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78 Rpm Recordings
78 RPM RECORDINGS 216 Albums 10” Shellac: 196 12” Shellac: 12 10” Vinyl: 8 contact: [email protected] AMBROSE & HIS ORCHESTRA My Prayer / South Of The Border DECCA 2732 (1939) 10 inch Shellac, 2 tracks 01 My Prayer 02 South Of The Border ALBERT AMMONS AND HIS RHYTHM KINGS Twelfth Street Boogie / Kilroy Boogie MERCURY 8040 (1947) 10 inch Shellac, 2 tracks 01 Twelfth Street Boogie 02 Kilroy Boogie THE ANDREWS SISTERS Open Door - Open Arms / The Blossoms on the Bough DECCA 24822 (1949) 10 inch Shellac THE ANDREWS SISTERS; GUY LOMBARDO AND HIS ROYAL CANADIANS Winter Wonderland / Christmas Island DECCA 23722 (1946) 10 inch Shellac, 2 tracks 01 Winter Wonderland 02 Christmas Island THE ANDREWS SISTERS; VIC SCHOEN AND HIS ORCHESTRA Rum And Coca-Cola / One Meat Ball DECCA 18636 (1945) 10 inch Shellac, 2 tracks 01 Rum And Coca-Cola 02 One Meat Ball ANDY RUSSELL Love of My Life / Blue Shadows on the Trail CAPITOL RECORDS 15063 (1948) 10 inch Shellac VERNON ARCHIBALD The Heart Bowed Down / In Happy Moments COLUMBIA A5240 (1910) 12 inch Shellac LOUIS ARMSTRONG; JIMMY DORSEY Dipper Mouth Blues / Save It Pretty Mama DECCA 25155 10 inch Shellac Jazz JOHNNY AUGUST; DANNY MARTELL; SHELLEY GREY Why Don't You Believe Me IRENE RECORDS I-541 10 inch Vinyl, 0 tracks JOHNNY AUGUST; DANNY MARTELL; SHELLEY GREY; JACK SCHAEFER Somewhere Along The Way IRENE RECORDS I-537 10 inch Vinyl, 0 tracks GENE AUSTIN Ramona / Girl Of My Dreams VICTOR 21334 (1928) 10 inch Shellac, 2 tracks 01 Ramona 02 Girl Of My Dreams LINDA BAPTISTA Madalena / Filosofia Barata RCA VICTOR 80-0713 10 inch Shellac Samba CHARLIE BARNET AND HIS ORCHESTRA Over The Rainbow / Pan Americana CAPITOL RECORDS 57-744 10 inch Shellac Instrumental DAN BELLOC SEXTET; JERI SHANNON; THE NIGHTWINDS Meet Mr. -
Billboard 1949-01-22B.Pdf
SECTION TWO A SPECIAL SECTION FOR THE JUKE BOX OPERATOR JANUARY 22, 1949 UP YOUR TAKE By Increasing Your there's gold in them than hits - and CAPITOL has 'em- LOOK! 4, 'THE PUSSY CAT SONG 'POWDER YOUR FACE WITH SUNSHINE 'FAR AWAY PLACES' Nyow! Nyol Nyow!;' (SMILE! SMILE! SMILE!)' MARGARET WHITING and The Crew Chiefs JO STAFFORD and GORDON MacRAE With Orchestral Accompaniment And THE STARLIGHTERS with Orchestra 'ABSENCE MAKES THE HEART GROW FONDER (For Somebody Else)' 'MY OWN TRUE LOVE' 'I'LL STRING ALONG WITH YOU' DEAN MARTIN JO STAFFORD and GORDON MacRAE MARGARET WHITING With Paul Weston and His Orchestra With Frank DeVol and His Orchestra With Paul Weston and His Orchestra Capitol Record 15351 Capitol Record 15342 Capitol Record 15278 'WOULD YA? (eYah- eYah- eYah)' 'LAVENDER BLUE (Dilly Dilly)' 'YOU WAS' 'THE MATADOR' PEGGY LEE and DEAN MARTIN 'LET'S FLY' With Orchestra JOHNNY MERCER and THE PIED PIPERS JACK SMITH with The Clark Sisters 'SOMEONE LIKE YOU' With Pout Weston and His Orchestra Sheldon and His Orchestra And Earl PEGGY LEE with Orchestra Capitol Record 15337 Capitol Record 15225 Capitol Record 15340 'IS IT YES?' 'BRUSH THOSE TEARS FROM YOUR EYES' 'I LOVE YOU SO MUCH IT HURTS' 'ROSITA AND JOE' 'ROSE OF OLD PAWNEE' 'I DON'T WANT YOUR SYMPATHY' ANDY AND DELLA RUSSELL FOY WILLING JIMMY WAKELY With Orchestra And His Riders of The Purple Sage (Vocal by Jimmy Wokely with Cowboy Band) Capitol Record 15343 Capitol Record 15290 Capitol Record 15243 'MY DARLING, MY DARLING' THESE AND MANY MORE JO STAFFORD and GORDON MacRAE BOOTH #78 And THE STARCIGHTERS with Orchestra GREAT NEW RECORDINGS 'GIRLS WERE MADE TO TAKE COIN INDUSTRY CONVENTION ON THE WAY TO YOU! CARE OF BOYS' JANUARY 17-18-19 JO STAFFORD and GORDON MacRAE Capitol Record 15270 "BANK ON CAPITOL IN '49". -
Recorded Music in American Life: the Phonograph and Popular Memory, 1890–1945
