New Discoveries and etc.

Yesterday evening, I did some odd research on "Google Earth", and did some looking around for locations of importance to early recording. The first thing that I looked for was the address of the Columbia headquarters, which you can see here:

That's the building I was looking for. 

I typed in "27th and Broadway, New York city", and I was taken to a specific location. That got me all excited! But when I zoomed in, I saw a boring brown building in the place of the one seen above. It almost made me cry, but the one thing that is amazing is that the building directly to its left is still there. I can see that they probably tore the place down in the 1970's(when all of the ledgers were destroyed), and built something else in its place. It's bizarre to think, all the people who pass by that corner where Columbia was probably have not any idea of what was once there. They have no idea of the amount of history that occurred there at that very corner. It's gone, so there's nothing to do about it. I will go there someday, stand on that corner, and imagine the swells walking by, in and out of the glass doors, and make the commute Fred Hylands once made from his home in 1898 to that corner. 

Also when doing these odd studies last evening, I looked up the Hylands home in 1899-1900, as according to the census. And wha'd'ye know! I found it! And guess what, I realised that the location of:

was actually at Hylands' home. WHOA! That's really strange. Hmm, that's just really weird to me for some reason, I guess it's because he pretty much used his flat as a sort of boardinghouse for performers he liked. Just to back myself up(since there are some people who assume that I'm thinking too wishfully with that) here's this section:

"You are cordially invited to make our office your headquarters when in New York."

also, " Every facility has been provided for your convenience."

Ha! It's just somewhat comical that he was literally inviting all of those performers he worked with into where he lived, and where his father lived. I wonder what his father thought of all of these people staying over... 

I looked up the location of Hylands' first firm(the one where his "Darkey Volunteer(s)" was published), and it's a little farther away from Columbia, but it's not really within walking distance(considering Hylands' physique, most could walk it, but Hylands wouldn't). That old building, which is 223 East 14th street, is still there. Now since I know that his second firm was at where he lived, it could well be assumed that this was the case with the 14th street address. Which that would be just as bizarre. 
It makes sense! Hylands moved from 14th street out to 27th in 1899 for the all the logistical reasons, as where the firm was, it was only a block away from the studio, unlike the 14th street home he lived in back in 1898. He could easily walk to the studio in 1899 and 1900(and probably for the rest of the time that he worked at Columbia).
The fact that he lived a block away from Columbia's headquarters also proves even more that he still worked there in after 1898, as some people still think that he only worked there in 1897 and 1898, but they wouldn't get rid of him in such a short time. 
I will eventually go out to all of these places, and maybe tell the people who live/work in these places the sort of history that happened in these places. Probably will get odd looks at comments, they'll be weirded out for sure 




Anyhow, it's also Arthur Collins' birthday to-day, so I thought it would be of importance to share some great records by Collins. 

The first one I would like to showcase is a fantastical example of Rag-Time on early records. It's Collins' version of "Just because she made them Goo Goo eyes" from 1903. What a hot Rag-Time record! The reason it's so great is because of Frank P. Banta behind Collins, and he really plays all the best he could. I have heard some record collectors argue about the piano accompaniment on this one, as it's so good compared to others. It's Banta alright, no arguments needed. 
This next one is a classic example of Collins, on a Leeds record from 1904. It's one of his many versions of "The Preacher and the Bear". Here you go with his Leeds recording of "The Preacher and the Bear" from 1904(with Fred Hylands prominently featured on piano). Leeds records never sounded great, and this is a prime example of that, but Hylands is the loudest thing on the record other than Collins, which was obviously not intended. It's a great example of Rag-Time regardless. 
This next one is one that I shared for a different reason a little while back, but it's Collins' "All I Wants is my Chickens" from 1898(with Frank Banta on piano). Another great example Rag-Time, and this time it's on brown wax! Collins is his usual self with the early Rag-Time on this one, sounding more like Len Spencer. Here's an observation for those Collins fans out there, on records, notice that Collins sounded more like Len Spencer before 1901, but after that, he had a different singing style(very slightly). In saying this, listen to this one first Collins' "Hello Ma Baby" from 1899(with Frank Banta on piano!)
Len Spencer's(with Fred Hylands), also 1899

Now listen to Collins' "Good Bye Eliza Jane" from 1903.
Quite a difference eh? Yes indeed, Collins' voice seemed to lose that sort of tinny and slightly louder style after the brown wax era. It's just something that I noticed a while back but didn't point it out sooner. 

Happy Birthday Mr. Collins! 

I hope you enjoyed this!