Free Download • Emerson Records: The Complete Discography, 1915–1928

Free Download Now Available

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EMERSON RECORDS: THE COMPLETE
DISCOGRAPHY, 1915–1928
Edited and annotated by Allan Sutton

Primary Data Contributors:
William R. Bryant, The Record Research
Associates, and Mark McDaniel

 

The first online version of Mainspring’s Emerson discography, Emerson Records begins with a thorough revision of the original print edition (ten- and twelve-inch issues), incorporating additions and corrections received since its publication nine years ago. To that, we’ve added what was to have been Volume 2, which was still a work-in-progress at the time Mainspring exited the book business:

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All currently confirmed corresponding issues on subsidiary and client labels are included (with takes and label credits noted individually for each record), along with a first attempt to document Emerson masters not issued on the Emerson label, and Emerson’s often-elusive Melodisc releases. Pages are fully searchable, and there are bookmark tabs to guide you to the various sections.

Because no discography of this size and complexity is ever truly “complete,” we will be updating Emerson Records and the other Mainspring online discographies as needed. Documented, verifiable revisions are always welcome and can be e-mailed to:

Download Free for Personal Use Only (PDF, ~5 mb)


Emerson Records is the newest addition to the Mainspring Press Online Reference Library, a free service for collectors and researchers of historic sound recordings.

Files may be downloaded free of charge for personal, non-commercial use only. All are copyrighted material, and unauthorized reproduction, alteration, distribution, and/or commercial use is prohibited. Please be sure to read and abide by the user conditions noted in each file, so that we can continue to offer this service.

Keen-O-Phone / Rex / Imperial Discography – New Version 2.0 Now Available

Keen-O-Phone, Rex, and Imperial Records:
The Complete Discography (1912 – 1918)
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Edited and Annotated by Allan Sutton

Data Compiled by George Blacker, et al.
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New Version 2.0 (Updated 3/18/2002) Is Now Available
for Free Download

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Download New Version 2.0 (PDF, ~ 1 mb)

Free for personal, non-commercial use only

 

Keen-O-Phone, Rex, and Imperial Records is just one of the many titles available for free download in the Mainspring Press Online Reference Library. Browse the Catalog Page for all current offerings in this ever-expanding list of discographies and other reference works for collectors of historic sound recordings, courtesy of some of the leading researchers in the field.

 

New Online Discography: Olympic Records (1921 – 1924)

Olympic Records, 1921 – 1924
A Provisional Discography
by Allan Sutton

 

The Latest Addition to the
Mainspring Press Free Online Reference Library

 

Download OLYMPIC RECORDS, 1921 – 1924  (PDF, ~1mb)
Free to Download for Personal, Non-Commercial Use

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Now long-forgotten, John Fletcher failed at virtually every commercial venture he undertook, and yet he managed to produce some interesting records in the process. The Olympic label would be produced by three different Fletcher-backed ventures in rapid succession, over the span of just four years — including one in which Black Swan’s Harry Pace found himself unfortunately entangled after what seemed like a promising start.

Attempts to produce a definitive Olympic discography have been ongoing since the early 1950s, when a group of collectors and researchers affiliated with Record Research magazine began compiling detailed data on Olympic and related labels from first-hand inspection of the original discs. Black Swan: The Record Label of the Harlem Renaissance (Thygesen, Berresford, and Shor, 1996) included the first commercially published Olympic discography, albeit a somewhat sketchy one. It served well as a very basic starting point, but much work remained to be done. The opportunity to do so finally arose after Mainspring Press acquired the Record Research group’s discographical data, which have now been merged with more recent findings from other equally trustworthy contributors to produce the discography.

The discography contains details of all records originally marketed by the Olympic Disc Record Corporation, Fletcher Record Company, and Capitol Roll & Record Company, including client-label and other derivative issues. It is still very much a provisional discography at this point — a first attempt to sort out and disseminate what is currently known for certain concerning these records. It also identifies and corrects some misinformation found in several well-known jazz and dance-band discographies, which has been debunked through synchronized aural comparisons of the Olympic recordings to supposed matches on other labels.

An introductory essay covers Fletcher’s career during this period and clarifies his business relationship with Harry Pace and the Black Swan operation. Black Swan collectors  will find some fresh surprises, with a number of the Fletcher-period Black Swan issues now definitively traced back to World War War I-era Pathé recordings that found their way onto the label via Fletcher’s old universal-cut Operaphone dubbings. And for newer arrivals to collecting, you’ll find all the information you need to keep you from paying a king’s ransom for “Henderson’s Orchestra” or “Ethel Water Jazz Masters” Black Swans that are really just white dance bands from the Olympic catalog in disguise!

