Columbia Records

Not to be confused withColumbia Record.

For the former British record company, seeColumbia Graphophone Company.

Columbia Records
Logo since 1999
Parent company	Sony Music Entertainment(SME) (1991–2004, 2008–present) Previously Columbia Graphophone Company (October 5, 1925(1925-10-05)– March 31, 1931(1931-03-31)) Grigsby-Grunow Company (December 1931(1931-12)– May 1934(1934-05)) American Record Corporation (June 1934(1934-06)– December 1938(1938-12)) Columbia Broadcasting System (CBS), Inc. (December 17, 1938(1938-12-17)– 1988) Sony Corporation (1988–1991) Sony BMG Music Entertainment (2004–2008)
Founded	January 22, 1889(1889-01-22)(as Columbia Phonograph Company) inWashington, D.C.
Founder	Edward D. Easton
Distributor(s)	Sony Music Entertainment (International) Legacy Recordings(reissues)
Genre	Various
Country of origin	United States
Location	New York City
Official website	columbiarecords

Columbia Recordsis an Americanrecord labelowned bySony Music Entertainment,a subsidiary ofSony Corporation of America,the American division of multinational conglomerateSony.Columbia is the oldest surviving brand name in the recorded sound business,and the second major company to produce records.From 1961 to 1991, its recordings were released outside North America under the nameCBS Recordsto avoid confusion withEMI'sColumbia Graphophone Company.Columbia is one of Sony Music's four flagship record labels:Epic Records,and former longtime rivals,RCA RecordsandArista Recordsas the latter two were originally owned byBMGbefore its 2008 relaunch after Sony's acquisition alongside other BMG labels.

History

Beginnings (1889–1929)

The original home of Columbia inWashington, D.C.,in 1889; the company was named after the city.

A Columbia type AT cylindergraphophoneproduced in 1898

The American label of an electrically recorded Columbia disc byArt Gillhamfrom the mid-1920s

The Columbia Phonograph Company was founded on January 15, 1889, by stenographer, lawyer, andNew JerseynativeEdward D. Easton(1856–1915) and a group of investors. It derived its name from theDistrict of Columbia,where it was headquartered.At first it had a local monopoly on sales and service of Edisonphonographsandphonograph cylindersinWashington, D.C.,Maryland,andDelaware.As was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, and its catalogue of musical records in 1891 was 10 pages.

Columbia's ties to Edison were severed in 1894 with theNorth American Phonograph Company's breakup. Thereafter, it sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the "XP" record, a molded brown wax record, to use up old stock. Columbia introduced black wax records in 1903. According to one source, they continued to mold brown waxes until 1904 with the highest number being 32601, "Heinie", which is a duet byArthur CollinsandByron G. Harlan.The molded brown waxes may have been sold toSearsfor distribution (possibly under Sears' Oxford trademark for Columbia products).

Columbia began sellingdisc records,invented and patented by Victor Talking Machine Company'sEmile Berliner,and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records. For a decade, Columbia competed with both theEdison Phonograph Companycylinders andVictor Talking Machine Companydisc records as one of the top three names in American sound recording.

In 1903, in order to add prestige to its early catalog of artists, Columbia contracted a number of prominent singers from theMetropolitan Operain New York to make a highly touted series of Grand Opera Records. These stars includedMarcella Sembrich,Lillian Nordica,Antonio Scotti,andEdouard de Reszke,but the technical standard of Columbia's Grand Opera series was not considered to be as high as the results achieved with opera singers during the pre–World War I period by Victor, Edison, England'sHis Master's Voice(TheGramophone CompanyLtd.) or Italy'sFonotipia 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 each. Columbia also introduced the internal-horn "Grafonola"to compete with the extremely popular"Victrola"introduced by the rival Victor Talking Machine Company in 1906.

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).

In 1908, Columbia ceased the recording and manufacturing of wax cylinder records after arranging to issue celluloid cylinder records made by theIndestructible Record CompanyofAlbany, New York,as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate exclusively on disc records and ended production of cylinder phonographs, although Indestructible cylinders continued to be sold under the Columbia label for a few more years. Columbia was split into two companies, one to make records and one to make players. Columbia Phonograph relocated toBridgeport, Connecticut,and Edward Easton went with it. Eventually it was renamed theDictaphone Corporation.

