Vinyl Albums - Biography Updates

Artist Biographies Label Biographies

Uncle Bobby
Artist

A.k.a. Bobby Ash (1925-2007), a Canada-based British actor who hosted the Uncle Bobby Show for many years for Canadian children's TV, and was billed as Uncle Bobby on record releases.

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Glad [ABC]
Artist

From Sacramento CA - formerly named The New Breed. Timothy B. Schmidt went on to Poco and The Eagles.

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The Hawaiian Surfers
Artist

As The Surfers, they had releases on Orbit, HiFi, and Warner Brothers. As (The) Hawaiian Surfers, they recorded for Decca. They resumed using The Surfers name for releases on small Hawaiian labels in the 1970s.

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The Surfers
Artist

As The Surfers, they had releases on Orbit, HiFi, and Warner Brothers. As (The) Hawaiian Surfers, they recorded for Decca. They resumed using The Surfers name for releases on small Hawaiian labels in the 1970s.

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San Francisco Records

USA
Label

Between the records that came down to me from my dad and what I’ve found in dollar bins, I own six of the first twelve LPs on this label.
The label began in 1955. Early releases show its address variously as 217 Kearny Street, 562 Kearny Street, or 625 Powell Street, S.F. Their catalog numbers followed the format TM xx (for the Talking Machine series) or M 330xx, with no numerical repetition. They also had a Jazz Records imprint which issued only two LPs.
A late 1958 Billboard ad said that “Barbary Coast Records has purchased certain masters from San Francisco Records, and these records are now available on the Barbary Coast label.” The Barbary Coast was S.F.’s notorious nightlife district at the turn of the 20th century, but surprisingly the new label was based at 4430 Santa Monica Boulevard in Los Angeles. At first, it used stickers to cover the old company name on the unused sleeve stock on hand. (My copy of M 33005 has four stickers: two front, one rear, and one spine that overlaps 1/2” onto both sides. The actual label on the LP is still that of the original San Francisco Records.) Both company logos included the acronym FFC for Full Fidelity Control. Barbary Coast Records adopted the existing M 330xx catalog number format, and the few TM xx numbers were merged into it seamlessly (for example, TM 5 became M 33005). Later releases switched to a BC 330xx number format, continuing the existing numerical sequence. A trade ad in the April 25, 1960 Source Book issue of Billboard announced that many of their albums were now available in stereo, with an S suffix added to the catalog number. It also announced their Merry-Go-Round line of eight children’s LPs.
New releases seem to have stopped after BC 33027 in 1959. But some albums were reissued with new covers or titles, using type fonts which looked 1970ish. In the end, the sleeves and labels showed an address in Woburn, Mass. Surprisingly, one album which was still in print at the end was the very first one, which over the years had been renumbered from TM 1 to M 33001 to BC 33001.

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Barbary Coast [Los Angeles]

USA
Label

Between the records that came down to me from my dad and what I’ve found in the dollar bins, I own six of the first twelve LPs on this label and its predecessor.
The label began in 1955 as San Francisco Records (whose address is variously given as 217 Kearny Street, 562 Kearny Street, or 625 Powell Street, S.F.). Their catalog numbers followed the format TM xx (for the Talking Machine series) or M 330xx, with no numerical repetition. They also had a Jazz Records imprint which issued only two LPs.
A late 1958 Billboard ad said that “Barbary Coast Records has purchased certain masters from San Francisco Records, and these records are now available on the Barbary Coast label.” The Barbary Coast was S.F.’s notorious nightlife district at the turn of the 20th century, but surprisingly the new label was based at 4430 Santa Monica Boulevard in Los Angeles. At first, it used stickers to cover the old company name on the unused sleeve stock on hand. (My copy of M 33005 has four stickers: two front, one rear, and one spine that overlaps 1/2” onto both sides. The actual label on the LP is still that of the original San Francisco Records.) Both company logos included the acronym FFC for Full Fidelity Control. Barbary Coast Records adopted the existing M 330xx catalog number format, and the few TM xx numbers were merged into it seamlessly (for example, TM 5 became M 33005). Later releases switched to a BC 330xx number format, continuing the existing numerical sequence. A trade ad in the April 25, 1960 Source Book issue of Billboard announced that many of their albums were now available in stereo, with an S suffix added to the catalog number. It also announced their Merry-Go-Round line of eight children’s LPs.
New releases seem to have stopped after BC 33027 in 1959. But some albums were reissued with new covers or titles, using type fonts which looked 1970ish. In the end, the sleeves and labels showed an address in Woburn, Mass. Surprisingly, one album which was still in print at the end was the very first one, which over the years had been renumbered from TM 1 to M 33001 to BC 33001.

