Columbia Records

Columbia Records
Columbia Records is an American record label owned by

Sony Music Entertainment, a subsidiary of Sony
Columbia Records
Corporation of America, the North American division of
Japanese conglomerate Sony. It was founded on January
15, 1889, evolving from the American Graphophone
Company, the successor to the Volta Graphophone
Company.[3] Columbia is the oldest surviving brand name
in the recorded sound business,[4][5][6] and the second
major company to produce records.[7] From 1961 to 1991,
Logo since 1999
its recordings were released outside North America under
the name CBS Records to avoid confusion with EMI's Parent Columbia Graphophone
Columbia Graphophone Company. Columbia is one of Sony company Company
Music's four flagship record labels: Epic Records, and (October 5, 1925 –
former longtime rivals, RCA Records and Arista Records as March 31, 1931)
the latter two were originally owned by BMG before its
Grigsby-Grunow
2008 relaunch after Sony's acquisition alongside other
BMG labels. Company
(December 1931 –
May 1934)
History American Record
Corporation
Beginnings (1889–1929) (June 1934 –
December 1938)
The Columbia Phonograph Company was founded on Columbia Broadcasting
January 15, 1889, by stenographer, lawyer, and New Jersey System (CBS), Inc.
native Edward D. Easton (1856–1915) and a group of (December 17, 1938[1][2]
investors. It derived its name from the District of – 1988)
Columbia, where it was headquartered.[9][10] At first it had
a local monopoly on sales and service of Edison Sony Corporation
phonographs and phonograph cylinders in Washington, (1988–1991)
D.C., Maryland, and Delaware. As was the custom of some Sony Music
of the regional phonograph companies, Columbia produced Entertainment
many commercial cylinder recordings of its own, and its (1991–2004, 2008–
catalogue of musical records in 1891 was 10 pages. present)
Columbia's ties to Edison were severed in 1894 with the Sony BMG Music
North American Phonograph Company's breakup. Entertainment
Thereafter it sold only records and phonographs of its own (2004–2008)
manufacture. In 1902, Columbia introduced the "XP"
Founded January 15, 1889 (as
record, a molded brown wax record, to use up old stock.
Columbia introduced black wax records in 1903. According Columbia Phonograph
to one source, they continued to mold brown waxes until Company) in
1904 with the highest number being 32601, "Heinie", Washington, D.C.
which is a duet by Arthur Collins and Byron G. Harlan. The Founder Edward D. Easton
molded brown waxes may have been sold to Sears for Distributor(s) Sony Music
distribution (possibly under Sears' Oxford trademark for Entertainment
Columbia products).[11] (International) · Legacy
Recordings (reissues)
Columbia began selling disc records, invented and patented
by Victor Talking Machine Company's Emile Berliner, and Genre Various
phonographs in addition to the cylinder system in 1901, Country of United States
preceded only by their "Toy Graphophone" of 1899, which origin
used small, vertically cut records. For a decade, Columbia
competed with both the Edison Phonograph Company Location New York City, New
cylinders and the Victor Talking Machine Company disc York, U.S.
records as one of the top three names in American Official www.columbiarecords
recorded sound. website .com (http://www.columb
iarecords.com)
In order to add prestige to its early catalog of artists,
Columbia contracted a number of New York Metropolitan
Opera stars to make recordings (from 1903 onward). These
stars included Marcella Sembrich, Lillian Nordica, Antonio
Scotti, and Edouard de Reszke, but the technical standard of
their recordings was not considered to be as high as the results
achieved with classical singers during the pre–World War I
period by Victor, Edison, England's His Master's Voice (The
Gramophone Company Ltd.) or Italy's Fonotipia Records. After
an abortive attempt in 1904 to manufacture discs with the
recording grooves stamped into both sides of each disc—not
just one—in 1908 Columbia commenced successful mass
production of what they called their "Double-Faced" discs, the
10-inch variety initially selling for 65 cents apiece. The firm
also introduced the internal-horn "Grafonola" to compete
with the extremely popular "Victrola" sold by the rival Victor
Talking Machine Company.
During this era, Columbia began to use the "Magic Notes" logo
—a pair of sixteenth notes (semiquavers) in a circle—both in
the United States and overseas (where this particular logo
would never substantially change).
Columbia stopped recording and manufacturing wax cylinder

records in 1908, after arranging to issue celluloid cylinder The original home of Columbia in
records made by the Indestructible Record Company of Albany, Washington, D.C., in 1889; the
New York, as "Columbia Indestructible Records". In July 1912, company was named after the city.
Columbia decided to concentrate exclusively on disc records
and stopped manufacturing cylinder phonographs, although
they continued selling Indestructible's cylinders under the Columbia name for a year or two more.
Columbia was split into two companies, one to make records and one to make players. Columbia
Phonograph was moved to Connecticut, and Ed Easton went with it. Eventually it was renamed the
Dictaphone Corporation.[9]
Columbia Phonograph Company ownership (1925–1931)
In late 1922, Columbia entered receivership.[12]

The company was bought by its UK subsidiary, the Columbia
Graphophone Company, in 1925 and the label, record
numbering system, and recording process changed. On
February 25, 1925, Columbia began recording with the electric
recording process licensed from Western Electric.[13] "Viva-
tonal" records set a benchmark in tone and clarity unequaled
on commercial discs during the 78-rpm era. The first electrical
recordings were made by Art Gillham, the "Whispering
Pianist". In a secret agreement with Victor, electrical
technology was kept secret to avoid hurting sales of acoustic
records.
Louis Sterling, managing director of the Columbia

Graphophone Company, had been the moving force behind A Columbia type AT cylinder
bringing Western Electric's recording process, and the British graphophone produced in 1898[8]
takeover. Originally from New York, Sterling became Chairman
of Columbia NY from 1925 until 1931, and oversaw stability and
success.
In 1926, Columbia acquired Okeh Records and its growing

stable of jazz and blues artists, including Louis Armstrong and
Clarence Williams. Columbia had already built a catalog of
blues and jazz artists, including Bessie Smith in their 14000-D
Race series. Columbia also had a successful "Hillbilly" series
(15000-D) with Dan Hornsby among others. By 1927, the
"Sweet Jazz" bandleader Guy Lombardo also joined Columbia
and recorded forty five 78 rpm's by 1931.[14] In 1928, Paul
Whiteman, the nation's most popular orchestra leader, left
Victor to record for Columbia. During the same year, Columbia
The American label of an electrically
executive Frank Buckley Walker pioneered some of the first
recorded Columbia disc by Art
country music or "hillbilly" genre recordings with the Johnson
Gillham from the mid-1920s
City sessions in Tennessee, including artists such as Clarence
Horton Greene and "Fiddlin'" Charlie Bowman. He followed
that with a return to Tennessee the next year, as well as
recording sessions in other cities of the South. Moran and
Mack as The Two Black Crows 1926 recording 'The Early Bird
Catches the Worm' sold 2.5 million copies.[15]
In 1929, Ben Selvin became house bandleader and A. & R.

