Flexible Records Project

Illustra drawings: proof or spoilage?

2011-06-05T09:54:00.001+02:00

A few months ago Desiree Muis sent me some remarkable stuff. At first sight it seem to be Illustra records, picture discs released by the Illustra Record Trading Co. N.Y., but if you look better you will miss the hole for the spindle in the centre. Desiree told me, that these 4 ( in fact two double sided) pictures are printed illustrations, apparently proofs or spoilage for the 1930s Illustra advertisement records. She found photos from these drawings at this Flexible Records blog too and asked me for additional information. Print used for a Illustra record which has originally the song Maria, Mari (E. di Capua) by Cav. Salvatore Salvati (tenor). It was originally recorded in Berlin-Marienfelde February 1930 by Tri-Ergon (matrix number 03245). (collection: Desiree Muis)
During the 1930s (flexible) advertisement records were an upcoming medium for promotion. In the US flexible records like Flexo and Durium were promoting products with its flexible "plastic" or carboard records - in Europe Dubrico, Sound Distributor did the same on a cardboard base - another firm was Illustra, which had an office in Amsterdam.
This proof was used for another Illustra record for Gitanes cigarettes. (collection Desiree Muis)
The Illustra Record Trading Co. N.V. ( in Holland it was known as Illustra Handel Maatschappij N.V. ) released numerous colourfull advertisement records like the ones on this page.
Illustration for an Illustra record entitled Bombes sur Monte Casrlo ( L' amour des marins). (ca. 1931) (collection: Desiree Muis)
One of the most well known Illustra record must have been the Louis Davids Wat een meisje weten moet. The Dutch compilation album Wat een meisje weten moet - Reclame Klassieken, released by the Theater Instituut Nederland and De Weergever, both in Amsterdam, has this record reissued, like as great collection of pre-war (Dutch) advertisement and promo records. The prints Desiree sent me seem to be proofs for some other Illustra recordings. Proof for the Go Home and Tell Your Mother 78rpm for Citroën ( ca. 1931) (Collection: Desiree Muis)
The Flexible Record blog has published a previous contribution about this label, entitled Illustra Citroën Picture disc and gives all information I could find. Desiree told me: Het zijn ronde tekeningen, dubbelzijdig, doorsnede 23cm. (= It are round drawings, printed double-sided, with a cross-section of 23 cm. ). One of the pictures has the sentence: specimen non-destine a la vente ( = Not for sale), which seems to prove once more that this are proofs, not for publication, although it is possible that this sentence was used on the original record too, as it was free distributed. Well - a lot of questions about this rare stuff - hope you can help us to find the truth:

Where this proofs for Illustra records? Or is this spoilage? Maybe Desiree can tell us if the two drawings on both sides are printed exact on the same place - if not, it could have been spoilage and thrown away before the actually process of pressing the groove had taken place.
What is the actual cross-section for the original Illustra Flexible gramophone record? Do have the drawings the same size?
It seems that the crosses around the picture has to do with the print-proof. Is that correct?
Are these proofs rare? Did someone ever seen this kind of stuff?
Thanks Desirée for sharing these photos with us.

Deze blog is ook in het Nederlands verschenen op de Keep Swinging blog als: Illustra-tekeningen: misdruk of drukproef?

Hans Koert
keepswinging@live.nl

Unity 407

2011-03-14T18:54:00.004+01:00

A Light Along The Way -
OTIS L. NEWTON with Orchestra Accomp.

The reverse is:
Lead Kindly Light -
(prob.)? MORRILL MOORE Organ
Recorded ca. 1926

Released as UNITY 407

Unity was (New) Flexo recording. This flexible record was recorded an produced by Unity School of Christianity in Kansas City.

The sleeve is an original (New) Flexo sleeve with instructions how to play this record.

Thanks Jerry for pointing me to this record label which was presented on eBay

I wrote about another Unity record in my collection in a previous blog.

Hans Koert
keepswinging@live.nl

Goodson 132

2011-01-23T06:00:00.004+01:00

A few days ago Heather H. asked for information about a Goodson flexible Record she found in her store. Love to share the discographical information for this Goodson Record nr. 132.

Goodson Record nr. 132 ( photo courtesy: Heather H.)
3568
WALKING WITH SUSIE
Conrad - Mitchel - Gottler
Fox-Trot with Vocal Chorus.
Broadway Merry Makers

Recorded ca. July - August 1929 by the Grey Gull studio in New York City. The A-take was released as Goodson Records No. 132 and as Radiex 1762.
3596
YOU AND I
Sheppard
Fox-Trot with Vocal Chorus
University Syncopators

Recorded August 1929 in New York City in the Grey Gull Studios. The B-take was released as Goodson Records No.132 and as The Syncopators on Radiex 1758.

The personel of these records is unknown, but Brian Rust gives a list of musicians that were available to make these records, most white men, that played in the numerous dance bands of the late 1920s, like Mike Mosiello, Andy Sannella, Al Duffy, Frank Banta, Charles Magnante, Tommy Dorsey and Charles Butterfield. The tunes were recorded by a studio band featuring the musicians "of the day" and were labeled with fantasy names like the High Society Seven, White Way Players, the Cotton Pickers Orchestra or the two names mentioned above. The masters of the recordings were used for other cheap record labels like Radiex, Madison or Grey Gull.

Previous blogs about the Goodson Records: Goodson Records : Pliable - Unbreakable - Featherweight Goodson and Boots Goodson 7001 Music on the Antarctic

Sources: The Goodson Record Discography - Arthur Badrock
and the American Dance Band Discography 1917-1942- Brian Rust

Hans Koert
Author of the Hit of the Week-Durium Discographies.
keepswingin@live.nl

Brian Rust ( 1922 - 2011 )

2011-01-10T07:19:00.002+01:00

On the 5th of January, 2011 Brian Rust passed away, 88 years old. For most 78rpm jazz and jazz-related record collectors his name was connected with the extreme valuable discographies he compiled during his life.
Every record collector has a least one of his books within reach. Although he wasn't active in this field any more because of his age, his name is mentioned at least hundred times a day when collectors quarrel about their beloved records: Rust says .......
Among the books he compiled his best known is the Jazz Records 1897 - 1942. For me, as a teenager, it was the first book I could affort, although I had to make a hard decision, due to shortage of money: Rust or a pile of LPs. Later I bought the British Dance Bands On Record 1911 to 1945. The third important Rust was very difficult to obtain, as it had been out of print for a long time: The American Dance Band Discography 1917-1942. I remember that I had to make trips by train from Zeeland, the region where I live, to The Hague ( two hours by train) to consult Rust, as is was the nearest place to find a copy of the Dance Bands Discography. Thanks to a collector who finished record collecting, I found my own copy. The Complete Entertainment Discography was my last Rust - I copied it, page by page ( on a photocopier). I remember that I sent him a copy of my finished Hit of the week - Durium Record Discographies and that he sent me his congratulations and (new) information about the Goodson Records, for me a new discographical project. ( Source: Happy Birthday, Brian - Hans Koert ( blog for his 84th birthday))Annette Hanshaw and Brian Rust (1959)
In December I posted two blogs according the 1920s vocalist Annette Hanshaw. Brian visited her late 1950s and reissued her records. Love to repost here the two links to these contributions

Annette Hanshaw: A great vocalist remembered

Annette Hanshaw: I Hated Those Records

This short contribution can be found in English at the Flexible-Records blog. and in Dutch at the Keep Swinging blog.

Hans Koert

keepswinging@live.nl

Brian Rust, record collector, jazz historian, discographer passed away, 88

Goodson 7001

2010-11-10T19:12:00.011+01:00

Thanks to Ruud Tollenaar from Middelburg ( in the south west part of The Netherlands) I can show you a special Goodson record, released to promote Sketch Virginia Cigarettes.

Goodson Record 7001 ( photo courtesy: Ruud T.)

Fred Hall and his Orchestra: I CAN'T DO WITHOUT YOU - Matrix number: 31270 -
Catalogue number: 7001 - Recorded in New York City, June 1928. - Released in London January 1930

Goodson Record 7001 ( photo courtesy: Ruud T. )

Pennsylvania Melody Makers: WHEN WE'RE APART - Matrix number: 31278 Catalogue number: 7001 - Recorded New York City, ca June, 1928. - Released in London January 1930

These 7-inch flexible Goodson Records were released by Goodson early 1930. There must have been a dozen of these records released. They were put on sale in January 1930 and cost one shilling each. You could buy six in a packet, which were labeled as "Amazing Value - 12 Dance hits for six shillings". As you can see the first issue was recorded in the US in 1928 and released two years later, so it were no real hits anymore. A half year later the series stopped and was no longer mentioned. (source: The Goodson discography - Arthur Badrock)

Sleeve Goodson Record (1930) ( photo courtesy: Ruud T. )

Arthur Badrock doesn't mention in his discography this series as an advertisement series for Sketch cigaretttes. As the cover of the Goodson Record is written in Dutch ( not the entire sleeve is in Dutch, only the "manual " ( Leest dit nauwkeurig na!) ( original Goodson text: Read Carefully) and the promo text ONBREEKBAAR - ONBRANDBAAR - LICHT - BUIGZAAM ( original Goodson text in English: UNBREAKABLE - FEATHERWEIGHT - PLIABLE ) it might be possible that this Sketch series was exclusively released for Holland years later ( mid 1930s)

Joop Goudswaard wrote about these 7000-series in Doctor Jazz Magazine nº 103 (1984) and heard from an eldery gentleman, while hunting at the Rotterdam fleamarket that the records were sold at tobacco stores only.

Stroboscope Goodson Record 7001 ( photo courtesy: Ruud T. )

This is a stroboscope which was found inside the sleeve. It was released by Fa. M. Spiering in Dordrecht, a city near Rotterdam. The shop sold gramophones, and most of the time they also sold gramophone records, but it is, of course, not known if this stroboscope was originally part of the record and sleeve.

If you have more info about these 7-inch Goodson Records, or you can show us a label "without" the Sketch Virginia Cigarettes adverisement banner, please contact.

Thanks Ruud for sharing this nice little Goodson Record.

This contribution will be posted too in Dutch at the Keep Swinging blog.

Hans Koert

keepswinging@live.nl

Titan

2010-11-07T06:26:00.009+01:00

Jerry pointed me to three rare 78rpm flexible records from the 1930s offered at a well known auction site.
At least two of the records have the Titan label - the third one, according to the information of the seller, seems to be a Titan ( related) record too.
"How Would You Like a Free Turkey?' & "A Phonogram from Elliott and Elliott"

"Mussehl & Westphal Saw Solo/Saw Duet"

"Seasons Greetings from the MJB Demi-Tasse Revue" (part 1 & 2)

The info on the label is copied from the sellers information.

