutmeg Record Corporation, Marathon records were 7" in size, but were fine-grooved and played as long as a standard 10" disc. The masters were recorded by Emerson (they are not dubs of the 10" equivalents) and made available for only a few months from the end of 1928. The catalogue number ran from somewhere in the mid 100s to the mid 200s.
Master (USA) Master records were launched in February 1937 by Irving Mills, mainly as a vehicle for his roster of artists which included Duke Ellington. The records were aimed at the jazz market with artists like Cab Calloway, Will Hudson, Raymond Scott and various Ellington groups. Brunswick did the recordings & pressings and took over the whole thing when the venture foundered after only a few months, re-issuing many of the sides on Brunswick. The calatogue numbers were in a MA-101 series, with the matrices in an M-100 range.
Matador (Sweden) The Matador label was owned and sold by the Swedish mail order firm Åhlén & Holm in Insjön (later to turn into Åhléns, a still existing nationwide chain of department stores). The label was produced during two separate periods using recordings from different sources. During 1913-17 Matador issued recordings from German Beka. These included a wide variety of music typical of the period: vocal solos, male quartets, military bands playing dance numbers, accordeon solos, religious songs and so on, recorded by Beka locally in Sweden as well as in Berlin. The label design was very similar to Beka’s and Matador also used the same matrix/catalogue numbers as Beka. In 1923-24 the label was revived. Apparently Åhlén & Holm had by then bought the assets of the short-lived Swedish Stadion label, and all of the later Matadors (only some 80 issues) are reissues of Stadion recordings from 1922 (the only year that label existed), only adding the number 1 before the Stadion catalogue numbers. The music is mainly Swedish dance music of a rustic nature and some solo vocals, but there are also a few issues by the so called ”Stadion Jazz Band”. The actual ”jazz” content of these is probably less than modest though, most of the titles being waltzes! The first Matadors sold at 0.85 Swedish kronor. By 1917 the price was up to 1.85, but this was still much cheaper than ”ordinary” records in the Åhlén & Holm catalogue, who sold at 3.00. The 1923-24 Matadors however cost 4,00 kronor, which was almost a full workday’s salary for an industrial worker at the time. References: "Svenska akustiska grammofoninspelningar” by Karleric Liliedahl (Stockholm 1987) Label scan from record in the collection of Fredrik Tersmeden, Lund, Sweden, eho also provided the above narrative about this label. © April 2003
Maxsa (France)
Medallion (USA) Medallion records were made by Emerson between 1919 and 1921 using their own matrices. There were two sizes; the 9" ones (as pictured) used an 3-digit catalogue number running from 801 to about 866, the 10" ran from 8101 to about 8318. The name and trademark were registered to the Baldwin Piano Company of 124 West 4th Street, Cincinnati, Ohio and the records sold for $1 initally, later dropped to 85c.
Melotone (USA) This was Warner-Brunswick's cheaper label, introduced in late 1930 and surviving the ARC merger before being discontinued in 1938. It was aimed at the popular market with plenty of personality, dance and jazz bands as well as blues and country music. The catalogue started in an M-12000 series running to M-13457 before changing to use the corporate ARC series of "Year-month-number".
Montgomery Ward (USA) One of the most famous mail-order houses offered their own records in the early 1930s. The records themselves were recorded & pressed by Victor from masters in it's own or it's Bluebird subsidiary catalogue. The catalogue numbers are a 4-digit number preceded by the letter M. Being a Victor product, they are, of course, excellently recorded & pressed, but they are quite rare.
Mouldy Fygge (USA) I believe "Mouldy Fygge" (normally spelt "Mouldy Fig") is a nickname for someone who listens to and enjoys pre-bop jazz, and as such is quite a good name for a label which specializes in jazz 78 reissues. I assume the label dates from the 1940s or 1950s and the dubs are of a reasonable quality.
Music Box (USA) A specialist label sold by Rabson's Music Shop.
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.
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.
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.
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!
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
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.
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.
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 (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!
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.
QRS (USA) Better known as piano roll manufacturers, QRS made two notable excursions in record production, neither of which were particularly successful if the rarity of the original records are anything to go by. In the late 1920s there was a black-labelled series which issued a handful of highly desirable jazz items. Then in 1930, there was the red-label series (pictured) which consisted mainly of dance band items directed by Carl Fenton. Both series were very short-lived.
