Way back here I noted back in the late 70′s and early 80′s records were imported (provided there wasn’t any local release of said LP). These were distributed by a number of small record labels (at least one of which is no longer in operation)
The Spike Jones Murders… LP’s were imported here by a company named Argus Music Company. The following pressing (from Japan) of Spike Jones’ “Dinner Music for People who aren’t Very Hungry” was imported by Hobart based “Another Record Distribution” (so it seems as long there is English text, it can be imported)

LP Title: Dinner Music for People Who Aren’t Very Hungry
Performed by Spike Jones and his City Slickers
Label: Verve Records (via Polydor K. K., Japan)
Catalogue Number: MV 2119
This album was conceived, produced and recorded under the personal supervision of Spike Jones
Cover notes by Dimitri Tiomkin
Side 1
- Space Ship Landing, Assorted Glugs, Pbrts and Skks Ramona
- Mischa’s Souvenir (Duet for Violin and Garbage Disposal)
- Black and Blue Danube Waltz, Paris Symphony
- Stark’s Theme, The Old Sow
- Pal-Yat-Chee
- How High the Fidelity Sub-Normal Normal
- Cocktails for Two
Side 2
- Wyatt Earp Makes Me Burp
- Woofers Lament (Memories Are Made of This)
- The Sneezin’ Bee
- Little Child
- Brahm’s Alibi
- Chloe
This was the first (or one of the first) of Spike’s post RCA recordings made for the Verve label. The entire cover was entirely in English (Unless Polydor issued two versions one with with Japanese text), the only Japanese text that appeared was a paper slip surrounding the LP (which I no longer have) and the LP’s title on the label, appearing below:

This was originally going to be posted in April, but I decided to leave it until now.

Just letting everyone know that I have made an update to the Festival Records Gallery, with two new label designs (including the earliest label).
this can be found on this post.
Meanwhile, while I have finished my Spike Jones trilogy that was released by RCA in Germany, I have another unusual pressing of Spike’s recordings.
Eagle eyed fans would recognise the above image from Spike’s “Dinner Music for People who Aren’t Very Hungry” LP, but what was slightly unusual is where it came from.
Details of this will appear in May (I have decided to delay this).
Also coming is a sound effects LP put together by former Hey Hey It’s Saturday’s sound effects man, Murray Tregonning.
Stay Tuned!

While I have been doing research for the Vinyl Vault for locally produced releases by the BBC I noticed a number of dealers had been advertising that they were manufactured in Australia, but when I noticed the catalogue number, it was for me a giveaway that it was actually produced by BBC records U.K. producer Pye Records/PRT.
So the following gallery will show the original BBC records labels and the variants used (both for U.K. releases and Australian pressings)
before I start the gallery, here is a simple guide to identifying the pressings.
All Australian BBC releases by PolyGram will usually have a seven digit code (E.G. 2964 034).
If the catalogue number is an alphanumeric code (E.G. REC 198) then it’s usually a U.K. pressing.
Now the gallery. The first label is the standard label used by the Beeb from the late 60′s until around the mid 1980′s

for Australian releases, the label changes the copyright warning to the white portion of the label (removing the reference to BBC Enterprises (now BBC Worldwide))

On occasion, Pye Records would include a little bug to the left of the BBC records logo and a “distributed by…” notice on the right (mainly early 1970′s pressings)

after the company became PRT records, all early 1980′s releases had a “Distributed by PRT Records, Ltd.” notice on the right hand side of the BBC logo

In 1985, the BBC redesigned their logo, and was also reflected on their label (which also had a redesign)

It’s not known whether PolyGram used this design on locally produced releases.
Here is another labels gallery (but not the one I advertised. )
Today, I am posting the record label gallery of (British) Decca records (A.K.A. The Decca Record Company)
the first label here is Decca’s first mono label, from the late 1950′s

Decca also had a series called their “Phase 4″ series. This was originally used for stereo releases, but in the 1970′s it was used for quadraphonic releases. This version is the 1960′s label

By the 1970′s, Decca changed it’s ”Full Frequency Range Recording” slogan to the “Full Frequency Stereophonic Sound” slogan. This was used right up until the final EMI Decca releases in the late 1970′s
the final label became Decca’s 45 RPM label, and all Decca releases (post Polygram) purchases from the early 80′s until the final vinyl releases.