Columbia Phonograph Company ownership (1925–1931)

The British label of an electrically recorded Columbia disc byPaul Whiteman

In late 1922, Columbia entered receivership.

The company was bought by its UK subsidiary, theColumbia 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 fromWestern Electric."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 byArt 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 bringing Western Electric's recording process, and the British takeover. Originally from New York, Sterling became Chairman of Columbia NY from 1925 until 1931, and oversaw stability and success.

In 1926, Columbia acquiredOkeh Recordsand its growing stable of jazz and blues artists, includingLouis ArmstrongandClarence Williams.Columbia had already built a catalog of blues and jazz artists, includingBessie Smithin their 14000-D Race series. Columbia also had a successful "Hillbilly" series (15000-D) withDan Hornsbyamong others. By 1927, the "Sweet Jazz" bandleaderGuy Lombardoalso joined Columbia and recorded forty five 78 rpm's by 1931.In 1928,Paul Whiteman,the nation's most popular orchestra leader, left Victor to record for Columbia. During the same year, Columbia executiveFrank Buckley Walkerpioneered some of the first country music or "hillbilly" genre recordings with theJohnson City sessionsin Tennessee, including artists such asClarence Horton Greeneand"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 Mackas The Two Black Crows 1926 recording 'The Early Bird Catches the Worm' sold 2.5 million copies.

In 1929,Ben Selvinbecame house bandleader and A. & R. director. Other favorites in the Viva-tonal era includedRuth Etting,Paul Whiteman,Fletcher Henderson,Ipana Troubadours(a Sam Lanin group), andTed Lewis.Columbia used acoustic recording for "budget label" pop product well into 1929 on the labels Harmony, Velvet Tone (both general purpose labels), andDiva(sold exclusively atW.T. Grantstores). When Edison Records folded, Columbia was the oldest surviving record label.

Columbia ownership separation (1931–1936)

The repercussions of the stock marketCrash of 1929and subsequentGreat Depressionled to the near collapse of the entire recording industry and, in March 1931, J.P Morgan, the major shareholder, steered the Columbia Graphophone Company (along withOdeon recordsandParlophone,which it had owned since 1926) into a merger with theGramophone Company( "His Master's Voice" ) to form Electric and Musical Industries Ltd (EMI).Since the Gramophone Company (HMV) was now 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.To avoidantitrustlegislation, EMI had to sell off its US Columbia operation, which continued to release pressings of matrices made in the UK.

In December, 1931, the U.S. Columbia Phonograph Company, Inc. was acquired by theGrigsby-Grunow Company,the manufacturers of Majestic radios and refrigerators. When Grigsby-Grunow declared bankruptcy in November 1933, Columbia was placed in receivership, and in June 1934, the company was soldto 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.

On December 3, 1931, CFI made a deal withWarner Brothers Pictures, Inc.( "WB" ) to leaseBrunswick Record Corporation,which included the trademarks and masters of the Brunswick,Vocalion,andMelotonelabels 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 forBob Wills and His Texas Playboys,a phenomenal mid-1930sWestern Swingband, which drew 10,000+ customers nightly to dance. Columbia was added in mid-1932, relegated to slower sellers such as the Hawaiian music ofAndy Iona,theIrving Millsstable of artists and songs, and the still unknownBenny 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.

Assouthern gospeldeveloped, Columbia had astutely sought to record the artists associated with the emerging genre; for example, Columbia was the only company to recordCharles Davis Tillman.Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered into an exclusive recording contract with theChuck 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,many of them through the aegis of theMull Singing Convention of the Airsponsored on radio (and later television) by southern gospel broadcasterJ. 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 theswing musicera, Hammond had already been of great help to Columbia in 1932–33. Through his involvement in the UK music paperMelody 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 recordedFletcher Henderson,Benny Carter,Joe Venuti,Roger Wolfe Kahnand 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 duringWorld War II,and he had less involvement with the music scene during thebebopera, 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 includedCharlie Christian,Count Basie,Teddy Wilson,Pete Seeger,Bob Dylan,Leonard Cohen,Aretha Franklin,Bruce SpringsteenandStevie 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 artistsRobert JohnsonandBessie Smith.

By 1937–38, the record business in America 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 the survival of ARC.In a 1941 court case brought by unhappy shareholders ofColumbia Broadcasting System, Inc.( "CBS" ), Edward Wallerstein, a high executive with RCA Victor from 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."