Radiex (USA) Radiex records first appeared in 1922, prduced by the Scranton Button Company. The label was black-on-orange and drew on Emerson & Plaza (Banner) for their matrices. By 1924, it had been taken on by Grey Gull, who provided all the matrices from this point until the label's demise in 1930, with the label's design changing regularly. Surplus Radiex records were shipped across to Britain and sold in Woolworth's Stores.
Regal (USA) Initially an Emerson product, Regal records first appeared in 1921 costing 50c. In 1922, Emerson went into receivership and the final result was that Regal became part of the Plaza Music Company by the end of 1922. Plaza produced phonographs, piano rolls, sheet music etc and Regal became their record production division. A series of matrix numbers starting at 5001 was used and issues started appearing also in Britain on Imperial records, by way of a deal with Crystalate who made them. The two companies became affiliated in 1927 and merged in 1929. In July 1929, Regal became a part of the ARC (American Recording Corporation) group and the label survived until early 1932. The rather plain design was used throughout the life of the label.
Reneyphone (Belgium) Reneyphone records were owned by a certain Mr Reney who was from Ghent. The records themselves issued many masters recorded by Polydor in Germany. (My thanks to Michel Tibbaut* for the information about the owner of the label)*
Royal (Canada)
Royale (USA) Royale was launched in the autumn of 1939 by Eli Oberstein as a companion label to his Varsity issues. Matrices were in his US-series and catalogue numbers started at 1700 (for 10" issues) and 500 for 12" ones. The label only existed for just over a year. As well as his own masters, there were many re-issues from other companies, in the same way as Varsity.
Salabert (France)
SD (USA) SD stood for (John) Steiner and (Hugh) Davis and their label was based at 104, East Bellevue, Chicago. As far as I know, the issues consisted of rare 1920s jazz remastered. The issue shown was taken from a vertical-cut Edison re-issue.
Schweizer-Musikhaus (Germany) The example I have of this label is a 7" size using Crystalate masters not otherwise available in England, but destined for Australia.
Silvertone (USA) The various Silvertone labels sold in the United States were all produced for Sears, Roebuck & Co. The first Silvertone records appeared in 1916 and were made by Columbia and were single sided discs. These were discontinued in 1918 and a new double-sided Silvertone, made by Federal, were available from 1919. The familiar tan-coloured label (see example, right) first appeared in the early 1920s and was made by various companies: Columbia (Harmony), Pathe, Regal (Banner), Federal, Emerson, Brunswick and Gennett. The label was finally withdrawn in 1928, to be replaced with Supertone.
Sonora (Sweden) At the beginning of the 1930s the Swedish record market was totally dominated by large European companies such as HMV, Columbia and Odeon/Parlophon. Although these companies made a lot of recordings in Sweden for the local market, the records themselves were all pressed and manufactured abroad which made them subject to rather heavy import duties. Combined with the economic hardships of the great depression this made record sales drop from more than 3 million records in 1929 to 1.5 million in 1932. Such was the situation when Erik Ljungberg, a successful real estate business man, decided to establish a record label produced entirely in Sweden. On November 5th 1932 he founded AB Sonora and by Christmas that year the new company's first records were released. The pressings was made by AB Alpha, a subsidary of the well known Swedish phone company L M Ericsson. Whereas the imported labels sold at 3.50 kronor Sonoras were sold at 2 kronor originally and the price was reduced to 1.65 kronor during 1933! The result was an almost immediate success: soon Sonora was turning out 70,000 records every month. Although even the very first Sonoras from 1932 boasted the proud slogan "Den svenska skivan" (= The Swedish record) on the label, these were actually, due to lack of time, pressed from imported German Artiphon masters but with the song titles given in Swedish (even when there was a vocal refrain sung in German; see first picture). From 1933 on however Sonora began making recordings of their own and would rely solely on these. Sonora used the studios of the Swedish national radio company as well as "Vargen", a local cinema in Stockholm for their recordings. At this time the label design also got the shape it would retain for the rest of the 1930s (see second picture). Head of recordings was Helge Roundquist who was also the company's main talent scout. It was largely thanks to him that the young company managed to engage some of the most populair Swedish stars of the period such as singers Sigge Fürst, Hilmer Borgeling, Sven-Olof Sandberg, Max Hansen, Yngve Stoor, Alice Babs and opera star Folke Andersson as well as instrumentalists Olle Johnny, Gösta Jonsson and Calle Jularbo. In 1940 the comapny also "stole" Columbia's top Swedish artist, singer Ulla Billquist, whose first Sonora recording "Min soldat" (= My Soldier) became the best known song in Sweden during the war and one of Sonora's top ten