This label could have qualified for my poll at right, but this was a one shot, and the old 45 label was a bit darker than this. (I think the 1970′s EMI Decca label was more legible than the PolyGram Decca label, but that’s just me.
I was originally going to post this a few weeks ago, but I couldn’t find the record until this last weekend (and on top of that, I had temporarily lost my internet connection. it would have been intended to promote the Paramount DVD release “Mighty Mouse: The New Adventures – the complete series”)

LP: Mighty Mouse to the Rescue
Label: Metro/Leo the Lion records (re-released by PolyGram in 1975)
Catalogue Number: 2964 046
originally released as: Mighty Mouse Playhouse, Unknown catalogue nunber
Written and Narrated by Tom Morrison, the TV and Cartoon voice of Mighty Mouse
Music by Phillip Scheib
Musical Director: Bill Simon
Produced by Arthur Pine
Side 1
The Green Line
A Date for Dinner
The Watchdog
Side 2
The Sultan’s Birthday Party
Smokey Joe
The Angry Volcano
TerryToons resident story man (and voice of Mighty Mouse) Tom Morrison narrates six adaptations of Terrytoon cartoons (4 Mighty Mouse and two one shots)
the LP I have is a 1975 re-release. I am not sure whether this record was released under it’s original title of “Mighty Mouse Playhouse” in Australia. If it was, then EMI would have released this (If this was then please e-mail me the details (visit the “contact” page for the details)).
The title says it all for my first poll in the “off the record” blog
Most of these labels had an eye catching design, but it usually meant it would be at the expense of the legibitilty of the label
Before I get stuck into this poll, I have learned that scanning labels usually ended up making the labels lighter (and as a result easier to read. I have now since learned to fix the colour balance)
the first (and oldest) label in the collection is the original His Masters Voice (HMV) label that was used from the 1940′s until the early 1960′s by EMI

the original label was a darker burgundy colour than this.
It’s actually more pronounced on 78′s from the 1940′s, as this label proves below

THE CARINIA COMPANY (1947-1987)
founded by Polish immigrants in 1947, and originally released recordings from Poland. The company expanded it’s catalogue to include classical music and recordings from New Zealand based Viking Records and of course, Audio Fidelity

for nearly all of it’s LP releases this was the colour combo used (red and silver. Although I have in my collection a version of this label in Black and Gold)
image number three comes from the Mercury Record catalogue.

This label dates from around 1981, and yes it’s the single “Stars on 45″
PYE’S PLUM LABEL

this one is a very rare label (as Pye did have offices in Australia in the 1950′s before the distribution was taken over by Astor). when Astor took over the distribution, it would be released under Astor’s Gold Series. So labels like these are rare.
While I’m at it, here is Pye’s successor, PRT (after the license was not renewed by Pye in 1980)
(note to self: never use black text on a red and green label design

Late last year, I posted the label gallery of Hammard, and I noted about the “Aussie” label design. (in case you missed it, here it is:)

New addition: I have decided to add this now as I forgot to add this in the original post. Here is WEA’s Australian Label from the early 80′s

And finally, the record label of Hollywood studio MGM (this was used from the late 60′s until the mid 70′s when the label was merged with the Polydor catalogue (the Yin Yang seems OK, but was a little bit too dark-ish.))

this is the final list. Are any of these labels seem to be a little bit hard to read, or can you think of something I may have missed? If I have, post your suggestion in the comments below.
The poll is now open, and will remain open until 23:59 on New Years Eve 2010 (Australian Eastern Standard Time, 1:59 AM for the southern states (NSW, Vic., Tas.)
BTW, you can vote two labels if you so wish.

BAD RECORD LABEL DESIGNS
In an attempt to make their labels distinctive, record companies design record labels that are usually eye-catching, usually at the expense of the labels legibility.
In the coming weeks, I will be posting my first “Off the Record” poll on which is the most hard to read record label.
TRADEMARK OBLITERATION

Throughout the late 70′s and early 80′s in Australia we had a number of U.S. releases imported here, but because of trademark reasons, the trademarks would have to be removed before they could be released (because a rival record label owned the name)
this confusing tale will be cleared up in a future post.
RECORD LABEL GALLERIES
I will be digging into my archives to bring you an occasional gallery of a record companies label as they looked over the years.
all this will be posted in the coming weeks.
Update: 21/12/2009
due to the fact that I have been busy these last couple of weeks, I have now decided to post these in the new year.
But fear not. i have a Christmas posting coming this Friday. so stay tuned.


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An explanation: Decca and Columbia
Posted by Bruce on February 6, 2010 in Comments with No Comments
As I’m due to be going on holidays on Monday morning, I have two posts that will appear on the blog during next week (a labels gallery and a childrens rarity, I might do an explanation of releases made by a different branch of a record company. In this case, Decca and Columbia (the story of Columbia records is explained at this post)
Whenever I refer to a recording that was released under EMI’s Columbia label, I will refer to this as a “Columbia EMI” release, while anything that was released in the U,S, will be described as an “CBS Columbia” release (in all cases except for imports, I’ll be calling these CBS releases anyway.)
Any American Decca record release that appears on this blog prior to 1952 would be released by EMI. After 1952, Festival would release all American Decca titles until the latter 60′s (after which the label was re-branded MCA records.) Astor would distribute these titles until 1982, after which WEA (Warner Music) would release their releases until around late 1992
Incidentally American Decca releases from the early 50′s onwards were never released under that label (only under the Festival Label)
British Decca releases (the label above is from the late 1950′s) would continue to be released by EMI until 1979, after which these titles would be released theough PolyGram until 1998 when Universal Music was founded. Later in the year, I’ll post the Decca label from a later era.
That’s all for right now. I’m now on hols. My next post here will appear on Tuesday morning.
Tags: CBS, EMI, Festival, PolyGram