The following labels are in my collection. They are all 78rpm or thereabouts, and all 10-inch except where indicated.

The labels have been scanned on an (old) Hewlett-Packard ScanJet Iicx which did the job admirably. The end result however may not be an absolutely true rendition of the label, for several reasons.

Firstly, I have tweaked the colour density, overall brightness and contrast and sharpness, on many of the labels - in order to make them clearer to read. The change is not so dramatic as to alter the integrity of the image - except for one or two where idiot designers have used yellow text on light red background for example. HMV are notorious for this, making the label hard to read and near impossible to scan legibly.

Secondly, all monitors reproduce differently, so if viewing these labels via a CD-ROM, or on the internet, there is no guarantee that the integrity of the image that I have created will be maintained on your monitor. Indeed, even the printed version is different than that which I have  created and shown on my monitor. 

But in general, you will get the picture.

I have relied on several references for information. I am not an expert by any means on records and music, and anything that I have written has been dutifully plaguarised from those who do know their subject. In particular, I, and anyone who has ever shown an interest in records and record labels, will be indebted to the Englishman Brian Rust, a most prolific and dedicated discophile, whose ‘The American Record Label Book' (Da Capo Press, New York, 1984), is indeed, the ‘bible'. Equally in awe of their achievements, I include the American Allan Sutton with his ‘Directory of American Disc Record Brands and Manufacturers, 1891-1943'. There is a new edition of this book planned for 2009.  Jack Miller's ‘Australian Jazz on Record' has also been of great help.

I have not surfed the net intently for all the information I could find on the labels. That there is a great deal of further knowledge out there I have no doubt. These webmasters are the unsung heroes of information, who are sharing their knowledge with all and sundry for no financial gain. They however recognise that one of the greatest gifts imaginable is to pass on knowledge, to encourage and educate, and entertain, anyone interested in their speciality. The net may be full of crap, but there are some gems amongst the garbage. My initial search for information on labels led me to several websites, and I am, again like so many others,  indebted to the likes of  Adam Miller, Norman Field, Ted Staunton, and Glen Longwell. There are others, but only my ignorance of their existence prevents me from listing them.  If you are reading this on the net, then I hope I too have given you a small measure of information, but again, I emphasise that if you want further, expert, information, go to the references I have cited. I have very little to add to the primary informatiion provided by others. 

Reference Codes. 

[M] Australian and New Zealand 78 Labels. Adam Miller, Wellington, NZ. www.78rpm.net.nz
[F] Norman Field's mainly British 78rpm records.    www.normanfield.com/labels.htm
[J] Australian Jazz on Record 1025-80. Jack Mitchell. (Book).
[R] The American Record Label - Brian Rust. (Book).
[T] Ted Staunton's label's.  www.tedstaunton.com 
[L] Glen Longwell Collection.     www.majesticrecord.com/labels.htm.
[S] Allan Sutton. Directory of American Disc Record Brands and Manufacturers, 1891-1943. (Book)

Aeolian Company Ltd, Aeolian Hall, Bond Street, London. 
Labelled as: Vocalion Records, Middlesex. Made in England
Represents the cheaper records from Aoelian. 
Period: November 1922 to August 1927. 
Music type: General ‘middle range', comedy, popular vocals. 
Source: American Vocalion and Gennett. 
Addisco Limited Edition.
Manufacture: ?
Not listed in Rust [R]. Not listed in Australian Jazz on Record [A]. 
Cannot find on several other major internet label sites. 
Masters: Not known.
The jazz label was started in September 1943 by William Miller of Melbourne and featured many well-known Australian artists. Period: 1943 to 1955. 
Size: Both 10 and 12 inch.
Series: The 10 inch ran from 1 to 36. The 12 inch ran from 1201-1206. There were also a few 10 inch re-issues from US sources that ran from R101 to R105. 
Material: All were issued on vinyl, except for S26 and S27 which are on shellac. 
The Compo Company Limited, Lachine, Quebec, Canada. The company was founded in 1919 by Harold Berliner, son of the recording pioneer Emile Berliner. 
I can only presuume that these two labels are from the same company - only because they both use the word ‘Apollo'. Looking at just the green label, it could be presumed that it was made  in Greece. However, the purple label is clearly indicated as made in the USA by Apollo Music Co, of New York. 
Rust [R] lists the detail that there were two Apollo labels in the USA, one with  ‘with the Greek god's features enclosed in an oval surmounting the brand name in capitals...'. Rust dioes not indicate that the Apollo label produced Greek music. 
Made in Australia. 
Clifford Industries. (See Clifford label).
Record sources: US Cameo, Gennett, Crown, Paramount, Grey Gull, Emglish Imperial. 
Variation 1: Black, then purple labels. From late 1928 to mid 1931. Catalog numbers: Started AN3049 December 1928; AN3117 1929; AN3243 1930; AN3357 1931. 
Variation 2: Black on yellow series, used UK Imperial Masters. Catalog 1001-1035 1931. [A]
The Ariel Grand Record. Two designs:
(a)Recorded in London. Pressed in Prussia. (b) Made in England.
Released by Messrs J.G.Graves of Sheffield, England. This was a department store which did mail order. 
Period: 1910 to 1938. 
Masters: From Jumbo, Favorite, Beka, Imprial, Zonophone and Parliophone. 
Size: The 10-inch were called ‘Grand' records, the 12 inch ‘Concert' records. 
Arcadia. Electrically recorded. Made in Australia.
Manufactured by Melbouurne Vocalion, probably for Edments chain stores.
Masters: Mainly from American Plaza/ARC, under pseudonyms. Period: From late 1929 to early 1930. 
Catalog: 2001, 1929; 2071, 1930. 
Produced by Artransa Pty Ltd, 132-8 Phillip St, Sydney. Pressed by A.R.C. Pty Ltd., Sydney. 
The Artransa Company was formed in 1940 initially to manufacture transcription discs for radio. Pressings were done in Australia and New Zealand.
Catalog: 001, from mid 1949. 027 was the last, mid 1951. 
Wocord. Manufactured by World Record (Australia) Pty Lyd, of Brighton, Melbourne.
The Austral Duplex record was regarded as unbreakable, it being very thick with a base made of wood, with a thin veneer of vinyl on each side. I understand this was as a result of material shortages during the Second World War. It was an 8-inch record, with catalog numbers 1 to 68, released in 1925. 
Listed by Miller [M]. Not listed in Miller [J] hence does not appear to have included any Australian jazz.
Vollkland Austroton. 
Made in Germany.
Recorded and Processed by Amalgamated Wireless (A'sia) Ltd., Sydney.
The companys main label was Radiola. Miller [M] notes that the company made many ‘custom recordings' of which this could be one. [See also Radiola label].
Plaza Music Company, New York. Banner was its ‘flagship' label. 
Launched January 1922; till 1932 under ARC (American Record Corporation), from 1938 with ARC-Brunswick and Finally CBS in 1942.  Longwell [L] states that Banner was a mid-priced label that ran from 1922 to 1935. 
Manufactured by Carl Lindsrom A.G. Germany.
