Columbia Records is an American record label, owned by Sony Music Entertainment, operating under the Columbia Music Group with Aware Records. It was founded in 1888, evolving from an earlier enterprise, the American Graphophone Company—successor to the Volta Graphophone Company.^[1] Columbia is the oldest brand name in pre-recorded sound,^[2] being the first record company to produce pre-recorded records as opposed to blank cylinders. Columbia Records went on to release records by an array of notable singers, instrumentalists, and bands. From 1961 to 1990, its recordings were released outside the U.S. and Canada on the CBS Records label (for Columbia Broadcasting System, its parent from 1938 to 1988) before adopting the Columbia name in most of the world.

Until 1989, Columbia Records had no connection to Columbia Pictures, which used various other names for record labels they owned, including Colpix and later Arista; rather, it was connected to the original owner, CBS, which stood for Columbia Broadcasting System. Though Arista was later sold to BMG, it is now a sister label to Columbia Records through Sony Music; both are connected to Columbia Pictures through Sony Corporation of America, worldwide parent of both the music and motion picture arms of Sony.

History[link]

Beginnings[link]

Original home of Columbia in Washington, D.C., in 1889

The Columbia Phonograph Company was originally the local company run by Edward Easton, distributing and selling Edison phonographs and phonograph cylinders in Washington, D.C., Maryland and Delaware, and derives its name from the District of Columbia, which was its headquarters. As was the custom of some of the regional phonograph companies, Columbia produced many commercial cylinder recordings of its own, and its catalogue of musical records in 1891 was 10 pages long. Columbia's ties to Edison and the North American Phonograph Company were severed in 1894 with the North American Phonograph Company's breakup, and thereafter sold only records and phonographs of its own manufacture. In 1902, Columbia introduced the "XP" record, a molded brown wax record, to use up old stock. Columbia introduced "black wax" records in 1903, and, according to Tim Gracyk, continued to mold brown waxes until 1904; the highest number known to Gracyk is 32601, "Heinie", which is a duet by Arthur Collins and Byron G. Harlan. According to Gracyk, the molded brown waxes may have been sold to Sears for distribution (possibly under Sears' "Oxford" trademark for Columbia products).^[3]

A Columbia type AT cylinder graphophone, first released in 1898^[4]

Columbia began selling disc records and phonographs in addition to the cylinder system in 1901, preceded only by their "Toy Graphophone" of 1899, which used small, vertically cut records. For a decade, Columbia competed with both the Edison Phonograph Company cylinders and the Victor Talking Machine Company disc records as one of the top three names in American recorded sound.

In order to add prestige to its early catalog of artists, Columbia contracted a number of New York Metropolitan Opera stars to make recordings (from 1903 onwards). These stars included Marcella Sembrich, Lillian Nordica, Antonio Scotti and Edouard de Reszke, but the technical standard of their recordings were not considered to be as high as the results achieved with classical singers during the pre–World War I period by Victor, Edison, England's His Master's Voice or Italy's Fonotipia Records. After an abortive attempt in 1904 to manufacture discs with the recording grooves stamped into both sides of each disc—not just one—in 1908 Columbia commenced successful mass production of what they called their "Double-Faced" discs, the 10-inch variety initially selling for 65 cents apiece. The firm also introduced the internal-horn "Grafonola" to compete with the extremely popular "Victrola" sold by the rival Victor Talking Machine Company.

During this era, Columbia used the famous "Magic Notes" logo—a pair of sixteenth notes (semiquavers) in a circle—both in the United States and overseas (where this particular logo would never substantially change).

Columbia stopped recording and manufacturing wax cylinder records in 1908, after arranging to issue celluloid cylinder records made by the Indestructible Record Company of Albany, New York, as "Columbia Indestructible Records". In July 1912, Columbia decided to concentrate exclusively on disc records and stopped manufacturing cylinder phonographs although they continued selling Indestructible's cylinders under the Columbia name for a year or two more.

The label of an electrically recorded Columbia disc by Art Gillham from the mid-twenties

In late 1923, Columbia went into receivership. The company was bought by their English subsidiary, the Columbia Graphophone Company in 1925 and the label, record numbering system, and recording process changed. (The "New Process" [still acoustic] was used on budget labels until 1930). See more at American Columbia single record cataloging systems. On February 25, 1925, Columbia began recording with the new electric recording process licensed from Western Electric. The new "Viva-tonal" records set a benchmark in tone and clarity unequaled on commercial discs during the "78-rpm" era. The first electrical recordings were made by Art Gillham, the popular "Whispering Pianist". In a secret agreement with Victor, neither company made the new recording technology public knowledge for some months, in order not to hurt sales of their existing acoustically recorded catalog while a new electrically recorded catalog was being compiled.

In 1926, Columbia acquired Okeh Records and its growing stable of jazz and blues artists, including Louis Armstrong and Clarence Williams. (Columbia has already built an impressive catalog of blues and jazz artists, including Bessie Smith). In 1928, Paul Whiteman, the nation's most popular orchestra leader, left Victor to record for Columbia. That same year, Columbia executive Frank Buckley Walker pioneered some of the first country music or "hillbilly" genre recordings with the Johnson City sessions in Tennessee, including artists such as Clarence Horton Greene and the legendary fiddler and entertainer, "Fiddlin'" Charlie Bowman. He followed that with a return to Tennessee the next year, as well as recording sessions in other cities of the South. Nineteen twenty-nine saw industry legend Ben Selvin signing on as house bandleader and A. & R. director. Other favorites in the Viva-tonal era included Ruth Etting, Fletcher Henderson and Ted Lewis. Columbia kept using acoustic recording for "budget label" pop product well into 1929 on the labels Harmony, Velvet Tone (both general purpose labels) and Diva (sold exclusively at W.T. Grant stores). 1929 was the year that Columbia's older rival and former affiliate Edison Records folded, leaving Columbia as the oldest surviving record label.

Columbia ownership separation[link]

In 1931, the British Columbia Graphophone Company (itself originally a subsidiary of American Columbia Records, then to become independent, actually went on to purchase its former parent, American Columbia, in late 1929) merged with the Gramophone Company to form Electric & Musical Industries Ltd. (EMI). EMI was forced to sell its American Columbia operations (because of anti-trust concerns) to the Grigsby-Grunow Company, makers of the Majestic Radio. But Majestic soon fell on hard times. An abortive attempt in 1932 (around the same time that Victor was experimenting with their 33 1/3 "program transcriptions") was the "Longer Playing Record", a finer-grooved 10" 78 with 4:30 to 5:00 playing time per side. Columbia issued about 8 of these (in the 18000-D series), as well as a short-lived series of double-grooved "Longer Playing Record"s on its Harmony, Clarion and Velvet Tone labels. All of these experiments (and indeed the Harmony, Velvet Tone and Clarion labels) were discontinued by mid-1932.

A longer-lived marketing ploy was the Columbia "Royal Blue Record," a brilliant blue laminated product with matching label. Royal Blue issues, made from late 1932 through 1935, are particularly popular with collectors for their rarity and musical interest. The C.P. MacGregor Company, an independent recording studio in Oakland, California, did Columbia's pressings for sale west of the Rockies and continued using the Royal Blue material for these until about mid-1936. It was also used for their own radio-only music library.

