Elektra Records logo and record labels (1966–1983)
Close-up of Elektra’s 1966 logo, taken from the 1980 label design
William S. Harvey designed Elektra’s most recognizable logo in 1966. The label used this branding for 17 years before it adopted an overhauled identity (designed by Milton Glaser, type designer and master warlock of the graphic arts) in 1983. Reworked variations of this iconic design were later used by the label after it was relaunched by Warner Music Group in 2009.
The logo consists of an uppercase E (based on outlined Bingo, a decorative stencil designed by John Albert Cavanagh for his 1946 book Lettering and adopted by Photo-Lettering) directly above the word “elektra” (set in Phanitalian, a heavily flared decorative sans originating in the catalog of Vanderburgh Wells & Company and offered in the 1960s by Headliners in its Morgan Press collection).
![Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.
Catalog number and disc side indicator, “STEREO,” and album title set in (ATF; 1906) [edit: or rather (), see comments]. Track list and credits set in (bold; Intertype; 1930-1946). Band logo is a custom-made sort.](https://original.fontsinuse.com/fontsinuse.com/use-images/N280/280032/280032.png)
Label for The Doors’ 1969 album The Soft Parade. This label design, as well as the logo, was first used in March of 1966 on Phil Ochs’ In Concert live album.
Catalog number and disc side indicator, “STEREO,” and album title set in Railroad Gothic (ATF; 1906) [edit: or rather Gothic No. 13 (Linotype), see comments]. Track list and credits set in Vogue (bold; Intertype; 1930-1946). Band logo is a custom-made sort.
Label for Clear Light’s 1967 self-titled album (circa 1970–1973 reissue). This label design, which features a butterfly carrying the E by its stem (alongside a 7″ design featuring a caterpillar), was first used in August of 1970 on Josh White's The Best of… album.
Band name set in Franklin Gothic (ATF; 1904–1913). Disc side indicator, catalog number and “STEREO” set in Erbar-Grotesk Condensed (Ludwig & Mayer; 1929). Track list and credits set in Spartan (ATF/Linotype; 1939), a copy of Futura, here with its distinctive two-story a. Address info is set in Trade Gothic Extended (regular; Linotype; 1959).
Label for Gamma’s 1979 self-titled Gamma 1 album. This label design, which is similar to the 1969–1970 design (only used on two LPs) but with a smaller logo, was first used in 1979 on Nino Rota’s soundtrack album for the film Hurricane.
Disc side indicator, catalog number, “STEREO” and band/album name set in Futura (bold; Bauer; 1927). Track list and credits also set in Futura (regular). Address info set in ITC Avant Garde Gothic (regular; ITC; 1970).
6 Comments on “Elektra Records logo and record labels (1966–1983)”
Wait, the “lettering” was actually type?!
I had wondered to myself before that the giant E was Bingo or a related Albers / Futura Black-esque typeface… but never did I know until today that the “elektra” lettering was actually type. Thanks for the post, Jae!
I think I see Gothic No. 13, not Railroad Gothic.
Reybach, Phanitalian for “elektra” was identified by Jay a few years back in the comments to another Use. Unfortunately, such info isn’t easy to discover. That’s why I encourage folks to prepare a dedicated post that’s linked to the typeface page. Which Jae now did – thanks!
Bryson, I think you’re spot on – the unbalanced numeral 7 certainly suggests as much. Adjusted.
I’ve been looking for this face for ages, and only tracked it down just two weeks before this post went up!
Asylum adopted its own logo in the same flavor as a secondary a month after they were acquired by Elektra in August 1973. The a seems to be custom.
That’s a great addition – thanks, Ryan!
We currently have five Uses about Asylum Records, two of which feature that logo with Phanitalian.
If the outlined E was based on Cavanagh Bingo – and it sure does look like it – then we can equally assume that the a was derived from Futura Black. Coincidentally, these two glyphs appear right on top of each other on page 334 of PLINC’s 1971 One-Line catalog:
Harvey being a frequent user of PLINC’s typesetting services must have had a copy of this reference book.