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Enjoy 41,000 Vintage Recordings Free at i78s.org

Enjoy 41,000 Vintage Recordings Free at i78s.org

 

Vintage-record enthusiasts have cause to celebrate with the recent launch of i78s.org, created and hosted by David Giovannoni. Many of you know David for his role in recovering the Scott Phonoautograms (which pre-date Edison’s first recording by nearly two decades) and other important work in the field of early recorded sound.

At the moment there are more than 41,000 digitized discs and cylinders on the site, from David’s own eclectic collection and those of several other advanced collectors, and that number will no doubt increase as others come onboard. You’ll find some exceedingly rare, unusual, and even one-of-a-kind recordings here. Offerings run the gamut from popular mainstream hits to the virtually unknown or just-plain-weird.

Registration is simple, requiring only a valid e-mail address and a password. No personal information is required, and there are no third-party cookies, trackers, spyware, ads, or other such nastiness. Plus, it’s free.

Once you’re registered and logged in, you’ll find a well-designed and relatively intuitive interface. Be sure to take the video tour, on which David walks you through the various screens and reveals some features and settings that might not be immediately apparent. One setting, for example, allows you to switch between three display modes tailored to users with different needs, from those who just want to stream some tunes, to us hardcore types who like to delve into discographical and historical minutiae.

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You can customize your i78s experience through
an array of special settings.

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Navigation is easy once you’ve familiarized yourself with the layout and features. There are multiple search options, and results appear in a menu on the right side of the screen.

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Multiple options make it easy to browse or search the 41,000+ recordings that are currently posted.

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Once you’ve located a record you’d like to hear or know more about, just click on the link, and a window will open on the left side of screen. The upper portion has two tabs by default, one to display the discographic data, and one to display a high-quality label scan. A nice bonus, for selected records, is a third tab marked Supplemental Materials, which displays ancillary items like record sleeves and original documents or advertisements.

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The Supplemental Materials tabs, available for selected recordings, allows you to view ancillary materials like record sleeves, original ads, and related documents.

 

To stream your chosen selection(s), simply click the arrow icon in the lower left-hand panel. You can also save selections to a custom playlist. Transfers have been made at the correct playing speed, which (as most advanced collectors know) often is not 78 rpm — the sort of expertise and attention to detail that’s lacking in similar sites managed by hobbyists or librarians, rather than by experts in the field of early sound recordings.

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Clicking on an item from the search results opens a panel displaying discographical information and label images. Audio files are launched or added to your playlist in the bottom panel, which also allows you to change the playback speed and switch between flat and processed audio mode.

 

An especially useful feature is the ability to switch between flat and processed audio files. For purists and masochists, the flat file reproduces every snap-crackle-and-pop in glorious detail. But if you’re more into enjoyment, the default Processed Audio option removes the worst of the noise, without altering the original sound quality. The transfers are very cleanly done and, for the most part, made from records that are in decent condition considering their age and, in many cases, extreme rarity.

I could go on, but instead, let me urge you to jump over the site ASAP, and start enjoying all the features this remarkable resource has to offer.

—Allan Sutton

Columbia Phonograph Company Window Displays (1904 – 1907)

Columbia Phonograph Company Window Displays
(1904 – 1907)

 

The Lost Art of Window Dressing,
from The Columbia Record

 

 

Columbia Phonograph Co.
Rochester, New York (1906)

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Columbia Phonograph Co.
Cleveland (1906)

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Columbia Phonograph Co.
Langely & Winchell, Boston (1906)

.Columbia Phonograph Co.
Detroit (1906)

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Atlanta (1906)

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Columbia Phonograph Co.
New York (1904)

 

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Cleveland (1905)

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.Columbia Phonograph Co.
Kansas City (1904)

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Columbia Phonograph Co.
Brooklyn (1907), with a poster advertising “A Lemon in the Garden of Love,” by Billy Murray. Although it states “Made on Cylinder Only,” Columbia soon issued Murray’s disc version as well.

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Except where noted, the stores are Columbia’s own retail locations.
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Our thanks to Steve Smolian for the loan of his rare original editions of The Columbia Record.


 

The International Record Company Discography (1905 – 1907) • Free Download

The International Record Company Discography — Second Edition

Free to Download for Personal Use*

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By Allan Sutton
Data Compiled by William R. Bryant and
The Record Research Associates

 

The latest addition to Mainspring’s free Online Reference Library, The International Record Company Discography is a revised and updated version of the 2015 Mainspring Press book (now out of print), with new data from Mark McDaniel, Ryan Barna, David Giovannoni, and other reliable collector-researchers with whom we’re honored to work.

IRC — the recording subsidiary of the Auburn Button Works, which pressed the records — was one of several large operations that infringed the basic Berliner and Jones patents on lateral-cut recording. Like its counterparts, Leeds & Catlin and the American Record Corporation (Hawthorne, Sheble & Prescott), IRC eventually was driven out of business under relentless legal pressure from Victor and Columbia. You can find a detailed history of the company in American Record Companies and Producers, 1888–1950, available from Mainspring Press.

