Name: Will Osborne & His Orchestra - Youre A Builder Upper (1934) @CPorter
Uploaded: 2026-09-18T08:17:00-05:00
Duration: 8 min 17 s
Description: Will Osborne & His Orchestra - Youre A Builder Upper (1934)

Will Osborne & His Orchestra - Youre A Builder Upper (1934)

C Porter 2026-09-18 | Will Osborne & His Orchestra - Youre A Builder Upper (1934)

The Mills Brothers - Words (1949)

C Porter 2025-01-03 | Was commissioned to buy & transfer this beautiful Mills Brothers record by @letwelll so thank him for this!

Recorded in Los Angeles, CA on 12/23/1947, wasn't released until 1949, doubtlessly affected by the 2nd Petrillo Ban. (On this same date, Hoagy Carmichael also recorded I'm Happy Being Me, seemingly the only other version recorded)

I often forget just how many forgotten gems that The Mills Brothers recorded. My all time favorite song by them is On A Chinese Honeymoon, one of the most beautiful things they ever did, but rarely does it get much attention, even though its a B Side of one of their bigger hits. This one though, despite good reviews of it being standard upon it's Summer, 1949 release, sadly was left into obscurity very quickly, and as of uploading in January, 2025, audio of this is nowhere available online yet anywhere.

Califone 1030AV, 3mm compatible sapphire stylus.

#millsbrothers #millsbros #decca #deccarecords #78rpm #78rpmrecords #78rpmshellac #1947 #1949

The B Side is called I'm Happy Being Me which you can listen to here: youtu.be/CBTtWHoyq-M

The Mills Brothers - Im Happy Being Me (1949)

C Porter 2025-01-03 | Was commissioned to buy & transfer this beautiful Mills Brothers record by @letwelll so thank him for this!

Recorded in Los Angeles, CA on 12/23/1947, wasn't released until 1949, doubtlessly affected by the 2nd Petrillo Ban. (On this same date, Hoagy Carmichael also recorded I'm Happy Being Me, seemingly the only other version recorded)

I often forget just how many forgotten gems that The Mills Brothers recorded. My all time favorite song by them is On A Chinese Honeymoon, one of the most beautiful things they ever did, but rarely does it get much attention, even though its a B Side of one of their bigger hits. This one though, despite good reviews of it being standard upon it's Summer, 1949 release, sadly was left into obscurity very quickly, and as of uploading in January, 2025, audio of this is nowhere available online yet anywhere.

Califone 1030AV, 3mm compatible sapphire stylus.

#millsbrothers #millsbros #decca #deccarecords #78rpm #78rpmrecords #78rpmshellac #1947 #1949

The A Side is called Words which you can listen to here: youtu.be/wtwHLGkhqUE

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 2 of 6.

C Porter 2025-01-01 | A tradition between me and my other 78rpm friends since December 2019, has been listening to the Radio Dismuke New Years Eve programs. In which Dismuke, Matthew Orwat, R Connor Montgomery @OldTimeBlues , among others, and Edward Mitchell / @VictrolaJazz & @jazzvictrola7104 would sit around and playing a lot of great records, meanwhile talking about their history, context and otherwise. Back in mid 2019, my late friend Edward Mitchell gave me the files for this 2019 New Years broadcast. I learned a lot about this back when listening. Plus there's a ton of stuff you dont hear anywhere else too.

TIMESTAMPS:

(working on it)

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 3 of 6.

C Porter 2025-01-01 | A tradition between me and my other 78rpm friends since December 2019, has been listening to the Radio Dismuke New Years Eve programs. In which Dismuke, Matthew Orwat, R Connor Montgomery @OldTimeBlues among others, and Edward Mitchell / @VictrolaJazz & @jazzvictrola7104 would sit around and playing a lot of great records, meanwhile talking about their history, context and otherwise. Back in mid 2019, my late friend Edward Mitchell gave me the files for this 2019 New Years broadcast. I learned a lot about this back when listening. Plus there's a ton of stuff you dont hear anywhere else too.

TIMESTAMPS:

(working on it)

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 4 of 6.

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 6 of 6.

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 5 of 6.

C Porter 2025-01-01 | A tradition between me and my other 78rpm friends since December 2019, has been listening to the Radio Dismuke New Years Eve programs. In which Dismuke, Matthew Orwat, R Connor Montgomery @OldTimeBlues among others, and Edward Mitchell / @VictrolaJazz & @jazzvictrola7104 would sit around and playing a lot of great records, meanwhile talking about their history, context and otherwise. Back in mid 2019, my late friend Edward Mitchell gave me the files for this 2019 New Years broadcast. I learned a lot about this back when listening. Plus there's a ton of stuff you dont hear anywhere else too.

TIMESTAMPS:

(working on it)

Radio Dismuke Annual New Years Eve Broadcast #14 2018 - 2019 Hour 1 of 6.

C Porter 2025-01-01 | Back in 2018 when I first met Edward Mitchell, i would regularly explore his channel for a while, seeing as he had been uploading for nearly 10 years prior, and revisiting things I remembered from back around 2015. By the summer of 2019, I found a video in the series of the "North Texas Record Collectors Get-Together And Broadcast" Edward Mitchell @VictrolaJazz & @jazzvictrola7104 , Dismuke, R. Connor Montgomery @OldTimeBlues and others did back in the spring of 2010. After talking to Eddie about it, he mentioned Radio Dismuke to me, and gave me files for the 2018 to 2019 New Years Broadcast. I've had these for years now, only listening to them once completely, enough to be hooked at convincing Greg and the rest of our 78rpm group The Gregola Records Club to spend out new years of 2019 - 2020 having a listening party of listening to the broadcast online. And we've been doing it ever since, even listening to the 6 hour broadcast this year for 2023 - 2024 earlier and having a fun time. But ever since Eddie died back in August, I've been planning to put this all up during New Years.

TIMESTAMPS: (working on it)
0:11 Don-Lee New Years Party - KHJ Radio Station Personalities sing medley (1929) (Farewell Blues, Green Lantern, Pretty Little Maid Of Old Madrid, Ain't Misbehavin', American Peptime, Auld Lang Syne) Info about this in the first 5 minutes of Hour 4.
4:00 Unknown Artist - Love Is On The Air Tonight (1931?)
6:51 Dismuke announces, all are introduced, and format of show is explained.
11:27 Paul Specht & His Orchestra - She Looked Like Helen Brown (1927)
14:18 Dismuke & Company return for more commentary.
16:17 Bubber Miley & The Mileage Makers - Penalty Of Love (1930)

Frank Dailey & His Stop And Go Orchestra - Jingle Bells (1939)

C Porter 2024-12-23 | A version of the song not available to hear anywhere as of posting, and a real fun version at that!

Recorded in New York City on April 6th, 1939. Take One.

One of the biggest voices of the Big Band/Dance Band era, as well as the Swing Era was Frank Dailey, not because of his group of orchestras he had over the years, it was because of his large dancehall off the New York Pompton Turnpike in Cedar Grove, New Jersey. Between the early 20s and early 50s, hundreds of bands, big and small played engagements there amongst hundreds of dancing patrons who dined there nightly ('cept Mondays), and often broadcasted over the NBC and CBS radio networks where bands and singers from Tommy & Jimmy Dorsey, Frank Sinatra, Helen Forrest, Harry James, Gene Krupa, Duke Ellington, Anita O'Day, Glenn Miller, Benny Goodman, and all the other bigger stars all the time. But also the middler and smaller bands often broadcasted like Alvino Rey, Sonny Durham, Alvino Rey, Will Osborne, Joe Haymes, Mal Hallett, Hugh McPherson, Glen Gray, Bunny Berigan, and of course most frequently in between other bands, Frank's own orchestras.

In the 30s, there was a whole roost of different themed bands, either because of how they'd dress and act, such as with Jan Savitt & His Top Hatters, Anson Weeks (who billed his band and self under the phrase "Dancin' With Anson Weeks" on radio and records), and plenty of others. But then there were others who would have their own musical remarks and gimmicks worked into the very musical nature of the band. As with Shep Field & His Rippling Rhythm which featured a wavering violin glistening up and down along with sound affects of a babbling brook; Grey Gordon & His Tick-Tock Music--which had wood blocks hit in time like a clock on songs; Lawrence Welk & His Champagne Music--featuring corks being popped; and so on. Many swingers and their leaders looked down on this unique form of musical identity, but these sweet bands were loved by plenty. So too was the case with Frank Dailey & His Stop-And-Go Orchestra, which took many aspects of other sweet bands, added a whole bunch of talent, and would often end the songs early, and after a few seconds of silence, Frank or someone else would come to the mic and remind the band to "Stop And Go!' and thus the band resumed, surprising the dancers. The band was swimming with talent, vocally with Barbara Bush, Howard DuLany, Curly Norman, Eddie Flisak, and instrumentally with the last two, along with his brother Clifford on sting bass, Arnold Ross on electric organ and accordion, and George O'Dell on guitar.

That band of his was a fun one, and it started in Early 1938, and halfway through an 8 week engagement at the Meadowbrook, the band's ideas really took hold with the public. Before long recording with Victor for their Bluebird label. They had two different vocal trios at points, one of Eddie, Nick & Curly, and the other being Stop, Look & Listen. After a lot of regional and later national success when the band went on tour, Dailey, evidently deciding to hang up his baton with the orchestra, sold it to Bill Marshall in July of 1939, who kept the "Stop And Go" motion and its sidemen and singers in good fashion for a while to come.

#frankdailey #mothergoose #mothergoosenurseryrhymes #jinglebells #jinglebellssong #meadowbrook #1939 #bluebird #78rpmshellac #78rpm #bush #barbarabush

The A Side is Mother Goose On Parade which you can listen to here: youtu.be/d_08xaDoYgQ

Frank Dailey & His Stop And Go Orchestra - Mother Goose On Parade (1939)

C Porter 2024-12-23 | Seemingly a kiddy record, or something else like it, a great children's story of a lesser remembered (today) fable I'm sure we've all heard of at least once before. Barbara Bush was late with Jack Teagarden and Will Osborne orchestras.

Recorded in New York City on April 6th, 1939. Take One.

One of the biggest voices of the Big Band/Dance Band era, as well as the Swing Era was Frank Dailey, not because of his group of orchestras he had over the years, it was because of his large dancehall off the New York Pompton Turnpike in Cedar Grove, New Jersey. Between the early 20s and early 50s, hundreds of bands, big and small played engagements there amongst hundreds of dancing patrons who dined there nightly ('cept Mondays), and often broadcasted over the NBC and CBS radio networks where bands and singers from Tommy & Jimmy Dorsey, Frank Sinatra, Helen Forrest, Harry James, Gene Krupa, Duke Ellington, Anita O'Day, Glenn Miller, Benny Goodman, and all the other bigger stars all the time. But also the middler and smaller bands often broadcasted like Alvino Rey, Sonny Durham, Alvino Rey, Will Osborne, Joe Haymes, Mal Hallett, Hugh McPherson, Glen Gray, Bunny Berigan, and of course most frequently in between other bands, Frank's own orchestras.