I love to know more about these records or the label. The fact that both Titan records have the addition: Electrical Recording indicates that they could be from the late 1920s. Accordinbg to the information it seems that all three records can be played double sided.

Can someone help to identify and date these early flexible records?

Thanks Jerry for pointing me to these rare 78rpm flexible records.

Hans Koert
keepswinging@live.nl
Twitter: @KeepSwinging

Goodson Records: Pliable - Unbreakable - Featherweight

2010-09-30T10:10:00.001+02:00

The GOODSON GRAMOPHONE RECORD CO. LTD. London, England - as its full manufacturers identification was labelled, produced commercial recordings between 1929 and 1931. One of the characteristic features of these white flexible records, made of a non-flammable material called Rhodoid was, that it had no separate (paper) label around the spindle hole like regular records, but its complete surface could be used for printed messages.
The Goodson Records ( collection: Hans Koert)

Goodson Records was a short lived record label which produced a flexible type of records in England between December 1929 and February 1931. They were made of a white opaque celluloid named Rhodoid, which was labelled as Non-Inflammable ( The earliest Goodson gave problems, as they happened to be easily inflammable).

Aroun d 1930 numerous producers of flexible records tried to make a living by producing light unbreakable gramophone records, that could be produced cheap in large quantities. The vulnerable shellac records were expensive to produce and broke easily. For the cheap flexible record the Great Depression seemed a godsend - the people didn't had two pennies to rub against each other and cheap records, like the cardboard Hit of the Weeks, produced more then 350,000 copies a week. The cardboard Hit of the Weeks are still best known and are fully listed on the Hit of the Week-Durium Discographies. They were playable on one side only, but with almost 5-minutes playing time, Durium suggested in 1932, that two complete songs were on one side - Two "Big" Hits. The self-changing record, the British Durium records promoted itself, the record you don't have to turn around. It was flexible and unbreakable and a promotional picture showed, that you could even use a hammer or shoe to test how "durable" the records was. And they are ....... more then 80 years later most Hit of the Weeks are still playable.

Big City Blues - Mermphis Jazzers ( 1929) ( Goodson Nº 131) (Hans Koert collection)

Other records were made of transparent plastics, like Flexo, Filmophone, Phonycord or Virginia, but most of them didn't survive time ... they warped easily and most of them are unplayable now. Goodson, was, in my opinion, the best of the rest. It promoted itself as Double-Sided and they were Featherweight. The best way to proof its qualities was playing it, Goodson suggested: Have stood the test, their mellow tone, full volume, clear cut notes and absence of surface noise, justify our claim to have produced a perfect record. Reading this, it brings a smile to your face ............ , but also other record companies like Durium greatly exaggerated its audio qualities. Goodson Records do not break and scratching does not harm them. They are flexible and so light in weight that sixty can be carried in a portable gramophone. Well, I've tried to store half of it ( my collection of Goodson contains two dozens copies )and it just fit into my Viva-tonal Columbia Grafolona Nº109A 1929 gramophone, but with space for a handful - but 60? Durium suggests in a Dutch advertisement that Minstens 35 platen kunnen in een koffergramofoon mee ( = At least 35 records can be stored in a portable gramophone) - well that seems a more realistic number ........ although if I study the Veckans skiva sleeve picture?

A handfull of Goodson to store into a portable gramophone, but 60 copies? ( photo courtesy: Hans Koert)

Listen to one of those Goodson records: Breakaway by the Cosmopolitan Dance Players, one of the numerous anonymous studio bands directed by Fred Hall from the Grey Gull Studios (June 1929)

A great view: a Goodson playing on my portable gramophone ( photo courtesy: Hans Koert)

The Goodson Records are unique - did you know that these records are the only records with the tune-information available on both sides of the record? The record has no (paper) label around the spindle hole which means that the info can be printed everywhere - also over the groove. The label info on the commercial releases is printed large in the middle of the record - you can't miss the hand with the bended record. In the four quarters you can read four times the same track information for both sides. As the Goodson were complete printable on both sides it was the ideal spot to promote events or advertise products. Like Durium Goodson records were used for promotion and advertisements for brands like Boots The Chemists (Always Open Day and Night), Wellsbach Lamps (United for Service To Give Good Gaslight), Henleys and British Record Washer Soap ( A free Goodson Record without advertising matter for Eighteen Cartons of Britisch record Washer Soap).
part of a Goodson record catalogue (July 1930). (negative) ( Thanks to Brian Rust)

Goodson produced also custom records, selling its surface for promotional messages. In a few previous blogs I told you about the records, released to promote the Mawson Antarctic Expedition of 1929 and about the a record issued at the 1929-1930 Exposicion Internacional de Barcelona. In one of the latest Flexible Records blogs I asked your help to complete a series of scans with Boots The Chemists advertisements. Hope you can help us.

Tomorrow I hope to post a blog about Goodson Records in Dutch, but not, as usual, a translation of the above one. Dutch visitors, anxious to learn more about this subject, normally understand English well. I love to repost an article from Het Leven from the 29th of November, 1930 entitled Goodson Gramophone Record; een nieuw geluid!

This contribution has also been published at the Keep Swinging blog.

Hans Koert

keepswinging@live.nl

Goodson and Boots

2010-09-25T08:19:00.019+02:00

The GOODSON GRAMOPHONE RECORD CO. LTD. London, England - as its full manufacturers indentification was labeled, produced commercial recordings between 1929 and 1931. One of the characteristic features of these white flexible records, made of a non-flammable material called rhodoid was that it had no separate (paper) label around the spindle hole like regular records, but its complete surface could be used for printed messages.

Goodson was a short lived record label which produced a flexible type of records in England between December 1929 and February 1931. They were made of a white opaque celluloid named Rhodoid, which was labeled as Non-Inflammable ( The earliest Goodsons were inflammable). Goodson produced advertisement and custom records too, like other flexible record labels, for Boots The Chemists (Always Open Day and Night), Wellsbach Lamps (United for Service To Give Good Gaslight), Henleys and British Record Washer Soap ( A free Goodson Record without advertising matter for Eighteen Cartons of Britisch record Washer Soap).

Goodson produced also custom records, selling its surface for promotional messages. In a few previous blogs I told you about the records, released to promote the Mawson Antarctic Expedition of 1929 and about the a record issued at the 1929-1930 Exposicion Internacional de Barcelona.

Today I love to introduce you to Goodson's Boots advertisement records. Judith W., archivist of Boots the Chemist asked me for information about these records. She sent me scans from one of the records in its archive. Love to share with you these two scans and two from my own collection.

DANCING WITH MY BABY ( 31275-1) George Beaver

Irving Kaufman vocal, accompanied by a piano and clarinet ( could be: Fred Hall and Eddie Grosso). Recorded in New York City ca. 1928-1929. Released commercially ca. 1929 as GOODSON No. 118, but here presented as a Boots The Chemists promo record. ( type: The finest chemist's service in Great Britain - Over 800 branches at your service. ( collection Boots - Nottingham).
TOGETHER (31250) - Lou Gold's Orchestra
Irving Kaufman vocal. rest unknown.
Recorded in New York City ca. 1928-1929. Released commercially ca. 1929 as GOODSON No. 105, but here presented as a Boots The Chemists promo record. ( type: For all Surgical Invalid & Nursery Requisites. You are safe in dealing with Boots the Chemists - Over Eight Hundred Branches Throughout Great Britain) ( collection Boots - Nottingham).
JUST A NIGHT FOR MEDITATION Foxtrot with Vocal Chorus (31295) - Marathon Dance Orchestra
Marathon Dance Orchestra ( = Fred Hal and his Orchestra): personel unknown. Arthur Fields vocal.
Recorded in New York City ca July 1928. Released commercially ca. 1929 as the first GOODSON No. 101, but here presented as a Boots The Chemists promo record. ( type: Dispensing Chemists to the Nation - Over 800 Branches in Great Britain) ( collection Hans Koert).

TALK ABOUT HEAVEN Foxtrot with Vocal Chorus (31210) - Pennsylvania Melody Syncopators
Pennsylvania Melody Syncopators ( = Fred Hall and his Orchestra): Jack Mollick trumpet, Eddie Groosso cl as - Philip d' Archy h v p washboard - Fred Hall p dir - Albert Russo banj, l morse tu - Joseph Mayo dm. prob. Arthur Fields vocal.
Recorded in New York City ca December 1927. Released commercially ca. 1929 on Duophone (Duo M-172 and M-175) and Goodson Nº 109 and 137), but here presented as a Boots The Chemists promo record. ( type: Always Open Day and Night - Boots The Chemists) ( collection Hans Koert).

SERENATA (4260P) - Vornos ( = Celeste Vornos mezzo sop.)
Recorded in Italy ca. 1928 and released commercially as Goodson Nº 144, but here presented as a Boots The Chemist promo record ( Type: Gifts for every occasion. Buy them from Boots The Chemists Over 800 Branches in Great Britain). ( collection unknown)

CHE GELIDA MANIMA ( 5405) La Boheme - Guido Volpi tenor
Recorded in Italy ca. 1928 and released commercially as Goodson Nº 148, but here presented as a Boots The Chemist promo reord ( Type: for Perfumery, Face Powders, Creams, Soaps, Bristle Goods and Toilet Requisites Boots The Chemists Perfumers & Toilet Specialists)( collection unknown)

This are six advertisements by Boots The Chemists as found on three Goodson records. I found the information for some more.

SE IL MIO NOME SAPER (5277) "Barber of Sevilla" - Amilcare Pozzoli, tenor

Recorded in Italy ca. 1928 and never commercially released by Goodson, but here presented as a Boots The Chemist promo record( Type: The finest chemist's service ........)

COME UN BEL DI DI MAGGIO (5280) "Andrea Chenier" = Comm. Ismaele Voltolini, Tenor

Recorded in Italy ca. 1928 and released commercially as Goodson Nº 148, but here presented as a Boots The Chemist promo record ( Type: for all Surgical .........)