director. Other favorites in the Viva-tonal era included Ruth
Etting, Paul Whiteman, Fletcher Henderson, Ipana
Troubadours (a Sam Lanin group), and Ted Lewis. Columbia
used acoustic recording for "budget label" pop product well
into 1929 on the labels Harmony, Velvet Tone (both general
purpose labels), and Diva (sold exclusively at W.T. Grant
stores). When Edison Records folded, Columbia was the oldest The British label of an electrically
surviving record label. recorded Columbia disc by Paul
Whiteman
Columbia ownership separation (1931–1936)
The repercussions of the stock market Crash of 1929 led to huge losses in the recording industry
and, in March 1931, J.P Morgan, the major shareholder, steered the Columbia Graphophone
Company (along with Odeon records and Parlophone, which it had owned since 1926) into a
merger with the Gramophone Company ( ("His Master's Voice") to form Electric and Musical
Industries Ltd (EMI).[16][17][18] Since the Gramophone Company (HMV) was a wholly owned
subsidiary of Victor, and Columbia in America was a subsidiary of UK Columbia, Victor now
technically owned its largest rival in the US.[16] To avoid antitrust legislation, EMI had to sell off its
US Columbia operation, which continued to release pressings of matrices made in the UK.[16]
In December, 1931, the U.S. Columbia Phonograph Company, Inc. was acquired by the Grigsby-
Grunow Company, the manufacturers of Majestic radios and refrigerators. When Grigsby-Grunow
was declared bankrupt in November 1933, Columbia was placed in receivership, and in June 1934,
the company was sold[19] to Sacro Enterprises Inc. ("Sacro") for $70,000. Sacro was incorporated a
few days before the sale in New York. Public documents do not contain any names. Many suspect
that it was a shell corporation set up by Consolidated Films Industries, Inc. ("CFI") to hold the
Columbia stock, while its subsidiary, American Record Corporation ("ARC"), operated the label.
This assumption grew out of the ease which CFI later exhibited in selling Columbia in 1938.[20]
On December 3, 1931, CFI made a deal with Warner Brothers Pictures, Inc. ("WB"} to lease
Brunswick Record Corporation, which included the trademarks and masters of the Brunswick,
Vocalion, and Melotone labels to ARC. WB would receive a portion of the sales of its catalogues,
while ARC was free to use the labels for new recordings. Brunswick immediately became the
premium $.75 label, Melotone would release new hillbilly and other $.35 dime-store discounted
discs, and Vocalion, while re-releasing prior ARC records, would also be the blues-R&B label, and
the exclusive outlet for Bob Wills and His Texas Playboys, a phenomenal mid-1930s Western
Swing band, which drew 10,000+ customers nightly to dance. Columbia was added in mid-1932,
relegated to slower sellers such as the Hawaiian music of Andy Iona, the Irving Mills stable of
artists and songs, and the still unknown Benny Goodman. It tried a marketing ploy, the Columbia
"Royal Blue Record", a brilliant blue laminated product with matching label. Royal Blue issues,
made from late 1932 through 1935, are particularly popular with collectors for their rarity and
musical interest. The Columbia plant in Oakland, California, did Columbia's pressings for sale west
of the Rockies and continued using the Royal Blue material for these until about mid-1936.
As southern gospel developed, Columbia had astutely sought to record the artists associated with
the emerging genre; for example, Columbia was the only company to record Charles Davis Tillman.
Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered
into an exclusive recording contract with the Chuck Wagon Gang, a hugely successful relationship
which continued into the 1970s. A signature group of southern gospel, the Chuck Wagon Gang
became Columbia's bestsellers with at least 37 million records,[21] many of them through the aegis
of the Mull Singing Convention of the Air sponsored on radio (and later television) by southern
gospel broadcaster J. Bazzel Mull (1914–2006).
In 1935, Herbert M. Greenspon, an 18-year-old shipping clerk, led a committee to organize the first
trade union shop at the main manufacturing factory in Bridgeport, Connecticut. Elected as
president of the Congress of Industrial Unions (CIO) local, Greenspon negotiated the first contract
between factory workers and Columbia management. In a career with Columbia that lasted 30
years, Greenspon retired after achieving the position of executive vice president of the company.
Columbia also hired talent scout, music writer, producer, and impresario John Hammond in 1937.
Alongside his significance as a discoverer, promoter, and producer of jazz, blues, and folk artists
during the swing music era, Hammond had already been of great help to Columbia in 1932–33.
Through his involvement in the UK music paper Melody Maker, Hammond had arranged for the
struggling US Columbia label to provide recordings for the UK Columbia label, mostly using the
specially created Columbia W-265000 matrix series. Hammond recorded Fletcher Henderson,
Benny Carter, Joe Venuti, Roger Wolfe Kahn and other jazz performers during a time when the
economy was bad enough that many of them would not have had the opportunity to enter a studio
and play real jazz (a handful of these in this special series were issued in the US). Hammond's work
for Columbia was interrupted by his service during World War II, and he had less involvement
with the music scene during the bebop era, but when he returned to work as a talent scout for
Columbia in the 1950s, his career proved to be of incalculable historical and cultural importance –
the list of superstar artists he would discover and sign to Columbia over the course of his career
included Charlie Christian, Count Basie, Teddy Wilson, Pete Seeger, Bob Dylan, Leonard Cohen,
Aretha Franklin, Bruce Springsteen and Stevie Ray Vaughan, and in the early 1960s Hammond
would also exert an enormous cultural effect on the emerging rock music scene thanks to his
championing of reissue LPs of the music of blues artists Robert Johnson and Bessie Smith.
By 1937–38, the record business was finally recovering from the near-death blow of the Great
Depression, at least for RCA Victor and Decca, but privately, there were doubts about ARC.[22] In a
1941 court case brought by unhappy shareholders of Columbia Broadcasting System, Inc. ("CBS"),
Edward Wallerstein, an executive with RCA 1932 thru 1938, was asked to comment on ARC. "The
chief value was that the record industry had come back tremendously, especially in the case of two
other record companies; and the American Record Company, with all its facilities, had not, so far
as I could learn, increased its business in any degree at all in the previous six years."[2]
CBS takes over (1938–1947)
On December 17, 1938, ARC, including the Columbia label in the U.S.,
was acquired by William S. Paley of the Columbia Broadcasting
System, Inc. for US$700,000,.[2][1] ten times the price ARC paid in
1934, which would spark lawsuits later by disgruntled shareholders.
(Columbia Records had originally co-founded CBS in 1927 along with
Columbia notes and mic
New York talent agent Arthur Judson, but soon cashed out of the
logo
partnership leaving only the name; Paley acquired the fledgling radio
network in 1928.) On January 3, 1939, Wallerstein left Victor to
become president of the CBS phonograph subsidiary, a position he
would hold for twelve years. CBS kept the ARC name for three months. then on April 4, it amended
the New York Department of State record of "Columbia Phonograph Company, Inc.," naming
several of its own employees to directorships, and announced in a press release, "The American
Record Co. tag is discarded". Columbia Records was actually reborn on May 22, 1939, as
"Columbia Recording Corporation, Inc.", a Delaware corporation.[23] The NYDOS shows a later
incorporation date of April 4, 1947. This corporation changed its name to Columbia Records, Inc.
on October 11, 1954, and reverted to Columbia Recording Corporation on January 2, 1962.[24] The
Columbia trademark remained under Columbia Records, Inc. of Delaware, filed back in 1929.[25]
Brothers Ike and Leon Levy owned stakes in CBS.[26]
In February 1939, NYC Studios moved from ARC headquarters at 1776 Broadway, to 799 7th
Avenue, 6th&7th flrs, New York City ("Studio A"). Corporate offices, studio and Pressing Plant
would also continue at 1473 Barnum Avenue, Bridgeport, CT. John Hammond was hired by
Wallerstein as "Associate Director Popular Recording" (at 7th Ave). Another executive from ARC,
Art Satherley, was not expected to transition over as easily. "It is understood that CBS and the
Levys are not interested in retaining American Record's hillbilly department, and that Art Satherly,
who has been running this section for many years, will take it out of the company with him".
Fortunately, to the delight of many, this did not happen, and Art went on to many more successful
years supervising all aspects of Columbia's Hillbilly/Country artists and sessions.
On August 30, 1939, Columbia replaced its $.75 Brunswick record for a $.50 Columbia label.[27]
Brunswick was gradually phased out, the final issue being Brunswick 8520, in April 1940.
Wallerstein and Paley knew in advance that their course of action would lead to violation of the
1931 Brunswick lease agreement, so they discontinued Vocalion in June 1940, and fired up Okeh.
By July, it was releasing new Hillbilly platters by Gene Autry and Bob Wills, and re-issuing past
Vocalion discs, using the same catalogue numbers with a leading zero added. When a January 1941
audit found that not more than 150,000 Brunswick records had sold during the period from
December 1, 1939, through December 31, 1940, control of the loaned trademarks and catalog of
master recordings made prior to December 3, 1931, reverted to Warner Bros. Pictures.
The Columbia trademark from this point until the late 1950s was two overlapping circles with the
Magic Notes in the left circle and a CBS microphone in the right circle. The Royal Blue labels now
disappeared in favor of a deep red, which caused RCA Victor to claim infringement on its Red Seal
trademark (RCA lost the case). The blue Columbia label was kept for its classical music Columbia
Masterworks Records line until it was later changed to a green label before switching to a gray label
in the late 1950s, and then to the bronze that is familiar to owners of its classical and Broadway
albums. Columbia Phonograph Company of Canada did not survive the Great Depression, so CBS
made a distribution deal with Sparton Records in 1939 to release Columbia records in Canada
under the Columbia name.
During the 1940s, Columbia had a contract with Frank Sinatra. Sinatra helped boost Columbia in
revenue. Sinatra recorded over 200 songs with Columbia which include his most popular songs
from his early years. Other popular artists on Columbia included Benny Goodman (signed from
Victor 1939 by Hammond), Count Basie, Jimmie Lunceford (both signed from Decca), Eddy
Duchin, Ray Noble (both moved to Columbia from Brunswick), Kate Smith, Mildred Bailey, and
Will Bradley.
In 1947, the company was renamed Columbia Records Inc.[28] and founded its Mexican record
company, Discos Columbia de Mexico.[29] 1948 saw the first classical LP Nathan Milstein's
recording of the Mendelssohn Violin Concerto. Columbia's 33 rpm format quickly spelled the death
of the classical 78 rpm record and for the first time in nearly fifty years, gave Columbia a
commanding lead over RCA Victor Red Seal.[30][31]
The LP record (1948–1959)
Columbia's president Edward Wallerstein was instrumental in steering Paley towards the ARC
purchase. He set his talents to his goal of hearing an entire movement of a symphony on one side
of an album. Ward Botsford writing for the Twenty-Fifth Anniversary Issue of High Fidelity
Magazine relates: "He was no inventor—he was simply a man who seized an idea whose time was
ripe and begged, ordered, and cajoled a thousand men into bringing into being the now accepted
medium of the record business." Despite Wallerstein's stormy tenure, in June 1948, Columbia
introduced the Long Playing "microgroove" LP record format (sometimes written "Lp" in early
advertisements), which rotated at 33⅓ revolutions per minute, to be the standard for the
gramophone record for forty years. CBS research director Dr. Peter Goldmark played a managerial
role in the collaborative effort, but Wallerstein credits engineer William Savory with the technical
prowess that brought the long-playing disc to the public.[32]
By the early 1940s, Columbia had been experimenting with higher fidelity recordings, as well as
longer masters, which paved the way for the successful release of the LPs in 1948. One such record
that helped set a new standard for music listeners was the 10" LP reissue of The Voice of Frank
Sinatra, originally released on March 4, 1946, as an album of four 78 rpm records, which was the