The Beka label commenced during the ‘Gramophone Boom' of 1908-1914, a German company, with an English office, which was taken over during WW1 by the British government following an Act of Parliament which prohibited trading with enemy. 
Beltona. Made in England.
Released by Murdoch Trading Company, London, from 1922. Pressings were made by the Vocalion Gramophone Company, Hayes, Middlesex, England.  Label lasted till the 1950s. 
RCA Manufacturing Company, Inc., Camden, N.J. USA.
This is the budget label for RCA, and containing many jazz releases. 
Period: mid 1932 to March 1950. (In 1976 it was reactivated as an LP featuring jazz and popular titles). 
Beta Record. British Manufacture.
Why the Kangaroo? Because these records were made for the Australian market by Edison Bell. [F]
Field [F] shows a dark green on green label of exactly the same design as at right. 
Not listed by Longwell [L], Field [F] nor Staunton [S]. 
Bon Marche & The Bon Marche.
Released in Australia by Payne's Bon Marche Pty, Ltd, drapers of Bourke Street, Melbourne.. 
Manufacture: L053 is British Made. L175 is Made in America. 
Payne's Bon Marche stores were Australian owned drapers and haberdasheries. It is not listed in Miller [J] and thus the label contained no Australian recordings.
Boosey and Hawkes Ltd., 295 Regent Street, London. W1, England. They were long-established music publishers in England. 
Issued by Bosworth & Co. Limited, 8 Heddon Street, London.
None of my references refer to this label; suprising that Field [F] does not do so on his website of British labels. Bosworth's could well be a department store, and these are released just for sale within the store - but I have no idea really! 
See also Macquarie Bosworth.
Made in Australia. 
(Also in UK). 
Broadway Electrically Recorded. The New York Recording Laboratories, Port Washington, Wis [consin, USA].
This was a lower priced label that originally relied on Paramount for its material, then Emerson, Crown and Banner. 
Manufacturer: The records were pressed by the Bridgeport Die and Machine Company of Bridgeport, Connecticut intil it went banrupt mid-1925, when the labeel had been going for about a year. From then, Paramount, through its New York Recording Laboratories took over. 
Brunswick-Baulke-Collender Company, Duberque, Iowa.
Company: Formed in 1895 as a piano manufacturer; then as Brunswick Radio Corporation in 1927.  Bought out by Warner Brothers in 1929 (but the label did continued). Sold to American Record Corporation in December 1931`. Bought out by CBS in 1939. The label was phased out with the last issued in April 1940, and the artistss moved across to the Columbia label. 
Period: The first records, a vertical cut green label (now very rare), was released in 1916. The subsequent lateral cut discs first appeared in January 1920, and were much more successful commercially. 
Bulldog Record. British Manufacture Throughout. But, by whom? 
Period: Listed by Staunton [S] within 1910-19 (commencing). It survived through the Great War peirod. 
Field [F] lists six labels, two of which were engraved, probably during WW1 when paper was in short supply. 
Bulldog Records were established during WW1 by William Ditcham. Masters were mostly outdated Beka and Favorite material. [S]
Manufacture: By Crystalate until sometime in the 1920s. 
British made, that we know. But what else. Field {F] does not list it amongst his excellent collection of British labels. Rust [R] does list a Cameo label in the USA, the Cameo Record Company of New York, with four distinct label designs, but there is no resemblance whatsoever with this British label. Rust does mention that Cameo (USA) had a British release  but these were under ‘a curious label known as Dominion, pressed from appallingly gritty material in a factory in Luton, Bedfordshire'. Okay then, can we summise that perhaps the British pressings are connected to the USA compaany, but because the British material available was so poor quality, the USA said to go ahead and press but don't mention us. 
Capitol Records, Inc. Los Angeles, USA.; recorded in LA, New York, Kansas City and New Orleans. Australian releases by Australian Record Co. and then EMI (Australia) Pty Ltd. 
Miller [m] lists this as a label catering to Australia's large post-ww2 east European immigration population, with reissues from Jugoton, and Orbis Polonia UK. 
Considering the example provided here, perhaps the audience should be extended to those from all Europe as this oine is labeled as having been recorded in Switzerland, and Made in Australia
CBS Coronet. Australian Record Company Limited.
CBS is Columbia Broadcasting System, formed in 1927. These Coronet recordings were made in the 1950s, and if my collection is any indication, the label featured popular vocalists of the day. The label continued into microgroove records.
Made by Century Records, Pty Ltd, Sydney. Note that the example shown indicayes on the label - Recorded in the U.S.A. by The Carrano Company.
Numbers: There appears to have been three ranges: 1001-104 in 1950; CY1015-27 also in 1950, and a 2000 series of various prefixeas also from 1950. 
Made in Australia. Distributed by Minstrel Records Co.
Miller [M] notes that ‘more data sought', and that they were around in Australia in the 1950s, with catalog nubers from DC-100 onward, but here we have DC-31. He also notes that the pressings were of ethnic recordings. We could assume that the label was only Australian, but I have also a Cetra label Made in Italy. Could it be that the label is indeed Italian, and the Australian pressing, which could indeed have been made in Italy, was for the Australian market only. After all, there was a large population of Italians in Australia during 
Circle Australia. Released in Australia by Wilco Records, Sydney. Manufactured by Australian Record Co. Pty Ltd, Sydney. 
Miller [M] indicates that the label was produced at the same time as the Wilco, and Blue Star labels, that is, around 1950 and 1951, and that they used the American Circle masters. Circle is not listed in Rust [R], nor in any other reference that I could find.
Manufactured by the Gramophone Company, (ie HMV), to compete with low-priced records flooding the market in the 1910s. Thus made in England. 
According to Field [F], existing Zonophone masters may have been used, but new titles were also recorded. 
Period: Around 1913. Duration not recorded. 

Compagnia Generale Del Disco.  Recorded in Italy. Pressed in Australia.
Not liisted by anyone I could find. Note details on the label.
My supposition is that these are Italian recordings made for the Italian communities "all over the world" and pressed by generic record pressing companies for a local label to promote the music.

Chappell & Co. Ltd., 50 New Bond Street, London.
The only information I have is on this one record label in the collection.
The children's record labels illustrated here are of small size (less than 10-inch), have limited details and are generally not listed separately, hence the dearth of information provided.
Clifford Industries Ltd. Made in Australia.
According to Miller [M]:
Clifford Industries produced many labels, including Angelus, Paraamount, Electron, Embassy, Gracelon, Melotone, Orpheus, Plaza, Regent, Starr, Sterling, Worth, Grand Pree, and Golden Tonque - all the space of three years from 1928 to 1931. Many masters were pressed onto multiple labels, under various pseudenoyms. (That must have been most frustrating for buyers who find they have a ‘duplicate' record when they get home and have a listen). 
The Nutmeg Record Corporation. 
The company was one of the Edison Consolidated group companies, in the USA. The catalog consisted of mainly dance and popular vocal items, and light instrumental performances. 
Rust [R] notes that the surfaces of the recordings are inclined to be gritty and not very durable, and give the recording a somewhat dull shrill. Miller [M] does not include it with his list of British labels so we can assume there were no British releases. 
Period: Mid 1920s, apparently for only a brief period.
Commodore Record Co., NY, USA.