CIELO E MAR (5727) "Gioconda"= Cav. Oreste di Bernardi, Tenor

Recorded in Italy ca. 1928 and commercially released as Goodson Nº147, but here presented as a Boots The Chemist promo record ( Type: Gifts for every occasion. .)
SEMPRE LIBERA ( 5272) Traviata (Verdi) - Poletti, soprano

Recorded in Italy ca. 1928 and never commercially released by Goodson, but here presented as a Boots The Chemist promo record ( Type: for Perfumery,.......) This record was also used for a Goodson Welsbach advertisement record)

OLOHA OE (sic) (31309) Hawaian Guitar (Duet) = Ferrera and Paaluhi ( Frank Ferera and John K. Paaluhi)

Recorded in New York City, July 1928 and commercially released as Goodson Nº 126, but here presented as a Boots The Chemist promo record ( Type: Boots The Chemists Dispensing Chemists to the Nation Over 800 Branches In Great Britain)

ISLE OF PARADISE (41512) Hawaian Guitar & Xylophone Duet = Ferrera & Franchusi (= Frank Ferera and Anthoni Franchini)

Recorded in New York City, 1st of November 1920 and never commercially released by Goodson, but here presented as a Boots The Chemist promo record( Type: Always Open .....) This record was also used for a Goodson Miss Blanche Virginia Cigarettes advertisement)

Serenade Rimpianto (4259) - Vornos ( = Celeste Vornos) (TYPE: unknown) = Siciliano - O Lola "Cavalleria Rusticana (5728) - Cav. Oreste di Bernardi ten. w. orch. (TYPE: The finest Chemists ...)

Let's Make Whoopee ( 31288-1)- Jack Kaufman with orch acc. (TYPE: unknown) = And Then Foxtrot with vocal Chorus (31321-1) Fred Hall and his Orchestra ( TYPE: Always Open ...)

These sides learn that the tunes used for the advertisements seem to be selected at random from its commercial catalogue. Arthur Badrock lists in his The Goodson Record Discography some more coupling known of Boots The Chemists ads, most Italian classical music feasturing artists like the mezzo soprano Celeste Vornos and US crooners like Irving Kaufman. As I don't know what type of advertisements were used I haven't posted this list here, but I hope collectors of Goodson Records will inform me and/or send me their label scans from the Boots The Chemists advertisements in their collections to get a complete overview of these Goodson advertisement records.: keepswinging@live.nl

When the Goodson Record Co. Ltd. in London broke in the early 1930s Boots The Chemists found a new advertisement medium in Sound Distributors, the successor of Durium Products (G.B.) Ltd. (Slough).
I hope this helps Judith of the Boots archive in Nottingham (UK). Thanks for sharing the scans with us.

This contribution will be edited too for the Keep Swinging blog in an English and Dutch version soon.

Hans Koert
keepswinging@live.nl

Discolux

2010-09-19T12:55:00.016+02:00

Thanks to Patrick from The Hague ( The Netherlands) I can show you some labels of the Belgian flexible DISCOLUX label, released by Phonedibel. They were found including a Phonedibel sleeve. They must have been recorded ca. 1930. They are made of white Rhodoid or Rhodoid-like acetate, as used in the well known Goodson record.
Can someone help me to date these rare transparent flexible 78rpm records?

CANZONETTA (Ambrosio) - 5.699

Solo de Violon

Nº du Disque 254

Recorded ca. 1930

LARGO (Haendel) - 12.088

Orgue et Orchestre à Cordes
Nº du Disque 254

Recorded ca. 1930

LA FILLE DU TAMBOUR-MAJOR (J. Offenbach) Ouverture I - 50.812

Orchestre Direction: FICHEFET

Nº du disque DF 516

LA FILLE DU TAMBOUR-MAJOR (J. Offenbach) Ouverture II - 50.812

Orchestre Direction: FICHEFET

Nº du disque DF 516
Recorded ca. 1930

Sleeve: Editions Phonedibel

The Dutch / Flemish instructions how to play the record

French instructions to play the record

translation: If you use an ordinary needle, use it ONCE on an ordinary shellac record. Then you can use the needle, without changing it, ten up to fifteen times on our flexible records.

The record was sold in Mme Vve BLANPAR Disque Incassable ( Paris ) according a stamp on the sleeve.
Thanks to Patrick van Griethuysen for sending me these records.

Hope you can help me to find more discographical details, like recording dates ..........

Hans Koert

keepswinging@live.nl

Virginia label

2010-09-05T18:52:00.008+02:00

Thanks to Patrick from The Hague ( The Netherlands) I can show you some labels of some French flexible Virginia labels. I think the first one must have been recorded ca. 1929 in the US and the others in France in 1930. Can someone help me to date these rare transparent flexible 78rpm records?

Cat. Nº 114 B

ACCORDÉON de MAGNANTI – matrix 3782 B

Mind that the label name is written in capitals: VIRGINIA. I guess that this record was originally US recorded, as ACCORDÉON de MAGNANTI coiuld be translated as Accoréon played by Magnante. Magnante, of course, could be Charlie Magnante, the well known US accordion player. Mind that this side has no tune title .................

Cat Nº 114 D

CHANSON PAIENNE du film “THE PAGAN”, de FREED VROWN chanté par JERRY WHITE – matrix 3538 B
Mind that the label name is written in capitals: VIRGINIA. I guess that these records were originally US recorded, but pressed in France, as Jerry White was a US crooner who was active on dozens of records from the late 1920s for cheap record labels like Cameo. I learned that the matrix number is not Cameo, but maybe some one can help me to find out when the original record was made.

Cat Nº 226 E

L’ANGÉLUS DE LA MER ( Léon Durocher – Gustave Goublier) Chanté par M. André GORDON, baryton soliste des Concerts Paul Vidal Orchestre du Piazza – Dr. Steib (matrix 5213 ( in the surface in the last part of the groove (!)).
The label name is in small letters: Virginia

Cat Nº 226 E

LA CHANSON DE MARINETTE ( Tagliafico) Chant;é par M. André GORDON, baryton soliste des concerts Paul Vidal Orchestre du Piazza – Dir. Stelb (matrix 5214)
Cat Nº 249 E

AIMER, BIORE, CHANTER Valse de Strauss Orchestre jazz-symphonique SAM BASKINI ( matrix not in the surface but on the label: 5871)

Cat Nº 249 E

ROSES DU SUD Valse de Strauss Orchestre jazz-symphonique SAM BASKINI – matrix not in the plastic surface

Thanks to Patrick van Griethuysen for sending me these records.

Hope you can help me to find more discographical details, like recording dates ..........

Hans Koert
keepswinging@live.nl

Crisco Presents the Mills Brothers

2010-07-28T08:54:00.001+02:00

Who has the four inch ( = 10 cm) card board record with the text: CRISCO PRESENTS THE MILLS BROTHERS in his collection? Matrix number = 5108 A.
The record contains the tune Goodbye Blues and a spoken introduction.
(source: (online) Durium Advertisement and Custom Records discography - Hans Koert))

The spoken introduction on the record:

Crisco, the all vegetable shortening which digest so easily presents the MILLS BROTHERS singing their famous theme song GOODBYE BLUES. There's no tuba, saxophone, trumpet or trombone. The only instrument used is a guitar. All effects are achieved vocally. Unknown six month ago, the MILLS BROTHERS today are internationally famous for having introduced a new rhythm and a new type of vocal harmony. We invite you to tune in and hear them at 7.15 p.m. Eastern Standard Time every Tuesday and Thursday evening over the Columbia Broadcasting System.

It was reissued for the first time on Ristic 51 - all other reissues ( MFC–9 / S.H. 2044 /JSPCD 301 / JSP 902 / MUSIC BOX THEATRE vol 3 / NOSTALGIA ARTS NOCD 3010 ) seem to be copies of the Ristic LP.

Can someone show me the label and / or bring me in contact with the owner of the original?
Please contact me: keepswinging@live.nl

This contribution is also published at the Hit of the Week blog.

Hans Koert

author of the (online) Hit of the Week / Durium discographies

keepswinging@live.nl

Phonycord no. 1

2010-06-20T09:09:00.009+02:00

Thanks to Johann Bernreiter from Austria I can share with you a scan from the first Phonycord ever - Nr. 1

The label reads:
Wenn du einmal dein Herz verscenkst (sic) - Tango v. Willi Rosen Jazz-Orch.
and on the reverse:
Es gibt eine Frau - Walzerlied v. Cowler M. Kuttner Tenor.

Willi Rosen ( 1894-1944)

Willi ( or Willy) Rosen was born as Wilhelm Rosenbaum in Magdenburg (Germany) July 1894 and passed away in the Polish concentration kamp Auschwitz October 1944. He composed the music for several films like Es War einmal ein Musiker from 1933. Also the song Wenn du einmal dein Herz verschenkst ( = When You One Day Give Your Heart Away ) from 1929 is the title song from one of the films featuring Lilian Harvey. The silent version of this film was released in Austria on the 25th of December, 1929 and as a sound film three weeks later in Germany. It was also released in some other European countries like Estonia ( as Kingi mulle oma armastus) - Greece ( as O vagapontis tou Isimerinou ) and Italy ( as Se un giorno tu vorrai ). In the rest of the world it was released as: When You One Day Give Your Heart Away.

Willi Rosen at the piano

Willi Rosen started as a piano player and became known in the 1920s cabarets in Berlin like in der Spinne with Harry Waldau and the Schwarzen Kater from Peter Sachse. He became a well know artist and wrote the music for dozens of films between 1928 and 1934. When he played the piano his famous words were: Text und Musik ist von mir! ( = Text and music are mine!). In 1933 he left Germany and moved to Austria and later (1937) to The Netherlands, where he founded in Scheveningen, with other Jewish artists like Max Ehrlich, the Theater van de Prominenten ( = Theater of Celebrities ). In 1942 the Theater van de Prominenten was closed by the German. In 1944 both Max and Willy were brought to Westerbork, a Dutch concentration camp, where they founded het Strijkorkest Westerbork (= the Westerbork String orchestra featuring Jewish musicians like Max Ehrlich, Franz Engel, Camilla Spira, Kurt Gerron, Erich Ziegler, and Willy Rosen. Finally they were all moved to German and Polish concentration camps like Theresienstadt and Auschwitz, where they passed away in the gas chamber.

Het Strijkorkest Westerbork.

Es gibt eine Frau die dich niemals vergißt was the popular title song from the 1929 film Es gibt eine Frau which was released in March 1930 in Germany. The music was composed by Hanson Milde-Meissner. It's unknown if Cowler M. Kuttner sung the tune in the film.

Phonycord was a short living flexible record label from 1929 up to ca. 1931. The first Phonycords, like this one, were pressed in Germany and later distributed to other parts of Europe. All Phonycord are all very colourfull, but damage easily. It is great to learn that this first one has survived.

Johann informed me that he wants to sell this one, so contact him for more information.