» Latest edits by Kevin Walsh1 : Biography Credits

Columbia

Argentina
Label

This is the US Columbia Label. Outside of the Americas, these releases were available on the CBS Label.

For the EMI group label, See: Columbia (UK)

For a guide to Columbia Label variants see forum topic Columbia 2-Eye Label Tutorial (1962-70)

Edition made by Santiago Molinero:
The Columbia label on Argentina entered the markets during the 20s or early 10s by importations, until it started being pressed by Industrias Eléctricas y Musicales Odeon Soc. De Resp. Ltda. on the country. The label design used here implemented the Magic notes and CBS microphone logo.
Around the 50s (circa 1951 or 1952) Columbia opened an Argentinian branch, which was called “Columbia Argentina S.R.L.”. This branch would distribute both international and national recordings of Columbia, having tangos, waltz, orchestras and many genres in it’s repertoire. The label design used during the 50s was one with the “Magic Notes” and “CBS Microphone” logo on the lower side of the label, above the rights reservation text of Argentina (look for early 50s editions), and then using the “walking-eyes” label design, similar to USA one.
Still, during the 60s (circa 1962 or 1963) the legal names changed to “discos CBS S.A.I.C.F.”, presenting the CBS Label in the country. The label was re introduced during the middle or final part of the 80s under Discos CBS S.A.I.C.F. control and then Sony’s.

Things to notice about labels and such:

1) Originally, a yellow label with red lettering design was used on LPs. These label designs used the Magic notes and CBS microphone logo.
Then, the Yellow labels with three “walking-eyes” on each side of the label on LPs of Columbia were implemented and were destined for mono editions, along with the 8.XXX series for the “normal” label.

2) red labels, with three “walking-eye” logos on each side of the label, with the Columbia name on the lower side of the label were meant for Stereo editions with the “Stereo <—> Fidelity” label design used in the country, along with the 9.XXX series.

3) Originally, a blue label with silver lettering design was used on LPs of Columbia Masterworks. These label designs used the Magic Notes and CBS microphone logo.
Then, the classical division of Columbia used the same design as Columbia, but the “Masterworks” word under the “Columbia” name. It also used a 4.XXX series numbering. Besides, the color used here was Blue, almost reaching to light blue, or turquoise.

4) Columbia Masterworks label used the same “Stereo <—> Fidelity” label used by Columbia, but the “Masterworks” word was under the “Stereo Fidelity” logo. Grey labels were used to difference the Stereo edition of Mono Editions. Besides, they used the 5.XXX series numbering.

5) Columbia Entré label was used here, but for other purposes. The catalog number used by that label was 1.XXX

6) some 10” LPs can be found in the country under Columbia and Columbia Masterworks labels, with the 6.XXX and 2.XXX numbering system respectively.

7) Columbia EPs used a similar label design to labels, but with the “Columbia” name on top of all. Under it, it can be found the “magic notes” and CBS Microphone logo. Then, a four “walking-eye” logos label design was used on lots of pressings during the 50s. The Columbia name was on left side of the label. The numbering system for those EPs was 7.XXX

8) Columbia Masterworks had EPs too, but the label design used the magic notes and CBS microphone logo. Under the “Columbia” name it could be found the “Masterworks” word under it. The numbering system was 3.XXX

9) the “Alta Fidelidad Garantizada” motto started to appear during the middle 50s on Columbia and Columbia Masterworks labels. This applied too for LPs. EPs and singles, and it included the logo of Columbia on front and backside of the covers produced during the 50s.

