ARTUR BALSAM, Pianist
Winterthur Symphony Orchestra
WALTER GOEHR, Conductor

Side 1
33-1/3 RPM
Micro-groove

Concert Hall
LIMITED EDITION

PIANO CONCERTO IN B-FLAT MAJOR, OP. 19
LUDWIG VAN BETHOVEN

1st Movement: Allegro con brio (12:09)

CH-SPEC-51-BC

LICENSED BY CONCERT HALL SOCIETY INC. NY, USA ONLY FOR NON-COMMERCIAL USE FOR PHONOGRAPHS IN HOMES

LONG PLAYING

ARTUR BALSAM, Pianist
Winterthur Symphony Orchestra
WALTER GOEHR, Conductor

Side 2
33-1/3 RPM
Micro-groove

Concert Hall
LIMITED EDITION

PIANO CONCERTO IN B-FLAT MAJOR, OP. 19
LUDWIG VAN BETHOVEN

2nd Movement: Adagio (9:08)
3rd Movement: Rondo: Allegro (6:03)

CH-SPEC-51-BC

LICENSED BY CONCERT HALL SOCIETY INC. NY, USA ONLY FOR NON-COMMERCIAL USE FOR PHONOGRAPHS IN HOMES

(This was found in the same package as many of the 78s I’ve posted, and was the same physical size, but was obviously a more modern disc: thinner, flexible vinyl, and with a 33 1/3 playback speed rather than 78. I believe this is mid- to late-50’s, but I’m not at all positive.)

TEMPO
Custom Made Records

UR-104582

WHEN DAY IS DONE (2:46)
(De-Sylva-Katcher)
Opposite Side: Cocktails For Two
Featuring The Lightning Fingers Of
BEN LIGHT At The STEINWAY
HERB KERN At The HAMMOND
Lloyd Sloop At The Novachord
And
Gail Laughton’s Harp

TR-608-A

RECORDED BY DIRECT ELECTRONIC PROCESS

TEMPO
Custom Made Records

UR-104581

COCKTAILS FOR TWO (2:47)
(Coslow-Johnston)
Opposite Side: When Day Is Done
Featuring The Lightning Fingers Of
BEN LIGHT At The STEINWAY
HERB KERN At The HAMMOND
Lloyd Sloop At The Novachord
And
Gail Laughton’s Harp

TR-608-B

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

“HIS MASTER’S VOICE”
RCA VICTOR

For best results use RCA Victor Needles
10-3300-A
(49-3300-A)

Aaronson
THE LOVELIEST NIGHT OF THE YEAR (3:16)
(From the MGM film “The Great Caruso”)
(Words by Paul Francis Webster)
MARIO LANZA, Tenor
RCA Victor Orchestra
Constantine Callinicos,
Conductor

RED SEAL RECORD

“HIS MASTER’S VOICE”
RCA VICTOR

For best results use RCA Victor Needles
10-3300-B
(49-3300-B)

Verdi
Rigoletto: Act IV
LA DONNA E MOBILE (1:40)
(Woman Is Fickle)

MARIO LANZA, Tenor
RCA Victor Orchestra
Constantine Callinicos,
Conductor

(This record has a chunk taken out of it, so each of these selections is missing a few seconds from the beginning of the track.)

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

“HIS MASTER’S VOICE”
RCA VICTOR

For best results use RCA Victor Needles
10-1561-A
(49-1353-A)

Nicholas Broadszky
BE MY LOVE (3:31)
(from the M-G-M film, “Toast of New Orleans”)
(Words by Sammy Cahn)

MARIO LANZA, Tenor
with Orchestra, Jeff Alexander Choir
Ray Sinatra, Conductor

RED SEAL RECORD

“HIS MASTER’S VOICE”
RCA VICTOR

For best results use RCA Victor Needles
10-1561-B
(49-1353-B)

Nicholas Broadszky
I’LL NEVER LOVE YOU (3:31)
(from the M-G-M film, “Toast of New Orleans”)
(Words by Sammy Cahn)