From Rust [R]: The Commodore Music Shop of 136 East 42nd Street, New York City, entered the record business in the spring of 1938 when its owner, Milt Gabler, issued the first red label items for the jazz connoisseur. The ten-inch records were numbered 500 upwards, with ‘a handful' of 12-inch issues numbered 1500 upwards. The recordings of the first issues were done by the American Record Corporation
Coliseum, London, manufactured by Cooper Brothers Ltd., of 45 and 63 City Road, and 17 Clerkenwell Road, London. 
Coast Record Manufacturing Co., Los Angeles.
Not listed by Rust [R} (surprisingly perhaps as it is a Los Angeles label). Mentioned by Miller [M] with: From the U.S. contemporary label, and notes thus Australian releases from late 1949/ early 1950, catalog CST001 to CST0012. (I have no ‘made in Australia' pressings).  I should qualify that the ‘Coast' label as shown is the same as the Austraalian label listed by Miller [M]. 
The Columbia Phonograph Company was established in Washington, DC, USA, in 1888, as an agency of the North American Phonograph Co., to market Edison Phonographs and Bell-Tainter Graphophones. It became a subsidiary of the North American Phonograph Company the following year.  The initial product was the cylinder record, Columbia issueing their first cylinder catalog in 1891. The North American Phonograph Co., was liquidated in 1894, but the subsidiary Columbia Phonograph Company remained intact, obtained ‘territorial rights' to marketing, and joined up with the American Graphophone Company to form the Columbia Phonograph Company, General. Two years later, 1896, the trademark ‘Columbia' was used, as applied to its playing machines. 
Made in Australia by Festival Records Pty Ltd.
Miller [M] simply lists as being around in the 1950s. They appear not to have recorded any jazz as the label is not listed in Miller [J]. I can remember them as being predominantly, maybe only, into ‘popular' music. Hence the labels listed.
Manufactured by Cosmopolitan Records, Inc. New York, U.S.A.
Rust [R] does not list this label, nor can I find any other reference.
Made in England by the Crystalate Gramophone Record Manufacturing Company Limited of Tunbridge Wells, Kent. 
Rust [R] notes that there were three ‘Crown' labels issued in the USA and UK. 
Longwell [L] shows two additional labels (with no details). Field [F] does not list any.
Danceland Records, 34 Exeter St, WC2, (London). 
Not listed by any of my references, not even Longwell [L] nor Field [F] who have the most extensive list of British labels on the internet. 
(a) The Decca Record Co. Ltd. Manufactured in England. (b) Decca Records, New York.
(c) Made in Australia by Columbia Graphophone (Aust) Pty Ltd.
The Decca Record Company Ltd, in the UK, was formed in 1929 by stockbroker Edward Lewis, later Sir Edward. Rust [R] continues: For five years during the worst of the great trde sslump on the early 1930s, the company went from strenmgth to strength acquiring rights to various Amerercian labels - Brunsiwck, Melotone, and Amercian Record Corporation. In January 1933, Decca bought Edison Bell; earlier it had bought English Vocalion. Decca was launched in the USA in 1934. In March 1937 it added Rex and (USA) Vocalion.
The Delius Society. Recorded by Columbia Graphophone Co. Ltd., London.Artistic Director Sir Thomas Beecham.
Disque Francis Salabert.
Apparently French, but otherwise I have no information.
Dominion Gramophone Records Limited, Luton Beds, England. 
First released ‘with panache' in October 1928 from their head office in Great Marlborough Street, London.
Numbering began at A.1 and continued to at least A.267 in April 1930. 
Early issues came from Cameo and Perfect in America; Dominion's own recordings began at 1001, in August 1928, lasting till number 1726.
Labels: There was also a blue label for their ‘Classic' series, and a red label. 
Dominion ceased trading mid 1930. 
Domino Record Company, New York.
The first ‘Domino' were seven-inch records issued around 1917. 
The ten-inch pressings existed between 1924 and 1933; Domino Records was a subsidiary of Plaza Music. Many of their releasses were exactly the same as, and released at the same time as those of Banner, Regal and others under Plaza's control. Aryists under Banner would sometimes appear on Domino under pseudonyms. 
The Duophone. British Manufacture. 
The ‘duophone' label was named after a record player made by the Duophone Syndicate Ltd., of  London; the uniqueness of the player was its double soundbox (pickup head), to increase volume. This was in the mid 1920's. In October 1925, it released its first The Duophone pressing, based on a competition for people to suggest what music would be best released. 
Manufactured by Durium Products (G.B.) Ltd. 
This was Britain's answer to America's Hit of the Week', a record sold cheaply for a few pence at news stands, with a new issue each week. They were unlike normal shellac records in that tghey were thin, flexible, and made of pliable cellulose with a coating of cellulose scetate on just the one side to take the grooves. The grooves were compressed so that even though the record played on only one side, two performances were presented. Rust [R] (from where I obtained this information), states that the recording quality is excellent and although it was hard to ‘break' a Durium record, it could be destroyed by using a too-heavy stylus - or simply tearing it in two. 
Made in England for Woolworths stores. .
Eight-inch record.
Ther red label is the standard record whilst the blue, with catalog prefixed SC, is a ‘celebrity series' issue - Field [F] suggests that the SC may have stood for ‘sacred' as there were a number of popular hymns on the label, but doubts it, as he, like myself, have releases which are certainly not sacred. 
Edison Bell. J.E.Hough Ltd, Peckham, London.
The first Edison Bell recordings were on cylinders.  The discs appeared in September 1909, manufactured by J.E.Hough Ltd, of Peckham, London. According to Rust [R], they were 10½ inch, numbered from 1 to 490 when the label ended in November 1912. Note however the green label, catalog number 1154. Perhaps I have interpreted something incorrectly. 
Thomas Edison released the Diamond Disc in 1913 after three years of development. It is a quarter of an inch thick, vertically cut (recorded hill-and-dale as against lateral), and rotated at 80rpm. The early records had no paper labelss - the details were etched into the record and near impossible to read unless held at the right angle to the light. In 1920, a plain black text on white label was introduced. The strobe-like markings on the perimeter of some labels was not, in fact, a strobe card. The last Edison recording session took place on 19 October 1929, in New York. Rust [R] writes of these final discs:,"They were greeted with accolades in the press, barely justified. 
Electrola Gesellschaft m.b. H. Berlin.
A German label, into classical and jazz. 
Electron Record Company. Made in Australia.
According to Miller [M], these were pressed by Clifford Industries for Coles stores, and were the forerunner of the Embassy label. The masters came from Cameo, Romeo and Gennett. As it is not listed in Miller [J], there appears to have been no jazz records pressed under this label. 
The trademark ‘C' within a laurel wreath is a Coles trademark - I can remember it on other products as a child in the fifties.
Made in Australia, for the Coles chain of variety stores. Initially they were pressed by Vocalion Foreign with masters from, mainly, Plaza/ARC.  These were the 8000 series, 8000-8114 pressed in 1929/30.  The 9000 series, specifically 9130-9330 were pressed by Clifford Industries, the company having dropped the Electron label (probably at the instigation of Coles). In 1931, the label was pressed by Brunswick Australia, numbers 100 to 155.  .
