Record Label Index

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1 ALL THESE DIFFERENT MAKES Clifford OF 78-rpm RECORDS AND Coliseum PHONOGRAPH CYLINDERS Collector ISSUED RECORDINGS OF Columbia SCOTTISH INTEREST, THERE Coronet ARE ALMOST CERTAINLY Crown OTHERS. Crown Record Curry Ace of Clubs D&R Aco Dacapo Actuelle Danceland Aeolian Vocalion Decca Aerona Diamond Albion Diamond (8” flexible) Amberol (cylinders) Diploma Angelus Dominion Apex Domino Apollo Duophone Aretino Eclipse Ariel Edison (cylinders) Arrow Edison Bell Barberphone Edison Bell (cylinders) Beka Edison Bell Electron Bel Canto Edison Bell Winner Bell Electric (cylinders) Bell Accordion Electron Bell Disc Empire Beltona Empress (cylinders) Berliner Excelophone Besstone Exo Bluebird Famous Bob Favorite Bon Marche Festival Boosey & Hawkes Filmophone Bouwmeester Fontana Britannic Fortune Brittania (cylinders) Fred Stott Broadcast (all types) G&T Brunswick Gaelfonn Bull Dog Gaelic Phono-Grammar Bulldog Gamage Butterfly Gennett CBA Recording Studio Girmac Champion Globophon Chantal Grammavox Cinch Gramophone Company Citizen Grand Pree Clarion Great Scott Clarion (cylinders) Guardsman William Dean-Myatt. 'Scottish Vernacular Discography, 1888-1960'. Draft. December 2012. Preview copy. 2 Harp Oliver Herald Opera phone HMV Oriole Homochord Our Flag Homophon Oxford Hudson Palladium Ideal Panachord Imperial Parlophone Impress Pathé Indestructible (cylinders) Pélican Invicta Philips Isis Phoenix Jamco Piccadilly JLCO Pick fall John Bull Pilot Johnson Recordings Pioneer Jumbo Polyphon Kalliope Popular Kalophon Pye Klingsor Radio Lakeside Rae MacKintosh Lambert (cylinder) Recorded Productions Leonora Redemption Linguaphone Régal Little Champion Regal Zonophone Little Marvel Rena London Rex London-Beltona Rexophone Ludgate Robeyphone Lyceum Rondophone Lyric Royale Lyric (cylinders) Russell Indestructible (cyl) Marathon Savanna Marspen Scala Mayfair Scottish Clan Meloto Scottish Covenant Metropole Scottish Music Week Mimosa Scottish Records Neophone Silvertone Neptune Soundwave New Century (cylinders) Sovereign Nicole SS Recordings Nicole Champion Standard (cylinders) Starr Nixa Stars O’Byrne de Witt Stella Outcross Sterling (cylinders) Odeon Sterno Okay Supertone William Dean-Myatt. 'Scottish Vernacular Discography, 1888-1960'. Draft. December 2012. Preview copy. 3 Symphonic (cylinders) Symphony Concert Syrena Electro Syrena Grand The Stars Thistle Top Rank Topic Tower Turmaphon Twin Unison Unitas Universal Double Disc Unolla Velvet Face Venus Victor Victory (mini disc) Victory Record Viel-O-Phone Vincent Vitaphone Vocalion Vox Humana Waverley (1924 -78s only) Waverley (1950 – vinyl) White (cylinders) Whitehall Whiteley Winner World Zonophone William Dean-Myatt. 'Scottish Vernacular Discography, 1888-1960'. Draft. December 2012. Preview copy. .