*As with all titles in the Online Reference Library, this one may be downloaded free of charge for your personal use only. It is protected under federal copyright law and subject to the following conditions: Sale or other commercial use is prohibited, as is any unauthorized duplication, e-book or other digital conversion, or distribution via the Internet or by any means (print, digital, or otherwise). Please abide by these conditions to so that we can continue to make these valuable works freely available.

 

Download for Personal Use
(PDF, ~1.5 mb)

 

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A sampling of IRC-produced labels, from the
collection
of Kurt Nauck

100 Years Ago at the Emerson Phonograph Company

100 Years Ago at the Emerson Phonograph Company
By Allan Sutton

Source material courtesy of Doreen Wakeman

 

The autumn of 1920 was a high-water mark for the Emerson Phonograph Company. A year earlier — after five years of producing only small-diameter discs — Victor Emerson had finally decided to take on the major companies, introducing standard ten-inch, full-priced records. Some popular stars and dance orchestras were being signed to exclusive contracts, there were the beginnings of a respectable operatic series, and the company was doing a strong business in records for the immigrant markets. In addition, Emerson had recently introduced a new line of phonographs starting at $80 and topping out at $1,000, a far cry from its first $3 offering of 1915.

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From Magazine of Wall Street (November 27, 1920)

 

Emerson’s facilities at the time were scattered around New York, with an executive suite at 3 West Thirty-Fifth Street, a sales office at 120 Broadway, and a studio at 365 Fifth Avenue. At some point, the decision was made to consolidate at a single location that could also house the company’s flagship phonograph and record store.

With production and optimism at an all-time high, in January 1920 the company signed a twenty-one lease for a building at 206 Fifth Avenue. A long, narrow five-story structure, it extended the full depth of the block, with an additional entrance at 1126 Broadway. It was already an old building, dating to 1856–1857 according to real estate records, but had recently been modernized and given a fresh facade by its new owner, the Emigrant Industrial Savings Bank.

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Emerson’s offices and studio space would be consolidated on the upper three floors, one of which reportedly was given over entirely to recording. The move was completed during February 1920, at which time the record store was still in the early planning stages. Walter K. Pleuthner, a somewhat eccentric painter, architect, and interior designer, was hired for the task.

Pleuthner drafted ambitious plans for a record store and phonograph showroom on the ground level, with entrances on both Fifth Avenue and Broadway. It was an extravagant design, with vaulted ceilings, leaded-glass windows, specially designed chandeliers, individual listening booths, two “cloisters,” and a central staircase leading to a second-floor auditorium, to be called Emerson Hall. The store opened in September 1920 but wasn’t widely advertised until November, when it was featured in a nationwide marketing campaign.

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From Architecture magazine (December 1921).
View full-size floor plan

 

Unfortunately, no one at Emerson foresaw the crippling recession of 1920–1921, which began in the same month the company leased the Fifth Avenue building. Burdened with excess inventory and deeply in debt, the Emerson Phonograph Company was placed in the hands of receivers on December 9, 1920. It carried on, but on a less ambitious scale, buoyed in part by its 1921 introduction of the inexpensive Regal label for the dime- and chain-store trade.

The company continued to operate at 206 Fifth Avenue for nearly two more years, although plans to hold concerts in Emerson Hall apparently never materialized. Victor Emerson resigned in March 1922 and launched a new business, manufacturing and selling blank metal recording discs. Reorganized under new ownership in August 1922, the Emerson Phonograph Company vacated the Fifth Avenue building in October for decidedly cheaper-looking quarters. The Fifth Avenue building still stands today, minus the Emerson logo that once graced its pediment.

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Our thanks for Doreen Wakeman, Victor Emerson’s great grand-daughter, for supplying some of the source material for this article.

 

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© 2020 by Allan R. Sutton. All rights are reserved.

Update: American Record Company Masters on Hawthorne & Sheble’s Star Label

Update: American Record Company Masters
on Hawthorne & Sheble’s Star Label

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The overwhelming majority of Star records were pressed from Columbia masters (see Star Records in Mainspring’s free Online Reference Library). However, a few anomalous issues — presumably pre-dating Hawthorne & Sheble’s switch to Columbia recordings, although their date of production remains unclear — use Hawthorne, Sheble & Prescott’s American Record masters.

These obscure issues retain American Record’s original catalog numbers and, like their counterparts, have rubber-stamped label information. On some specimens, the Star label was pasted over the American Record Company original; on others, the label was affixed directly at time of pressing.

These issues don’t appear in any Star catalog or supplement we’ve seen thus far. The corresponding American Record Company issues were released between March and October 1906.