Emerson Phonograph Company, New York.
Victor H. Emerson worked for Columbia Graphophone in the 1980s till 1916, when he founded his own company bearing his name. His first records were just 5½ inches, then nine inch, and finally ten inch in 1919, and twelve inch for classical pressings in the same year. 
(a) Made in England.
(b) Esquire Record Company Pty Ltd, Box 432 GPO Sydney.
The English label provides no details of its source. Obviously, they released old jazz masters, as per the Sidney Bechet Quartet shown here.  There is also an Esquire Mercury label, ‘Manufactured and sold by Radio Corporation Pty Ltd for Esquire Records Pty Ltd'. I have no idea if there is a connection.  (See this label under Mercury).
Evans Medical Supplies Ltd. 31 Queen Street, Melbourne, C1
Record manufactured by Pythian Sound Recording Company, Melbourne. 
(a) Pressed in Germany.
(b) Made in England.
Miller [M] indicates: Produced in Germany (later Invica Record Co. In the United Kingdon), from 1913-c1915, for John G. Murdoch & Co., London, for sale in Australia via Macrow's. Some were also stick-over labels on Guardsman. There were several series - 1--, 2000, 5000, and 8000. 
Reproduced in Linden. Bukarest.
Listed by Field [F] but no useful information.
There is no indication that these two labels are related and from the same record company - however....Field [F] writes, when considering the designb of F003, of "punched out shaped holes that appear in some Favorite labels". I see no such punched holes on F003, but there are such holes in the label of F041. This is a significant clue I would think. 
Fralsningsarmens Handelsdepartement, Stockholm, Sweden.
Made in Australia.
Original recording in America by Decca Records Inc, New York.
See also Coral label.
The label was created in October 1952 with the following catalog series:
Festival included many American jazz artists from the Decca stable, and also recorded many Australian jazz and popular groups, including Graeme Bell. They also released the ‘first' rock and roll record, Bill Haley's Rock Around the Clock, in 1956. I was in first form at Princes Hill Central School at the time. 
Fidelity Radio Pty Ltd, Sydney. 
Miller {m} writes: (The label was) introduced circa August 1951 by Fidelity Radio Pty Ltd of Sydney. The company started in 1938 selling transcription records to radio stations. The label lasted from 1951 to 1956 with catalog raange 1001 to 1078. The bulk of the recordings featured Bobby Limb, his wife Dawn Lake or associate Johnny O'Connor. Miller [J] does not list the Fidelity label and thus presumably does not regard Bobby Limb and his Band as jazz (refer A040 below). The TV presenter is however recorded, on tenor sax, with Alan Nash and His Orchestra. 
Recorded in England. Reproduced in Prussia.
Field [F] lists it but with no information.
Flamingo Recording Co.
Recorded at B.E.A.
I have found no reference to this label, nor to the Flamingo Recording Co., or B.E.A.
Foredisco Italiano Trevisan, Milano.
Seven-inch record.
Made in Germany.
(a) The Starr Piano Co, Richmiond, Indiana. 
(b) Gennett Records, Richmons, Indiana. 
The Starr Piano Company was in the instrument business for many years before it launched into the recor business in 1917. The label was named aafter the Gennett brothers - Harry, Clarence and Fred who were the principle officers of the company at the time. 
Goodson Record Company Limited, 12 Old Burlington Street, London. 
Stamped ‘Factory Pressing Not For Sale'. Flexible record, double sided. No label as such - the data was printed, four times, in blue on thin white vinyl. They were ten-inch, although there was also an early 7-inch release. The Goodson Record was a British label, flexible and unbreakable, made of a material called ‘rhodoid', and appeared in the northern autumn of 1928. It lasted only till 1931. The advice on the record - "Fit A Used Needle - Greater Purity of Tone is Thus Obtained", seems odd but it was sound advice indeed. If a new needle was used, it would grind into the groove leaving a white talcum-powder like residue that rendered the record virtually unplayable from then on. 
Recorded in England. Reproduced in Prussia.
Rust [R] lists a ‘Globe' label in the USA. It is not listed in Longwell [L], nor Field [F]. The British label as shown has no resemblance to the two American labels listed by Rust, even though they all have a stylised image of the globe, obviously.  Miller [M] sheds some light on the label. He lists this with the note: A pre WW1 contract pressing from Homophon gmbh (Germany), for export to Australia. Both Beka and Favorite masters were used. 
Made in England by Vogue Records Ltd.
Listed by Longwell [L] but no information. Not listed by Field [F] nor Staunton [S].
See  Tempo label, record J12-03,  which has a label notation as Tempo Record Society, 9 Piccadilly Arcade, London, SW1. Recored by Good Time Jazz. There is probably no connection.
The Sound Recording Company, Ltd., London. Made entirely in England throughout all Processes.
Not listed by Staunton [S] nor Longwell [L] - I have no information. Considering the label design, I can only suggest that they are within the first two decades of the 20th century. 
All we know from the label is that it is a British Manufacture. 
Grey Gull Records, 693 Tremont Street, Boston, USA. (Later 295 Huntington Avenue, Boston). 
The company was inovative in developing a combination vertical and lateral cut record which, apparently, resulted in a ‘narrower' groove, giving about five and a hald minutes of music to each side. According to Rust [R] the company seems to have started in May 1919, with ‘The Queer New Record That Plays So Long; being released in July 1920.  They didn't last long - just on a year, perhaps because of their high one dollar price, or because they were ‘too advanced', whatever that meant. 
This delightful, and very British, label commenced in 1914, and was a successor to the British Invicta label; the catalog numbers followed those of Invicta which had started with number one in 1911. The initial recordingson the Guardsman label from 1914 to 1920 were all British, then in April 1920 the first titles from the Gennett catalog in America were released, all vocals, starting at catalog number 996. The label continued till the end of 1927 or beginning 1928, with the catalog number over 2100. 
The US Gramophone Company was founded in Washington (USA) in 1893, its president Emile Berliner who ‘invented' the 10-inch disc, its objective to market the discs and other Berliner patents. The first discs were released in 1894, and in that year Berliner also established the Berliner Gramophone Co. In 1896 the National Gramophone Company, formed by Frank Seaman, was given rights to distribute Gramophone machines and discs, but in a legal battle which can only be described as a double-cross by Seaman over Berliner, Berliner was prohibited from distribuiting his own inventions in the USA, so he looked to England. In 1897 The Gramophone Company was founded in London. 
Crystalate Gramophone Record Manufacturing Co. Ltd., Tonbridge, Kent, and London.
Commenced producing the label in 1920, although before this manufactured other labels. Until the summer of 1923, Imperial issues were all of British recordings, with a few European items. The gold on blue label; as shown existed till 1926. The last Imperial record was issued in February 1934. 
Obtainable ‘only at' Clements Musical Services, 31 Little Collins Street, Melbourne. No idea who0 they were pressed by. The catalog numbers ranged from 1 to 62, and were prodiced from 1948 to 1952. 
Miller [M] lists records of Len Barnard's Jazz Band, and Don ‘Slpinter' Reeves (tenor sax) and his Splintet (corney!). The most prolific recording artist appears to be Frank Johnson, with the leader on trumpet.
