Albums with the "EKL-" prefix were mono. Originally, the stereo counterparts of the EKL-100 series were started in a new stereo numbering sequence, the Stereo Disc 200-X series, with no corresponding numbers between the 100 and 200 series (e.g., 204-X corresponded to EKL-162). Starting a new series was a common thing to do at many record labels (see Imperial, Dot, etc.). Elektra, however, came to their senses relatively quickly. Many of the early stereo issues were quickly switched to the corresponding 200 series number, for example, EKL-159 was issued as 259-X, and so forth. This didn't end the problem, however, since Elektra was already in the 160s in the mono series, and would crash into the 200 series quite soon. Finally, as an answer to the problem, Elektra went to the system of EKL- and EKS- pefixes, with a "7" added in front of the mono number to make the stereo number (EKL-160 became EKS-7160, etc.). EKS-7099 to EKS-7101 were special stereo-only issues put out about the time Elektra went to the EKL-xxx/EKS-7xxx system.

During the mid-1960s, Elektra sometimes listed release dates on the bottom of the record labels. Even when this was not done, determining dates for early Elektra albums is aided by the fact that many of the albums had a mastering date written in the wax in the trailoff grooves area. This practice continued on some albums at least as late as the 1970s. This is a good way to date the mastering if it is an initial mastering of the side (or a "dash-one" matrix number), but the collector should be aware that if the album was remastered when it was repressed, the remastered matrix number and date would appear. For example, on Elektra 7E-1005, The Best of Bread, Volume II, side A was remastered at least three times after the original pressings, while side B was not. Therefore, on the pressing we have, side B reads "7E-1005 B-1" in the trailoff groove area, with the "B-1" part meaning side B of the LP, first mastering. Elsewhere in the trailoff area, it says "ESR-TD 4-2-74", with the date referring to the date of mastering. On the A side, however, it reads "7E 1005 A-4 SP" and "ESR-TD 5-11-76", meaning this was the fourth mastering of side A ("A-4"), which was done on May 11, 1976, two years after the album was initially released.

The earliest Elektra labels in this series were white with either blue or green print. The Elektra logo was an oval with "Hi-Fidelity" to the left, and "Long Playing" to the right of the logo, all designed to look like the 1950s vision of an atom with electrons and energy radiating from the core.



The second label design, used in 1960, was grey with black print. The logo had changed to a seated guitar player in a red dot in the upper right of the label, with yellow rays eminating from the dot off to the upper and lower right. "The Sound of Quality" was written in white script to the left of the dot. with a dark grey vertical bar under "The Sound of Quality", to the right of which were written the song titles. At the bottom of the label, in white, was a copyright statement.



The third Elektra label, used from 1961 to early 1966, was gold with a "teeth" design around the perimeter of the label. The guitar player logo was large and centered above the spindle hole. Above the logo figure was written "Outstanding High Fidelity Recordings."



The fourth Elektra label design, used from spring, 1966 to the end of this series, featured a completely redesigned logo, a large stylized block "E" with "elektra" below it. centered above the spindle hole. Label color varied from tan or gold to silver-grey.



We would appreciate any additions or corrections to this discography. Just send them to us via e-mail. Both Sides Now Publications is an information web page. We are not a catalog, nor can we provide the records listed below. We have no association with Elektra Records. Should you be interested in acquiring albums listed in this discography (which are all out of print), we suggest you see our Frequently Asked Questions page and follow the instructions found there. This story and discography are copyright 2000, 2005 by Mike Callahan.