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78-RPM AND CYLINDER RECORDS Free Online Articles
CURRENT
ISSUES IN RESEARCH AND DISCOGRAPHY
NEW
THE ARTIFACTS OF RECORDING
HISTORY: CREATORS, USERS, LOSERS, KEEPERS
by Tim Brooks
A report on the resources available to record collectors
and researchers, their accessibility and state of preservation,
the dangers those materials face, and what might be done to ensure
their continued survival. (Courtesy of the ARSC Journal)
NEW JELLY
ROLL MORTON'S PRE-VICTOR BAND RECORDINGS: A COMPARATIVE DISCOGRAPHY
(1923–1926)
by
Allan Sutton
An analysis of conflicting data and questionable sources in published
jazz discographies, using Morton's early Paramount, Okeh, and Autograph
band recordings to demonstrate the challenges facing a new generation
of jazz discographers.
"BIXING"
— MYTHS, LIES, AND POLITICAL CORRECTNESS IN JAZZ RESEARCH
by Malcolm Shaw
What's "Bixing"? It's a common habit in jazz history of
passing off rumor and opinion as fact. It's named for Bix Beiderbecke
because people have probably used more smoke and mirrors to augment
and glorify his particular legend than anyone else's. "Bixing" creates
a folklore tradition that newcomers to jazz collecting often believe
at the expense of truth.
CARUSO
AND DISCOGRAPHY: A CONVERSATION WITH JOHN BOLIG
An interview by Barry Ashpole
The author of Caruso Records: A History and Discography
discusses his research into Enrico Caruso's records, and his views
on the current state of the discographic art, with the editor of
the ARSC Journal.
RE-DATING
THE NEW YORK RECORDING LABORATORIES' L-SERIES MATRIXES
by Alex van der Tuuk
The author of Paramount's Rise
and Fall examines the evidence — ranging from the markings
on issued 78s and test pressings, to dates of historic events, and
even Wisconsin's weather on a given day — to arrive at more accurate
dates for Paramount's legendary Grafton sessions.
RECORD
LABELS AND COMPANIES
NEW THEATER-USE
RECORDS AND THE "TALKIE" TRANSITION
Theater-use
records like Victor's Pict-Ur-Music series bridged the gap between
silent and sound films during the conversion to "talkies" in the
late 1920s and early 1930s.
CAMDEN,
PHILADELPHIA, OR NEW YORK? THE VICTOR STUDIO CONUNDRUM
(1900-1920)
Newly discovered evidence confirms that Philadelphia, not Camden,
was the site of most early Victor recording sessions, and clarifies
the early role of the New York studio.
A CAMDEN CHRONOLOGY: EVOLUTION
OF THE VICTOR TALKING MACHINE CO. COMPLEX (1899–1929)
A year-by-year account of Victor studio and factory construction,
and associated activities, based on the memoirs of recording engineers
Raymond and Harry O. Sooy.
BILLY MURRAY RECORDS: A GALLERY
OF RARE LABELS, 1903–1930
Annotated gallery picturing some of Murray's scarcest records. LATEST
UPDATE: 4/2/2009
THE VICTROLA IN THE RURAL SCHOOLS
(1919)
Excerpts from the 1919 publication, showing the Victor School Machine
in use in country schoolhouses.
EDISON DIAMOND DISC MANUFACTURING
PROCESSES (1920–29)
By Paul B. Kasakove
In July 1920, Paul Kasakove was hired to streamline Edison's Diamond
Disc production. Here, he recalls the disc-manufacturing process
in detail.
EDISON DISC RECORD ODDITIES:
PROTOTYPES AND SPECIAL-USE RECORDS AT THE EDISON NATIONAL HISTORIC
SITE
An illustrated
sampling of ENHS rarities, including the Selectatune and Slogan
Reproducing Machine records and a Brunswick-Edison hybrid disc.
EDISON DISC RECORD AND
PHONOGRAPH SALES STATISTICS (1912–28)
Courtesy of Ray Wiles and the Edison National Historic
Site
Annual Diamond Disc record and phonograph sales totals, from the
original Edison files.