In the 30s, there was a whole roost of different themed bands, either because of how they'd dress and act, such as with Jan Savitt & His Top Hatters, Anson Weeks (who billed his band and self under the phrase "Dancin' With Anson Weeks" on radio and records), and plenty of others. But then there were others who would have their own musical remarks and gimmicks worked into the very musical nature of the band. As with Shep Field & His Rippling Rhythm which featured a wavering violin glistening up and down along with sound affects of a babbling brook; Grey Gordon & His Tick-Tock Music--which had wood blocks hit in time like a clock on songs; Lawrence Welk & His Champagne Music--featuring corks being popped; and so on. Many swingers and their leaders looked down on this unique form of musical identity, but these sweet bands were loved by plenty. So too was the case with Frank Dailey & His Stop-And-Go Orchestra, which took many aspects of other sweet bands, added a whole bunch of talent, and would often end the songs early, and after a few seconds of silence, Frank or someone else would come to the mic and remind the band to "Stop And Go!' and thus the band resumed, surprising the dancers. The band was swimming with talent, vocally with Barbara Bush, Howard DuLany, Curly Norman, Eddie Flisak, and instrumentally with the last two, along with his brother Clifford on sting bass, Arnold Ross on electric organ and accordion, and George O'Dell on guitar.

That band of his was a fun one, and it started in Early 1938, and halfway through an 8 week engagement at the Meadowbrook, the band's ideas really took hold with the public. Before long recording with Victor for their Bluebird label. They had two different vocal trios at points, one of Eddie, Nick & Curly, and the other being Stop, Look & Listen. After a lot of regional and later national success when the band went on tour, Dailey, evidently deciding to hang up his baton with the orchestra, sold it to Bill Marshall in July of 1939, who kept the "Stop And Go" motion and its sidemen and singers in good fashion for a while to come.

#frankdailey #mothergoose #mothergoosenurseryrhymes #jinglebells #jinglebellssong #meadowbrook #1939 #bluebird #78rpmshellac #78rpm #bush #barbarabush

The B Side is called Jingle Bells, which you can listen to here: youtu.be/kNg9qQ59wTA

A Toothpick Needle For A Phonograph

C Porter 2024-12-23 | I'm not the first person to try out this novelty, of clipping off the head of a toothpick and using that as the single-use needle for a phonograph/talking machine/gramophone; but I was curious as to what it would sound like. And here's the result of it! Doesn't last a full record, and plays very softly. So if anyone's looking for a way of harmlessly playing any 78 on a phonograph (as opposed to just the ones yours were designed for), as well as an extra-soft tonality, then hopefully this will see you well.

Song: Glen Gray & His Orchestra - Sunrise Serenade (1939)

Phonograph: Victor VV-IV (1919)

#phonograph #78rpmshellac #phonographneedles #gramophone #talkingmachine #needles #78rpm #glengray #orchestra #1919 #1939

Casualties of Helene & Milton | 78 Collecting PSA.

C Porter 2024-12-19 | Not looking for replacements, the records are, for the most part, salvageable, and if anyone wants them, I'm fine with them getting them, there just on my backlog.

#78rpmshellac #78rpmrecords #78rpm #psa #helene #hurricane #hurricanehelene #hurricanemilton #milton #orlando

Are These 1930s Songs Public Domain / Royalty Free / No Copyright?

C Porter 2024-12-16 | This is a brief overview, I could realistically make several more videos on the specifics of this topic. As for just using copyrighted music in general, there's so much more out there. I highly recommend Emplemon's series on the title from years back.

Those who beleive that you can these songs are public domain, royalty free, or have no copyright to them due to their age are sadly mistaken, mostly due to the public perception that the old rule of "everything is public domain after 50/100 years" still being spread around commonly. I wish it worked that way, but unfortunately not. Please, don't add to the misinformation by putting songs that have passed through the Content ID system in those "public domain" (and all other equivalent terms) playlists. Make no mistake, I'm immensely thankful that all of this music, especially by the likes of Will Osborne's orchestras, especially my uploads of them, have been picked up over the years and used everywhere, but this needs to be clarified, so that if something does someday happen where UMG, Columbia, or otherwise does clamp down on all of these uploads, by people monetizing their videos using it, that there will be a reason shown, and those monetizing will have been warned. As unlikely as that is, I kinda feel a responsibility to inform people, mostly cause people keep asking all the time about it.

Keep using this amazing music in your uploads and creative works! It really keeps all this glorious music alive, and the memory of these amazing musicians and singers that created this priceless music alive. Plus it's far more creative than using the same 15 songs in the Youtube Library for background music. Please feel free to ask questions if I haven't said everything or cleared it all up, I'll get back to you when I can.

Learn more about copyright law and how it relates to using this sorta music here:

blogs.loc.gov/now-see-hear/2019/02/copyright-breakdown-the-music-modernization-act

copyright.gov/music-modernization/sound-recordings-vs-musical-works.pdf

Vintage music that IS IN the public domain already: https://adp.library.ucsb.edu/index.php/resources/detail/460 , https://adp.library.ucsb.edu/index.php/resources/detail/494

#publicdomain #publicdomainmusic #royaltyfree #royaltyfreemusic #copyrightfree #copyrightfreemusic #copyrightclaim #copyrightstrike #1930s #willosborne #boswellsisters #theboswellsisters #78rpm #music

Will Hudson & His Seven Swingsters - Miracle At Midnight (1938)

C Porter 2024-12-09 | The lovely voice of Jane Dover satisfies on this Hudson composition, not quite miraculously though I'd say.

This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded in New York City on July 15th, 1938.

Hudson is one of the names we all know today, but for everyone here reading this, it's likely not for the reason of this record or even this outfit of theirs. Hudson was one hell of a composer, arranger, lyricist, and occasional singer. As recently as the beginning of this year, Hudson was still with this band, but back when it was under the co-leadership of fellow songwriter, as well as singer Eddie DeLange. From about late 1935 - early 1938, the two of them lead the Hudson-DeLange orchestra. Being considered at the time, and even by musicologists decades later to be one of the most admirable and finest swinging bands of the 30s. ARC artists through and through, often managed and published their own songs by Irving Mills, which owned the Master & Variety labels they often recorded under, even having taken out an interest in the band too. Speaking of their songs, it's always great when you have the leader being the composer of the song, so when the band plays/records the song, you get exactly what the creator envisions it was supposed to sound like. Fellas, we got this twicefold in that band! Considering both leaders wrote a lot of their music. Those including their biggest hits of Organ Grinders Swing (1936), Yours And Mine (1937), Love Song Of A Half-Wit (1937), College Widow (1938), and others. The other reason why for twicefold, is that Eddie DeLange was one of the star singers of the band, along with the bubbly vocalist Ruth Gaylor, and others. And not to mention the sidemen, too many good ones to name, from the most popular like Goodman, down to the obscurest of those like Trini's, all of which excelled in their own fields, and gave the band perhaps one of the best reed sections of the 30s!

But all good things must come to an end, and in 1938 it did, the band split up due to the big personality differences amongst other reasons involving a vote for who should take over, and buyouts, depending on which of the two you believe. But at the end of the day, Eddie went his own way, forming his own orchestra that recorded for Victor, while Will stayed over Brunswick that survived the collapse of the ARC. From the joint leading days, the band fell from 15 sidemen (including both leaders), down to just 7, excluding himself as leader. This became "Will Hudson & His Seven Swingsters." Which still featured songs written both leaders, as well as one of the band's later singers, Jane Dover that was carried along with the 7 Swingsters. They were able to score one hit that summer, with The Night Is Filled With Music, but by then, the name was being retired, and becoming just "His Orchestra". Hudson later fronted another band into the early 40s of 15 pieces including himself over on Decca.

#willhudson #1938 #78rpm #78rpmshellac #78rpmrecords #willhudsonorchestra #swingsters #eddiedelange #brunswick #corrigan #miracle #midnight

The A Side is called The Corrigan Hop which you can listen to here: youtu.be/Qtp7AlKYTPk

Will Hudson & His Seven Swingsters - The Corrigan Hop (1938)

C Porter 2024-12-09 | Described as "The new dance creation" by publishers in 1938, who pushed copies of this Hudson song & arrangement out for bands to play themselves. Despite how good it sounded, apparently it wasn't a success, unlike most Hudson songs from the period.

This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded in New York City on June 10th, 1938.

Hudson is one of the names we all know today, but for everyone here reading this, it's likely not for the reason of this record or even this outfit of theirs. Hudson was one hell of a composer, arranger, lyricist, and occasional singer. As recently as the beginning of this year, Hudson was still with this band, but back when it was under the co-leadership of fellow songwriter, as well as singer Eddie DeLange. From about late 1935 - early 1938, the two of them lead the Hudson-DeLange orchestra. Being considered at the time, and even by musicologists decades later to be one of the most admirable and finest swinging bands of the 30s. ARC artists through and through, often managed and published their own songs by Irving Mills, which owned the Master & Variety labels they often recorded under, even having taken out an interest in the band too. Speaking of their songs, it's always great when you have the leader being the composer of the song, so when the band plays/records the song, you get exactly what the creator envisions it was supposed to sound like. Fellas, we got this twicefold in that band! Considering both leaders wrote a lot of their music. Those including their biggest hits of Organ Grinders Swing (1936), Yours And Mine (1937), Love Song Of A Half-Wit (1937), College Widow (1938), and others. The other reason why for twicefold, is that Eddie DeLange was one of the star singers of the band, along with the bubbly vocalist Ruth Gaylor, and others. And not to mention the sidemen, too many good ones to name, from the most popular like Goodman, down to the obscurest of those like Trini's, all of which excelled in their own fields, and gave the band perhaps one of the best reed sections of the 30s!

But all good things must come to an end, and in 1938 it did, the band split up due to the big personality differences amongst other reasons involving a vote for who should take over, and buyouts, depending on which of the two you believe. But at the end of the day, Eddie went his own way, forming his own orchestra that recorded for Victor, while Will stayed over Brunswick that survived the collapse of the ARC. From the joint leading days, the band fell from 15 sidemen (including both leaders), down to just 7, excluding himself as leader. This became "Will Hudson & His Seven Swingsters." Which still featured songs written both leaders, as well as one of the band's later singers, Jane Dover that was carried along with the 7 Swingsters. They were able to score one hit that summer, with The Night Is Filled With Music, but by then, the name was being retired, and becoming just "His Orchestra". Hudson later fronted another band into the early 40s of 15 pieces including himself over on Decca.

#willhudson #1938 #78rpm #78rpmshellac #78rpmrecords #willhudsonorchestra #swingsters #eddiedelange #brunswick #corrigan #miracle #midnight

The B Side is called Miracle At Midnight which you can listen to here: youtu.be/p7S5hDaJx5M

Henry Busse & His Orchestra - All Is Fair In Love And War (1937)

C Porter 2024-11-17 | A record my significant other recommended I try out.

