Columbia Records

COLUMBIA RECORDS

 
Columbia Records  is an American flagship recording label, under the ownership of Sony Music Entertainment, operating under the Columbia Music Group.  It was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company — successor to the Volta Graphophone Company.  Columbia is the oldest surviving brand name in recorded sound, being the second major record company to produce recorded records as opposed to cylinders.  Columbia Records went on to release records by an array of notable singers, instrumentalists, and bands.  (More from Wikipedia)
 
 
After auditioning with Terry Melcher (Doris Day’s son), the Rip Chords were signed to Columbia Records in 1962
 
(July 2011)
 
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After Homer’s 45 “I Never Cared for You” started getting extensive radio play and peaked at #2 on the station’s playlist, Columbia Records came calling and expressed interest in a national release.  The A&R man’s request to know what was going to be on their next single caught Homer flat-footed.  After quickly cutting two more songs, “On the Wall” and “Texas Lights”, Columbia blew them off and passed on the whole deal.  They were released locally as the next two singles by the band but did not perform as well as I Never Cared for You.
 
(September 2011)
 
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The Magicians released three more singles on Columbia Records in 1966 and 1967, but none of them – including An Invitation to Cry – cracked the Top 100.  (Same with Mouse and the Traps though – they released even more singles, and their biggest hit A Public Execution got only to #125 nationally – so that doesn’t mean a thing to me). 
 
(December 2011)
 
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Two of his songs (Ron Franklin writes all of his own material) basically quote Bob Dylan.  The other is “We Ain’t Got No Homewhich has a title and some lyrics that are virtually the same as Woody Guthrie’s “I Ain’t Got No Home”.  In the very beginning, Dylan was described as being just one among a host of Guthrie wannabes; but “I Ain’t Got No Home” is one of the very few Guthrie songs that Dylan recorded, even before he did much songwriting – I speak as someone owning dozens of Dylan bootleg albums as well as virtually all of his Columbia and Asylum releases. 
 
 (January 2012)
 
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Early pressings of Dylan’s second album, The Freewheelin’ Bob Dylan included “Talkin’ John Birch Paranoid Blues” and three other wonderful songs that I got to know on bootleg albums as I bought them:  “Gambling Willie’s Dead Man’s Hand”, “Rocks and Gravels” and “Let Me Die in My Footsteps”.  The fact that the latter song is omitted was even mentioned on the album’s liner notes.  When the John Birch Society song became controversial, Columbia Records pulled back the albums and reissued them with the familiar song set that we know today.  Those first few albums with the alternate songs are worth a fortune today:  A 1998 record pricing catalogue that I have called Records values them at $10,000 to $15,000 in mono and $15,000 to $20,000 in stereo (though the catalogue recommends actually playing the album before ponying up that kind of cash). 
 
Another amazing Dylan rarity is one of his first singles, Mixed Up Confusion; it is surely Dylan’s first electric song and was released in December 1962.  It was only on the market for a few months before being pulled and becoming yet another song that never got on an album.  If Columbia Records had stuck with it, the folk-rock movement could have been launched several years earlier. 
 
(April 2012)
 
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The practice of “bootlegging” music, however, is more of a gray area than piracy:  In this case, music is still being sold without paying royalties, but the product involves recordings that are not otherwise available for sale.  Are, say, Bob Dylan or Columbia Records really being harmed when Great White Wonder and the hundreds of other bootleg albums that have been released over the years are offering Dylan records for sale that have never been released?  
 
(August 2012)
 
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The last album by Les Sinners is scarcely mentioned at all on the various Internet sources that I researched about this band; it came out in 1976 on the CBS Records label (basically, Columbia Records outside of the USA) and is called Le Chemin de Croix De Jos Roy (“The Way of the Cross for Jos Roy”). 
 