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The Early Years of the Acoustic Phonograph Its Developmental Origins and Fall from Favor 1877-1929
THE EARLY YEARS OF THE ACOUSTIC PHONOGRAPH ITS DEVELOPMENTAL ORIGINS AND FALL FROM FAVOR 1877-1929 by CARL R. MC QUEARY A SENIOR THESIS IN HISTORICAL AMERICAN TECHNOLOGIES Submitted to the General Studies Committee of the College of Arts and Sciences of Texas Tech University in Partial Fulfillment of the Requirements for the Degree of BACHELOR OF GENERAL STUDIES Approved Accepted Director of General Studies March, 1990 0^ Ac T 3> ^"^^ DEDICATION No. 2) This thesis would not have been possible without the love and support of my wife Laura, who has continued to love me even when I had phonograph parts scattered through out the house. Thanks also to my loving parents, who have always been there for me. The Early Years of the Acoustic Phonograph Its developmental origins and fall from favor 1877-1929 "Mary had a little lamb, its fleece was white as snov^. And everywhere that Mary went, the lamb was sure to go." With the recitation of a child's nursery rhyme, thirty-year- old Thomas Alva Edison ushered in a bright new age--the age of recorded sound. Edison's successful reproduction and recording of the human voice was the end result of countless hours of work on his part and represented the culmination of mankind's attempts, over thousands of years, to capture and reproduce the sounds and rhythms of his own vocal utterances as well as those of his environment. Although the industry that Edison spawned continues to this day, the phonograph is much changed, and little resembles the simple acoustical marvel that Edison created.
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The History of Nipper and His Master's Voice by Erik Østergaard
The History of Nipper and His Master's Voice By Erik Østergaard Nipper and His Master's Voice - What is the story? Nipper the dog was born in Bristol in Gloucester, England in 1884 and so named because of his tendency to nip the backs of visitors' legs. When his first master Mark Barraud died destitute in Bristol in 1887, Nipper was taken to Liverpool in Lancashire, England by Mark's younger brother Francis, a painter. In Liverpool Nipper discovered the Phonograph, a cylinder recording and playing machine and Francis Barraud "often noticed how puzzled he was to make out where the voice came from". This scene must have been indelibly printed in Barraud's brain, for it was three years after Nipper died that he committed it to canvas. Nipper died in September 1895, having returned from Liverpool to live with Mark Barraud's widow in Kingston-upon-Thames in Surrey, England. Though not a thoroughbred, Nipper had plenty of bull terrier in him; he never hesitated to take on another dog in a fight, loved chasing rats and had a fondness for the pheasants in Richmond Park! In 1898 Barraud completed the painting and registered it on 11 February 1899 as "Dog looking at and listening to a Phonograph". "Dog looking at and listening to a Phonograph" Barraud then decided to rename the painting "His Master's Voice" and tried to exhibit it at the Royal Academy, but was turned down. He had no more luck trying to offer it for reproduction in magazines. "No one would know what the dog was doing" was given as the reason! Next on Barraud's list was The Edison Bell Company, leading manufacturer of the cylinder phonograph, but again without success.
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History of Parlophone Singles Parlophon Began As a German
History of Parlophone Singles Parlophon began as a German company founded in 1896 by Carl Lindström, a Swedish inventor who lived in Berlin. Lindström made phonographs using the name “Parlophon,” and dictating machines using the name “Parlograph.” In 1911, Lindström’s company obtained controlling interest in the International Talking Machine Company – the German corporation that owned and had created Odeon Records. Lindström saw the opportunity to merge the European record manufacturing and player manufacturing markets, and to expand this new industry. During this period, records were being exported from Germany to Great Britain in increasing numbers – so that German imports consisted of a sizable portion of the British record market. Lindström endeavored to expand the production of Odeon’s discs worldwide, and after the First World War he succeeded in bringing the Odeon label to the United States, but his struggles to acquire a British company had been unsuccessful. William Barry Owen worked for German‐American inventor Emile Berliner, the man who introduced the disc record and “gramophone” in late 1887. In July, 1897, he left US‐based National Gramophone Company, a subsidiary of Berliner Gramophone, to move to England. He and Trevor Williams founded the UK Gramophone Company in May, 1898 – not long after Lindström founded his Parlophon company in Germany. Their independent company became Berliner’s partner in Britain. One of Berliner’s associates was Frank Seaman, who had managed the National Gramophone Company. Seaman left Berliner in 1899. Using technology that he “borrowed” from Berliner, Seaman founded Zon‐o‐Phone Records. Seaman pursued an alliance with Columbia Records, offering Columbia royalties for the stylus design in exchange for driving Emile Berliner out of business in America.