Hans Koert

keepswinging@live.nl

Discoflex

2010-02-28T07:56:00.004+01:00

La Chanson d' Amour (Hemri Colas) 50203 - - Edmond Tirmont de l'Opera Comique de Paris

Les Jolis Yeux de Suzon ( Albert Larrieu) 50202 - chanté par Edmond Tirmont de l' Opera Comique de Paris

Rosina - one step ( Jean Ernst) 50198 - chanté par Nosoli ( Discoflex 102)

Tsoin - Tsoin - Fox-trot (Jean Ernst) - 50195 - chanté pas Nosoli (Discoflex 102)

Thanks Jpete for sharing these great scans.

Keep swinging

Hans Koert

keepswinging@live.nl

Illustra - Citroën Picture Disc

2010-02-15T18:36:00.012+01:00

Dirk Kooreman pointed me to a beautiful cardboard picture disc. On the front a Citroën car logo and the name CITROËN in capitals. This side of the record contains the foxtrot Go Home and Tell Your Mother, a composition by Fields and McHugh, which was a hit in the late 1920s. It is unknown who plays and sings the tune.

On the other site a beautiful painted lady and the song Maria, Mari (E. di Capua) by Cav. Salvatore Salvati (tenor). Salvatore Salvati was a then famous Italian opera singer. This record is for sale on Marktplaats ( Febr. 2010)

May 2008 Henk Duymelink sent me a cover of an Onbreekbare Gramophoonplaat Met Lot ( = An unbreakable Gramophone Record With a Lottery ticket). The profits of the raffle was for Het Zwakke Kind ( = The vulnarable kids ) - The first prize was Een Te Bouwen Landhuis ( = A new-to-build Villa) and he second Een Citroën Automobiel 5 Persoons ( = a 5-seat Citroën automobiles ( Type C.4 G ). This sleeve contained a so-far unknown record and we wondered what "unbreakable record" had been inside. Well - now we know. It was this Illustra Record. Dirk forwarded me some numbers engraved in the "Durium-like" surface. The matrices seem 03245 and 1027 5. The catalogue number might be 032451112 X Another Illustra disc: Louis Davids' in Wat Een Meisje Weten Moet.

The Illustra Record label, published by the Illustra Handel Maatschappij N.V., Tulpstraat 10, Amsterdam ( also named:Illustra Record Trading Co. N.V.) released some great picture disks. Best known in The Netherlands is the great Louis Davids advertisement record for Persil Washing-powder.

The second version of Louis Davids' Wat Een Meisje Weten Moet

Thanks to Peter Bastine from Hamburg, European expert in picture discs, I can offer you a small discography of Illustra Records all worth to collect.
= Louis Davids (Persil) - A-side : "Wat een meisje weten moet" = B-side : 20 different German titles by other artists or unknown. There are diferent pictures on the A-side: child picture : "Mijn Mammie wascht alles met Persil" or farmer's family picture : "Ringel, reie, rozenkrans, voor Persil een rondedans" B-side : all has same picture of housewives
= Illustra Record (Vatican) with paper sleeve = Boticelli painting from Uffizi Museum, Florence, Italy

Another Louis Davids' Illustra Record: 't Is Prima - a Primagaz commercial.

= Shell (oil company)

= Gitanes (cigarettes)

= Ducretet (radios)

= Byrrh (drinks)

= Citroën (cars)

and a few records with thick cardboard layers :

= Primagaz (gaz) (" 't is Prima" by Louis Davids)

= Ford (cars) ("Mijn Nieuwe Ford V8")

= ZHB Bieren (beer) (ZHB Pilsener, Den Haag; by Lou Bandy).

The reverse of the 't Is Prima commercial

Thanks Dirk and Peter for sharing these great picture discs with us.

Hans Koert

keepswinging@live.nl

In December 1929 the DURIUM PRODUCTS CORPORATION prepared the start of a new unbreakable record, made of cardboard. The well known weekly issues, called the Hit of the Week, were released in a weekly schedule, which started in February 1930. The Hit of the week blog and the Keepswinging blog will follow the development of these 80 years old records in an unique series of blogs. If you love to be informed about these contributions, and you love to make a chance to receive an original Hit of the Week record, ask for the newsletter

Hit of the week - Durium records 80 ( 1930 - 2010 )

2010-01-09T07:59:00.003+01:00

Most record collectors know the brown flexible paper records made from the synthetic Durium material. This resin was invented by Mr. Hal T. Beans, professor of Chemistry at Columbia University (1921 - 1947). He sought for years in his laboratory for a resin that was flexible, but otherwise had an extreme tensile strength. This Durium resin was tasteless, odorless, highly resistant to heat and hardened quickly. It was used as a fire-and-water proof substitute for varnish which could be sprayed on the non-metallic parts of airplanes and, because of its properties, was also used as the “durable” film on the cardboard base of the Durium records. Those disks were used to record a varied range of music-styles, advertisements, custom records and courses. The most well known, the Hit-of-the-week records, were issued in a weekly times schedules - that's where its name comes from; records for export or advertisement- or custom records were labeled Durium.

This year we celebrate the fact that the Durium records were first released 80 years ago. The weekly Hit of the week series was released in Febuary 1930 for the very first time and the Hit of the week blog will follow the weekly issues starting the 6th of February, when the first Hit of the week ( HOW 1019), a promo record, was released for free. These weekly issues - in 1930 each Thursday a new Hit of thew week was released - will be reviewed each weekend at the Hit of the week blog.

Before the first records were released commercially several test records must have been made: two of them have survived. The first one, Back In Your Own Back Yard by the Hit of the Week Orchestra, has been reviewed a few weeks ago and soon I'll post some comments to a Broadway test record.

To celebrate this fact I love to give some original Hit of the week records for free to the regular visitors of this blog, who love to have one in their collections. If you love to have such an originally 1930s US Hit of the week record, please contact me and ask to be on the list. If the number of people exceed the number of records, I'll draw lots to select.

Hans Koert

keepswinging@live.nl

Durium discography

This contribution is also posted at the Hit of the week blog.

Durium Records born 80 years ago ( 1930-2010)

2009-12-03T07:22:00.003+01:00

The history of the ephemeral cardboard record of the depression

In December 1929, now 80 years ago, a new record label, a novelty in its times, was released around New York City. The Durium Products Corporation, based at 460 West 34th Street, New York City, opened its offices and in December 1929 its first records were recorded and produced in the McGraw-Hill building on West 42nd Street - New York City.

The record itself was a novelty, as it was unbreakable, pliable and the sound was from a better quality compared to other flexible records like Goodson Record, Flexo and Filmophone ( to name some). The Flexible Record sites are dedicated to these other almost forgotten relics from the early 1930s.

It was a cardboard record with a Durium acetate surface in which the groove was pressed. Due to the fact that the production costs were only US $ 0.05 a record ( if printed in large quantaties ) and the time to produce a record in large numbers (300,000 up to 500,00 copies) was less then a week, made Durium a potentially strong competitor for the major record companies. I'M DOING WHAT I'M DOING FOR LOVE - THE CONNECTICUT COLLEGIANS ( = a Cecil and Leslie Norman band): Cecil Norman piano director arrangements - Sylvester Ahola - Lloyd Shakespeare trumpets - Ben Oakley trombone - Bill Rogers and Leslie Norman reeds, Emile Grimshaw banjo, Stanley nn tuba, Cavan O' Connor vocals. The names of an extra tenor player and violist remain unknown. Recorded at the Sessions House, Clerkenwell Road, London (GB) 25th of October, 1929 and released as WORLDECHO A-1004

It is said that the Durium acetate was developed in Europe during the First World War, to protect aeroplane noses agains dust, heat, cold and moist and it seems that after the war new uses were found - I saw once advertisements for rain coats and garden furniture made of Durium. During the 1920s it seems that Durium was used on records like Worldecho - a rather stiff cardboard layer with a Durium surface- produced in England - These records were produced for only six months and then it was withdraw from the market, as the records easily split into two halves if you dropped it.

Prof. Hal T. Beans demonstrates the flexibility of the new Durium record (early 1930s).
In the US Professor Hal T. Beans from the Columbia University discovered the flexible record based on a thin cardboard layer with a one sided Durium surface. These Durium records would be released as Durium Records; better known for its main weekly series, to be released between 1930 and 1932, the Hit of the Week.

A flexible cardboard Hit of the week record ( ALL OF ME by Nick Lucas and his Troubadours (January 1932))( HOW A-4-B-1) (source; Hit of the week Discography- Hans Koert)

As it is 80 years ago that the Durium Products Corporation started its activities making flexible cardboard records, I love to follow its history and releases next year at the Keep swinging blog and I'll follow the weekly releases of the Hit of the weeks at the Hit of the week blog - Hope you love to join me on that trip.

Hans Koert

author of the Hit of the week - Durium Discographies - online

This small introduction to a rather extensive series of contributions about the Durium - Hit of the week cardboard records will be published too at the Hit of the week blog and the Flexible Record blog.

East European Flexible Records

2009-09-24T08:11:00.006+02:00

Lyle B. from Apple Valley MN (USA) sent me a message with some record photos that need identification. He wrote: Recently I purchased two picture records and a record sleeve from Ukraine, Russia. The records are very thin, with paper back. The diameter is 228 mm (9"). The recording may be "Hello from Sochi". I do not have a Russian translation of the sleeve - maybe it gives more information about the records.

I do even know if the sleeve original belongs to one or both records. There is not a matrix, record number or name on the record. Since this is quite unusual to me I want to share the photo's with other collectors and the visitors of this flexible Records blog.

If someone could help Lyle to identify his picture records and sleeve please contact me: keepswinging@live.nl

Hans Koert

keepswinging@live.nl

Phonycord 643

2009-08-29T06:27:00.013+02:00

Thanks to Pontus B. from Sweden I can share with you a flexible PHONYCORD recording, that was released in Germany early 1930s.

