Wikipedia

User:NewYorkActuary/sandbox/draft16

< User:NewYorkActuary‎ | sandbox

This page has been removed from search engines' indexes.


Herman Gimbel

edit

Previously a distributor for MGM and Riverside Records, Herman Gimbel purchased the assets of Audio Fidelity in April 1965.[1] Within his first half year of ownership, Gimbel changed the company's name from "Audio Fidelity, Inc." to "Audio Fidelity Records". He also moved its offices to West 57th Street in Manhattan, where it would remain for the rest of his tenure as company owner.[2] In some ways, Gimbel maintained Frey's business model. He continued to issue jazz, easy listening and sound effects records on the Audio Fidelity label and also continued to seek out varieties of world music. However, Gimbel did make several major changes, largely by diversifying into other lines of music.

Initial years

edit

Unlike Frey, who devoted little of Audio Fidelity's resources to music aimed at the rock 'n' roll market, Gimbel made that market a primary focus of the company. To that end, he began signing and recording new artists, or purchasing master recordings made by others. These recordings were released on Gimbel's new Karate Records imprint.[2] Karate lasted about four years, releasing three albums and approximately three dozen singles.[3] The most successful single was 1966's "Juanita Banana" (Karate 522), a novelty song that was only a minor hit in the United States, but much more popular elsewhere. Recorded by the Peels, the song reached the Top Twenty in the Netherlands and Germany, and became the No. 1 hit in Belgium and Israel.[4][5] And during the summer of 1966, Gimbel entered into an agreement with the Cheetah club in New York. In exchange for being granted exclusive rights to record live performances there, Audio Fidelity would issue a "Cheetah" series of albums. But only one was ever issued, Where It's At—Cheetah (1966, AFSD 6168).[6] In mid 1967, Gimbel started a new imprint, Mr. G Records, that issued essentially the same type of material as Karate.[7] One difference was the occasional use of artists who had already enjoyed some commercial success with other companies, including the Earls, Don Gardner, Tony Middleton and Link Wray.[8] By the time it was shut down in 1969, Mr. G had released four albums and about two dozen singles, none of which charted.

In his first few months of ownership, Gimbel revived Audio Fidelity's interest in classical music. He also used Frey's name for the imprint—First Component Series—but marketed it as a budget-priced label.[9] And whereas Frey's interest had been limited to a single series of releases that lasted about a year, Gimbel maintained the First Component line throughout most of his tenure at the company and ended up releasing a much greater number of classical-music records than did Frey.[10] Gimbel also tested the field of film soundtracks, the first foray being music from the European film Symphony for a Massacre.[11] This was followed later in 1965 with Glenda Grainger's "Mr. Kiss Kiss Bang Bang" (Audio Fidelity 45-115), a song that used music from the James Bond film Thunderball.[12]

In early 1966, Audio Fidelity moved into country music with the release of two singles—Forrest Green's "Mama's Boy" and Frankie Meadows' "Tennessee Diesel" (respectively, Audio Fidelity 45-117 and 45-118), both of which used master recordings purchased from other companies. Soon thereafter, Audio Fidelity acquired the newly-established Little Darlin' Records, an independent label based in Nashville.[13] Its first release was a single by Johnny Paycheck, "The Lovin' Machine" (Little Darlin' LD 008), which reached No. 8 on the Billboard "Hot Country Singles" chart. The single was followed up by the album Johnny Paycheck at Carnegie Hall (Little Darlin' LD-4001), which reached the Top 40 of the magazine's "Hot Country Albums" chart.[14] But even with this good start, the relationship between Little Darlin' and Audio Fidelity did not last long and by early 1967, that relationship had ended.[15]

Towards the end of 1966, Gimbel also sought to expand the company's presence in the jazz field. He negotiated the purchase of San Francisco-based Fantasy Records, but the deal fell through at the very last stages.[16]

Audio Fidelity's first album of rock music was released near the end of 1967. That release, How to Blow Your Mind and Have a Freak-Out Party (Audio Fidelity AFSD 6184), was accompanied by a sales promotion that offered, at a budget price, a "Freak-Out Party Kit" that included psychedelic sunglasses, incense, flowers and "hippie buttons".[17] The album did not chart. A few months later, Gimbel tried again to enter the rock market with the newly-created label Parallax Records. Intended as a vehicle for distributing recordings made by Cincinnati-based producer Don Litwin,[18] it issued only one album and three singles. The album was by the Sacred Mushrooms, who also served as the backing band for all three singles.[19] None of these releases charted.

While all of this experimentation with new labels was taking place, the original Audio Fidelity label was still issuing the same types of albums as before. In these initial years of Gimbel's ownership, the company continued to release easy listening records from singers such as Bob Braun, Fran Warren, and June Valli, as well as instrumental music from, amongst others, bandleader Lester Lanin, saxophonist Fausto Papetti and harmonica virtuoso Larry Adler.[20] It also continued to release music from around the world, including Latin jazz from Lalo Schifrin and Hungarian music from Nora Kovach.[21] Gimbel maintained Frey's practice of issuing spoken-word records. Amongst others, these albums featured Pope Paul VI, George Jessel and Jacqueline Kennedy.[22]

Becoming publicly-traded

edit

Movement towards making Audio Fidelity a publicly-traded company began towards the end of 1968, when the company announced that it had arranged to issue 200,000 shares, with a total par value of $1 million, on the over-the-counter market.[23] Details of the offering, specifically the amount actually raised and the date (or dates) it was delivered, have not been disclosed. But by early 1969, Audio Fidelity began a new round of acquisitions.