first pop album issued in the new LP format. Sinatra was arguably Columbia's hottest commodity
and his artistic vision combined with the direction Columbia were taking the medium of music,
both popular and classic, were well suited. The Voice of Frank Sinatra was also considered to be
the first genuine concept album. Since the term "LP" has come to refer to the 12-inch 331⁄3 rpm
vinyl disk, the first LP is the Mendelssohn Violin Concerto in E minor played by Nathan Milstein
with Bruno Walter conducting the New York Philharmonic (then called the Philharmonic-
Symphony Orchestra of New York), Columbia ML 4001, found in the Columbia Record Catalog for
1949, published in July 1948. The other "LP's" listed in the catalog were in the 10 inch format
starting with ML 2001 for the light classics, CL 6001 for popular songs and JL 8001 for children's
records.[32] The Library of Congress in Washington DC now holds the Columbia Records
Paperwork Archive which shows the Label order for ML 4001 being written on March 1, 1948. One
can infer that Columbia was pressing the first LPs for distribution to their dealers for at least 3
months prior to the introduction of the LP on June 21,[33] 1948.[34] The catalog numbering system
has had minor changes ever since.
Columbia's LPs were particularly well-suited to classical music's longer pieces, so some of the early
albums featured such artists as Eugene Ormandy and the Philadelphia Orchestra, Bruno Walter
and the New York Philharmonic Orchestra, and Sir Thomas Beecham and the Royal Philharmonic
Orchestra. The success of these recordings persuaded Capitol Records to begin releasing LPs in
1949. Even before the LP record was officially demonstrated, Columbia offered to share the new
speed with rival RCA Victor, who initially rejected it and soon introduced their new competitive 45
RPM record. When it became clear that the LP was the preferred format for classical recordings,
RCA Victor announced that the company would begin releasing its own LPs in January 1950. This
was quickly followed by the other major American labels. Decca Records in the U.K. was the first to
release LPs in Europe, beginning in 1949. EMI would not fully adopt the LP format until 1955.
An "original cast recording" of Rodgers & Hammerstein's South Pacific with Ezio Pinza and Mary
Martin was recorded in 1949. Both conventional metal masters and tape were used in the sessions
in New York City. For some reason, the taped version was not used until Sony released it as part of
a set of CDs devoted to Columbia's Broadway albums.[35] Over the years, Columbia joined Decca
and RCA Victor in specializing in albums devoted to Broadway musicals with members of the
original casts. In the 1950s, Columbia also began releasing LPs drawn from the soundtracks of
popular films.
Many album covers put together by Columbia and the other major labels were put together using
one piece of cardboard (folded in half) and two paper "slicks", one for the front and one for the
back. The front slick bent around the top, bottom, and left sides (the right side is open for the
record to be inserted into the cover) and glued the two halves of cardboard together at the top and
bottom. The back slick is pasted over the edges of the pasted-on front slick to make it appear that
the album cover is one continuous piece.
Columbia discovered that printing two front cover slicks, one for mono and one for stereo, was
inefficient and therefore needlessly costly. Starting in the summer of 1959 with some of the albums
released in August, they went to the "paste-over" front slick, which had the stereo information
printed on the top and the mono information printed on the bottom. For stereo issues, they moved
the front slick down so the stereo information was showing at the top, and the mono information
was bent around the bottom to the back and "pasted over" by the back slick. Conversely, for a
mono album, they moved the slick up so the mono information showed at the bottom, and the
stereo information was pasted over.
1950s
In 1951, Columbia US began issuing records in the 45 rpm format RCA Victor had introduced two
years earlier.[36] The same year, Ted Wallerstein retired as Columbia Records chairman;[37] and
Columbia US also severed its decades-long distribution arrangement with EMI and signed a
distribution deal with Philips Records to market Columbia recordings outside North America.[38]
EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to
distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy
with EMI's reluctance to introduce long playing records.[39]
Columbia became the most successful non-rock record company in the 1950s after it lured
producer and bandleader Mitch Miller away from the Mercury label in 1950. Despite its many
successes, Columbia remained largely uninvolved in the teenage rock'n'roll market until the mid-
1960s, despite a handful of crossover hits, largely because of
Miller's frequently expressed loathing of rock'n'roll. (Miller was
a classically trained oboist who had been a friend of Columbia
executive Goddard Lieberson since their days at the Eastman
School of Music in the 1930s.)[40] Miller quickly signed up
Mercury's biggest artist at the time, Frankie Laine, and
discovered several of the decade's biggest recording stars
including Tony Bennett, Mahalia Jackson, Jimmy Boyd, Guy
Mitchell (whose stage surname was taken from Miller's first
name), Johnnie Ray, The Four Lads, Rosemary Clooney, Kay
Lande, Ray Conniff, Jerry Vale and Johnny Mathis. He also
oversaw many of the early singles by the label's top female
recording star of the decade, Doris Day.
Columbia used this label for its 45
r.p.m. records from 1951 until 1958.
In 1953, Columbia formed a new subsidiary label Epic
Records.[41] 1954 saw Columbia end its distribution
arrangement with Sparton Records and form Columbia
Records of Canada.[42] To enhance its country music stable,
which already included Marty Robbins, Ray Price and Carl
Smith, Columbia bid $15,000 for Elvis Presley's contract from
Sun Records in 1955.[43] Presley's manager, Colonel Tom
Parker, turned down their offer and signed Presley with RCA
Victor.[43] However, Columbia did sign two Sun artists in 1958:
Johnny Cash and Carl Perkins.[43]
With 1954, Columbia U.S. decisively broke with its past when it
introduced its new, modernist-style "Walking Eye" logo,[44]
designed by Columbia's art director S. Neil Fujita. This logo
actually depicts a stylus (the legs) on a record (the eye); Transitional 1955 promo 45 r.p.m.
however, the "eye" also subtly refers to CBS's main business in label showing both the old notes
television, and that division's iconic Eye logo. Columbia and mike and new walking eye
continued to use the "notes and mike" logo on record labels logos
and even used a promo label showing both logos until the
"notes and mike" was phased out (along with the 78 in the US)
in 1958. In Canada, Columbia 78s were pressed with the "Walking Eye" logo in 1958. The original
Walking Eye was tall and solid; it was modified in 1961[45] to the familiar one still used today
(pictured on this page), despite the fact that the Walking Eye was used only sporadically during
most of the 1990s.
Although the big band era had passed, Columbia had Duke Ellington under contract for several
years, capturing the historic moment when Ellington's band provoked a post-midnight frenzy
(followed by international headlines) at the 1956 Newport Jazz Festival, which proved a boost to a
bandleader whose career had stalled. Under new head producer George Avakian, Columbia became
the most vital label to the general public's appreciation and understanding (with help from
Avakian's prolific and perceptive play-by-play liner notes) of jazz, releasing a series of LP's by
Louis Armstrong, but also signing to long-term contracts Dave Brubeck and Miles Davis, the two
modern jazz artists who would in 1959 record albums that remain—more than sixty years later—
among the best-selling jazz albums by any label—viz., Time Out by the Brubeck Quartet and, to an
even greater extent, Kind of Blue by the Davis Sextet, which, in 2003, appeared as number 12 in
Rolling Stone's list of the "500 Greatest Albums Of All Time".[46] With another producer, Teo
Macero, a skilled modernist composer himself, Columbia cemented contracts with jazz
composer/musicians Thelonious Monk and Charles Mingus, while Macero became a significant
figure in Miles Davis career from an explorer of the art of modal jazz from Davis' sextets 1958
album Milestones to innovator and avatar of the marriage of jazz with rock and electronic sounds—
commonly known as jazz fusion.
In 1954, Columbia embraced small-group modern jazz by signing of the Dave Brubeck Quartet,
which resulted in the release of the on-location, best-selling jazz album (up to this time), Jazz Goes
to College. Contemporaneously with Columbia's first release of modern jazz by a small group,
which was also the Brubeck Quartet's debut on the label, was a Time magazine cover story on the
phenomenon of Brubeck's success on college campuses. The humble Dave Brubeck demurred,
saying that the second Time cover story on a jazz musician (the first featured Louis Armstrong's
picture) had been earned by Duke Ellington, not himself. Within two years Ellington's picture
would appear on the cover of Time, following his success at the 1956 Newport Jazz Festival.
Ellington at Newport, recorded on Columbia, was also the bandleader-composer-pianist's best-
selling album. Moreover, this exclusive trinity of jazz giants featured on the cover of Time
magazine were all Columbia artists. (In the early 1960s Columbia jazz artist Thelonious Monk
would be afforded the same honor.)
Columbia changed distributors in Australia and New Zealand in 1956 when the Australian Record
Company picked up distribution of U.S. Columbia product to replace the Capitol Records product
which ARC lost when EMI bought Capitol. As EMI owned the Columbia trademark at that time,
the U.S. Columbia material was issued in Australia and New Zealand on the CBS Coronet label.
In the same year, former Columbia A&R manager Goddard Lieberson was promoted to President
of the entire CBS recording division, which included Columbia and Epic, as well as the company's
various international divisions and licensees. Under his leadership the corporation's music division
soon overtook RCA Victor as the top recording company in the world, boasting a star-studded
roster of artists and an unmatched catalogue of popular, jazz, classical and stage and screen
soundtrack titles. Lieberson, who had joined Columbia as an A&R manager in 1938, was known for
both his personal elegance and his dedication to quality, overseeing the release of many hugely
successful albums and singles, as well as championing prestige releases that sold relatively poorly,
and even some titles that had limited appeal, such as complete editions of the works of Arnold
Schoenberg and Anton von Webern. One of his first major successes was the original Broadway
cast album of My Fair Lady, which sold over 5 million copies worldwide in 1957, becoming the
most successful LP ever released up to that time. Lieberson also convinced long-serving CBS
President William S. Paley to become the sole backer of the original Broadway production, a
$500,000 investment which subsequently earned the company some $32 million in profits.[47]
In October 1958, Columbia, in time for the Christmas season, put out a series of "Greatest Hits"
packages by such artists as Johnny Mathis, Doris Day, Guy Mitchell, Johnnie Ray, Jo Stafford,
Tony Bennett, Rosemary Clooney, Frankie Laine and the Four Lads; months later, it put out
another Mathis compilation as well as that of Marty Robbins. Only Mathis' compilations charted,
since there were only 25 positions on Billboard's album charts at the time.[48] However, the
compilations were so successful that they led to Columbia doing such packages on a widespread
basis, usually when an artist's career was in decline.
Stereo
Although Columbia began recording in stereo in 1956, stereo LPs did not begin to be manufactured
until 1958. One of Columbia's first stereo releases was an abridged and re-structured performance
of Handel's Messiah by the New York Philharmonic and the Westminster Choir conducted by
Leonard Bernstein (recorded on December 31, 1956, on 1⁄2-inch tape, using an Ampex 300-3
machine).[49] Bernstein combined the Nativity and Resurrection sections, and ended the
performance with the death of Christ. As with RCA Victor, most of the early stereo recordings were
of classical artists, including the New York Philharmonic Orchestra conducted by Bruno Walter,
Dimitri Mitropoulos, and Leonard Bernstein, and the Philadelphia Orchestra conducted by Eugene
Ormandy, who also recorded an abridged Messiah for Columbia. Some sessions were made with
the Columbia Symphony Orchestra, an ensemble drawn from leading New York musicians, which
had first made recordings with Sir Thomas Beecham in 1949 in Columbia's New York City studios.