With the Great Depression's tightened economic stranglehold on the country, in a day when the phonograph itself had become a passé luxury, nothing slowed Columbia's decline. It was still producing some of the most remarkable records of the day, especially on sessions produced by John Hammond and financed by EMI for overseas release. Grigsby-Grunow went under in 1934 and was forced to sell Columbia for a mere $70,000 to the American Record Corporation (ARC).^[5] This combine already included Brunswick as its premium label so Columbia was relegated to slower sellers such as the Hawaiian music of Andy Iona, the Irving Mills stable of artists and songs and the still unknown Benny Goodman. By late 1936, pop releases were discontinued, leaving the label essentially defunct.

In 1935, Herbert M. Greenspon, an 18-year-old shipping clerk, led a committee to organize the first trade union shop at the main manufacturing factory in Bridgeport, Connecticut. Elected as president of the Congress of Industrial Unions (CIO) local, Greenspon negotiated the first contract between factory workers and Columbia management. In a career with Columbia that lasted 30 years, Greenspon retired after achieving the position of executive vice president of the company.

As southern gospel developed, Columbia had astutely sought to record the artists associated with that aspiring genre; for example, Columbia was the first and only company to record Charles Davis Tillman. Most fortuitously for Columbia in its Depression Era financial woes, in 1936 the company entered into an exclusive recording contract with the Chuck Wagon Gang, a symbiotic relationship which continued into the 1970s. A signature group of southern gospel, the Chuck Wagon Gang became Columbia's bestsellers with at least 37 million records,^[6] many of them through the aegis of the Mull Singing Convention of the Air sponsored on radio (and later television) by southern gospel broadcaster J. Bazzel Mull (1914–2006).

CBS takes over 1938-1947[link]

In 1938 ARC, including the Columbia label in the USA, was bought by William S. Paley of the Columbia Broadcasting System for US$750,000.^[7] (Columbia Records had originally co-founded CBS in 1927 along with New York talent agent Arthur Judson, but soon cashed out of the partnership leaving only the name; Paley acquired the fledgling radio network in 1928.) CBS revived the Columbia label in the place of Brunswick and the Okeh label in the place of Vocalion. CBS retained control of all of ARC's past masters, but in a complicated move, the pre-1931 Brunswick and Vocalion masters, as well as trademarks of Brunswick and Vocalion reverted back to Warner Brothers (who had leased their whole recording operation to ARC in early 1932) and Warners sold the lot to Decca Records in 1941.^[8]

The Columbia trademark from this point until the late 1950s was two overlapping circles with the Magic Notes in the left circle and a CBS microphone in the right circle. The Royal Blue labels now disappeared in favor of a deep red, which caused RCA Victor to claim infringement on its "Red Seal" trademark. (RCA lost the case.) The blue Columbia label was kept for its classical music Columbia Masterworks Records line until it was later changed to a green label before switching to a gray label in the late 1950s, and then to the bronze that is familiar to owners of its classical and Broadway albums. Columbia Phonograph Company of Canada did not survive the Great Depression, so CBS made a distribution deal with Sparton Records in 1939 to release Columbia records in Canada under the Columbia name.

During the 1940s Columbia had a contract with Frank Sinatra. Sinatra helped boost Columbia in revenue. Sinatra recorded over 200 songs with Columbia which include his most popular songs from his early years. Other popular artists on Columbia were Benny Goodman (signed from Victor), Count Basie, Jimmie Lunceford (both signed from Decca), Eddy Duchin, Ray Noble (both moved to Columbia from Brunswick), Kate Smith, Mildred Bailey, Will Bradley, etc.

In 1947, CBS founded its Mexican record company, Discos Columbia de Mexico.^[9]

The LP record 1948-1959[link]

Columbia's president Ted Wallerstein, instrumental in steering Paley to the ARC purchase, at this time set his talents to the goal (as he saw it) of hearing an entire movement of a symphony on one side of an album. Ward Botsford writing for the Twenty-Fifth Anniversary Issue of "High Fidelity Magazine" relates, "He was no inventor—he was simply a man who seized an idea whose time was ripe and begged, ordered, and cajoled a thousand men into bringing into being the now accepted medium of the record business." Despite Wallerstein's stormy tenure, in 1948 Columbia introduced the Long Playing "microgroove" LP record format (sometimes written "Lp" in early advertisements), which rotated at 33⅓ revolutions per minute, to be the standard for the gramophone record for half a century. CBS research director Dr. Peter Goldmark played a managerial role in the collaborative effort, but Wallerstein credits engineer William Savory with the technical prowess that brought the long-playing disc to the public. By the early 1940s, Columbia had been experimenting with higher fidelity recordings, as well as longer masters, which paved the way for the successful release of the LPs in 1948. One such record that helped set a new standard for music listeners was the 10" LP reissue of The Voice of Frank Sinatra, originally released on March 4, 1946 as an album of four 78 rpm records, which was the first pop album issued in the new LP format. Sinatra was arguably Columbia's hottest commodity and his artistic vision combined with the direction Columbia were taking the medium of music, both popular and classic, were well suited. The Voice of Frank Sinatra was also considered to be the first genuine concept album.

Columbia's LPs were particularly well-suited to classical music's longer pieces, so some of the early albums featured such artists as Eugene Ormandy and the Philadelphia Orchestra, Bruno Walter and the New York Philharmonic Orchestra, and Sir Thomas Beecham and the Royal Philharmonic Orchestra. The success of these recordings eventually persuaded Capitol Records to begin releasing LPs in 1949. RCA Victor began releasing LPs in 1950, quickly followed by other major American labels. (Decca Records in the U.K. was the first to release LPs in Europe, beginning in 1949.)

An "original cast recording" of Rodgers & Hammerstein's South Pacific with Ezio Pinza and Mary Martin was recorded in 1949. Both conventional metal masters and tape were used in the sessions in New York City. For some reason, the taped version was not used until Sony released it as part of a set of CDs devoted to Columbia's Broadway albums.^[10] Over the years, Columbia joined Decca and RCA Victor in specializing in albums devoted to Broadway musicals with members of the original casts. In the 1950s, Columbia also began releasing LPs drawn from the soundtracks of popular films.

The 1950s[link]

In 1951, Columbia USA began issuing records in the 45 rpm format RCA had introduced two years earlier.^[11] Also in 1951, Ted Wallerstein retired as Columbia Records chairman;^[12] also, Columbia USA severed its decades-long distribution arrangement with EMI and signed a distribution deal with Philips Records to market Columbia recordings outside North America. EMI continued to distribute Okeh and later Epic label recordings until 1968. EMI also continued to distribute Columbia recordings in Australia and New Zealand. American Columbia was not happy with EMI's reluctance to introduce long playing records.^[13]

Columbia became the most successful non-rock record company in the 1950s when they lured impresario Mitch Miller away from the Mercury label (Columbia remained largely uninterested in the teenage rock market until the early 1960s, despite a handful of crossover hits). Miller quickly signed on Mercury's biggest artist at the time, Frankie Laine, and discovered several of the decade's biggest recording stars including Tony Bennett, Jimmy Boyd, Guy Mitchell, Johnnie Ray, The Four Lads, Rosemary Clooney, Ray Conniff and Johnny Mathis. He also oversaw many of the early singles of the label's top female recording star of the decade, Doris Day. In 1953, CBS formed Columbia's sister label Epic Records. 1954 saw Columbia end its distribution arrangement with Sparton Records and form Columbia Records of Canada.^[14] Despite favoring a country music genre, Columbia bid $15,000 for Elvis Presley's contract from Sun Records in 1955.^[15] Miller made no secret of the fact that he was not a fan of rock music and was saved from having to deal with it when Presley's manager, Colonel Tom Parker, turned down their offer (Presley ended up signing with Columbia's now-sister label RCA Records).^[15] However, Columbia did sign two Sun artists in 1958: Johnny Cash and Carl Perkins.^[15]

With 1954, Columbia USA decisively broke with its past when it introduced its new, modernist-style "Walking Eye" logo,^[16] designed by Columbia's art director S. Neil Fujita. This logo actually depicts a stylus (the legs) on a record (the eye); however, the "eye" also subtly refers to CBS's main business in television, and that division's iconic Eye logo. Columbia continued to use the "notes and mike" logo on record labels and even used a promo label showing both logos until the "notes and mike" was phased out (along with the 78 in the US) in 1958. In Canada, Columbia 78s were pressed with the "Walking Eye" logo in 1958. The original Walking Eye was tall and solid; it was modified in 1960 to the familiar one still used today (pictured on this page), in spite the fact that the Walking Eye was not used during most of the 1990s.