The latest addition to the list comes to us from Robert Johannesson (Kristianstad, Sweden) — in this case, an operatic recording that is fairly rare in the original American Record Company pressing, and no doubt even rarer as a Star disc.

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Courtesy of Robert Johannesson

 

The American Record–derived Stars appear to be far scarcer than the Columbia-derived Stars. Thus far, only the following have been confirmed by sources we know to be reliable. If you have other examples, we would like very much to hear from you (label scans are appreciated, if possible). You can e-mail us at:

 Star 031317
Cheyenne (Shy Ann)
Billy Murray Acc: Orchestra
Mx: X 837

Star 031368
La Golondrina (The Swallow)

Curti’s Mexican Orchestra (Carlos Curti, director)
Mx: —

Star 031369
El Matador — Paso Doble
Curti’s Mexican Orchestra (Carlos Curti, director)
Mx: —  [ctl. M 5284]

Star 031401
Rigoletto: Monologo

Cesare Alessandroni
Mx: X 196

Star 031406
Himno Nacional Mexicano

A. de G. Abello
Mx: X 777

Star 031432
The Bullfrog and the Coon

Ada Jones
Mx: X 1428  [ctl. M 5299]

 

Full details, including corresponding issues on other labels, can be found in the Star Records discography.

Latest Additions to the Phono-Cut Discography

Latest Additions to the Phono-Cut Discography

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Thanks to Robert Johannesson (Kristianstad, Sweden), we now have additional details for the following issues in The Phono-Cut Discography:

 

Phono-Cut 5182:

I Rosens Doft = side A (mx. 1374 [00])

Trollhättan = side B (mx. 1375 [0])

 

Phono-Cut 5253 (previously unconfirmed issue):

Fogeln’s Visa = side A (mx. 1525 [00])

Stephanie = side B (mx. 1446 [0]; catalog number 5209, on which this also appears, is also in the wax)

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These and other recently received additions will be incorporated in our next full revision of the discography (V.3), tentatively scheduled for early November. Our thanks for all who have taken the time to respond.

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It now appears almost certain that the “0” characters following many of the master numbers are take indicators. If so, that raises the question of whether “0” indicates take 1, or the absence of “0” indicates take 1 (in which case, “0” would be take 2, “00” take 3, etc. — similar to Gennett’s use of no letter for take 1, “A” for take 2, etc.). The relative rarity of “000” markings suggests the latter, but that is still just a guess at this point.

Browse the Mainspring Press Online Reference Library for more discographies, all free to download for personal, non-commercial use.

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Columbia Marconi-Type Pressings in Chile (Fonografía Artística Records)

Columbia Marconi-Type Pressings in Chile
 By Renato D. Menare Rowe
(Santiago, Chile)

 

 

Related Article: The Marconi Velvet Tone Story

 

In Chile, the pioneer of sound recording, on cylinders and later on discs, was Efraín Band, creator and owner of the label Fonografía Artística. Some of Efraín Band’s Chilean recordings were pressed by Columbia on flexible discs (Marconi Velvet-Tone type), with the label Fonografía Artística. Some were coupled with original Columbia recordings of Mexican music.

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One of Band’s own standard shellac pressings (top), and a flexible version of the same record, pressed by Columbia.

 

Ephraim Band’s normal shellac pressings were announced at first, giving the title, and the phrase “propiedad de la casa Efraín Band” (“ownership of the Ephraim Band house”). Band’s recordings pressed by Columbia were also announced, but indicating only the title, for which a different matrix was recorded by Band. The numbering of shellac recordings was four figures, and the flexible recordings were the same, but with a zero in front.

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The following flexible Marconi-type discs were pressed by Columbia, from masters in their Mexican series, for sale in Chile on the Fonografía Artística label. The reverse sides are Band’s own recordings. We would be interested in hearing from anyone who has other confirmed examples.

 

010033-1-3    (Mx 5516)

La trigueñita – Canción popular
Maximiano Rosales
FA 010033
            (Original  Columbia C177 –  c. 1903–1908)
            Rev.: 02197 (02197-1-1)   El cazador – Cueca

 

10035-3-1   (Mx 5521)

Levántate vieja modorra – Canción popular
Maximiano Rosales y Rafael Herrera Robinson
FA 010035
            (Original  Columbia C195 –  c. 1903–1908)
            Rev.: 02014 (02014.1.1)   El paseo en carreta

 

010041-4-2    (Mx 5576)

El amor y el desafío – Jota mexicana
Maximiano Rosales y Rafael Herrera Robinson
FA 010041
            (Original  Columbia C194 –  c. 1903–1908)
            Rev: 02011 (02011-1-1)   Por amor cantan las aves – Tenor

 

010053-4-2    (Mx 5482)

Aires Nacionales Nº 1 (Miguel Ríos Toledano)
Maximiano Rosales y Rafael Herrare Robinson
FA 010053
            (Original Columbia C146 – c. 1903-1908)
            Rev.: 02155 (02155.1.1)   El torito guapo – Cueca

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The South American Connection: Efraín Band’s Early Record Piracy Operation

The South American Connection: Efraín Band’s
Early Record Piracy Operation

 

The following translated excerpt from Efraín Band y los Inicios de la Fonografía en Chile, by Francisco Garrido Escobar and Renato D. Menare Rowe, exposes an early record-pirating operation in Santiago, Chile.

