Broadway Records (1920s)
| Company type | Record label |
|---|---|
| Industry | Music |
| Founded | 1921 |
| Headquarters | Bridgeport , United States |
| Products | Records |
Broadway Records was a United States-based record label that operated during the 1920s and 1930s. The Bridgeport Die and Machine Company, located in Bridgeport, Connecticut, initially produced Broadway records in the early 1920s, predominantly utilizing masters sourced from Paramount Records. Beginning in 1924, the label expanded its repertoire to include masters from both Emerson and Banner.
Following the bankruptcy of Bridgeport Die and Machine in 1925, ownership of the label transferred to New York Recording Laboratories (NYRL), a subsidiary of the Wisconsin Chair Company, which also owned Paramount Records. Although named New York Recording Laboratories, NYRL operated out of Port Washington, Wisconsin. Broadway records were distributed through Montgomery Ward, but were not limited to this retailer; some editions featured imprints from Chicago-based drugstores. Between 1925 and 1930, the majority of releases utilized masters from Plaza. From 1930 onward, the catalog incorporated masters from Crown Records as well as NYRL’s proprietary L-matrix series recorded in Grafton, Wisconsin. NYRL discontinued its activities in 1932, after which the American Record Corporation (ARC) briefly assumed control of the Broadway label.
In either late 1934 or early 1935, Decca reintroduced Broadway as one of its initial labels alongside Champion. This revival featured a short-lived L-1200 series that drew on masters from Champion (Gennett Records), but production ceased by 1935. The involvement with ARC and Decca likely served to complete an existing contractual agreement with Montgomery Ward.
Regarding quality, Broadway discs produced during the Bridgeport era were noted for their solid pressing and recording standards. However, under NYRL’s management (Paramount’s parent), both pressing quality and sound fidelity deteriorated to below-average levels. Releases issued by ARC under the Broadway name were comparable in quality to those of Melotone, Perfect, and Oriole. Meanwhile, Decca’s Broadway records maintained the quality typical of Decca's own productions.
See also
References
- The American Record Label Book by Brian Rust (Arlington House Publishers, 1978)