Jazz-Sinfonie-Orch. Eddy Walis
Recorded: ca mid 1931
Foxtrot-Potpourri a.d. Optte. "Die Csárdasfürstin" I. TEIL (Kálmán) - 11706

Jazz-Sinf.-Orch. Eddy Walis
Recorded: ca. mid 1931
Foxtrot-Potpourri .a.d. Optte. "Die Csárdasfürstin" II. TEIL (Kálmán) - 11707

This "Operette", light opera, was originally composed by the Hungarian composer Emmerich Kálmán in 1915 as A Csárdáskirálynő ( = Die Csárdásfürstin ). This kind of light operas were very popular in the first half of the XXth century. Eddy Walis was a Dutch born Jewish violin player. He was born in The Hague, August 1900 ( or 1906) as Eduard Weisfisz. After he finished the Amsterdam School of Music he became a violin player in Germany, where he played at several cabarets. In 1927 he founded his Jazz-Sinfonie Orchester, that played popular and light classical music. He recorded in Berlin for a lot of different record labels, like this Phonycord Flexible. During the period of this recording Eddy Walis recorded for the Czech Artiphon label. In 1933 Eddy moved to The Netherlands again and played in venues like Café Caland in Rotterdam and for the Dutch radio broadcast. In his band, for instance, the Dutch woman trumpet player Clara De Vries played for some times. In the war he was, being a jew, imprisoned in Amsterdam. After the war he had his own orchestra for some years, playing for the radio and in a Bussum restaurant, a place in the centre of The Netherlands. In the 1950s he played in Jerusalem ( Israël ) and passed away, years later ( October 1966) in Santa Monica, California (USA) so it seems he moved to the States.

Eddy Wallis is to be found on several other Phonycord Flexible records, one of those numerous flexible records, that were produced in the early 1930s. The record material, shiny bright coloured "plastics", looks like Filmophone and were produced in Germany. It is unknown how long the label existed.

Love to share with you a transfers made by Pontus of this PHONYCORD FLEXIBLE 643 record.

Some more recordings by Eddy Walis on Phonycord Flexible: (not a complete list)

Jazz-Orchester Eddy Walis =

-3925 - Am Sonntag will mein Süser mit mir Segeln gehen / (61)

-11004 - Ich hab' Eine Kleine Braune Mandoline / Mir Dir Allein - ( 189)

-11230 - Mein Hundi beißt jedes hünsche Frau ins Bein / (367)

-11244 - Herr Ober - Zwei Mokka (377)

- Für eine kleine Lliason / Vergiss mein kleines Lied ( 283) -

Jazz-Sinfonie-Orchester Eddy Walis =

-11368 - Es sprach der weise Maraby / Wenn die Elisabeth ( 443)

- 1438 - Singing in the Rain ( 447)

- 11460 - Little Pal / I'm in the seventh heaven (455)

I'm sure there are a lot more Phonycord Flexible records by Eddy Walis. You can find out info searching the excellent Rainer E. Lotz discographies.

Thank you Pontus for sharing these great transfers.

Hans Koert

keepswinging@live.nl

The transfer of an old Filmophone Record

2009-05-16T09:34:00.005+02:00

My World's Record - Sir Malcolm Campbell (Filmophone n°. 164)

THE TRANSFER OF AN OLD FILMOPHONE RECORD
Leo Enticknap

(Hans Koert) A week ago, Leo Enticknap from York, England contacted me and told me he had made a transfer of one of those rare Filmophone records I described in my Flexible Records project. If you’ve ever seen a Filmophone flexible record, made of transparent celluloid in various gaudy colours, know that these ephemeral records are very vulnerable and most are unplayable after 80 years. After all those years it might have shrinked, so the surface might be no longer flat anymore. And, of course, the material, the substrate, is rather soft, so the record might easily damage and have scratches and needle drops. Filmophone records, like Goodsons, Phonycords, (New) Flexos and other 1930s flexible records are hard to play now-a-days. I invited Leo to tell how he did this transfer that and below you’ll find his contribution, which became a rather technical story ( I'm sure the boffins will like it! ). At the end I'll introduce you to Sir Malcolm Campbell who actually does the speech on the transfered recording.

Filmophone records were so-called flexible records made in 1931 and half way 1932. Flexible records were the answer to the breakable shellac records. Flexible records, like Filmophone, Goodson, (New) Flexo, Phonycord and of course, the card board Durium ( e.g. the Hit of the weeks) records were made to play a dozen times and then throw away, but now, 80 years later, some have survived. The Filmophones, British made, were sold for 2/6. The first ones have, as mentioned before, brilliant colours – the “younger ones” are pressed in opaque black celluloid. There was no paper label, but the information is engraved in silver or gold letters in the surface. With help of the Flexible Records project and the Flexible Records blog I hope to preserve some of these rare labels. The Durium records have been extensively described in the Hit of the week - Durium weblog and the online Hit of the week - Durium discography.

I posted a (limited) FILMOPHONE DISCOGRAPHY (Hans Koert).Love to introduce you to the contribution of Leo Enticknap now: The TRANSFER OF AN OLD FILMOPHONE RECORD.
This Filmophone record from 1932 (no. 164), belongs to a friend, who knew that I collected shellac 78s and asked if I could make him a digital copy. I was apprehensive about trying, due to the very fragile nature of the record substrate. This appears to be either cellulose diacetate or cellulose acetate butyrate. It isn't cellulose nitrate, because it doesn't have the characteristic mothball smell of nitrate - I'm a film archivist by profession and would recognise that smell anywhere. The substrate had shrunk slightly, making the surface uneven. I managed to more or less flatten it by putting the record on the turntable platter and placing a thick, heavy, 1908 12" shellac 78 on top of it overnight. As you will see from one of the photos, there is quite a lot of surface dust that I deliberately didn't try to remove with any chemical method for fear of causing corrosive damage. My usual technique with shellac records is to immerse them in distilled water overnight and then leave them to dry for a day in a draining rack. But I didn't want to risk it in this case, and so I decided to wipe it with a dry, lint-free cloth only and remove the worst surface noise digitally after the transfer and digital capture. For my 78 transfers I use a Vestax BDT-2500 turntable. While it's by no means a high-end audiophile job (it's belt-driven for one thing), this model is in my opinion ideal for a record collector who has both coarsegroove 78s and microgroove LPs, and a limited budget for equipment. Originally designed for DJs and costing around £UK300, it has several features that make it very useful for antique record collectors. Most obviously is the infinitely variable speed from 16-96rpm, which can be adjusted without any need to remove platters or change belts. As it uses a standard headshell mount, it is quick and easy to change cartridges, and to adjust the tracking and anti-skate force accordingly. So if, like me, you have one cartridge for LPs and another for 78s, it's a five minute job to convert the turntable from LP to 78 operation and back again. Crucially, the BDT-2500 has a built-in phono preamplifier which can be bypassed if needed.
The vast majority of phono preamps apply the RIAA (= Recording Industry Association of America) equalisation curve. In order to improve the sound quality of vinyl LPs, the treble frequencies are boosted and the bass ones attenuated during the mastering process. The RIAA preamplier reverses this in playback, boosting the bass level and lowering the treble. This reduces the audibility of the surface noise, which is found in the higher frequency range: in other words, RIAA mastering improves the signal to noise ratio in the treble region. The problem for 78 collectors is that coarsegroove 78s were not mastered using RIAA equalisation, and so you don't want that preamp in the circuit when playing back a 78. A 78 played back using RIAA equalisation will lose a lot of detail in the treble range, because this hasn't been boosted in the recording process as it has on a vinyl LP. For acoustically recorded (pre-1975) 78s you don't want to apply any equalisation at all, obviously, because they were just recorded with a horn and a needle - no electronic amplification was involved. Most electrically mastered 78s (from the mid-1920s onwards) were mastered using either the Blumlein or the Westrex equalisation curves, which increase the bass frequencies in mastering, rather than the treble ones boosted by RIAA. It's possible to approximate these EQ curves using a software graphic equaliser, of which more later. There are one or two specialist manufacturers who make standalone phono preamps that can apply any of the 78-era curves to a phono signal and output a balanced line level signal, but these cost four figures as a bare minimum and I can't afford that sort of money.So, with the RIAA built-in preamp bypasses, I connect the phono level output from the cartridge to the mic input of a computer sound card - in my case a Creative Audigy 2. The mic preamp in the sound card will amplify the phono level signal to a point at which a computer can capture it. It's then a case of simply playing the record into the computer. I use a Shure M78 cartridge and N78 stylus. Sadly, my budget does not extend to a full range of coarsegroove styli covering all the groove types. I believe the N78 has about an 0.0025 inch radius, which makes it ideal for 1930s and '40s records, but less so for earlier acoustic ones that tend to have wider grooves. For this 1932 pressing it's fine. Given the fragility of this flexible acetate record I used the bare minimum of tracking force I could get away with without the needle jumping - 1.5 grams, with 0.5 of anti-skate. I made one pass of each side before capture to get dust and contaminants out of the grooves, cleaning the stylus tip with a compressed air spray after each side, followed by the capture pass. The capture was made straight into Adobe Auditon 2.0. Sir Malcolm Campbell behind his Blue Bird racing car. (1930s)
The automated noise reduction features of Audition were really designed with tape hiss in mind rather than the surface noise of records, and so the only functions I tend to use are the equalisation ones and the 'fill in single click' to manually get rid of the worst noise and scratches. In the last minute or so of side 1 of the Campbell record there is a deep scratch. I probably could have eliminated it by nuking each 'pop' individually, but I didn't have the time! For this record I applied an approximation of the Blumlein curve using the graphic equaliser function, followed by a scientific filter to roll off the frequency response above 3khz, which gets rid of a surprising amount of the surface noise. I find that you need to experiment with the cutoff level from side to side: both the pressing (e.g. HMVs are a lot noisier than Columbias, in my experience) and how worn the side is can make a difference. When these records were in mainstream use they were played with steel needles, and it doesn't take too many passes with one of those to inflict considerable wear.

After that it was simply a case of editing out the side break, and that was that. The side break is at 3'48" on the Campbell record, and the eagle-eared among you will hear it because the surface noise changes pitch suddenly at that point (it gradually reduces in frequency from the outer to the inner part of the playing surface). When I'm digitising 78s I save one uncompressed .WAV file before applying any equalisation, filtering or side break editing. This is so that if for any reason I lose the record but acquire better software in future, I can start with a 'raw' version of the capture from which to attempt restoration. I then save an uncompressed file with equalisation and filtering applied, plus a compressed MP3 for reference purposes, which is what you can download from this site.

My World’s Record part one – Sir Malcolm Campbell
My World’s Record part two – Sir Malcolm Campbell

Recorded 1931 and released as Filmophone no. 164

Leo Enticknap (York (GB))
keepswinging@live.nl or ldge[at]enticknap[point]net

This contribution has also been published in English at the Keep Swinging blog and in Dutch as Het digitaliseren van een oude Filmophone..

Who was Sir Malcolm Campbell ( 1885-1948)? Sir Malcolm Campbell was an English racing motorist and motoring journalist. He gained the world speed record on land and on water at various times during the 1920s and 1930s using his Blue Bird. On the record he tells about one his new speed records attemps, problably held in 1931. He was the first one to drive a car with a speed of more then 300 miles/hrs ( = almost 500 km/hrs). I found a fragment of the 1930s where you can see Sir Malcolm driving his Blue Bird along the beach.