Jazz Selection, 100 Charing Cross Rd, London, WC2, and
Released by Jazz Art Society, 65 Bramber Road, W.Kenssington, London.
Apparently selected and manufactured by British jaxzzz enthusiasts based on master pressings of old jazz classics from the USA.
(a) Released by Tom Cundall, London. 
(b) Jazz Man Record Shop, Hollywood.
Appears to be releases produced by a private jazz enthusiasts. The recordings may be original for ‘Jazz Man' group but more likely are from manufacturers pressings. This would certainly apply to J039, released in London.
Label includes notation, ‘Pressed Abroad'. That's not exactly helpful. 
According to Miller [M], John Mystery was aWoolworth's identity and writer of children's stories. (Not sure what a ‘Woolworth's identity' means, but maybe on the management level). The records were apparentoly selected by this mystery man, and pressed by Recording Centre Pty Ltd in Sydney. No doubt because of his authorship interests, the label included childrens records, as well as jazz and ‘pops'. It appears that a series of record postacrads were also released. The period is 1949, 1950. 
Made in England. By whom?
Listed by Field [F] but image only, no details. 
Made in England.
Agent in Australia: Beale & Co. Ltd. Sole Agents. Sydney, Melbourne, Brisbane, Adelaide & Perth. London. Hamburg.
For Italian release. 
Made on Canada - and thats all I know of this label. 
The Lincoln Record Corporation, N.Y. [USA]
Lincoln was a subsidiary of the Cameo Record Corporation of New York (qv). They were first released in January 1924. Numbering started from 2000 and reached 3400 before the formation of the American Record Company linked Banner, Cameo, Pathe and their subsidiaries and affiliates, the company deciding that Lincoln was expendable, in 1930. Many Cameo titles were issued also on Lincoln under many pseudonyms. From Rust [R], ‘The label aimed mainly at the market that was not interested in who was playing or singing as long as the all-important tune was theere and it could be danced to, or listened to without inexpensive pleasure. The records costs 50 cents.
Six-inch record.
Manufacture: ?
Six-inch record. To be played at 90 rpm. 
Made in England. 
Record is 5 5/8th diameter. One sided. Reverse has US patent list, embossed. Label is pressed into record material.
Rust [R] lists a five and a a half inch record of this name produced by a Henry Waterson between 1911 and 1919. The recordings were by Columbia who also did the pressing. The catalog is Columbia's, but the artists listed on the Little Wonder label were annonymous.  There is no paper label - the details are embossed on the record. 
Not listed in Rust [R] even though a USA label, but apparently did not release any jazz. Also manufactured in Australia.
A late arrival on the record scene, no doubt early 1950s, featuring pop music, including Little Richard, Sam Cooke, Pat Boone, Fats Domino, Everley Brothers. These artists made their name with the introduction of the 45rpm and 33 rpm microgroove records in 1949 and 1954 respectively. 
EDITIONS DE L'OISEAU-LYRE  Fabrique en France.
Lyraphone Co. of America. New York, N.Y.
The first Lyric label records were vertical cut and were manufactured by the Lyraphone Co. of America. New York, N.Y., during World War 1 (or immediately after). Rust [R] lists as differerent label to the one shown, and describes two labels which are not the one shown. 
Miller [M] lists two Lyric labels; and there is a USA label also.
This label, ‘Picks up Angelus 3000 series after the demise of Clifford Industries from late 1931, commencing with catalog 3357, and running till 3446, in late 1932. There was also aa short-run S-series from 1000 to 1006. They were pressed by the Klippel Record Company.
Mitchell [J] lists a number of Australian jazz recordings on the Lyric label, but these were done in the 1920s and were on a paste-over label on Winner, for Winkworth stores, Sydney. 
Manufactured by Australian Record Co., Sydney, NSW.
Compare the label with that of the British Bosworth, and the resemblance is obvious, so we can link the two labels.  The British Bosworth is issued by Bosworth & Co. Limited, 8 Heddon Street, London.
All I know is that it is an Australian label. It is not listed in Miller [M].  Also not listed in Miller [J] hence no Austraalian jazz recorded on the label. 
Melodisc. Made in England. 
Not listed in Field [F], nor Staunton [S], yet it is not an un-common label. Longwell [L] shows a blue label. 
Seems to cater for the jazz and blues enthusiast, based in USA recordings. 
The Meloto Co. Ltd, London.
The label emerged in 1922 and lasted till about 1927. The company was making piano riolls from just after World War 1 right up to the late 1930s. In the five years of its operation, Meloto released some 600 records, beginning at catalog number S-100. Its stable came from the Aco label - not indication why, but probably because Meloto Co became a subsidiary of Vocalion, as Aco was.  There was also some releases that came from the Gennett catalog. Artists were released under pseudonyms, and the music of ‘pedestrian fare', with dance music containing very little of interest to the jazz enthusiast. 
Manufactured and sold by Radio Corporation Pty Ltd for Esquire Records Pty Ltd
Miller [M] just states that ‘The US label was pressed in both Australia and New Zealand', in the 1950s. The example shown V048 has no indication that it was ‘made in Australia' and thus is probably a USA label. Longwell [L] illustrates twelve Mercury labelsbut with no information. 
The label contained a considerable number of modern vocal items, plus dance and orchestral music and a few jazz items. 
Metropole Gramophone Co. Ltd. Made in England.
The first Metropole records appeared on the British market in April 1928, and cost three shillings. They were well made, electrically recorded (some of the first), and of a high standard. But from a marketing viewpoint all was not well when it was realised by the record-buying public that the same music could be bought on the Picadilly label at half the price; strange marketing here as Picadilly was a Metropole label, released as a budget record. The USA pressings came from the grey Gull label which were also offered to Picadilly. Original Bririsg records were recorded at the Highbury Athenaeum, a ballroom, in North London. 
The M-G-M label started in the USA in 1947 and generally featured items from the film company's own movie musical productions, as well as middle-of-the-road pop tunes.
In England the label was controlled by E.M.I. Ltd. In Australia it was E.M.I. (Aust) Lty Ltd. 

All are 6-inch discs. English manufacture. Not listed by Longwell [L], nor Field [F]. 

Modern Records Hollywood. 595 North Robertson Boulevard. 
La Fonografia Nazionale Milano.
Not listed by any of my references.
D.Davis & Co. Pty Ltd., 250 Pitt Street, Sydney. 
Not recorded by Miller [M]. 
National Record. Made in Germany. 
Is there a word between National and Record? Staunton [S] does not shown anything resembling this label.
There is a British ‘National Record' label, but it bears no resemblance to the German label. And according to Rust [R], there were four American ‘National' labels. There was also an Australian ‘National' lavel (qv). 
Seven-inch. Made in London.
Field [F] lists this seven-inch record, made in London. They appeared around 1905, and came in seven-inch and ten-inch releases, pressed on a red-brown compoound that provided anot so good, noisy, surface. Early issues are single sided with no paper label, details being printed directly onto the record as shown. Later issues were double sides with a red paper label. Field indiactes that the Nicole label is scarce, He also notes that there is an allied label called Empire but what the alliance is I have no idea. 