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ARSC Journal, Fall 1991 207 American Graphophone & Columbia
THE AMERICAN GRAPHOPHONE COMPANY AND THE COLUMBIA PHONOGRAPH COMPANY ENTER THE DISC RECORD BUSINESS, 1897-19031 By Raymond R. Wile By 1897 the American Graphophone Company and its marketing arms, the Columbia Phonograph Company and the Columbia Phonograph Company: General were in a position to control a large portion of the talking machine industry. Patent problems involving the Edison interests had been resolved in late 1896 when the two warring parties agreed to accept consent decrees and to cross-license each other. Delays in the settlement of the North American Phonograph Company liquidation adversely affected Edison and gave the Graphophone group valuable lead time. And now that major segments of the Bell and Tainter patents had been sustained in the courts, the American Graphophone Company decided to test claims concerning pre-recorded cylinders. Relying upon these, as well as on patents granted or pending that had been obtained from Douglass, Bettini and Macdonald, the company commenced a wide-ranging series of suits in Midwest and East Coast federal jurisdictions. Edison soon applied for and received a license under the Macdonald patent when it was granted-but at a cost of $10,000. If the Graphophone Company was successful in its other areas it would effectively control a major portion ofthe market and might even dry up potential supplies of cylinder masters that could be used by Edison's National Phonograph Company. Preliminary injunctions were obtained in all cases except one brought against the United States Phonograph Company, a major supplier of master recordings to National. Later, after George Tewksberry, its chief motivating force, suffered a progressive mental disorder, even this firm had to admit defeat.
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Music & Entertainment and Roger Thorne Collection (Part Three)
Music & Entertainment and Roger Thorne Collection (Part Three) Wednesday 22 February 2012 10:00 Special Auction Services 81 Greenham Business Park Newbury RG19 6HW Special Auction Services (Music & Entertainment and Roger Thorne Collection (Part Three)) Catalogue - Downloaded from UKAuctioneers.com Lot: 1 Galli-Curci, Gluck, Dawson, Tetrazzini, Lloyd, Harrison, Dews Pathé Actuelle and Perfect, 10-inch needle-cut records: and others; 13 Aeolian-Vocalion, by Lenghi-Cellini, Gerhardt, 340, in three racks Pounds, Butterworth, Allan, Titterton and others; and 3 NGS, Estimate: £40.00 - £60.00 Peter Warlock (The Curlew), John Armstrong, cond. Constant Lambert (101) Estimate: £30.00 - £40.00 Lot: 2 Dance records, Regal, Zonophone and Regal-Zonophone: 124 by Gelder, Cotton, Kyte, Roy, Cyril Blake, Scott Wood, Bert Lot: 9 Firman, Rhythmic Eight, Swain, Jack Payne and others; and Dominion records, 10-inch: 87, mixed content, by Herman Columbia: 101 by Denza Dance Band, Reser, Herman, Wasserman, Godowsky, Savoy Orpheans, Jimmy O'Dea & Voorhees, Valee, Lentz, Selvin, Kahn, Carroll, Lombardo, Harry O'Donovan George Formby, Henry Hearty, Tom Burke, Charleston Chasers, Ellington, Henderson, Whidden, Kunz, Jay Wilbur, Frank Kamplain, Elsie Carlisle, Betty Brown, Al. Ralton and others (225, in 2 racks) Tiers, Lily Long, Margate Municipal Orchestra, Harry Hemsley, Estimate: £40.00 - £60.00 Tommy Handley, Charles Penrose, Sam Lanin and others, mainly dance, in a rack Estimate: £20.00 - £40.00 Lot: 3 10-inch acoustic Columbia, including Columbia Rena,
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Parlophone Singles Label Styles
Parlophone Singles Label Styles Parlophon began as a German company founded in 1896 by Carl Lindström, a Swedish inventor who lived in Berlin. Lindström made phonographs using the name “Parlophon,” and dictating machines using the name “Parlograph.” In 1911, Lindström’s company obtained controlling interest in the International Talking Machine Company – the German corporation that owned and had created Odeon Records. Lindström saw the opportunity to merge the European record manufacturing and player manufacturing markets, and to expand this new industry. During this period, records were being exported from Germany to Great Britain in increasing numbers – so that German imports consisted of a sizable portion of the British record market. Lindström endeavored to expand the production of Odeon’s discs worldwide, and after the First World War he succeeded in bringing the Odeon label to the