Sir Malcolm between some of his co-workers.

Leo Enticknap is a university lecturer and former moving image archivist living in York, United Kingdom. Since 2006 he worked at the Institute of Communications Studies at the University of Leeds as a Lecturer in Cinema. His research and teaching interests focus on the political history of non-fiction film and television, the history of moving image technologies and the practice and ethics of archival film preservation and restoration. On his website you can find more info about his projects ( source: Leo's own website)

A limited FILMOPHONE DISCOGRAPHY - Hans Koert

You can find more photos of FILMOPHONE records at the online FLEXIBLE RECORDS Project site.

134 - Crying For The Carolines / Singing My Way Round The World - PHIL REGENT and his ORCHESTRA
143 - My Man / My Handy Man = ANY BURTON
164 –My World’s Record = SIR MALCOLM CAMPBELL
190 – Egyptian Ella / I Lost My Gal Again = THE REGENCY DANCE ORCHESTRA
203 - Ten Cents A Dance = ARTHUR LALLY and his ORCHESTRA
210 – Maire My Girl / The Floral Dance = PETER SINCLAIR
216 – Musical Comedy Switch! = ARTHUR LALLY and his BAND
219 = Roll on Mississippi Roll On - ARTHUR LALLY and his ORCHESTRA
223 - When I Take My Sugar To Tea - FENTON's RAINBOW
224 – Mood Indigo / Farewell Blues - FENTON's RAINBOW
239 – I Surrender Dear / African Lament = ARTHUR LALLY and his ORCHESTRA
241 – Two Little Blue Little Eyes - FENTON's RAINBOW
262 – I’m Crazy ‘bout My Babuy – AL DOLLAR and his TEN CENTS ( = Cab CValloway and his Orchestra)
303 – I Found A Million Dollar Baby - AL DOLLAR and his TEN CENTS (= Chick Bullock and his Levee Loungers)
304 – My Honey’s Loving Arms = AL DOLLAR and his TEN CENTS (= Cab Callloway and his Orchestra)
322 – We = ARTHUR LALLY and his BAND
329 – Have You Forgotten / Now I Have You = FREDERICK HARTLEY NOVELTY QUINTET
353 – When It’s Sleepy Time Down South / Linda = JIMMY FERGUSON and Orchestra
357 - Destiny Waltz = NEW UMBERLAND ORCHESTRA
375 – My Sweet Tooth Says = VERA WUNSON with ORCHESTRA
397 – It’s Great To Me In Love = NEW CUMBERLAND DANCE ORCHESTRA
402 – Oh Mo’nah = NEW CUMBERLAND DANCE ORCHESTRA (= mogelijk Billy Cotton Band)
441 – Open Up Dem Dearly Gates = FRED DOUGLAS
444 – There’s A Rng Around The Moon / Home = C.D. SMART - WURLITZER ORGAN

The bold-marked records are in my collection.

Music on the Antarctic

2008-07-20T08:22:00.004+02:00

A few weeks ago I was contacted by Sally Douglas from Australia who sent me a message: My father was a member of the BANZARE and I have 3 Goodson records - each seems to have one song per side - three of the songs are "Let's Pretend", "Girl Friend" and the "French Song". I told you about this before in the contribution titled Mawson Antarctic Expedition. She is the daughter of Eric Douglas, pilot-officer from the Royal Australian Airforce and one of the members of the so-called BANZAR-expedition, the British-Australian-New Zealand Antarctic Research Expedition of 1929 - 1931 The leader of this expedition was sir Douglas Mawson, who also took part on previous expedition, like the Australian Antarctic Expedition of 1910.

Eric Douglas, one of the pilots of the Gipsy Moth airplanes ( photo National Library of Australia)

Sally told me that she had three Goodson Records that had been from her father. Goodson Records are white flexible records, unbreakable, pliable and, non-flammable, due to the material it was made of: Rhodoid. These white colored records where very suitable for advertisement prints as these records had no paper label around the spindle-hole like other 78rpm records, but a complete printable surface, including the groove.

The Discovery with autographs after it returned safely March 1931 ( National Library of Australia)

The three Goodson Records in Sally Douglas' archive were made specially for this expedition. On the record it says: Presented to the MAWSON ANTARCTIC EXPEDITION 1929" and has a picture of the three masted ship "The Discovery". It seems to me that these three Goodson Records were unique records - probably the only known copies that were aboard the ship.

Eric Douglas mentions the gramophone in one of his letters. (Sally Douglas archive)

The three Goodson Records all have the same text and pictures on its surface, but each one has a different tune: "Let's Pretend", "Girl Friend" and the "French Song". Arthur Badrock, discographer and compiler of the Goodson Record Discography don't mentions these three titles, but another one for this record: Oh You Have No Idea by the Southern Melody Serenaders (A Fred Hall studio band), which could mean that there have been more then three unique copies aboard.

Photo of the men resting and smoking aboard the ship with the HMV gramophone at the right. Eric Douglas could be the man on the bed on the left,smoking a pipe. (photo National Library of Australia)

On the ship was, of course, also an HMV wind-up gramophone to play these records. We don't know if other records where taken along, but pictures suggest "black' records, which could mean that also shellack records were on the ship, or "black" flexible records, like Filmophones - fact is that Goodson Records were available and they are featherweight, pliable and unbreakable, as was labeled on the record, very suitable for such an expedition. The fact they survived the expedition proves this.

One of the Goodson records (collection Sally Douglas)

In the log Eric Douglas tells about it and on the 6th of January 1931, the day after they proclaimed parts of Antarctic, Territory of King George V land and its extension under the name of Oates land, situated between Longitudes 142 and 162 east of Greenwich and between Latitudes 66 South and the South Pole. The cermony took place at noon and the flag was hoisted by the Skipper after the Proclamation was read out by Sir Douglas. After three cheers were given, the Ceremony was completed.

Sir Douglas Mawson, leader of the expedition ( photo Parliament House Canberra exhibition)

Later that day they visited a rookery of Adelie pinguins nearby and Eric Douglas writes about that: We brought along a portable H.M.V. gramophone and played it to the Penguins in a nearby rookery, they did not appreciate good music, but kept picking at the instrument in their anger.

Eric Douglas plays his music for the pinguins at Adelie Land (Cape Dennison - Commonwealth Bay 5th of January 1931) (National Library of Australia)

Isn't that great? Thanks Sally for sharing the photos of these unique and very rare Goodson Records and the photos of your father's archive. It is really amazing to learn that after so many years these relics of this expedition can be shared with the readers of this blog.
Hans Koert - keepswinging@live.nl

This contribtuion is also posted at the Keep swinging blog as Music to the Antarctic and in a Dutch translation tomorrow as Muziek op de Zuidpool.. In the precious contribution Mawson Antarctic Expedition, you can read more discographical information, if available, about the the records itself.

Keep swinging

Hans Koert

Mawson Antarctic Expedition

2008-06-24T19:23:00.011+02:00

Salle E. Douglas from Australia sent me an image of a rare flexible Goodson Records Advertising Record. It is a copy of a record dedicated to the Mawson Antarctic Expedition of 1929.

She writes: My father was a member of this Antarctic and I have 3 Goodson records - each seems to have one song per side - three of the songs are "Let's Pretend", "Girl Friend" and the "French Song"

This record reads: Presented to the Mawson Antarctic Expedition 1929. In the centre is a picture of a three masted ship "The Discovery".
Sir Douglas Mawson was an explorer and geologist and his first expedition to Antarctica was in 1907 with the Shackleton expedition. Between 1929 and 1931 he was the leader of this expedition and it seems likely, Arthur Badrock says, that Goodson Company presented some Goodson Records to the crew and of course a gramophone to take them on their journey. The record has no visible matrix number, so I can't tell you what tune is on the front, although Sally says that there is none on the front, the groove is very clear visible as usual. On the reverse should be the tune Oh You Have No Idea by the Southern Melody Serenaders, a Fred Hall Orchestra with Irving Kaufman as the vocalist.
It is interesting that she says that she owns two more Goodsons, including Let's Pretend, which could be 31283-1 ( by the Pennsylvania Melody Syncopators (prob. also a Fred Hall recording with Irving Kaufman) ( Goodson 101 or 7007. She forwarded me scans of both other records which have the same "label" as the one above (with the Discovery). I hope to inform you later about what's on it, when I have more info. !!

Thanks Sally for sharing this great rare Goodson with us. hope you can send me the scans of the reverses.

Keep swinging

Hans Koert

keepswinging@live.nl

Unknown Italian Cardboard Record

2008-06-07T19:47:00.010+02:00

I received two scans of a two-sided cardboard record from Franco Malatesta from Italy. The record is made of ( Durium-like) card board and both sides are well illustrated.

Franco writes: This is the A side: "Faccetta Nera". For both record I don't know who the singer is, and even the band that plays. The matrix number is visible: for this is C 8652 (stamped as typing machine)

The woman, framed behind the banjo player, seems to me Josephine Baker and the banjo player looks like a vaudeville artist with blacked face. ( Hans Koert)

On this one, Franco continues, the matrix number is hand written: 6525.
The other information is that the ink stamp says: " Fox Trott OCCHIONI BLU - Canzone Cantata - Savini Zerboni - side" (translated as "Fox Trot BIG BLUE EYES - vocal song - Savini Zerboni side").

At this side of the record the card board looks like the Durium card board, but Durium only used black and white drawings on its reverse and never colourfull ones. Durium records always had a label and not, like this one, a picture disk on the front. The matrices are not used by Durium.

It seems logically that this record was not a 1930s Durium card board record, but what Italian record company made this kind of records?

Information wanted. Hans Koert keepswinging@live.nl

Thanks Franco for sharing this rare Italian card board record.

This contribution will be posted too at my Durium-Hit of the week web log and in Dutch and English at the daily Keep Swinging web log.

