Digression No. 25

I was very pleased that this blog was named one of the best sites for classical music downloads by Nick Morgan of the magazine Classical Recordings Quarterly (previously Classic Record Collector). In fact, Big 10-Inch was the only blog named that isn't exclusively devoted to classics. Most of the other sites named have been cited here before - including Vinyl Fatigue, Serenata in Vano, The Music Parlor, Neal's Historical Recordings, Quartier des Archives, Bill Anderson's posts at RMCR, Sacqueboutier's at symphonyshare, and Bryan Bishop's shares, now available at his new blog, The Shellackophile. If it had been me, I would have added Fred's Random Classics, Satyr's 78 Toeren en LP's, and Pablo's El baul del coleccionista. (Hope I am not forgetting anyone.)

Speaking of Satyr's and Pablo's blogs, I want to mention that they continue to post wonderful Cor de Groot recordings for everyone to enjoy. Pablo has offered a Chopin recital and Satyr has presented Beethoven's second and third piano concertos (with the VSO and Otterloo). Highly recommended.

1917 record cover

Switching subjects - longtime readers may remember a 2008 discussion of the supposed "first record cover design" - a 78 album of music by Richard Rodgers with a cover by Alex Steinweiss. At that time, both your host and a reader named Jeff expressed extreme skepticism about the claim that this was indeed the first such cover, citing items in our own collections that predate the Columbia cover. It turns out we were quite right. The 2010 Association for Recorded Sound Collections (ARSC) conference presented a long and profusely illustrated talk by Mike Biel that explodes the claim that Steinweiss was first. Designed covers go back to 1917 (above right), and there were literally hundreds of them issued before the first Steinweiss cover - several of them in my own basement. My friend Mel mentioned a Pinocchio album that he had as a child that included an integrated design not just of the cover but of the end papers, record pockets and labels. This is one of Biel's exhibits. You can find both the recording of his fascinating talk and a slide show with hundreds of images on the ARSC site. I urge anyone interested in the topic to seek it out.

The ARSC presentations for the past few years are on line, and many of them are fascinating. I listened to Peter Muir's discussion of the early blues industry, including a convincing demonstration of how a good bit of the musical content of W.C. Handy's St. Louis Blues of 1913 was borrowed from a 1908 ragtime song. There are many other worthwhile subjects - just the thing for a record nut!

Digression No. 24

The Proms start tonight in the Royal Albert Hall and even as I write these words the BBC Symphony, Jirí Belohlávek and a cast of not quite a thousand (but lots of singers nonetheless) have launched into Mahler's Eighth. I'm old enough to remember when Mahler was considered an acquired taste. Now it's a taste sensation that you can't escape. There is even a conductor who specializes in a single Mahler symphony.

Well, I don't have any Mahler for you today, but I do have a less grandiose choral work to celebrate the opening of the Proms. It is taken from the Last Night of the Proms in 1953 - September 19. This is Vaughan Williams' gorgeous Serenade to Music, in the choral version as presented by the BBC Symphony Orchestra and Chorus led by Basil Cameron, a conductor who made relatively few records.

This work is included with the July BBC Music Magazine, but that transfer manages to be both dull and strident. My version attempts to remove the muddy vesture of this mastering, perhaps with some success. I'm not in the habit of offering things that are already out there, but I do love this work.

LINK

Also wanted to mention a small site that may be of interest to you (thanks to a tip from John Leifert). The Museum of Broadcast Communications has a web site with quite a few interesting music clips from Chicago television. The other day I watched Aaron Copland rehearsing his Billy the Kid with the Chicago Symphony at Ravinia. This 1960 rehearsal was staged for the cameras, to be sure, but is nonetheless fascinating - and the sound is good. Here's a link.

Digression No. 22

For those of you who were interested in the Henry Mancini score for Summer Love, I have found a undamaged copy of the title song on a second copy of the LP I discovered in a most unlikely place - under "S" in my soundtrack collection. You can just download the new title song rip via this link or go to the Summer Love post below for the entire score with the new track.

I also came across an EP version of the Lena Horne 10-inch LP that I recently posted - thought you might want to have the EP cover, which is different from the LP. As with almost all the graphics on this site, this is a high resolution image. Click on the image to enlarge it.

Digression No. 17

I am sitting here looking at an obituary of guitarist Les Paul with the headline, "Les Paul, 'an architect of rock 'n' roll,' dead at 94." It comes with a photo of Les and Paul McCartney and a call-out from Terry Stewart of the Rock 'n' Roll Hall of Fame saying that "Without Les Paul, we would not have rock 'n' roll as we know it."

