By March, 1933 it was clear to RCA executives that Bluebird had mass appeal to Depression-era consumers, and the label underwent a transition from a Woolworth's client label to a fully owned and credited RCA brand. The original label design was retained, but RCA and Victor trademarks were added and a light-blue type on buff-colored paper replaced earlier labels. This label remained in use until September, 1937 (and 1939 in Canada), at which time a short-lived "staff" label was introduced. The catalog numbering scheme also changed in March, 1933, and releases issued thereafter had a "B-" prefix (starting at B-5000 in America).
At this point, most 1800-series material was immediately reissued on the "Buff label". In November 1938 numbers jumped from B-7875 to B-10000. At this time, a new label with a simpler design that incorporated both the Victor and Bluebird trademarks was introduced, and remained in use with minor changes into the mid-1940s. In September 1942 it reached B-11594 and then changed to 30-0801. It reached 30-0834 in March 1945, at which time the Bluebird label ended. From 1946 to 1950 some Bluebird recordings were re-released using the original Bluebird serial number on the RCA Victor label. The notation "Bluebird Series" appeared around the rim of the label. In July 1949 the Bluebird label was revived at 31-0001, and a handful were issued over the next few months.
In the 1930s, Bluebird recorded popular dance music,country, blues and jazz, as well as reissuing jazz, gospel and blues items previously released on Victor. Some notable orchestras came to Bluebird from the regular-priced Victor label: Ted Weems, Rudy Vallee, Bert Lown, and Joe Haymes. Bluebird also recorded country artists such as the Monroe Brothers, [Invalid Artist], Bradley Kincaid, and reissued many titles by Jimmie Rodgers and [Invalid Artist]. Many blues artists were brought to the label by talent scout and record producer Lester Melrose. The records were recorded cheaply and quickly, musicians included Big Bill Broonzy, Roosevelt Sykes, Tampa Red, Washboard Sam and Sonny Boy Williamson. They produced a characteristic small band style which became known as the "Bluebird sound" and which, when electric amplification was added, became hugely influential on R&B and early rock and roll records. However, Bluebird all but ceased making blues records in 1942.
Two of the most popular swing bandleaders, Artie Shaw and Glenn Miller, were Bluebird artists starting in 1938. Shep Fields And His Rippling Rhythm orchestra signed with the label as early as 1936. Earl Hines was also a Bluebird artist during the early 1940s. During the WWII years (and the recording ban), Victor reissued hundreds of previously rare hot jazz by artists like Duke Ellington, Jelly Roll Morton, Bennie Moten, McKinney's Cotton Pickers and many others on Bluebird. After World War II, however, Bluebird was discontinued and any popular Bluebird artists were moved up to the RCA Victor label. The Bluebird imprint was later used for jazz releases and reissues, as well as children's records in the 1950s. In the mid-1970s it was reactivated by RCA for a series of 2-LP sets of big band and jazz reissues produced by Frank Driggs.
Bluebird remains active as a jazz label in the CD era, releasing albums from jazzmen like Roy Hargrove, Marcus Roberts, and Dave Douglas and Tom Harrell.