Keep swinging

Hans Koert

keepswinging@live.nl

Wat Een Meisje Weten Moet

2008-05-29T06:47:00.002+02:00

A few days ago I asked your help for information about a rare Dutch 1930s record sleeve. The cover didn't gave any info about the record that had been inside, except that it had contained an Onbreekbare Gramophoonplaat Met Lot ( = An unbreakable Gramophone Record With Lottery Ticket). I posted several pictures of that sleeve in a previous contribution titled Unbreakable Record Sleeve With Lottery Ticket. As no info was on the sleeve about what unbreakable record had been inside, I called the possibiliy of a Durium record into question. Thanks to several contributors I can inform you about what record had been inside.
Both Dimitri Marheineke, record collector and Rinus Blijleven from The Weergever, pointed to the Dutch flexible advertisement record for Persil washing powders, titled Wat Een Meisje Weten Moet (= What A Girl Should Know) sung by the popular Dutch crooner Louis Davids. This record was recorded in the Lindström studio in Berlin (Germany) on the 28th of January 1932 for Parlophone. It is the most well known pre-war flexible Dutch picture disc and sought after by collectors. The cover is most of the time teared or the owner had cut a big hole in the middle to see the fancy record inside. The music was reissued on the great album Wat Een Meisje Weten Moet, a collection in the series of Reclame Klassieken, released by the Theater Instituut Nederland in co-production with De Weergever, Amsterdam.

Louis Davids (1883 - 1939), who was a popular Dutch crooner, is to be found on several advertisement records reissued on this compilation. In 1931 he made a song, titled 't Is Prima ( het gas in de flesch) ( =gas cylinder) to promote Primagaz for cooking. A few month after the Persil advertisement Louis Davids sung the song Doe het electrisch .... to promote the use of electricity for the N.V. Provinciale Utrechtse Electriciteitsmaatschappij. This tune was recorded by The Animal Crackers too and became a small hit on their 1975 album Tante To Heeft Radio.

It feels strange that this sleeve hasn't any indication to the record inside: no Persil advertisement nor announcement of Louis Davids song. There have been several versions of this advertisement record and you can read it all about in one of my previous blogs, titled Wat Een Meisje Weten moet - Louis Davids. On that site you can also listen to the song.
Thanks Ate, Rinus and Dimitri for your help and Henk for the cover. Know that I'm still anxious to have a copy of this picture disc to put inside the sleeve!!
Hans Koert keepswinging@live.nl

This contribution is also posted at the Hit of the week blog and the in Dutch and English at the daily Keep Swinging blog.

Keep swinging

Hans Koert

keepswinging@live.nl

Onbreekbare Gramophoonplaat Met Lot

2008-05-24T09:10:00.001+02:00

I received a rare sleeve for a 78rpm recording from Henk Duijmelink. It is a Dutch sleeve, which could be used for an ONBREEKBARE GRAMOPHOONPLAAT MET LOT ( = Unbreakable Record with a lottery ticket.). The price for this unbreakable record with lottery ticket was two Dutch florins. I've never seen such a sleeve and for what unbreakable records this sheet was used.

click on the picture to enlarge

The Hit of the week series were sold in sleeves starting in the summer of 1931 . These sleeves are made of very breakable thin paper - not the kind of paper Henk's sleeve is made of. This sleeves has the same paper quality like a bag grocers used to pack their sweets in the 1930s. (and on the market the greengrocer still packs my green beans in such a sack.)

click on the picture to enlarge
On the sleeve, advertisements to promote products that, as it seems, have nothing to do with the record inside. The largest one is by Citroën, the French automobile, which loves to promote De Balanceerende Motor (= the balanced engine), which makes the automobile very silent, een zachte, geruischlooze gang als het glijden van een zwaan over het water ( = as silent as a swan gliding through the water.) That explains the drawings of a man sitting in a swan on the sleeve. On the reverse a small advertisement for a "Reico" Radio aan de Spits! zoowel in prijs als kwaliteit. ( = a "Reico" radio set, the best in price and quality ). The fact that the advertised radio is from the 1932 series, dates this sleeve.

The rest of the texts suggest that this envelope was used to sell a lottery ticket including an unbreakable record. There is no suggestion about what unbreakable record: was it a Filmophone? Or a Goodson? Or a Phonycord, or maybe a Durium or Hit of the week? The price, Dfl 2,00 includes a lottery ticket of Dfl 1,00. The envelope reads that the Loterij is dedicated Ten Bate Van Het Zwakke Kind ( = a lottery to solve the needs for the weak children). Er worden 40.000 loten tegen den prijs van Fl. 1,00 per lot uitgegeven (= There a 40,000 lottery tickets each Dfl. 1.00 )

click on the picture to enlarge
As the sleeve reads, the lottery starts on the 30th of March 1932 and in that period the first English durium records were released, so it might be well possible that the record inside was a durium EN- series record, like the Durium Dance Band ( = Lew Stone) featuring Al Bowlly, the popular English crooner. I have one vague picture of a Dutch durium sleeve from that period which learns that the price of the record was Dfl. 1.

click on the picture to enlarge

Maybe it is good to know that two years later (up to January 1935) SEFONO records, French duriums, were sold with an advertisement on its reverse for a Grand Concours Sefono lottery with a 500.000 Francs De Prix ( = 500,000 francs prize money ).The reverse of the record read: Chaque pochette contient un bon de concours qui vous permet de participer au Grand Concours Sefono. (= Each cover contains a ticket, which invites you to take part of the Grand Concours Sefono). The first price was 100,000 Francs; the second up to 4th price where Une Villa et un Terrain á Cannes (= A villa and garden in Cannes)......

The first prize of the Dutch lottery was: Een Te Bouwen Landhuis ( A new-build Villa), Een Citroën Automobiel 5 Persoons ( a 5-seat Citroën automobiles ( Type C.4 G ); the third price Een Reico Radio Ontvangtoestel ( A Reico Radio Set) and the fourth price: Een Electrische Simplex Rijwiel ( = an electric Simplex Bicycle. ) (it's Holland remember !!)
It seems likely that the unbreakable records were Durium records, as I haven't read anything in the 1932 Dutch news paper that promoted the unbreakable cardboard Durium record and if it was a Durium record inside, why wasn't the name mentioned on the sleeve? Can someone confirm if these English durium flexible records were sold in such a brown sack, including a lottery ticket? Or was the free Dutch promo record inside? Gratis Proefplaat (= Free sample) is stamped on its reverse, so why should you pay one Dutch guilder for it? Or what other unbreakable record? Please send me your suggestions: Hans Koert keepswinging@live.nl

This contribution was published in Dutch at the daily Keep Swinging Web Log and is also posted on the Hit of the Week blog.

Keep swinging

Hans Koert

author of the Hit of the Week - Durium Discographies

keepswinging@live.nl

Neophone

2008-03-02T19:37:00.007+01:00

Enrico Borsetti pointed me to a rare flexible cardboard record, labeled Neophone.

The label reads:
NEOPHONE NEOPHONE Disch Phonograph
BREVETTATO ITALIA FRANCIA GERMANIA INGHILTERRA AUSTRIA RUSSIA Germania ecc.
VITTORIO BONOMI - MILANO
Guglielmo Tell Ah Matilde1 io t'amo (Ten.)
N. 20055

NEOPHONE (MARCA DEPOSITATA) DISC-PHONOGRAPH sistema brevettato in Italia, Francia, Germania, Inghilterra, Austria, Russia ecc.

Disco infrangibile di durata indefinita il più economico il più leggero Non si cambia mai la punta per l'audizione serve un diaframma a punta di zaffiro
Forza e chiarezza meravigliosa
VITTORIO BONOMI -MILANO

Disco 78 giri (in realtà non so se la velocità sia 80 giri o 100 giri/min) diametro 23cm rara etichetta NEOPHONE (Vittorio Bonomi - Milano) n. 20055

RARE cartoon RECORD 23cm diameter, LABEL italian NEOPHONE

Can someone help us to date this rare record?

Thanks Enrico for sharing

Keep swinging
Hans Koert
http://members.lycos.nl/keepswinging/flex3.htm

keepswinging@live.nl

Phonycord cover

2007-09-17T15:13:00.000+02:00

Han E. pointed me to a great image of a Phonycord record cover. Phonycord records are rather rare; these covers a seldom seen. I had a picture of a Phonycord cover, but now you can see very well that it is transparant.

Phonycord records are transparant too, as they are made of a transparent kind of plastic in all kind of beautiful colours, like the better known Filmophones. The sound quality was not very good.

These Phonycords were released only briefly in the early 1930s, like so many flexible records. They were first pressed in Germany and imported to other countries like England. Later is seems that English Phonycords were made in England too. In England the cost two shillings six pence and they first appeared in England December 1930. The last issue was released ca. five month later, April 1931.

You can see more about Phonycord at my Flexible Record web site.

Thanks Han for forwarding this great image.

Keep swinging

Hans Koert

keepswinging@live.nl

GOODSON and LIDO

2007-09-08T09:37:00.000+02:00

Last night I got a message from Anki T. from Barcelona, Spain who sent me a copy of a beautiful picture record he has in his collection. The record belonged to his grandmother. He labels it as a Flexi disc, and of course it is flexible, but that is not the name of the label. It is a special product of the GOODSON RECORD, a flexible record label. This record was issued at the 1929-1930 Exposicion Internacional de Barcelona, held at the Parque de Montjuic - Plaza de Espana in Barcelona. It has the text: THIS RECORDS (sic) SPECIALLY ARRANGED FOR THE EXPOSITION INTERNATIONAL BARCELONA 1929 and it also has the notation COMPANIA FONOGRAFICA HISPANO-AMERICANO S.A.

The two tune on the record are: Let's Try It Again - 31277 by the MARATHON DANCE ORCHESTRA. The name of the band is of course a pseudonym a typically Goodson habit it seems ) and was in fact a Fred Hall studio orchestra. The other side bears the tune Dancing With My Baby by George Beaver, a pseudonym for the then well known crooner Irving Kaufman. He is in fact accompanied by a piano and clarinet player which could be Fred Hall and Eddie Grosso. Goodson Records were flexible records released late 1920s and early 1930s by the Goodson Gramophone Record Co. Ltd. in London. They are made of white opaque celluloid and great to have in your record collection as they don't have a regular (paper) label like other 78rpm records: all information is visable on the complete surface of the record. The hand bending a record picture became its trademark. The first new Goodson was sold, in the regular series, since December 1929 after a lot of problems in the initial phase as its first records were inflammable. There were also problems with royalties. Thanks to the fact that the complete surface of the record could be used they were excellent for advertising. I have the The Boots Chemist Goodson in my collection, one of the most common advertisent record made by Goodson. The Barcelona one is a great one: it had to advertise itself, as the Goodson Record was one of the novelties of the exhibition.
Last week, sometimes things happen, Han E. sent me a copy of a Lido label. Lido was a cheap flexible label, released by Goodson Records, starting at April 1931. There were only 20 Lido records made and all but three have tunes also released on the white Goodson records. The last three records released have the words NEW PROCESS RECORDS on the label and also the LIDO logo printed on the black playing surface in mauve lettering. I put an oval around the logo to indicate the place. This record contains the songs LA REVE PASSE - March and on the reverse NARCISSUS both played by CHARLES ANCLIFFE AND HIS ORCHESTRA

Thanks Anki and Han for sharing these great flexible records.