(April 2013)
 
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The first Bob Dylan album, Bob Dylan was released with great fanfare by Columbia Records in March 1962; it is a relatively conventional folk album that is not unlike those that Joan BaezJudy Collins, and Peter, Paul and Mary were recording at the time, with just two original songs.  The album was produced by John H. Hammond, the legendary talent scout who signed Bob Dylan to Columbia.  Though excellent in every way – for instance, the album includes “Man of Constant Sorrow”, the song (as performed by the Soggy Bottom Boys, with George Clooney on lead vocals) that was made famous in the 2000 Coen Brothers film O Brother Where Art Thou – Bob Dylan sold just 5,000 copies initially; and Columbia Records executives began grumbling about Dylan’s being “Hammond’s folly”. 

 

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At any rate, another producer was brought in to help out – an unlikely though inspired choice as it turned out.  As described in Wikipedia:  “Because of [Albert] Grossman’s hostility to [John] HammondColumbia paired Dylan with a young, African-American jazz producer, Tom Wilson.  Wilson recalled:  ‘I didn’t even particularly like folk music.  I’d been recording Sun Ra and [John] Coltrane. . . .  I thought folk music was for the dumb guys.  [Dylan] played like the dumb guys, but then these words came out.  I was flabbergasted.’”   

 

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Wikipedia describes what happened next:  “On June 15, 1965, immediately after the recording session of ‘Like a Rolling Stone’, [Tom] Wilson took the original acoustically instrumented track of Simon and Garfunkel’s 1964 version [of The Sounds of Silence], and overdubbed the recording with electric guitar (played by Al Gorgoni and Vinnie Bell), electric bass (Joe Mack), and drums (Buddy Saltzman), and released it as a single without consulting [Paul] Simon or [Art] Garfunkel.  The lack of consultation with Simon and Garfunkel on Wilson’s re-mix was because, although still contracted to Columbia Records at the time, the musical duo at that time was no longer a ‘working entity’.  Roy Halee was the recording engineer, who in spirit with the success of the Byrds and their success formula in folk rock, introduced an echo chamber effect into the song.  Al Gorgoni later would reflect that this echo effect worked well on the finished recording, but would dislike the electric guitar work they technically superimposed on the original acoustic piece.”  

 

(June 2013/2)

 

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Silverbird is a Native American musical ensemble consisting mainly of members of the Ortiz / Silverbird family that has been around for more than 40 years.  The above album, Broken Treaties was released in 1972 or 1973 on Capitol Records and is (according to Gil Silverbird) the first album by a Native American band to be released on a major record label.  A more obscure album by the same band called Getting Together could have been their first (it was released in 1972) on CBS Records and Columbia Records, though this album might have been released mainly in Europe.  A third album, Silverbird was released in 1973, on Bravo Records

 

(August 2013)

 

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Probably the best known of the women’s music artists is Holly Near, although she is even more familiar as a left-wing political activist.  Holly Near grew up as a “red diaper baby” of committed leftist parents in Northern California and auditioned for Columbia Records when she was just 10 years old.  

 

(January 2014)

 

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The Sons of Fred released their first single, Sweet Love b/w “I’ll Be There” in 1964 on Columbia Records – not the same as our Columbia Records (outside the U.S. and Canada, their releases are on CBS Records due to the name conflict) but rather a subsidiary of EMI Records.  This was an R&B record. 

 

(March 2014/2)

 

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Homer secured a record deal with Columbia Records – but then their A&R man asked about the other songs they had recorded.  Well, there weren’t any, so the band hurried back to Tyler and recorded On the Wall” b/w “Texas Lights; both songs were written by Galen Niles.  By the time they got the songs in the mail, I Never Cared for You was beginning to slip in the local charts, so the Columbia deal went away.  An independent release of On the Wall failed to chart. 

 

(April 2014)
 
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When Bruce Springsteen was putting together his debut album, Greetings from Asbury Park, N.J. (1973), Columbia Records President Clive Davis said that the album needed a hit single.  In response, Bruce wrote “Blinded by the Light” and “Spirit in the Night”; the two songs, particularly “Blinded by the Light” feature a host of characters and cryptic lyrics whose meaning is hard to follow. 

