Disneyana-Museum Germany
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Another view from my front porch as the sun begins heading toward the winter solstice. Here's a song by the same name from Ray Charles. In 1963 I was obsessed with the Beatles but loved this song as well...talk about channeling emotion...oh yes!
www.youtube.com/watch?v=7C0ca55mgFM
Ah I found it! Before I heard the Ray Charles version there was this one by Les Compagnons de la Chanson.
I was about twelve when I started playing my parents 78rpm records, they had a huge variety and this one appealed to twelve year old me even as I embraced 1958 rock 'n roll. If you're in a hurry skip to about the half way mark where the harmonies start to get really delicious.
Cocktails For Two is a song from the Big Band era, written by Arthur Johnston and Sam Coslow. The song debuted in the film Murder at the Vanities in 1934.. That was long before I was around.
I remember we had the song by Spike Jopnes and His City Slickers on 78rpm. Spike Jones released it in releassed it 1945 - still way before I was around but I remember playing it on our rcord player in the mid 50's.
www.youtube.com/watch?v=lvt4b_qwC_Q
Anyway here are our cocktails for two we enjoyed this evening before dinner at M'tucci's Restaurant. A whiskey smash for me and a cucumber basil gimlet for him.
Around Christmas Lene usually fires up the old '78 record player that she inherited from her aunt Ketty and plays pop music from very long ago... (Lene's shot, my edit)
Dushara Cathal Caithlin (Somali cat), 24.12.2023
Apple iPhone SE (3rd generation)
This record album was issued in 1950.
If you're at all familiar with vinyl record albums, the first thing you'll notice about this one, is that instead of a single, long-playing 12-inch or 10-inch diameter disc, this album came on two 'EP' Extended Play 7-inch diameter records, with two songs on each of the four sides.
The long playing vinyl 'microgroove' record was introduced in 1948 by Columbia Records, and it was followed by RCA's competing 7-inch format the following year.
In this early 'format war', the two record types played at different speeds; Columbia's at 33⅓ rpm, RCA's at 45rpm, and had different diameter spindle holes.
Both formats had a significant advantage over the pre-existing shellac discs, in that they were virtually unbreakable, and were far more resistant to developing the surface hiss that is so often associated with old 78rpm records.
As an aside, shellac records were not referred to as '78s' until records of other playback speeds became available - you won't find '78rpm' printed on pre-1948 record labels. The playback speed was said to be 'about 78rpm', and most record players had a variable speed control, so the playback speed could be adjusted, such that the pitch of the recording sounded right to the listener. Quite where the 78rpm speed came from in the first place is something of a mystery; there are various explanations to be found on-line involving the types of electric motors and reduction gearing commonly available in the early 20th century, but I don't find them convincing.
Columbia had chosen the size and playback speed of their vinyl records to accommodate the longest movements of classical music compositions then known - up to about 20 minutes each side. Short playback duration had been a major issue with the shellac records and numerous discs were needed to contain a complete symphony or opera, and they were often sold with their paper sleeves bound into a book-like format - hence the term 'record album'.
The RCA 7-inch 45rpm offering was more suited to collections of individual, shorter works, up to about 5 minutes duration, and RCA challenged the convenience of Columbia's long playing records by selling their own record players with very fast action auto-changers. Auto-changers had existed for many years for shellac records, but RCA's new players for the more robust vinyl discs were particularly quick. Also, the first long-playing records had longer gaps between the tracks than subsequently became the norm, so the time gap between one track ending and the next starting was virtually the same across both formats. In the early years of vinyl records, it was not uncommon for a record album to be issued on both a single, long-playing, 33⅓ rpm disc, and an 'album' containing several 7-inch 45rpm discs.
The 1950 example in my picture is a very early one - it must have been issued within the first year or so of 7-inch 45rpm records being available. A 10-inch diameter long-playing 33⅓ rpm record with the same eight tracks was also available.
As to Julia Bell; she was well known for performing somewhat risqué songs, as might be gathered from the titles on this collection, although I doubt they would barely raise an eyebrow, let alone a titter, from modern listeners.
This 'EP Album' is so rare that it is not even listed by Discogs, the on-line marketplace for second-hand records. Is it valuable, then? Sadly not - for a record to be valuable, it must be both rare AND sought after, and poor Julia's album only meets one of those criteria.
An iconic Victor Talking Machine. Made in 1921 by Victor Victrola Co. Taking us back in time to the "Roaring 20's" when jazz and big bands ruled. There's lots of jazz 78's for this wind up phonograph. It plays 78 RPM vinyl records. It isn't rare since about 185,000 were made. It was made before the company was bought by RCA, becoming RCA Victrola. This wind up phonograph plays surprisingly good music. #TimeMachine #VictorTalkingMachine #Victrola #78RPM #vinyl #HandCrank #WindUp
The Library at Penrhyn Castle with phonograph on small octagonal table and phonograph records 78rpm format, used about 1898 to the 1950's. Manufacturing ceased in 1959.