Columbia changed distributors in Australia and New Zealand in 1956 when the Australian Record Company picked up distribution of U.S. Columbia product to replace the Capitol Records product which ARC lost when EMI bought Capitol. As EMI owned the Columbia trademark at that time, the U.S. Columbia material was issued in Australia and New Zealand on the CBS Coronet label.

In 1956, Columbia jazz producer George Avakian signed Miles Davis to the label. In 1958, Davis's sextet released Milestones, an influential alum which explored the techniques of modal jazz. In 1959, Davis's sextet released Kind of Blue, an album which has remained extremely popular and influential. In 2003, it appeared as number 12 in Rolling Stone's list of the "500 Greatest Albums Of All Time".^[17]

Stereo[link]

Although Columbia began recording in stereo in 1956, stereo LPs did not begin to be manufactured until 1958. One of Columbia's first stereo releases was an abridged and re-structured performance of Handel's Messiah by the New York Philharmonic and the Westminster Choir conducted by Leonard Bernstein (recorded on December 31, 1956, on 1/2 inch tape, using an Ampex 300-3 machine). Bernstein combined the Nativity and Resurrection sections, and ended the performance with the death of Christ. As with RCA Victor, most of the early stereo recordings were of classical artists, including the New York Philharmonic Orchestra conducted by Bruno Walter, Dmitri Mitropoulos, and Leonard Bernstein, and the Philadelphia Orchestra conducted by Eugene Ormandy, who also recorded an abridged Messiah for Columbia. Some sessions were made with the Columbia Symphony Orchestra, an ensemble drawn from leading New York musicians, which had first made recordings with Sir Thomas Beecham in 1949 in Columbia's famous New York City studios. George Szell and the Cleveland Orchestra recorded mostly for Epic. When Epic dropped classical music, the roster and catalogue was moved to Columbia Masterworks Records.

The 1960s[link]

In 1961, CBS ended its arrangement with Philips Records and formed its own international organization, CBS Records, in 1962, which released Columbia recordings outside the USA and Canada on the CBS label (until 1964 marketed by Philips in Britain).^[18] The recordings could not be released under the "Columbia Records" name because EMI operated a separate record label by that name outside North America. (This was the result of the legal maneuvers which had led to the creation of EMI in the early 1930s.)

Columbia's Mexican unit, Discos Columbia, was renamed Discos CBS.^[19]

With the formation of CBS Records' international arm, it started establishing its own distribution in the early 1960s beginning in Australia. In 1960 CBS took over its distributor in Australia and New Zealand, the Australian Record Company (founded in 1936) including Coronet Records, one of the leading Australian independent recording and distribution companies of the day. The CBS Coronet label was replaced by the CBS label with the 'walking eye' logo in 1963.^[20] ARC continued trading under that name until the late 1970s when it formally changed its business name to CBS Australia.

In 1962, Columbia joined in the then red-hot folk music genre when they released the debut album of The New Christy Minstrels, and CBS producer John Hammond signed Bob Dylan and released his eponymous debut album, Bob Dylan.

In September 1964, CBS established its own British distribution by purchasing the independent Oriole Records (UK) label, pressing plant and recording studio (as well as its sold-only-in-Woolworth's Embassy cover version label).^[21] The acquisition gave Columbia and its sister labels a British manufacturing arm, recording studio, and over time its own roster of British recording artists during the British Invasion such as Chad & Jeremy and The Tremeloes.

Mitch Miller left Columbia in 1965,^[22] and the company dipped a tentative toe into the emerging rock culture field by signing Paul Revere and the Raiders and The Byrds.

Following the appointment of Clive Davis as president in 1967 the Columbia label became more of a rock music label, thanks mainly to Davis's fortuitous decision to attend the Monterey International Pop Festival, where he spotted and signed several leading acts including Janis Joplin. Joplin led the way for several generations of female rock and rollers. However, Columbia/CBS still had a hand in traditional pop and jazz and one of its key acquisitions during this period was Barbra Streisand. She released her first solo album on Columbia in 1963 and remains with the label to this day.

Perhaps the most commercially successful Columbia pop act of this period was Simon & Garfunkel. The group broke through in 1965 when CBS producer Tom Wilson added drums and bass to the duo's recording of "The Sound of Silence" without their knowledge or approval. The dramatic success of the song ushered in the folk-rock boom of the mid-Sixties. Simon and Garfunkel's final studio album, Bridge Over Troubled Water reached number one in the US album charts in January 1970 and became one of the most successful albums of all time.^[23]

Over the course of the 1960s, Bob Dylan achieved a prominent position in Columbia. His early folk songs were recorded by many acts and became hits for Peter, Paul & Mary and The Turtles. Some of these cover versions became the foundation of the so-called folk rock genre. The Byrds achieved their pop breakthrough with a version of Dylan's "Mr. Tambourine Man".

In 1965, Dylan's controversial decision to 'go electric' and work with rock musicians divided his audience but catapulted him to greater commercial success with his 1965 hit single "Like a Rolling Stone". Following his withdrawal from touring in 1966, Dylan recorded a large group of songs with his backing group The Band which reached other artists as 'demo recordings'. These resulted in hits by Manfred Mann ("The Mighty Quinn") and Brian Auger, Julie Driscoll & Trinity ("This Wheel's On Fire"). Dylan's late sixties albums John Wesley Harding and Nashville Skyline became cornerstone recordings of the emergent country rock genre and influenced The Byrds and The Flying Burrito Brothers.

Miles Davis's late 1960s recordings, In A Silent Way and Bitches Brew, pioneered a new fusion of jazz and rock music.^[24]

The 1970s[link]

In September 1970, under the guidance of Clive Davis, Columbia Records entered the West Coast rock market with a vengeance, both opening a state-of-the art recording studio (CBS recording studio, 827 Folsom St, San Francisco, later the Automatt) and establishing an A&R head and office in San Francisco at Fisherman's Wharf, headed by ex Nils Lofgren and Roy Buchanan band mate, Monument records artist and producer George Daly. The recording studio operated under CBS until 1978.^[25]

During the early 1970s, Columbia began recording in a four-channel process called quadraphonic, using the "SQ" standard which used an electronic encoding process that could be decoded by special amplifiers and then played through four speakers, with each speaker placed in the corner of a room. Remarkably, RCA Victor countered with another quadraphonic process which required a special cartridge to play the "discrete" recordings for four-channel playback. Both Columbia and RCA's quadraphonic records could be played on conventional stereo equipment. Although the Columbia process required less equipment and was quite effective, many were confused by the competing systems and sales of both Columbia's matrix recordings and RCA's discrete recordings were disappointing. A few other companies also issued some matrix recordings for a few years. Quadraphonic recording was used by both classical artists, including Leonard Bernstein and Pierre Boulez, and popular artists such as Electric Light Orchestra, Billy Joel, Pink Floyd, Barbra Streisand, Carlos Santana, and Blue Öyster Cult. Columbia even released a soundtrack album of the movie version of Funny Girl in quadraphonic. Many of these recordings were later remastered and released in Dolby surround sound on CD.