"DISCONTINUING RECORD
PRODUCTION" — DOCUMENTS FROM THE FINAL DAYS OF EDISON’S PHONOGRAPH
DIVISION
Courtesy of Ray Wiles and the Edison National Historic
Site
A selection of internal memos and reports documenting the closure
of Edison’s recording operations during October–November 1929.
IN
THE EDISON STUDIOS (1905-28)
Courtesy of Ray Wiles and the Edison National Historic
Site
Rare photographs and blueprints of Edison's various recording studios
THE SEARS-ROEBUCK LABELS: AN
ILLUSTRATED HISTORY (1905–50)
Sears built its reputation by offering major manufacturers’
good under its own cut-rate brands, and phonograph records were
no exception.
"A MINIATURE CONCERT"
— THE EARLIEST ISSUED VICTOR ELECTRICAL RECORDINGS
The Victor Talking Machine Co. experimented with electrical recording
as early as 1922 but did not produce a usable electrical recording
until February 26, 1925. On that day, a test of old vs.
new systems yielded the first Victor electrical recordings to be
accepted for release.
THE BIRTH OF HOME THEATER: FILMOPHONE,
CINE-TONE, AND THE HOME-TALKIE FILMS AND RECORDS (1927–29)
Home theater is nothing new. After several similar ventures failed,
Home-Talkie films and synchronized records finally gave movie fans
a way to watch sound films by major vaudeville stars in the comfort
of their homes.
THE HIT OF THE WEEK STORY: A HISTORY
OF DURIUM PRODUCTS
By Allan Sutton
Durium's 15˘ Hit of the Week records were the perfect product for
the Depression. But the company faced many setbacks, including a
threatened sale of its trade secrets to RCA, before finally defecting
to England.
SEE BEE: PIONEER BLACK RECORD LABEL
OF THE 1920s
See Bee is remembered
as the label that recorded Marcus Garvey in 1922, but it also tried
unsuccessfully to emulate Black Swan, producing gospel and dance
band records before quietly disappearing.
MARSH LABORATORIES: A PRELIMINARY
DISCOGRAPHY (1922–1925)
A collaborative project
A discography-in-progress for Autograph and other labels produced
by Orlando Marsh, the self-proclaimed "Originator of Electrical
Recording." UPDATED REGULARLY
WHEN DID MARSH LABORATORIES
BEGIN RECORDING ELECTRICALLY?
Orlando Marsh was the first to produce and issue electrical recordings
on a regular commercial basis, but the date at which he first used
his system has long been debated. A recent discovery may answer
that question.
PARAMOUNT'S LEGACY: WHAT HAPPENED
TO NYRL'S INVENTORY?
By Alex van der Tuuk
The author of Paramount's Rise
and Fall investigates the destruction of Paramount's masters
and unsold pressings in the 1930s and 1940s, and John Steiner's
revival of the label in 1948.
EDISON'S RED-STAR LABELS
Or, How to Kill Sales With One Simple Memo — An account of Thomas
A. Edison, Inc.'s, 1924 warning to dealers not to order certain
Edison discs.
THE ORIGINS OF OKEH
By Allan Sutton
The label that introduced blues to the world was a long time in
arriving. This account traces Okeh's origins and early development,
from its German roots to its ground-breaking introduction of the
"race record" in the early 1920s.
THE TEN-CENT CARUSO
It was only a snippet, but what more could one ask for a dime? The
story behind Emerson's only release by Enrico Caruso.
THE EMERSON RECORD STORY —
Part 1
Victor Hugo Emerson, creator of the Little Wonder record, left Columbia
in 1915 to challenge them with his own diminutive 78 records. His
company's early days are chronicled in the first part of this series.
THE
ARTHUR FIELDS SONG SHOP AND ARTHUR FIELDS MELODY RECORDS
In 1923 Arthur Fields teamed with the chronically ill-fated John
Fletcher to produce his own Arthur Fields Melody Record label.