United States, but his struggles to acquire a British company had been unsuccessful. William Barry Owen worked for German-American inventor Emile Berliner, the man who introduced the disc record and “gramophone” in late 1887. In July, 1897, he left US-based National Gramophone Company, a subsidiary of Berliner Gramophone, to move to England. He and Trevor Williams founded the UK Gramophone Company in May, 1898 – not long after Lindström founded his Parlophon company in Germany. Their independent company became Berliner’s partner in Britain. The Gramophone Company began pressing seven-inch records billed as Gramophone Records, for which they started using paper labels in 1901. They introduced ten-inch discs called Gramophone Concert Records (1902) and twelve-inch Gramophone Monarch Records (1903), with lawsuits impacting the company throughout this period.
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Recording the History of Recording: a Retro Spective of the Field
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RCA Corporation Records 2069
RCA Corporation records 2069 This finding aid was produced using ArchivesSpace on September 14, 2021. Description is written in: English. Describing Archives: A Content Standard Manuscripts and Archives PO Box 3630 Wilmington, Delaware 19807 [email protected] URL: http://www.hagley.org/library RCA Corporation records 2069 Table of Contents Summary Information .................................................................................................................................... 3 Historical Note ............................................................................................................................................... 3 Scope and Content ....................................................................................................................................... 11 Administrative Information .......................................................................................................................... 14 Related Materials ......................................................................................................................................... 15 Controlled Access Headings ........................................................................................................................ 15 Bibliography ................................................................................................................................................. 16 Collection Inventory ....................................................................................................................................
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Duplex Phonograph Company
All About Kalamazoo History – Kalamazoo Public Library Duplex Phonograph Company “Made For You In Kalamazoo” Duplex Phonograph Company letterhead, c.1908 Courtesy, Robert Coon, Menasha, WI As nineteenth century Victorian charm gave way to twentieth century modern, the phonograph emerged as a compelling new form of home entertainment. The skeptics, of course, refused to take the “talking machine” seriously at first, viewing it more as a toy than a serious musical instrument. Some dismissed records entirely, including John Philip Sousa who famously made his own disdain for “canned music” known in a 1906 article he called “The Menace of Mechanical Music.” Still, the phonograph continued to gain great popularity, especially after the emergence of Emile Berliner’s flat-disc “gramophone” records around 1900. “An Entirely New Principle in Phonographs” Before the appearance of electric phonographs in the 1920s, acoustic sound amplification (and recording, for that matter) was accomplished through the use of large metal (or glass, or even wooden) horns. The unique shapes of these horns soon created instantly recognizable icons for their respective manufacturers. In fact, the archetypal “gramophone” still remains a hallmark of The Recording Academy and the namesake for the industry’s top award, the “Grammy.” In their heyday, however, “talking machines” could be found An original Duplex phonograph in a variety of styles and sizes, with horns ranging from sleek Photo: Nauck’s Vintage Records and simple to elaborately ornate. One rather novel approach employed two such horns arranged side-by-side in an attempt to offer “twice the sound” (or at least ©1998-2015 Kalamazoo Public Library Page | 1 All About Kalamazoo History – Kalamazoo Public Library that was the idea).