In 1976, Columbia Records of Canada was renamed CBS Records Canada Ltd.^[26] The Columbia label continued to be used by CBS Canada, but the CBS label was introduced for Francophone recordings. On May 5, 1979, Columbia Masterworks began digital recording in a recording session of Stravinsky's Petrouchka by the New York Philharmonic Orchestra, conducted by Zubin Mehta, in New York (using 3M's 32-channel multitrack digital recorder).

The 1980s and sale to Sony[link]

The structure of US Columbia remained the same until 1980, when it spun off the classical/Broadway unit, Columbia Masterworks Records, into a separate imprint, CBS Masterworks Records (now Sony Classical).

In 1988, the CBS Records Group, including the Columbia Records unit, was acquired by Sony, which re-christened the parent division Sony Music Entertainment in 1991. As Sony only had a temporary license on the CBS Records name, it then acquired the rights to the Columbia trademarks (Columbia Graphophone) outside the U.S., Canada, Spain (trademark owned by BMG) and Japan (Nippon Columbia) from EMI, which generally had not been used by them since the early 1970s. The CBS Records label was officially renamed Columbia Records on January 1, 1991 worldwide except Spain (where Sony acquired the rights by 2004^[27]) and Japan.^[28] CBS Masterworks Records was renamed Sony Classical Records. In December 2006, CBS Corporation revived the CBS Records name for a new minor label closely linked with its television properties (coincidentally, the new CBS Records is currently distributed by another Sony Music division, RED Distribution).

Today[link]

Columbia Records remains a premier subsidiary label of Sony Music Entertainment. The label is headed by chairman Rob Stringer, along with co-presidents Rick Rubin and Steve Barnett. In 2009, during the reconsolidation of Sony Music, Columbia was partnered with its Epic Records sister to form the Columbia/Epic Label Group.^[29][30] under which it operated as an imprint. In July 2011, as part of further corporate restructuring, Epic was split from the Columbia/Epic Group as Epic took in multiple artists from Jive Records.^[31]

Logos and branding[link]

The acquisition of rights to the Columbia trademarks from EMI (including the "Magic Notes" logo) presented Sony Music with a dilemma of which logo to use. For much of the 1990s, Columbia released their albums without a logo, just the "COLUMBIA" word mark in the Bodoni Classic Bold typeface.^[32] Columbia experimented with bringing back the "notes and mike" logo but without the CBS mark on the microphone. That logo is currently used in the "Columbia Jazz" series of jazz releases and reissues.^[33] A modified "Magic Notes" is found on the logo for Sony Classical. In mid to late of 1999, it was eventually decided that the "Walking Eye" (previously the CBS Records logo outside North America) would be Columbia's logo, with the retained Columbia word mark design, world wide except in Japan where Columbia Music Entertainment has the rights to the Columbia trademark to this day and continues to use the "Magic Notes" logo. In Japan, CBS/Sony Records was renamed Sony Records and continues to use the "Walking Eye" logo.

List of Columbia Records artists[link]

Affiliated labels[link]

American Recording Company (ARC)[link]

In February 1979 Maurice White, founding member of the R&B group Earth, Wind and Fire, re-launched the American Recording Company (ARC). In addition to White's Earth, Wind and Fire, the Columbia Records-distributed label artist roster included successful R&B and pop singer Deniece Williams, jazz-fusion group Weather Report, and R&B trio the Emotions. The label's final release was in 1982.

Columbia Label Group (UK)[link]

In January 2006, Sony BMG UK split its frontline operations into 2 separate labels. RCA Label Group, mainly dealing with Pop and RnB and Columbia Label Group, mainly dealing with Rock, Dance and Alternative music. Mike Smith is the Managing Director of Columbia Label Group, Ian Dutt is Marketing Director and Alison Donald is Director of A&R.

Aware Records[link]

In 1997, Columbia made an affiliation with unsigned artist promotion label Aware Records to distribute Aware's artists music. Through this venture, Columbia has had success finding highly successful artists. In 2002, Columbia and Aware accepted the option to continue this relationship.

Columbia Nashville[link]

In 2007, Columbia formed Columbia Nashville and is part of Sony Music Nashville. This gave Columbia Nashville complete autonomy and managerial separation from Columbia in New York City. Columbia had given its country music department semi-autonomy for many years and through the 1950s, had a 20000 series catalog for country music singles while the rest of Columbia's output of singles had a 30000 then 40000 series catalog number.

Recording studios[link]

In 1913, Columbia moved into the Woolworth Building in New York City^[34] and housed its first recording studio there. In 1917, Columbia used this studio to make a recording of a dixieland band, the Original Dixieland Jass Band.^[35][36]

In New York City, Columbia Records had some of the most highly respected sound recording studios, including the Columbia 30th Street Studio at 207 East 30th Street ("Studio C" and "Studio D"), the CBS Studio Building at 49 East 52nd Street ("Studio B" on the second floor and "Studio E" on the sixth floor), and one of their earliest recording studios, "Studio A" at 799 Seventh Avenue near 52nd Street.^[37]

The Columbia 30th Street Studio was considered by some in the music industry to be the best sounding room in its time and others consider it to have been the greatest recording studio in history.^[37]

Columbia also had the highly respected Liederkranz Hall, at 111 East 58th Street between Park and Lexington Avenues, in New York City, a building built by and formerly belonging to a German cultural and musical society, The Liederkranz Society, and used as a recording studio.^{[37][38][39][40]} The producer Morty Palitz had been instrumental in convincing Columbia Records to begin to use the Liederkranz Hall studio for recording music, additionally convincing the conductor Andre Kostelanetz to make some of the first recordings in Liederkranz Hall which until then had only been used for CBS Symphony radio shows.^[41] In the late 1940s, the large Liederkranz Hall space was physically rearranged to make room for television studios.^[37][42]

See also[link]

• RCA Records
• Epic Records
• Sony Music Entertainment
• Sony BMG Music Entertainment
• Alex Steinweiss, the label's Art Director from 1938 to 1943, inventor of the illustrated album cover and the LP sleeve
• Jim Flora, successor to Alex Steinweiss and legendary illustrator for the label during the 1940s
• List of record labels

Executives[link]

• Rob Stringer—Chairman
• Rick Rubin, Steve Barnett—Co-Chairmen
• Mike Smith—Columbia UK Head of A&R

References[link]

Further reading[link]

• Cogan, Jim; Clark, William, Temples of sound : inside the great recording studios, San Francisco : Chronicle Books, 2003. ISBN 0-8118-3394-1. Cf. chapter on Columbia Studios, pp. 181–192.
• Hoffmann, Frank, Encyclopedia of Recorded Sound, New York & London : Routledge, 1993 & 2005, Volume 1. Cf. pp. 209–213, article on "Columbia (Label)"
• Koenigsberg, Allen, The Patent History of the Phonograph, 1877–1912, APM Press, 1990/1991, ISBN 0-937612-10-3.
• Revolution in Sound: A Biography of the Recording Industry. Little, Brown and Company, 1974. ISBN 0-316-77333-6.
• High Fidelity Magazine, ABC, Inc. April, 1976, "Creating the LP Record."
• Rust, Brian, (compiler), The Columbia Master Book Discography, Greenwood Press, 1999.
• Marmorstein, Gary. The Label: The Story of Columbia Records. New York: Thunder's Mouth Press; 2007. ISBN 1-56025-707-5
• Ramone, Phil; Granata, Charles L., Making records: the scenes behind the music, New York: Hyperion, 2007. ISBN 978-0-7868-6859-9. Many references to the Columbia Studios, especially when Ramone bought Studio A, 799 Seventh Avenue from Columbia. Cf. especially pp. 136–137.