I found a film fragment where you can see and hear a Goodson Record to be played on a modern turn table. Enjoy it.

This contribution is also posted at my Keep swinging web log.

Keep swinging

Hans Koert

keepswinging@live.nl

Another Discoflex

2007-07-23T09:40:00.000+02:00

CHANTÉ PAR NOSOLI: Nosoli vo.

Recorded ?1930s

50198 - ROSINA ONE STEP ( Jean ERNST)

Released as DISCOFLEX 100

Michel Husson sent me an image of a Discoflex he found in his grandfather's collection. Can someone date this recording?

Keep swinging

Hans Koert

keepswinging@live.nl

DISCOFLEX

2007-02-26T11:57:00.000+01:00

DISCOFLEX DF-502

"La Fille de Madame Angot" Les soldats d'Augereau/ duo du Régime (Ch. Lecocq)

by Miss Terka Lyon & Ed. Tirmont. orch. under direction of M. Fichefet. Editions Phonedibel.

Editions Phonedibel. These firm seems to be famous for their picture records, but this one is the one is "only" white one! Circa 1930. ( information eBay)

Thanks to Han Enderman.

Keep swinging

Hans Koert

keepswinging@live.nl

http://keepswinging.blogspot.com

Filmophone

2007-02-07T10:38:00.000+01:00

Three English card board Durium records ( and cover) and a light blue Filmophone.

Isn't that great?

Just to show you how great a Filmophone is in your collection.

Keep swinging

Hans Koert

keepswinging@live.nl

Thanks Jerry for sharing this image.

Der Laut 2001

2007-02-03T13:24:00.000+01:00

DER LAUT 2001 + 2003

A German card board flexible record with a thin layer of acetate. These records were released ca. 1932 in Germany for one Reichsmark. They contained political propaganda and song for the CDeutschnationale Volkspartei, a conservative party. They were made by the same company that made the PATRIA records. (source: Michael Lang )

More images with Der Laut label.

Thanks Michael for sharing this images.

Keep swinging

Hans Koert

keepswinging@live.nl

Longophon 1069 - 2013

2007-01-27T19:30:00.000+01:00

Longophon 1069

Thanks to Han Enderman I got two images of a Longophon record. They seem to be made from a stiff cardboard material,with a Durium-like surface. The side with the label don't contains music. The label is printed on the complete surface of the record - 1069 has one title (in German and in English)

The playing groove is on the reverse.

Thanks to Chris Zwarg this record can be dated early 1934, as another German version of that tune was recorded February 1934 - The Disney film The Three Little Pigs ( in which the Big Bad Wolf had an important role, was released the year before.

Longophon 2013

This is the other Longophon. It is also made from stiff cardboard material, with a Durium-like surface. The side with the label don't contains music. The label is printed on the complete surface of the record - 2013 has two tunes. The playing groove is on the reverse and the two tunes are split-up by a visual interval between the tunes.

Chris Zwarg dates this record to 1933, as another recording with this two tunes was recorded May 1933.

Thanks Han for sharing these rare labels and Chris for his additions..

keepswinging@live.nl

Keep swinging web log

Hans Koert

BELLAPHON 3060

2006-11-21T10:30:00.000+01:00

Harry Jackson's Tanzorchester mit Refraingesang Kurt Mühlhardt

Hast Du nicht 'ne abgelegte Braut für mich? - Foxtrot - K.M. May - K. Schwabach
Weißt du noch? - Tango
Recorded Berlin, ca. 1930

This pink transparent plastic Bellaphon record was made in Austria. They used Tri-Ergon matriches. The sound quaulity seems to be pretty good. (Source: label)

More info wanted

Thanks to Han Enderman

Keep swinging

Hans Koert

You can contact me at keepswinging@live.nl

Viking 103

2006-11-21T10:02:00.000+01:00

Jack Teagarden and His Orchestra: Jack Teagarden tb v dir, John Fallstitch tp, Pokey Carriere tp, Sid Feller tp, Jose Gutierrez tb, Seymour Goldfinger tb, Joe Ferrall tb, Danny Polo cl as, Tony Antonelli as, Joe Ferdinando ass, Art Moore ts, Art Best ts, Ernie Hughes p, Arnold Fishkind b, Paul Collins dm. David Allen ( = David Allyn) vo ( on Here's My Heart)

Recorded New York City, January 1941.

HERE'S MY HEART

FRENESI Alberta Dominguez

Viking 103

Viking 104 is also by this band and was recorded at the same session.

Rare 10-inch laminated cardboard 78 from 1941 by the very short-lived Viking label, similar to the old Hit-of-the-Week product, but two-sided! The vocalist on one side is young David Allyn (spelled Allen on the label). No question about it, Viking 78s always sound noisy no matter what the condition, and this disc is no exception! (information from eBay)

Source: Jazz Records 1897-1942 Brian Rust.

Visit my Flexible Records sites

Thanks to Han Enderman.

Keep swinging

Hans Koert

You can contact me at: keepswinging@live.nl

GOODSON 131 additions

2006-10-19T19:36:00.000+02:00

Fredrik Tersmeden sent me a comment that I love to post here entirely.

I just noted the scan and the information on Goodson 131 on your “Flexible records blogspot”. Since I’m very fond of the Grey Gull studio band and have collected quite a lot of that groups’s output during the years, I thought I’d add some information regarding the flip side: “Rest Nest”.

The orchestra here is indeed the regular Grey Gull studio band, soloists including Mike Mosiello (tp in his very typical “staccato” style at the beginning), Andy Sannella (as, stg) and Charles Magnante (pac; the vn player doing a duet with him might be Al Duffy).

If I recall correctly Rust’s discography only lists the UK Goodson issue for this title. It was however also released on at least one of the domestic Grey Gull labels: Madison 50025. Here it was however given a bogus matrix number (160) and was retitled “Gee It’s Great To Build A Nest” (both actions common on many Madison issues). The band is credited as “Carlton Dance Orchestra” on this issue and the composer as “Kline” (does the Goodson issue have any composer credits?).

I enclose a scan of the Madison issue.

Regards,
Fredrik

Thank you Fredrik for your extensive comment. The Madison issue is, to be complete, not a flexible record.

The credits on the GOODSON 131 are equal to the Madison issue (see first image )

Filmophones

2006-10-10T06:57:00.000+02:00

TWO FILMOPHONES

Home Alone

Beside The Lake

REGINALD KING and his ORCHESTRA

Recorded ca. 1930

and

Why Shouldn't I

Indiana Sweetheart

BERT and LEA

Recorded ca. 1930

Source: Information eBay seller

Mind that te REX cover has nothing to do with the two Filmophones

More information wanted.

Thanks to Jerry Priessen

FLEXO Jack Riley

2006-10-09T08:49:00.000+02:00

FLEXO

Jack Riley Orch.

Me and My Shadow (Jolson-Rosa)

reverse: nn

recorded ca. 1925 - 1927

Furtcese En El Perno

Source: label

collection: unknown

Information wanted.

FLEXO 111

2006-10-04T19:06:00.000+02:00

FLEXO 111

MYRTLE LEONARD - CONTRALTO ACCOMPANIED BY GARMON DA ORASSIO

OHOS LINDOS DAVIS - DOUN

reverse: unknown

Source: Label

E. L. Scranton Collection

More information wanted

NEW FLEXO 607

2006-10-02T13:36:00.000+02:00

THE NEW FLEXO RECORD

MAC DOWELL SISTERS "Sweethearts of the Air" Accomp.. - Hawaiian Instruments

WAIKIKI MERMAID

reverse unknown

recorded ca 1926-1927

Source: label

( E.L. Scranton collection)

All information welcome

Thanks to Gene Scranton

FILMOPHONE 239

2006-10-01T08:23:00.000+02:00

FILMOPHONE FLEXIBLE RECORD

ARTHUR LALLY & HIS ORCHESTRA: Prob: Artur Lally cl as bars dir, Max Goldberg tp, Tony Thorpe tb, Claude Ivy p, Jack Hill banj g, Jimmy Bellamy or Tiny Stock or Spike Hughes b, Rudy Starita dm.

AFRICAN LAMENT FOXTROT - G77-2X

I SURRENDER DEAR FOXTROT - G79 - 2W

recorded in London ca. Jul-Aug 1931

source: Filmophone - Hans Koert (unpublished)

Collection: Hans Koert ( The Netherlands)

Information welcome

GOODSON 131

2006-09-30T18:29:00.000+02:00

GOODSON RECORD

MEMPHIS JAZZERS: Grey Gull studio musicians featuring prob: Mike Mosiello tp, Andy Sanella g , Charles Magnante acc, George Hamilton Green dm.

Recorded New York City, ca July 1929

Big City Blues - 3551-A

METROPOLITAN DANCE ORCHESTRA: prob:Grey Gull studio musicians featuring prob: Andy Sanella haw g

Rest Nest - 3621 B

Recorded New York City, ca August 1929

Source: The Goodson Record Discography - Arthur Badrock //American Dance Band Discography - Brian Rust

Collection: Hans Koert ( The Netherlands)

Information welcome

Information welcome

Flexible Record Project

2006-09-30T16:25:00.000+02:00

I started the Flexible Record Project a few years ago. To be honest, I was already infected by the Flexible Record virus 45 years ago when I got my first soundsheet, klankdruk in Dutch, released by Reader's Digest to promote one of their Music For You series.

I still feel the thrill playing these disposable advertisement records as a 10 years old boy.

The Flexible Records released in the 1960s and 1970s as soundsheets, flexies or klankdrukken by firms like Sound For Industry and Sonopresse won't be the subject of this blog.

When I grew older I bought my first flexible records released in the 1920s and 1930s. The brown bended cardboard Durium records, most with the Hit of the week label, were easy to find and my collection grew. Now it contains around 200 originals and the Hit of the week - Durium projects now has its own websites, blogs, discographies and record reissues.

If you're anxious to learn more about this project use one of the links in the menu bar.

I found other flexible records, difficult to find and even more difficult to play on a gramophone. These records, with labels like Filmophone and Goodson where my first treasures and I love to share these rare items in my collection with you.

In the meantime I founded a website where I posted these rare labels from my collection and from other collectors who wanted to share these very rare records.

This Flexible Record Project blog wants you to show these rare labels and share the information available.

You can reach me at this address.

Durium