Band, who was also a legitimate record producer, obtained his pirated masters by electroplating other companies’ commercial pressings. Although the records he pressed from these masters are not known to have been marketed in the United States (where similar operations had been shut down earlier, by court order), they sometimes turn up here, usually to the bafflement of American collectors.

Our thanks to Renato D. Menare Rowe for permission to quote from this fascinating work. Read the complete article.

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Efraín Band employed a very simple method of illegally copying other companies’ records. It consisted of electroplating a regular commercial pressing to obtain a negative metal stamper from the disc, which could be used to press numerous shellac copies. While the resulting copies lacked the same quality as the originals, the advantage for Band was that he didn’t need to hire artists, and could sell these records at a much lower price than the imported records from which they were copied. In addition, Bain placed popular selections on each side, rather than coupling a popular selection with another that was not so well known, as the major companies used to do.

Among other examples of discs pirated by Efraín Band, it is worth highlighting Fonotipia Nos. 39046 and 39056, which coupled Charles Gounod’s “Ave Maria” Charles Gounod and “The Holy Book,” respectively, both by Giannina Rus. These appeared on a record which on one side has a World Records label 2805, and on the other corresponds to an Eagle Disc No. 2804, without indication of composers or artists. The fact that this record has both labels allows us to directly connect both labels with the same manufacturer.

Because this activity bordered on the illegal, the artists and composers usually were not shown on the labels, which were limited to indicating the rhythm or nature of the musical piece. It was not unusual that a “Tenor” turned out to be a great baritone, or that a “Tiple” was actually an internationally renowned mezzo-soprano. As can be seen, Band’s phonographic production was not limited to Chilean  repertoire, but covered all type of music.

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Band left tell-tale original markings clearly visible in his early pirated copies. These examples are from electroplated copies of Victor (top and center) and Gramophone Company (bottom) commercial pressings. In later years, however, he effaced the original markings.

 

In those years the main commercial house of Efraín Band was located in Calle Estado No. 359. However, the pirated discs were mostly marketed through traveling salespeople, who worked on commission. They toured provincial towns with a briefcase with “the latest news.” As one of those salespeople recalls, “I I sold him a lot of records and he paid me a good commission. I went out for a walk with a special briefcase. Once my briefcase was opened I sold all the records.”

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The Águila discs co-existed with another label created by Efraín Band, called Mundial Record. He then created the Mignon label, which was very short-lived. Later, these records were replaced by a new label called Royal Record, which bore a red label with gold lettering and a cat figure.

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The Royal Record labels boasted of international awards. The last to appear were Radio-Tone records, whose labels and envelopes claimed they were electrically recorded. Radio-Tone records remained in production for a long period, finally concluding in 1936 with the death of Efraín Band.

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On the oldest specimens of these discs, today called “pirates,” it is possible to distinguish in the wax the catalog numbers (and in some cases, even the matrix numbers) of the original recordings, which has allowed us to identify them fully. However, in later productions, like Radio-Tone, these numbers were carefully erased, along with any other evidence that would allow their later identification.

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Early Records Pirated by Efraín Band:
A Representative Listing
Compiled by Renato D. Menare Rowe
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Editor’s Note: Titles and descriptions are shown verbatim and unedited. All pressings are double-sided, with reverse-side numbers indicated, “Rev.” The records were issued in Chile on the following labels:

AG = Disco Águila
FA = Fonografía Artística
MI = Mignon Record
MU = Mundial Record

Discographical information (catalog and matrix numbers, and recording dates) has been supplemented in some instances with data from Alan Kelly and John R. Bolig.

 

 

2802   (FA)    Rev.: 2803

Tosca – E lucean le stelle – Tenor con acompañamiento de orquesta.

Enrico Caruso, con orquesta

   Victor 87044 (Mx. B-8346) — Nov 6, 1909

 

2803   (FA)    Rev.: 2803

Manon – Il sogno – Tenor con acompañamiento de orquesta.