CBS takes over (1938–1947)

Columbia notes and mic logo

On December 17, 1938, the ARC, including the Columbia label in the U.S., was acquired byWilliam S. Paleyof the Columbia Broadcasting System, Inc. for US$700,000,ten times the price ARC paid in 1934, which would later spark lawsuits by disgruntled shareholders. (Columbia Records had originally co-founded CBS in 1927 along with New York talent agentArthur Judson,but soon cashed out of the partnership leaving only the name; Paley acquired the fledgling radio network in 1928.) On January 3, 1939, Wallerstein left RCA 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.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.The Columbia trademark remained under Columbia Records, Inc. of Delaware, filed back in 1929.Brothers Ike and Leon Levy owned stakes in CBS.

In February 1939, NYC Studios moved from ARC headquarters at 1776 Broadway, to799 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'sHillbilly/Countryartists and sessions.

On August 30, 1939, Columbia replaced its $.75 Brunswick record for a $.50 Columbia label.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 byGene Autryand 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 were dropped in favor of a deep red, which causedRCA Victorto claim infringement on its famousRed Sealtrademark (RCA lost the case). The blue Columbia label was retained for itsclassical musicColumbia Masterworks Recordsseries 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 Columbia/CBS classical and Broadway albums. Columbia Phonograph Company of Canada did not survive theGreat Depression,so CBS made a distribution deal withSparton Recordsin 1939 to release Columbia records in Canada under the Columbia name.

During the 1940s,Frank Sinatrarecorded for Columbia and helped to substantially boost the company's revenue. Sinatra recorded over 200 songs for Columbia which include his most popular songs from his early years. Other popular artists on Columbia at this time includedBenny Goodman(signed from RCA Victor in 1939),Count Basie,Jimmie Lunceford(both signed from Decca),Eddy Duchin,Ray Noble(both moved to Columbia from Brunswick),Kate Smith,Mildred Bailey,andWill Bradley.

In 1947, the company was renamed Columbia Records Inc.and founded its Mexican record company, Discos Columbia de Mexico.1948 saw the first classical LPNathan Milstein's recording of the Mendelssohn Violin Concerto.Columbia's new 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 overRCA Victor Red Seal.

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 ofHigh Fidelity Magazinerelates: "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 recordformat (sometimes written "Lp" in early advertisements), which rotated at 33⅓revolutions per minute,to be the standard for the gramophone record for forty years. CBS research director Dr.Peter Goldmarkplayed a managerial role in the collaborative effort, but Wallerstein credits engineerWilliam Savorywith the technical prowess that brought the long-playing disc to the public.

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 ofThe 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.Sinatrawas 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 Sinatrawas also considered to be the first genuineconcept album.Since the term "LP" has come to refer to the 12-inch33+1⁄3rpm 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.TheLibrary of Congressin 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 21,1948.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 asEugene Ormandyand thePhiladelphia Orchestra,Bruno Walterand theNew York Philharmonic Orchestra,andSir Thomas Beechamand theRoyal Philharmonic Orchestra.The success of these recordings persuadedCapitol Recordsto 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 Recordsin 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" ofRodgers & Hammerstein'sSouth PacificwithEzio PinzaandMary Martinwas 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.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. Soon, other record companies had adopted the paste-over method.

1950s

Columbia used this label for its 45 r.p.m. records from 1951 until 1958.

Transitional 1955 promo 45 r.p.m. label showing both the old notes and mike and new walking eye logos

In 1951, Columbia US began issuing records in the 45 rpm format RCA Victor had introduced two years earlier.The same year, Ted Wallerstein retired as Columbia Records chairman;and Columbia US also severed its decades-long distribution arrangement with EMI and signed a distribution deal withPhilips Recordsto market Columbia recordings outside North America.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.

Columbia became the most successful non-rock record company in the 1950s after it lured producer and bandleaderMitch Milleraway 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 theEastman School of Musicin the 1930s.)Miller quickly signed up Mercury's biggest artist at the time,Frankie Laine,and discovered several of the decade's biggest recording stars includingTony 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 ValeandJohnny Mathis.He also oversaw many of the early singles by the label's top female recording star of the decade,Doris Day.