The first acquisition was a re-entry into the country music field with the purchase of Nashville-based Chart Records. Unlike Little Darlin', Audio Fidelity's earlier foray into country music, Chart Records was not a newly-established company. It had been issuing records since 1964 and achieved some commercial success, especially with singer Lynn Anderson. Day-to-day operations of the company were left with former owner Slim Williamson and, unlike what had been done with Little Darlin', Audio Fidelity did not identify itself as the owner of Chart Records on the labels of its releases.[24][25] Chart's commercial success improved during Audio Fidelity's first year of ownership.[26] That success continued even after top-seller Lynn Anderson left Chart for Columbia Records in 1970,[27] in large part because Chart continued to issue new Anderson singles (either from album tracks or from previously-unreleased recordings). Although none of these later releases were big hits, four of them did place in the Top Twenty of Billboard's Hot Country Singles chart.[28]

A few months after purchasing Chart Records, Gimbel bought a catalog of approximately two dozen children's records. They would be released by Audio Fidelity in 1970 under its Tiger Tail Records imprint. The records featured jigsaw puzzles that were included on the album covers.[29] Also in 1969, Gimbel resurrected the Parallax label. It issued just one more album and single, neither of them associated with Litwin (the original producer for Parallax) and neither of which charted. The single—"A Lonely Girl" (Parallax P-404)— is notable in retrospect as being an early release by Philadelphia singer Daryl Hall.[30]

Audio Fidelity expanded into other lines of business, as well. Gimbel purchased an agency that specialized in live music productions (especially festival-type events) and a recording studio (Sound Center) that would be used both for Audio Fidelity artists and as a rental facility for other companies' artists. Gimbel also established Tiger Tail Toys, whose marketing would be related to the children's records issued under the Tiger Tail imprint.[31]

Financial reports for this first year of public ownership were encouraging, showing a doubling of sales revenues over the prior year.[32] With this increased revenue, Gimbel embarked on several major projects. One such project was acquiring the film rights for a story on the life of Louis Armstrong,[31] but this project never came to fruition. Another project was creating a made-for-television rock band aimed at the children's market.[33] The band, called the Goggles (headed by David Spinozza), would appear in an episode of the NBC Children's Theatre that would also feature well-known stars of television and stage, such as Judy Carne, James Earl Jones and Tom Poston, amongst others.[34] The episode aired on January 30, 1971 and was tied in with the release of an album by the band (The Goggles, Audio Fidelity AFSD 6244), as well as a book of sheet music and food, clothing and toy merchandise.[35] Neither the album nor a subsequent single ("Don't Say You Don't Remember", AF 168) charted and nothing more was done with the band. And at some point in late 1970 or early 1971, Gimbel purchased Milestone Records, a jazz label run by Orrin Keepnews (formerly a co-founder of Riverside Records). As with Chart, the day-to-day operations of Milestone were left with the former owner.[36]

During this initial period of public ownership, Audio Fidelity maintained activity in its traditional business areas. New signings in the field of world music included Bob Azzam (better known for his 1960 world-wide hit "Ya Mustapha") and Irish folk musicians the Clancy Brothers.[37] And in late 1970, Gimbel acquired (or licensed) a recording by Curtis Knight that featured the pre-fame guitar playing of Jimi Hendrix. The recording was released as a single, "No Such Animal" (AF 167) in December 1970, making it one of the earliest releases of "new" Hendrix material after his death in September 1970. The single did not chart.

Audiofidelity Enterprises

edit

In May 1971, citing a new "diversification policy", Gimbel announced that Audio Fidelity's name would henceforth be Audiofidelity Enterprises (though "Audio Fidelity" would still be the name of the record label).[38] The change in name had been discussed in public almost a year earlier, when Gimbel stated that a new name would better reflect the "vertical development" that he envisioned for the company.[39] Despite this announcement, there were no immediate changes in the company's business practices. But Audiofidelity did experiment with new modes of distribution in the summer of 1972. The first involved the licensing, from a London production house, of "sound alike" versions of hit records. These recordings were placed on budget-priced cassettes that were distributed by Ancorp National Services and sold not in record stores, but at newstands, stationery stores and airport gift shops.[40] Another was an agreement with the Book of the Month Club to use Audio Fidelity LP's as book-club "dividends".[41]

Over a span of twelve months starting in late 1971, Audiofidelity parted with two of its major record divisions. In December 1971, Gimbel sold Chart Records back to its former owner, Slim Williamson.[42] Speaking about the transaction some two years later, Gimbel noted that the loss of income from Chart did cause a reduction in operating income for Audiofidelity. He attributed the decision to sell to the "doubtful" future profitability of the label (and, in fact, Williamson himself sold the company in 1974).[43] And towards the end of 1972, Orrin Keepnews, the founder and operator of Audiofidelity subsidiary Milestone Records, left to become an executive at Fantasy Records. Shortly thereafter, Gimbel sold the Milestone label to a British firm (Locele), who then licensed the recordings to Fantasy.[44]

By the mid 1970s, Gimbel had ceased his forays into new lines of business. A final attempt was made to enter the youth market via the acquisition of Thimble Records, but this yielded no successes.[45] In 1973, the Mr. G imprint was revived to issue a novelty song about the Watergate scandal. The record, "Haldeman, Ehrlichman, Mitchell and Dean" (Mr. G, G-826) received some discussion on television network news shows, but failed to chart any higher than No. 116 on Billboard's Hot 100 (i.e., the 16th entry in the magazine's Bubbling Under chart).[46] Despite these failures, the company maintained (via the Audio Fidelity label) its traditional lines of easy listening, international and classical music, as well as sound effects records. In this vein, 1975 saw the release of albums by two well-known television actors, Carrol O'Connor and Telly Savalas. The record by Savalas was moderately successful, reaching No. 171 on the Cash Box Top 200 Albums chart.[47]

The only other substantive change in business operations was an increased interest in acting as a national distributor for other labels, mostly in the jazz field. Audiofidelity became the American distributor for Germany's Enja Records and England's Black Lion Records, as well as for the American label World Jazz (whose biggest act was the World's Greatest Jazz Band).[48] But the most substantial relationship was the one developed with Chiaroscuro Records, which entered into a distribution arrangement with Audiofidelity in March 1973 but later became one of its subsidiaries.[49] The volume of jazz records being sold through these arrangements was such that, by 1974, Gimbel was able to report that more than half of Audiofidelity's sales revenue was coming from jazz.[50] And the volume of distribution increased in 1975, when Audiofidelity became the North American distributor for albums issued by the music division of Germany's BASF.[51]

Sale of the company

edit

In May 1976, Gimbel ceased being in charge of Audiofidelity's day-to-day operations, having taken the position of chairman of its board of directors. In his place, operations were headed by Bill Gallagher, a former executive at Columbia and MCA Records who began consulting for Audiofidelity a few months earlier.[52] Later in the year, Gallagher made his own attempt to enter the contemporary market, doing so by forming a distribution arrangement with Germany's newly-established Hidden Sign Records, an early producer of disco music headed by Giorgio Moroder. He also started another Audiofidelity imprint, Image Records. Image released some recordings of soul music, but also signed bossa nova vocalist Astrud Gilberto (who recorded a disco album that included a re-make of her "The Girl from Ipanema"). It also signed acts that were better known in the easy-listening field, such as Teresa Brewer and Mike Douglas.[53] In early 1978, Gallagher revived Gimbel's original imprint, Karate Records. The revived Karate issued just two albums, one of them by New Orleans piano player Dr. John. Neither of the two albums charted.[54] The only other change of note during Gallagher's tenure was an expansion of distribution channels for the company's classical label, First Component Series. Here, the records were made available for sale in the five-and-dime chain Woolworth's and its discount-store affiliate Woolco.[55]