Enrico Caruso, con piano

   Victor 81031 (Mx. B-1001) — Feb 1, 1904

 

2834   (AG)   Rev.: 2835

Rigoletto – Questa o quella – Tenor

Enrico Caruso, ac. Piano

   Victor 81025 (Mx. B-994) — Feb 1, 1904

 

2835   (AG)   Rev.: 2834

Rigoletto – La donna è mobile – Tenor

Enrico Caruso, ac. Orquesta

   Victor 87017 (Mx. B-6033) — Mar 16, 1908

 

2839   (MU)    Rev.: 2840

Mignon (Thomas) Ah, non credevi tu

Fernando de Lucia 

   Gramophone 2-52518 (Mx. 8054b) — May 1906

 

2840   (MU)   Rev.: 2839

Mignon (Thomas) La tua bell’alma

Fernando de Lucia

   Gramophone 2-52475 (Mx. 7342b) — 1905

 

2842   (AG)   Rev.: 2872

El Guaraní (Gomes) Sento una forza indomita

Giannina Russ – Gino Martínez-Patti.

   Fonotipia 39797

 

2844   (AG)   Rev.: 2845

Madama Butterfly [Tu, tu piccolo iddio]

Geraldine Farrar

   Victor 87030 (Mx. B-8270) — Oct 2, 1909

 

2845   (AG)   Rev.: 2844

Cavallería rusticana – Siciliana

Enrico Caruso

   Gramophone 53418-XIV (2876b) — Nov 30, 1902

 

2846   (AG)   Rev.: 2848

Cavallería rusticana – Brindis

Enrico Caruso

   Gramophone 52193-VII (Victor Mx. B-2344, as A2344) —
Feb 27, 1905

 

2848   (AG)– Rev.: 2846

Mefistofele – Giunto sul passo

Enrico Caruso

   Gramophone 52347-X (Mx. 1787) — Apr 11, 1902

 

2855   (AG)   Rev.: 2870

Aida – Celeste Aida – Tenor

Alessandro Bonci

   Fonotipia 39695 (Mx. Xph-1985) – 1905

 

2870   (AG)   Rev.: 2855

Fausto – Serenata – Bajo

Tu che fai l’adormentata

Adamo Didur

   Fonotipia 39486 – Feb 23, 1906

 

2872   (AG)   Rev.: 2842

Mefistofele (Boito) – Ave Signor

Nazareno De Angelis.

   Fonotipia 62176

 

2920   (MI)   Rev.: 2923

Il trovatore – Miserere

Enrico Caruso

   Victor 89030

 

2923   (MI)   Rev.: 2920

I pescatori di perle – Del tempio al limitar

Caruso y Ancona

   Victor 89007 (Mx. C-4327) — Mar 24, 1907

 

3425   (AG)   Rev.: 3424

La Casta Susana – Vals

Banda Rodríguez, Cond Walter B. Rogers

   Victor 65326-B — 1913

 

3439   (AG)   Rev.: 3823

Mariette

Victor Military Band

   Victor 17281-A (Mx. B-12854) — Jan 27, 1913

 

3620   (MU)    Rev.: 3622

Vieni sul mar – Tenor – Rep. Italiano – Orquesta.

Enrico Caruso, con orquesta

   Victor Mx. B-23139 – Sep 8, 1919

 

3622   (MU)    Rev.: 3620

Manon – Il sogno – Rep. Italiano – Orquesta.

Tito Schipa, con orquesta

   Victor Mx. B-26140 – May 2, 1922

 

3624   (MU)   Rev.: 3625

Granadinas – Canción

Tito Schipa

   Victor 66039 (Mx. B-26108) — Feb 3, 1922

 

3625   (MU)    Rev.: 3624

A la Orilla de un Palmar – Canción

Tito Schipa

   Victor 992 (Mx. B-27599) — Mar 12, 1923

 

3627   (MU)    Rev.: 3630

Rimpianto (Toselli)

Beniamino Gigli

   Victor 66102 (Mx. B-26167) — Sep 25, 1922

 

3630   (MU)    Rev.: 3627

Padre nuestro – Tango

Carlos Gardel

   Odeon 18078-A (Mx. 1485) 

 

3823   (AG)   Rev.: 3439

Whispering

Paul Whiteman Ambasador [sic] Orch

   Victor 18690-A (Mx. B-24393) – Aug 23, 1920

 

3836   (AG)   Rev.: 3837

Apple Blossoms – One step

Joseph C. Smith’s Orchestra

   Victor 18646-A (Mx. B-23396) – Dec 26, 1919

 

3837   (AG)   Rev.: 3836

Arrah Goon [sic: Go On] – One step

Victor Military Band

   Victor 18082-B (Mx. B-17818) – Jun 8, 1916

 

3849   (AG)   Rev.: 3855
3849   (MU)   Rev.: 3855

My Man – Fox trot

Orquesta (Paul Whiteman & his Orchestra)

   Victor 18758 (Mx. B-25028) – Apr 4, 1921

 

3855   (MU)   Rev.: 3849

Cuentos de Hoffmann

Orquesta Rep. Dancing. Solo de violín

   Victor — 1916

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Renato D. Menare Rowe is a genealogist and a researcher and collector of historical recordings living in Santiago, Chile.