In 1953, Columbia formed a new subsidiary labelEpic Records.1954 saw Columbia end its distribution arrangement with Sparton Records and form Columbia Records of Canada.To enhance its country music stable, which already includedMarty Robbins,Ray PriceandCarl Smith,Columbia bid $15,000 forElvis Presley's contract fromSun Recordsin 1955.Presley's manager,Colonel Tom Parker,turned down their offer and signed Presley with RCA Victor.However, Columbia did sign two Sun artists in 1958:Johnny CashandCarl Perkins.

With 1954, Columbia U.S. decisively broke with its past when it introduced its new,modernist-style "Walking Eye" logo,designed by Columbia's art directorS. Neil Fujita.This logo actually depicts a stylus (the legs) on a record (the eye); however, the "eye" also subtly refers to CBS's main business intelevision,and that division's iconic Eye logo. Columbia continued to use the "notes and mike" logo on record labels 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 1961to 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 hadDuke Ellingtonunder contract for several years, capturing the historic moment when Ellington's band provoked a post-midnight frenzy (followed by international headlines) at the 1956Newport Jazz Festival,which proved a boost to a bandleader whose career had stalled. Under new head producerGeorge 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 byLouis Armstrong,but also signing to long-term contractsDave BrubeckandMiles 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 Outby the Brubeck Quartet and, to an even greater extent,Kind of Blueby the Davis Sextet, which, in 2003, appeared as number 12 inRolling Stone'slist of the "500 Greatest Albums Of All Time".With another producer,Teo Macero,a skilled modernist composer himself, Columbia cemented contracts with jazz composer/musiciansThelonious MonkandCharles Mingus,while Macero became a significant figure in Miles Davis career from an explorer of the art ofmodal jazzfrom Davis' sextets 1958 albumMilestonesto innovator and avatar of the marriage of jazz with rock and electronic sounds—commonly known asjazz 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 aTimemagazine cover story on the phenomenon of Brubeck's success on college campuses. The humbleDave Brubeckdemurred, saying that the secondTimecover story on a jazz musician (the first featuredLouis Armstrong's picture) had been earned byDuke Ellington,not himself. Within two years Ellington's picture would appear on the cover ofTime,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 ofTimemagazine were all Columbia artists. (In the early 1960s Columbia jazz artistThelonious Monkwould 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 theCapitol Recordsproduct 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 theCBS Coronetlabel.

In the same year, former Columbia A&R managerGoddard Liebersonwas 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 overtookRCA Victoras 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 ofArnold SchoenbergandAnton von Webern.One of his first major successes was the original Broadway cast album ofMy 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.

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 andthe Four Lads;months later, it put out another Mathis compilation as well as that ofMarty Robbins.Only Mathis' compilations charted, since there were only 25 positions onBillboard's album chartsat the time.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 ofHandel'sMessiahby theNew York Philharmonicand theWestminster Choirconducted byLeonard Bernstein(recorded on December 31, 1956, on1⁄2-inch tape, using an Ampex 300-3 machine).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 byBruno Walter,Dimitri Mitropoulos,andLeonard Bernstein,and the Philadelphia Orchestra conducted byEugene Ormandy,who also recorded an abridgedMessiahfor 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 Szelland theCleveland Orchestrarecorded mostly for Epic. When Epic dropped classical music, the roster and catalogue was moved toColumbia 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.

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 matchLambert, Hendricks & Ross SingEllington,theLambert, Hendricks & Rossalbum 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 ofBillboardmagazine (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.

CBS Records

The CBS Records logo used outside of the United States

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).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 rather, pressing plants were told to use up the stock of old (pre-CBS) labels first, resulting in a mixture of labels for some given releases. Some are 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".This text would be used on the Columbia labels until June 1962.

Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.

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, theAustralian Record Company(founded in 1936) includingCoronet 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 whenMitch Miller,its A&R manager and bandleader, became the host of the variety seriesSing Along with Mitchon NBC.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.

