Favorite Hawaiian Songs
Favorite Hawaiian Songs is a compilation album of phonograph records by Bing Crosby released in 1940 featuring songs that were sung in a Hawaiian-type genre. This is the album release of many of Crosbys Hawaiian hits such as, Blue Hawaii. This is not to be confused with the albums of the same name. These re-issued songs were featured on a 6-disc,78 rpm album set, Decca Album No.140
Not to be confused with the actor Victor Sen Yung who was sometimes billed as Victor Young Victor Young was an American composer, arranger and conductor. Young was born in Chicago on August 8,1900, into a very musical Jewish family, his father being a member of one Joseph Sheehan’s touring Opera company. The young Victor began playing violin at the age of six and he studied the piano with Isidor Philipp of the Paris Conservatory. While still a teenager he embarked on a career as a concert violinist with the Warsaw Philharmonic under Juliusz Wertheim, assistant conductor in 1915–16. His future wife, Rita Kinel, who met him in late 1918, used to food to him. He returned to Chicago in 1920 to join the orchestra at Central Park Casino, after turning to popular music, he worked for a while as violinist-arranger for Ted Fio Rito. In 1930 Chicago bandleader and radio-star Isham Jones commissioned Young to write an instrumental of Hoagy Carmichaels Stardust. Young slowed it down and played the melody as a gorgeous romantic violin solo which inspired Mitchell Parish to write lyrics for what became a much performed love song.
In the mid-1930s he moved to Hollywood where he concentrated on films, recordings of music and providing backing for popular singers. Young was signed to Brunswick in 1931 where his studio groups recorded scores of dance music, waltzes. His studio groups often contained some of the best jazz musicians in New York, including Bunny Berigan, Tommy Dorsey, Jimmy Dorsey, Joe Venuti, Arthur Schutt, Eddie Lang, and others. He used first-rate vocalists, including Paul Small, Dick Robertson, Harlan Lattimore, Smith Ballew, Helen Rowland, Frank Munn, The Boswell Sisters, Lee Wiley and others. One of his most interesting recordings was the January 22,1932 session containing songs written by Herman Hupfeld, Goopy Geer and Down The Old Back Road, which Hupfeld sang and played piano on. In late 1934, Young signed with Decca and continued recording in New York until mid-1936, on radio, he was the musical director of The Old Gold Don Ameche Show and Harvest of Stars. He was musical director for many of Bing Crosbys recordings for the American branch of Decca Records, for Decca, he conducted the first album of songs from the 1939 film The Wizard of Oz, a sort of pre-soundtrack cover version rather than a true soundtrack album.
The album featured Judy Garland and the Ken Darby Singers singing songs from the film in Youngs own arrangements and he composed the music for several Decca spoken word albums. He received 22 Academy Award nominations for his work in film, twice being nominated four times in a single year and he received his only Oscar posthumously for his score of Around the World in Eighty Days. Thus, Victor Young holds the record for most Oscar nominations before winning the first award and his last scores were for the 1957 films Omar Khayyam, Run of the Arrow, and China Gate, which were released after his death
Patriotic Songs for Children
Patriotic Songs for Children is a compilation album of three 78rpm phonograph records. The recordings are all of American patriotic songs sung by Bing Crosby and these previously issued songs were featured on a 3-disc,78 rpm album set, Decca Album No
What We So Proudly Hail
What So Proudly We Hail is a compilation album of phonograph records by Bing Crosby released in 1946 featuring songs that were sung by Crosby in an American-type patriotic style. This album featured Bing singing patriotic songs such as, Ballad for Americans, God Bless America, the songs were presented in a 33 1/3 rpm split set with The Man Without a Country. Crosby did not approach the project lightly and he studied the work before the session, and his concentration in the studio was intense. Usually, Crosby would record up to five tunes in two hours or so, rarely taking more than two takes, but with Ballad for Americans, he devoted an hour to each of the four segments. Levin made a comparison with Paul Robeson’s Victor set that would have pleased Decca chief Jack Kapp’s team, For all of Robeson’s magnificent voice, the recording is better, the orchestration is better, and the chorus is better trained. These previously issued songs were featured on a 3-disc,78 rpm album set, the album with all of the same selections was transferred to a Dual 10 LP along with The Man Without a Country 78 rpm set in 1950 with the catalogue number DL8020
Don't Fence Me In (Decca album)
Dont Fence Me In is a compilation album of phonograph records by Bing Crosby and The Andrews Sisters released in 1946 featuring Country and Western songs. The original 78rpm album quickly entered the Billboard best-selling popular record albums chart reaching the No.2 position in April,1946 and these previously released songs were featured on a 6-disc,78 rpm album set, Decca Album No. The Andrews Sisters appear on Disc 1, in 1947, another set was released. It excluded two of the songs from the original album, the only design difference is that the text cylinder at the bottom was turned white. You can see the one on the original album above. These previously released songs were featured on a 4-disc,78 rpm album set, all were reissues of earlier recordings, Side 1 Side 2
Music of Hawaii (album)
Music of Hawaii is a compilation album containing five 78rpm records of Hawaiian music issued by Decca Records. Historically, the album was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of pieces of printed music from the early 19th century. Later, collections of related 78rpm records were bundled in book-like albums, the only way an “album” could be put together was to sell three or four 78s in a bound set of sheathes. These sets, known as folios were increasingly popular, whilst they had originally been neutral – blank albums into which the distributor could insert whatever 78s he liked – the idea of using a theme to link the records in the folio was catching on. By the late 1930s, this trend had developed to the point where artists were going into studios to record six or eight titles with a set in mind. This in effect was the birth of the album, although it would not be until LPs became commonplace that the phrase gained any currency.