The Nixa Record Company. Made in England.
Not listed by Longwell [L], nor Field [F].
International Talking Machine Co.m.b.H. (Germany). 
Label named after at famous theatre in Paris, and was created in Paris and Berlin by F.M.Prescott. In Weissensee, near Berlin, the world's first double-sided records were produced, under the international trademark, Odeon.  There was also an American subsidiary, which produced a 10¾ disc on blue wax, and a most distinctive label of a Red Indian chief. 
Otto Heinemann Phonograph Supply Co., Inc. New York City.
The Okeh label got its name from its founder, Otto Heinemann who came to the USA to set up a branch office for the german indusstrialist Carl Lindstrom in 1916. It appears that the common word of assurance - okay - came from an American Indian tribe, which meant ‘It is so', or ‘So be it', and so be it that OH used an Indian motif as his trademark - but only on one of his labels, the first. 
Made in England.
Not listed by Longwell [L], nor any other reference. There is an American ‘Olympic' label which commenced in 1921 by the Fletcher Recording Company, Inc. Of New York, with a discus thrower as a trademark, but there is no connection with the British label shown. 
The label originated in 1921 from a chain of stores called McCrorys, in the USA, and initially took their masters from Emerson and Grey Gull, then Plaza-Banner, and the American Record Corporation.  Rust [R] lists four different labels. Content was mainly dance music, vaudville acts and comedy, and light classics. Jazz was featured , and the Dixie Jazz band was a pseudonym for several bands including Clarence Williams' Dixie Washboard Band, and the New Orleans Jazz band. 
Pacific Control Unit. Australian Record Co. Pty Ltd., Sydney, NSW.
Miller [M] shows a catalog range of 0001 to 0082 from January 1949 to (soon after) May 1952. Another series, with prefix PB, was released in 1953. 
Miller [j] does not list the laabel as having produced any Australian jazz. 
Panachord was the label issued by the British branch of the Warner-Brunswick Company in 1931. In the USA, the corresponding label was Melotone. The British company was taken over by Decca, and Panachord was discontinued in November 1939. 
The label shown iss Austraalian, and was made by Brunswick (Australia) Ltd. The label overseas specialised in huillbilly, country and western music and is most soight after by devotees of such ‘music'. The Australian counterpart seems also to have adopted this genre of music. Panachord also listed some fine jazz, under pseudonyms as is often the case.
Parlophon,   Carl Lindsrom A.G., Germany. The Parlophone Company Ltd, London. Parlophone Co. Ltd, Australia. 
The label derived from Germany, one of the Carl Lindsreomm group of companies, after World War 1, but established it name as a major recording company in England. In 1925 , UK Columbia acquired control of Carl Lindstrom's record companies and thus had control of the Parlophone trademark and label. Columbia, along with its Parlophone label,  was one of the companies merged to form the conglomerate Electrical and Musical Industries (EMI) in April 1931. 
The Pathe label started out in Paris in the 1890s as a result of a bistreo run by two brothers of that name. They realised that a an Edison-type cylinder player would be could in their bristro, so they made one in 1894, and called it Le Coq. Despite its anglicised name, it worled well!  The business expanded into making cylinders, and Charles and Emile established a recording studio, which expansded to several, in London, Milan and Moscow by 1906.
W.Paxton & Co. Ltd., London.
Phoenix Record Co., London. Made in England.
Field [F] indicates that some Phoenix discs were pressed in the USA by Columbia and say so on the label. The example shown here was not, and is indicated as Made in Enland by the Phoenix Record Company, of which there is no information from my references. 
Philips. Made in Australia. 
A common label if I can put it tyhat way, in terms of its prolific output of a range of artists. Philips was (is) a Dutch company. Not sure itf it pressed it own records here in Austraalia, or used overseas facilities, although it did record in Austraalia. 
Metropole Gramophone Co. Ltd. Made in England.  Records Ltd. London. 
Piccadilly was the poor cousin of Metropole (qv). The quality of the initial Piccadilly records reflected their cheap price but eventually the standard improved tobe a well-regarded label for its four years between October 1928 and April 1932. And it had a much more ornate and pleasing label thaan the bland Metropole, which may have reflected in its improved sales
Philips Electrical Industries Pty Ltd. Made in Australia.
Musica G.D. Eingetragene Schutzmarke.
Field shows the label but no details.
Field [F] is the only reference I have on this label, who lists it as a British label, one of the few to survive through the great war. 
Popular may have commenced around 1912, and continmued through WW1. It may have met its demise around 1922/23. 
Processed by E.M.I. (Australia) Pty Ltd.
Miller [M] writes that the long-running label was created Reginald Albert (Rex) Shaw.The early studiowas Radio Associated Services Ltd. The label ran from May 1937 to February 1956 under a number of series.  Miller [J] lists the label but does not provide a listing of recordings under the label (as he does with other labels recording Australian jazz). 
B.D.M.Co., Bridgeport, Conn. [USA]
(Bridgeport Die and Machine)
The label started in January 1920, tilll 1927. Originally they were manufactured by the United Phonographs Corporation of Sheboygan, then from March 1922 by the Birdgeport Die nd machine Company of Bridgeport, Conneticut, USA. 
Manufactured by Amalgamated Wireless (Australasia) Limited, Sydney.
Miller [M] lists this Australian label as being in use around mid 1951, with just a few releases, with catalog numbers: DR1001-4, recording William Flynn and the 3DB Orchestra in mid-1951; RRM003-6 (recorded in Melbourne); RRS007 (recorded in Sydney);  and ‘later issues' of an A-prefix drawn from Polygon UK (P suffix, gold and blue label as per L065), and Telefunken (T suffix, gold and red label as per O004 shown). 
Rodeheaver Record Company, Chicago.
Some of the recordings are by Gennett. The name behind the label, Homer Rodeheaver, was a gospel singer and trombonist, who also recorded for Victor and other companies in New York. Most, if not all of the music on Rainbow was religious insoired - gospel songs, hymns, and sacred songs. 
RCA - VICTOR   See also Victor.
The early history of Victor is that also of The Gramophone Company, the early years of His Master's Voice. In June 1920, Victor Talking Machine Company (USA) purchased a controlling interest in The Gramophone Company, of Engalnd. 
See also Zonophone.
The British Regal label was introduced in April 1914 as a cheap Columbia subsidiary. 
Rena Manufacturing Co. Ltd. London. Berlin.
I have no further information.
Crystalate Gramophone Record Manufacturing Company Ltd., of 60 City Road, London. 
The label shown is British; there is also an American label of no connection. The British label commenced in 1933, and were cheap - one shilling. Crystalate also produces the Imperial label (qv). Rex put out several thousand records but its slogan, The King of Records, is no doubt a bit presumptuous. As Rust [R] indicates, the promise of the slogan was not kept. There was quite a bit of dance music and popular vocals but very little jazz. But you will find Cab Calloway, Bing Crosby (hardly jazz), and even one record of the Benny Goodman Orchestra under the pseudonym Hollywood Dance Orchestra. 
The two Rexophone labels shown here have little in common in their design and their is nothing to suggest that they are of the same company. But they are. The only reference I can find is from Miller [M] who shows both these labels. These, he writes, are produced by Homophon gmbh (Germany) for export to Australia, and was first introduced in 1911. 