Some two years after Gallagher became president of Audiofidelity, he left the company and was replaced by one of its long-serving executives, Harold Drayson.[56] But Drayson's tenure as company president was even shorter than Gallagher's, lasting only about eighteen months. When he retired in early 1980, Gimbel resumed his position as company president. During his brief tenure, Drayson pursued no new lines of business. He did, however, oversee new distribution arrangements, the most notable of which was with Norman Schwartz's jazz labels, Gryphon and Skye Records.[57]

When Drayson became Audiofidelity's president in October 1978, he did so amidst rumor that Gimbel was going to sell the company to a new owner.[58] That did not happen, but mid 1979 saw reports of a pending sale for which the negotiations broke down at the very last stages.[59] Finally, about six months after Gimbel resumed his position as company president, he sold his controlling interest in Audiofidelity to Dante Pugliese.[60]

Other

edit

Early in Gimbel's ownership, he branched into the then-non-existent home video market with a new subsidiary, Audio 20-20 Videotape. Gimbel intended to market open-reel videos that would be played on equipment not yet marketed by Sony, General Electric and Ampex. This equipment never did get marketed and Audio 20-20 issued only one tape, 1966's Johnny Paycheck at Carnegie Hall (which despite the name was recorded in front of a studio audience in Nashville).[61]

Gimbel made an early foray into quadraphonic sound when, in 1973, he issued one of the Audio Fidelity sound effects albums in that format (Sound Effects - Volume 15, DFSQ 7054). Using a tactic reminiscent of Frey's give-away of his first stereo album, Gimbel offered to provide a free copy of his quadraphonic album to any industry professional who asked.[62] Despite this early interest, Audio Fidelity does not appear to have issued any other quadraphonic album.

Roughly one year after purchasing Audio Fidelity, Gimbel instituted a pension plan for the company's employees. By the mid 1970s, the cost of the plan had become burdensome and Gimbel terminated it, effective June 30, 1976. Since its inception, the plan promised that, if ever it were terminated, any surplus funds held in the plan's trust fund would be distributed to the covered employees "in an equitable manner". An accounting that was performed after the date of termination revealed that the trust did hold surplus funds of approximately $43,000 (equivalent to $230,000 in 2023).[63] Gimbel then amended the plan to remove the provision that called for distributing that surplus to the employees. The newly-established Pension Benefit Guaranty Corporation, a governmental agency with jurisdiction over pension plans, objected to this amendment and insisted that the surplus be distributed as originally promised. The dispute was heard in a federal district court, which sided in favor of Audio Fidelity. But the government appealed to the United States Court of Appeals, where the original ruling was reversed. The finding of the Appeals court became legal precedent that has been cited in subsequent cases involving similar issues.[64]

Personal life

edit

Little is known about Gimbel's personal life. He entered the music business as a Baltimore-based record distributor in 1949, doing so at the urging of friend Harold Drayson. At the time, Drayson was employed by MGM Records and this was Gimbel's main client during his years in Baltimore.[65] Gimbel re-located to New York about ten years later, where he became sales manager for Riverside Records, a label co-founded by Orrin Keepnews.[66] By 1961, Gimbel was leading LP Sales, the Riverside subsidiary that distributed its various labels[67] and, in 1962, he hired Drayson as its sales manager.[68] Drayson moved over to Audio Fidelity when Gimbel purchased it in 1965 and the trio of Gimbel, Drayson and Keepnews was re-united in 1970 when Audio Fidelity purchased Milestone Records.

As part of the deal that transferred ownership of Audiofidelity to Pugliese, Gimbel was given a five-year consultancy contract.[60] However, he does not appear to have made any public pronouncements on behalf of the company during those years.

In 1969, shortly after Audio Fidelity became a publicly-owned company, Gimbel and his wife started the Helen and Herman Gimbel Charity Fund, a section 501(c)(3) non-profit organization. Originally based in Coram, New York, it is now located in Boca Raton, Florida. As of 2015, the fund has retained its nonprofit status and makes grants to various organizations in the fields of art, education and medical care.[69]

Dan Pugliese

edit

Dante "Dan" Pugliese entered the music business in the mid 1960s. He started as the owner of a retail record store, but soon moved into the distribution of budget-priced and cut-out records. Originally operating under a variety of corporate names, Pugliese eventually consolidated his various enterprises under the umbrella of Springboard International Records.[70] Springboard went bankrupt in 1979 and, about a year later, Pugliese purchased his controlling interest in Audiofidelity.[71]

Changes in operations

edit

Shortly after the purchase, Pugliese announced that he planned on maintaining the company's offices in New York and expanding the size of the staff. He also announced that Audiofidelity would introduce a new label aimed at the pop music market.[72] None of these intentions were realized. After about one year of ownership, Pugliese moved the company's main office to Rahway, New Jersey, the city that had been the home of Springboard.[73] As for competing in the pop music market, Pugliese did establish an r&b/soul label in early 1981 (Knockout Records), but it was very short-lived.[74] And less than a year after that brief outing, he announced that Audiofidelity would stay out of the popular music market altogether. Instead, the company would concentrate on its distribution arrangements, including non-traditional sales outlets such as supermarkets and drug stores. By the time Pugliese made this announcement, Audiofidelity's full-time staff had been reduced to half of what it had been during Gimbel's ownership.[75]

Within his first year of ownership, Pugliese extended the company's presence in Latin music by becoming the distributor for Coco Records, an independent label largely known for its recordings of Eddie Palmieri and other salsa acts.[76] He also increased the company's investment in jazz, by purchasing Norman Schwarz's Gryphon label (for which Audiofidelity had been acting as distributor since 19__) and Charlie Parker Records (which held the master recordings of almost all of Parker's recorded work).[77][78] Distribution in England was strengthened with the establishment of Audiofidelity's first subsidiary there–Audiofidelity Enterprises (UK).[79]

