Frustration around record Speeds

The title of this post is something that every early record collector has run into at some point, unless you are tone-deaf, then this hasn't been a problem for you. Having a very strange type of perfect pitch, I have very sensitive ears when it comes to 100 year old records, as they are the most frustrating of any recordings for record speeds. When I listen to a record from 1897-1906 with a Cake-Walk as the tune, I test the speed a little until an even Cake-Walk can be danced to it, and if an even key can be indicated. but of course, this method does not always work with every of record of that time. Much of determining speed on early recordings depends upon prior knowledge of the material before it's played. This sort of knowledge would include knowing the singer or performer, knowing the song, and knowing the possible key range. It's something that not every record collector has naturally. 

Anyhow, this subject is the most frustrating of anything that has to do with these old records, as I just explained above why this is so. I was messing around with record speeds last evening and found that my 1906 Victor of Pryor's band playing "Coon Band Contest" was actually too fast when just playing it straight after I put the record on the turntable. I set the pitch far downward, and found it sounded fantastic at an even B flat. Just to get the comparison, here is the faster transfer, or the more commonly known speed:
https://ia802607.us.archive.org/25/items/ArthurPryorsBand/ArthurPryorsBand-ACoonBandContest.mp3
This always sounded high and screechy to me, and with that feeling, that made me want to fix it. I have a different take of the same recording, which is possibly an earlier one. Anyhow, here's my transfer of it:
https://www.youtube.com/watch?v=E7o4GfHjF94
It's much slower, but if you think about it, the high and screechy sound is completely gone, and it sounds purer. Sorry it's so messy though, my copy of this record has had a harsh life, as it was the one record that sparked my interest in 100 year old records. In that, I played the record practically to death when I was little, and you can clearly hear it. Another reason I found that the speed was too fast at and even C, was because there was a Sousa Band recording of it from 1900 that was in B Flat, not C. https://ia800306.us.archive.org/11/items/SousasBand/SousasBand-ACoonBandContest.mp3
You can clearly see why I did this now. 
That cylinder just above is played at the correct speed by the way. 
Another thing that helps when trying at getting the correct speed on an early record is the pitch of the instrument. Such as a piccolo. Piccolos are pitched in D flat, so at this, if a recording is transferred at an even A, D, or B flat, the record is played far too fast. This example can be heard here:
Schweinfest with Hylands playing "Bob White Polka" in 1898
This one is a ridiculous example, though it clearly gets the point across, as it exemplifies everything I said about what a record played far too fast sounds like. 

It is certain that Schweinfest would have been discontented with the extremely fast speed o the cylinder, and of course, so would Hylands. This cylinder should be pitched at an even A flat, as allowing for the pitch accommodation of the piccolo. Also, take into consideration that Hylands would not have played this tune as fast as it is one the transfer, I have sat at the piano and played the tune in A flat to D flat, and have found it to be a fantastic cylinder. 
Another frustrating cylinder transfer is this one here:
Schweinfest with Hylands playing "At A Georgia Campmeeting" in 1898
Now if this one was played just a half-step slower, it would be a fantastic and hot piece of Rag-Time. I have also sat at the piano and played this one in the A heard on the transfer, then in the A flat it's supposed to be. Cylinders that are played too slow are just as frustrating as those that are played faster. 
here are a few slower cylinders:
http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder8826
The key of this transfer is E, and that is absolutely not right. It should be at an even F. This one would also sound great if it were played just a little bit faster.

http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder15570
Now this one is a little more obvious. If you know anything about J. W.Myers, you would know that he never sang as low as he does on this transfer. Now of all  losses of record speed, this is a real murder. It is a fantastically recorded cylinder, with everything in Hylands' accompaniment, from the high trill notes, to the deep bass octaves. Myers sings the song wonderfully, and I can try to hear it at an even G as it's supposed to be, not a low F. 

http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder9757
This lovely cylinder was played far too slow, which is understandable, as it was issued on one of those very fast playing Columbia cylinders in 1901. This is actually one of the nicest and sweetest love songs of the late-1890's I would think, and it's really unfortunate that this transfer is played too slow. It is a loss  also because of the fact that Hylands gets some playing in behind them playing in a tango rhythm. 

http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder8660
This one is a rare Polyphone record from 1899, which in itself makes for an interesting recording. It is easy to know how this cylinder is played too fast, as the announcement at the beginning, which is by Len Spencer not surprisingly. One thing I must point out is the fantastic sound of the piano on this cylinder, if you really take a listen to the piano, it's amazingly clear and full with all the bass notes. I must also point out that you can pick out Len Spencer from the group when they sing together, which was, as I have explained before, a bit of a problem when it came to the Greater New York Quartette. 

Now to move to some that are played at perfect speeds, to get an idea of what many of these singers and performers sounded like. To begin, I must share some records by 

Arthur Collins. 
For an example, here is a record by Collins played a little too fast:
https://ia902300.us.archive.org/31/items/ArthurCollins_part2/ArthurCollins-TheGooGooManCoonSong.mp3
(fantastic piece of Rag-Time by the way! Hylands is very audible in the orchestra as well.)
Now for one played very slightly too slow:
https://ia800209.us.archive.org/16/items/ArthurCollins_part1/ArthurCollins-CindyIDreamsAboutYouCoonSong.mp3
The pianist on this one is still being disputed...
Now for records by Collins played at the perfect speed. These vary from collector to collector, as some cannot really tell the slight differences that Collins had when he sang before 1900 and after 1900.  Pretty sure that I have explained that strange coincidence with Collins' singing style. 
his 1902 take of "Bill Bailey" with Fred Hylands.
The speed on this could not sound better. Perfect Collins, perfect Hylands. 
This one is in E by the way, which may sound strange, but Collins recorded several songs like this in E for some reason. So really, it makes sense with Collins' range. 
his also 1902 take of "My Castle on the Nile" with Hylands
Still amazing every time I hear it. Hylands plays absolutely wonderfully on this, showing off all sorts of things that he normally didn't play. All the walking octaves! Oh! It's just perfect! 

