|Object Name||Record, Phonograph|
17 records - 78 RPM's
.001) How Do You Do, (Phil Fleming, Charlie Harrison and Cal De Voll, Billy Jones and Ernest Hare, (The Happiness Boys, #9943,-A-1-7 / Cross-Words (between Sweetie and Me), (Fred Steele and Bob Schafer) Tenor Billy Jones, #9989, EDISON Record label [9.75" diameter x .25 " thick] #9943-A-1-7
.002) I'll Take You Home Again, Kathleen (Thomas P. Westendorf) / On the Banks of the Brandywine (Friedland), Tenor solo with vocal obligate, Orchestra Accompaniment - EDISON Record [9.5" diameter x .25" thick; This record has no paper label but "label" is imprinted onto record itself] #3117-10-23
.003) Miserere Il Trovatore (Verdi) Soprano tenor and male chorus with orchestra, Agnes Kimball and Charles Harrison, #2205-C-5-58 / Anvil Chorus Il Trovatore , New ____ Opera Co. - EDISON Record [9.627 diameter x .25" thick] No paper label-imprinted onto record] #1302-H-17-06
.004) Why I Love Him (B. D. Ankley) Baritone with orchestra Robert R. Clark, #5363-C-2-11/ Hold Thou My Hand (Emelyn R. Moffatt) mixed voices with orchestra Metropolitan Quartet - EDISON imprinted label [9.75" diameter x .25 thick] #5275C-10-1, [9.627 diameter x .25" thick]
.005) When Old Bill Bailey Plays the Ukalele (McGarron-Vincent) Tenor and Chorus with Orchestra Billy Murray, #4195-B-32 / Piney Ridge (Mohr) Tenor and Bass with Orchestra, Mayo and Tally - EDISON imprinted label #4195-B-32, [9.627 diameter x .25" thick]
.006) Oh, Joe (Please Don't Go) (Larry Briers) Tenor and Yodler with orchestra, Al Bernard and Frank M. Kamplain, #7259-C-1-2 / The Moon Shines On the Moonshine (Robert Hood Bowers) Doon duet with orchestra, Al Bernard and Ernest Hare, #7332-C-2-3, no paper label-is imprinted onto record [9.627 diameter x .25" thick]
.007) When My Baby Smiles--Fox Trot (Irving Berlin) Saxophone, Xylophone and Piano, The All Star Trio, #50645-L / Karavan - Fox Trot (Rudy Wiedoefdt) Lenzberg's Riverside Orchestra, #7091, 50645-R, EDISON imprinted label on record, [9.627 diameter x .25" thick]
.008) Ellis March, (Instrumental Duet), Ford Hawaiians, #5107-C-2-197XX / One, Two, Three, Four. Medley - Waltz, Waikiki Hawaiian Orchestra, 5213-C-2-1, EDISON record with label imprinted on record, [9.627 diameter x .25" thick]
.009) Til We Meet Again, (Richard A. Whiting), soprano and tenor with orchestra, Gladys, Rick and Vernon Dalhart, #6449-C-12-8 / Madelon, (I'll Be True to the Whole Regiment), Baritone and male voices with orchestra), Arthur Fields, #6513-C-7-10; EDISON label imprinted on record, [9.627 diameter x .25" thick]
.010) Red Moon Waltz (Henri de Martini) Ernest L. Stevens' Trio Saxophone, Banjo and Piano (Thrall, Aron, Stevens), #1572, paper label-- "EDISON Re-Creation" / If I Had My Way, Pretty Baby Fox Trot, (Intro: "Tell Her at Twilight"), (Dud Mecum - W. Donaldson), Ernest L. Stevens' Trio, (Saxophone, Banjo and Piano), (Thrall, Aron, Stevens) Chinese block interpolation by John Sorin; #1573, paper "EDISON Re-Creation" label, Price $1.00 in the U. S. A.
