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The Victor Red Seal Discography, Volume II: Double-Sided Series To The Victor Red Seal Discography, Volume II: Double-Sided Series to 1930 , and: The Victor Black Label Discography: 16000–17000 Series , and: The Victor Black Label Discography: 18000–19000 Series , and: The Victor Discography: Green, Blue and Purple Labels , and: The Edison Discography (1926–1929) (review) Gary A. Galo Notes, Volume 66, Number 3, March 2010, pp. 575-579 (Review) Published by Music Library Association DOI: https://doi.org/10.1353/not.0.0312 [ This contentFor additional has been information declared free about to read this byarticle the pubisher during the COVID-19 pandemic. ] https://muse.jhu.edu/article/376356 Book Reviews 575 posed right at the outset in the Tokita- tions; but with the considerable lean to- Hughes introductory chapter. wards the survey in many of its essays, it This is a research companion that works would be well placed too in undergraduate very well indeed, if one works hard with it; collections supporting performing-arts- it is a book for poring over, both with re- orientated Asian Studies programs, and in gard to its texts and its music examples; collections supporting (ethno)musicology and it rewards reading across its various programs with a focus on East Asia. A most chapters. It is an articulate, forward-looking welcome new friend! companion demanding interaction, but as- suming a certain amount of self-reliance in its partner. It goes without saying that it is Elizabeth Markham clearly essential for graduates in the field, University of Arkansas and accordingly for graduate library collec- BIBLIOGRAPHY The Victor Red Seal Discography, Volume II: Double-Sided Series to 1930. By John R. Bolig. Highlands Ranch, CO: Mainspring Press, 2006. [xxvi, 604 p. ISBN 0977273555. $79.] Indexes. The Victor Black Label Discography: 16000–17000 Series. By John R. Bolig. Highlands Ranch, CO: Mainspring Press, 2007. [xxvi, 444 p. ISBN 9780977273577. $79.] Indexes. The Victor Black Label Discography: 18000–19000 Series. By John R. Bolig. Highlands Ranch, CO: Mainspring Press, 2008. [xxvi, 411 p. ISBN 9780977273591. $79.] Indexes. The Victor Discography: Green, Blue and Purple Labels. By John R. Bolig. Highlands Ranch, CO: Mainspring Press, 2006. [xv, 252 p. ISBN 0977272520. $55.] Indexes. The Edison Discography (1926–1929). By Raymond R. Wile. Highlands Ranch, CO: Mainspring Press, 2008. [xxvii, 442 p. ISBN 978-0-9772735-8- 4. $79.] Indexes. Veteran discographer John R. Bolig con- continued to be issued only in single-faced tinues his series covering the early years of format until 1923. The single-sided record the Victor Talking Machine Company with had no technical advantages—this was four additional volumes. The Victor Red Seal partly snob appeal on Victor’s part though, Discography, Volume I covered single-sided as Bolig points out, royalty agreements with discs issued by Victor between 1903 and celebrity artists also played a role in adher- 1925 (reviewed in Notes 62, no. 2 [Decem - ing to single-faced records. ber 2005]: 407–10). 1923 was an important Bolig’s introduction covers the transition year for the Red Seal label. Although Victor to electrical recording, double-sided had begun issuing double-sided records as records and Eldridge Johnson’s sale of early as 1908, such releases were confined The Victor Talking Machine Company to a to the lower-priced labels, beginning with group of investment bankers who, within the ubiquitous Black Label discs, which two years, sold the company to RCA. In consisted almost entirely of various types of 1923 Victor finally succumbed and began popular and ethnic music. Releases on the issuing double-sided Red Seal records, in- prestigious Red Seal label, which were re- cluding reissues of much of their existing served for Victor’s premiere classical artists, single-faced catalog. For two years, Red Seal 576 Notes, March 2010 records were released in both formats, as Stokowski and a reduced Philadelphia single-faced discs bearing the old five-digit Orchestra between May and October of catalog numbers, and as double-faced discs 1925. The recording was made in the bearing three or four-digit numbers (there Trinity Church Studio in Camden, NJ, and were also a handful of reissues in the the records bear catalog numbers 6565 10,000 series). By 1925, with the arrival of through 6569. Like all of Victor’s early elec- electrical recording, the single-sided record trical recordings, the discs had acoustic- disappeared for good. Bolig’s introduction style “batwing” labels—only the letters “VE” also covers his methods for compiling the in the run-out space identified the record- discographic information, especially his ing as being electrical. The individual exhaustive research in the Sony/BMG records were bundled into an unnumbered Archive; terminology used in the book; and Music Arts Library album. Victor remade an explanation