External links[link]

Wikimedia Commons has media related to: Columbia Records

• Official site
• Columbia Records (UK)
• Columbia A&R team contact list
• Columbia Nashville Official Website
• See the Profile of Designer Alex Steinweiss

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John Mayer
Mayer at the Mile High Music Festival on July 20, 2008
Background information
Birth name	John Clayton Mayer
Born	(1977-10-16) October 16, 1977 (age 34) Bridgeport, Connecticut United States
Genres	Pop rock, blues rock, acoustic rock, blue-eyed soul
Occupations	Musician, songwriter, record producer, columnist, graphic designer, photographer, comedian, television host
Instruments	Guitar, vocals, omnichord, piano, vibraphone, harmonica, percussion, clarinet, violin
Years active	1998 (1998)–present
Labels	Arista, Aware, Columbia
Associated acts	John Mayer Trio, Fall Out Boy
Website	johnmayer.com
Notable instruments
Fender Stratocaster Martin Guitars Gibson Guitars

John Clayton Mayer ( /Ë?meɪ.É™r/ MAY-É™r;^[1] (born October 16, 1977) is an American pop and blues rock musician, singer-songwriter, recording artist, and music producer.^[2] Born in Bridgeport, Connecticut and raised in Fairfield, Connecticut, he attended Berklee College of Music in Boston. He moved to Atlanta in 1997, where he refined his skills and gained a following, and he now lives in New York City.^[3][4] His first two studio albums, Room for Squares and Heavier Things, did well commercially, achieving multi-platinum status. In 2003, he won a Grammy Award for Best Male Pop Vocal Performance for "Your Body Is a Wonderland."^[5]

Mayer began his career performing mainly acoustic rock, but gradually began a transition towards the blues genre in 2005 by collaborating with renowned blues artists such as B. B. King, Buddy Guy, and Eric Clapton, and by forming the John Mayer Trio. The blues influence can be heard throughout his 2005 live album Try! with the John Mayer Trio and his third studio album Continuum, released in September 2006. At the 49th Annual Grammy Awards in 2007 Mayer won Best Pop Vocal Album for Continuum and Best Male Pop Vocal Performance for "Waiting on the World to Change". He released his fourth studio album, Battle Studies, in November 2009. His fifth album, Born and Raised, was released on May 22, 2012. He has sold over 10 million albums in the U.S. and 20 million albums worldwide.

Early life[link]

John Clayton Mayer was born on October 16, 1977 in Bridgeport, Connecticut to Margaret, an English teacher, and Richard, a high school principal.^[6] He grew up in Fairfield, Connecticut, the second of three children.^[7] His father is Jewish, and Mayer has said that he "relat[es] to Judaism".^[8] He attended Fairfield High School in Fairfield^[9] although he was enrolled in the Center for Global Studies at Brien McMahon High School in Norwalk for his junior year (then known as the Center for Japanese Studies Abroad, it is a magnet program for students wanting to learn Japanese).^[10]

After watching Michael J. Fox's guitar performance as Marty McFly in Back to the Future, Mayer became fascinated with the instrument, and when he turned 13, his father rented one for him.^[11][12] A neighbor gave Mayer a Stevie Ray Vaughan cassette, which cultivated Mayer's love of blues music.^{[13]a[›]} Mayer started taking lessons from a local guitar-shop owner, Al Ferrante, and soon became consumed with playing the instrument.^[3][14] His singular focus concerned his parents, and they took him twice to see a psychiatrist—but Mayer was determined to be fine.^[3][14] Mayer says that the contentious nature of his parents' marriage led him to "disappear and create my own world I could believe in".^[3] After two years of practice, he started playing at blues bars and other venues in the area, while he was still in high school.^[10][12] In addition to performing solo, he was a member of a band called Villanova Junction (named for a Jimi Hendrix song) with Tim Procaccini, Joe Beleznay, and Rich Wolf.^[3][15] Mayer considered skipping college to pursue his music, but the disapproval of his parents dissuaded him from doing so.^[3]

When Mayer was seventeen, he was stricken with cardiac dysrhythmia and was hospitalized for a weekend. Reflecting on the incident, Mayer said, "That was the moment the songwriter in me was born," and he penned his first lyrics the night he got home from the hospital.^[4] Shortly thereafter, he began suffering from panic attacks, and lived with the fear of having to enter a mental institution.^[3] He continues to manage such episodes with Xanax, an anti-anxiety drug.^[4][16] After graduation, he worked for fifteen months at a gas station until he saved enough money to buy a 1996 Stevie Ray Vaughan signature Stratocaster.^[17]

Career[link]

Early career[link]

Mayer enrolled in the Berklee College of Music in Boston, Massachusetts, aged 19.^[7] However, at the urging of his college friend an Atlanta, Georgia native, Clay Cook, he left school after two semesters and moved with Cook to Atlanta.^[18] In Atlanta they formed a two-man band called LoFi Masters and began performing in local coffee houses and club venues such as Eddie's Attic.^[12] According to Cook, they began to experience musical differences due to Mayer’s desire to move more towards pop music.^[19] As a result, the two parted ways, and Mayer embarked on a solo career.^[18]

With the help of local producer and engineer Glenn Matullo, Mayer recorded the independent EP Inside Wants Out. Cook co-wrote many of the songs from the EP including Mayer's first commercial single release, "No Such Thing".^[19] The EP includes eight songs with Mayer on lead vocals and guitars. However, Cook's only contribution was backing vocals on the song "Comfortable". For the opening track, "Back To You", a full band was enlisted, including the EP’s co-producer David "DeLa" LaBruyere on bass guitars.^[20] Mayer and LaBruyere then began to perform throughout Georgia and nearby states.

Major label success[link]

	"City Love" excerpt noicon From the album Room for Squares.
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Mayer’s reputation began to build, and a March 2000 appearance at South by Southwest brought him to the attention of "launch" label, Aware Records.^[14][21][22] After including him in the Aware Festival concerts and having his songs included on Aware compilations, in early 2001, Aware released Mayer's internet-only album titled, Room for Squares. During this time, Aware inked a deal with Columbia Records that gave Columbia first pick in signing Aware artists, and so in September of the same year, Columbia remixed and re-released Room for Squares.^[23] As part of the major label "debut", the album's artwork was updated, and the track "3x5" was added. The re-release also included reworked studio versions of the first four songs from his indie album, Inside Wants Out.^[24]

By the end of 2002, Room for Squares had spawned several radio hits, including "No Such Thing," "Your Body Is a Wonderland", and ultimately, "Why Georgia". In 2003, Mayer won a Grammy for Best Male Pop Vocal Performance for "Your Body Is a Wonderland." In his acceptance speech he remarked, "This is very, very fast, and I promise to catch up."^[25] He also figuratively referred to himself as being sixteen, a remark that many mistook to mean that he was only sixteen years old at the time.^[26]