This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded November 30th, 1936 in Chicago, IL. Released likely ~January, 1937.

Whether you're Paul Whiteman fan, a lover of just the 30s swing and dance band in general, the sweet & corny bands, as well as several specific songs such as his theme Hot Lips, The Wang Wang Blues, Farewell My Love among others, likely know the name Henry Busse. For the songs, because he wrote them all as well as peformed most of them. As for the decade, because of his band have the hit versions of over a dozen different songs throughout that time. Busse (pronounced "bussy". Yes.) was one of Paul Whiteman's first orchestra's earliest trumpeters, playing with him 10 years from 1918 to 1928. After which point forming his own orchestra that started recording for Victor. Having a very hot and commercial sound, and featuring the swell vocals of Richard Barry, they quickly found success over WLW, having nationwide coverage, and having the hit record Satisfied in 1929.

As the 20s turned into the 30s, Busse's boys could be seen mostly in the Chicago area, as well as the mid-west despite recording for Victor in New York. As it appears, Henry's orchestra seemed to brake up by 1932, or was massively reorganized about this time. He would associate with the Whiteman orchestra at this time in Chicago, with billings reading "Henry Busse with Paul Whiteman's orchestra" and vice versa throughout 1932 and into 1933, when it looks like Busse created a new orchestra now that had up to 22 sidemen in it. It was described as a Paul Whiteman-type outfit. But slowly over the years it whittled it's way down to 15 sidemen with it's own sound and uniquely playing songs mostly in 6/8th's time, rather than 3/4th's like most every band at the time did. By 1934 it started recording over Columbia, as well as the new fledgling Decca label as one of it's earliest artists. Busse had collected a whole host of impressive sidemen, some being ex-Whiteman, and others naturally being from elsewhere. Those including trumpeter Axel Monroe, strings Don Borden and George Zybanek, drummer Jerry Wheeler, pianist Paul Sprosty, standing bass Hal Hoffner, and more. Vocal talent was definitely not lacking. Such greats as gals Dorothy Jenkins, Kathryn Wroe, Emily Sibley, formed the vocal trio of "Dot, Kay & Em"; piercing crooner Bob Hannon, and singer Carl Grayson were also amongst the bands compliments.

Decca won out from Columbia, and between the fans in the Midwest and East Coast, and a several year stay at The Chez Paree Cafe in Chicago with radio wire, KDKA features and CBS contract, as well as steadily selling records, the band enjoyed great success. However many were critical of Busse's music as time went on, as he favored sweet music, with his corny trumpet soloing, rhythm that at times would be described by Metronome columnist like that of a "gallop" (January, 1937), and other parts of his arrangements and rhythm. Especially a different sound from how they were over radio as George T. Simon would say in April. It got to the point that the month prior, about the time that their biggest hit "With Plenty Of Money And You" was out, Metronome's record review columnist Gordon Wright elected to boycott all future Busse releases. Saying: "and the sad part of it is that the band can be good--but that At Sundown thing just released--ugh!" (3/37 pg 33)

The band eventually did get better in the eyes of these swing snobs though, as by 1938 when they left Chicago and came to New York at the Hotel Edison, they showed off their color and skill. As time went on this band faded away as the 40s came in. He had a new band, called "Henry Busse and his Shuffle Rhythm Orchestra", that was especially popular on the west coast starting around 1942. At this time with the AFM recording ban on, only being able to record several V-Discs for our boys overseas, and after the war having several other bands recording over a slew of different west coast labels. Busse remained active on the scene until he became one of the earliest leaders to die, in 1955.

Aside from the aforementioned songs, Busse's bands had hits with My Last Goodbye in 1939, I'm Through With Love in 1931, I'm Gonna Lock My Heart in 1938, All I Do Is Dream Of You in 1934, Bambina in 1938, among others.

The A Side is called With Plenty Of Money And You which you can listen to here: youtu.be/gZ6_KVQUbuU

Henry Busse & His Orchestra - With Plenty Of Money And You (1937)

C Porter 2024-11-17 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded November 30th, 1936 in Chicago, IL. Released likely ~January, 1937.

Whether you're Paul Whiteman fan, a lover of just the 30s swing and dance band in general, the sweet & corny bands, as well as several specific songs such as his theme Hot Lips, The Wang Wang Blues, Farewell My Love among others, likely know the name Henry Busse. For the songs, because he wrote them all as well as peformed most of them. As for the decade, because of his band have the hit versions of over a dozen different songs throughout that time. Busse (pronounced "bussy". Yes.) was one of Paul Whiteman's first orchestra's earliest trumpeters, playing with him 10 years from 1918 to 1928. After which point forming his own orchestra that started recording for Victor. Having a very hot and commercial sound, and featuring the swell vocals of Richard Barry, they quickly found success over WLW, having nationwide coverage, and having the hit record Satisfied in 1929.

As the 20s turned into the 30s, Busse's boys could be seen mostly in the Chicago area, as well as the mid-west despite recording for Victor in New York. As it appears, Henry's orchestra seemed to brake up by 1932, or was massively reorganized about this time. He would associate with the Whiteman orchestra at this time in Chicago, with billings reading "Henry Busse with Paul Whiteman's orchestra" and vice versa throughout 1932 and into 1933, when it looks like Busse created a new orchestra now that had up to 22 sidemen in it. It was described as a Paul Whiteman-type outfit. But slowly over the years it whittled it's way down to 15 sidemen with it's own sound and uniquely playing songs mostly in 6/8th's time, rather than 3/4th's like most every band at the time did. By 1934 it started recording over Columbia, as well as the new fledgling Decca label as one of it's earliest artists. Busse had collected a whole host of impressive sidemen, some being ex-Whiteman, and others naturally being from elsewhere. Those including trumpeter Axel Monroe, strings Don Borden and George Zybanek, drummer Jerry Wheeler, pianist Paul Sprosty, standing bass Hal Hoffner, and more. Vocal talent was definitely not lacking. Such greats as gals Dorothy Jenkins, Kathryn Wroe, Emily Sibley, formed the vocal trio of "Dot, Kay & Em"; piercing crooner Bob Hannon, and singer Carl Grayson were also amongst the bands compliments.

Decca won out from Columbia, and between the fans in the Midwest and East Coast, and a several year stay at The Chez Paree Cafe in Chicago with radio wire, KDKA features and CBS contract, as well as steadily selling records, the band enjoyed great success. However many were critical of Busse's music as time went on, as he favored sweet music, with his corny trumpet soloing, rhythm that at times would be described by Metronome columnist like that of a "gallop" (January, 1937), and other parts of his arrangements and rhythm. Especially a different sound from how they were over radio as George T. Simon would say in April. It got to the point that the month prior, about the time that their biggest hit "With Plenty Of Money And You" was out, Metronome's record review columnist Gordon Wright elected to boycott all future Busse releases. Saying: "and the sad part of it is that the band can be good--but that At Sundown thing just released--ugh!" (3/37 pg 33)

The band eventually did get better in the eyes of these swing snobs though, as by 1938 when they left Chicago and came to New York at the Hotel Edison, they showed off their color and skill. As time went on this band faded away as the 40s came in. He had a new band, called "Henry Busse and his Shuffle Rhythm Orchestra", that was especially popular on the west coast starting around 1942. At this time with the AFM recording ban on, only being able to record several V-Discs for our boys overseas, and after the war having several other bands recording over a slew of different west coast labels. Busse remained active on the scene until he became one of the earliest leaders to die, in 1955.

Aside from the aforementioned songs, Busse's bands had hits with My Last Goodbye in 1939, I'm Through With Love in 1931, I'm Gonna Lock My Heart in 1938, All I Do Is Dream Of You in 1934, Bambina in 1938, among others.

#1937 #78rpm #henrybusse #78rpmshellac #decca #deccarecords #bobhannon #golddigger

The B Side is called All Is Fair In Love And War which you can listen to here: youtu.be/SVq0Bgo63u0

Johnny Johnson & His Orchestra - Im A Ding Dong Daddy (1930)

C Porter 2024-11-02 | The location of the city of Dumas, in this song in unclear due to the many towns of that name. Bear Creek, and Little Town likewise, but if we assume all three of these towns are in the same US State, then we can assume the native heritage of this Ding Dong is Texas.

This record is courtesy of the Tyler Baldwin Collection: youtube.com/@UCNVuRa2wMcq64DaRLnQMhhw

This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded August 19th, 1930 in NYC. Harry McDaniel sings. Originally released on Victor.

Johnny Johnson's orchestra, who has surprisingly few records put up on youtube despite his diverse ARC recording range through the mid 30s, had more of a radio career than anything else. And not much was attention was given to him outside of that, due to his incredibly common name. In 1936 - 1937 especially with Paul Green's musical legend by the same name being produced around the country to high acclaim. Maestro Johnson started as a pianist in the nickelodeons of his home town for silent films, and got talented enough that he got a scholarship for the Indianapolis Conservatory of Music at the age of 14. (The Brooklyn Times Union, Brooklyn NY; 7/21/1935, pg 17.) having his first records over Cameo in the mid 20s, also recording for other dimestore labels, but switching to Victor in 1928. By the time the 30s arrived, Johnson was broadcasting over stations WJZ and WEAF for the NBC, the ladder over the RCA Hour, having Elliot Shaw as his vocalist. As time went on he would start broadcasting for WWSW in 1933, while switching to ARC Labels including Melotone, Perfect, Oriole, Conqueror, Banner, etc. Having many engagements of high stature by this point, as he firmly established himself as a society dance band, soon to latch onto Swing as it came around. The Statler Hotel, Playland Casino, The Willows, Hotel Pennsylvania, The Post-Lodge, The Ross-Fenton farm in New Jersey, Embassy Club in Miami, as well as play in the famous Savoy Hotel in London as well as the Les Ambasseduers in Paris throughout the 30s.(The Standard-Star, New Rochelle, NY; 8/18/1932, pg 19) By the time the ARC collapsed in 1938, Johnson had stopped recording, but during that time had featured plenty of swell vocalists including Al Jennings, Vi Mele, and even it appears Johnny's own brother Lee.

By 1939 he was still playing WEAF though and he continued into the 40s, but he never amounted to much of notability in the music scene unfortunately. His records are quite good. Having 3 hits: Once In A Lifetime in 1928, My Stormy Weather Pal also in 1928, and It Goes Like This in 1929.

#johnnyjohnson #78rpm #mckinneyscottonpickers #johnnyjohnsonorchestra #78rpmshellac #hmv #hismastersvoice #misshannah #dingdong #daddy #1929 #1930

The A Side is called Miss Hannah by McKinney's Cotton Pickers which you can listen to here: youtu.be/lAotBCQa0xU

McKinneys Cotton Pickers - Miss Hannah (1930)

C Porter 2024-11-02 | Prior to me getting this record in March, had no idea about this song, and thought this was the same as Oh Miss Hannah from 1928, but no, this a completely different one. And now a new favorite of mine by the Cotton Pickers.

This record is courtesy of the Tyler Baldwin Collection: youtube.com/@UCNVuRa2wMcq64DaRLnQMhhw

This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded November 6th, 1929 in NYC. Don Redman sings. Originally released on Victor, later on Bluebird.

William McKinney, with his band from Detroit proved to be one of the hottest and well received hot jazz bands of the 20s and early 30s, and often to this day one of the more sought after black band by collectors, having some of the best jazz available. And when you realized that their sidemen included the likes of Don Redman as sax, clary, arranger, singer, and often director; the saxes of Benny Carter and Coleman Hawkins; the tram of Claude Jones and cornet of Rex Stewart, the piano of both Fats Waller and Todd Rhodes at points, the wonderful voice of Lois Deppe, and of course the rhythm kept by banjoist Dave Wilborn, all of which being highly revered in different bands of Ellington, Henderson, Armstrong, Bechet, and as well as their owns, it truly is no wonder why they were so loved and successful. On top of all of that, they were managed by Jean Goldkette, one of the hottest jazz playing white bandleaders of the time, equally revered. Aside from just getting hot an' anxious with jazz, they found a lot of success just with atmosphere and moodiness in their sound. Recorded exclusively over Victor from 1928 through 1931, loosing the ability for them to record is one of the bigger musical tragedies of the Great Depression. Part of that surely was caused by Don Redman leaving that year to create his own band for Brunswick. But the band held on up into 1934 before it finally broke up for good. The times had changed, they no longer were getting success for a band that was supposed to emphasize the talent of the roaring 20s, now were facing the throbbing 30s.

The band, despite very popular records, only has two considerable hit records, but they're really good ones at that. Milenberg Joys in 1929, and If I Could Be With You One Hour Tonight in 1930.

#johnnyjohnson #78rpm #mckinneyscottonpickers #johnnyjohnsonorchestra #78rpmshellac #hmv #hismastersvoice #misshannah #dingdong #daddy #1930 #1929

The B side is called I'm A Ding Dong Daddy by Johnny Johnson's orchestra, which you can listen to here: youtu.be/xLAHYEdOhQQ

Lets Talk 78s, the music, and the industry.

C Porter 2024-11-01 | Figured it's time I try this out myself instead of just relying on Greg to do it this year. He doesn't want to.

Skip about the first hour so you can get to the stuff that's good content here lol. It's a spur of the moment Halloween stream. We had a fun time.

Discord server for talking about these subjects: discord.gg/ADSN7ky7

Channel Update: Urban Exploring Content

C Porter 2024-10-28 | Ever since I started this channel in November of 2013, I always had the intention of someday doing some Urban Exploration. But rarely in the last 11 years, if ever, was I able to just DO some myself--as well as some caving, that will be shown too. Even back with some examples seen back in 2016 on my channel, those were almost more akin to archeology than anything. But back in June of this year, I got a real chance to finally do some after so long.

Over 2 hours of footage, and about a dozen locations visited, this will make for some great future content on this channel, aside from regular stuff like 78s. I'd expect this to shape into content like Tom Lynskey's @PartTimeExplorer channel , but done my way, and with special attention to consistently fitting and amazing musical quality.

Music:
Eidolon OST: Along The River - Michael Bell

#urbanexploration #florida #floridaurbexing #urbex #urbexamerica #abandoned #abandonedplaces #caving #floridacaves #caves

The Mills Brothers - In Old Champlain (1942)

C Porter 2024-10-20 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded February 18th, 1942 in NYC. Released September-October, 1942.

Sometime in late 2017 or early 2018 is when I got this record, very early on into my days of collecting. It's within my first 30 some records I'm sure. My second Mills Brothers Record, outside of Paper Doll which was my first. I remember for at least "Met Her On Monday" at the time there used to a topic channel upload of it available at the time. I don't think there was one for "Champlain". Now both of which have been deleted/region locked for some stupid reason--as is the unreliable nature of Topic Channels in general--however. Now aside from Brian's upload of the A Side on a Brunswick, my uploads are the only ones to date of The Mills Brother's recordings of these songs. So I figured it was long as I'm here, and someone's pointing out that fact on one of my old uploads of it, it's time I let both of these have transfers.

Both of these songs are forgotten gems of the early 40s, despite I Met Her On Monday being a hit for Freddy Martin, it was still a moderate one and not a massive one. In My Opion though, of all the recordings we got of the song, the Mills Brother's cut of it just did it the best and most charmingly. Eddie Stone on Martin's misses a lot of vocal symmetry and sings in ways that are slightly off putting on it. In Old Champlain however is a different case all together. Aside from The Mills Brother's on this session, the band tried to record it on January 20th of the year to no success. But apart from that, it seems no one else over both record and radio transcription, tried to record this song. Definitely seemingly unpopular, but the Four Mills Brothers handle it pretty well, and it's been memorable to me for a while. Perhaps if the Petrillo Ban that started that August hadn't happened, we'd have an orchestral recording of it.

By the time this record released in September/October of the year, folks had nice things to say about the record, being an obvious Petrillo Ban release by Decca to keep content flowing and demand at bay. Aside from noting that Harry Mills sings lead on both sides, and that both are fairly good, there's nothing to note other than that Champlain is an original ballad on the scene. Billboard and other music magazines bypassed mentioning this record's existence as a whole it seems. Considering the worn state of this record (aside from the Shellac Shortages giving us lesser quality shellac to work with), we can gather that at least the owner of this record very much enjoyed both sides, and loved In Old Champlain more.

#1942 #78rpm #millsbrothers #78rpmshellac #inoldchamplain #monday #decca #deccarecords

The A Side is called I Met Her On Monday which you can listen to here: youtu.be/GdJyIOU0ti8

The Mills Brothers - I Met Her On Monday (1942)

C Porter 2024-10-20 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded July 9th, 1942 in NYC. Released September-October, 1942.

Sometime in late 2017 or early 2018 is when I got this record, very early on into my days of collecting. It's within my first 30 some records I'm sure. My second Mills Brothers Record, outside of Paper Doll which was my first. I remember for at least "Met Her On Monday" at the time there used to a topic channel upload of it available at the time. I don't think there was one for "Champlain". Now both of which have been deleted/region locked for some stupid reason--as is the unreliable nature of Topic Channels in general--however. Now aside from Brian's upload of the A Side on a Brunswick, my uploads are the only ones to date of The Mills Brother's recordings of these songs. So I figured it was long as I'm here, and someone's pointing out that fact on one of my old uploads of it, it's time I let both of these have transfers.

Both of these songs are forgotten gems of the early 40s, despite I Met Her On Monday being a hit for Freddy Martin, it was still a moderate one and not a massive one. In My Opion though, of all the recordings we got of the song, the Mills Brother's cut of it just did it the best and most charmingly. Eddie Stone on Martin's misses a lot of vocal symmetry and sings in ways that are slightly off putting on it. In Old Champlain however is a different case all together. Aside from The Mills Brother's on this session, the band tried to record it on January 20th of the year to no success. But apart from that, it seems no one else over both record and radio transcription, tried to record this song. Definitely seemingly unpopular, but the Four Mills Brothers handle it pretty well, and it's been memorable to me for a while. Perhaps if the Petrillo Ban that started that August hadn't happened, we'd have an orchestral recording of it.

By the time this record released in September/October of the year, folks had nice things to say about the record, being an obvious Petrillo Ban release by Decca to keep content flowing and demand at bay. Aside from noting that Harry Mills sings lead on both sides, and that both are fairly good, there's nothing to note other than that Champlain is an original ballad on the scene. Billboard and other music magazines bypassed mentioning this record's existence as a whole it seems. Considering the worn state of this record (aside from the Shellac Shortages giving us lesser quality shellac to work with), we can gather that at least the owner of this record very much enjoyed both sides, and loved In Old Champlain more.

#1942 #78rpm #millsbrothers #78rpmshellac #inoldchamplain #monday #decca #deccarecords

The B Side is called In Old Champlain which you can listen to here: youtu.be/HzrVX9KdQMI

Anthony Trini & His Orchestra - Cuban Love Song (1931)

C Porter 2024-09-15 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded November 19th, 1931 in NYC. Likely released in December or January 1932.

Picture credits:
1. Lyric Theatre advertisement. Trini on stage. The Daily News. New York, New York. November 28th, 1931. Page 32.
2. Picture of Trini. From "Outside Listening In" Column by David Bratton, Jr. The Brooklyn Times Union. Brooklyn, New York. June 14th, 1933. Page 8A.

Anthony Trini was an American bandleader, violinist, and crooner active mainly throughout the entirety of the 1930s. His music, as well as his name, is almost virtually unknown to anyone outside of those who just have stumbled upon his records online or in person, or perhaps a piece of sheet music. As of writing, there is publicly less than 3 sentences written about Trini to date anywhere online, or even in any observable jazz, swing, and overall music publications after 1942. That is aside from this description, and an bio-discography project lead by me and @thegregolarecordsclub6564 that was done to practice on the discographical aspects of the Will Osborne book as well as figuring out the aspects involved with actually publishing a book (even though it will be free). Over 40 pages in length, telling Trini's life for the first time. All the writing is complete, it is now a waiting game for permissions of image owners for the simple dozen of photographs to give the greenlight for usage. But we hope we can get it out before December. Now for a brief description of Trini.

Trini lead several orchestras between the late 20s and early 40s of varying popularity. But his first one is the only one that is known to have recorded. Trini, being a crooner dealing with particularly simple waltzes and foxtrots, was in the same circles as well as timbres of crooners such as Rudy Vallee and Will Osborne. Taking some of their same sponsors as well as recording for the same labels like them, and rivaling them in popularity. His orchestra early on in the 30s featured an invariably 9 and 10 piece band with only one trumpet and the only section of instruments being 3 saxes, which took elements from Guy Lombardo's Royal Canadian's as well as Will Osborne's orchestra, but also made it its own sound. Seeming to always feature Trini's vocals, a demanding trumpet solo, and often his own violin. Trini with his sole violin eventually gained the title "The Romantic Fiddler". Recording on Melotone in 1931, writing some songs such as I Loved You Before I Met You too. By late 1933, his orchestra had modernized in sound, with a new count of 13 sidemen including an accordion, which was enjoying a long engagement at the Village Barn in NYC, his most well known and prosperous engagement, and he recorded again, now for Bluebird in 1934. Despite getting offered a contract for plenty of more records in 1935, he never recorded again, being content with his record breaking performances over the air and on stage. Disbanding that orchestra in 1936 and forming a sweet band that lasted about a year, before forming yet another. This next one was highly praised as a swing band, and featured black arranger Fred Norman, later to be picked up by Benny Goodman's orchestra. This orchestra was between 16-17 pieces big in it's run with plenty of outstanding up and coming sidemen, that lasted until about January 1938 or December 1937. A myriad of smaller bands he tried to lead between then and 1942 continued, but to little success. After the war, he lead a trio but faded completely out of the picture by the 50s.

His records were moderately successful, at least to a regional degree. The New Movie Magazine ranked his recording of "Dilly Dally" it as the biggest hit for Bluebird in November 1934. This is the only hit he had.

#anthonytrini #1931 #melotone #78rpm #78rpmshellac #melotonerecords

The A Side is called I'm Sorry Dear which you can listen to here: youtu.be/RJKNbNhyvnE

Anthony Trini & His Orchestra - Im Sorry Dear (1931)

C Porter 2024-09-15 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded November 19th, 1931 in NYC. Likely released in December or January 1932.

Picture credits:
1. Lyric Theatre advertisement. Trini on stage. The Daily News. New York, New York. November 28th, 1931. Page 32.
2. Picture of Trini. From "Outside Listening In" Column by David Bratton, Jr. The Brooklyn Times Union. Brooklyn, New York. June 14th, 1933. Page 8A.

Anthony Trini was an American bandleader, violinist, and crooner active mainly throughout the entirety of the 1930s. His music, as well as his name, is almost virtually unknown to anyone outside of those who just have stumbled upon his records online or in person, or perhaps a piece of sheet music. As of writing, there is publicly less than 3 sentences written about Trini to date anywhere online, or even in any observable jazz, swing, and overall music publications after 1942. That is aside from this description, and an bio-discography project lead by me and @SKPhonographs2025 that was done to practice on the discographical aspects of the Will Osborne book as well as figuring out the aspects involved with actually publishing a book (even though it will be free). Over 40 pages in length, telling Trini's life for the first time. All the writing is complete, it is now a waiting game for permissions of image owners for the simple dozen of photographs to give the greenlight for usage. But we hope we can get it out before December. Now for a brief description of Trini.

Trini lead several orchestras between the late 20s and early 40s of varying popularity. But his first one is the only one that is known to have recorded. Trini, being a crooner dealing with particularly simple waltzes and foxtrots, was in the same circles as well as timbres of crooners such as Rudy Vallee and Will Osborne. Taking some of their same sponsors as well as recording for the same labels like them, and rivaling them in popularity. His orchestra early on in the 30s featured an invariably 9 and 10 piece band with only one trumpet and the only section of instruments being 3 saxes, which took elements from Guy Lombardo's Royal Canadian's as well as Will Osborne's orchestra, but also made it its own sound. Seeming to always feature Trini's vocals, a demanding trumpet solo, and often his own violin. Trini with his sole violin eventually gained the title "The Romantic Fiddler". Recording on Melotone in 1931, writing some songs such as I Loved You Before I Met You too. By late 1933, his orchestra had modernized in sound, with a new count of 13 sidemen including an accordion, which was enjoying a long engagement at the Village Barn in NYC, his most well known and prosperous engagement, and he recorded again, now for Bluebird in 1934. Despite getting offered a contract for plenty of more records in 1935, he never recorded again, being content with his record breaking performances over the air and on stage. Disbanding that orchestra in 1936 and forming a sweet band that lasted about a year, before forming yet another. This next one was highly praised as a swing band, and featured black arranger Fred Norman, later to be picked up by Benny Goodman's orchestra. This orchestra was between 16-17 pieces big in it's run with plenty of outstanding up and coming sidemen, that lasted until about January 1938 or December 1937. A myriad of smaller bands he tried to lead between then and 1942 continued, but to little success. After the war, he lead a trio but faded completely out of the picture by the 50s.

His records were moderately successful, at least to a regional degree. The New Movie Magazine ranked his recording of "Dilly Dally" it as the biggest hit for Bluebird in November 1934. This is the only hit he had.

#anthonytrini #1931 #melotone #78rpm #78rpmshellac #melotonerecords

The B Side is called Cuban Love Song which you can listen to here: youtu.be/aQmzR2wJwnY

Erno Rapee & His Orchestra - Some Of These Days (1931)

C Porter 2024-08-31 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

The band has some clear Mills Brothers' inspiration done in the instrumentals. Miss Rowland, a popular radio torch singer of the early 30s sings this song hotly. She would appear over various ARC labels of Perfect, Melotone, and REX into the mid 30s as well as Columbia, singing with the likes of Benny Goodman, Frankie Trambauer, Phil Spitalny, and Abe Lyman too.

Recorded December, 1931 in NYC. Likely released in December.

Perhaps a bit unfortunately spelled and pronounced by today's English-speaking social standards, that is the only thing that can distract from the genuinely good-natured and especially talented Erno Rapee, who's orchestra was renowned in the 20s and 30s. The Hungarian pianist-bandleader was one of the few leaders who's main focus was originally on the symphonic, classical styles that shifted into popular styling of jazz and swing. Marek Weber, Leon Belasco, and Jan Savitt are two other popular examples. The Radio City Music Hall program over NBC in the early 30s to mid 40s is where Rapee's orchestra was commonly heard to millions across America. Same for his early records over Brunswick from 1922 known then as the Capitol Grand Orchestra. In the mid 20s leaving for Berlin to take the role of conducting their symphony orchestra. Aside from one Victor side done for a "Motion Picture Orchestra" in which he arranged for them in 1929, Rapee stuck to radio for the most part. However in the late 20s, he wrote some of the very popular jazz and modern-classical standards, including Charmaine in 1927 which was recorded to great success by Guy Lombardo & His Royal Canadians. Diane was another one in 1927, Nat Shilkret made a hit record for it for Victor too, mostly popular the next year. In which songs My Angel, Someday Somewhere, and Little Mother, covered by crooners Vaughn De Leath, Nick Lucas, and played by Vincent Lopez's orchestra. That handful of popular songs remained standards for a few decades even into the swing era. Symphonic orchestras and classical sections performed his works for years too.

By 1931 though, he had started branching out into popular music again. The depression was likely a large factor as to why. Aside from dance bands being easier to front than 25-55 piece orchestras, as well as having the ability to have the best musicians possible in studios, made him evidently more open to it. That year, Durium's Hit Of The Week label approached him for contracting him to make some records for him. He made a couple between 1931 and 1932 that made moderate success. After this, he would only record one more time, being in 1945 for the Radio City Music Hall program before his death in 1945, those records being also from 1945 too.

#ernorapee #helenrowland #78rpm #78rpmshellac #hitoftheweek #HOTW #durium #1931

The other song on this side (HOTW's are 1 sided) is called River Stay 'Way From My Door which you can listen to here: youtu.be/RQ8ODZbgAxM

Erno Rapee & His Orchestra - River Stay Way From My Door (1931)

C Porter 2024-08-31 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

In the spirit of it being hurricane season, as well as The Sunshine City experiencing some of it's worst rainstorms that are flooding the streets and delivering the loudest thunderclaps we've heard in years, I feel this sincere plea from a humble recluse is rather fitting.

Recorded December, 1931 in NYC. Likely released in December.

Perhaps a bit unfortunately spelled and pronounced by today's English-speaking social standards, that is the only thing that can distract from the genuinely good-natured and especially talented Erno Rapee, who's orchestra was renowned in the 20s and 30s. The Hungarian pianist-bandleader was one of the few leaders who's main focus was originally on the symphonic, classical styles that shifted into popular styling of jazz and swing. Marek Weber, Leon Belasco, and Jan Savitt are two other popular examples. The Radio City Music Hall program over NBC in the early 30s to mid 40s is where Rapee's orchestra was commonly heard to millions across America. Same for his early records over Brunswick from 1922 known then as the Capitol Grand Orchestra. In the mid 20s leaving for Berlin to take the role of conducting their symphony orchestra. Aside from one Victor side done for a "Motion Picture Orchestra" in which he arranged for them in 1929, Rapee stuck to radio for the most part. However in the late 20s, he wrote some of the very popular jazz and modern-classical standards, including Charmaine in 1927 which was recorded to great success by Guy Lombardo & His Royal Canadians. Diane was another one in 1927, Nat Shilkret made a hit record for it for Victor too, mostly popular the next year. In which songs My Angel, Someday Somewhere, and Little Mother, covered by crooners Vaughn De Leath, Nick Lucas, and played by Vincent Lopez's orchestra. That handful of popular songs remained standards for a few decades even into the swing era. Symphonic orchestras and classical sections performed his works for years too.

By 1931 though, he had started branching out into popular music again. The depression was likely a large factor as to why. Aside from dance bands being easier to front than 25-55 piece orchestras, as well as having the ability to have the best musicians possible in studios, made him evidently more open to it. That year, Durium's Hit Of The Week label approached him for contracting him to make some records for him. He made a couple between 1931 and 1932 that made moderate success. After this, he would only record one more time, being in 1945 for the Radio City Music Hall program before his death in 1945, those records being also from 1945 too.

#ernorapee #helenrowland #78rpm #78rpmshellac #hitoftheweek #HOTW #durium #1931

The other song on this side (HOTW's are 1 sided) is called Some Of These Days which you can listen to here: youtu.be/FmZimCjwg7M

Army Service Forces - Tour of a Maintenance & Artillery Shop on Guam (1944-1945)

C Porter 2024-08-20 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

On August 10th, 1944, we finally ran the Japanese Imperial Army & Navy out of the imprisoned island of Guam after several weeks of fighting. Afterwards we used it as the last true landing zone for refueling before reaching Japan. It's naval assets were also used. All of course likely after a week or so of cleaning up and troops of soldiers, sailors, engineers and all arriving. In this special, invaluable presto record, made by soldiers stationed in Guam, we get to hear about this process as well as the details of how the inside of a maintenance and artillery shop was built, as well as how it operates. When this broadcast/recording for broadcast took place is currently unknown despite my investigative attempts, but considering the war ended on September 2nd, 1945 (despite there not being much fighting in the last month after Hiroshima & Nagasaki), that gives this broadcast's date practically one year of possibilities from August, 1944 and August 1945.

One thing to note is how the soldiers talk about there being an "abandoned Jap railroad" that they took from to create their overhead crane. To date, there has only been one confirmed railroad to exist on Guam, one being from one of the Naval Bases' Ship Repair Facilities in 1966 where a mule vehicle pulled a few flatcars of naval craft out to a dock for about a city block. There was also seen a few Tokyo manufactured shunting engines sitting up on blocks, assumed to be used simply for cover by Japanese soldiers according to online sources. Well now with this broadcast, I can confirm that there was one active to some degree back sometime during ww2 when under Japanese rule.

SOLDIERS IDENTIFIED IN BROADCAST:
Technical Sergeant Thomas G. Flanders of New Haven, CT.
Sergeant Teletscher (?) of Bridgeport, CT.
Corporal Elton of Moodus, CT.
Staff Sergeant Francis Quinn of Arlington, CT.
Sergeant Joe Soboda (Sovoda?) of Wallis, TX (or Waller)
Major Henry Anemar as the announcer.

The nature of this record is very curious, however from what I can see, it appears that this wasn't a studio re-enactment, but a real, live recording done likely in Guam itself at this unnamed shop. The record itself is 12 inches, and standard acetate lacquer composit over aluminum. One sided. On the side with the recording, there is no label present, but perhaps there was one at some point, as some of the residue near the end of the grooving shown may indicate. Notably, there is a ten second separate "recording" right before the spindle holes. (one for playing, the other 3 for holding the record down while the needle cuts grooving.). This is the only section of this Presto disc that that is recorded inside-to-outside instead of the opposite. It is pure silence and left out of this video for this reason. It appears the engineer did this to make a lead-out groove, to prevent a playback needle from catching in one of the holes and potentially damage it.

The flipside has a stamped in label showing the name Presto Recording Corp of NY. Being the supplier of this recording blank and likely the lathe too. Notably different to this however is what appears to be a matrix number stamped in the grooving. "1004". On any Presto blank, or any lacquer made acetate overall, a matrix number (catalog if another copy exists or existed) is highly irregular in origin, and may indicate other copies of this exist. The recording of this record was likely made by the lathe being hooked up to a power source and likely sitting on a dolly which they could smoothly transport across the floor. Probably the biggest hint that this record was recorded for broadcasting and not a dubbed record of the broadcast itself, is that there is roughly 10-15 seconds of silence before the content begins. Things like this would be absolutely unacceptable by radio networks including the Mutual Broadcasting System back 80 years ago the same as it would be today. This is also a compelling sign that the engineer and maybe Major Anemar are unexperienced with making records.

#worldwar2 #ww2 #guam #1944 #1945 #radio #broadcast #acetate #mutualbroadcastingsystem #vintage #army #history #artillery #maintence #railroad #railyard #train #trains #sergeant #major #corporal #armyserviceforces #mbs

The personal record collection of 1930s - 60s pianist Mickey OToole

C Porter 2024-08-18 | A week ago while at work, I was unpacking luggage when a customer came over to ask me about the quality and safety of brands of luggage. This turned into a conversation between us about how the USPS, FedEx, and other companies notoriously mishandling packages. Of course I related this back to how I deal with that from 78s, and it turned out that Mike, the guy I was talking to, had a small collection of them, and he offered to give them to me for free. Turned out his grandfather was a pianist from the 40s - 60s named Mickey O'Toole on stage, but Sidney Lipson on legals. 2 days later, after work, he gave me them in the parking lot from the trunk of his car.

Here is 20 records of his collection. Mike flipped his whole house looking for more, but hasn't found anything else. And kind of implied that his father, Sidney's son, might have thrown more away at some point in years/decades past. Mike has already told me some stories about Mickey's career, but those are a bit too risque to put in this description right here. Not to mention I think he might like the chance to do that himself.

It's remarkable and rare over here, to get a personal collection in which you actually have an idea of what those records were to somebody. You can tell their tastes and sometimes what kind of person they are off of their music they liked. Considering Sidney was a pianist, it's likely that he would get inspiration off of some of these when listening sometimes. And as a musician, whether it's conscious or not, you always pick our your instrument (s) in a song when deeply listening. So even though we have none of the music that he performed himself to hear, we do have the stuff he liked and listened to to base off of.

Let me know which of these records you'd want to hear first.

#mickeyotoole #sidneylipson #recordcollection #victor #78rpm #deccarecords #78rpmshellac #vintage #1950s #1940s #1930s #1920smusic #1940smusic #1930smusic #1950smusic

John Kirby & His Orchestra - No Blues At All ; Misc Radio Programming. (1950)

C Porter 2024-08-15 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded about 8:30PM June 14th, 1950 from a home recording lathe in Chicago, Illinois. Part broadcast, mostly dubbing (it seems).

It's very rare that I'll get a specimen quite like this one. Inside-out AND outside-in grooving per each side of a record, not to mention such a wide variety of material apart from what's said on the label, and not to mention the complete posterity of the engineer to date it all the way down to the approximate time of recording! Due to the video I made prior just on the curiosity that is this disc, there is also tons of theories and helpful info I got that will help determine the origin and other specifics of this record. I did the best I could with the audio of this one, but due to the scuffed nature of it (more than most 78s I find), even with meticulous restoration, I can only get so far. As for now though, Here is the analysis of each side with timestamps.

0:00 John Kirby - No Blues At All 2/11/1942

The first recording of this on this side. Inside-Out grooving. The first recording on this side of the record too. Everything sounds standard to the usual 1942 copy you can find any day.

2:04 John Kirby - No Blues At All 2/11/1942

Far as I can tell it's identical, but with better recording quality, if only marginally. Outside-In grooving. Also this one has survived in better condition with less swish. A theory in the comments suggests that the reason for re-recording is that this record was made just to test audio levels, for the recording of another record. Which would explain it, if so.

4:06 Misc Radio; Five Foot Two Eyes Of Blue

In this 1 minute and 25 second recording, a lot happens. But this seems to be undeniably from one or more radio broadcasts, likely with channel changes in between each jump cut. The fact that these happen so fast, indicate they are technically all different recordings. But I can't really comprehend how they were able to start and stop while getting grooving to continue to align, and be almost instantaneously blending into the next bit of audio so quickly without any "wow-ing" as the record gets up to 78rpm. Commenters theorize that this at least part of this is the Arthur Godfrey show with him announcing. This is unconfirmed of course.

There are 4 different sections. The first of which starting with the announcer getting cut off after saying "You're listening to four--" (before maybe?). After 2 seconds, a jamming 6-7 instrument ensemble is heard for approximately 10 seconds before the next cut to a gospel group at 4 18. This quartet is thought to be anyone from The Golden Gate Quartet, The Revelators, The Jubilaires, The Dixie-Aires, etc. Whatever the song is, "They Put John On The Island" or some other title, remains to be identified. At 4 36 it jumps back to the original broadcast, with the announcer back again. Drums, piano, standing bass, vibraphone, and guitar, make up a 5 piece combo it seems. The announcer's back and very pleased with their "jazzing it up" , then all but tells the band to "get into back at the very start of this thing, I think there's a little more of the original melody." As the band goes into the jazz standard Five Foot Two, Eyes Of Blue. Before the record is done, the announcer shares a laugh at the last second.

#78rpm #johnkirby #kaystarr #radio #broadcast #radiobroadcasting #1950 #1942 #stlouisblues #victor #victorrecords #acetate #capitolrecords

(timestamps in last section has to be the way it is with no semicolon, or else it screws the whole thing up on this side for some reason.)

The Flip Side you can listen to here: youtu.be/uVs8eNf9UZ0

John Kirby & His Orchestra - St. Louis Blues ; Kay Starr - Bonapartes Retreat (1950)

C Porter 2024-08-15 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded about 8:30PM June 14th, 1950 from a home recording lathe in Chicago, Illinois. Part broadcast, mostly dubbing (it seems).

It's very rare that I'll get a specimen quite like this one. Inside-out AND outside-in grooving per each side of a record, not to mention such a wide variety of material apart from what's said on the label, and not to mention the complete posterity of the engineer to date it all the way down to the approximate time of recording! Due to the video I made prior just on the curiosity that is this disc, there is also tons of theories and helpful info I got that will help determine the origin and other specifics of this record. I did the best I could with the audio of this one, but due to the scuffed nature of it (more than most 78s I find), even with meticulous restoration, I can only get so far. As for now though, Here is the analysis of each side with timestamps.

0:00 Unidentified country guitar.

23 second long segment of what's likely an acoustic guitar, with standing bass backing and a solid backbeat on drums. This could be any country outfit at the time, perhaps as obvious as Bob Wills, to as obscure as The Texas Troubadours. Unless someone is intimately familiar with this song or band, we may likely never know who it is. Could be either dubbing or radio.

0:24 John Kirby - St. Louis Blues 2/11/1942.

Turns out this is John Kirby's orchestra back in 1942 on Victor. Buster Bailey on clarinet rips this one apart, with an exceedingly impressive 54 second held note solo, beating out Carmen Lombardo's 31 second held sax note on Guy Lombardo's 1939 Decca version of it. The fact that both are achievable in one breath is insane to me. As for Kirby, this appears to be a different take than the primary, heard mostly online. But other than that this is unmistakably from the same session as the flipside of the record (both this acetate and the victor release) No Blues At All. So this is a dubbing.

3:06 Kay Starr - Bonaparte's Retreat 2/28/1950.

Kay Starr's 1950 hit record of the same name, on Capitol started several in. Giving it a unique intro. Played a bit fast when dubbed it sees. Lou Busch's ork accompanies. There is a chance that this could be from a radio broadcast of DJ programming, but I doubt it.

#78rpm #johnkirby #kaystarr #radio #broadcast #radiobroadcasting #1950 #1942 #stlouisblues #victor #victorrecords #acetate #capitolrecords

The Flip Side you can listen to here: youtu.be/YBdG-E8DMTs

This 1950 John Kirby Acetate is an Anomaly.

C Porter 2024-08-05 | I'll work on transferring it later tonight, so you don't have to bug me about it in the comments. but I want to know your thoughts about what this is, broadcast? Session? Something else?

Will Osborne & His Orchestra - One, Two, Button Your Shoe (1936) [Instrumental]

C Porter 2024-08-04 | Image & transfers courtesy of Jeremy Passarelli.

Also sang with Dick & Dorothy Rogers.

On November 18th, 1936, the Osborne orchestra would go into the New York studios of the Associated Transcription Service, for Osborne's second known transcription date in his career. This time with his Slide Music based orchestra, who hadn't recorded since the Fall of 1935, over a year prior, with a hit record on Columbia of That's What You Think. This time having a monster of a session this day in either a large studio room, or an actual theatre stage. Here, the band complete with it's two star singers--the twins of Dick & Dorothy Rogers, and crooner Will himself, record over 25 songs over the full day. Instrumentals, vocals of the full band, of Will, of Dorothy by herself, Dick by himself, and of course both Rogers' together. But what hasn't been addressed discographically in this endeavor of beautiful and swingin' songs recorded for radio broadcast is, that several instrumental tracks of songs sang were ALSO made too, such as tracks 1, 2, and 4. The arrangements are wonderful to hear here.

Jeremy happened upon this unreleased test pressing, almost certainly originating from the Associated studios there, in which they debated making an issuing of these four instrumental takes for stations to use. However, as far as can be seen in discographies, actual releases of this by Associated for stations never materialized. Here we get songs in which don't just sound like something's missing without the vocals. The band fills in naturally. Going to imply that Osborne had at least two arrangements of most songs, one of which for singing where the middle third of the song has very light instrumentation and intonation, and the other part where various soloists of each section, and sometimes the sections themselves take over and "sing it" themselves. Gerald Bittick never fails when arranging for Osborne. (And being left to his own devices that is!).

#willosborne #transcription #1936 #transcriptiondisc #vinyl

Will Osborne Discography Project: youtube.com/playlist?list=PL5I_eUpXmCpUb1uzHIseeuLnUGbq4Amut&si=Nm2y_DQAa7t0sWUU

Will Osborne & His Orchestra - Tea On The Terrace (1936) [Instrumental}

C Porter 2024-08-04 | Image & transfers courtesy of Jeremy Passarelli.

Always instrumental during this session, but a week later recorded with Dick & Dorothy Rogers singing on Decca.

On November 18th, 1936, the Osborne orchestra would go into the New York studios of the Associated Transcription Service, for Osborne's second known transcription date in his career. This time with his Slide Music based orchestra, who hadn't recorded since the Fall of 1935, over a year prior, with a hit record on Columbia of That's What You Think. This time having a monster of a session this day in either a large studio room, or an actual theatre stage. Here, the band complete with it's two star singers--the twins of Dick & Dorothy Rogers, and crooner Will himself, record over 25 songs over the full day Instrumentals, vocals of the full band, of Will, of Dorothy by herself, Dick by himself, and of course both Rogers' together. But what hasn't been addressed discographically in this endeavor of beautiful and swingin' songs recorded for radio broadcast is, that several instrumental tracks of songs sang were ALSO made too, such as tracks 1, 2, and 4. The arrangements are wonderful to hear here.

Jeremy happened upon this unreleased test pressing, almost certainly originating from the Associated studios there, in which they debated making an issuing of these four instrumental takes for stations to use. However, as far as can be seen in discographies, actual releases of this by Associated for stations never materialized. Here we get songs in which don't just sound like something's missing without the vocals. The band fills in naturally. Going to imply that Osborne had at least two arrangements of most songs, one of which for singing where the middle third of the song has very light instrumentation and intonation, and the other part where various soloists of each section, and sometimes the sections themselves take over and "sing it" themselves. Gerald Bittick never fails when arranging for Osborne. (And being left to his own devices that is!).

#willosborne #transcription #1936 #transcriptiondisc #vinyl

Will Osborne Discography Project: youtube.com/playlist?list=PL5I_eUpXmCpUb1uzHIseeuLnUGbq4Amut&si=Nm2y_DQAa7t0sWUU

Will Osborne & His Orchestra - Ive Got You Under My Skin (1936) [Instrumental]

C Porter 2024-08-04 | Image & transfers courtesy of Jeremy Passarelli.

Otherwise sang by Will himself.

On November 18th, 1936, the Osborne orchestra would go into the New York studios of the Associated Transcription Service, for Osborne's second known transcription date in his career. This time with his Slide Music based orchestra, who hadn't recorded since the Fall of 1935, over a year prior, with a hit record on Columbia of That's What You Think. This time having a monster of a session this day in either a large studio room, or an actual theatre stage. Here, the band complete with it's two star singers, the twins of Dick & Dorothy Rogers, record over 25 songs over the full day. Instrumentals, vocals of the full band, of Will, of Dorothy by herself, Dick by himself, and of course both Rogers' together. But what hasn't been addressed discographically in this endeavor of beautiful and swingin' songs recorded for radio broadcast is, that several instrumental tracks of songs sang were ALSO made too, such as songs 1, 2, and 4. The arrangements are wonderful to hear here.

Jeremy happened upon this unreleased test pressing, almost certainly originating from the Associated studios there, in which they debated making an issuing of these four instrumental takes for stations to use. However, as far as can be seen in discographies, actual releases of this by Associated for stations never materialized. Here we get songs in which don't just sound like something's missing without the vocals. The band fills in naturally. Going to imply that Osborne had at least two arrangements of most songs, one of which for singing where the middle third of the song has very light instrumentation and intonation, and the other part where various soloists of each section, and sometimes the sections themselves take over and "sing it" themselves. Gerald Bittick never fails when arranging for Osborne. (And being left to his own devices that is!).

#willosborne #transcription #1936 #transcriptiondisc #vinyl

Will Osborne Discography Project: youtube.com/playlist?list=PL5I_eUpXmCpUb1uzHIseeuLnUGbq4Amut&si=Nm2y_DQAa7t0sWUU

Will Osborne & His Orchestra - Youve Got Something (1936) [Instrumental]

C Porter 2024-08-04 | Image & transfers courtesy of Jeremy Passarelli.

Otherwise sang by Dick Rogers on this session.

On November 18th, 1936, the Osborne orchestra would go into the New York studios of the Associated Transcription Service, for Osborne's second known transcription date in his career. This time with his Slide Music based orchestra, who hadn't recorded since the Fall of 1935, over a year prior, with a hit record on Columbia of That's What You Think. This time having a monster of a session this day in either a large studio room, or an actual theatre stage. Here, the band complete with it's two star singers, the twins of Dick & Dorothy Rogers, record over 25 songs over the full day. Instrumentals, vocals of the full band, of Will, of Dorothy by herself, Dick by himself, and of course both Rogers' together. But what hasn't been addressed discographically in this endeavor of beautiful and swingin' songs recorded for radio broadcast is, that several instrumental tracks of songs sang were ALSO made too, such as tracks 1, 2, and 4. The arrangements are wonderful to hear here.

Jeremy happened upon this unreleased test pressing, almost certainly originating from the Associated studios there, in which they debated making an issuing of these four instrumental takes for stations to use. However, as far as can be seen in discographies, actual releases of this by Associated for stations never materialized. Here we get songs in which don't just sound like something's missing without the vocals. The band fills in naturally. Going to imply that Osborne had at least two arrangements of most songs, one of which for singing where the middle third of the song has very light instrumentation and intonation, and the other part where various soloists of each section, and sometimes the sections themselves take over and "sing it" themselves. Gerald Bittick never fails when arranging for Osborne. (And being left to his own devices that is!).

#willosborne #transcription #1936 #transcriptiondisc #vinyl

Will Osborne Discography Project: youtube.com/playlist?list=PL5I_eUpXmCpUb1uzHIseeuLnUGbq4Amut&si=Nm2y_DQAa7t0sWUU

Tiny Parham & His Musicians - Cuckoo Blues (1928)

C Porter 2024-08-01 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Honestly I didn't expect that I'd be able to find Tiny Parham down here anytime soon, especially so cheaply and in such good condition. Well worth the $5 cost for this VG+ copy!

Recorded on July 2nd, 1928 in Chicago, Illinois.

Parham's humble band of 7 pieces at this time was able to cut a lot in a session or so. Such as in this July session with 11 successful takes coming from it. His small band was packed with talent from Punch Miller, to Johnny Dodds. And it's no wonder from what you hear why many compare it in terms of it's syncopated sophistication of solos and music overall, to the band of Jelly Roll Morton at this time. Tiny Parham, just like the white sweet band leader of the 30s and 40s Tiny Hill, was anything but a tiny person. However, this and the fact that they lead good respectable bands with notable discographies, is where they're similarities end. Parham would compose some good songs himself, almost all of them in which he recorded with his band, including as heard here. His territory band with his 1927 - 1930 Victor recordings are pretty well sought after. Interestingly though, he had a couple more sides made by himself a decade later on Decca, just piano & organ solo by him.

#tinyparham #1928 #78rpm #78rpmshellac #tinyparham #victor #victorrecords

The A Side is called The Head Hunter's Dream which you can listen to here: youtu.be/Zdi68KwQSq8

Tiny Parham & His Musicians - The Head Hunters Dream (1928)

C Porter 2024-08-01 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Honestly I didn't expect that I'd be able to find Tiny Parham down here anytime soon, especially so cheaply and in such good condition. Well worth the $5 cost for this VG+ copy!

Recorded on July 2nd, 1928 in Chicago, Illinois.

Parham's humble band of 7 pieces at this time was able to cut a lot in a session or so. Such as in this July session with 11 successful takes coming from it. His small band was packed with talent from Punch Miller, to Johnny Dodds. And it's no wonder from what you hear why many compare it in terms of it's syncopated sophistication of solos and music overall, to the band of Jelly Roll Morton at this time. Tiny Parham, just like the white sweet band leader of the 30s and 40s Tiny Hill, was anything but a tiny person. However, this and the fact that they lead good respectable bands with notable discographies, is where they're similarities end. Parham would compose some good songs himself, almost all of them in which he recorded with his band, including as heard here. His territory band with his 1927 - 1930 Victor recordings are pretty well sought after. Interestingly though, he had a couple more sides made by himself a decade later on Decca, just piano & organ solo by him.

#tinyparham #1928 #78rpm #78rpmshellac #tinyparham #victor #victorrecords

The B Side is called Cuckoo Blues in which you can listen to here: youtu.be/agcC1r-CgaQ

Latest Finds (17)

C Porter 2024-07-31 | ...

Bernie Cummins & His New Yorker Hotel Orchestra - Lonely (1930)

C Porter 2024-07-11 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded on July 24th, 1930 in Camden, New Jersey.

Instead of the Cummins' orchestra's main vocal feature of Walter Cummins, is the studio great of Victor records, Paul Small takes the reigns here. Archive Bleyer's arrangement is superb here.

#berniecummins #78rpm #78rpmshellac #1930 #victor #rcavictor

The B Side is called F'r Instance which you can listen to here: youtu.be/6edywyQDdnE

Bernie Cummins & His New Yorker Hotel Orchestra - Fr Instance (1930)

C Porter 2024-07-11 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Paul Denniker composes this piece, being the third in his series of self-plagiarizing optimism ballads of love. The first being S'Posin back in ~February 1929 along with co-composer Andy Razaf, then Perhaps later in the fall of 1929, and now this third one in summer 1930. Denniker was Will Osborne's pianist at this time.

#berniecummins #78rpm #78rpmshellac #1930 #victor #rcavictor

The A Side is called Lonely which you can listen to here: youtu.be/YPNbb5GWaIU

The St. Georges Quartet - Who Put The Devil In Evelyns Eyes; Sweet Mama Tree Top Tall (1954)

C Porter 2024-07-04 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Thanks to channel @Vintage_Ambience for help with audio restoration youtube.com/@Vintage_Ambience/featured

Acetates, Instantaneous recordings, home/private recordings, or whatever else you call these records that come on these aluminum and lacquer discs by Presto, AudioDisc, Rek-O-Kut, etc; have always fascinated me because of their unique contents, the fact that each are entirely one of a kind (no other copies of what you're hearing), and most importantly is, because of the mysteries they always have. As for this record, we have the artist, the year, and through listening to the lyrics, we have three songs: Keep To The Middle Of The Road, Sweet Mama Tree Top Tall, and Who Put The Devil In Evelyn's Eyes. St. George's is doubtlessly a church, and this quartet being related to it. Two of these three songs (all three of which being religiously themed in one way or another) were popular the previous year in 1953. The Lancers' making a hit of Sweet Mama Tree Top Tall, meanwhile Devil In Evelyn's Eyes was a Mills Brothers recording of some success as well. Keep To The Middle Of The Road just happened to be a long time sang spiritual traditional too, with recordings going back to 1911. A church mixing in debatably non-secular pop music for their quartet may be indicative of what sect that this St. George's believed in. As it stands now, there are dozens of different St. George's churches practicing separate denominations and sects across North America. This could've been from my own backyard's St. George's Episcopal church up in Jacksonville, or the Greek Orthodox Church Of St. George in Des Moines, Iowa. Or anywhere in between.