The first album issued by Decca, probably in 1938, was Moussorgsky Songs by Vladimir Rosing, another early concept album was Music of Hawaii and eight songs were recorded for this in 1938. Possibly to boost its appeal, two Hawaiian songs by Bing Crosby, which had been recorded two years earlier, were added to the album. These reissued songs were featured in a 5-disc,78 rpm album set, Disc 1, Disc 2, Disc 3, Disc 4, Disc 5
Decca Records began as a British record label established in 1929 by Edward Lewis. Its U. S. label was established in late 1934 by Lewis along with American Deccas first president Jack Kapp and American Decca president Milton Rackmil. In 1937, as a result of anticipating Nazi aggression leading to World War II, Lewis sold American Decca, the British label was renowned for its development of recording methods, while the American company developed the concept of cast albums in the musical genre. Both wings are now part of the Universal Music Group, which is owned by Vivendi, the US Decca label was the foundation company that evolved into UMG. The name Decca was coined by Wilfred S. Samuel by merging the word Mecca with the initial D of their logo Dulcet or their trademark Dulcephone, Samuel, a linguist, chose Decca as a brand name as it was easy to pronounce in most languages. The name dates back to a gramophone called the Decca Dulcephone patented in 1914 by musical instrument makers Barnett Samuel.
That company was renamed the Decca Gramophone Co. Ltd. Within years, Decca Records Ltd. was the second largest record label in the world, Decca bought the UK branch of Brunswick Records and continued to run it under that name. In the 1950s the American Decca studios were located in the Pythian Temple in New York City, in classical music, Decca had a long way to go from its modest beginnings to catch up with the established HMV and Columbia labels. The pre-war classical repertoire on Decca was not extensive, but was select, heinrich Schlusnus made important pre-war lieder recordings for Decca. John Culshaw, who joined Decca in 1946 in a junior post and he revolutionised recording – of opera, in particular. Hitherto, the practice had been to put microphones in front of the performers, Culshaw was determined to make recordings that would be a theatre of the mind, making the listeners experience at home not second best to being in the opera house, but a wholly different experience. To that end he got the singers to move about in the studio as they would onstage, used sound effects and different acoustics.
His skill, coupled with Decca engineering, took Decca into the first flight of recording companies and his pioneering recording of Wagners Der Ring des Nibelungen conducted by Georg Solti was a huge artistic and commercial success. In the wake of Deccas lead, artists such as Herbert von Karajan, Joan Sutherland, Culshaw was, strictly speaking, not the first to do this. Far from being a mere rendering of the score, the 3-LP album set used sound effects to recreate the production as if the listener were watching a stage performance of the work. Until 1947, American Decca issued British Decca classical music recordings, British Decca took over distribution through its new American subsidiary London Records. American Decca actively re-entered the classical music field in 1950 with distribution deals from Deutsche Grammophon, American Decca began issuing its own classical music recordings in 1956 when Israel Horowitz joined Decca to head its classical music operations
The groove usually starts near the periphery and ends near the center of the disc. The phonograph disc record was the medium used for music reproduction until late in the 20th century. It had co-existed with the cylinder from the late 1880s. Records retained the largest market share even when new formats such as compact cassette were mass-marketed, by the late 1980s, digital media, in the form of the compact disc, had gained a larger market share, and the vinyl record left the mainstream in 1991. The phonograph record has made a resurgence in the early 21st century –9.2 million records were sold in the U. S. in 2014. Likewise, in the UK sales have increased five-fold from 2009 to 2014, as of 2017,48 record pressing facilities remain worldwide,18 in the United States and 30 in other countries. The increased popularity of vinyl has led to the investment in new, only two producers of lacquers remains, Apollo Masters in California, USA, and MDC in Japan. Vinyl records may be scratched or warped if stored incorrectly but if they are not exposed to heat or broken.
The large cover are valued by collectors and artists for the space given for visual expression, in the 2000s, these tracings were first scanned by audio engineers and digitally converted into audible sound. Phonautograms of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008, along with a tuning fork tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound. In 1877, Thomas Edison invented the phonograph, unlike the phonautograph, it was capable of both recording and reproducing sound. Despite the similarity of name, there is no evidence that Edisons phonograph was based on Scotts phonautograph. Edison first tried recording sound on a paper tape, with the idea of creating a telephone repeater analogous to the telegraph repeater he had been working on. The tinfoil was wrapped around a metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately, Edison invented variations of the phonograph that used tape and disc formats.
A decade later, Edison developed a greatly improved phonograph that used a wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device, the wax phonograph cylinder created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century. Berliners earliest discs, first marketed in 1889, but only in Europe, were 12.5 cm in diameter, both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality