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


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Some Oddball Phonograph Patents (1902 – 1906)

This bizarre phonograph, employing a record and turntable in the form of a truncated cone, was patented by Louis P. Valiquet, of Zonophone fame. One advantage was said to be that the record was less likely to slip on the turntable than a standard flat disc.

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Emile Berliner’s device for increasing volume, employing six synchronized turntables. A later “improvement” stacked the turntables vertically.

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F. F. Shanks of Chicago patented this reproducer-less device consisting of an extended rod that carried the sound vibrations directly from the stylus to an attachment of the user’s choosing (the filing mentions a snare-drum head, banjo, or other stringed instrument), which served as a resonator.

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A more direct approach to musical-instrument-as reproducer, in this case a complete violin. A version of this machine was actually manufactured in France.

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For when the “just stuff a sock in it” approach won’t do, here’s a  marvelous piece of German over-engineering. This sadistic-looking device was patented by Albert Conze of Berlin and specified a muffler-ball of leather, cork, or felt. Edison later employed the same general idea in his Diamond Disc machines, but with the adjusting mechanism neatly tucked away below the bedplate.