In 2003, Mayer released a live CD and DVD of a concert in Birmingham, Alabama titled Any Given Thursday. The concert featured songs previously not recorded, such as "Man on the Side" (co-written with Cook) and "Something's Missing", which later appeared on Heavier Things. The concert also included "Covered In Rain". According to the accompanying DVD documentary, this song is "part two" of the song "City Love", which features the line "covered in rain". Commercially, the album quickly peaked at number seventeen on the Billboard 200 chart. The CD/DVD received conservative, although consistent, praise, with critics torn between his pop-idol image, and (at the time) emerging guitar prowess. Erik Crawford (of Allmusic) asked "Is he the consummate guitar hero exemplified when he plays a cover of Stevie Ray Vaughan's 'Lenny', or is he the teen idol that the pubescent girls shriek for after he plays 'Your Body Is a Wonderland?'"^[27][28]

Heavier Things, Mayer's second album, was released in 2003 to generally favorable reviews. Rolling Stone, Allmusic and Blender all gave positive, although reserved, feedback. PopMatters said that it "doesn't have as many drawbacks as one might assume".^[29] The album was commercially successful, and while it did not sell as well as Room for Squares, it peaked at number one on the US Billboard 200 chart. Mayer earned his first number one single with the song "Daughters" as well as a 2005 Grammy for Song of the Year, beating out fellow contenders Alicia Keys and Kanye West. He dedicated the award to his grandmother, Annie Hoffman, who died in May 2004. He also won Best Male Pop Vocal Performance, beating Elvis Costello, Prince, and Seal for the award. In a February 9, 2009 interview on The Ellen DeGeneres Show, Mayer said that he thought he should not have won the Grammy for Song of the year because he thought that Alicia Keys' If I Ain't Got You was the better song. Because of this, he removed the top half of the Grammy and gave it to Keys, and kept the bottom part for himself. At the 37th Annual Songwriters Hall of Fame Induction Ceremony in 2006, Mayer was honored with the Hal David Starlight Award.^[30]

Mayer again recorded live concerts across seven nights of his U.S. tour in 2004. These recordings were released to the iTunes Store under the title As/Is, indicating that the errors were included along with the good moments. A few months later, a "best of" CD was compiled from the As/Is nights. The album included a previously unreleased cover of Marvin Gaye's song "Inner City Blues (Make Me Wanna Holler)", featuring a solo from Mayer's support act, jazz and blues turntablist DJ Logic. All the album covers of the As/Is releases feature drawings of anthropomorphic bunnies.^[31]

January 2005, left to right: David Ryan Harris, John Mayer and Steve Jobs at Macworld 11, SF Moscone Center.

With increased exposure, Mayer's talent came into demand in other areas. Steve Jobs invited Mayer to perform during the keynote address of Apple's annual Macworld Conference & Expo, in January 2004, as Jobs introduced the software application GarageBand.^[32] The gig led to Mayer becoming a fixture of the event. He rejoined Jobs on stage for a solo performance at Macworld 2007, following the announcement of the iPhone.^[33] Mayer has also done endorsements, such as a Volkswagen commercial for the Beetle's guitar outlet and for the BlackBerry Curve.^[34]

Change in musical direction[link]

Mayer began to collaborate extensively, often working with artists outside of his own genre. He appeared on Common's song "Go!" and on Kanye West's "Bittersweet Poetry".^b[›] Following these collaborations, Mayer received praise from rap heavyweights Jay-Z and Nelly.^[35] When asked about his presence in the hip hop community, Mayer said, "It's not music out there right now. That's why, to me, hip-hop is where rock used to be."^[36]

	"Go!" excerpt noicon From the album Be. In 2004, after the three saw the movie Ray together, Kanye West and Mayer joined Common back in the studio. Mayer came up with the song's concept—fantasies—and his vocals were sampled for the track.[37]
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It was around this time that Mayer began hinting a change in his musical interests, announcing that he was "closing up shop on acoustic sensitivity."^[36] In 2005, he began a string of collaborations with various blues artists, including Buddy Guy, B.B. King, Eric Clapton, as well as jazz artist John Scofield. He also went on tour with legendary jazz pianist Herbie Hancock, which included a show at the Bonnaroo Music Festival in Manchester, Tennessee. These collaborations led to recordings with several of these artists, namely, Clapton (Back Home, Crossroads Guitar Festival), Guy (Bring 'Em In), Scofield (That's What I Say), and King (80). Although Mayer has maintained a reputation for being a sensitive singer-songwriter, he has also gained distinction as an accomplished guitarist, influenced by the likes of the above artists, as well as Eric Johnson, Jimi Hendrix, Stevie Ray Vaughan, Eric Clapton, Robert Cray, and Freddie King.^[38]

John Mayer Trio[link]

	"Who Did You Think I Was?" noicon From the album Try! The first single, "Who Did You Think I Was?," lyrically underscores Mayer's decision to move away from acoustic pop music and towards blues, with lines such as, "Got a brand new blues that I can't explain."[39] This sample features an extended electric guitar solo.
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In the spring of 2005, Mayer formed the John Mayer Trio with bassist Pino Palladino and drummer Steve Jordan, both of whom he had met through previous studio sessions. The trio played a combination of blues and rock music. In October 2005, the Trio opened for The Rolling Stones during a sold-out club tour of their own,^[40] and that November, released a live album called Try! The band took a break in mid-2006. In September 2006, Mayer announced plans for the Trio to begin work on a future studio album.^[41]

[edit] Continuum

Mayer's third studio album, titled Continuum, was released on September 12, 2006, and was produced by Mayer and Steve Jordan. Mayer suggested the album was intended to combine his signature pop music with the feel, sound, groove, and sensibilities of the blues. In that vein, two of the tracks from his Trio release Try!—"Vultures" and "Gravity"—also were included on Continuum.^[7]

The first single from Continuum was "Waiting on the World to Change", which debuted on The Ron and Fez Show. The song was the third most downloaded song of the week on the iTunes Store following its release on July 11, 2006, and debuted at #25 on the Billboard Hot 100 Chart.

On August 23, 2006, Mayer debuted the entire album on the Los Angeles radio station Star 98.7, giving commentary on each track.^[42] A subsequent version was released the next day on the Clear Channel Music website as a streaming sneak preview. On September 21, 2006, Mayer appeared on CSI: Crime Scene Investigation, playing "Waiting on the World to Change" and "Slow Dancing in a Burning Room." The song "Gravity" was featured on the television series House, in the episode "Cane & Able", and Numb3rs. He recorded a session for the British program Live from Abbey Road at Abbey Road Studios on October 22, 2006.

On December 7, 2006, Mayer was nominated for five 2007 Grammy Awards, including Album of the Year. The John Mayer Trio also received a nomination for their album, Try!. He won two: Best Pop Song with Vocal for "Waiting on the World to Change" and Best Pop Album for Continuum. Mayer remixed an acoustic version of his single "Waiting on the World to Change" with vocal additions from fellow musician Ben Harper. In preparation for recording Continuum, Mayer had booked the Village Recorder in Los Angeles to record five demo acoustic versions of his songs with veteran musician Robbie McIntosh. These recordings became The Village Sessions, an EP released on December 12, 2006. As usual, Mayer oversaw the artwork of the release.^[43]

Mayer was featured on the cover of Rolling Stone (#1020) in February 2007, along with John Frusciante and Derek Trucks. He was named as one of the "New Guitar Gods," and the cover nicknamed him "Slowhand, Jr.," a reference to Eric Clapton.^[38] Additionally, he was selected by the editors of Time magazine as one of the 100 Most Influential People of 2007 and was listed among artists and entertainers.^[44]

On November 20, 2007, the re-issue of Continuum became available online and in stores. The release contains a bonus disc of six live songs from his 2007 tour: five from Continuum and a cover of the Ray Charles song "I Don't Need No Doctor".^[45] His new single, "Say", also became available through iTunes. On December 6, 2007, "Belief" was nominated for Best Male Pop Vocal for the 50th Annual Grammy Awards. He accompanied Alicia Keys on guitar on her song "No One" at the ceremony.

