![]() ![]() US Label Variation first US Columbia label (1951 - 1954) This is the first Silver on Black Columbia label in the U.S. The company is still labeled 'THE GRAMOPHONE CO. UK Label Variation fifth UK Columbia label (1971 - 1973) In 1971, EMI added a second boxed EMI logo to the label, and this version is often referred to as the 'two mark' label. ![]() The label comes with just one boxed EMI logo at the bottom centre. UK Label Variation fourth UK Columbia label (1969 - 1971) This is the Silver on Black version of the Columbia label that was introduced in 1969. ![]() The blue 'Magic Notes' logo and 'COLUMBIA' text led to its commonly used name, even though the label was actually black and most of the text in silver print. UK Label Variation third UK Columbia label (1963 - 1969) This is the trademark blue Columbia label that was used for most of the 1960s, where the majority of collectible Columbia albums were released. From September on the blue label was used for stereo releases. UK Label Variation second UK Columbia label (1958 - 1963) The first Columbia Stereo label was used from the first stereo albums in 1958 until the summer of 1963. UK Label Variation first UK Columbia label (1950s - 1962) This classic Gold on Green Columbia Graphophone Company label was used from the 1950s until (late) 1962 when the blue label was introduced in Britain. Follow this link for our guide to Price Codes and Identifiers in the consolidated CBS/Columbia 30000 Series. In 1973, Columbia was replaced by the newly created EMI Records as part of an EMI label consolidation. EMI continued to operate the Columbia record label in the UK until the early 1970s, and everywhere else except for the US, Canada, Mexico, Spain and Japan, until it sold its remaining interest in the Columbia trademark to Sony Music Entertainment in 1990. In the United Kingdom, the Columbia Graphophone Company was a separate label owned by EMI since 1922. 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. The recordings could not be released under the "Columbia Records" name because that was a separate record label operated by EMI outside North America. This arrangement ended in 1961 when Columbia formed its own international organization, CBS Records, in 1962, which released Columbia recordings outside the USA and Canada on the CBS label (until 1964 marketed by Philips in Britain). In 1951 Columbia USA severed its decades-long distribution arrangement with EMI and signed a distribution deal with Philips Records to market Columbia recordings outside North America. ![]() 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. Courtesy 33audio.Columbia Records was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company, and Columbia is the oldest brand name in pre-recorded sound, being the first record company to produce pre-recorded records as opposed to blank cylinders. Photo: The first microgroove LP pressing released was Columbia ML4001, the Mendelssohn Violin Concerto in E Minor with soloist Nathan Milstein, and Bruno Walter conducting the Philharmonic Symphony Orchestra of New York. Eventually, Columbia copyrighted the term LP outright, denying other labels recourse to use a ubiquitous industry buzzword to market their individual releases. 003 inch groove finally adopted, would be necessary to record 22 minutes of music to a side."Įventual Columbia president Goddard Lieberson introduced the label's masterful LP evolution at the Waldorf-Astoria Hotel in 1948, and the commercially available long-playing record went supernova. "The 33-1/3 speed had been established before work began, and it already had become clear that a very narrow groove, something like the. "Goldmark assigned individual researchers to individual problems: cutting-motor and stylus design, pickup design, turntable design, amplifier, radius equalization," Martin Mayer wrote in a history of the LP published by High Fidelity Magazine in 1958. When Columbia was finally freed from geopolitical conflict and able to resolve the LP's previous technical difficulties – pickups that were too heavy, grooves that were too wide, playback times that were too short, and audio fidelity that was too crappy – everything changed. ![]()
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