sellers ever. Sonora was also one of the first labels to launch a special series devoted entirely to pure jazz, the "Sonora Swing" label which began in 1936 (see third picture which shows a later version; the earliest issues had the same design as the second picture, only with the words "Swing serie" added in the red triangle under the label name). Among the first issues were several made by a varying pick up group led by bass player Thore Jederby under the name of "Sonora Swing Swingers", generally regarded as one of the first real examples of pure Swedish small band jazz and swing playing. Other orchestras to record for the Swing label were those of Nisse Lind, Sven Arefeldt and Lulle Ellboj. Obviously Sonora was also successful in convincing international artists to record for the company when visiting Sweden. Thus there are Sonoras featuring Benny Carter (1936), Nat Gonella (1937) and Valaida Snow (1939). In 1941 the red label was substituted by the yellow "Elit" label (see fourth picture) and due to the economic problems of the war the record price was raised to 2.50 kronor. There was also a special "Konsertmusik" (= concert music) label which seems to have been devoted mainly to light classics (see fifth picture). In 1946 Helge Roundquist left Sonora to form his own record company, Cupol, taking with him several of Sonora's most popular artists. Together with lack of raw material, this meant there were few Sonora issues for the first years after the war. Later during the 1940s and during the 1950s things got better again and Sonora launched a new bunch of very popular artists, among them Bertil Boo (known as "The Singing Farmer"), Calle Reinholdz, Brita Borg and Anders Börje. The label design was also changed one last time during the 78 rpm era, now including a stroboscope (see sixth picture). 1958 was the last year of Sonora's production of 78 rpm records and also the year when the company's founder Erik Ljungberg passed away. After his death the company was taken over by Philips and the name was changed to AB Philips-Sonora, later to become AB Phonogram and finally Polygram Records. The label name Sonora has been used sparingly during the LP and CD eras, mainly for reissues of material from the company's heyday. From 1935 on Sonora also had a special label devoted to religious songs, called Sonata (see seventh picture). One of the releases on this label, "Barnatro" (= Child's Faith) sung by Anna-Lisa "Lapp-Lisa" Öst, turned out to be Sonora's biggest selling record ever, having sold almost 90.000 copies by the time when the company stopped producing 78 rpm records in 1958. References: "Myggans nöjeslexikon" (Uno Myggan Ericson, ed), Höganäs 1989-93 Liner notes by Björn Englund to the LP "Sonora 50 år" Liner notes by Thore Jederby to the CD box "Svensk Jazzhistoria Vol 3" Notes compiled by and label scans from records in the collection of Fredrik Tersmeden, Lund, Sweden
Special Editions (USA) This seems to be a specialist label pressed by CBS (Columbia) and dating from the 1940s.
Strong (USA) A rare label dating from 1923. The record was produced by The Strong Record Co Inc (of New York) and recorded their own masters. The company was declared bankrupt in December 1923, having survived less than a year.
Sundquist (Sweden) This was a "private" Swedish record label owned by accordionist Ragnar Sundquist (1892-1951). A very popular and productive musician, Sundquist recorded more than 400 sides for various companies (and toured the US three times, meeting Pietro Frosini whose works he introduced in Sweden), but his own record company turned out to be a short-lived venture. Only five records were issued; six of the ten sides featured Sundquist as a solo performer and the remaining four were duets between his brothers Oscar and Sven Sundquist. All sides were recorded in London in December 1920 by Columbia who also pressed the records. It is not known how they were distributed or how much they cost. The catalogue numbers are SG 6012 to SG 6016. They are probably quite rare. Thanks, as ever, to Fredrik Tersmeden for the scan and the information.
Sunrise (USA) There are two distinct records of this name. The first was a Grey Gull product dating from 1929-1930; the other a budget Victor record dating from 1933-34. Both were very short-lived and are hard to find.
Sunset (USA) The Sunset Record Co was based on Los Angeles and produced their own masters, usually (if not always) acoustically recorded. The records date from 1924-26 and are fairly hard to find.
Supertone (USA) This replacement label for "Silvertone" was produced for Sears, Roebuck & Co used masters from Gennett. There was another Supertone, though and this is the example shown right. This used masters from Pathe and Regal (Banner) and was produced for Straus & Schram of Chicago.
Supraphon (Czech) Supraphon was founded in 1932 but at that time only seems to have used its own name for gramophones. It is not certain when they started making records. Although one of the examples shown mentions being recorded in 1937, it may not have been issued on Supraphon until after the war.Supraphon still exists today and is a leading label in its country, specializing mainly in classical music My thanks to Fredrik Tersmeden for providing the label scans and the details.