Bob Dylan

In September 1961, CBS A&R managerJohn Hammondwas producing the first Columbia album by folk singerCarolyn Hester,who invited a friend to accompany her on one of the recording sessions. It was here that Hammond first metBob Dylan,whom he signed to the label, initially as a harmonica player.Dylan's self-titled debut album was released in March 1962 and sold only moderately.Some executives in Columbia dubbed Dylan "Hammond's folly" and suggest that Dylan be dropped from the label.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 forPeter, Paul & MaryandThe Turtles.Some of these cover versions became the foundation of thefolk rockgenre. 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 groupThe Bandwhich reached other artists as 'demo recordings'. These resulted in hits byManfred Mann( "The Mighty Quinn") andBrian Auger,Julie Driscoll& Trinity ( "This Wheel's On Fire"). Dylan's late 1960s albumsJohn Wesley HardingandNashville Skylinebecame cornerstone recordings of the emergentcountry rockgenre and influenced The Byrds andThe Flying Burrito Brothers.

Rock and roll

When theBritish Invasionarrived in January 1964, Columbia had no rock musicians on its roster except forDion,who was signed in 1963 as the label's first major rock star, andPaul Revere & the Raiderswho were also signed in 1963. The label released amerseybeatalbum,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.

Melcher andBruce Johnstondiscovered and brought to Columbiathe 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 byWade Flemons,and "Hey Little Cobra".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 bythe Byrdsand Paul Revere & the Raiders for Columbia while Johnston producedthe Beach BoysforCapitol Records.

Ascension of Clive Davis

When Mitch Miller retired in 1965,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.The label's only significant "pop" acts at the time were Bob Dylan, the Byrds, Paul Revere & the Raiders andSimon & Garfunkel.In its catalogue were other genres: classical, jazz and country, along with a select group of R&B artists, among themAretha Franklin.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 forAtlantic Recordsin 1967.

In 1967, Brooklyn-born lawyerClive Davisbecame 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 theMonterey International Pop Festival,where he spotted and signed several leading acts includingJanis 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 wasBarbra 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 WayandBitches Brew,pioneered afusion of jazz and rock music.

A San Francisco group calledMoby Grapehad 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 releasedtheir debut album,along with five singles from the album, all on the same day, June 6, 1967, 23 years followingD-Day.The album hit made No. 24 on theBillboard200,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 producerTom 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, andPaul Simonhad 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 thefolk-rockboom of the mid-1960s. Their next album,Parsley, Sage, Rosemary and Thyme,went to No. 4 on theBillboardalbum 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 theMike NicholsfilmThe Graduate.The resulting single, "Mrs. Robinson",became a smash hit. BothThe Graduatesoundtrack 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.

Hoyt Axton and Tom Rush

Davis lured artistsHoyt AxtonandTom Rushto 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 forHorizon,thenVee-Jay.By the time he joined Columbia, he had mixed successful pop songs like "Greenback Dollar",with hard rock songs forSteppenwolf,such as "The Pusher",which was used in the filmEasy Riderin the same year. When he landed at Columbia, his albumMy Griffin Is Gonewas described as "the poster child for 'overproduced,' full of all kinds of instruments and even strings".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 forThree Dog NightonDunhill.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 fromElektra.As with Axton, Rush was given "the treatment" onhis 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.

Eventually, Rush returned to his usual sound (which he applied to hisnextthreealbumsfor 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 thePatti PagealbumHoney 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 forEpic,H for Harmony (budget reissue line), M forColumbia Masterworks,S for movie soundtrack and original Broadway cast albums, Y forColumbia 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.The first CBS album released under the new system wasThe 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 wasHerschel Bernardi'sShow Stopper,assigned with C 30004.The highest catalog number released in the old system was CS-1069, assigned toThe 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 forPortrait,A and W for Special Products, L forSony Wonder,S forSony Classical,N forMonument,O for Chaos Recordings, and B for550 Music), which continued until 2005.

In September 1970, under the guidance ofClive 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 theAutomatt) and establishing an A&R head and office in San Francisco atFisherman's Wharf,headed byGeorge Daly,a producer and artist forMonument Records(who inked a distribution deal with Columbia at the time) and a former bandmate ofNils LofgrenandRoy Buchanan.The recording studio operated under CBS until 1978.