of the various markings the recording in October 1927 with the full found on the records. Philadelphia Orchestra in their regular Bolig’s second Red Seal discography cov- venue, the Academy of Music. These discs ers the first seven years of double-sided were issued with “scroll” Orthophonic la- releases, from 1923 until 1930. Like its pre- bels and issued as album M-1 in the Musical decessor, this volume follows a strict nu- Masterpiece series. The individual records merical sequence by catalog number for were assigned the same catalog numbers as the listings. Each entry also gives the title, the 1925 version, a common Victor practice composer, artist(s), recording date and lo- for remakes. In addition to the 1927 re- cation, matrix and take number, and re- make, Bolig lists the 1925 original under lease date. If a record had also been issued “Album 1” in the Musical Masterpiece se- in single-faced format by Victor, the single- ries, which is not correct (pp. 485–86). faced catalog number is given. British and Michael Sherman made the same error, German releases are listed where known, identifying a label scan from the 1925 set though Bolig admits that identifying all for- as being from album M-1 (Michael W. eign catalog numbers is a work in progress. Sherman, The Collector’s Guide to Victor Victor releases from foreign masters are Records [Dallas Texas: Monarch Record also included; these comprised a significant Enterprises, 1992], 112). The two-page sec- portion of its catalog. Victor’s matrix num- tion III is devoted to the American Speech bers always begin with a letter prefix, “B” Series. Bolig has included three indexes, by for 10-inch sides and “C” for 12-inch. title, artist, and a coupling index by catalog Electrical recordings are easy to identify, number. since the prefix is followed by “VE.” The Victor Black Label Discographies encom- Bolig devotes section II of the book to pass four 5-digit series of catalog numbers “Records Released as Sets in Albums,” beginning with the first double-faced re- which is dominated by the Musical Master- leases in 1908 and ending with recordings piece series. One group of albums he does sessions in March 1926, early in the electri- not list in this section is the Music Arts cal era. All records in these series are 10- Library, a short-lived series of complete inch discs. The discographic entries cover classical works predating the Musical the same categories of information as those Masterpiece albums, though he mentions in the Red Seal discographies, with one ex- the Music Arts Library in the introduction. ception. In the Black Label listings Bolig Unlike the Musical Masterpiece series, provides both the release date and the date Victor did not assign numbers to the Music of withdrawal (the Red Seal listings do not Arts Library albums; only the individual give catalog withdrawal dates). As Bolig discs bore catalog numbers, many of which points out, the artists whose work appeared could also be purchased individually. All of on the Black Label are today normally the individual catalog numbers in this se- lumped into the broad category of “popu- ries are listed by Bolig in Section I of the lar” music. That term hardly begins to de- discography. scribe the diversity of material that ap- One album that has given researchers peared on this label during this time, considerable trouble is the first electrical including contemporary popular songs, re- recording of Dvorˇák’s Symphony No. 9 ligious music, dance music, old favorites, (“New World”), recorded by Leopold patriotic songs, spoken records by politi- Book Reviews 577 cians and comedians, Broadway selections, makes an important point about the “78- and educational records. The artists on rpm” record. Even though Victor catalogs Victor’s roster included vocalists, instru- stated that their records should be played mentalists of all varieties, concert bands, at this speed, very few of them were actually military bands, dance bands, studio orches- made at 78 rpm. Most Victor acoustics re- tras, small vocal ensembles, choirs, and the produce properly at 75.00 or 76.6 rpm and like. early electrics are often just under the nom- Once again, Bolig provides useful and inal speed, between 77.0 and 77.5. Victor well-researched background information in simply wasn’t able to measure their record- his introduction. The volume covering the ing speeds with the kind of precision neces- 16000 and 17000 series contains some his- sary for precise pitching of their records, torical background on the developments which is why most of their acoustic phono- and decisions leading up to the introduc- graphs were equipped with speed controls. tion of the double-sided record, which The Victor Discography: Green, Blue and was initially opposed by Victor and its Purple Labels covers an interesting and im- owner/founder Eldridge Johnson. Once portant part of the company’s catalog.
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