.011) My Hawaiian Melody, (Ringle Coots), Waikiki Hawaiian Orchestra, #8305, 50914-L; EDISON Record paper label / Sweet Hawaiian Girl of Mine, (Sam A. Perry) Waikiki Hawaiian Orchestra, #8304, 50914-R, Paper label
.012) RCA VICTOR record with paper label: Side 1, #20-1564-!, P148, American Patrol - Fox Trot, (F. W. Meacham - Arr. by Jerry Gray) Glenn Miller and his Orchestra / Side 2, P148, #20-1564-B, song of the Volga Boatmen - Fox Trot, (Russian Fold Song) Glenn Miller and his Orchestra, #204564B, [record size is 9 7/8" + 1/32"]
.013) RCA Victor record with paper label, (RCA Victor division of Radio Corporation of America, Camden, N. J. , Made in U. S. A.): #20-1566A, side 5, P 148, Little Brown Jug- Fox Trot (Arranged by Billy Finegan) Glenn Miller and his Orchestra / Side 6, #20-1566B, Moonlight Serenade - Fox Trot, (Glenn Miller) Glenn Miller and his Orchestra. [record size is 9 7/8" + 1/32"]
.014) RCA Victor record with paper label: Side 7, P 148, #20-1567-A, Star Dust - Fox Trot, (Hoagy Carmichael) Glenn Miller and his Orchestra / Side 8, #20-1567-B, Pennsylvania Six-Five Thousand, Fox Trot, (Carl Sigman - Jerry Gray) Glenn Miller and his Orchestra, [record size is 9 7/8" + 1/32"]
.015) RCA Victor record with paper label: P 191, 20-2453-A; When Irish Eyes are Smiling (Olcott-Graff, Jr.-Ball)Dennis Day with Charles Dant and his Orchestra / P 191, #20-2453-B, My Nellis's Blue Eyes (William J. Scanian), Dennis Day and Chorus with Mark Warnow and his Orchestra. [record size is 9 7/8" + 1/32"]
.016) Capitol record with paper label, (2906 Z) Vocal Group With Orchestra, Rhode Island is Famous For You, Arthur Schwartz - Howard Dietz) From the Musical "Inside the U. S. A., The Pied Pipers, with Paul Weston and his Orchestra, 489 / Mary Lou, Lyman-Waggner-Robinson) The Pied Pipers with Paul Weston and his Orchestra, #2776-407 Y
.017) ARA record with paper label: #141-A, (1100), Sleepy Time Gal (Lorenzo -Whiting - Alden - Eagen), Hoagy Carmichael & Orchestra, Vocal by Hoagy Carmichael / #141-B, ARA-1007-2, Somewhere on Via Roma; (Carmichael-Forte) Hoagy Carmichael & Orchestra, vocal by Bob Allen, Manufactured by ARA, Inc. licensed by Manufacturer only for non-commercial use. [record size is 9 7/8" + 1/32"] NOTE: This record is a bit thicker than records .0 - .015
|Artist||Edison; RCA Victor; Columbia; ARA|
|Credit line||Donated by the Kiwanis Club|
NOTE: Original donation consisted of a 18th record; however, this record is broken and discarded since we have others in our collection.
WITH A SONG IN MY HEART / I'LL WALK ALONE, by Jane Froman, Capitol label
(2010 Jun 2, Judy Hakins)
"In America in 1900, the two leading manufacturers of flat records were Columbia, which used 80 rpm as its speed, and Victor, which used 76 rpm. Since one company's records were playable on the other's machines, it is only logical that the eventual standard speed would be in the middle.
78 rpm materials
Early disc records were made of various materials including hard rubber. From 1897 onward, earlier materials were largely replaced by a rather brittle formula of 25% shellac, a filler of a cotton compound similar to manila paper, powdered slate, and a small amount of a wax lubricant.
The mass production of shellac records began in 1898 in Hanover, Germany, and continued until the end of the 78 rpm format in the late 1950s. "Unbreakable" records, usually of celluloid on a pasteboard base, were made from 1904 onward, but they suffered from an exceptionally high level of surface noise. "Unbreakable" records could be bent, broken, or otherwise damaged; but not nearly as easily as shellac records. Vinyl was first tried out as a 78 rpm material in 1939.
78 rpm recording time
The playing time of a phonograph record depended on the turntable speed and the groove spacing. At the beginning of the 20th century, the early discs played for two minutes, the same as early cylinder records. The 12-inch disc, introduced by Victor in 1903, increased the playing time to three and a half minutes. Because a 10-inch 78 rpm record could hold about three minutes of sound per side and the 10-inch size was the standard size for popular music, almost all popular recordings were limited to around three minutes in length."
"Edison Diamond Discs characterize these records by their thickness, often times I hear "I saw some old records that are a quarter inch thick" --- Yes, they are thick, the company at first stamped issue numbers on the edge of the Diamond Disc... you need a thick record to do that. The discs are ten inches (diameter) but could hold more music than twelve inch discs made by other companies, some Diamond Discs play up to five minutes per side. If you find a twelve inch Edison Disc made in 1926, this is a long playing record or LP which plays up to 40 minutes..."
"...Edison Diamond Disc were a unique product in the record industry, they were not like Victor or Columbia products from the same era. Some of the songs and artists are the same as what one would find on Victor and Columbia Records but the technology differs...
"Edison Diamond Disc were issued form 1912 to 1929. You can determine the decade in which an Edison Disc was manufactured by knowing two basic labels. From 1912 to mid-1921, Edison relied on "molded labels". A prepared plate was pressed into the record surface, leaving an engraved impression, most are solid black and are notoriously hard to read, except for the very early issues that have a gray background that highlights the lettering, this was to expensive and time consuming and was dropped from the production line. Then beginning in mid-1921, paper labels were used on Diamond Discs..."
As mentioned before the Edison Company first stamped issue #numbers on the edge of the disc and actually this was a problem since moisture could enter the records through these stamped numbers. You never want Diamond Discs to get wet, they warp if exposed to moisture, so don't wash them. Edison Diamond disc cores were made from finely ground wood flour together with asphaltic bonder. In 1921 the core or "powder blank" composition was changed to include china clay and lesser amounts of wood flour. This was done because it was found that wood flour absorbed moisture readily whereas china clay did not, as a result the china clay disc were heavier, however china clay cores did provide protection from moisture, submersion tests at Edison's lab revealed that these records could stay submerged in water for about 15-20 minutes before moisture damage occurred.
(information found online (internet) on 06/24/2010) jh
R. C. A. Victor
ARA, Inc. record