Quadraphonic Sound

During 1971 Columbia began producing records in four-channelquadraphonic sound,using the "SQ Quadraphonic"matrix decodingsystem. These recordings were backward compatible on conventional two-channel stereo playback systems, but played four-channels ofsurround soundwhen heard with special amplifiers and additional speakers. Artists using this technology covered all genres, including classical musicLeonard BernsteinandPierre Boulez,plus popular artists such asElectric Light Orchestra,Billy Joel,Pink Floyd,Johnny Cash,Barbra Streisand,Ray Conniff,Santana,Herbie Hancock,andBlue Öyster Cult.RCA had already begun releasing quadraphonic recordings on8-track tapestarting in 1970, and countered on LP record with theQuadradiscsystem. The RCA process required a specialphono cartridgefor "discrete" four-channel playback unlike the Columbia "matrix" system. Although the Columbia process was simpler and quite effective, many consumers were confused by competing systems and sales of both were disappointing. Columbia released its last quadraphonic recordings in 1978. Starting in the 1990s multichannel surround sound music surged again with the popularity ofhome cinemasystems. Many quadraphonic recordings were reissued in new surround sound formats such asDolby Digital,DTS,Super Audio CDandBlu-ray,however, multichannel music still did not reach mass-market acceptance.

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 Fredric 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".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."

In 1976, Columbia Records of Canada was renamed CBS Records Canada Ltd.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 begandigital recordingin a recording session ofStravinsky'sPetrouchkaby theNew York Philharmonic Orchestra,conducted byZubin Mehta,in New York (using3M's 32-channel multitrack digital recorder).

Dick Asher vs "The Network"

CBS Records had a popular roster of musicians. It distributedPhiladelphia International Records,Blue Sky Records,theIsley Brothers'T-Neck RecordsandMonument 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, CEOJohn BackepromotedDick Asherfrom 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 historianFredric Dannenestimates that by 1980 the major labels were paying anywhere from to $100,000 to $300,000per songto 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 thePink Floydsingle "Another Brick in the Wall",and its parent albumThe Wallwould spend four months at No. 1 on theBillboardLP 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 – bynotpaying 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 elaborateThe Wall Tourat theLos Angeles Memorial Sports Arenato 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 hugeextortionracket, 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 topreventrecords 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 newpayolascandal which had the potential to engulf the entire CBS corporation, and that theFederal Communications Commission(FCC) could even revoke CBS' all-important broadcast licenses if the corporation was found to be involved in any illegality.

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 bySony,which re-christened the parent divisionSony Music Entertainmentin 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 byBMG) and Japan (Nippon Columbia) fromEMI,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) and Japan.CBS Masterworks Records was renamedSony Classical Records.In December 2006,CBS Corporationrevived theCBS Recordsname 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

Americantalent managerWill 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 asMicrodisneyandFive For Fighting.In 2002, Botwin was promoted to President of the Columbia Records Group;he was appointed Chairman in 2005.In 2006, he left Columbia to headRed Light Managementand its associatedATO Records.

Columbia Records remains a premier subsidiary label ofSony Music Entertainment.In 2009, during the re-consolidation of Sony Music, Columbia was partnered with itsEpic Recordssister to form theColumbia/Epic Label Groupunder 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.

As of March 2013, Columbia Records was home to 90 artists such asLauren Jauregui,Robbie Williams,Calvin HarrisandDaft Punk.

On January 2, 2018,Ron Perrywas named as the chairman and CEO of Columbia Records.In January 2023, Jennifer Mallory was appointed President.

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 theBodoniClassic Bold typeface.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.A modified "Magic Notes" logo is found on the logo forSony 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 whereNippon Columbiahas 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

Main article:List of Columbia Records artists

As of 2024, the current Columbia Records roster includesBarbra Streisand,Bruce Springsteen,Celine Dion,Beyoncé,Adele,Rosalía,Harry Styles,Miley Cyrus,Lil Nas X,Blink-182,Addison Rae,Jennie,JoJo Siwa,Dove Cameron,Central Cee,Chlöe,Halsey,Ive,Tyler, the Creator,Pharrell Williams,and many more. In October 2012, there were 85 recording artists signed to Columbia Records,making it the largest of the three flagship labels owned by Sony Music (followed byRCA Recordswith 78 artists andEpic Recordswith 43 artists).

Subsidiaries

• Kemosabe Records
• Small Giant Records
• CloudBoy Records
• Signal Records
• CMV: Columbia Music Video
• Brushfire 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 (although this remit has widened in recent years). Domestic artists includeCalvin Harris,George Ezra,Central CeeandRobbie Williams.Dipesh Parmar is the President of Columba Label Group and Amy Wheatley is the Managing Director. Subsidiary labels include Ministry of Sound Records and Room Two Recordings.