Francisco J. Garrido Escobar is an archaeologist and graduate in social anthropology (Universidad de Chile) and curatorial advisor of the Museum of Science and Science and Technology of Santiago.

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Latest Updates and Revisions to Our Online Publications (Aug 19, 2020)

Latest Updates and Revisions to
Our Online Publications
(Aug 19, 2020)

 

The publications referenced below can be downloaded free of charge, for personal use only, on the Mainspring Press Online Reference Library page.

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VICTOR 1904 MONTHLY SUPPLEMENTS

Pages 6–7 (June and July 1904) and 4–5 (September and October 1904) were shown incorrectly in the original posting. These have now been corrected, and the files are available for download. Our thanks to Joseph Barganski for reporting the problem.

 

Download Corrected Pages Only (pdf, ~5 mb)

Download Complete Corrected File (pdf, ~41 mb)

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STAR RECORDS DISCOGRAPHY

 

Steve Smolian has submitted the following revisions from first-hand inspection of the discs, both of which he believes to be by tenor Anton Moser.
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Star 2201
Change entry: The Parvis recording currently listed (sung in Italian) was reported anecdotally and is unconfirmed. Steve’s confirmed copy of Star 2201 is the same selection but is sung in German, possibly by Moser (source issue not yet determined).

Star 3318
Add entry: “Trompeter von Sackingsen: Ihr heisset mich Willkommen” (possibly Moser, sung in German; source issue not yet determined). We have also located a confirming listing in a recently acquired Star catalog that was not accessible at the time the discography was originally compiled.

These will be added to the present file the next time it is fully updated.

 

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NATIONAL MUSIC LOVERS & NEW PHONIC RECORDS

J. E. Knox has corrected the following entry and supplied supporting photo and sound files. This will be revised in the present file the next time it is fully updated:

 

New Phonic 1222
“Rose of the West” is a fox trot, not a waltz as stated in the current listing, and the uncredited vocalist is Leroy Montesanto.

Mr. Knox notes that this recording was also released on the reverse side of a special Romeo advertising record: “The Romeo sample record’s A side is an advertisement for Kress Stores. At its end, the announcer states, in distinct Brooklyn-ese, “On the re-voice side of this rekkid you will find one of the latest hits…” It’s hard to think of ‘Rose of the West’ in that regard!”

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We welcome additions and corrections to our online publications, from your first-hand inspection of the original records or ancillary materials, preferably with supporting photos or scans (but please — no anecdotal, speculative, or second-hand information). You can e-mail us at:

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The Victor Pict-Ur-Music Story & John Bolig’s Victor Film and Theater Records Discography (Free Download)

Latest Addition to the Mainspring Press Free
Online Reference Library:

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Download Free Personal-Use Edition (pdf, ~1.5 mb)

 

Buy Direct from Mainspring Press:

Winner of the 2019 ARSC Award for Excellence in Historical Recorded-Sound Research, this unique volume contains more than 1,100 entries covering the record companies, independent studios, and individual producers — and the thousands of disc and cylinder brands they produced for the commercial market (including consumer, jukebox, and subscription labels) — from the birth of commercial recording to the start of the LP era.

“A mighty fortress is this book – and it guards an accumulation of knowledge of unparalleled proportions.”
– Tim Fabrizio, ARSC Journal

American Record Companies and Producers will forever be the ultimate resource.”
– John R. Bolig, author of The Victor Discographies

“I am in awe of the scope, breadth, detail
and documentation.”

– James A. Drake, author of Ponselle: A Singer’s Life and Richard Tucker: A Biography


DETAILS AND SECURE ONLINE ORDERING

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New Discography — Star Records (Hawthorne & Sheble) • Free Download

Free to Download for Personal Use

STAR RECORDS (HAWTHORNE & SHEBLE)
The Complete Discography
Data Compiled by William R. Bryant
Edited and Annotated by Allan Sutton

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When the Hawthorne & Sheble Manufacturing Company launched its Star label in 1907, it turned to Columbia as its source of masters — a seemingly ironic move, since Columbia had just forced Hawthorne, Sheble & Prescott’s American Record Company out business. But there’s more to the story, as you’ll see in the introduction to this new discography.

Other than a few relabeled American Record Company discs, Star records were legal reissues of Columbia recordings, pressed in Hawthorne & Sheble’s own plant using Columbia masters from which all tell-tale markings had been effaced, and new catalog numbers substituted. Until 1909, the vast majority showed no artist credits on the labels or in the catalogs.

