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The Victor Discography: Blue, Green, and Purple Labels
(1910 – 1926)
By John R. Bolig
In February 1910, Victor flooded the market with fifteen new recordings by Harry Lauder, setting off a shouting match with Edison over who had exclusive rights to the comedian. Victor had previously issued some of Lauder’s British recordings on its standard black label, but these new releases were different — recorded in the U.S., and issued on a striking new royal-purple label.
Over the next few months, it became apparent that the new purple-label discs were not reserved for Lauder alone. Victor Herbert’s popular orchestra was lured away from an already-peeved Edison, and selections began to appear by some of Broadway’s top stars (many of them previously unrecorded). For budget-conscious classical enthusiasts, there were well-known concert artists deemed not quite worthy of Red Seal status, but still perfectly respectable. For the adventure-minded, Ernest Shackleton and Robert Peary recounted their polar expeditions.
Several months after the purples were launched, Victor introduced yet another line, the double-sided blue-label series. At first, it served only as a reissue vehicle for imported operatic recordings licensed from The Gramophone Company, along with some Arabic selections (now incredibly rare) recorded in Cairo and Beirut. But in February 1913, the blue label was recast as a double-sided companion to the single-sided purples, and the latter were slowly phased out.
The blue-label line was one of Victor’s most diverse, running the gamut from comedy monologues and Broadway hits to opera (grand, light, and in-between), classical (from the usual lollipops to complete extended works), the premier recording of Rhapsody in Blue, cantorials, exotic imports from around the globe, bird imitations, exercise records by boxer Gene Tunney — and, of course, copious helpings of Harry Lauder’s interminable ruminating.
The obscure green-label series was an “educational” line, best known for its vocal-instruction series produced under the supervision of Oscar Saenger. But perhaps its most intriguing offering was the “American Speech” series (issued at first on the Red Seal label, then transferred to green, and later to brown), which captured a wide range of American dialects, some of which have since vanished or evolved nearly beyond recognition.
It’s all here, carefully transcribed from the original Victor files. We think you’ll be amazed by the scope and diversity of these under-studied and often under-appreciated records.
Victor monthly supplement excerpts courtesy of John Bolig