Penrhyn Castle is a country house in Llandygai, Bangor, Gwynedd, North Wales, constructed in the style of a Norman castle. The Penrhyn estate was founded by Ednyfed Fychan. In the 15th century his descendent Gwilym ap Griffith built a fortified manor house on the site.
Maison du pépé
All photos they may not be used or reproduced without my permission. If you would like to use one of my images for commercial purposes or other reason, please contact me.
Trio Matamoros
From Wikipedia, the free encyclopedia
The Trio Matamoros played boleros and son. They toured all Latin America and Europe and recorded in New York. In 1940 Guillermo Portabales performed with the trio. Matamoros expanded the trio into a conjunto for a trip to Mexico and hired the young Beny Moré as singer from 1945 to 1947. They recorded many 78rpm records and LPs; some of their output is available on CDs.[1] The group were renowned for the harmony of their voices, and the quality of the lyrics.
This Is The Army
Victor "First Nighter" Orchestra
Victor P-131
1942
Not one to pick up 78's, this one especially caught my eye at the local thrift. In excellent condition, and the disks are near perfect. This is the oldest recording in my collection, now. Just Gotta love the artwork!
Whilst wandering West Pentire village today I happened across Mr John Sleep who was working at repairing and restoring hand wound gramophones and phonographs in his tiny workshop. Despite being busy with a customer Mr Sleep kindly allowed me to take a few photographs.
Orange Blossom Time - from the film "Hollywood Revue 1929"
Played by Sandy Macpherson on the Wurlitzer Organ of the New Empire Cinema, London.
Week 25 Vintage Vibe - 52 Weeks 2021
February Alphabet Fun Month, 2022 edition.
You get a two-for-Tuesday with this photo, as it is included in the February Alphabet Challenge, and also in my album/song series of photos.
www.flickr.com/photos/andyziegler/albums/72157719046465407
Jack White's second solo album, "Lazaretto" (2014), on Third Man Records.
Normally I would describe the great music on an album. This album has that, no doubt, from the wonderful riff in the title song, to Lillie Mae Rische's beautiful fiddle and background vocals on "Temporary Ground," to the powerful drumming of Carla Azar. A little side note, I bought this album at Third Man Records (Jack White's store) in Nashville, and on the same trip with my sister, saw Lillie Mae Rische performing at Layla's on Broadway. She is so talented, and Jack brought her on tour with him on his first tour. You can see my photo of her here:
www.flickr.com/photos/andyziegler/33311985115/in/album-72...
Now, the reason this album is so awesome and unique starts with this photo. In the dead wax area of Side One, there is a hand-etched hologram of an angel, and it appears when you shine a light in that area and view it from the correct angle while the record plays. The hologram was created by artist Tristan Duke.
This album has many other firsts on it. Side One begins at the inside of the record and plays outward, the opposite way a normal LP would be. If you play it the normal direction, you would find a locked groove on the outer edge, and it would play forever.
Side Two has a matte finish to it, compared to the normal glossy/shiny finish on Side One. The song "Just One Drink" contains two separate intros (electric and acoustic), depending on where you drop the needle. A first of it's kind. And on both sides, there are hidden tracks in the labels, with Side One's being 78rpm, and Side Two's at 45rpm, making this vinyl LP the first three-speed record ever made.
The vinyl version of this album has a different running order compared to the digital and CD versions. It was recorded on analog tape, and the edge of the record is flat, not sharp like a normal LP. So many interesting things to see and experiment with on this album, and it has the usual great mix of songs by a true artist. If you have the chance to see him in concert, go. It will be an experience to remember.
I think I'm gonna start using my camera phone more to take digital lo-fi images that would emulate the aesthetics of photography in its earliest beginnings. Sometimes I might go for a daguerreotype look, or a calotype, an albumen silver print look, or any of the early processes, depending on the subject and the mood I want an image to express.
Given its "poor" picture quality and my disfavor of heavy post-processing (especially on my analogue images), I think it'll work. All I did for this one was desaturate it and turn up the contrast. The noise was caused by my camera phone's poor performance under low lighting conditions.
1.3 megapixels never looked so good to me. :P
[ BlackBerry Pearl 8100 Camera Phone ]
This 1953 record is extremely rare, not because of the music recorded on it (Johnny Dankworth was a very well-known and successful jazz band leader of the day) but because it is one of the first vinyl 7” 45rpm records produced in the UK. Especially unusual is the large diameter centre hole, a feature that was quickly dropped from UK singles.
The ‘single’ 45rpm 7 inch record was launched by RCA in 1949 as a direct competitor to the recently (1948) launched Columbia 12” 33 1/3rd rpm long playing ‘microgroove’ record. The RCA product featured a different size, different playing speed, and different diameter centre hole – it was one of the first format wars! Until the late 1940s, records played at approximately 78rpm, and due to being made largely of Shellac (formed by the secretion of the Indian Lac bug) were quite brittle and were easily broken. Although when new and played on the best equipment 78s could sound very good, they wore badly, the materials degraded and 78s became renowned for scratchy surface noise and hiss. Also, playback time was limited to about 5 minutes, depending on the diameter of the disc. RCA had launched a 12” low noise record before WW2, but it was not successful and they had to withdraw the system.