Recorded Music in American Life: The Phonograph and Popular Memory, 1890–1945 William Howland Kenney OXFORD UNIVERSITY PRESS recorded music in american life This page intentionally left blank RECORDED MUSIC IN AMERICAN LIFE The Phonograph and Popular Memory, 1890–1945 William Howland Kenney 1 New York Oxford Oxford University Press Oxford New York Athens Auckland Bangkok Bogotá Buenos Aires Calcutta Cape Town Chennai Dar es Salaam Delhi Florence Hong Kong Istanbul Karachi Kuala Lumpur Madrid Melbourne Mexico City Mumbai Nairobi Paris São Paulo Singapore Taipei Tokyo Toronto Warsaw and associated companies in Berlin Ibadan Copyright © 1999 by William Howland Kenney Published by Oxford University Press, Inc. 198 Madison Avenue, New York, New York 10016 Oxford is a registered trademark of Oxford University Press All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Oxford University Press. Library of Congress Cataloging-in-Publication Data Kenney, William Howland. Recorded music in American life : the phonograph and popular memory, 1890–1945 / William Howland Kenney. p. cm. Includes bibliographical references and index. ISBN 0-19-510046-8; 0-19-517177-2 (pbk.) 1. Popular music—Social aspects—United States. 2. Phonograph— Social aspects—United States. 3. Sound recording industry—United States—History. 4. Popular culture—United States—History—20th century. I. Title. ML3477.K46 1999 306.4'84—dc21 98-8611 98765 43 21 Printed in the United States of America on acid-free paper iv introductionDisclaimer: Some images in the original version of this book are not available for inclusion in the eBook. -
Spinning the Record the Band Condon Put Together Remains His Greatest Achievement in Jazz, the Later Years at Nick’S Playing Chicago-Styled Dixieland Notwithstanding
III. DEPRESSION, CHANGES AND GROWTH Sweet and soothing gives way to swing and power The Depression changed the entertainment and music industries worldwide. No longer were hot bands or crashing Beethovinian and Wagnerian climaxes sought after by the public; by and large, they wanted to be soothed, comforted by soft, sweet sounds. In such a world, the hot music of Morton, Parham, even Nichols and Ellington had to be softened down. Jelly Roll’s “Burnin’ the Iceberg” of 1929 gave way to “Harmony Blues” in 1930; Tiny Parham, whose music had been uncompromised hot or ethnically-influenced instrumentals, was forced to add a ballad singer; Nichols added several ballad singers, and Ellington went from the “Cotton Club Stomp” and “Shout ‘Em, Aunt Tillie” to such soothing sounds as “Mood In- digo,” “Solitude” and his Gershwin-influenced Victor recording of “Creole Rhapsody.” In such a world, the soft sounds of “lush” classical music, as exemplified by Koussev- itzky and Stokowski, reigned supreme, as did the popular bands of Guy Lombardo and Brit- isher Ray Noble. Of course, there was a difference in quality even among this company; by and large, Koussevitzky used his position and his orchestra to promote good music, whereas Stokowski used good music to promote his position and orchestra, and Ray Noble’s extraor- dinarily tasteful arrangements, which have miraculously stood the test of time, were far above the slurping, throbbing saxes of Guy Lombardo. But even Armstrong was affected and, in 1930, he fronted a large orchestra modeled on the Lombardo style. One critic put it this way: “His trumpet still says ‘yes, yes,’ but his orchestra says ‘no, no!’” Yet great art was still hanging in, if only by a thread, and a certain segment of the Ger- man, French, British and American publics still wanted hot jazz and great classical music. -
WW Law Music Collection Circa 1918-1953, No