I have no idea from where this labels originates; there are no references in any if the references I have.
There was a recorded Australian jazz group called The South Coast Stompers, but that would be pushing the credibility to suggest that they are The Southern Stompers as per the label example. There is nothing to suggest that it is specifically a British or a USA label. Judging by the label, it is no doubt a private pressing, perhaps of a jazz club. But from what master? And is The Southern Stompers a pseudonym? 
Manufactured by Australian Record Company. Pty Ltd., Sydney.
Oh how I loathe this ‘music'! But I guess it does provide employment for people who can sing through their nose in an American accent, and yodel. The label commenced in January 1949 with a catalog number of - one - and continued through August 1957 before someone realised what a load of crap it was! Unfortunately for them, the Kiwis had to put up with it as well - and the poor Blacks (as per their excellent rugby team), had also to tolerate Maori music. 
Romeo was the thord subsidiary of Cameo and made its debut in July 1926 with catalog number 201. The records sold in the S.H.Kress chain stores for twenty-five centres. In 1931 it was ‘absorbed' into the American Record Corporation and continued to aappear for the next eight years, releasing over 2,300 records - long after its sister labels Cameo and Lincoln had vanished. (Reference, Rust [R]). 
The only reference I can find is from Miller [M] who shows the labels as havuing been manufactured in Germany by Homophon gmbh, and sold in Australia between 1912 and 1914, probably by British Record Pty Ltd.
See also Rexophone, also made by   Homophon gmbh.
SAVOY     Made in Australia
Miller [M] lists this label as being pressed by Vocalion in Melbourne, in a catalog series from 1000 to 1079 in 1929. There are no further details. Staunton [S] shows aan American Savoy label but there is no resemblaance of the label with the label shown here. I can't hep thinking that there may be some connection with the Starr and/or Sterno labels - look at he graphic gothic design of the label name, especially the ‘S'. Maybe the labels were just designed by the same person. Here we go - using my recently acquired Sutton [S], the question is resolved. Sutton indicates that this is an extremely rare label, drawing on both Starr Piano Company (Gennett) and Crown Record Company masters. The label is unrelated to a later 1940s-1950s label commonly recording jazz and blues. 
The Scala Record Company began issuing records in England in 1911, pressed in Germany from masters cut by other companys, mainly Beka. After WW1, a new Scala label was introduced which included pressings made in England from masters recorded in London, and from the Starr Piano Company and Aeolian Company, both of the USA. 
Sears, Roebuck & Co. [USA].
Rust [R] notes that there are five distinct kinds of Silverton labels(he shows only three), including one on an 8-inch record produced in Britain by British Homophone during the mid 1930s. The others are Amrican releaases, all made for Sears, Roebuck & Co., the mail-order house. Early Silvertoms were pressed by Columbia, with a very early example of ‘genuine ragtime'. The best-known label, ie the most common I presume, is the tan coloured label as shown. 
Pressed by E.M.I. (Aust) Pty Ltd for Keswick Book Depot, Melbourne.
Not listed by Miller [M], nor any other reference. 
There was an American Standard label, but there appears to be no connection with this British label illustrated. I have no further information on the label shown.
Note: Sutton [S] lists three American labels of the Standard name. One was produced for the Standard Talking Machine Company of Chicago, early in the 20th century, 1905-1917; another was made by Zon-O-Phone for an unknown distributor, time period around 1907; and anbother manufactured by the General Phonograph Corporation (Okeh) for the Standard Phonograph Company of New York around 1921
Rust [R] lists an American company Starr Piano Comopany of Richmond, Indiana - I do not have an example of the American label but the Gothic script name is virtually identical to the labels shown here, so I shall make the assumption that there is a connection between the American company, the Canadian company as shown on the dark labels here, and the Australian label (in red). 
The Sterno label was used by the British Homophone Company, launched in 1926, and recorded by the Gramophone Company at its studios in Middlesex, UK. Rust [R] ranks their quality ‘as good as anything to be found on HMV and Zonophone' ; but the early quality declined over the years. 
Neither Rust [R] nor Field [F] show these two Sterno labels, although they show two other designs, one of which is blue, apparently the first Sterno label, which was discontinued in 1928. This was superseeded by the rich red label, printed in gold - classy but hard to read. The differences between the two labels sshown, and those of Rust and Field is, on L035, the words ‘Electrical Recording', and on L025, the strobe-like design around the perimeter of the label. Was this used in any way to ensure the right turntable speed? 
Miller [M] lists this as being pressed by Clifford Industries even though the label indicates Made in Australia by Sterling Record Co. Okay, Sterling Record Co are the producers of the record, with Clifford Industries the manufacturers. (The analogy is with a book, where you have a publisher and a printer).  The catalog commences with an ‘F' Prefix from 1100 to 1109, after which the prefix was dropped and the catlog number continued to 1172 - the period iss 1929/1930. 
SUMMIT          Australian Made.
Miller [M] lists this with two label designs. There is no indication as to who manufactured the record and from what masters. There were 10 inch and 6 inch (baby) Summit records. The ten inch started from catalog 100 in late 1931, and either from or to 238 in late 1932. Note the example has a catalog number of 242. 
The 6-inch went from 60 60 58, from late 1931. 
Miller [J] lists Summitrecordings by the Southern Jazz Group  in 1949, with a catalog number of 1012, but I suspect that this is a different label than the one shown. Well know jazz enthiast and promoted Kym Bonython played drums with the group, and is on the Summit recording (of Hiigh Scoiety, and Mammy o'Mine). Graeme Bell and His Australian Jazz band recored on the Summit label in Melboure August 1949. 
This is one of my favourite labels, quintesentially Australian, no doubt the only label in the world that has a thief and a suicide as an emblem - but a kindly old man anyway, and one which we Aussie relate to. For those reading this who have no idea what I am talking about, then you cannot be an Aussie, so it doesn't really matter. Actually, its a wonder we dont have a Ned Kelly label also!  I digress.
Tabernacle Library of Sacred Songs. Australian Record Co. Pty Ltd., Sydney.
Miller [M] lists the label but with no further information but to state the obvious - it produces religious music. The period is the 1950s.
Recording Corporation of New Zealand. Distributed by Columbus Radio Centre. 
Miller [M] lists this of course (he is a Kiwi), and gives us the gen on the labels name - it stands for To Assist New Zealand Artists. Sure! Tanza was New Zealand's first locally produced gramophone label. Needless to say, indiginous Maori music was featured. 
Speaking of NZ labels, the appropriately named Tasman is another, which existed throm 1949 to 1953. 
German releases from the company that also made tape recorders.
(a) Tempo Record Society, London
(b) Division of Vogue Records Ltd. Made in England.
(c) Record of the Month. Australian Record Company.
Three different labels, three companies, three labels 
Seven-inch. British manufactured. Crysalate Gramophone Record Manufacturing Company of City Road, London.  Rust [R] lists the label. It was firsst released in 1928 exclusively for Woolworths stores (in the UK), and cost just six pence. The last was issued on 31 March 1931, after three hundred issues. Most of the masters were made for the label although there are some from the American Banner label or one of its Plaza affiliates. Despite the indication that this is a ‘Long Playing Record', the duration is about that of a standard 10-inch. Rust indicates that no issues were outstanding, under mainly pseudonyms. Al Bowley is on the label (listed annoymously), with the Hawaiian Serenaders. 