Well, many people were "architects of rock 'n' roll," but Les Paul was not among them. Anyone who has ever listened to a Les Paul record - either the early ones where he copied Django Reinhardt, or the enjoyable kitsch he made with Mary Ford - knows that his music has nothing to do with rock 'n' roll other than it includes an electric guitar.

This is yet another example of how we want to legitimize musicians in other genres by saying how important they were to rock 'n' roll - as I mentioned in the Edgard Varèse post below. Les Paul is an extreme example, because in his case, it isn't even true. It was something that came up because many rock guitarists used a Gibson Les Paul model, and Les, Les' publicists, or Gibson promoted the connection.

Digression No. 16

One thing I've learned in running this blog is that every post - no matter how obscure - has an audience. Case in point is the recent post of a Mennonite revival service from the mid-50s. I figured there might be very few takers for that one, but I was wrong. Part of the reason is, no doubt, referrals from like-minded bloggers such as Lee Hartsfeld, whose MY(P)WHAE blog posted an LP of Mennonite music on the same weekend (and what are the chances of that happening, I wonder).

Gospel music may never be as popular as Mel Blanc, Mary Martin, unreissued soundtracks, or some of the other items that I present, but it still has its adherents. And even if a high percentage of those who download are just curious, that's fine with me. Curiosity is what this place is all about.

Speaking of being curious, if you are wondering about the single most popular record ever featured here - far and away the most popular - it is the very rare 10" Ferrante and Teicher Christmas album from last December. Re-reading my commentary on that LP, I clearly was more interested in the cover than the music. Others strongly disagreed.

But it's also true that some of my personal favorites have achieved a good-sized audience - such as the Irene Dunne 78s that I posted twice and the Vaughan Williams Wenlock Edge-Pilgrim's Progress LP.

I have no lack of 10-inch albums yet to present (trust me), but I also have started a few series of 12-inch LPs in genres that I like or that readers really want, such as rare soundtracks and American classical music. I probably also will start featuring some 12-inch LPs by obscure pop singers from the 50s. And I am sure some other surprises as we go along.

Digression No. 15

A fellow by the name of Zorchman stopped by the other day, thanked me for the Lord Buckley album on this site, and invited us all to visit his emporium, Zorch's Inner Sanctum.

Well, I did stop by, and I have to say it's quite a lot of fun for a record guy. He says nice things about this site, and inspired by our focus on 10-inch LPs shares a few of his own, both of which are very desirable. One is a Bob and Ray album (don't see too many of those), and the other is an album by a fellow named Dick Wetmore (don't see any of those). He also offers an alternate take of one of the Lord Buckley sides.

Zorchman's main interests are 78s and 45s, with an emphasis on the obscure and incongruous, such as Edith Piaf doing Black Leather Trousers and Motorcycle Boots or Jo Stafford doing Ray Charles' I Got a Woman (which became I Got a Sweetie). There's also a 78 of Robert McBride performing Sweet Sue on the english horn. I am fairly sure this is the same Robert McBride whose violin concerto is coupled below with Ives' Three Places in New England.

And related to the previous post on Ronnie Deauville, coincidentally Zorchman shares a Mills Brothers version of Gloria that is contemporaneous with the Deauville record.

Digression No. 14

We've been writing about blogs that feature Christmas music, and one of the great sites for unusual items is Music You (Possibly) Won't Hear Anyplace Else (often, mercifully, shortened to MY(P)WHAE). The other day, Lee, the proprietor, featured Vol. 1 of John Jacob Niles' Folk Songs of Christmas, a two-volume EP set from 1955 by the early folk revivalist. Reader reaction was good, and Lee said he wished he had the second volume.

Well, I do have it and sent it his way. It's now up on his blog if you want to stop by. The cover is below.

Digression No. 13

I really wasn't planning on posting so much Christmas music, but once you get rolling, it's hard to stop. There are many sites that specialize in this music; I've already mentioned Ernie of Ernie (Not Bert), who keeps up a frenetic pace throughout the month. Another is A Christmas Yuleblog, whether the Captain keeps coming with the tunes at a remarkable rate.

Two posts of 10-inch records over at the latter site have given me particular pleasure this season. One is Dragnet - The Christmas Story. (Jack Webb and Christmas? Who could argue with that?) The second is Christmas on the Range with Jimmy Wakely, the great western singer. The latter is a rare set that Wakely made for Capitol at about the same time that he cut the big hit Silver Bells with another fine singer, Margaret Whiting.

As a tribute to these indefatigable bloggers, here is a record that Wakely made circa the late 50s for his own company, Shasta. This exists in two different forms, one with the cover below, the other with a generic Christmas present cover that then could be customized with a sticker for corporate gift-giving.