SORTING
OUT PURITAN
By Allan Sutton
Paramount's less-glamorous sister label led a checkered past that
continues to challenge discographers and collectors.
EVOLUTION OF THE VICTOR RECORD
LABEL (1900–1905): An Illustrated Guide
VICTOR RECORD SALES STATISTICS
(1901–1941)
THE KIDDIE RECORD WARS (1917–1930)
THE OTHER SIDES OF VICTOR H. EMERSON
JOHN FLETCHER: FROM SOUSA'S BAND
TO BLACK SWAN, AND BEYOND
ODEON RECORDS IN THE UNITED STATES
APPRECIATING MUSIC: GINN & COMPANY'S
SCHOOL 78s
RECORDING
ARTISTS
AMERICAN RECORDING
PIONEER SERIES
The Billy Murray
Pages Latest Updates: June 16, 2009
BILLY
MURRAY ON THE RADIO (1925–42): A HISTORY AND
PROGRAM LISTING
By Anna-Maria Manuel
The original Billy Murray radio webpage, featuring the most accurate and frequently updated listings of Murray's radio broadcasts, all carefully documented from primary-source materials.
A
BILLY MURRAY SCRAPBOOK (1902–53)
Courtesy
of Anna-Maria Manuel, Dick Carty, John Bolig, the late Jim Walsh, and others
Historic photos, ads, and clippings from the collections of
Anna-Maria Manuel, John R. Bolig, and other contributors.
BILLY
MURRAY'S RECORDING CONTRACTS: A CASE STUDY
By
Allan Sutton
Murray's Victor Talking Machine Co. contracts provide
a deeper understanding of his recording career, as well as a
glimpse into the legal workings of the early American recording
industry.
BILLY
MURRAY IN THE MOVIES: Part 1 — The 1928 M-G-M Shorts
Details
of Murray's two single-reelers and synchronized soundtrack discs
with the Eight Victor Artists.
BILLY
MURRAY AND THE "MINIATURE CONCERT" — The Earliest
Issued Victor Electrical Recording
The
Victor Talking Machine Co. had been experimenting with electrical
recording since 1922, but to no avail until February 26, 1925.
On that day, a test of acoustic vs. electric systems
produced the first Victor electrical recordings accepted for
issue, featuring Murray and the other members of the Eight
Popular Victor Artists.
BILLY
MURRAY'S LAST RECORDS, PART 1: The 1940-41 Bluebird Sessions
An
annotated discography, compiled from the RCA recording ledgers.
BILLY
MURRAY'S LAST RECORDS, PART 2: The 1943 Beacon Session
Murray's
two sides with comic Monroe Silver, made for producer Joe Davis
during the AFM musicians' strike, marked the end of Murray's
recording career.
BILLY
MURRAY 78 RECORDS: A COLLECTION OF RARE AND UNUSUAL LABELS (1903–30)
From the collections of Dick Carty, Kurt Nauck, Anna-Maria Manuel, and others
An annotated label gallery picturing some of Murray's scarcest
and most interesting 78 records, from leading collectors.
FOUND:
BILLY MURRAY'S 1918 DRAFT CARD
Anna-Maria Manuel & Allan Sutton
Murray had a hit with "I'd Feel At Home If They'd Let Me
Join the Army," even though he never joined. But
he did register for service, and his draft card includes a full
physical description, including at least one little-known fact.
BILLY
MURRAY AT HOME: The G. G. Bain Photographs at the Library of Congress (1919–20)
Murray as a gardener, golfer, and handyman at his Long Island
estate, in newly restored scans of the G. G. Bain News Service photos.
NEW BOB
ROBERTS
By
Allan Sutton
The
son of a prominent mime-turned-theatrical manager, Robert A. "Bob" Roberts
recorded prolifically before finding success on the West Coast
vaudeville circuits.