George Szell and the Cleveland Orchestra recorded mostly for Epic. When Epic dropped classical
music, the roster and catalogue was moved to Columbia Masterworks Records.
Columbia released its first pop stereo albums in the summer of 1958. All of the first dozen or so
were stereo versions of albums already available in mono. It was not until September 1958, that
Columbia began simultaneous mono/stereo releases. Mono versions of otherwise stereo recordings
were discontinued in 1968. To celebrate the 10th anniversary of the introduction of the LP, in 1958
Columbia initiated the "Adventures in Sound" series that showcased music from around the
world.[50][51]
As far as the catalog numbering system went, there was no correlation between mono and stereo
versions for the first few years. Columbia started a new CS 8000 series for pop stereo releases, and
figuring the stereo releases as some sort of specialty niche records, didn't bother to link the mono
and stereo numbers for two years. Masterworks classical LPs had an MS 6000 series, while
showtunes albums on Masterworks were OS 2000. Finally, in 1960, the pop stereo series jumped
from 8300 to 8310 to match Lambert, Hendricks & Ross Sing Ellington, the Lambert, Hendricks &
Ross album issued as CL-1510. From that point, the stereo numbers on pop albums were exactly
6800 higher than the mono; stereo classical albums were the mono number plus 600; and
showtunes releases were the mono number MINUS 3600. Only the last two digits in the respective
catalog series' matched.
Pop stereo LPs got into the high 9000s by 1970, when CBS Records revamped and unified its
catalog numbering system across all its labels. Masterworks classical albums were in the 7000s,
while showtunes stayed in the low 2000s.
Columbia's engineering department developed a process for emulating stereo from a mono source.
They called this process "Electronically Rechanneled for Stereo". In the June 16, 1962, issue of
Billboard magazine (page 5), Columbia announced it would issue "rechanneled" versions of
greatest hits compilations that had been recorded in mono, including albums by Doris Day,
Frankie Laine, Percy Faith, Mitch Miller, Marty Robbins, Dave Brubeck, Miles Davis, and Johnny
Mathis.
The 1960s
Outing of "deep groove"
By the latter half of 1961, Columbia started using pressing plants with newer equipment. The "deep
groove" pressings were made on older pressing machines, where the groove was an artifact of the
metal stamper being affixed to a round center "block" to assure the resulting record would be
centered. Newer machines used parts with a slightly different geometry, that only left a small
"ledge" where the deep groove used to be. This changeover did not happen all at once, as different
plants replaced machines at different times, leaving the possibility that both deep groove and ledge
varieties could be original pressings. The changeover took place starting in late 1961.[52]
CBS Records
In 1961, CBS ended its arrangement with Philips Records and formed its own international
organization, CBS Records International, in 1962. This subsidiary label released Columbia
recordings outside the US and Canada on the CBS label (until 1964 marketed by Philips in
Britain).[53] The recordings could not be released under the Columbia
Records name because EMI operated a separate record label by that name,
Columbia Graphophone Company, outside North America. This was the
result of legal maneuvers which led to the creation of EMI in the early
1930s.
While this happened, starting in late 1961, both the mono and the stereo
labels of domestic Columbia releases started carrying a small "CBS" at the
top of the label. This was not something that changed at a certain date, but The CBS Records
rather, pressing plants were told to use up the stock of old (pre-CBS) labels logo used outside of
first, resulting in a mixture of labels for some given releases. Some are the United States
known with the CBS text on mono albums, and not on stereo of the same
album, and vice versa; diggings brought up pressings with the CBS text on
one side and not on the other. Many, but certainly not all, of the early numbers with the "ledge"
variation (i.e., no deep groove), had the small "CBS".[54] This text would be used on the Columbia
labels until June 1962.[55]
Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.[53]
With the formation of CBS Records International, CBS started establishing its own distribution in
the early 1960s, beginning in Australia. In 1960 CBS took over its distributor in Australia and New
Zealand, the Australian Record Company (founded in 1936) including Coronet Records, one of the
leading Australian independent recording and distribution companies of the day. The CBS Coronet
label was replaced by the CBS label with the 'walking eye' logo in 1963. ARC continued trading
under that name until the late 1970s when it formally changed its business name to CBS Australia.
Mitch Miller on television
In 1961, Columbia's music repertoire was given an enormous boost when Mitch Miller, its A&R
manager and bandleader, became the host of the variety series Sing Along with Mitch on NBC.[56]
The show was based on Miller's 'folksy' but appealing 'chorus' style performance of popular
standards. During its four-season run, the series promoted Miller's "Singalong" albums, which sold
over 20 million units, and received a 34% audience share when it was cancelled in 1964.[57]
Bob Dylan
In September 1961, CBS A&R manager John Hammond was producing the first Columbia album
by folk singer Carolyn Hester, who invited a friend to accompany her on one of the recording
sessions. It was here that Hammond first met Bob Dylan, whom he signed to the label, initially as a
harmonica player.[58] Dylan's self-titled debut album was released in March 1962 and sold only
moderately.[59] Some executives in Columbia dubbed Dylan "Hammond's folly" and suggest that
Dylan be dropped from the label.[60] But John Hammond and Johnny Cash defended Dylan, who
over the next four years became one of Columbia's highest earning acts.
Over the course of the 1960s, Dylan achieved a prominent position in Columbia. His early folk
songs were recorded by many acts and became hits for Peter, Paul & Mary and The Turtles.[61]
Some of these cover versions became the foundation of the folk rock genre. The Byrds achieved
their pop breakthrough with a version of Dylan's "Mr. Tambourine Man". In 1965, Dylan's
controversial decision to 'go electric' and work with rock musicians divided his audience but
catapulted him to greater commercial success with his 1965 hit single "Like a Rolling Stone".
Following his withdrawal from touring in 1966, Dylan recorded a large group of songs with his
backing group The Band which reached other artists as 'demo recordings'. These resulted in hits by
Manfred Mann ("The Mighty Quinn") and Brian Auger, Julie Driscoll & Trinity ("This Wheel's On
Fire"). Dylan's late 1960s albums John Wesley Harding and Nashville Skyline became cornerstone
recordings of the emergent country rock genre and influenced The Byrds and The Flying Burrito
Brothers.
Rock and roll
When the British Invasion arrived in January 1964, Columbia had no rock musicians on its roster
except for Dion, who was signed in 1963 as the label's first major rock star, and Paul Revere & the
Raiders who were also signed in 1963. The label released a merseybeat album, The Exciting New
Liverpool Sound (Columbia CL-2172, issued in mono only). Terry Melcher, son of Doris Day,
produced the hard driving "Don't Make My Baby Blue" for Frankie Laine, who had gone six years
without a hit record. The song reached No. 51 on the pop chart and No. 17 on the easy listening
chart.[58]
Melcher and Bruce Johnston discovered and brought to Columbia the Rip Chords, a vocal group
consisting of Ernie Bringas and Phil Stewart, and turned it into a rock group through production
techniques. The group had hits in "Here I Stand", a remake of the song by Wade Flemons, and
"Hey Little Cobra".[58] Columbia saw the two recordings as a start to getting into rock and roll.
Melcher and Johnston recorded several additional singles for Columbia in 1964 as "Bruce & Terry"
and later as "The Rogues". Melcher produced early albums by the Byrds and Paul Revere & the
Raiders for Columbia while Johnston produced the Beach Boys for Capitol Records.
Ascension of Clive Davis
When Mitch Miller retired in 1965,[62] Columbia was at a turning point. Miller's disdain for rock
and roll and pop rock had dominated Columbia's A&R policy. Sales of Broadway soundtracks and
Mitch Miller's singalong series were waning. Pretax earnings had flattened to about $5 million
annually.[57] The label's only significant "pop" acts at the time were Bob Dylan, the Byrds, Paul
Revere & the Raiders and Simon & Garfunkel. In its catalogue were other genres: classical, jazz and
country, along with a select group of R&B artists, among them Aretha Franklin.[58] Most historians
observed that Columbia had problems marketing Franklin as a major talent in the R&B genre,
which led to her leaving the label for Atlantic Records in 1967.[63][64]
In 1967, Brooklyn-born lawyer Clive Davis became president of Columbia. Following the
appointment of Davis, the Columbia label became more of a rock music label, thanks mainly to
Davis's fortuitous decision to attend the Monterey International Pop Festival, where he spotted
and signed several leading acts including Janis Joplin. Joplin led the way for several generations of
female rock and rollers. However, Columbia/CBS still had a hand in traditional pop and jazz and
one of its key acquisitions during this period was Barbra Streisand. She released her first solo
album on Columbia in 1963 and remains with the label to this day. Additionally, the label kept
Miles Davis on the roster, and his late 1960s recordings, In a Silent Way and Bitches Brew,
pioneered a fusion of jazz and rock music.[65]
A San Francisco group called Moby Grape had been gaining popularity on the West Coast, and
were signed by Davis in 1967. As a way of introducing them to the world with a splash, they
released their debut album, along with five singles from the album, all on the same day, June 6,
1967, 23 years following D-Day. The album hit made No. 24 on the Billboard 200, but the singles
barely made a dent in the charts, the best performer being "Omaha", which lasted a mere three
weeks on the Hot 100 reaching only No. 88. The other charter, "Hey Grandma", only reached the
Bubbling Under chart and faded within a week. Also, there were some complaints about the
obscene gesture made to the American flag on the front cover that had to be edited out on the
second pressing, not to mention that the group started to decline in sales after that. The return on
all the promotional budget for the singles realized nothing. Although the group made two more
albums, this particular publicity stunt was never again attempted by Columbia or any other major
label.
Simon & Garfunkel
Arguably the most commercially successful Columbia pop act of this period, other than Bob Dylan,
was Simon & Garfunkel. The duo scored a surprise No. 1 hit in 1965 when Columbia producer Tom
Wilson, inspired by the folk-rock experiments of Dylan, The Byrds and others, added drums and
bass to the duo's earlier recording of "The Sound of Silence" without their knowledge or approval.
Indeed, the duo had already broken up some months earlier, discouraged by the poor sales of their
debut LP, and Paul Simon had relocated to the UK, where he only found out about the single being
a hit via the music press. The dramatic success of the song prompted Simon to return to the US;
the duo reformed, and they soon became one of the flagship acts of the folk-rock boom of the mid-
1960s. Their next album, Parsley, Sage, Rosemary and Thyme, went to No. 4 on the Billboard
album chart. The duo subsequently had a Top 20 single, "A Hazy Shade of Winter", but progress
slowed during 1966–67 as Simon struggled with writer's block and the demands of constant
touring. They shot back to the top in 1968 after Simon agreed to write songs for the Mike Nichols
film The Graduate. The resulting single, "Mrs. Robinson", became a smash hit. Both The Graduate
soundtrack and Simon & Garfunkel's next studio album, Bookends, were major hits on the album
chart, with combined total sales in excess of five million copies. Simon and Garfunkel's fifth and
final studio album, Bridge over Troubled Water (1970), reached number one in the US album
charts in January 1970 and became one of the most successful albums of all time.[66]
Hoyt Axton and Tom Rush
Davis lured artists Hoyt Axton and Tom Rush to Columbia in 1969, and both were given what was
known as "the pop treatment" by the label. Hoyt Axton had been a folk/blues singer-songwriter
since the early 1960s, when he made several albums for Horizon, then Vee-Jay. By the time he
joined Columbia, he had mixed successful pop songs like "Greenback Dollar", with hard rock songs
for Steppenwolf, such as "The Pusher", which was used in the film Easy Rider in the same year.