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Director Dies , Beka Record Company up for Grabs
Director dies, Beka Record Company up for grabs … by Hugo Strötbaum DIRECTOR DIES , BEKA RECORD COMPANY UP FOR GRABS . By Hugo Strötbaum On 14 March 1908 Ernst Loewe, Director of BEKA, died. In the EMI Archives is some interesting Gramophone Company correspondence which throws some light on the period immediately following the death of Beka’s director Loewe and the shock-waves his death caused. The correspondence on Beka runs from 23 March to 26 April 1908 and consists mainly of telegrams and letters, exchanged between Joseph Berliner, director of the DGAG factory in Hanover, and Theodore B. Birnbaum, Managing Director of The Gramophone & Typewriter Ltd. in London and two letters written by Birnbaum to James Muir, head of the Calcutta branch.1 Beka, a medium-size record company, started in 1903 as Bumb & Koenig G.m.b.H. Here are two letters from the archives of EMI which date back to the very beginnings of Beka. They show how Beka’s first products were received by the Gramophone people in Paris and London after their introduction in 1904. On 24 September 1904 Alfred Clark of the Cie. Française du Gramophone, the Paris branch of the Gramophone Company, sent Theo. B. Birnbaum Esq., Managing-Director of The Gramophone & Typewriter Ltd. in London the following message: Dear Mr. Birnbaum, There is a firm in Paris named STRANSKY Frères2, who have just brought out a series of Records called the "Disque Ideal”, “Beka Record". I have a set of samples in my office, which I shall show you when you come here.
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Gramophone Records and Radio in the Late Colonial Era, 1903-1942
Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Washington 2013 Reading Committee: Philip D. Schuyler, Chair Ter Ellingson Laurie J. Sears Program Authorized to Offer Degree: Music © 2013 Philip Bradford Yampolsky University of Washington Abstract Music and media in the Dutch East Indies: Gramophone records and radio in the late colonial era, 1903-1942 Philip Bradford Yampolsky Chair of the Supervisory Committee: Associate Professor Emeritus Philip D. Schuyler Music This dissertation is intended as an ethnomusicological contribution to the history of music and media in Indonesia. It deals with topics and resources that have never been systematically examined for this region: gramophone records and radio broadcasting from the years before World War II, the last years of Dutch colonial control. The gramophone records are our only documentation of the sound of Indonesian music in the years before World War II. This dissertation tries to identify (and to some extent provide) the information one needs in order to understand the records and, by extension, stylistic trends during the pre-war period. Ultimately it is meant as an argument for the importance of making use of historical recordings and discography in ethnomusicology. The use of gramophone records from before World War II (“78s”) in musicology and ethnomusicology is growing. Robert
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02 – Spinning the Record
I: THE EARLY YEARS What on earth were they fighting over? To read the early history of recording, you would think that these people were arguing over shares of Microsoft stock or territory in the Middle East. These pioneers, some of whom really did have good intentions, were soon caught up in imbroglios, lawsuits and just plain nasty arguments that could make your head spin. It’s also rather hard to disentangle the vari- ous threads nowadays because, like all real history, none of it happened in a neat, linear fash- ion, but all jumbled together, lines drawn in the sand spilling all over each other as the tides of music fashions and different musical agendas rushed in from an ocean of public consumers. Reduced to essentials, it all seems so neat: Thomas Edison invents first practical phono- graph in 1877, sets it aside for 12 years and doesn’t bother to market or develop it as he turns his attentions to other matters (specifically electric light); other inventors pick up the thread around 1889, ten years later the flat disc begins to make significant inroads on the cylinder, by 1913 Edison throws in the towel and starts making flat discs of his own, in 1925 electrical re- cording replaces the old acoustical method, by which time radio is making significant inroads on the record industry itself. By 1930, thanks to the overwhelming popularity of radio and the Depression, the record industry is floundering; new techniques and marketing ideas help keep it afloat through the Depression and War years, then it blossoms in a Renaissance of long-play albums, stereo sound and a seemingly unlimited market.
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