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Columbia Records: Folk-Rock Fulcrum
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Columbia Records Becoming Dylan: Bob Dylan's Rise to Fame in Pictures.
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Columbia Records
Columbia Records Columbia Records label.

Columbia Records: Folk-Rock Fulcrum

Written by
Charlie Gillett
(d. 2010) Radio presenter and director, Oval Records and Music, London. Author of The Sound of the City: The Rise of Rock and Roll; Making Tracks: Atlantic Records and the Growth of a Multi-billion-Dollar...
Charlie Gillett
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Encyclopaedia Britannica's editors oversee subject areas in which they have extensive knowledge, whether from years of experience gained by working on that content or via study for an advanced degree....
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History

Columbia was the slowest of the major labels to realize that the youth market was not going to disappear, but by the end of the 1960s it had become the most aggressive company in pursuing that audience. Having previously had no substantial rock-and-roll star (apart from belatedly signing Dion at the end of 1962), Columbia—through a mixture of luck and foresight—wound up with three of the main folk-rock acts of the mid-1960s: Bob Dylan, the Byrds, and Simon and Garfunkel.

Veteran artists-and-repertoire man John Hammond had signed Dylan as a folksinger in 1961, but it was in-house producer Tom Wilson who produced the turning-point electric single “Like a Rolling Stone” in 1965 and who overdubbed drums and bass on Simon and Garfunkel’s previously released “The Sound of Silence,” transforming an album track into a hit single. Wilson went on to produce the Mothers of Invention and the Velvet Underground for MGM’s Verve label, while Bob Johnston took over supervision of the rest of Dylan’s groundbreaking albums for Columbia, surprising some by recording at Columbia’s Nashville studios.

 Out in Los Angeles, Terry Melcher produced the Byrds’ chart-topping version of Dylan’s “Mr. Tambourine Man.” The song launched the West Coast’s version of folk rock, which culminated in the Monterey Pop Festival in 1967, where Columbia’s new managing director, Clive Davis, proved willing to pay more than anyone else for new performers. By no means did all his signings recoup their advances, but the success of Albert Grossman’s protĂ©gĂ© Janis Joplin meant that paying large advances became the new way to do business.

Charlie Gillett