When he landed at Columbia, his album My Griffin Is Gone was described as "the poster child for
'overproduced,' full of all kinds of instruments and even strings".[67] After that album, Axton left
and joined Capitol Records, where his next albums contained "Joy to the World" and "Never Been
to Spain", which became hits for Three Dog Night on Dunhill. Axton eventually became a country
singer, and founded his own record label, Jeremiah.
Tom Rush had always been the "storyteller" or "balladeer" type of folk artist, before and after his
stint with Columbia, to which Rush was lured from Elektra. As with Axton, Rush was given "the
treatment" on his self-titled Columbia debut. The multitude of instruments added to his usual solo
guitar were all done "tastefully", of course, but was not really on par with Rush's audience
expectations. He commented to record label historian Mike Callahan:
Well, when you're in the studio, they bring out all these "sweeteners" and things they
have, and while you're there, you say, yeah, that sounds good. But then you get the
album home and you almost can't hear yourself under all that.[67]
Eventually, Rush returned to his usual sound (which he applied to his next three albums for
Columbia) and has been playing to appreciative audiences ever since.
The 1970s
Catalog numbers
The Columbia album series began in 1951 with album GL-500 (CL-500) and reached an awkward
milestone in 1970, when the stereo numbering sequence reached CS-9999, assigned to the Patti
Page album Honey Come Back. This presented a catalog numbering system challenge as Columbia
had used a four-digit catalog number for 13 years, and CS-10000 seemed cumbersome. Columbia
decided to start issuing albums at CS-1000 instead, preserving the four-digit catalog number.
However, this resulted in the reuse of numbers previously used in 1957–58, although the prefix
was now different. In July 1970, the cataloging department implemented a new system, combining
all their labels into a unified catalog numbering system starting with 30000, with the prefix letter
indicating the label: C for Columbia, E for Epic, H for Harmony (budget reissue line), M for
Columbia Masterworks, S for movie soundtrack and original Broadway cast albums, Y for
Columbia Odyssey, and Z for every other label that CBS distributed (collectively referred to as CBS
Associated). The prefix letter G was also used for two album sets—or the number of records in the
set after the label letter, such as KC2.[68] The first CBS album released under the new system was
The Elvin Bishop Group's self-titled album on Fillmore Records, assigned with F 30001 (the
earliest Fillmore albums had the 'F' prefix, rather than a 'Z'), while the first actual Columbia release
under the system was Herschel Bernardi's Show Stopper, assigned with C 30004.[69] The highest
catalog number released in the old system was CS-1069, assigned to The Sesame Street Book and
Record. Chronologically, Columbia issued at least one album in this series in August, but by that
time, the CBS Consolidated 30000 series, which started issuing albums in July with the new label
design, was well underway, having issued nearly 100 albums. The system was later expanded with
even more prefix letters (including R and V for Portrait, A and W for Special Products, L for Sony
Wonder, S for Sony Classical, N for Monument, O for Chaos Recordings, and B for 550 Music),
which continued until 2005.
Quadraphonics
In September 1970, under the guidance of Clive Davis, Columbia Records entered the West Coast
rock market, opening a state-of-the art recording studio (which was located at 827 Folsom St. in
San Francisco and later morphed into the Automatt) and establishing an A&R head and office in
San Francisco at Fisherman's Wharf, headed by George Daly, a producer and artist for Monument
Records (who inked a distribution deal with Columbia at the time) and a former bandmate of Nils
Lofgren and Roy Buchanan. The recording studio operated under CBS until 1978.[70]
During the early 1970s, Columbia began recording in a four-channel process called quadraphonic,
using the "SQ" (Stereo Quadraphonic) standard that used an electronic encoding process that
could be decoded by special amplifiers and then played through four speakers, with each speaker
placed in the corner of a room. Remarkably, RCA countered with another quadraphonic process
that required a special cartridge to play the "discrete" recordings for four-channel playback. Both
Columbia and RCA's quadraphonic records could be played on conventional stereo equipment.
Although the Columbia process required less equipment and was quite effective, many were
confused by the competing systems and sales of both Columbia's matrix recordings and RCA's
discrete recordings were disappointing. A few other companies also issued some matrix recordings
for a few years. Quadraphonic recording was used by both classical artists, including Leonard
Bernstein and Pierre Boulez, and popular artists such as Electric Light Orchestra, Billy Joel, Pink
Floyd, Johnny Cash, Barbra Streisand, Ray Conniff, Carlos Santana, Herbie Hancock, The Clash
and Blue Öyster Cult. Columbia even released a soundtrack album of the movie version of Funny
Girl in quadraphonic. Many of these recordings were later remastered and released in Dolby
surround sound on CD.
Yetnikoff becomes president
In 1975, Walter Yetnikoff was promoted to become President of Columbia Records, and his vacated
position as President of CBS Records International was filled by Dick Asher. At this point,
according to music historian Frederic Dannen, the shy and introverted Yetnikoff began to
transform his personality, becoming (in Asher's words) "wild, menacing, crude, and above all, very
loud". In Dannen's view, Yetnikoff was probably over-compensating for his naturally sensitive and
generous personality, and that he had little hope of being recognised as a "record man" (someone
with a musical ear and an intuitive understanding of current trends and artists' intentions) because
he was tone-deaf, so he instead determined to become a "colourful character".[71] Yetnikoff soon
became notorious for his violent temper and regular tantrums: "He shattered glassware, spewed a
mixture of Yiddish and barnyard epithets, and had people physically ejected from the CBS
building."[72]
In 1976, Columbia Records of Canada was renamed CBS Records Canada Ltd.[42] The Columbia
label continued to be used by CBS Canada, but the CBS label was introduced for French-language
recordings. On May 5, 1979, Columbia Masterworks began digital recording in a recording session
of Stravinsky's Petrouchka by the New York Philharmonic Orchestra, conducted by Zubin Mehta,
in New York (using 3M's 32-channel multitrack digital recorder).
Dick Asher vs "The Network"
CBS Records had a popular roster of musicians. It distributed Philadelphia International Records,
Blue Sky Records, the Isley Brothers' T-Neck Records and Monument Records (from 1971 to 1976).
But the music industry was in financial decline. Total sales fell by 11%, the biggest drop since
World War II. In 1979, CBS had a pre-tax income of $51 million and sales of over $1 billion. The
label laid off hundreds of employees.
To deal with the crisis, CEO John Backe promoted Dick Asher from Vice President of Business
Affairs to Deputy President. Charged with cutting costs and restoring profits, Asher was reportedly
reluctant to take on the role. He was worried that Yetnikoff would resent his promotion. But Backe
had confidence in Asher's experience. In 1972, Asher had turned the British division of CBS from
loss to profit. Backe considered him to be honest and trustworthy, and he appealed to Asher's
loyalty to the company. Employees at CBS thought Asher was a bore and an interloper. He cut back
on expenses and on perks like limousines and restaurants. His relationship with Yetnikoff
deteriorated.
Asher became increasingly concerned about the huge and rapidly growing cost of hiring
independent agents, who were paid to promote new singles to radio station program directors.
"Indies" had been used by record labels for many years to promote new releases, but as he
methodically delved into CBS Records' expenses, Asher was dismayed to discover that hiring these
independent promoters was now costing CBS alone as much as $10 million per year. When Asher
took over CBS' UK division in 1972, a freelance promoter might only charge $100 per week, but by
1979 the top American independent promoters had organized themselves into a loose collective
known as "The Network", and their fees were now running into the tens millions of dollars per
year, Music historian Frederic Dannen estimates that by 1980 the major labels were paying
anywhere from to $100,000 to $300,000 per song to the "Network" promoters, and that it was
costing the industry as whole as much as $80 million annually.
During this period, Columbia scored a Top 40 hit with the Pink Floyd single "Another Brick in the
Wall", and its parent album The Wall would spend four months at No. 1 on the Billboard LP chart
in early 1980, but few in the industry knew that Dick Asher was in fact using the single as a covert
experiment to test the extent of the pernicious influence of The Network – by not paying them to
promote the new Pink Floyd single. The results were immediate and deeply troubling – not one of
the major radio stations in Los Angeles would program the record, despite the fact that the group
was in town, performing the first seven concerts on their elaborate The Wall Tour at the Los
Angeles Memorial Sports Arena to rave reviews and sold-out crowds. Asher was already worried
about the growing power of The Network, and the fact it operated entirely outside the control of
the label, but he was profoundly dismayed to realize that "The Network" was in effect a huge
extortion racket, and that the operation could well be linked to organized crime – a concern
vehemently dismissed by Yetnikoff, who resolutely defended the "indies" and declared them to be
"mensches". But Dick Asher now knew that The Network's real power lay in their ability to prevent
records from being picked up by radio, and as an experienced media lawyer and a loyal CBS
employee, he was also acutely aware that this could become a new payola scandal which had the
potential to engulf the entire CBS corporation, and that the Federal Communications Commission
(FCC) could even revoke CBS' all-important broadcast licenses if the corporation was found to be
involved in any illegality.[73]
The 1980s and sale to Sony
The structure of US Columbia remained the same until 1980, when it spun off the
classical/Broadway unit, Columbia Masterworks Records, into a separate imprint, CBS
Masterworks Records.
In 1988, the CBS Records Group, including the Columbia Records unit, was acquired by Sony,
which re-christened the parent division Sony Music Entertainment in 1991. As Sony only had a
temporary license on the CBS Records name, it then acquired the rights to the Columbia
trademarks (Columbia Graphophone) outside the U.S., Canada, Spain (trademark owned by BMG)
and Japan (Nippon Columbia) from EMI, a firm which generally had not used them since the early
1970s. The CBS Records label was officially renamed Columbia Records on January 1, 1991,
worldwide except Spain (where Sony got the rights in 2004 by forming a joint venture with
BMG[74]) and Japan.[75] CBS Masterworks Records was renamed Sony Classical Records. In
December 2006, CBS Corporation revived the CBS Records name for a new minor label closely
linked with its television properties (coincidentally, the new CBS Records is currently distributed
by another Sony Music division, RED Distribution).
The 1990s–present
American talent manager Will Botwin was recruited in 1996 to serve as a Senior Vice President. In
1998, he was appointed Executive Vice President/General Manager and worked closely with many
of the label's established artists, as well as newer performers such as Microdisney and Five For
Fighting.[76] In 2002, Botwin was promoted to President of the Columbia Records Group;[77] he
was appointed Chairman in 2005.[78] In 2006, he left Columbia to head Red Light Management
and its associated ATO Records.[76]
Columbia Records remains a premier subsidiary label of Sony Music Entertainment. In 2009,
during the re-consolidation of Sony Music, Columbia was partnered with its Epic Records sister to
form the Columbia/Epic Label Group[79] under which it operated as an imprint. In July 2011, as
part of further corporate restructuring, Epic was split from the Columbia/Epic Group as Epic took
in multiple artists from Jive Records.[80]
As of March 2013, Columbia Records was home to 90 artists such as Lauren Jauregui, Robbie
Williams, Calvin Harris and Daft Punk.[81]
On January 2, 2018, Ron Perry was named as the chairman and CEO of Columbia Records.[82] In
September 2018, Jennifer Mallory was appointed EVP and general manager.[83]
Logos and branding