Before he purchased Audiofidelity in 1980, Pugliese had already established Phoenix Entertainment and Talent.[80] This entity maintained various record labels, including Phoenix Records (along with the similarly-named Phoenix 10 and Phoenix 20), Holiday Records and Jazzbird Records. Although the packaging for the albums did not always mention Audiofidelity, not even as a distributor, both Pugliese and the trade press routinely referred to the various Phoenix Entertainment labels as part of Audiofidelity's line.[81]

Back in the early 1970s, Pugliese's Springboard International released four albums of pre-fame material by Jimi Hendrix and, in 1981, Pugliese re-issued them.[82] They were also issued in England by Audiofidelity's subsidiary there and also saw additional US releases in several compilations, issued at various points between 1981 and 1983.[83] In 1984, PPX Enterprises, which had been issuing its own (different) pre-fame Hendrix recordings, sued Audiofidelity, citing several causes of action including a violation of the Lanham Act. PPX was not alleging any copyright infringement on the part of Audiofidelity. CHECK THIS Instead, PPX alleged that ____. Final resolution of the action came in 1987, when the ____ ruled that Audiofidelity was liable for damages to PPX on the Lanham Act violation.[84]

Bankruptcy

edit

In In re Audiofidelity Enterprises, Inc., 103 B.R. 544 (Bankr.D.N.J.1989) (Tuohey, J.) , the court was faced with a conflict between fostering the policies under chapter 11 of the Bankruptcy Code and preserving copyright rights. Judge Tuohey determined that the copyright rights were paramount where debtor had been found liable for infringement and therefore ordered destruction of the offending materials pursuant to 17 U.S.C. § 503. Id. at 547-48. He so ordered even though the materials would have yielded $300,000 for the estate if they had been sold. http://chapter11cases.com/2012/07/01/in-re-clark-entertainment-group-inc-183-br-73-bankr-court-d-new-jersey-1995/