American Record Mfg. Co. 
Sutton [S] lists this as being produced for the Cameo Record Corporation by the American Record Manufacturing company of Framington, Massachusetts, which is in effect cameo's pressing plant. It replaced a previous label, Muse, by the ARM Co, in mid-1924. All issues are from Cameo masters, and virtually all artists listed were pseudonyms. 
Rust [R] adds that nothing was issued on Tremont that was not also on Cameo. 
Recorded in England. Pressed in Berlin (on example L215).  Not listed in Rust [R] nor Sutton [S], no doubt because the Universal label is  neither American nor jazz related. There is a U iversal label listed by Longwell [L] but it is too modern to be linked to the examples shown.
An appropriate label name I suppose; Made in the Soviet Union.
Staunton [S] shows the label, listed within the decade 1940-1949. Lonhwell [L] also shows the label but with no details. 
Don't bother looking for good jazz on this label!!!
War Department Music Section. Entertainment and Recreation Branch. Special Services  Division A.S.F. 
"This record is the property of the War Department of the United States and use for radio and commercial purposes is prohibited".  Includes instructions that the record is outside start.
These records were one of the few able to be recorded between August 1942 and Novemver 1944 during the recording ban brought about by the prsident of the American Federation of Musicians, James Petrillo. The period corresponded with World War 2. 
The emergence of the Victor label is inexorably linked the the development of the His Master's Voice label owned by the British company Gramophone and Typewriter Co (G&T) whose origins start with the developer of the disc record Emile Berliner. It all started in 1895 when Eldridge R. Johnson, the owner of a small machine shop in Camden, New jersey (USA), was approached by Berliner to make clockwork gramophone motors; these were first installed in Berliner's gramophones in 1896. 
Kalliope Company. Recorded in London, Pressed in Saxony.
The dearth of information on this label is frustrating to say the least. Rust [R] lists the name but it is an American pressing. Sutton [S] does not list Victory at all. Longmuir [L] lists one label on hios website with no apprent link to the one shown here, Field [F] shows four labels, again, no relationship to L063. So where does that leave me? With a very rare record perhaps. And what we know about it is just what is on the laabel - the Kalliope Company,  recorded in London, pressed in Saxony. We can assume it was a British label and distributed in the UK and perhaps the colonies. 
The Aeolian Company, of New York, was a major manufacturer of organs and other musical instruments when it went into records in 1915 with a limited (experimental?) production before introducing its fine-groove vertical-cut discs in 1916. Its studio was at Aeolian Hall in new York, and it had pressing plants in Meridan, Connecticut and New York. The company prided itself on the quality of its musical instruments and extended that care in the production of their records. Early releases included some jazz, including the Original Dixieland Jazz Band. 
Vogue Records. Made in England.
Not sure why this label is not listed by any of my current websites that I have been using as a reference, but they seem to be prolific ion their output. One refressing point is that the label acknowledges where the original music ‘came from', ie the original (we presume) pressing company - and, they apopear not to resort to pseudonyms. 
It appears to be a modern label, of the 1950s. Amd there is only one design, although of several colours. The colour of the label does not seem to follow a music theme. (I also have a yellow label). 
See also Tempo Records.
Made in Germany for British release.  Not listed by any of my references. 
W. & G.
W. & G. Distributing Co. Pty Ltd.
Miller [M] lists the label as existing from the mid 1950s, but adds not further information. Miller [J] does not list the label so we can assume there is no Australian jazz on the label.
Wallis Original Record Corp., USA.
It would appear that this ‘Wallis Original' label is the result of the equivalent of self-publishing in literature, although I can find no specific reference to the label by the texts I have available. Longwell [L] provides an example but no written information
Made in Australia
Not listed by Miller [M]. No information available. Not listed by Miller [J] so no recorded jazz on this label.
Wocord Australia. 
Manufactured in Britain for World Record (Australia). Record is 5 5/8 inch diamter. Released 1924-1925.
Listed by Miller [M]
Lu Watters was a Californian born trumpter who worked with various Californian bands during he 1930s, before forming his own band, the Yerba Buena Jazz band, which he led till December 1950. 
I am surprised that neither Rust [R] nor Sutton [S] list the West Coast label. It appears, from my own collection at least, that the label was created just for Lu Watters' band, and thus he was probably the producer and owner of the label. Watters was also released on Melodisc, in England; and Jazz Man, in Hollywood.
Curry Ltd. 24-26 Goswell Road, London. 
The British electrical and cycling company Curry's Cycle Stores put out this label. It appears they also put out the same label as a paste-on over Edison Bell Winner records (as this one may well be). Details from Field, [F]. Rust [R] notes that the Westport label was a sister to the Portland label and was produced by Edison Bell for the Curry's stores from 1922 to 1924. As a result, the content includes Edison Bell, and Gennett, recordings, many under pseudonyms. 
Wilco Records, Sydney, Australia.
Miller [M] lists the label from 1948 to January 1951, a short reign to say the least. Catalog numbers went from O-0, to O-124. Australian jazz artists are featured: The Southern Jazz Group(1947-1949), Rex Stewart and His Sydney Six (1949), Les Welch and His Eight Beat Bots (1948), Frank Coughlan abd His Lucky Seven (1950), Graeme Bell and His Ragtime Piano (1950), Wocka Dyer and His Bacchanalians (1950). It may seem surprising that Miller [J] does not list the example show J241 of Humphrey Littelton and His Band but Littelton was English, and although he recorded in Australia with Ade Monsborough, this was not recorded on Wilco (it was on Parlophone and Swaggie et al). 
Manufactured by World Record Ltd., London, England. Produced by the Vocalion factory in Hayes, Middlesex, England. From Rust [R]: The origin of the label is interesting as it was developed by an English eccentric named Noel Pemberton-Billing, an aviator, parlimentarian and journalist. The record itself is just as ecceentric in that the player requires a special gearing device that ensures a constant linear speed of the needle. The grooves were very narrow and some seven and a half minutes could be recorded on one 10-inch record. If played at a constant 78rpm, the first section of the record sounds unintelligible and high pitched, until it graually makes sence toward the last third. How succesful this all was I have no idea. 
This label intrigues me. I have absolutely no idea who createdit. Is it American, or perhaps Australian? Even British maybe. It appears to be a private pressing - the dearth of information supports this. The names of the bands are obviously made up for the recording - fortunately, the musician's names are listed - and are real. There is some great jazz on the label. 
The vinyl varies also - it could be white, red (as shown) or black. 
Manufactured by the National Gramophone Record Co. Ltd., Bombay. Made in India. 
British Zonophone Company Ltd. International Zonophone Company.
‘Zonophone' indicates the British label; Zon-O-Phone is the American pressing. I have no examples of the USA recordings. All examples here are British or Australian.
The history of the Zonophone label is a complicated one, and we must be grateful to Brian Rust for his analysis of the label and its development on both sides of the Atlantic.