Audio Oddities: William S. Hart Seeks a Friend Lost in Alaska (1932)

Audio Oddities: William S. Hart Seeks a Friend
Lost in Alaska (1932)

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In September 1932, old-time cowboy-movie star William S. Hart commissioned Columbia to produce a personal recording. Hart was trying to locate a friend who had gone missing in the wilds of Alaska, and Columbia apparently promised to distribute 100,000 copies of his appeal around the world (or so Hart claimed; if so, most of them have long-since vanished). The results were issued on a little 5½” picture disc that is not easy to find today.

The reverse side was standard Wild West fare, an old tale about Wild Bill Hickok emptying eight shots into eight bad men. But the “A” side, Hart’s appeal for help in locating his lost friend, reveals far more about the man himself. His popularity had waned as younger and more flamboyant movie cowboys like Tom Mix came on the scene, and Hart sounds wistful as he explains that he can no longer make the movies his audiences once craved.

There’s another interesting aspect to this record, for those with a discographical bent. The masters bears the highest numbers found so far in what began as Columbia’s 5½” Little Wonder series in 1914, then later morphed into other uses. The masters were originally recorded sequentially, as P-W 1809 (side 1) and P-W 1810 (side 2).

But for some reason, 1809 was subsequently re-recorded as 1813 — one number higher than the highest reported in Brooks & Sprinzen’s Little Wonder discography. If you’re lucky enough to own a copy of that book (which actually covers the whole 5½” series, not just Little Wonder), you’ll need to pencil-in 1813 at the end; and by all means, let us know if you find any higher numbers.

Equally interesting is the fact that the copies we’ve used here are unauthorized vinyl pressings made surreptitiously at the Columbia plant in 1960, after it was discovered that CBS was planning to scrap most of the acoustic masters. Private collector Bill Moran tapped a factory insider to coordinate pressing of important engendered masters, without the company’s knowledge or authorization, from his wish-list of artists. The records were smuggled out by sympathetic managers in their briefcases. You can read the full story in the next post.

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WILLIAM S. HART: Greetings from Bill Hart

New York: September 8, 1932
Columbia un-numbered custom vinyl pressing
(mx. P-W 1813 – 1)

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WILLIAM S. HART: Untitled

New York: September 8, 1932
Columbia un-numbered custom vinyl pressing
(mx. P-W 1810 – 3)

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Hart’s scarce 1932 5½” picture disc, and one of the unauthorized 1960 vinyl pressings from those masters (see next post), made on a 10″ blank. Engineer’s notes around the outer margin of P-W 1813 read “110 lines – 78 R.P.M – 72 point – recorder # L52 – rerecorded.” (Mainspring Press collection).

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Our thanks to Steve the Record Maven for parting with the vinyls.

 

Article © 2020 by Mainspring Press. All rights are reserved.

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Good Listening • “The Missing Link: How Gus Haenschen Got Us from Joplin to Jazz and Shaped the Music Business” (Archeophone)

Good Listening:

The Missing Link: How Gus Haenschen Got Us from Joplin to Jazz and Shaped the Music Business
(Archeophone 6011)

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If you’ve been following Jim Drake’s Gus Haenschen interview series on the blog, here’s the accompanying soundtrack, on a newly released CD. Archeophone Records has compiled a superb sampling of recordings by Haenschen and some of the bands and singers he oversaw in the studio, along with some interesting related items.

The star attraction is a complete run of Haenschen’s 1916 Columbia Personal Records, including his Banjo Orchestra’s  impossibly rare “Maple Leaf Rag” — a wonderfully relaxed performance that stands in striking contrast to Vess Ossman’s break-neck rendition of a decade earlier. It’s interesting to compare this with recordings of the same piece by Brun Campbell, the only other confirmed Joplin pupil to have recorded it (Haenschen recalled paying Joplin “around $25 a month” for instruction). Unfortunately, the Personal Records were made at a time when Columbia’s recording and pressing quality were at their all-time worst, but Archeophone has done a remarkable job of  recovering what’s there while preserving the integrity of the original recordings.

The rest of the CD is devoted largely to jazz, pop vocal, and dance numbers of 1920–1924 by artists Haenschen recorded for Brunswick, ranging from some fine regional bands captured on their home turf, to the rather dreadful (but historically interesting) Charlie Chaplin–Abe Lyman collaboration. Brunswick’s acoustic recording technology was far superior to Victor’s or Columbia’s and comes through brilliantly through in these clean transfers. A nice bonus is an excerpt from Jim Drake’s 1975 interview with Haenschen and songwriter Irving Caesar.

Archeophone productions are notable for their accompanying booklets, and this one (at a generous thirty pages) is no exception, with an expertly researched and well-written biography and listening guide by Colin Hancock, a detailed discography, and many rare illustrations. For more details, visit Archeophone Records.

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On the Mainspring Press Blog:
James A. Drake: The Gus Haenschen Interviews

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