MARIO LANZA, Tenor
with Orchestra
Ray Sinatra, Conductor

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

(M 1)
Harmonica Duet With Guitar And Bass

SPRINGTIME POLKA (2:21)

PLEHAL BROTHERS

45008 A

DECCA

(91746)
Harmonica Duet with Guitar and Bass

CUCKOO WALTZ (2:38)

PLEHAL BROTHERS

45008 B

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

SIDE ONE:

1. Heartaches (1:44)
2. Sweet Georgia Brown (2:31)
3. Sugar Blues (3:00)
4. Ivory Rag (2:26)
5. Oh! (2:47)
6. Alabamy Bound (2:08)

SIDE TWO:

1. Twelfth Street Rag (2:45)
2. Johnson Rag (2:40)
3. Guitar Boogie (2:13)
4. Sam’s Song (2:16)
5. Third Man Theme (2:33)
6. I’m Looking Over A Four Leaf Clover (2:10)

“Unmask the rogue,” they demanded…”throw down the cloak of anonymity”…tell us, “who is Ira Ironstrings?”

That Ira Ironstrings is a delivish fellow is a foregone conclusion. Elusive too. And as mean a rogue as any black-hearted villain that sailed with Capt. Kidd. But Ironstrings (Lord love his playful spirit) has somehow managed to elude us, too. he’s made his second album and vanished stealthily into the black of night.

We almost had him at the recording session, to be frank. Of course it’s common knowledge that Ira records in a soundproof isolation booth (Isolation booths — courtesy the $65,000 Question”), wearing a complete suit of armor, and guarded by a cordon of Pinkertons. Ira’s been known to swing his mace upon anybody just so much as approaching his castle at radio Recorder’s, (a very Bohemian atmosphere for a Recording Studio). Well, to get on with it, we had somehow managed to sneak Ira’s cigarettes away from him prior to the recording session. He’s an inveterate smoker, you know, and just can’t stand to be without tobacco. matter of fact, he once fractured his wrist crushing a package of crush-proof cigarettes. We left him with his matches, though, and that heaven help us, was a fright. We didn’t plan it that way, but blithe spirit Ira turned the tables on us. He was irritated no end; he fussed with his helmet (which made a horrible noise while recording), he cursed at us in Swahili, and clobbered a Pinkerton with his mace. All to no avail, however. Left to his own devices, Ira had no other choice but to get whatever pleasure there was, in of all things, his matches.

Which brings us to the name of this sortie in contemporary music, “Ira Ironstrings Plays: With Matches.”

You all know by now that friend Ira is most assuredly a non-conformist. In planning this album (it was difficult to understand him talking through that ridiculous steel helmet he insists upon wearing), Ira decried the maelstrom of cacophony attendant to high-fidelity sound. Fidelity-shmidelity he sez, “I wanna hear something from the good old days. How about recording some ‘music’ for people with 78 rpm hand wound phonographs,” he queried.

This collection of songs more than satisfies such a glaring gap in modern disc repertoire. At long last, here are the sounds of song hits made when playing a phonograph was an event. Ira was inspired by those songs, and for historical purposes, (there may be those among you who plan on doing Ira’s biography) we note the source of his inspiration.

“Heartaches” was originally made famous by Ted Weems; “Sweet Georgia Brown” by Brother Goon Bones (who playd a pair of hand polished mahogany sticks); “Sugar Blues” by Clyde McCoy (He’s in oil now, you know); “Ivory Rag” by Joe “Fingers” Carr; “Oh” by Pee Wee Hunt; and “Alabamy Bound” by Eddie Cantor.

Ira fell in love to “12th Street Rag,” recorded by Pee Wee Hunt; “Johnson Rag” which soared to popularity as a result of the recording by __________; (we’ve hunted high and low, and can’t find who made this song popular. If somebody knows, please write and help us.) “Guitar Boogie” by Arthur “Guitar” Smith; “Sam’s Song” by Bing Crosby; “Third Man Theme” by Anton Karas, who it is reputed devised the haunting melody simply because he was fearful of James Mason; and last but not least, “Four Leaf Clover” of which there are a multitude of “discoverers,” among them the Firko String Band, Art Mooney and Alvino Rey.