10) Columbia had singles too. The label design was similar to the EPs one, but on red color. Columbia name would be on the left side of the label. The numbering system was 6XX for them. Then, they were changed to a complete red color, and the Columbia name on top of all and with one singular “walking-eye” logo. This format of 45rpm singles was not really exploited to it’s maximum.
33 1/3 RPM singles were used during the 60s. The design was similar to the one used by Columbia in the USA when they introduced the 33 1/3 rpm format on 7” singles.

11) the Lp logo on Columbia labels was used for day one, but it seems that it was dropped at some moment of the 60s, circa 1962.

12) on the backside of the covers there are some “designs” of the trademark of Columbia. Check these for assuring the year of pressing, edition and cover, along with other details.

12) On the Columbia label, there was a series called “Serie Bailable Especial”. This series was used on tangos, orchestras and Rock’n’Roll albums during the time, but it seems that it was dropped around the 60s, circa 1962 or after CBS took control of the catalog.

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Tom Lehrer
Artist

Born: 1928, Upper East Side, New York, NY.

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Caroliner
Artist

See https://en.wikipedia.org/wiki/Caroliner

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Cowboy Carl

USA
Label

Owned by "Cowboy" Carl Schneider.

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Jonathan And Darlene Edwards
Artist

This is actually Paul Weston and Jo Stafford.

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Electric Banana
Artist

The Pretty Things, working for De Wolfe under an assumed name.

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The Electric Banana
Artist

The Pretty Things, working for De Wolfe under an assumed name.

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Pete Skoglund
Artist

A biography can be found here.

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The Highlighters
Artist

Incorrect credit for "The Highlights" a pseudonym used by BIll Haley and His Comets for an instrumental single recorded in 1960 and released in 1964.The name The Highlighters was used on a compilation album that included the instrumental.

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The Kingsmen [Philadelphia]
Artist

Pseudonym used by Bill Haley's Comets for a set of singles recorded in 1958 without Bill Haley (the best-known being the instrumental "Week End"). Not to be confused with the rock group that later recorded "Louie Louie". One track credited to the Haley Kingsmen, "It Should Have Been Me", which has appeared on compilation albums, is not believed to have been recorded by the group.

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Sally Starr
Artist

Sally Starr (d.2013) was a Philadelphia-area personality who hosted TV and radio shows for children based around a cowgirl persona. Recorded an album's worth of child-friendly rockabilly backed by members of Bill Haley's Comets (with Haley and Comets members writing several tracks) for the Haley-owned Clymax label in 1958. Starr continued to perform on TV and radio, even working as a DJ for a time. She also appeared in films such as the Three Stooges comedy, The Outlaws is Coming. Recorded at least one more non-Haley album later in her career.

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EFDSS

UK
Label

The English Folk Dance and Song Society (E.F.D.S.S), based at Cecil Sharp House in London had previously released 78rpm records 'under its auspices' on the HMV label as well as a few under its own name and the Recorded Productions London Ltd. The 12 inch LP series became available from 1963 for sale to society members only. These limited sales lasted until at least 1970, but soon after became available to the general public. They also used Sean Davies to record on the DTS label for the "Folk Shop" outlet at Cecil Sharp House and these included Harry Cox, The McPeake Family & Cyril Tawney.

In addition, the EFDSS issued a series of Playford Dance LPs (PLA), Country Dance LPs (LIB), A Barn Dance series of LPs (BR), A Community Dance Manual series of LPs (CDM) and individual LPs such as Peter Bellamy's "Second Wind" and the Copper Family's next generation LP.

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Clinton Ford
Artist

Born 4 November 1931 Died 21 October 2009

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Play

Ireland
Label

Play Records is a division of Release Group Records, 64 Parnell Street, Dublin 1.

This is what it says on the back cover of the first LP issued on the label - The Best Of Brendan Shine. It almost seems the whole label was set up to show off the great talents of Brendan Shine. Certainly most of his records were released on the label for a period of about 15 years between 1971 when it began and 1986 when things really slowed down on the label.

At the end of the 1980s Play LPs were also issued in the UK by Spartan, by which time Spartan, which had begun life as an Irish distribution company, was working out of an address on London Road, Wembley, Middx. This was an area of London which was full of the members of the Irish diaspora. It is certain also that many of these UK issued releases found their way back to the old country as it was still an important market for the label.

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