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Most, but not all, daily log information for recordings made for synchronization with motion pictures were kept separately, and the separate synchronization recording information is missing from the Sony Victor archives. The files by artist were also maintained chronologically and had information similar to that in the daily log sheets, and also some technical information such as information about the horns used for acoustical recordings. The blue card file consists of approximately a quarter of a million cards arranged in catalog number order.

The blue cards contain much of the same information as the daily log and also additional information, such as the date a master was tested. In some cases, record sales are indicated on the back side of the card. Victor also issued catalogs, usually annually, with supplements issued during the year, that were carefully prepared and also provide useful information. The Victor archive files are a major source of information for this project.

The initial assignment of numbers in the Canadian Bluebird series, with close to records being issued in all series, started French language records at B and English language records at B These numbers were used in the U. Bluebird ethnic series.


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It is unknown why the conflict was allowed to exist for so long! The French-language records, apparently, upon reaching B, started into a B series although it is not yet verified exactly what the starting point was. The last records issued in these series were B and B, both issued in December At this point the hyphenated numbers were started, with English records in a series and French records in a series.

There may have been a series intended but none ever appeared.

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Although the Bluebird label was dropped in the U. The series were as above, with a third series used for issues of U. This series was in use until at least. Canadian issues on the Victor label virtually ceased, however, with only 40 records issued from to Of these, almost one third are square dance sides by George Wade and his Cornhuskers; only seven dance records appeared, four of them by Fred Culley and his Royal York Hotel Orchestra, one by Billy Bissett who later went to England, and two by Harold Leonard, an American playing in Montreal, while three further records featured Canadian pianist Willie Eckstein.

Issues in the series from English masters continued, also, and while many of these are of no particular collector interest, they do include a number of Gracie Fields and Noel Coward items not otherwise issued in North America. On Victor, the series was apparently dropped in as none appears in a group of supplements from July onward. The series was replaced in , although two more couplings of European not British sides appeared before the last number of appeared in The hyphenated series were for U. In , the series, originally used for issues of French or nominally French material from non-Canadian sources was revived and used for French i.

From France itself material; it was the only all-number series retained, and had reached in mid In April , a popular Montreal-recorded series was started at oddly enough, appearing in the supplements as ! This was apparently dropped in the early s as Canadian material later appears on the series, whose last British-recorded issue was in September By the late s, as the economy improved, and the jukebox became a common sight in public places, record sales once again improved. In , band leader Mart Kenney started his recording career on Victor and made several Victor sides before being transferred to the Bluebird label.

However, a number of related und unrelated events were to affect the record industry, starting in In Victor faced an interesting problem: they were running out of record numbers! By this time, the black-label popular series, now in the high s, was fast approaching numbers already used, and the Red Seal series had in fact duplicated much of the early acoustic popular numbering and was approaching numbers on records still catalogued.

Therefore, a new numbering system was introduced in late In this system, each record bore a 2-digit prefix and a 4-digit serial number. In prefixes, 10 to 19 indicated Red Seal records, 20 to 29 black-label popular, country, race or ethnic records, 30 to 39 Bluebird records, 40 to 49 various special issues and later, 45s, and 50 or at least 55 to 59 Canadian records. Higher prefixes are known, but the details of the material on the records is not currently identified. The Canadian numbers were divided into series and sub-series designated by the first one or two numbers of the serial group as follows:.

May be French series. NOTE: an sub-series may have been intended for popular material, but never used. It is not known if there was a lower sub-series using this prefix on Used for U. Very few of these series were prolific at all, and most contained only 60 to 70 records, with the one exception of the series Bluebird series Country records which amounted to about records, all U. Of the Canadian material, most is not of significant collector interest.

In addition, collectors of Canadiana are particularly interested in the Bert Niosi records, and the Mart Kenney records with the latter being fairly common and the former rather rare, as well as the records by the Happy Gang. Most of the remainder are either standard material or square dance records — square dance and fiddling records apparently remained popular in Canada much longer than the U.

Oddly enough, the difference between the U. Canadians remained loyal to the 78 somewhat longer than did record buyers in the U. This means that there are Canadian 78s, even of artists like Elvis Presley, that are not available in that form in the U. Finally we will discuss the labels used on Victor in Canada from onward. By this time, U. Victors had acquired the designation of RCA Victor in and the label introduced in was essentially a duplicate of the current U.

In the 45 rpm issue number was also added below the catalogue number; this was replaced in the U. In , U. Canadian Victors had only a change to silver lettering on a dull black, later charcoal-grey background, and they remained such until late or early , when the more attractive U. The Bluebird label essentially duplicated its U. This was used until probably about , when the last traces of the famous Bluebird label disappeared.

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Lyric Records label, Later labels reflected the actual location. Over titles were available by September , including popular vocal, dance, operatic, and orchestral selections. The company went into receivership in the fall of and ceased operations sometime the following year. She continued as a popular entertainer until the end of the decade. The following advertisements were placed in the Montreal Gazette, between and to bolster sales of certain records. Eaton Company in Canada. During this period Ellis, mainly on request of his employers at the radio station, began adding singing to his piano playing.

On these records Ellis sang in a bittersweet alto, with which he was uncomfortable early in his career, believing his voice to be too high.

Later in his career, Ellis focused more on songwriting, although he continued to record sporadically as well as playing the piano. In Ellis reorganized and his new band featured the conventional four-man reed section.

He disbanded in and enlisted in the Army-Air Force in I stumbled across a couple of interesting advertisements for the Victrola from two different Drug Stores in Alberta, Canda. One of the foremost department stores in Canada was the T. Eaton Company. Here are two pictures from the Spring catalog depicting the phonographs they sold, the various supplies for phonographs, and a list of the Victor records sold by them. These particular records employed a rather large, brassy powerful sound it is not known who they used as arranger , always with a space for a twin piano duet section.

The Gramophone Co. Johnson , being left with a large factory and thousands of talking machines with no records to play on them, filed suit that year to be permitted to make records himself, and won, in spite of the negative verdict against Berliner. Thus, Victor and Columbia began making flat records in America, with UK Gramophone and others continuing to do so outside America, leaving Edison as the only major player in the making of cylinders Columbia still made a limited number for a few years , and Emile Berliner, the inventor of flat records, out of the business.

All he was left with were the master recordings of his earlier records, which he took to Canada and reformed his Berliner label in Montreal, Nipper logo and all. A public relations triumph of involved Alfred Clark, a New York representative of the company. These were to be opened in years.

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In , it was discovered that one of the containers had been opened and emptied and the gramophone stolen. When opened in December , some of the records were broken but copies of all the missing and broken records were located in the French National Library. In , Owen bought the painting from the artist, and asked him to paint over the Edison machine with a Gramophone, which he did. UK rights to the logo were reserved by Gramophone. Nipper lived from to and is buried in England with a celebrated grave marker. She continued to appear in Broadway theatres throughout the s.


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  8. She also recorded in England in the early s but retired soon afterwards and married an English theatrical agent. Their house was destroyed in a German rocket attack in , and in she travelled to New York to seek treatment for a neurological disorder.

    Although she was discharged two months later, she died soon afterwards in a hotel fire that started when she fell asleep while smoking in bed. Shilkret was born to a musical family. His father played almost every instrument, and made certain that Nat and his three brothers were all accomplished musicians at an early age. Older brother Lew Shilkret was a fine pianist, but also worked in the insurance industry.

    He made thousands of recordings, possibly more than anyone in recording history.

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