In any event, you’ll agree they’re all hot selections. We had hoped to include a book of matches with each album to sort of put you in the mood, but unfortunately the Fire Department (they’re square) forbid us to do so.

Have fun.

For Your Listening Pleasure, May We Suggest:

A PRACTICAL COURSE IN HYPNOSIS, University 1265
CHINESE & MANDARIN SELF TAUGHT, Folkways FQ-8002 ($37.50)
STETHOSCOPIC HEART RECORDS, GEORGE GECKLER, M.D., Columbia KL4976
RADIO SIGNALS OF MAN’S FIRST SATELLITES, Taben 1
GOOD HOUSEKEEPING’S REDUCING PLAN, Harmony 7143

Warner Bros. Records, Inc.
THE FIRST NAME IN SOUND

VITAPHONIC HIGH FIDELITY, THE FIRST NAME IN SOUND, is the optimum in modern sound recording technique, conforming to the fine tradition of sound reproduction that has been the standard of warner Bros. for more than thirty years. Only the finest materials and equipment are used in these recordings, from actual studio recording session to final pressing.

TECHNICAL DATA: Recorded range, 20-25,000 cycles. Three channel Ampex 300 tape recorders, latest condenser microphones in conjunction with Vitaphonic FNV optimum frequency range control. Mastering on specially designed, electronically controlled variable pitch Scully lathes, and Westrex feedback cutters. RIAA playback curve. Rolloff, 13.75 DB at 10 KC.

CAUTION: Be sure your playback stylus is in good condition. A worn needle will not reproduce the full fidelity of this recording, and will shorten its life.

W 1248
WARNER BROS. RECORDS
Vitaphonic
High Fidelity

(625)
Instrumental Polka

ATOMIC POLKA (2:59)
(Arr: by Jos. Snihur)
JOSEPH SNIHUR
(The Polka King)
And His Orchestra
9148-A

Licensed by the mfr. only for non-commercial use for phonographs in homes
Mfr. and purchaser agree this record shall not be resold for any other purpose

DE LUXE
RECORDS (P) LINDEN, N.J.

(628)
Instrumental Polka

HOMETOWN POLKA (2:57)
(Arr: by Jos. Snihur)
JOSEPH SNIHUR
(The Polka King)
And His Orchestra
9148-B

Licensed by the mfr. only for non-commercial use for phonographs in homes
Mfr. and purchaser agree this record shall not be resold for any other purpose

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

CORAL RECORDS, INC. A SUBSIDIARY OF DECCA RECORDS, INC.

64061
(76735) ★

BIG PARADE POLKA (2:32)
(George Vaughn)

THE PINETOPPERS

Instrumental Polka

(2:31)

MADE IN U.S.A.

CORAL

CORAL RECORDS, INC. A SUBSIDIARY OF DECCA RECORDS, INC.

64061
(76734)

MOCKIN’ BIRD HILL (2:58)
(Vaughn Horton)

THE PINETOPPERS

Waltz
Vocal Chorus By The
Beaver Valley Sweethearts (2:58)

MADE IN U.S.A.

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)

39710
(CO 47040)

HALF AS MUCH (2:45)
-C. Williams-

ROSEMARY CLOONEY
with PERCY FAITH and
his ORCHESTRA

COLUMBIA
Mfrd. under Pats. Pending Trade Marks Reg. U.S. Pat. Off. Marcas Registradas Made in U.S.A.

39710
(CO 47329)

POOR WHIP-POOR-WILL (MOVE OVER, MOVE OVER) (2:20)
-J. Kennedy-Simon-

ROSEMARY CLOONEY
with PERCY FAITH and
his ORCHESTRA

(One of many old 78s in my collection. Dates are approximated as best as possible based on the labels and what information I can find on the ‘net. The sound quality on these is quite variable. I’ve cleaned the worst of the pops and skips as best as I can, but these won’t be anywhere near modern fidelity. Enjoy them for what they are.)