NEW LINK

Digression No. 12

One of my favorite singers is Ronnie Deauville, a superb vocalist who started out in the post-war big bands (Tex Beneke, Ray Anthony) and then had a solo career. Deauville was capable of creating an intimate mood and achieving a personal connection with the lyric rivalled only by the very finest singers. Yet he is almost unknown today.

Some of us who are among a small band of Ronnie collectors are getting together to make his out-of-print recordings available again. We're led by that indefatigable promoter of fine but neglected vocalists, Bill Reed, via his blog the People vs. Dr. Chilledair. I've mentioned Bill before in connection with two of my other enthusiasms, Page Cavanaugh and Jackie Paris.

Bill has already posted several sides, with more to come, including contributions from me. You can find much more about Deauville by doing a search on Bill's blog.

Also, Bill has graciously sent along a contribution to this blog, his rare copy of a 10-inch record devoted to the music of Alec Wilder (see below). These Octets were a specialty of the great songwriter/composer, whose style combines jazz and neoclassical influences, with perhaps a small piece of Raymond Scott. (The first item is titled Jack, This is My Husband.) Delightful stuff and highly recommended - as are the Ronnie Deauville recordings!

LINK

Digression No. 11

Awhile back I was lamenting the fact that I couldn't share the score of Lovely to Look At. (Don't have it.) Well, my friend Mindy has come to the rescue and is offering it via the link below.

On behalf of all Kathryn Grayson and Howard Keel fans, thanks to Mindy for these great tunes!

LINK

Digression No. 10

News of the Schumann post below found its way over to the usenet group devoted to classical recordings. The consensus there was that it (in common with all the original issues of this recording) is pitched a semitone high. So I've repitched the symphony and replaced the file below, just like that.

I actually liked the faster tempos; but apparently Munch did not agree!

Digression No. 9

Very big thanks to reader Jeff for letting us know more about the provenance of the Richard Rodgers recordings below. It turns out that my late 30s guess was correct about the recording date - it was 1938. But, much more interesting, the original issue of four 78 rpm disks came in the first record album ever issued by Columbia Records with the first cover ever designed by the eminent Alex Steinweiss.

Jeff points us to this article on the album, from which comes the image below of the original cover. He's not convinced that this is the first record cover ever issued. I am completely unconvinced - I have a HMV album of Horowitz playing Rachmaninoff in my basement that dates from 1930, and it certainly has a designed cover!

Digression No. 8

I was surprised to find this blog showing up a PCL Link Dump the other day. Anybody coming here from there - welcome! The tone of the post there may lead you to think that we deal only in ironic hipster stuff like Mickey Spillane and Raymond Scott, but that's really not true (although we do have those tendencies here, admittedly). Whatever you would find on 10-inch LPs in the early 50s, you can find here, although I do ignore the records that are easily found elsewhere (Sinatra, Cole, Crosby, the more popular soundtracks and shows, etc.). Rather than Cole, you will find Page Cavanaugh. Rather than Sinatra, Herb Jeffries. Etc.

I did also want to mention a few things that I did in response to requests elsewhere. These are 12-inch LPs that may be of interest.

First, the Sons of Sauter-Finegan, which rip formed part of the Jazzman's extravaganza of albums by the recording band that was led by arrangers Eddie Sauter and Bill Finegan. The "sons" are the soloists from the band. Some of this LP is good and some of it is tepid, like many jazz albums from that era. Link below.

And then there is Bill Frawley Sings the Old Ones (also known as Fred Mertz Sings). Here's the way I described this gem over at Rocket from Mars' Vinyl Adventures at Franklynot:

"A word of warning - this album contains the following: wavering and hammy vocals by Bill/Fred/Bub, quasi-barbershop background singers, tack piano, banjo solos (had enough yet?), and a cover photo of Bill in straw boater and striped blazer.

"Vaudeville did not survive this kind of thing, and it's a wonder that Dot Records did."

Now I'm quoting myself, so it's time to go. The cover and link are below.

SONS | FRAWLEY

Digression No.7

Here are a couple of late-breaking bonus items related to a few of our earlier posts. 

First, Jane Morgan's hit version of "Fascination" from the movie Love in the Afternoon, complete with picture sleeve of Coop in ascot and Hepburn in pigtails. Old chic and young chick. The flip side of the single is the same arrangement, sans Jane. This is from a 1957 45.

And related to the Raymond Scott LP, we have another commercial ditty that he wrote, this one for Duquesne, a beer that was made in Pittsburgh. The song is insistent and quite repetitive. It sticks in your head - in other words, it's effective. The ad dates from 1955. I think it's something of a rare item - I don't see it in the Scott discography, but I could be wrong. The label of the promotional 78 is below.