After Audiofidelity

edit

References

edit
  • Billboard refers to the weekly music-industry news magazine. For the earliest items included here, Billboard was produced by the Billboard Publishing Company of Cincinnati, Ohio. Starting with the July 1, 1967 issue (Vol. 79 no. 26), the name of the company changed to Billboard Publications. Starting with the February 28, 1970 issue (Vol. 82 no. 9), the location of the company changed to New York; it changed again to Los Angeles starting with the August 28, 1971 issue (Vol. 83 no. 35). But regardless of the company's corporate location, it maintained editorial offices in New York and most of the magazine's items had New York datelines. Also, except where noted otherwise, items were not attributed to an author. For the earliest items included here, the magazine's name was The Billboard and, for issues in 1961 and 1962 (i.e., volumes 73 and 74), it was Billboard Music Week. Its Library of Congress Control Number is LCCN 64--3675 (LCCN 89-656137 for The Billboard and LCCN 89-656138 for Billboard Music Week). Its International Standard Serial Number (ISSN) is 0006-2510.
  • Cash Box refers to the weekly music-industry newspaper.
  • Record World
  • On-line archives of most issues of Billboard, Cash Box and Record World are hosted by AmericanRadioHistory.com (look under the tab for "Broadcasting - Music Related").
  1. ^ "Audio Fidelity Sold; Gimbel to Head Firm". Billboard. Vol. 77, no. 15. April 10, 1965. p. 1.
  2. ^ a b "A-F Records Moves Offices". Billboard. Vol. 77, no. 48. November 27, 1965. p. 4.
  3. ^ The last two Karate issues were Mickey Milan's "Come Rain or Come Shine" (Karate 538) and Ronie Barth's "Dancing in the Bullring" (Karate 539). Both singles were issued in November 1968, as seen in the advertisement on page 31 of the November 16, 1968 issue (Vol. 80 no. 46) of Billboard ("Come Rain") and on page 50 of the November 9, 1968 issue (Vol. 30 no. 15) of Cash Box ("Bullring").
  4. ^ In the United States, "Juanita Banana" peaked at No. 59 on Billboard's Hot 100 chart, for which see page 22 of the April 2, 1966 issue (Vol. 78 No. 14). The European placements are shown on the record's listing at lescharts.com. The placement in Israel is from Billboard's "Hits of the World" charts on page 46 of the July 9, 1966 issue (Vol. 78 no. 28). The song also reached No. 1 in Argentina, Brazil and Peru. For Argentina, see page 54 of the July 23, 1966 issue (Vol. 78, no. 30); for Brazil, see page 57 of the August 20, 1966 issue (Vol. 78, no. 34); for Peru, see page 50 of the July 30, 1966 issue (Vol. 78, no. 31). However, for each of these three countries, the chart entry reflects data for all versions of the song, including cover versions. The song also reached No. 1 in Spain (for which see the Argentina reference), but as a cover version by Luis Aguilé.
  5. ^ The Peels are not to be confused with the 2000s Seattle-based rock group of the same name.
  6. ^ "AF & Cheetah Enter a Disk, Outlet Deal". Billboard. Vol. 78, no. 35. August 27, 1966. p. 3. Also see Aaron Sternfeld's "Audio Fidelity Gives Cheetah a Cushion Cover within Cover". Billboard. Vol. 78, no. 38. September 17, 1966. p. 3. And see page 4 of the November 12, 1966 issue (Vol. 78, no. 46) of Billboard, which has a photograph of Gimbel blowing up a plastic "Cheetah" seat cushion.
  7. ^ "AF Sets Up Mr. G; Newmark as Head". Billboard. Vol. 79, no. 26. July 1, 1967. p. 10. The name in the title is producer Eddie Newmark.
  8. ^ For the Earls, "If I Could Do It Over Again" (G 801); for Gardner, "Your Love Is Driving Me Crazy" (G 824); for Middleton, "Let Me Down Easy" (G 811) and "Good Morning World" (G 815); and for Wray, "Rumble '69" (G 820).
  9. ^ "AF Returns to Classical Fold". Billboard. Vol. 77, no. 33. August 14, 1965. p. 44.
  10. ^ The Frey releases have catalog numbers 50,001 through 50,013; the Gimbel releases start at 50,014 and extend through 50,081 (with a few additional releases that did not follow the main catalog-numbering system). For more detail, see the Reichle discography link in the External Links section, below.
  11. ^ "AF in Track Field". Billboard. Vol. 77, no. 25. June 19, 1965. p. 6. The release was a single by the Michel Magne Orchestra, "Les Mystifies" (Audio Fidelity 45-108).
  12. ^ "Signings". Billboard. Vol. 77, no. 49. December 4, 1965. p. 56.
  13. ^ "AF Purchases Little Darlin'". Billboard. Vol. 78, no. 18. April 30, 1966. p. 4.
  14. ^ For the single, see page 56 of the September 3, 1966 issue (Vol. 78 no. 36) of Billboard; for the album see page 70 of the August 13, 1966 issue (Vol. 78 no. 33).
  15. ^ Exactly when the relationship ended is not clear. The label for a single released in October 1966 ("Motel Time Again", LD-0016) identified it as a "Product of Audio Fidelity Records". The label for a single released in March 1967 ("Jukebox Charlie", LD-0020) identified it as a "Product of Little Darlin' Records". Both singles were by Johnny Paycheck. For the release date of "Motel", see page 16 of Billboard's October 15, 1966 issue (Vol. 78 no. 42); for the release date of "Jukebox", see page 10 of its March 18, 1967 issue (Vol. 79 no. 11).
  16. ^ "Audio Fidelity Buys Fantasy, a Jazz Label". Billboard. Vol. 78, no. 53. December 31, 1966. p. 3. For the failure of the deal, see "A Disagreement Stops Buying of Fantasy by AF". Billboard. Vol. 79, no. 12. March 25, 1967. p. 6. The latter article quotes Gimbel as attributing the failure to Fantasy's refusal to part with all of its master recordings, especially those of jazz musician Dave Brubeck. Audio Fidelity filed a lawsuit against Fantasy, for which see "AF Charges Fantasy Welched on Contract". Billboard. Vol. 79, no. 19. May 13, 1967. pp. 1, 10. It is unclear how this lawsuit was resolved.
  17. ^ "Mr. G's Pitch on 'Morning Glory'". Billboard. Vol. 79, no. 50. December 16, 1967. p. 3. The title refers to a concurrent release on the Mr. G label.
  18. ^ "AF, Parallax Deal". Billboard. Vol. 80, no. 16. April 20, 1968. p. 8.
  19. ^ Sacred Mushroom (Parallax P-4001). The first two singles (catalog numbers P-401 and P-402) featured singer Jerri Jackson; the third (P-403) featured Larry Goshorn, a member of the Sacred Mushroom and later to become a member of the country-rock outfit Pure Prairie League.
  20. ^ Introducing Bob Braun (AFSD 6148), Fran Warren's Come Into My World (AFSD 6207), June Valli's Today (AFSD 6214); Lester Lanin's Thoroughly Modern Lester (AFSD 6180), Fausto Papetti's I Remember (AFSD 6189, licensed from Durium Records of Italy), Larry Adler Again! (AFLP 6193).
  21. ^ The Other Side of Lalo Schifrin (AFSD 6195), Zigani Ballet (AFSD 6158).
  22. ^ Pope Paul in America (AFLP 2152), George Jessel's At His Best (AFLP 706), Jacqueline Kennedy (AFLP 703)