NEW CAL
STEWART'S RECORDING CONTRACTS
By
Allan Sutton
Cal
Stewart's impact on the early recording industry went far beyond
the success of his "Uncle Josh" records. His insistence on being
paid royalties, at a time when other studio artists accepted modest
flat rates as a matter of course, was revolutionary for its day.
UNCLE
JOSH'S PUNKIN CENTRE STORIES: CAL STEWART AS WRITER,
PUBLISHER, AND ENTREPRENEUR
Behind Cal Stewart's country-bumpkin stage persona was a successful
author and businessman. His Punkin Centre Stories, initially self-produced, later passed through the hands of multiple publishers.
A
PREHISTORY OF ADA JONES (1889–1905)
By Allan Sutton
Before she was a phonograph star, Ada Jones led a checkered career,
singing in Broadway flops and dime museums, and sharing billing
with "The Eight Fat Women" and "Signor Monstrom’s Troupe of Boxing
Monkeys."
ADA
JONES: BLUE AMBEROL CYLINDEROGRAPHY
Second in a new series of cylinderographies devoted to early studio
artists, using original Edison file data and other primary-source
materials.
STEVE
PORTER, GLOBAL ENTREPRENEUR
Stephen Carl Porter was hardly the dimwitted bumpkin he liked
to portray on records. From his pioneering work in India as a
recording engineer to his successful Port-O-Phone hearing-aid
business, Porter was a far more ambitious and accomplished man
than his records might lead one to believe.
THE
SCANLAN SCANDAL: THE REST OF THE WALTER VAN BRUNT STORY
The saga of Walter Van Brunt's reinvention as "'Walter Scanlan,"
his rise to fame in the theatrical world, and the bigamy charge
that made national headlines.
VICTOR’S
SINGING EXECUTIVE: HARRY MACDONOUGH
Record buyers had no idea that singing was a sideline for tenor
Harry Macdonough, who in real life was Victor Talking Machine
Coompany executive John S. Macdonald.
JACK
KAUFMAN’S PERSONAL SCRAPBOOK (1910–25)
Courtesy
of Phil Kaufman
Rare Kaufman Brothers photos and memorabilia (1910–25) from Jack
Kaufman's rock-legend grandson Phil "The Road Mangler"
Kaufman
THE
KAUFMAN BROTHERS: A PREHISTORY OF PHIL, JACK, AND IRVING
By
Allan Sutton
The Kaufman Brothers were a hit in vaudeville long before they
made their first records.
ARTHUR
FIELDS: A BLUE AMBEROL CYLINDEROGRAPHY
First in a new series of cylinderographies devoted to early studio
artists, using original Edison file data and other primary-source
materials.
FLO
BERT: A CASE OF DISCOGRAPHIC MISTAKEN IDENTITY
Flo Bert and Florence-Cole Talbert were not the same individual,
the claims of two eminent discographers to the contrary.
A
HISTORY OF THE AVON COMEDY FOUR
The legendary vaudeville team of Smith & Dale scrambled their way
from Bowery saloons to top billing at America's and England's premier
theaters as front-men for the Avon Comedy Four. Irving Kaufman,
Arthur Fields, and Eddie Miller were some of the supporting members
who came and went during the act's long life.
THOMAS
EDISON'S OPINION OF OPERA SINGERS
Courtesy
of Ray Wile
Excerpts from Thomas Edison's personal comments on operatic singers
used in the 1910–1912 experimental disc sessions.
PAUL WHITEMAN, INC.: A SURVEY OF
THE WHITEMAN AGENCY DANCE ORCHESTRAS
When Paul Whiteman’s own orchestra was unable to meet the demand
for appearances and recording sessions in the early 1920s, the band
leader turned entrepreneur and began managing other groups to fill
the gap.
EVERYMAN'S McCORMACK: A JOHN STEEL
BIO-DISCOGRAPHY
John Steel was no John McCormack, although he attempted to emulate
the great Irish tenor. But he was a colorful personality and a major
stage star of the 1920s whose full story is finally emerging.