In February 2008, Mayer hosted a three-day Caribbean cruise event that included performances with various musicians including David Ryan Harris, Brett Dennen, Colbie Caillat and Dave Barnes, among others. The event was called "The Mayercraft Carrier" and was held aboard the cruise ship known as the Carnival Victory.^[46] A follow up cruise titled "Mayercraft Carrier 2" set sail from Long Beach, California from March 27–31, 2009 on the Carnival Splendor.

On July 1, 2008, Mayer released Where the Light Is, a live concert film of Mayer's performance at the Nokia Theatre L.A. Live on December 8, 2007. The film was directed by Danny Clinch. It features an acoustic set and a set with the John Mayer Trio, followed by a set with John's band from the Continuum album. The DVD and Blu-ray bonus material includes footage of Mayer backstage and playing outside on Mulholland Drive.^[47]

Australian artist Guy Sebastian invited Mayer to collaborate on three songs from his 2009 album Like It Like That.^[48] Mayer also played guitar on the title track of Crosby Loggins' debut LP, Time to Move, released on July 10, 2009.^[49]

On July 7, 2009, Mayer performed an instrumental guitar version of Michael Jackson's "Human Nature" at Jackson's televised memorial service.^[50]

[edit] Battle Studies

On November 17, 2009, Mayer's fourth studio album, Battle Studies, was released and debuted at number one on the U.S. Billboard 200 album chart.^[51] The album consists of 11 tracks with a total time of 45 minutes. The first single from the album, "Who Says", was released on September 24, 2009 in advance of album, and was followed on October 19 by the single "Heartbreak Warfare" and the single "Half of My Heart" released on June 21, 2010. Despite the album's commercial success, critics were mixed with their praise; while some reviews were glowing, calling it his "most adventurous",^[52][53] others called the album "safe" and noted that "Mayer the singer-songwriter and Mayer the man about town sometimes seem disconnected, like they don’t even belong in the same body."^{[3][54][55][56]}

Mayer admitted to Rolling Stone that he thought Battle Studies was not his best album.^[57][58]

[edit] Born and Raised

Early reports indicated that the follow-up to Battle Studies would be called Born and Raised, and would be released in October 2011.^[59]

On September 16, 2011 Mayer posted on his blog that his new record, Born and Raised, was being delayed due to granulomas discovered in his throat. The granulomas were found next to the vocal cords and are treatable. Mayer described this as a "temporary setback" and that recording and mixing of "Born and Raised" was entirely finished except for a few remaining vocal tracks. He expects the album to be out in early 2012.^[60]

On October 20, 2011 Mayer updated his fans about the treatment of his throat granuloma, announcing that he "had surgery this afternoon to remove it and am now on complete vocal rest for a month or more", during which he plans to "travel the country, look, and listen."^[60]

The first single from Born and Raised, called "Shadow Days" was released on February 27, 2012

On February 28, 2012 John Mayer released the track listing for the album and announced that Born and Raised would be released on May 22, 2012.^[61]

On March 9, 2012 Mayer announced on his blog that due to the return of a serious throat condition, he has been forced to cancel his tour and refrain from all singing indefinitely.^[62]

Other projects[link]

Philanthropy and activism[link]

In 2002, Mayer began the "Back to You" Fund, a nonprofit organization that focuses on fundraising in the areas of health care, education, the arts, and talent development. The foundation raises funds through the auction of exclusive John Mayer items, such as guitar picks, T-shirts, and signed CDs, made available on Mayer's auction site. The auctions have been successful, with some tickets selling for more than seventeen times their face value.^[63][64]

Mayer participated at the East Rutherford, New Jersey location of the Live Earth project, a musical rally to support awareness for global warming held July 7, 2007.^[65] He converted his tour bus to bio-diesel fuel.^[66]

Mayer has performed at a number of benefits and telethons for charity throughout his career. In response to the Virginia Tech massacre, Mayer (along with Dave Matthews Band, Phil Vassar, and Nas) performed a free concert at Virginia Tech's Lane Stadium on September 6, 2007.^[67] On December 8, 2007, Mayer hosted the first annual Charity Revue, a tradition he has continued each year. Charities who have benefited from the concerts include Toys for Tots, Inner City Arts, and the Los Angeles Mission.^[68] Both CDs and DVDs of the first concert were released under the title Where the Light Is in July 2008. It has not been announced whether the DVD proceeds will go to charity or not.^[69] Mayer appeared on Songs for Tibet: The Art of Peace, a celebrity initiative to support Tibet and the 14th Dalai Lama, Tenzin Gyatso.^[70]

Design[link]

In a Rolling Stone interview, Mayer recalled that after former Columbia Records head, Don Ienner, panned Continuum, he briefly considered quitting music and studying design full time.^[4] In 2003, Martin Guitars gave Mayer his own signature model acoustic guitar called the OM-28 John Mayer.^[72] The guitar was limited to a run of only 404, an Atlanta area code.^[73] This model was followed by the release of two Fender signature Stratocaster electric guitars, beginning in 2005. A third Stratocaster, finished in charcoal frost metallic paint with a racing stripe, was also a limited-release, with only 100 guitars made. In January 2006, Martin Guitars released the Martin OMJM John Mayer acoustic guitar. The guitar was intended to have many of the attributes of the Martin OM-28 John Mayer but with a more affordable price tag.^[74] In August 2006, Fender started manufacturing SERIES II John Mayer Stratocasters. The new Olympic white with mint green pickguard and cream plastics replaced the shoreline gold model.^[75]

In January 2007, Two Rock collaborated with Mayer on custom-designed amps. Only 25 (all signed by Mayer himself) were made available to the public.^[76][77] June 2007 saw the release of the "album art" guitar, with the Continuum motif repeated on the face of the instrument,^[78] as well as a 500-run John Mayer signature Fender Stratocaster in Cypress-Mica, including the limited Cypress-Mica model was the INCSvsJM gig bag on which Mayer collaborated with Incase designs. In 2006, Mayer was estimated to have more than 200 guitars in his personal collection.^[4] In 2010, Fender announced a production model of Mayer's "The Black One" guitar.^[79]

Writing[link]

With the June 1, 2004, issue of Esquire, Mayer began a column called "Music Lessons with John Mayer". Each article featured a lesson and his (often humorous) take on various topics, both of personal and popular interest. In the August 2005 issue, he invited readers to create music for orphaned lyrics he had written.^[80] The winner was Tim Fagan of L.A., as announced in the following January's issue.^[81]

Mayer has been active online, and has maintained four blogs: a Myspace page, a blog at his official site, another at Honeyee.com, one at tumblr.com, and a photoblog at StunningNikon.com. He also is one of the most-followed persons on the micro-blogging site Twitter,^[82] reaching 3 million followers in January 2010. Although his posts often deal with career-related matters, they also contain jokes, videos, photos, his convictions, and his personal activities; they sometimes overlap in content. He is noted for writing the blogs himself, and not through a publicist.^[16][44] On January 23, 2008, he posted a graphic that read, "Done & Dusted & Self Conscious & Back to Work." on his official blog, followed by the quote "There is danger in theoretical speculation of battle, in prejudice, in false reasoning, in pride, in braggadocio. There is one safe resource, the return to nature..";^c[›] all the previous blog entries were deleted.^[83]

In the mid-2000s he did stand-up comedy sporadically^[82] making random appearances at the famed Comedy Cellar in New York and at other venues. He stated that it helped him write better but that increased media attention made him too careful in his technique.^[4]

He co-wrote "Worlds of Chance" with Demi Lovato for her second album Here We Go Again.