  23. ^ "Offering Completed on Audio Fidelity" (PDF). Billboard. Vol. 60, no. 45. November 30, 1968. p. 10. Also see "AF Goes Public via OTC Offering" (PDF). Cash Box. Vol. 18, no. 30. November 30, 1968. p. 7.
  24. ^ "Audio Fidelity Buys Chart Label". Cash Box. Vol. 30, no. 33. March 15, 1969. p. 51. The dateline for this item was Nashville. At about the same time as the purchase, Chart singles changed their numbering system from a "1000" series to a "5000" series, and this applied to records that had originally been released under the "1000" series. See, for example, Kenny Vernon's "Yes Virginia", originally released as Chart 59-1072 but appearing later as Chart 59-5000.
  25. ^ Despite not identifying itself on the record labels, Audio Fidelity did assert its ownership in Chart's advertisements. See, for example, the advertisement "Chart Records, Inc" (PDF). Billboard. Vol. 82, no. 34. August 22, 1970. p. 66.
  26. ^ "Chart Sales at All-Time High". Billboard. Vol. 81, no. 49. December 6, 1969. p. 51. The dateline for this item was Nashville.
  27. ^ "Lynn Anderson: Bio". lynnandersonshow.com. Retrieved December 25, 2016.
  28. ^ "I've Been Everywhere" (CH 5053), "Rocky Top" (CH 5068), "I'm Alright" (CH 5098) and "It Wasn't God Who Made Honky Tonk Angels" (CH 5113). For chart placements see the following issues of Billboard: March 21, 1970 (Vol. 82 no. 11) (page 16), July 18, 1970 (Vol. 82 no. 29) (page 46), December 5, 1970 (Vol. 82 no. 49) (page 43) and April 3, 1971 (Vol. 83 no. 14) (page 50).
  29. ^ "Tiger Tale to Audio Fidelity". Billboard. Vol. 81, no. 31. August 2, 1969. p. 8. Note the misspelling of "Tail" in the headline of the item. The catalog numbers for these releases were TIG-2001 through TIG-2025. The use of jigsaw puzzles was announced in "Sales Meet Kicks Off AF Fall Release Plan". Billboard. Vol. 81, no. 36. September 6, 1969. p. 72. The release date is given in "Audio Fidelity Broadens Classics, Children LP's". Billboard. Vol. 82, no. 24. June 13, 1970. p. 4.
  30. ^ "AF Buys Master". Billboard. Vol. 81, no. 31. August 2, 1969. p. 8. The dateline for this item was Philadelphia.
  31. ^ a b "Audio Fidelity Seeks Satchmo Film Rights". Billboard. Vol. 82, no. 39. September 26, 1970. p. 8.
  32. ^ "AF's Sales Go Over 1 Mil". Billboard. Vol. 82, no. 33. August 15, 1970. p. 12.
  33. ^ "'Goggles' TV Show To Be Cut by AF". Billboard. Vol. 82, no. 82. August 8, 1970. p. 58.
  34. ^ "Super Plastic Elastic Goggles". paleycenter.org. The Paley Center for Media. Retrieved November 15, 2016.
  35. ^ See "'Goggles' Rights to Big 3". Billboard. Vol. 83, no. 4. January 23, 1971. p. 12. 'Big 3' is the name of the publishing company that would print the sheet music. For the other promotional aspects, see "Press Kit Kicks Off 'Goggles' Promotion by Audio Fidelity". Billboard. Vol. 83, no. 5. January 30, 1971. p. 66.
  36. ^ The date of acquisition for Milestone is unclear. An article on page 3 of the October 24, 1970 issue of Billboard (Vol. 82, no. 43) states that Audio Fidelity had become the distributor for Milestone. But an article from May 1971 describes it as a subsidiary. For the latter, see "Audio Fidelity Changes Name in New Policy". Billboard. Vol. 83, no. 21. May 22, 1971. p. 3.
  37. ^ Azzam's album was Bob Azzam and the Great Expectation (AFSD 6228). The albums made by the Clancy Brothers for Audio Fidelity were the first made by them after the departure of long-time collaborator Tommy Makem. They would make four albums for Audio Fidelity, the first being Welcome to Our House (AFSD 6246). The other three were Show Me the Way (AFSD 6252), Save the Land (AFSD 6255) and Live on St. Patrick's Day (AFSD 6256). There also were two singles: "You're Always Welcome in Our House" (45-169) and "Streets of London" (45-178).
  38. ^ "Audio Fidelity Changes Name in New Policy". Billboard. Vol. 83, no. 21. May 22, 1971. p. 3.
  39. ^ "Audio Fidelity Seeks Satchmo Film Rights". Billboard. Vol. 82, no. 39. September 26, 1970. p. 8. The article discusses not just the film rights, but also various other projects on which Gimbel was working. Also see "AF Name Change Mirrors Variety". Cash Box. Vol. 32, no. 17. October 17, 1970. p. 9.
  40. ^ Melanson, Jim (August 12, 1972). "Audiofidelity New Concept". Billboard. Vol. 84, no. 33. p. 1.
  41. ^ "Audio Fidelity into Book Club". Billboard. Vol. 84, no. 34. August 19, 1972. p. 21.
  42. ^ "Slim Williamson Again Heads Chart in AFE Re-purchase". Billboard. Vol. 83, no. 50. December 11, 1971. p. 59. The dateline for this item was Nashville. The sale back to Williamson gave rise to litigation in 1978. As alleged by Audiofidelity, the re-purchase by Williamson was funded with a series of promissory notes, for which Chart's master recordings served as collateral. When Williamson defaulted on payment of the notes, Audiofidelity sought to take possession of the master recordings only to learn that they had been sold to other parties. In response, Williamson denied that Audiofidelity had any valid claim to those master recordings. It is unclear how this litigation was resolved. For details, see "Audiofidelity Sues 'Slim' Williamson". Cash Box. Vol. 40, no. 5. June 17, 1978. p. 14.
  43. ^ "Audiofidelity to Seek Licensees". Billboard. Vol. 85, no. 39. September 29, 1973. p. 8. The dateline for this item was Los Angeles. For Williamson's sale of Chart Records, see "Better Sounds is Sold". Billboard. Vol. 86, no. 15. April 13, 1974. p. 41. The dateline for this item was Nashville. The company named in the title was the parent of Chart Records
  44. ^ For the movement of Keepnews to Fantasy, see "Keepnews to Direct Jazz at Fantasy/Prestige". Cash Box. Vol. 34, no. 20. November 4, 1972. p. 10. For the sale of Milestone to Locele and the licensing by Fantasy, see "Fantasy Adds Milestone Line". Billboard. Vol. 84, no. 49. December 2, 1972. p. 4. Also see "Fantasy Buys Milestone Rights". Cash Box. Vol. 34, no. 24. December 2, 1972. p. 7. The dateline for all three items was Berkeley, California.
  45. ^ The precise date of Thimble's acquisition is not clear. In February 1972, an Audio Fidelity officer said that the company had a "new label aimed at the contemporary music market", but did not specify that the label was Thimble. (See "Audio Fidelity Woos Marketer". Billboard. Vol. 84, no. 8. February 19, 1972. p. 47. The officer was sales manager Topper Schroeder.) Nonetheless, albums on the Thimble label began to be released later that same year and their covers identified the label as a division of Audiofidelity. One of those early albums was Jim Messina and the Jesters (Thimble, TLP-2), which was a re-issue of the album made by Messina for Audio Fidelity back in 1964 (Audio Fidelity DFS 7037). At the time of the re-issue, Messina's name had become well known via his partnership with Kenny Loggins in Loggins and Messina.