Supreme (USA) A short-lived label made by Grey Gull in the late 1920s and into 1930.
Timely Tunes (USA) 1931 was not a good time for record companies, and was certainly not the best time to introduce a new label, albeit a budget one, but the mighty Victor company did just that with "Timely Tunes". The catalogue started at C-1550 in April 1931 and finished just three months later without reaching C-1600. The recording and pressing quality are up to Victor's high standards; the artists were usually given pseudonyms. My thanks to Joe Moore for the label scan.
Tremont (USA) This seems to have been the successor to the Muse label, made at the American Record Manufacturing Co, or Framlingham, Mass. The catalogue numbers in the 400-series carried on where Muse had finished. They date from 1924 -25 and the source masters were from Cameo.
Triangle (USA) These date from 1922-24 and use masters from Paramount and made by the Bridgeport Die and Machine Co of Bridgeport, Conn. The music is of the usual popular and jazz with some quite interesting example of the latter. The label is quite rare.
Tri-Ergon (Germany)
Truso (Germany) This is a 6" Crystallate product, similar to "Mimosa" in Britain. Indeed, some Mimosa masters were also issued on Truso, along with German-recorded sides.
UHCA (USA) The UHCA (The United Hot Clubs of America) label was launched in 1936 by Milt Gabler of the COmmodore Shop in New York. The label issued jazz classics, a mixture of master pressings and dubs, on a mixture of materials, either standard shellac (Decca pressings) or on smooth laminated material (CBS pressings). The dubs are of superior quality, outshining LP reissues of 40-years later. The records were numbered differently each side from 1 (so number 1 is coupled with number 2) and so-on and there were over 100 sides issued up until the label ceased in 1941.
Ultraphon (Germany) This was of course originally a German label, founded in the late 1920s. However, when Ultraphon went into bankruptcy and was taken over by Telefunken in 1932 the label somehow managed to live on locally in Czechoslovakia (as well as in France), where it seems to have prospered during the pre-war years. Today Ultraphon still exists as a subsidiary of Supraphon, probably mostly used for reissues of older material. Since Supraphon was itself founded in 1932 but at that time only seems to have used its own name for gramophones it might be that Supraphon bought the rights to the Ultraphon name already at this time? Thanks to Fredrik Tersmeden for the information and label scan.
Van Dyke (USA) One of the many of the Grey Gull group's labels, and probably the most attractive. Van Dyke is a late appearance in their portfolio, starting in 1929 and with various catalogue series, some of which duplicated the original Grey Gull issues. Despite only being around for a year or so, they sold in huge numbers and many were exported to Britain for sale in Woolworths' stores. The material and playing surfaces are generally inferior, fragile and gritty.
Variety (USA) Not surprisingly, given the name, there is more than one "Variety" label. The first one was a Cameo subsidiary from the mid to late 1920s. However, in 1937, impresario Irving Mills launched his Variety label and signed up many dance, jazz and swing bands for exclusive recordings.
Varsity (USA) This was the main label of the United States Record Company, founded in 1939 by Eli Oberstein. Varsity issued their own recordings, which have a US-series of matrices, but also re-issued many Crown masters from the early 1930s (showing a C-series matrix). The Crown issues were all dubs, but of a very superior quality and it is often difficult to tell the difference between a Varsity dub and a Crown original.
Velvet Tone (USA) Velvet Tone was a Columbia subsidiary label in their Harmony series. Recordings were mainly acoustic to start with (despite the late 1920s date). Surfaces were good, as befits the label's name. The label first appeard in 1925 and lasted until 1932 and the catalogue number were often in line with Harmony's but 1000 further on and with a -V suffix. There was a also brief 7000-V series of blues and race records.
Victor (USA) The name given in America for Berliner's disc records, Victor was a partner to Britain's Gramophone Company (of "His Master's Voice" fame) and eventually used the same dog-and-gramophone trade mark. Victor was America's main record company and evolved into RCA.
Vocalion (USA) The American company started in 1926 and was a product of the Aeolian Piano company of Aeolian Hall, New York. Like the British company, it has died and been revived many times, usually under the auspices of Brunswick, but later by CBS.
Vox (Germany)
Woolco (Germany) A 1930s label, presumably sold in Woolworth's stores in Germany and made by Crystallate. The only copy I have sounds very much like a British recording (albeit with a German vocal) by British studio director Jay Wilbur of a non-copyright tune, similar to those to be found on 8" Eclipse of the same period.