JAZZ COMES TO NEW YORK (1917):
A GALLERY OF EARLY JAZZ BAND ADS
The Original Dixieland Jazz Band's success at Reisenweber's in 1917
brought an influx of would-be competitors to New York — some historically
significant, some noisy novelty acts, and some not jazz at all.
THE IMAGINARY CARL FENTON: Gus
Haenschen, Rubie Greenberg, and the Conductor Who Never Existed
Brunswick's popular band leader was a fiction — a trade-name entity
that was later sold, and that once even filed for bankruptcy.
UNMASKING THE "WORLD'S GREATEST
MUSIC" SETS (1938–40)
The orchestras on these ubiquitous album sets have long posed a
guessing game for collectors. The first installment of our ongoing
series identifies the source and performers on the initial symphonic
series, as logged in the RCA-Victor files.
PASSING FOR BLACK: DISGUISED
WHITE PERFORMERS ON BLACK SWAN RECORDS
Although Harry Pace claimed his Black Swan records would use only
black talent, many issues were actually by white performers using
the aliases listed here.
BLACK SWAN'S OTHER STARS
Harry Pace set his sights high for his pioneering black-owned and
-operated record label. "While it is true that we will feature
to a great extent 'blue' numbers," Pace told the press, "we
will also release many numbers of a higher standard."
REDISCOVERING SAM MOORE
By Allan Sutton, with Betsy Loar
Sam Moore's 1921 "Laughing Rag" is a pioneering blend
of Hawaiian, ragtime, and Southern folk influences unlike anything
previously recorded. Aside from his guitar work, Moore championed
unconventional instruments ranging from the sublime to the utterly
ridiculous, and for a time even jaded New Yorkers sat up and listened.
PARAMOUNT'S 1929 "MASKED
MARVEL" CONTEST
Blues legend Charley Patton went incognito for his introduction
to Paramount record buyers.
PHOTO
GALLERIES
BROADWAY CANDID: The Stars
Offstage (1915–20)
ENRICO CARUSO: The Bain Photos
(1918–21)
INSIDE THE EARLY RECORDING
STUDIOS
A BILLY MURRY SCRAPBOOK: Rare
Ads, Photos, and Memorabilia (1910–32)
BILLY MURRAY AT HOME: The Bain
Photos (1919–20)
ADA JONES AT HOME: The Bain
Photos
ARTHUR FIELDS AT WORK AND PLAY:
The Bain Photos (1919)
IRVING KAUFMAN AT HOME: The
Bain Photos (c. 1919)
VERNON DALHART AT HOME: The
Bain Photos (c. 1919–20)
PIONEER STUDIO STARS AT WORK
AND PLAY
FREE
ONLINE DISCOGRAPHIES
MAIN DISCOGRAPHY PAGE
ADA JONES: A BLUE AMBEROL CYLINDEROGRAPHY
ARTHUR FIELDS: A BLUE AMBEROL
CYLINDEROGRAPHY
*JAMES REESE EUROPE & THE
HELL FIGHTERS BAND
*MAMIE SMITH
*ORIGINAL DIXIELAND JAZZ BAND
* Indicates Adobe Acrobat Reader is required.
PHONOGRAPHS
AND AUDIO EQUIPMENT
PLAYING CYLINDERS ELECTRICALLY:
The Archeophone and the ACT Reproducer
There's amazing sound in your cylinders, and these two devices can
help you recover it.
BEWARE OF THE CRAP-O-PHONE!
They're counterfeit, they're junk, and they're everywhere — from
eBay (especially eBay!) to upscale antique shops and mail-order
catalogs. Hold onto your wallets until you've read our exposé
of these truly crappy 78 record players.
DEPARTMENTS
DISCOGRAPHIES
Free online discographies of cylinders and 78 records in Adobe Acrobat
format.
THE BLUES ALBUM
An archive of rare traditional blues and race-record memorabilia.
THE MAINSPRING 78 RECORD LABELS
GALLERY
A selection of rare, unusual, and occasionally bizarre 78 record labels,
based on Allan Sutton & Kurt Nauck's American
Record Labels and Companies.
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