  46. ^ "Watergate Wax: Mr. G Singles". Cash Box. Vol. 34, no. 52. June 16, 1973. p. 22. The Billboard chart placement is shown on page 73 of its September 1, 1973 issue (Vol. 85, no. 35).
  47. ^ The O'Connor album was Carroll O'Connor Sings for Old P.F.A.R.T.S. (People Favoring a Return to Sentiment) (Audio Fidelity AFSD 6276); the one by Savalas was Telly Savalas (Audio Fidelity AFSD 6271). The chart placement for the Savalas album appears on page 46 of the June 7, 1975 issue (Vol. 37 no. 3) of Cash Box. Some of the music on the Savalas album had been recorded for, and released in England in 1972 by, the DJM Mid Price label under the title This is Telly Savalas (DJSLM.2003).
  48. ^ For the arrangement with Enja, see "Audio Fidelity, Enja in Deal". Billboard. Vol. 86, no. 11. March 16, 1974. p. 39. For the arrangement with Black Lion, see "Audio Fidelity, Black Lion in Distrib Deal". Billboard. Vol. 85, no. 37. September 15, 1973. p. 4. For the arrangement with World Jazz, see "Audio Fidelity Distrib Deal". Billboard. Vol. 85, no. 44. November 3, 1973. p. 6.
  49. ^ For the initial distribution arrangement with Chiaroscuro, see "Audio Fidelity, Qhiaroscuro Deal". Billboard. Vol. 85, no. 10. March 10, 1973. p. 8. Note the alternate spelling used in the title. The arrangement also called for the distribution of Chiaroscuro's sister label, Harlequin Records. The precise date at which Chiarascuro became a fully-owned subsidiary of Audiofidelity is not clear, but it appears to have happened in 1976. It was during that year that album covers ceased stating that Chiaroscuro Records were "distributed by" Audiofidelity in favor of stating that Chiaroscuro was a "division of" Audiofidelity. See for example, 197_'s ______ (CR ___) ("distributed by") and 19__'s ________ (CR ___) ("division of"). 1976 was also the year that some early Audio Fidelity albums were re-issued on the Chiaroscuro label (for example, ______, originally AFLP ____ and ______, originally AFLP ______).
  50. ^ Mayer, Ira (September 14, 1974). "AFE: All That Jazz". Record World. Vol. 30, no. 1421. p. 44.
  51. ^ Joe, Radcliffe (October 11, 1975). "New BASF Distribution Deal Firmed". Billboard. Vol. 87, no. 41. p. 4. Also see "Audiofidelity to Distrib. BASF Lines". Cash Box. Vol. 37, no. 21. October 11, 1975. pp. 7, 43. Artists whose albums were covered by this arrangement included George Duke, George Shearing and Singers Unlimited.
  52. ^ "Gallagher to Widen Scope of 2 Labels". Billboard. Vol. 88, no. 22. May 29, 1976. pp. 7, 88. Also see "Gallagher New AFE Pres., Aims to Build AFE & BASF". Cash Box. Vol. 38, no. 2. May 29, 1976. p. 9.
  53. ^ "Audiofidelity in Major Expansion". Billboard. Vol. 88, no. 50. December 11, 1976. pp. 5, 18. Also see "AFE Sets Deal"". Cash Box. Vol. 38, no. 26. November 13, 1976. p. 12. The initial soul-music albums from Image were by Martee Labous (The Lady Wants to Be a Star, IM-301), Jimmy Dockett (Beauty and Soul, IM-302) and the Canadian group Toulouse (Toulouse, IM-304). The album by Gilberto was That Girl from Ipanema (IM-305). Brewer's album was Teresa Brewer's New Album (IM-306), which produced the single "Tonight I Sleep Alone" (IM-3061). It is unclear whether Mike Douglas recorded an album, but there were two singles by him: "Sleep Well My Son" (IM-3031) and "Happy Birthday Jesus" (IM-3032).
  54. ^ "Audio Fidelity Sets Wide Range of LP Releases". Billboard. Vol. 90, no. 5. February 4, 1978. p. 51. The album by Dr. John was One Night Late (KSD-5404). The other album was by English saxophonist Chris Mercer, Anglo-Sax Man (KSD-5405).
  55. ^ "New Market for Classical Line". Billboard. Vol. 90, no. 24. June 17, 1978. p. 94.
  56. ^ "Audiofidelity to Distribute Cos". Billboard. Vol. 90, no. 39. September 30, 1978. p. 10. Also see "Gallagher Resigns Top Post at Audiofidelity". Cash Box. Vol. 40, no. 21. October 7, 1978. p. 14. The dateline for the latter item was Los Angeles.
  57. ^ "Audiofidelity Names Four Vice Presidents". Cash Box. Vol. 41, no. 40. February 16, 1980. p. 12. This article also announces the distribution arrangements with Gryphon and Skye. Note that Schwartz's Gryphon label had the full name of "Gryphon Records Ltd." and is not be confused with the earlier, and unrelated, blues label Gryphon Records.
  58. ^ "Audiofidelity May Undergo Change in Ownership". Cash Box. Vol. 40, no. 15. August 26, 1978. p. 8.
  59. ^ Lichtman, Irv (June 9, 1979). "New Audiofidelity Management". Billboard. Vol. 91, no. 23. p. 9. Also see Terry, Ken (June 9, 1979). "Audiofidelity in Talks to Buy Midsong Int'l, Rapp/Metz Co". Cash Box. Vol. 41, no. 4. pp. 8, 52. Although the Cash Box article describes the transaction as a purchase by Audiofidelity of the other two companies, the deal would have included a transfer of Gimbel's controlling interest to the owners of those other companies. For the failure of the negotiations, see "Reno, Metz Decline Audiofidelity Offer". Cash Box. Vol. 41, no. 6. June 23, 1979. pp. 8, 16.
  60. ^ a b "Audiofidelity Firm Bought by Pugliese". Billboard. Vol. 92, no. 37. September 13, 1980. p. 9.
  61. ^ "AF Joins the Audio-Video Home Entertainment Rank". Billboard. Vol. 78, no. 33. August 13, 1966. p. 4.
  62. ^ "Audio Fidelity Bows 'Q' Album". Billboard. Vol. 85, no. 18. May 5, 1973. p. 3. The give-away was announced in "AF Offers Free Demonstration". Billboard. Vol. 85, no. 33. August 18, 1973. p. 58.
  63. ^ The estimated equivalency in 2016 U.S. dollars is based on the consumer price indexes provided on the website of the Minneapolis Federal Reserve (available here).
  64. ^ The Appeals court ruling is Audio Fidelity Corporation v. Pension Benefit Guaranty Corporation (624 F.2d 513). The case has been cited by other courts in _________ and _________. As recently as 2015, the government cited the case in a brief filed in an appeal action in Pension Benefit Guaranty Corporation v. Kentucky Bancshares (US Court of Appeals, 6th Circuit: 14-5573).
  65. ^ "A-F Records Moves Offices". Billboard. Vol. 77, no. 48. November 27, 1965. p. 4. Note that an item in the "Music as Written" section on page 42 of the March 8, 1952 issue (Vol. 64 no. 10) of The Billboard places Gimbel in Boston. Nonetheless, no other mention of him through 1957 places him in any city other than Baltimore.
  66. ^ "New Incentive Sales Plan by Riverside". The Billboard. Vol. 71, no. 9. March 2, 1959. p. 4.
  67. ^ "Music as Written". Billboard Music Week. Vol. 73, no. 3. January 23, 1961. p. 4.
  68. ^ "Manufacturers' Briefs: Harold Drayson to L.P. Sales". Billboard Music Week. Vol. 74, no. 19. May 12, 1962. p. 30.