Television[link]

In 2004, Mayer hosted a one-shot, half-hour comedy special on VH1 titled John Mayer Has a TV Show, with antics including wearing a bear suit while anonymously teasing concertgoers in the parking lot outside one of his concerts. The American network CBS announced on January 14, 2009 that they were in negotiations with Mayer for a variety show; it may air as a special or as a regular series.^[84][85] In an interview with Rolling Stone, posted online on January 22, 2010, Mayer confirmed that the program, also called John Mayer Has a TV Show, was still in development, and that personnel were being hired. He described the concept as "a high quality music performance show, where I could also steer it a little bit. It's about there being a bastion of artists being made to look good and sound good.".^[86]

Mayer has made many appearances on talk shows and other television programs, most notably, on a Chappelle's Show comedy skit, Late Night with David Letterman and on the final episode of Late Night with Conan O'Brien. Mayer made an appearance with Rob Dyrdek in the MTV show Rob Dyrdek's Fantasy Factory.

Mayer has written the theme song to the upcoming show Rollin' with Zach on the OWN network.

Touring[link]

Mayer has toured with many musical groups, including Maroon 5,^[87] Guster, Howie Day, Mat Kearney, Counting Crows,^[88] Ben Folds, The Wallflowers, Teitur,^[89] Brett Dennen, Sheryl Crow, Colbie Caillat, Train, Ellie Goulding, OneRepublic and Paramore. Crow and Mayer, who had just previously appeared on the Cars Soundtrack together, co-headlined a tour that ran from August to October 2006.^[90] In 2007, Mayer toured Europe, hoping to reach the popularity abroad that he enjoys in North America.^[91] The initial North American Continuum tour ended on February 28, 2007, with a show at Madison Square Garden, a performance which the New York Post described as "career-defining."^[92] In 2010, Mayer and Keith Urban performed at a CMT Crossroads concert which saw Mayer and Urban performing a medley of their own songs together and a rendition of George Michael's single, "Faith". This performance was led to Urban and Mayer teaming up again for future performances, including at the 2010 CMT Music Awards.

Mayer allows audio taping at most of his live performances, and he also allows for the non-commercial trading of those recordings. He does this to give fans the opportunity to recreate the live experience, and to encourage fan interaction.^[93]

Mayer often shows up at small venues unannounced (or with little advance notice) for surprise concerts—occasionally for free or without accepting the performance fee.^{[94][95][96][97]} He has made appearances throughout the Los Angeles, Atlanta and New York areas, including shows at The Laugh Factory,^[98] Eddie's Attic,^[99] and the Village Underground.^[97] His latest surprise appearance was on January 8, 2011 at Hotel Cafe where he played seven new unreleased songs. In 2004, after being asked for numerous past years, he performed for over 1000 students at the Pennsbury High School Senior Prom. Wonderland, a book written by Micheal Bamberger, describes the world- famous prom and John Mayer's performance.

Touring band members[link]

Current members

• David Ryan Harris – guitar, backing vocals (2003–present)
• Sean Hurley – bass, backing vocals (2008–present)
• Chuck Leavell - keyboards (2011–present)
• Aaron Sterling - drums (2011–present)

Former members

• Bob Reynolds – saxophones, flute (2006–2008, 2010)
• Robbie McIntosh – guitar, slide guitar, backing vocals (2006–2010)
• Pino Palladino - Bass (2010)
• Keith Carlock - drums, percussion (2010)
• David LaBruyere – bass (1999–2008)
• Nir Z - drums (2001)
• Matt Mangano - guitar (2001)
• Matt Johnson - drums (2002)
• Stephen Chopek – drums, percussion (2001–2002)
• Michael Chaves – guitar, keyboards, backing vocals (2001–2005)
• Kevin Lovejoy – keyboards (2003–2004)
• Erik Jekabsen – trumpet, flugelhorn (2003–2004)
• Chris Karlic – saxophone, flute (2003–2005)
• J.J. Johnson – drums (2003–2005, 2006–2008)
• Onree Gill – keyboards (2004–2005)
• Chuck McKinnon – trumpet, flugelhorn (2004–2005)
• Keith Carlock - drums, percussion (2010–2011)
• Ricky Peterson – keyboards, organ, backing vocals (2006–2007)
• Charlie Wilson – keyboards (2009–2011)
• Tim Bradshaw – keyboards, organ, lap steel guitar, backing vocals (2007–2008)
• Kenna Ramsey - backing vocals (2009–2010)
• Melanie Taylor - backing vocals (2009–2010)
• Steve Jordan – drums, percussion, backing vocals (2003, 2005–2006, 2009–2010)
• Brad Mason - trumpet, flugelhorn (2006–2008)

Personal life[link]

Mayer has a number of tattoos. These include: "Home" and "Life" (from the song title) on the back of his left and right arms respectively, "77" (his year of birth) on the left side of his chest, and a koi-like fish on his right shoulder. His entire left arm is covered in a sleeve tattoo that he acquired gradually, ending in April 2008; it includes: "SRV" (for his idol, Stevie Ray Vaughan) on his shoulder, a decorated rectangle on his biceps, a dragon-like figure on his inner arm, and various other floral designs. In 2003, he got a tattoo of three squares on his right forearm, which, he has explained, he will fill in gradually.^[100]

Mayer has followed the discipline of Krav Maga.^{[101][102][103]} He is an avid collector of watches and owns timepieces worth tens of thousands of dollars.^[104][105] Mayer also has an extensive collection of sneakers, estimated (in 2006^[update]) at more than 200 pairs.^[4][106]

Mayer's parents concluded an uncontested divorce on May 27, 2009.^[107] After the divorce, Mayer moved his (82-year-old) father to an assisted-living facility in Los Angeles.^[3]

In September 2011, according to a Rolling Stone magazine article, Mayer has granuloma in his throat which must be treated surgically – this has caused him to cancel various planned shows.^[108]

Mayer sold his home in the Los Angeles suburbs in 2011.^[3][4][109] He also recently sold his apartment in New York City's SoHo neighborhood and moved to Montana following his throat surgery where he has purchased a home.^[110]

[edit] Playboy interview controversy

In April 2010 Mayer gave a controversial interview to Playboy magazine, in which he made sexually explicit comments about former girlfriends Jessica Simpson and Jennifer Aniston. It was alleged that one remark he made in the interview was racist.^[111] He later apologized onstage for these statements.^[112]

Despite assertions that he would not be doing any more press,^[86] an interview with Playboy magazine (posted to their website on February 10, 2010) set off accusations in the media and on Twitter of his being a misogynist, kiss-and-tell ex-boyfriend, and racist.^[101][113] He apologized via Twitter for his use of the word "nigger," saying, "It was arrogant of me to think I could intellectualize...a word that is so emotionally charged."^[114] He also tearfully apologized to his band and fans at his concert in Nashville later that night.^[115] Mayer was dubbed an "accidental racist" by comedian, Kumail Nanjiani.^[116]

Solo discography[link]

• Room for Squares (2001)
• Heavier Things (2003)
• Continuum (2006)
• Battle Studies (2009)
• Born and Raised (2012)

Awards[link]

Grammy Awards[link]

Mayer has won seven awards from eighteen nominations.

Others awards and nominations[link]

See also[link]

• Annual John Mayer Holiday Charity Revue
• Battle Studies World Tour

Notes[link]

Footnotes[link]