American Recording Company (ARC)

During August 1978Maurice White,founder and leader of the bandEarth, Wind & Fire,re-launched theAmerican Recording Company(ARC). In addition to White's Earth, Wind & Fire, the Columbia Records-distributed label artist roster included successful R&B and pop singerDeniece Williams,jazz-fusion groupWeather Report,and R&B triothe Emotions.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 labelAware Recordsto distribute Aware's artists' music. In 2002, Columbia and Aware accepted the option to continue this relationship.

Columbia Nashville

In 2007, Columbia formed Columbia Nashville, which is part ofSony Music Nashville.This gave Columbia Nashville complete autonomy and managerial separation from Columbia in New York City. Columbia had given itscountry musicdepartment 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 ofSony Music Nashvilleunder theSony Group Corporationumbrella throughSony Music Group.

Recording studios

Columbia Records operatedrecording 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 theWoolworth BuildinginManhattan,the tallest building in the world at the time.In 1917, Columbia used this studio to make one of the earliest jazz records, by theOriginal Dixieland Jass Band.

7th Avenue, New York

In 1939, Columbia establishedStudio Aat 799 Seventh Avenue in New York City.This studio – well known for its use byBob Dylanin the 1960s – was purchased in 1967 by Jack Arnold andPhil Ramone'sA&R Recording,and became Studios A-1 and A-2 for A & R. The building was demolished in 1983 to make way for theEquitable Tower.

52nd Street, New York

Main article:CBS Studio Building

Studio BandStudio Ewere located in theCBS Studio Buildingat 49 East 52nd Street in New York City – on the second and fifth floor, respectively.

30th Street, New York

Main article:CBS 30th Street Studio

In 1948, Columbia built additional new studios at 207 East 30th Street in Manhattan's Murray Hill district, naming themStudio CandStudio D.This complex, nicknamed "The Church" due to it having been built within an 1875 building that was originally constructed as a Christian 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.CBS never took up the option to buy the building outright, giving up its lease and closing the studio in 1981. 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

See also:CBS Columbia Square

In 1961, Columbia Records renovated and repurposed CBS Radio Studio A at the company's Columbia Square complex at 6121 Sunset Boulevard inHollywood,California. Columbia utilized the studio for recording and mastering services until its closure in 1972.

Columbia Studios, Nashville

See also:Bradley Studios

In 1962, Columbia Records purchased theBradley StudiosinNashville, Tennessee(also known as the Quonset Hut), the first recording studio in what would become Nashville'sMusic Rowdistrict when first established byHaroldandOwen Bradleyin 1954. RenamedColumbia Studios,the company replaced Bradley Studio A with a building containing a newer, larger studio A, mi xing and mastering studios, and administrative offices. Columbia operated these studios from 1962 through 1982, when they were converted into office space.Philanthropist Mike Curb bought the structure in 2006 and restored it; it is now a recording classroom forBelmont University's Mike Curb College of Entertainment & Music Business.

Liederkranz Hall Studio, New York

Columbia also recorded in the highly respected Liederkranz Hall, at 111 East 58th Street between Park and Le xing ton 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 (Victoralso recorded in Liederkranz Hall in the late 1920s).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 conductorAndre Kostelanetzto make some of the first recordings in Liederkranz Hall which until then had only been used forCBS Symphonyradio shows.In 1949, the large Liederkranz Hall space was physically rearranged to create four television studios.

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

• Dannen, Fredric (1991).Hit Men: Power Brokers and Fast Money Inside The Music Business.London: Vintage.ISBN0099813106.

Further reading

• Cogan, Jim; Clark, William,Temples of sound: inside the great recording studios,San Francisco: Chronicle Books, 2003.ISBN0-8118-3394-1.Cf. chapter onColumbia Studios,pp. 181–192.
• Hoffmann, Frank,Encyclopedia of Recorded Sound,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,ISBN0-937612-10-3.
• Revolution in Sound: A Biography of the Recording Industry.Little, Brown and Company, 1974.ISBN0-316-77333-6.
• 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.ISBN1-56025-707-5
• Ramone, Phil;Granata, Charles L.,Making records: the scenes behind the music,New York: Hyperion, 2007.ISBN978-0-7868-6859-9.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,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
• Columbia masters in theDiscography of American Historical Recordings
• See the Profile of Designer Alex Steinweiss