In 1948, Columbia launched the ‘microgroove’ vinyl disc. The 12”/30cm diameter and 33 1/3 rpm playing speed was in part determined by examining the longest duration of any movement in classical music then known, in order that, unlike with 78s, an entire movement at least could be listened to uninterrupted. One side of a 12” album contains about 20 minutes of audio. RCA 45s could hold about the same amount of audio as the earlier 78s, but they were smaller, lighter and practically unbreakable and played with much less surface noise. However, they couldn’t match the uninterrupted 20 minutes playing time of the Columbia LPs, so RCA designed not only the records but special record players that could change from one disc to another very quickly indeed, hence managed to minimise the time between one record ending and the next starting. Indeed, early Columbia long playing records which featured several tracks on each side had a longer gap between tracks than we later became used to, and the RCA system had a very comparable time gap between one song and the next.
7 inch records were often supplied in boxed sets, or Albums, of several discs that were placed in order on the central spindle of one of the RCA type record players from which they would play, one after the other, automatically. The large diameter centre hole facilitated easy handling of a stack of several such records. However, the special RCA record players were not available in the UK – the different electricity voltage, and most especially the 50Hz electricity supply compared to the 60Hz supply in the US made them unusable, so there was little point to producing records with the large centre hole in the UK, and shortly after their introduction (in or about 1953), they were produced with the same size centre holes that was used on both 78s and the new 12” LPs. However, many UK singles had perforations so that the centre section could be (permanently) removed in case you wanted to play it on a US style player, or indeed use it in a jukebox, the great majority of which could only take large centre hole records. Also, even the earliest UK record players that could play 45s came equipped with large hole adapters so you could play a large hole single from the US or Europe. Some UK singles had a completely solid centre region, like an LP, and without a special tool called a ‘dinker’ these couldn’t be adapted to play in a jukebox. After a short time, both Columbia and RCA allowed their formats to be used by each other and other manufacturers and soon albums were almost exclusively issued in 12” format and singles in 7” 45pm format.
So, the record in the picture is one of the very earliest produced UK singles and with a large diameter centre hole. Despite its comparative rarity, it is worth practically nothing – it is merely a curiosity from an earlier age.
Mural advertising the Lock Bottom Blues & Jazz Club seen in Akron, Ohio.
Drone photo by James aka Urbanmuralhunter on that other photo site.
Edit by Teee.
Macro Mondays - One Word
This is part of a 78 rpm record by Bob Grant and His Orchestra on the DECCA label and manufactured by The Compo Co Limited, Lachine, Quebec, Canada. It has 5 songs on a 10" extended play record and is part of a 4 disc album recorded in 1924.
A friend just gave me dozens of old 78 rpm records with some dating back to the 1920's, thus the start or birth of a new hobby to listen to all of them. (for Flickr Friday - birth).
The Melotone recording label (top record) was founded in 1930 but closed in 1938.
I never was a one to go and stint myself
If I like a thing, I like it, that's enough
But there's lots of people say that if you like a thing a lot
It'll grow on you and all that sort of stuff
Now I like my drop of stout as well as anyone
But a drop of stout‘s supposed to make you fat
And there's many a lar-di-dar-di madam doesn't dare to touch it
“Cos she mustn't spoil her figure silly cat.
~An old 78rpm rendition by Marie Lloyd
Makeup and styling by the talented Kelayla of www.transvista.co.uk/
DSC09647
11 Nov 16
1. Top left is 45 rpm record (single) from 1966 - Eleanor Rigby by The Beatles.
2. Bottom canter is 78 rpm record (shellac) from 1923 - Carry Me Back to Old Virginny by Peerless Quartet.
3. Top right is 33 rpm record (vinyl or LP) from 1967 - The World We Knew and other songs by Frank Sinatra and Nancy.
On display in a small museum inside Burg Dringenberg, Germany. I have a fondness for these machines. Also, I like the elegant green felt lining the turntables of many of them. Their sound was not so good, but they could be played virtually anywhere so long as they remained stationary and stayed level. It must have seemed a great novelty to be able to carry your machine with you and play a selection at will. It certainly made it possible for people of a certain income to enjoy music or dance in their homes. It also spawned something beyond ordinary domestic noise to annoy your roommates and neighbors with. I'm told that records were considered very expensive. Machines like this remained in common use through the late 1930s, though electrical recordings started in the 1920s. The paper sleeve states that the "long playing" 8-inch disk was electrically recorded. Those must have been selling points, even then. The disk here is similar to others of that label I've seen, which were released in 1929.
Still life.
A Beethoven concerto on Columbia Masterworks, A Kodak Retina Automatic III, and Ektar 100 135 film.
Image capture from my phone