The discography includes artist identifications, as determined  from the corresponding Columbia releases; the original Columbia source issues and release dates; the Star release dates, taken from the original catalogs and supplements; corresponding H&S pressings on labels like Busy Bee and Harmony; and a listing of confirmed American Record relabelings.

You’ll also find a timeline covering the history of Hawthorne & Sheble from 1893 through 1910, and a selection of Star record and phonograph advertisements.

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Download Acrobat / Reader file (pdf) (~ 4.5 mb)
(Free for Personal Use — Print-Restricted)

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Star Records is a part of the free
Record Collectors’ Online Reference Library,
courtesy of Mainspring Press, the leader in forensic discography.

This copyrighted publication is intended for personal, non-commercial use only. Unauthorized reproduction or distribution by any means, including but not limited to e-book or online database conversion, is prohibited. Please read, and be sure to observe, our terms of use as outlined in the file, so that we can continue to offer these free publications.

 

Buy Direct from Mainspring Press:

Winner of the 2019 ARSC Award for Excellence in Historical Recorded-Sound Research, this unique volume contains more than 1,100 entries covering the record companies, independent studios, and individual producers — and the thousands of disc and cylinder brands they produced for the commercial market (including consumer, jukebox, and subscription labels) — from the birth of commercial recording to the start of the LP era.

“A mighty fortress is this book – and it guards an accumulation of knowledge of unparalleled proportions.”
– Tim Fabrizio, ARSC Journal

American Record Companies and Producers will forever be the ultimate resource.”
– John R. Bolig, author of The Victor Discographies

“I am in awe of the scope, breadth, detail
and documentation.”

– James A. Drake, author of Ponselle: A Singer’s Life and Richard Tucker: A Biography


DETAILS AND SECURE ONLINE ORDERING

 .

Two New Online Publications from John Bolig (Free Downloads)

Download Free for Personal Use

Two New Online Publications from John Bolig

 

HISTORIC MASTERS:
An Updated Discography
John R. Bolig

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The Historic Masters program was launched in the early 1970s by the British Institute of Recorded Sound, in affiliation with EMI, to produce new pressings of long-deleted or previously unissued operatic recordings. It made available some of the rarest recordings of the early 78 era, pressed directly from the original metal parts on high-quality vinyl. Now out of print, Historic Masters releases are sought out by collectors as a less costly (and usually less noisy) alternative to the scarce original editions, or in some cases, as first editions of previously unissued material.

Unfortunately, the care that went into producing the pressings wasn’t always reflected in the label copy, which can contain errors and omissions in regard to the discographical data. John Bolig remedies that situation in his new discography, drawing on the original Gramophone Company file data. Titles are given in their full and correct form, in the language in which the selections were sung — a practice not always observed on the HM labels. In addition, correct playing speeds have been revised, where needed, with the assistance of Grammy Award nominee Ward Marston.

 

Download Acrobat / Reader file (pdf) (~ 1 mb)
(Free for Personal Use)

Publication © 2020 by John R. Bolig.
All rights are reserved.

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THE VICTOR MONTHLY SUPPLEMENTS:
Volume 1: 1904
From the collection of
John R. Bolig

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Victor’s monthly catalog supplements are a treasure trove of discographical and historical data, photos, and biographical snippets. Mainspring is digitizing these remarkable pamphlets, beginning with the 1904 run. The 1905 and 1906 editions are currently in preparation for release later this summer.

 

Download Acrobat / Reader file (pdf) (~40 mb)
(Free for Personal Use)

Compilation and digital restorations © 2020 by Mainspring Press LLC. Images may be printed out for personal use. Resale or other commercial use is prohibited.

 


These publications are part of the free
Record Collectors’ Online Reference Library,
courtesy of Mainspring Press, the leader in historical recorded-sound research.

These copyrighted publication are intended for personal, non-commercial use only. Unauthorized reproduction or distribution by any means, including but not limited to e-book or online database conversion, is prohibited. Please read, and be sure to observe, our terms of use as outlined in the file, so that we can continue to offer these free publications.

 

Buy Direct from Mainspring Press:

Winner of the 2019 ARSC Award for Excellence in Historical Recorded-Sound Research, this unique volume contains more than 1,100 entries covering the record companies, independent studios, and individual producers — and the thousands of disc and cylinder brands they produced for the commercial market (including consumer, jukebox, and subscription labels) — from the birth of commercial recording to the start of the LP era.

“A mighty fortress is this book – and it guards an accumulation of knowledge of unparalleled proportions.”
– Tim Fabrizio, ARSC Journal

American Record Companies and Producers will forever be the ultimate resource.”
– John R. Bolig, author of The Victor Discographies

“I am in awe of the scope, breadth, detail
and documentation.”

– James A. Drake, author of Ponselle: A Singer’s Life and Richard Tucker: A Biography


DETAILS AND SECURE ONLINE ORDERING