The acquisition of rights to the Columbia trademarks by EMI (including the "Magic Notes" logo)
presented the company with a dilemma of which logo to use. For much of the 1990s, Columbia
released its albums without a logo, just the "COLUMBIA" word mark in the Bodoni Classic Bold
typeface.[84] Columbia experimented with bringing back the "Notes and Mic" logo but without the
CBS mark on the microphone. That logo is currently used in the "Columbia Jazz" series of jazz
releases and reissues.[85] A modified "Magic Notes" logo is found on the logo for Sony Classical. In
mid to late 1999, it was eventually decided that the "Walking Eye" (previously the CBS Records
logo outside North America) would be Columbia's logo, with the retained Columbia word mark
design, throughout the world except in Japan where Nippon Columbia has the rights to the
Columbia trademark to this day and continues to use the "Magic Notes" logo. In Japan, CBS/Sony
Records was renamed Sony Records in 1991 and stopped using the "Walking Eye" logo in 1998.
List of Columbia Records artists

As of October 2012, there were 85 recording artists signed to Columbia Records,[86] making it the
largest of the three flagship labels owned by Sony Music (followed by RCA Records with 78 artists
and Epic Records with 43 artists).
Subsidiaries
Kemosabe Records
Small Giant Records
CloudBoy Records
Startime International
Signal Records
Affiliated labels
Columbia Label Group (UK)
In January 2006, Sony BMG UK split its front-line operations into two separate labels. RCA Label
Group, mainly dealing with Pop and R&B and Columbia Label Group, mainly dealing with Rock,
Dance and Alternative music. Domestic artists include Calvin Harris, George Ezra, Central Cee and
Robbie Williams. Dipesh Parmar is the President of Columba Label Group. Amy Wheatley is the
Managing Director.
American Recording Company (ARC)
During August 1978 Maurice White, founder and leader of the band Earth, Wind & Fire, re-
launched the American Recording Company (ARC). In addition to White's Earth, Wind & Fire, the
Columbia Records-distributed label artist roster included successful R&B and pop singer Deniece
Williams, jazz-fusion group Weather Report, and R&B trio the Emotions.[87][88] Since the 1940s,
Columbia has also re-issued thousands of 1930s records issued on ARC labels.
Aware Records
In 1997, Columbia made an affiliation with unsigned artist promotion label Aware Records to
distribute Aware's artists' music. Through this venture, Columbia has found highly successful
artists. In 2002, Columbia and Aware accepted the option to continue this relationship.
Columbia Nashville
In 2007, Columbia formed Columbia Nashville, which is part of Sony Music Nashville. This
gave Columbia Nashville complete autonomy and managerial separation from Columbia in New
York City. Columbia had given its country music department semi-autonomy for many years and
through the 1950s, had a 20,000 series catalog for country music singles while the rest of
Columbia's output of singles had a 30,000, then 40,000 series catalog number.
In 2009, Columbia Nashville became part of Sony Music Nashville under the Sony Group
Corporation umbrella through Sony Music Group.
Recording studios
Columbia Records operated recording studios, the most notable of which were in New York City,
Nashville, Hollywood and San Francisco. Columbia's first recording studio was established in 1913,
after the company moved into the Woolworth Building in Manhattan, the tallest building in the
world at the time.[89] In 1917, Columbia used this studio to make one of the earliest jazz records, by
the Original Dixieland Jass Band.[90][91]
7th Avenue, New York
In 1939, Columbia established Studio A at 799 Seventh Avenue in New York City.[23] This studio
– well known for its use by Bob Dylan in the 1960s – was purchased in 1967 by Jack Arnold and
Phil Ramone's A & R Recording, and became Studios A-1 and A-2 for A & R. The building was
demolished in 1983 to make way for the Equitable Tower.
52nd Street, New York
Studio B and Studio E were located in the CBS Studio Building at 49 East 52nd Street in New
York City – on the second and fifth floor, respectively.[92]
30th Street, New York
Columbia's New York Studio C and Studio D were located at The Columbia 30th Street Studio at
207 East 30th Street in New York City. This complex, nicknamed "The Church", was considered by
some in the music industry to be the best-sounding room of its time, and many consider it to have
been the greatest recording studio in history.[92] The 1875 building, in Manhattan's Murray Hill
district, had been originally constructed as a Christian church. In 1952 CBS leased the building and
converted it into a state-of-the-art recording studio.[93] CBS never took up the option to buy the
building outright, giving up its lease and closing the studio in 1982. In spite of the building's
inherent heritage status and its cultural significance, it was sold to developers in 1985, demolished,
and replaced by a high-rise apartment complex.
Columbia Square, Hollywood
In 1961, Columbia Records renovated and repurposed CBS Radio Studio A at the company's
Columbia Square complex at 6121 Sunset Boulevard in Hollywood, California. Columbia utilized
the studio for recording and mastering services until its closure in 1972.
Columbia Studio B, Nashville
In 1962, Columbia Records purchased Bradley's Film & Recording Studios, Harold and Owen
Bradley's Nashville recording studio known as the Quonset Hut, and established Columbia
Studio B in Nashville, Tennessee. Columbia operated the studio from 1962 through 1982, when it
was converted into office space.[94] In 2006, philanthropist Mike Curb bought the structure and
had it restored. Today it serves as a recording classroom for Belmont University.[94]
Liederkranz Hall Studio, New York
Columbia also recorded in the highly respected Liederkranz Hall, at 111 East 58th Street between
Park and Lexington Avenues, in New York City, it was built by and formerly belonged to a German
cultural and musical society, The Liederkranz Society, and used as a recording studio (Victor also
recorded in Liederkranz Hall in the late 1920s).[92][95][96][97] The producer Morty Palitz had been
instrumental in convincing Columbia Records to begin to use the Liederkranz Hall studio for
recording music, additionally convincing the conductor Andre Kostelanetz to make some of the
first recordings in Liederkranz Hall which until then had only been used for CBS Symphony radio
shows.[98] In 1949, the large Liederkranz Hall space was physically rearranged to create four
television studios.[92][99]
Executives
Ron Perry – Chairman & CEO
Jenifer Mallory – GM
Stephen Russo – EVP & CFO
Abou "Bu" Thiam – EVP
Edward Wallerstein – Chairman & CEO (1939–1951)
See also
Jim Flora, successor to Alex Steinweiss and legendary illustrator for the label during the 1940s
List of record labels
Sony BMG
Alex Steinweiss, the label's Art Director from 1938 to 1943, inventor of the illustrated album
cover and the LP sleeve
References
1. "Frank Walker" (https://archive.org/details/variety132-1938-12/page/n3/mode/2up?q=Denies+J
oining+CBS+Subsidiary). Variety. December 21, 1938. p. 24. Retrieved June 18, 2022.
2. Appeals, New York (State) Court of (1941). New York Court of Appeals. Records and Briefs (htt
ps://books.google.com/books?id=VDYJG843cN0C&dq=New+York+corporate+filings+Columbia
+Phonograph&pg=PA1330).
3. Bilton, Lynn. The Columbia Graphophone and Grafonola -A Beginner's Guide (http://www.interti
que.com/TheColumbiaGraphophoneAndGrafonola.html). Intertique.com website, 2007.
Retrieved December 19, 2009.
4. Billboard (https://books.google.com/books?id=2CMEAAAAMBAJ&pg=PA35). Nielsen Business
Media, Inc. September 17, 1955. p. 35. ISSN 0006-2510 (https://www.worldcat.org/issn/0006-2
510).
5. Ben Sisario (October 30, 2012). "From One Mine, the Gold of Pop History" (https://www.nytime
s.com/2012/10/31/books/360-sound-celebrates-columbia-records-125th-anniversary.html). The
New York Times. Retrieved February 28, 2013.
6. "125 Years of Columbia Records – An Interactive Timeline" (https://web.archive.org/web/20171
114143057/http://www.columbiarecords.com/timeline/#!date=1885-08-06_18:54:22!). Archived
from the original (http://www.columbiarecords.com/timeline/#!date=1885-08-06_18:54:22!) on
November 14, 2017. Retrieved November 8, 2016.
7. "Emile Berliner and the Birth of the Recording Industry: The Gramophone" (http://www.memory.
loc.gov/ammem/berlhtml/berlgramo.html). Retrieved November 8, 2016.
8. Hazelcorn, Howard (1976). A Collector's Guide to the Columbia Spring-Wound Cylinder
Graphophone (1 ed.). Antique Phonograph Monthly. pp. 10, 13.
9. "Edward Easton" (http://www.ieeeghn.org/wiki/index.php/Edward_Easton). IEEE. Retrieved
January 22, 2014.
10. Bilton, Lynn (1998). "Hail, Columbia: A fresh book at last gives Edward Easton and his
Graphophone company their due" (http://www.intertique.com/Hail%20Columbia.htm).
Retrieved January 22, 2014.
11. Gracyk, Tim (October 11, 1904). "Tim Gracyk's Phonographs, Singers, and Old Records – How
Late Did Columbia Use Brown Wax?" (https://web.archive.org/web/20091001173001/http://ww
w.gracyk.com/wax.shtml). Gracyk.com. Archived from the original (http://www.gracyk.com/wax.
shtml) on October 1, 2009. Retrieved December 31, 2009.
12. Rye, Howard; Kernfeld, Barry (2002). Kernfeld, Barry (ed.). The New Grove Dictionary of Jazz.
Vol. 1 (2nd ed.). New York: Grove's Dictionaries Inc. p. 172. ISBN 1-56159-284-6.
13. Brooks, Tim (ed.), Columbia Corporate History: Electrical Recording and the Late 1920s (http
s://adp.library.ucsb.edu/index.php/resources/detail/114), Columbia Master Book Discography,
Volume I (Online ed.), Discography of American Historical Recordings (DAHR)
14. The Canadian Encyclopedia: "Guy Lombardo and His Royal Canadians" Mookg, Edward B. (6
April 2008 rev. 4 March 2015) on thecanadianencyclopedia.ca/en (https://www.thecanadianenc
yclopedia.ca/en/article/guy-lombardo-and-his-royal-canadians-emc)
15. Murrells, Joseph (1978). The book of golden discs (http://archive.org/details/bookofgoldendisc0
0murr). Internet Archive. London : Barrie & Jenkins. ISBN 978-0-214-20512-5.
16. Brooks, Tim (ed.), Columbia Corporate History: Market Crash, 1929, and the Early 1930s (http
s://adp.library.ucsb.edu/index.php/resources/detail/115), Columbia Master Book Discography,
Volume I (Online ed.), Discography of American Historical Recordings (DAHR) See also Notes
section (https://adp.library.ucsb.edu/index.php/resources/detail/131).
17. Walworth, Julia (2005). "Sir Louis Sterling and his library". Jewish Historical Studies. Jewish
Historical Society of England. 40: 161. JSTOR 24027031 (https://www.jstor.org/stable/2402703
1).
18. "EMI: A Brief History" (http://news.bbc.co.uk/1/hi/business/616485.stm). BBC News. January
24, 2000. Retrieved January 15, 2009.
19. "Grigsby Radio Holdings Sold" (https://www.newspapers.com/clip/63413337/brooklyn-daily-eag
le-ap-6171936/). Brooklyn Daily Eagle. Associated Press. June 17, 1936. p. 24 – via
Newspapers.com.
20. Brooks, Tim (March 22, 2013). "360 Sound: The Columbia Records Story. Columbia Records:
Pioneer in Recorded Sound: America's Oldest Record Company, 1886 to the Present" (https://
go.gale.com/ps/i.do?p=AONE&sw=w&issn=21514402&v=2.1&it=r&id=GALE%7CA335188716
&sid=googleScholar&linkaccess=abs). Book Reviews. ARSC Journal. 44 (1): 133.
21. "Solid Gospel series brings Chuck Wagon Gang to Renaissance Center" (https://web.archive.o
rg/web/20120810135439/http://www.rcenter.org/Home/News/Concerts/ChuckWagonGang.as
p). Archived from the original (http://www.rcenter.org/Home/News/Concerts/ChuckWagonGang.
asp) on August 10, 2012. Retrieved November 8, 2016.
22. Wilentz, Sean (2012). 360 Sound the Columbia Records Story. New York: Chronicle Books.
pp. 90–95. ISBN 9781452107561.
23. Marmorstein, Gary (2007). The label : the story of Columbia Records. New York: Thunder's
Mouth Press Avalon Publishing Group. pp. 100–110. ISBN 978-1560257073.
24. "Public Inquiry" (https://apps.dos.ny.gov/publicInquiry/#search). apps.dos.ny.gov. Retrieved
July 1, 2022.
25. "Division of Corporations – Filing" (https://icis.corp.delaware.gov/eCorp/EntitySearch/NameSea
rch.aspx). icis.corp.delaware.gov. Retrieved July 1, 2022.
26. CBS reflections in a Bloodshot Eye Metz (https://worldradiohistory.com/BOOKSHELF-ARH/Hist
ory/CBS-Reflections-in-a-Bloodshot-Eye-Metz-1975.pdf) World Radio History
27. "Columbia drops its Brunswick label" (https://archive.org/details/variety135-1939-08/page/n24
1/mode/2up?q=Brunswick). Variety. August 30, 1939. p. 241. Retrieved June 18, 2022.
28. "Columbia Records paperwork collection" (https://www.loc.gov/item/2002655160/). Library of
Congress.
29. Billboard (https://books.google.com/books?id=eQsEAAAAMBAJ&pg=PA60). Nielsen Business
Media, Inc. March 16, 1963. p. 60. ISSN 0006-2510 (https://www.worldcat.org/issn/0006-2510).
Retrieved July 21, 2013.
30. D. Kern Holoman The Orchestra: A Very Short Introduction 2012 Page 107 "The first classical
LP was the Mendelssohn Violin Concerto with Nathan Milstein, Bruno Walter, and the New
York Philharmonic-Symphony, Columbia ML-4001. RCA capitulated in 1950, leaving 45s as the
medium of choice for pop singles."
31. John F. Morton Backstory in Blue: Ellington at Newport '56 2008 Page 49 "1947.. The following
year Columbia made what it regarded as record history, introducing the first twelve-inch LP,
Mendelssohn's Violin Concerto in E minor, with violinist Nathan Milstein and the New York
Philharmonic Orchestra, Bruno Walter ... Within a year and a half of the introduction of the LP,
Columbia had sold twice as many Masterworks as RCA was selling of Red Seal. RCA had
begun to lose some its artists. Some, like opera tenor (sic), Ezio Pinza, would go to
Columbia..."
32. Columbia Record Catalog 1949. Columbia Records Inc. pp. 1–20.
33. The First Long-Playing Disc (https://blogs.loc.gov/now-see-hear/2019/04/inside-the-archival-bo
x-the-first-long-playing-disc/) Library of Congress (Congress.gov) (accessdate 21 June 2021)
34. Library of Congress Columbia Records Paperwork Box 121
35. Sony liner notes
36. "Record Collector's Resource: A History of Records" (http://www.cubby.net/worldofcubby/RCR/r