 

(June 2014)

 

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Al Kasha, who takes credit for leading Bob Dylan to Jesus, is a Messianic Jew (and that might be the best way to describe Dylan himself actually).  He knew Dylan from his earliest days at Columbia Records, where he was their youngest record producer in 1960.  

 

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There is a Bob Dylan album that scores even lower in Allmusic, and here I need to put on my “Under Appreciated” hat – the 1973 release Dylan yields just *.  As I recall, it was also the last release on Columbia Records before Bob Dylan jumped ship to Asylum Records; and record companies are often spiteful in such cases, untold millions of dollars of earnings for the corporation notwithstanding. 

 

(August 2014)

 

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But solo songwriting is a lonely profession, and success is far from guaranteed.  Bob Dylan’s first album, Bob Dylan did not particularly showcase Dylan’s songwriting talent; there were only two original songs on the album. and the tunes to both had similarities with his mentor Woody Guthrie’s songs.  In fact, says Wikipedia:  “Mitch MillerColumbia [Records]’s chief of A&R at the time, said U.S. sales totaled about 2,500 copies.  Bob Dylan remains Dylan’s only release not to chart at all in the US, though it eventually reached #13 in the UK charts in 1965.  Despite the album’s poor performance, financially it was not disastrous because the album was very cheap to record.”  Bob Dylan was one of the first Dylan albums that I purchased, and I am astounded that this album never made the charts.  

 

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Richard Fariña was among the early folk singers in the Greenwich Village scene at the beginning of the 1960’s.  He met and married folksinger Carolyn Hester after they had known each other just 18 days.  Her third album and first for Columbia RecordsCarolyn Hester (1961) featured then little-known Bob Dylan on harmonica on several tracks (credited as Blind Boy Grunt). 

 

(March 2015)

 

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As I wrote about Bob Dylan in my last post, his first album, Bob Dylan sold modestly; and Dylan became known as “Hammond’s Folly” around Columbia Records – John H. Hammond had decided to sign Dylan on the spot after hearing him perform on September 14, 1961 at the apartment of Carolyn Hester and Richard Fariña (two folksingers that I also wrote about last month), though he evidently made a formal audition first (no recorded evidence of that audition survives, unfortunately).  

 

(April 2015/1)

 

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Several of Bob Dylan’s early songs were in the “talking blues” form that was pioneered in the 1920’s and popularized by Dylan’s idol Woody Guthrie in the 1940’s.  Typically these songs have “Talking” or “Talkin’” somewhere in the title, such as “Talkin’ New York” on his debut album, Bob Dylan; many though were not released on his Columbia albums and often have bizarre titles, such as Talkin’ John Birch Paranoid Blues, “Talking Bear Mountain Picnic Massacre Blues, and “Talkin’ Hava Negeilah Blues”.  These talking blues numbers are among Dylan’s funniest songs, albeit often with black humor.
 
(September 2016)
 
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Continuing in the Allmusic article, Stephen Thomas Erlewine talks about the genesis of the Stooges‘ third album: “Early in 1972, [Iggy] Pop happened to run into David Bowie, then at the height of his Ziggy Stardust popularity and an avowed Stooges fan. Bowie made it his mission to resuscitate Iggy & the Stooges, as the band was then billed. Iggy and [James] Williamson were signed to a management deal with MainMan, the firm guiding Bowie’s career, and the new edition of the band scored a deal with Columbia Records. Temporarily based in London and unable to find a suitable rhythm section in the U.K., Iggy and Williamson invited the Asheton brothers to join the new group, with Scott [Asheton] on drums and Ron [Asheton] moved to bass. Iggy produced the third Stooges album, Raw Power, and Bowie handled the mix. Released in 1973 to surprisingly strong reviews, Raw Power had a weird, thin sound due to various technical problems . . . [with] many Stooges purists blam[ing] Bowie for the brittle mix.”
 