2022 update: The Duquesne song mentioned above ("It Outsells...Because It Excels") is newly remastered and sounding much better. Listening to it again, I am virtually certain that the uncredited singers are the J's with Jamie. There's a download link in the comments to this post.

Digression No. 6

First of all, something that isn't so much a digression as a correction. Reader Steve Waldee was kind enough to point out in the nicest possible way that the post of Hovhaness' St. Vartan Symphony had its two parts reversed. (The record was mastered incorrectly. Honest!) And oh by the way, I had the symphony's numbering wrong, too. It's not number 7, it's 9.

Well, so much for my thin veneer of infallibility. Hearty thanks to Steve for his note - and to all who comment on these pages. It is so appreciated, even when you point out the error of my words or deeds.

The link on the post has been corrected.

A couple of other notes...

In putting together the (very popular) Kathryn Grayson post, I had the distinct sense that a few of the tracks were not pitched correctly, judging by her vibrato. I am guessing that they were sped up slightly to make her voice brighter. If anyone has any information (or even opinions) on this, I'd be happy to hear them.

Finally, loyal readers, assuming there are such folks, know that I am very interested in record graphics. A new and very expensive book called Classique looks at (guess what) classical record covers. Some of you might want to check it out here.

Digression No. 5

After revisiting my commentary below on the Don Gillis Saga of a Prairie School, I'd have to say I didn't do the piece justice. You would think you were reading about light music, which really isn't the case at all. This music is deeply felt and quite sincere, while also being easy to grasp. The composition is quite well done.

I also didn't mention the performances, which are excellent, and the sound, which is very fine for its period. Also wanted to mention the cover, by an artist named Louden, which is in a charming sort-of-surrealist style popular at the time.

A nice piece of work - very much worth getting to know.

Digression No. 4

Follow up to the Jo Stafford American Folk Songs item below - I forgot that I have a Stafford discography. It says that the songs on Jo's 1960s-vintage folk song album were re recordings. Assuming that's accurate, the 10-inch album was never reissued.

Also, I should have confessed that the SAS cover at the bottom of the European Holiday item is not my scan. So - as they say - thanks to the original uploader!

Digression No. 3

A number of updates and observations, but first I want to say a belated thanks to my friend Jean, the incredibly energetic and charming fellow who runs a blog called Shareyes. Jean was so taken by my item on the soundtrack of Salome that he restored the cover image and posted it on his blog with a link back to this blog, meanwhile saying nice things about this place in this post. So if you want a better cover of Salome, head over there and also check out his very rare items. But hurry - he's thinking of going private.

Way back at the beginning of this blog, I wrote about the singer-pianist Page Cavanaugh, who has been laid up recently. Bill Reed of the People vs. Dr. Chilledair visited Page a short while ago and reports that he is playing the piano again. Great news.

Another favorite of mine is the late singer Jackie Paris. In my opinion, some of Paris' best work is heard on an obscure jazz version of the show Oh Captain!, which ran on Broadway for six months in 1958. That LP has turned up on a interesting blog called Musical Moadom. There are many jazz greats on the album and the female vocals are by Moody Marilyn Moore. The Livingston and Evans score is very underrated. Highly recommended.

Sometimes I am amazed at what interests people. The recent Martha Raye item has been very popular - I suppose the curiosity factor. Raye was a good singer, but her item has seen more action than an equally obscure item by a much better singer, Jo Stafford. Now, admittedly the latter is gospel music. The items I have posted here related to religion tend to be passed over, and that could be the reason.

Digression No. 2

Thanks to Scoredaddy for the nice things he says about this site on his blog Fanfare for Aaron Copland. "I urge everyone to spend some time browsing through and sampling his eclectic collection," he said. He's an erudite fellow, so I'm proud of that comment and his calling this little place with the little records "fascinating."

Scoredaddy asked if he could feature on his blog the Copland piano music I wrote about a while back, and I said sure, being agreeable and all that. If you like Copland, his blog is a must.

Digression No. 1

Our first review is in and it is sweet, and short. Bill Reed, who is the creator of People Vs. Dr. Chilledair [no, I haven't a clue], opines, "The unqualified Dr Chilledair seal of approval (our first EV-ER) goes to the Big 10-Inch Record." What is it the Brits say? We are chuffed about that! [Haven't a clue where that one comes from, either.]

That's all that the doc has to say about this place, but he has plenty to say about other subjects, mostly musical. Bill is a friend of, and writes very knowledgeably about, many of the musical giants that I admire in the pop sphere - including Page Cavanaugh, who was one of the first artists featured on this blog.

I can't say enough about Bill's site, so rather than droning on about it, let me just suggest that you drop by and sample the chilled air.