ecord_history.html). Cubby.net. February 26, 1917. Retrieved February 28, 2013.
37. Billboard (https://books.google.com/books?id=nSkEAAAAMBAJ&pg=PA10). Nielsen Business
510). Retrieved July 21, 2013.
38. "Mitch Miller And His Orchestra And Chorus – Mitch Miller – Philips – UK" (http://www.45cat.co
m/record/bbe12043). 45cat. Retrieved February 28, 2013.
39. John Broven (February 26, 2009). Record Makers and Breakers: Voices of the Independent
Rock 'n' Roll Pioneers (https://archive.org/details/recordmakersbrea0000brov). University of
Illinois Press. p. 22 (https://archive.org/details/recordmakersbrea0000brov/page/22). ISBN 978-
0-252-03290-5. Retrieved July 21, 2013.
40. Dannen (1991), p. 62.
41. Billboard (https://books.google.com/books?id=ZAoEAAAAMBAJ&pg=PA16). Nielsen Business
42. "Sony Music Entertainment Inc | The Canadian Encyclopedia" (https://web.archive.org/web/201
00203002802/http://thecanadianencyclopedia.com/index.cfm?PgNm=TCE&Params=U1ARTU0
003271). thecanadianencyclopedia.ca. Archived from the original (https://thecanadianencyclop
edia.ca/en/article/sony-music-entertainment-inc-emc) on February 3, 2010.
43. Worth, Fred (1992). Elvis: His Life from A to Z. Outlet. p. 38. ISBN 978-0-517-06634-8.
44. Billboard (https://archive.org/details/bub_gb_xiEEAAAAMBAJ_2). Nielsen Business Media, Inc.
September 11, 1954. p. 45 (https://archive.org/details/bub_gb_xiEEAAAAMBAJ_2/page/n44).
ISSN 0006-2510 (https://www.worldcat.org/issn/0006-2510). Retrieved July 21, 2013.
45. "columbia representative" (https://books.google.com/books?id=GSEEAAAAMBAJ&q=%22colu
mbia+representative%22+%2B+billboard+%2B+1961&pg=PA16). Billboard. August 14, 1961.
46. "Kind of Blue" (https://archive.today/20110317190607/http://www.rollingstone.com/music/lists/5
00-greatest-albums-of-all-time-19691231/kind-of-blue-miles-davis-19691231).
Rollingstone.com. February 9, 2003. Archived from the original (https://www.rollingstone.com/m
usic/lists/500-greatest-albums-of-all-time-19691231/kind-of-blue-miles-davis-19691231) on
March 17, 2011. Retrieved April 11, 2012.
47. Dannen (1991), pp. 60–61.
48. "Columbia Album Discography, Part 14 (CL 1200–1299) 1958–1959" (http://bsnpubs.com/colu
mbia/columbia12/columbia1200.html). Bsnpubs.com. Retrieved July 2, 2018.
49. This stereo LP Box Set (2 LPs) have released first as M2S-603 (MS 6038-9) in 1958.
50. Billboard (January 6, 1958). "Columbia's 1958 Tee-Off Cues Big Product Campaign: Program
Set to Tie in with LP Disk's 10th Anniversary Year". Billboard. p. 15.
51. Borgerson, Janet (2017). Designed for Hi-Fi Living : The Vinyl LP in Midcentury America.
Schroeder, Jonathan E., 1962. Cambridge, Massachusetts: MIT Press. pp. 283–297.
ISBN 9780262036238. OCLC 958205262 (https://www.worldcat.org/oclc/958205262).
52. "Columbia Album Discography, Part 12 (CL 1600-1699/CS 8400–8499) 1961–1962" (http://bsn
pubs.com/columbia/columbia12/columbia1600.html). Bsnpubs.com. Retrieved July 2, 2018.
53. Billboard (https://archive.org/details/bub_gb_eQsEAAAAMBAJ). Nielsen Business Media, Inc.
March 16, 1963. p. 40 (https://archive.org/details/bub_gb_eQsEAAAAMBAJ/page/n37).
ISSN 0006-2510 (https://www.worldcat.org/issn/0006-2510). Retrieved July 21, 2013.
56. "Remembering Singing Along With Mitch Miller" (https://www.npr.org/templates/story/story.php?
storyId=128957153). NPR.org. Retrieved December 26, 2017.
57. Dannen (1991), p. .
58. Watts, Randy; Callahan, Mike; Edwards, David; Eyries, Patrice. "Columbia Album Discography,
Part 17 (CL 2100-2199/CS 8900–8999) 1963–1964" (http://bsnpubs.com/columbia/columbia12/
columbia2100.html). Bsnpubs.com. Retrieved June 29, 2017.
59. "20 Things You Might Not Know About Bob Dylan's Debut Album – NME" (https://www.nme.co
m/blogs/nme-blogs/20-things-you-might-not-know-about-bob-dylans-debut-album-764154).
NME. March 19, 2013. Retrieved December 26, 2017.
60. "50 Years Ago Today: Bob Dylan Released His Debut Album" (https://www.rollingstone.com/mu
sic/news/50-years-ago-today-bob-dylan-released-his-debut-album-20120319). Rolling Stone.
Retrieved December 26, 2017.
61. Willis, Amy (September 17, 2009). "Peter, Paul and Mary: Top songs of all time" (https://www.te
legraph.co.uk/news/picturegalleries/celebritynews/6201418/Peter-Paul-and-Mary-Top-songs-of
-all-time.html). The Daily Telegraph. ISSN 0307-1235 (https://www.worldcat.org/issn/0307-123
5). Archived (https://ghostarchive.org/archive/20220110/https://www.telegraph.co.uk/news/pictu
regalleries/celebritynews/6201418/Peter-Paul-and-Mary-Top-songs-of-all-time.html) from the
original on January 10, 2022. Retrieved December 26, 2017.
62. Billboard (https://books.google.com/books?id=7iIEAAAAMBAJ&pg=PA3). Nielsen Business
Media, Inc. December 11, 1965. p. 3. ISSN 0006-2510 (https://www.worldcat.org/issn/0006-251
63. Gilliland, John (1969). "Show 52 – The Soul Reformation: Phase three, soul music at the
summit. [Part 8] : UNT Digital Library" (https://digital.library.unt.edu/ark:/67531/metadc19834/m
1) (audio). Pop Chronicles. University of North Texas Libraries.
64. Edwards, David; Callahan, Mike. "Atlantic Records Story" (http://www.bsnpubs.com/atlantic/atl
anticstory.html). www.bsnpubs.com. Retrieved August 23, 2011.
65. Jurek, Thom. "Bitches Brew" (https://www.allmusic.com/album/bitches-brew-r106167/review).
AllMusic. Retrieved April 11, 2012.
66. Eder, Bruce. "Bridge Over Troubled Water" (https://www.allmusic.com/album/bridge-over-troubl
ed-water-mw0000191730). AllMusic. Retrieved April 11, 2012.
67. Watts, Randy; Callahan, Mike; Edwards, David; Eyries, Patrice. "Columbia Album Discography,
Part 27 (K)CS 9000–9999 (1969–1970)" (http://bsnpubs.com/columbia/columbia12/columbia31
00.html). Bsnpubs.com. Retrieved June 29, 2017.
68. "CBS LPs – US unified numbering system" (https://www.globaldogproductions.net/c/cbs-lps-us.
html). Global Dog Productions. Retrieved July 2, 2018.
69. "LP Discography for CBS Records US combined numbering system 30000-30499" (https://ww
w.globaldogproductions.net/c/cbs-us-30000-30499.html). Global Dog Productions. Retrieved
May 5, 2019.
70. Johnson, Heather (2006). If These Halls Could Talk: A Historical Tour Through San Francisco
Recording Studios (https://archive.org/details/ifthesehallscoul00heat). Thomson Course
Technology. pp. 90 (https://archive.org/details/ifthesehallscoul00heat/page/n104)–94. ISBN 1-
59863-141-1.
71. Dannen (1991), p. 19.
72. Dannen (1991), p. 21.
73. Dannen (1991), pp. 4–27.
74. [1] (http://www.oepm.es/Localizador/LocNacExp) Archived (https://web.archive.org/web/200402
04010729/http://www.oepm.es/Localizador/LocNacExp) February 4, 2004, at the Wayback
Machine
75. "CBS Records Changes Name" (https://www.nytimes.com/1990/10/16/business/cbs-records-ch
anges-name.html). NYTimes.com. Reuters. October 16, 1990. Retrieved December 31, 2009.
76. "ENCORE: The Standard in Live Entertainment News" (https://web.archive.org/web/20131203
071940/http://encore.celebrityaccess.com/index.php?encoreId=53&articleId=19526).
Encore.celebrityaccess.com. December 14, 2006. Archived from the original (http://encore.cele
brityaccess.com/index.php?encoreId=53&articleId=19526) on December 3, 2013. Retrieved
August 12, 2014.
77. "Sony Music Gets Ready for Black Friday" (https://web.archive.org/web/20121026040615/htt
p://www.foxnews.com/story/0,2933,82218,00.html). Fox News. December 1, 2011. Archived
from the original (http://www.foxnews.com/story/0,2933,82218,00.html) on October 26, 2012.
Retrieved March 16, 2012.
78. Gallo, Phil (February 8, 2005). "Columbia chair adjusted - Entertainment News, Business
News, Media" (https://web.archive.org/web/20231128120343/https://variety.com/2005/music/m
arkets-festivals/columbia-chair-adjusted-1117917611/). Variety. Archived from the original (http
s://www.variety.com/article/VR1117917611.html?categoryid=18&cs=1) on November 28, 2023.
Retrieved March 16, 2012.
79. "Sony Music Entertainment to be Exclusive Music Provider for ESPN's Winter X Games 13" (ht
tp://www.sonymusic.com/sonymusic/sony-music-entertainment-to-be-exclusive-music-provider-
for-espns-winter-x-games-13/). October 27, 2009. Retrieved November 8, 2016.
80. "L.A. Reid's First Week at Epic Has Some Staffers Feeling 'Energized' " (http://www.billboard.bi
z/bbbiz/industry/record-labels/l-a-reid-s-first-week-at-epic-has-some-staffers-1005272002.stor
y). Retrieved November 8, 2016.
81. Columbia Records Music Moving Forward (http://www.columbiarecords.com/).
Columbiarecords.com. Retrieved on July 16, 2013.
82. Sony names new CEO of Columbia Records (https://www.bizjournals.com/newyork/news/2018/
01/02/sony-names-new-ceo-of-columbia-records.html?ana=yahoo&yptr=yahoo) Anthony Noto
bizjournals.com, January 2, 2018, Retrieved on January 2, 2018
83. "Jenifer Mallory Named EVP, General Manager Columbia Records" (https://www.billboard.com/
articles/business/8473422/jenifer-mallory-evp-general-manager-columbia-records). Billboard.
September 4, 2018. Retrieved March 26, 2021.
84. "Columbia Records Online – USA" (https://web.archive.org/web/19990208003842/http://colum
biarecords.com/). February 8, 1999. Archived from the original (http://columbiarecords.com/) on
February 8, 1999. Retrieved December 31, 2009.
85. "Columbia Jazz – Main Nav" (https://web.archive.org/web/19980115233233/http://www.columbi
arecords.com/Jazz/main.html). Columbiarecords.com. Archived from the original (http://www.co
lumbiarecords.com/Jazz/main.html) on January 15, 1998. Retrieved December 31, 2009.
86. "Columbia Records artists" (http://www.columbiarecords.com/artists/). Columbia Records. Sony
Music Entertainment. Retrieved October 25, 2012.
87. New ARC Columbia Label on debut (https://books.google.com/books?id=ViQEAAAAMBAJ&q=
Maurice+White+1978+ARC&pg=PT18). Vol. 90. Billboard Magazine. August 5, 1978. p. 19.
88. Maurice White's Prowling for Acts, Building Studios (https://books.google.com/books?id=LyQE
AAAAMBAJ&q=Deniece+Williams+ARC+1978&pg=PT25). Vol. 91. Billboard Magazine. July
14, 1979. p. 26.
89. Hoffmann, Frank, Encyclopedia of Recorded Sound (https://books.google.com/books?id=xV6tg
hvO0oMC), New York & London : Routledge, 1993 & 2005, Volume 1. Cf. p.212 (https://books.
google.com/books?id=xV6tghvO0oMC&pg=PA212), article on "Columbia (Label)".
90. Cogan, Jim (2003). Temples of Sound. San Francisco: Chronicle Books LLC. pp. 181–191.
ISBN 0-8118-3394-1.
91. "The Woolworth Building" (http://www.nyc-architecture.com/SCC/SCC019.htm), NYC
Architecture
92. Simons, David (2004). Studio Stories – How the Great New York Records Were Made (https://a
rchive.org/details/studiostorieshow00simo). San Francisco: Backbeat Books. ISBN 978-0-
87930-817-9.
93. Milner, Greg, Perfecting Sound Forever: The Story of recorded Music, Granta Books, London,
2009 (ISBN 978-1-84708-140-7), p. 149
94. Skates, Sarah (June 30, 2011). "Quonset Hut Hosts Reunion Celebration" (http://www.musicro
w.com/2011/06/quonset-hut-hosts-reunion-celebration/). Music Row. Retrieved February 1,
2013.
95. "History of The Liederkranz of the City of New York" (http://www.liederkranznycity.org/history.as
p) Archived (https://web.archive.org/web/20110727031333/http://www.liederkranznycity.org/hist
ory.asp) July 27, 2011, at the Wayback Machine – The Liederkranz of the City of New York
website. The Liederkranz Club put up a building in 1881 at 111–119 East 58th Street, east of
Park Avenue.
96. North, James H., New York Philharmonic: the authorized recordings, 1917–2005 : a
discography (https://books.google.com/books?id=BN6ZNNS3u8cC), Rowman & Littlefield,
2006. Cf. especially p.xx (https://books.google.com/books?id=BN6ZNNS3u8cC&dq=111+e+58t
h+st+new+york+city+liederkranz+hall&pg=PR20)
97. Behncke, Bernhard, "Leiderkranz Hall – The World's Best Recording Studio?" (http://www.vjm.
biz/new_page_3.htm), VJM's Jazz & Blues Mart magazine.
98. "Morty Palitz Dies at 53; Spanned 3 Record Decades" (https://books.google.com/books?id=Oh
gEAAAAMBAJ&dq=rca+records+liederkranz&pg=PA6), Billboard, December 1, 1962.
99. Kahn, Ashley, Kind of Blue: The Making of the Miles Davis Masterpiece (https://books.google.c
om/books?id=6QArFwi9buUC), Da Capo Press, 2001. Cf. p.75 (https://books.google.com/book
s?id=6QArFwi9buUC&dq=liederkranz+hall+columbia+records&pg=PA75)
Dannen, Frederic (1991). Hit Men: Power Brokers and Fast Money Inside The Music Business.
London: Vintage. ISBN 0099813106.
Further reading
Cogan, Jim; Clark, William, Temples of sound : inside the great recording studios (https://book
s.google.com/books?id=hO-KQ4o_B2MC), San Francisco : Chronicle Books, 2003. ISBN 0-
8118-3394-1. Cf. chapter on Columbia Studios, pp. 181–192.
Hoffmann, Frank, Encyclopedia of Recorded Sound (https://books.google.com/books?id=xV6tg
hvO0oMC), New York & London : Routledge, 1993 & 2005, Volume 1. Cf. pp. 209–213, article
on "Columbia (Label)"
Koenigsberg, Allen, The Patent History of the Phonograph, 1877–1912, APM Press,
1990/1991, ISBN 0-937612-10-3.
Revolution in Sound: A Biography of the Recording Industry. Little, Brown and Company, 1974.
ISBN 0-316-77333-6.
High Fidelity Magazine, ABC, Inc. April 1976, "Creating the LP Record."
Rust, Brian, (compiler), The Columbia Master Book Discography, Greenwood Press, 1999.
Marmorstein, Gary. The Label: The Story of Columbia Records. New York: Thunder's Mouth
Press; 2007. ISBN 1-56025-707-5
Ramone, Phil; Granata, Charles L., Making records: the scenes behind the music (https://book
s.google.com/books?id=yzTUVHf_ThgC), New York: Hyperion, 2007. ISBN 978-0-7868-6859-
9. Many references to the Columbia Studios, especially when Ramone bought Studio A, 799
Seventh Avenue from Columbia. Cf. especially pp. 136–137.
Dave Marsh; 360 Sound: The Columbia Records Story Legends and Legacy (https://itunes.app
le.com/us/book/360-sound-columbia-records/id566377915?mt=11), Free eBook released by
Columbia Records that puts a spotlight on the label's 263 greatest recordings from 1890 to
2011.
External links
Official website (http://www.columbiarecords.com/)
Columbia masters in the Discography of American Historical Recordings (https://adp.library.ucs
b.edu/index.php/matrix/index?Matrix%5BCompany%5D=Columbia)
See the Profile of Designer Alex Steinweiss (http://www.soundfountain.org/rem/remcovart.html)
Retrieved from "https://en.wikipedia.org/w/index.php?title=Columbia_Records&oldid=1190418601"