  69. ^ "Helen & Herman Charity Fund Inc in Boca Raton (FL)". NonProfitFacts.com. Advameg. Retrieved December 26, 2016. For the earlier location in Coram, see National Guide to Funding in Religion (Volume 5). Foundation Center. 1999. p. 708. For a listing of the fields in which grants are awarded, see "Helen & Herman Gimbel Charity Fund Inc". foundationcenter.org. July 22, 2016. Retrieved December 27, 2016.
  70. ^ For Springboard's recounting of its history, see the 24-page supplement to the January 17, 1976 issue (Vol. 88, no. 3) of Billboard.
  71. ^ Horowitz, Is (August 15, 1979). "Springboard: Company Unable to Placate Its Creditors; Liquidation Nearing". Billboard. Vol. 91, no. 33. p. 9. Springboard sought Chapter 11 bankruptcy release in 1978, for which see "Springboard Files Chapter XI; Plans to Keep Going". Cash Box. Vol. 40, no. 33. December 30, 1978. p. C-6.
  72. ^ "Mantovani Music to Live Again". Billboard. Vol. 92, no. 39. September 27, 1980. pp. 12, 63. The title refers to the planned release of an eight-album series of recordings by the Mantovani Orchestra, whose namesake had died earlier in 1980. Although Audiofidelity would oversee the manufacturing and distribution of the series, only one of them would appear on an Audiofidelity label (Christmas Magic, Holiday Records HDY-1919).
  73. ^ "AFE Moves Production Dept. to N.J.". Billboard. Vol. 93, no. 44. November 7, 1981. p. 79.
  74. ^ Knockout Records issued only one album, the eponymously-named The Escorts (Knockout, KO 1500), from which two singles were released: "Make Me Over" (KO 10145) and "Heart of Gold" (KO 10146). The label was announced in "Audiofidelity Forms Knockout Subsidiary". Cash Box. Vol. 42, no. 38. February 7, 1981. p. 10.. Also see "Label Launch". Billboard. Vol. 93, no. 6. February 14, 1981. p. 57. ADD INFO RE EARLIER ALBUM AND RAHWAY
  75. ^ "Yule Spirit Lifts Audiofidelity". Billboard. Vol. 94, no. 32. August 14, 1982. p. 9. The title refers to Pugliese's statement that Christmas music accounted for more than half of Audiofidelity's volume.
  76. ^ "Coco Label Distribution Bostered". Billboard. Vol. 92, no. 43. October 25, 1980. p. 78.
  77. ^ "Audiofidelity Acquires Gryphon Record Label". Cash Box. Vol. 42, no. 27. November 15, 1980. p. 47. The acquisition by Audiofidelity was also addressed in the same-dated issue of Billboard (Vol. 92, no. 46), at page 6. The article, titled "Audiofidelity Inks Gryphon Linkage", provided more detail, specifying that the arrangement was not an outright purchase. Instead, it was a license "in perpetuity" that would continue to be in place for so long as Audiofidelity maintained its marketing efforts. Both articles noted that the arrangement included Gryphon's sister label, Skye Records, whose catalog would now be re-issued on the Gryphon label. The licensing arrangement apparently suffered some initial problems because, in mid 1981, Schwarz was quoted as describing Gryphon as "dormant" pending the resolution of litigation with Audiofidelity. For the quote, see Irv Lichtman's "Wider Horizon Envisioned by Infant Finesse Label". Billboard. Vol. 93, no. 29. July 25, 1981. p. 46. Finesse Records was Schwarz's then-current project. The article gives no details whatsoever about the litigation and its outcome does not appear to have been reported in the trade press. But Gryphon product issued after the interview did identify Audiofidelity as its distributor. See, for example, the 1982 re-release of Gabor Szabo's 1969 (G-926) and the 1987 re-release (on compact disc) of his Lena & Gabor (GCD-908). The "Lena" in the title refers to jazz singer Lena Horne.
  78. ^ "Audiofidelity Inc. Buys Coco, Parker Records". Cash Box. March 7, 1981. p. 34. {{cite web}}: Missing or empty |url= (help) Also see "Parker Bought by Audiofidelity". Billboard. March 14, 1981. p. 41. {{cite web}}: Missing or empty |url= (help) The previous owner of Charlie Parker Records was Aubrey Mayhew, who was the founder of Little Darlin' Records, Audiofidelity's initial mid 1960s venture into country music.
  79. ^ "Audiofidelity Bows New Subsidiary in United Kingdom". Cash Box. Vol. 43, no. 1. May 23, 1981. p. 35. Also see "Audiofidelity Establishes U.K. Subsidiary". Billboard. Vol. 93, no. 20. May 23, 1981. p. 77. and "Audiofidelity Bows U.K. Subsidiary". Record World. Vol. 37, no. 1764. May 23, 1981. p. 71. The dateline for the Cash Box article was London; the datelines for the other two were New York.
  80. ^ GET CITE
  81. ^ See, for example, "Audiofidelity Deal Set". Billboard. Vol. 93, no. 23. June 13, 1981. p. 65. Also see "TITLE". Cash Box. Vol. 43, no. 6. June 27, 1981. p. 34.. Both articles report Audiofidelity's announcement of its plans for the international distribution of various lines. In addition to Phoenix, both articles mention the Knockout, Coco and Amberjack labels. Pugliese himself was quoted as describing Holiday Records as "one of the most important income producers in the Audifidelity family of products", for which see "Holiday to Add Title". Cash Box. Vol. 43, no. 21. October 10, 1981. p. 22.
  82. ^ The four albums issued in 1972 were on the Trip label (with "TLP" catalog numbers); the 1981 re-issues were on the Phoenix 10 label (with "PHX" catalog numbers). The albums were Rare Hendrix (TLP-9500, PHX 320), Roots of Hendrix (TLP-9501, PHX 324), Moods (TLP-9512, PHX 327) and The Genius of Jimi Hendrix (TLP-9523, PHX 330). The 1972 issues were the subject of litigation, for which see "Hendrix Heirs Sue to Remove 4 Disks". Billboard. Vol. 87, no. 6. February 8, 1975. p. 67. It is not clear how this litigation, which did not involve Audiofidelity, was resolved.
  83. ^ All four albums were issued by the British subsidiary as a single 4-LP set, The Genius of Jimi Hendrix (AFE, AFEH1027). The additional US releases were albums that each featured selections from several of the initial four albums. One of them was on Audiofidelity's Image label, Jimi Hendrix (IM 314); another was on the Phoenix 20 label, 16 Great Songs (P20 606). The Audio Fidelity label had three Hendrix cassettes in its Great Artist Series. Titled only as Jimi Hendrix, but with separate volume numbers, their catalog numbers were GAS 703, GAS 704 and GAS 732.
  84. ^ Horowitz, Is (May 30, 1987). "'Hendrix' Damages Allowed". Billboard. Vol. 99, no. 22. p. 86. The 1984 filing of the action does not appear to have been reported in the trade press. The case was the subject of two appeals to the _____, whose rulings are at 746 F.2d 120 (1984) and 818 F.2d 266 (1987). Because these rulings largely address only the legal issues, they do not provide much detail on the factual basis of the allegations. In particular, it is not clear precisely which Audiofidelity releases triggered the lawsuit.
Retrieved from "https://en.wikipedia.org/w/index.php?title=User:NewYorkActuary/sandbox/draft16&oldid=840266711"