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James Osterberg left the Iguanas in 1966 to join the Prime Movers; the Iguanas then hired a new drummer and played some dates in Boston and New York. When they were unable to land a record deal with Columbia Records, the band broke up in 1967.  
(December 2016)

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If all you ever buy are major-label record albums or CD’s, then you’re stuck.  You have the choice of those three Stooges albums – The StoogesFun House, and Raw Power – and that’s it.  And those albums are not always in print, and used copies are a tough find as well.  As an example, for the third album, Raw Power, there was a 1989 CD release on Columbia Records – 16 years after the original vinyl edition in 1973.  (The other two Stooges albums came out on Elektra Records). 
 
Then there was a “Deluxe Edition” of Raw Power in 2010 – after the Stooges had reformed and began touring worldwide – on Columbia’s Legacy Recordings label that included a second CD of live recordings made at Richards in Atlanta in October 1973; a third CD entitled “Rarities, Outtakes & Alternatives from the Raw Power Era”; and a DVD featuring a documentary by Morgan Neville and additional live recordings made in November 2009 at Planeta Terra Festival inSão Paulo, Brazil.  Deluxe Editions tend to be pricey though, and many fans cannot afford to pay that much for music.  The Raw Power Deluxe Edition is currently available on Amazon for $99.97 and up and was probably no cheaper when it originally came out. 
 
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Ultimately, a revised edition of Let it Be came out in 2003, due to the hostility by many to Phil Spector’s production efforts on the original album.  It was called Let it Be . . . Naked and purportedly stripped the additions and corrections made by Spector to the original Beatles recordings.  As with the Iggy Pop remix of the Stooges album Raw Power, however, successfully redoing an album that has been heard for many years by basically everyone having any interest at all in the music is easier said than done.  Mark Deming notes in Allmusic:  “In 1997, when Columbia made plans to issue a new edition of Raw Power, they brought in [Iggy] Pop to remix the original tapes and (at least in theory) give us the ‘real’ version we’d been denied all these years.  Then the world heard Pop’s painfully harsh and distorted version of Raw Power, and suddenly [David] Bowie’s tamer but more dynamic mix didn’t sound so bad, after all.” 
 
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Great White Wonder opened up a whole world for me.  To me, many of these songs are now as familiar and as solidly in the Bob Dylan canon as anything that I have heard on the Columbia Records studio albums released in the 1960’s, “The Death of Emmett Till” (a great old-school protest song), “Only a Hobo” (my favorite song on Great White Wonder and one of the earliest songs by anyone about the plight of the homeless), Black CrossQuinn the Eskimo (The Mighty Quinn)If You Gotta Go, Go Now (Or Else You Got to Stay All Night)”, Poor Lazarus”, “Baby, Please Don’t Go”, “I Shall Be Released”, “Open the Door, Homer”, “This Wheel’s on Fire”, “I Ain’t Got No Home”, and “(As I Go) Ramblin’ ’Round” (the last two being Woody Guthrie songs) among them. 
 
(September 2017)
 
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Not long after Rough Power came out, as I mentioned in my last post, a new edition of Raw Power was released in 1997 by Columbia Records with a new mix in 1996 by Iggy PopBruce Dickinson, and Danny Kadar.  A short note by Iggy Pop on the back tray card says:  “People kept asking me – musicians, kids I would see, ‘Have you ever thought about remixing Raw Power?’  Everything’s still in the red, it’s a very violent mix.  The proof’s in the pudding.”
 
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Disc Two is a concert on New Years Eve 1973 at the Academy of Music in New York City.  Also on the bill that night, according to the liner notes, are “KISS (supposedly their first gig), Teenage Lust, and Blue Öyster Cult.”  While the concert was professionally recorded by Columbia Records, this tape was made by someone in the audience, though the liner notes say:  “Although in the world of Stooges live tapes, this is certainly among the best.”  The concert is notable for including several comparatively rare post-Raw Power songs – Rich Bitch, Wet My Bed, I Got Nothing, and Cock in My Pocket.  It should be noted that all of the songs on Disc Two of Double Danger also appear on Disc One. 

 

(December 2017)
 
Last edited: April 7, 2021