Columbia Records

Uploaded by

Copyright:

Available Formats

Columbia Records

Uploaded by

Document Information

Copyright

Available Formats

Share this document

Share or Embed Document

Sharing Options

Did you find this document useful?

Is this content inappropriate?

Copyright:

Available Formats

Columbia Records

Uploaded by

Copyright:

Available Formats

Columbia Records

Columbia Records is an American record label owned by

Columbia stopped recording and manufacturing wax cylinder

Columbia Phonograph Company ownership (1925–1931)

In late 1922, Columbia entered receivership.[12]

Louis Sterling, managing director of the Columbia

In 1926, Columbia acquired Okeh Records and its growing

In 1929, Ben Selvin became house bandleader and A. & R.

Columbia ownership separation (1931–1936)

CBS takes over (1938–1947)

The LP record (1948–1959)

Outing of "deep groove"

Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.[53]

Mitch Miller on television

Rock and roll

Ascension of Clive Davis

Simon & Garfunkel

Hoyt Axton and Tom Rush

Yetnikoff becomes president

Dick Asher vs "The Network"

The 1980s and sale to Sony

Logos and branding

List of Columbia Records artists

Columbia Label Group (UK)

American Recording Company (ARC)

7th Avenue, New York

52nd Street, New York

30th Street, New York

Columbia Square, Hollywood

Columbia Studio B, Nashville

Liederkranz Hall Studio, New York

Retrieved from "https://en.wikipedia.org/w/index.php?title=Columbia_Records&oldid=1190418601"

You might also like