The only real mystery left though, far as I can see is, which side is the A side and B? Well, if we go off of the label priority from the writing featuring the quartet's name and year of recording, then it is Keep To The Middle Of The Road and Sweet Mama Tree Top Tall that have the A Side. Although the flipside, with only the speed listed on it, has Who Put The Devil In Evelyn's Eyes on it as the main song, along with a slowed down take of Sweet Mama on it. Sweet Mama here definitely sounds improperly recorded, the men's voices are unnaturally deep. Indicating that the recording speed was much higher than 78rpm. The last few seconds of that side feature the beginning of a piano melody that goes nowhere. Hinting that the performer realized that the lathe was still recording, coming over to stop it. If this is true, then that side was recorded first. So wouldn't it make THAT the A side here? We don't know, and likely will never know for sure. But you folks can decide!

#78rpm #acetate #1954 #78rpmshellac #keeptothemiddleoftheroad #sweetmama #stgeorgechurch #stgeorge #stgeorgesquartet #quartet #devil #evelyn

You can listen to the flipside here: youtu.be/PQ77rRRPPn4

The St. Georges Quartet - Keep To The Middle Of The Road; Sweet Mama Tree Top Tall (1954)

C Porter 2024-07-04 | This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Thanks to channel @Vintage_Ambience for help with audio restoration. youtube.com/@Vintage_Ambience/featured

Acetates, Instantaneous recordings, home/private recordings, or whatever else you call these records that come on these aluminum and lacquer discs by Presto, AudioDisc, Rek-O-Kut, etc; have always fascinated me because of their unique contents, the fact that each are entirely one of a kind (no other copies of what you're hearing), and most importantly is, because of the mysteries they always have. As for this record, we have the artist, the year, and through listening to the lyrics, we have three songs: Keep To The Middle Of The Road, Sweet Mama Tree Top Tall, and Who Put The Devil In Evelyn's Eyes. St. George's is doubtlessly a church, and this quartet being related to it. Two of these three songs (all three of which being religiously themed in one way or another) were popular the previous year in 1953. The Lancers' making a hit of Sweet Mama Tree Top Tall, meanwhile Devil In Evelyn's Eyes was a Mills Brothers recording of some success as well. Keep To The Middle Of The Road just happened to be a long time sang spiritual traditional too, with recordings going back to 1911. A church mixing in debatably non-secular pop music for their quartet may be indicative of what sect that this St. George's believed in. As it stands now, there are dozens of different St. George's churches practicing separate denominations and sects across North America. This could've been from my own backyard's St. George's Episcopal church up in Jacksonville, or the Greek Orthodox Church Of St. George in Des Moines, Iowa. Or anywhere in between.

The only real mystery left though, far as I can see is, which side is the A side and B? Well, if we go off of the label priority from the writing featuring the quartet's name and year of recording, then it is Keep To The Middle Of The Road and Sweet Mama Tree Top Tall that have the A Side. Although the flipside, with only the speed listed on it, has Who Put The Devil In Evelyn's Eyes on it as the main song, along with a slowed down take of Sweet Mama on it. Sweet Mama here definitely sounds improperly recorded, the men's voices are unnaturally deep. Indicating that the recording speed was much higher than 78rpm. The last few seconds of that side feature the beginning of a piano melody that goes nowhere. Hinting that the performer realized that the lathe was still recording, coming over to stop it. If this is true, then that side was recorded first. So wouldn't it make THAT the A side here? We don't know, and likely will never know for sure. But you folks can decide!

#78rpm #acetate #1954 #78rpmshellac #keeptothemiddleoftheroad #sweetmama #stgeorgechurch #stgeorge #stgeorgesquartet #quartet #devil #evelyn

You can listen to the flipside here: youtu.be/wCFIMz4vmFQ

Latest Finds (16)

C Porter 2024-07-03 | ...

Some phonos around Bananas Records main store

C Porter 2024-07-03 | Yesterday Tyler Baldwin and D_Fan and I went 78 hunting at Bananas Records. Saw they changed the layout of the main store.

Will Osborne & His Orchestra - Oh! The Pity Of It All |Take 2| (1934)

C Porter 2024-06-30 | The other voices of this vocal trio that you are hearing now unfortunately remains unidentified 90 years later. however, there was one of Osborne's acts around this time no one only as the Osborne quartet, which included the bands guitarist George O'Dell, usually imitating The Mills Brothers. This feature was around from about mid 1933 until at least late 1934, judging by its appearance in the 1934 Vitaphone short of the orchestra. O'Dell and others play "We Heard" there. Only person we know for sure aside from O'Dell is Osborne himself as you can hear.

Recorded on February 15th, 1934.

In Will Osborne's entire discography, only a handful of times has more than one take Of a song been Recovered. Most of which being during his Columbia days. However this ARC session, which has been said to produce two takes of this recording, one including a vocal trio for the chorus on one take. Discographies conflict, but from Rust of 1975 to Shirley & Johnson of 2010, it's believed that the vocal take was rejected by the ARC, and never appeared on record. But as we can listen for ourselves here, Take 1 turned out to be the Osborne solo chorus, and the vocal trio ended up being on Take 2.

It's also been said that this Osborne solo vocal was released, but from a March session. However this is all but false, since both takes despite one being a few seconds longer, has Osborne's Orchestra sounding virtually identical on the arrangements, which wouldn't happen a month later, surely.

Harold White, despite being used psuedonymously, was infact a real person, just like Owen Fallon and Carl Fenton were. But just like the others here, rarely had his band record. So hearing him on record is unfortunately very rare. The ARC just using his name for unknown reasons to cover up their actual artists.

Internet Archive audio by Jakej

Listen to Take 1 here: youtu.be/21_tmFyX5Ts?si=3t3i7GbFFBZvBAss

Will Osborne & His Orchestra - Oh! The Pity Of It All! |Take 1| (1934)

C Porter 2024-06-30 | Recorded on Febraury 15th, 1934.

In Will Osborne's entire discography, only a handful of times has more than one take Of a song been Recovered. Most of which being during his Columbia days. However this ARC session, which has been said to produce two takes of this recording, one including a vocal trio for the chorus on one take. Discographies conflict, but from Rust of 1975 to Shirley & Johnson of 2010, it's believed that the vocal take was rejected by the ARC, and never appeared on record. But as we can listen for ourselves here, Take 1 turned out to be the Osborne solo chorus, and the vocal trio ended up being on Take 2.

It's also been said that this Osborne solo vocal was released, but from a March session. However this is all but false, since both takes despite one being a few seconds longer, has Osborne's Orchestra sounding virtually identical on the arrangements, which wouldn't happen a month later, surely.

Harold White, despite being used psuedonymously, was infact a real person just like Owen Fallon and Carl Fenton was. But just like the others here, rarely had his band record. So hearing him on record is unfortunately very rare. The ARC just using his name for unknown reasons to cover up their actual artists.

Internet Archive audio by jakej

Listen to Take 2 here: youtu.be/UxEpVAWk-9Y?si=eGq9444ZzEtEQ8mB

Don Redman & His Orchestra - Doin The New Lowdown (1932)

C Porter 2024-06-23 | (The hiss settles down in the first 20 seconds on both sides.)
This is just among my first attempts at transferring 78s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 3mm compatible sapphire stylus.

Recorded on December 29th, 1932 in NYC.

The Don Redman Orchestra already was a real treat, and Redman being the sax arranger and leader for Fletcher Henderson's section prior to forming his own band, was JUST as crucial of a leader to the creation of "Swing" from later years too. But now this hot orchestra recording two great dance sides, plus Harry & Donald Mills, of The Mills Brothers singing and accompanying? Now THAT'S a treat!

This record is courtesy of the Tyler Baldwin collection: @tylerbaldwin9513 . youtube.com/@tylerbaldwin9513

#donredman #brunswick #78rpm #78rpmshellac #1932 #themillsbrothers

The A Side is called Doin The New Lowdown which you can listen to here: youtu.be/Udu8ozZMhdo

Taste - Something Inside Of Me [Short Version] (mid 1980s?)

C Porter 2024-06-22 | This is just among my first attempts at transferring 45s, expect improvement overtime in overall audio & technique.
Califone 1030AV, 1.6mm compatible sapphire stylus.

So it's a Perfect 45rpm, not a label of the same name as the Pathe subsidiary and ARC principle label of the 20s - 30s (early 40s lightly); the SAME label, at least 40 years later as a 45! How the hell did this happen? I honestly have no idea. This uncanny creation seems to have been limited to just one release on this series block of P-10,000. Only as this one series block too. Perhaps purely as a sample/promotion label, perhaps revived by whichever parent label at this point for the purpose of promoting this band or singer known as "Taste"? Many things are possible. But would you beleive that this here isn't the largest anomaly involving the Perfect label? Yeah, a man from Third Man Records back in the 90s name Dean Blackwood brought it back in the 90s as a 78 label! And it recorded rockabilly, punk rock, and other genres too!

Learn more about the Perfect label from my 2019 Two-Part documentary on it: youtu.be/aTvdH4i1lHI?si=7VI7_Ec_ufgGuFJv

So when is this record from? Well my best way of figuring that out, is likely by NOT following just the copyright/patent dates on the label, cause if we do, then any Victor Batwing is from 1904 to 1906! A good way is by looking up the copyright date for the song itself, going from the writer Patrick McDonald. The United States Copyright Office has listings for two different songs of this title from the 80s. One being published on October 14th, 1983 by CBS Inc. & CBS Catalogue Partnership; while the other being published on November 7th, 1986 by CBS Catalogue Partnership and Citibank N. A. . Now 80s Jazz, Funk, Soul, etc is not exactly my forte, and as a result, I can't trust myself to accurately gauge which song of the two this is more likely to be, basing off of what can be heard. So I leave it here for whoever can judge for themselves, or can tell me more info there.

As for the band "Taste", it's a pretty common band name, with over two dozen different artists going under that name in the world of recorded sound. I can't find much on the songwriter McDonald, but it's not an unwise thought to guess that he was affiliated with the band to some capacity. Other than that, I can't say or find anything that relates to what could be this band. Anyone out here know?

#taste #perfect #vinyl #45rpm #funk #soul #1980s #1980 #1983 #1986 #jazz

You can listen to the Long Version of the song here: youtu.be/_Ssr-xnNyzA

Taste - Something Inside Of Me [Long Version] (mid 1980s?)