1121-105-GSM-gau (USMARC) City of Savannah, Research Library & Municipal Archives, Savannah, Georgia [GSG (OCLC/LYRASIS)] Record Series #: 1121-105 Name: W. W. Law Music collection Dates: circa 1918-1953, no date Extent/Size: 43 boxes (22.23 cubic feet) Language: predominantly English Name of Creator(s): Westley Wallace Law (W. W. Law) Biographical History: W. W. Law (1923-2002) was a prominent Civil Rights leader, local historian, historic preservationist and community leader in Savannah, Georgia. Westley Wallace Law was born on January 1, 1923 in Savannah, Georgia, the oldest of three children of Geneva Wallace and Westley Law. He was greatly influenced by his mother, Geneva W. Law, grandmother, Lillie Belle Wallace, mentor, Reverend Ralph Mark Gilbert, and scoutmaster, John S. Delaware. Both Reverend Gilbert and John Delaware were officials in the Savannah chapter of the National Association for the Advancement of Colored People (NAACP). Law joined the NAACP Youth Council in high school and later served as its president. He attended Georgia State Industrial College (now Savannah State University) before being drafted into the U. S. Army during World War II. After he completed his military service, he finished his bachelor’s degree in biology. Law was a long-time boy scoutmaster for Troop 49 which was made up of boys from First Bryan Baptist Church, of which he was a member and Sunday school teacher. He was a mail carrier for the United States Postal Service for over forty years. From 1950-1976 Law served as President of the Savannah chapter of the NAACP. During the 1960s, he led weekly mass meetings at Bolton Street Baptist Church and St. -
Song Inventory ‐ Alphabetical by Title Title Item # Genre Contributors Asset Date Description (Excerpt) Scherzo "Octette" (Op
Record Series 1121‐105, W. W. Law Music Collection Song Inventory ‐ Alphabetical by Title Title Item # Genre Contributors Asset Date Description (Excerpt) Scherzo "Octette" (Op. 165) [1.]/ Andante with Variations 1 and 5 from "Octette" [2.] 185.2 Classical music Franz Peter Schubert (composer); Bruno Reibold (conductor); Victor Orchestra (artist) undated Side B: Victor; 24795‐B; n/a; 1. (Excerpt) Scherzo "Octette" (Op. 165)/ 2. Andante with Variations 1 and 5 from "Octette"; Franz Peter Schubert (1797‐ 1828)/ Bruno Reibold, conducting; Victor Orchestra; n/a (I love you) For Sentimental Reasons 072.2 Jazz Watson‐Best (composer); The King Cole Trio (artist)/ King Cole (artist) circa 1946 Side 2: Capitol; 304; Vocal by King Cole; (I Love You) For Sentimental Reasons; Watson‐Best; The King Cole Trio; 983 (I love you) For Sentimental Reasons 096.2 Jazz Watson‐Best (composer); The King Cole Trio (artist)/ King Cole (artist) circa 1946 Side 2: Capitol; 304; Vocal by King Cole; (I Love You) For Sentimental Reasons; Watson‐Best; The King Cole Trio; 983 (I Took A Trip On The Train And) I Thought About You 107.1 Jazz Jimmy Van Heusen‐Johnny Mercer (composer); Nellie Lutcher And Her Rhythm (artist) circa 1948 Side 1: Capitol; 15112; Vocal with Rhythm Accompaniment; I Thought About You; Jimmy Van Heusen‐Johnny Mercer; Nellie Lutcher And Her Rhythm; 2182z Saturday, April 02, 2016 Page 1 of 211 Title Item # Genre Contributors Asset Date Description (I Wonder Why) You're Just in Love; From Musical Production "Call Me Madam" 379.1 Popular music Irving -
Song Inventory
Record Series 1121‐105, W. W. Law Music Collection Song Inventory ‐ Alphabetical by Music Genre Genre Item # Title Contributors Asset Date Description Blues (music) 491.2 Any Woman's Blues Lovie Austin (composer); Bessie Smith (artist)/ Fletcher Henderson (artist) circa 1923 Side 2: Columbia; 13001D; Comedienne; Any Woman's Blues; Lovie Austin; Bessie Smith/ Fletcher Henderson at the Piano; 81283 489.1 Baby Doll Smith (composer); Bessie Smith (artist) circa 1926 Side 1: Columbia; 14147‐D; Vocal Cornet and Piano Accomp.; Baby Doll; Smith; Bessie Smith; 142147 501.2 Baby Get Lost Moore (composer); Dinah Washington (artist) circa 1949 Side 2: Mercury; 8148; Blues Vocal by Dinah Washington; Baby Get Lost; Moore; Dinah Washington; 2829 500.2 Back Water Blues Earl Hines‐Billy Eckstein (composer); Josh White (artist) undated Side B: Decca; 23582B; Vocal Blues with Guitar, Bass and Drums; Back Water Blues; Bessie Smith; Josh White; 72627 482.2 Blue Turning Grey Over You Thomas Waller‐Andy Razaf (composer); Billie Holiday (artist)/ Tiny Grimes' Sextet (artist) 1951 Side B: Aladdin; 3102; Vocal ‐ 2:00 ASCAP; Blue Turning Grey Over You; Thomas Waller‐Andy Razaf; Billie Holiday (Lady Day)/with Tiny Grimes' Sextet; WOR‐1683 Q 498.1 Blues At Sunrise Ivory Joe Hunter (composer); "Ivory" Joe Hunter (artist)/ with Johnny Moore's Three Blazers (artist) circa 1945 Side 1: Exclusive; 56x; Vocal with instr. Trio; Blues At Sunrise; "Ivory" Joe Hunter; "Ivory" Joe Hunter/ with Johnny Moore's Three Blazers; APS‐931 Saturday, April 02, 2016 Page 1 of 166 Genre Item # Title Contributors Asset Date Description 502.1 Boogie Woogie, on St. -
Robert Johnson.Pdf
MELOTONE MYTHOLOGY: ROBERT JOHNSON’S DIME STORE ISSUES By Roger Misiewicz and Helge Thygesen City. In October 1929, Herbert Yates, head of Consolidated Film Company, took control of ARC. In the following years, the company was a major player in a depressed record industry, buying failing labels at bargain prices to exploit their catalogues. In September 1935 the ARC special number system began. The first blues record - a Walter Roland record - was released with catalogue number 350912. In October the first blues record (a Buddy Moss record) was numbered 35-10-15, but in November the system found its final form as e.g. 5-11-58 (also a Buddy Moss record). The first digit denotes the year (1935), the next block denotes the month of the release and the last block denotes the serial number of the country, blues or gospel records released in the month. If a certain record has the serial number 58 it was the eighth release in that month. Race and country records started their serial numbering at 51, so the first country or race record released in December 1935 would carry a number like 5-12-51 (it is in fact a blues record by Pinewood Tom). The popular material released on the dime store labels had serial numbers beginning with 01. The catalogue number system lasted until April 1938 when production of the dime store labels was abandoned. Throughout the entire period the records sold at 25 cents. Have you ever wondered why you never see Robert Johnson’s records on Melotone? Maybe not, but if you have you will find Melotone and Perfect were the major labels among the dime the answer in this article where we present documentation for store group of labels. -
J2P and P2J Ver 1
DECEMBER 12, 1964 SEVENTIETH YEAR 50 CENTS Billboard The International Music-Record Newsweek ly RadioTV Programming Phono -Tap Merchandising Coln Machine Operating RCA Victor to Keep R&B Within Its Pop Operation By MIKE GROSS record concepts and there's no area with independent produc- need to categorize or separate ers and /or master purchases. NEW YORK -RCA Victor's any pop efforts. Decca, for example, has mapped pitch into the rhythm and blues This position is running out a campaign to assert itself THE DRIFTERS: Johnny Terry, Gene Pearson, Johnny Moore and Thomas. field will continue through its against the tide of recent moves more strongly in the r &h mar- Charles regular pop operation. Accord- made by several record compa- ket and has already latched on This great Atlantic group has an unending list of topselling singles and albums, ing to Victor's a&r executives, nies to get into the r &b groove to a number of indie producers including their current smash, "Saturday Night at the Movies." Some past hits the so- called r &b- oriented disks via subsidiary labels, or by mak- and is auditioning all comers are "Under the Boardwalk," "Up on the Roof," On Broadway," "Save the Last belong to the over -all pop ing a separate drive into that (Continued on page 10) Dance for Mt' and "There Goes My Baby." (Advertisement) Columbia Gets Decca Swings Into High Gear Dot Tightens Rights to Do With Wide Range of Projects Distrib Setup HOLLYWOOD - Dot Rec- NEW YORK - Decca Rec- Shel Talmy, and to further latest hits by the Hondells, ords has consolidated its North 'Luv' Caster ords is moving out on all fronts.