Now to move on to something that actually has to do with 33rpm records somewhat. Now that album from the late-1970's:

Yep, that one. 
This album is a fantastic introduction into the history of banjo Rag-Time, or even just recorded Rag-Time in its earliest years. The one particular track that I  am focusing on here is Ossman's "Rusty Rags Medley" which was recorded in 1901 by Ossman with Hylands. The problem here is that the transfer on the 33 was played far too fast, ridiculously fast if I might say. Before I list it here, here is what the back of the record sleeve says about this very track:

One of the main parts of this medley is actually the popular tune from 1900 "My Tiger Lily", but I am not exactly sure what the other one is just yet. 
Here is the transfer I did of it:
https://www.youtube.com/watch?v=a1NbD7pysP0
It is played at an even F, and it is really a very amazing record! Hylands plays some fantastic patterns on this one, and they are very audible. 
Now, here's the one that everyone hears when they set the record playing as is:
https://ia800304.us.archive.org/17/items/FredVanEpsVessL.OssmanKingsOfTheRagtimeBanjo/11RustyRagsMedley.mp3
Far too fast indeed! 
Now I just came to realize that the transfer of Ossman playing "Peaceful Henry" is also too fast! Well, I'll make a video of it tomorrow, as I do want to hear that at the right speed! 
before I end abruptly, here's the transfer of "Peaceful Henry" as is when playing the record an purely 33rpm:
https://ia600304.us.archive.org/17/items/FredVanEpsVessL.OssmanKingsOfTheRagtimeBanjo/03PeacefulHenry.mp3
Can't wait to hear it correctly tomorrow! 

I hope you enjoyed this! 

A Christmas related post(and new found items of interest!)

Well, It seems to be that time of the year anyhow, and I just had a Christmas party last evening, so I think it's about time that I did a post dedicated to the holiday time that it is now. I know of a few holidays related cylinders/discs, and the one I am thinking of at the moment is the classic rendition of  "The Sleigh Ride Party" by the Greater New York Quartette. You can hear the cylinder here. I am not exactly sure of the personnel on this one, but I hear Steve Porter, Roger Harding, and maybe Len Spencer, but I don't think it's early installment of the quartette. It doesn't really seem like it's 1897 to me, it seems like the second installment of the quartette, with Harding, Porter, Jones and Hargrave, rather than Spencer, Jones, Porter, and Harding. I could be wrong. If it was recorded in later 1897(as suggested in the video), than Spencer would be on the cylinder, if it was from mid-1898, then the second installment of the group would be on it. I hate that this group was so confusing, as Len Spencer couldn't stay with a single group for very long, and he was making too many solo records to make time for singing in the Greater Quartette regularly. 

But of course, I have to say, listen to Fred Hylands on the piano behind them! You know he was loving this round, because it was such a fun selection anyhow! 

It must have been so much fun at Columbia in the late 1890's around Christmas time, as all the exhibitions must have been all decorated for the holidays, and they must have all had a good time(like they always did!), popping open champagne and such. Anything they did at Columbia around Christmas must have been really fun! Even if it must have been freezing cold in late 1897, 1898, and 1899, it still must have been enjoyable despite that. They'd all just have to show up to the studio all bundled up in their furs and capes.  One can just see some of them come in through the front doors of their studio(on the second floor of an office building mind you), dusted with powdered snow on the collars and shoulders of their sealskin coats, and shivering from the snow and cold. It can also be imagined the few studio workers who went down to the basement to fire up the furnace. I can see Hylands and Spencer going to to that, with Spencer trying to get a damn match lit in the wet cold air. It must have been a great sight, everyone all dressed up, awaiting anxiously for the furnace to get the place warm, and for all the artists to thaw their frost-bitten fingers and toes.

Edison's studio must have been a similar story, even if it wasn't as welcoming and warm-atmosphered(if you know what I'm saying!). There, you get Walter Miller with his foggy glasses, Frank Banta almost freezing himself to death behind the piano, before each take trying to get his hands warm. Edison's studio was colder for a longer time in the days, as the furnace was only certain areas of the whole plant, and it was not very close to the main studio. At least at Columbia the whole space wasn't very big, so the studio rooms themselves would get warm. 

Anyhow, enough about the visual of Columbia around Christmas time, which I hope was a good description for all of this, I think you get the point. Back to some records! 

This next one is actually another take of the last one, but by a different quartet, and this time, it's the Invincible Quartet. This group consisted of Arthur Collins, Byron Harlan, George Seymour Lennox, and Frank Stanley. Here is their rendition of Steve Porter's "Sleigh Ride Party". This one is from 1902, and it again has Fred Hylands on the piano behind them. That must have also been a fun session! Those quartet sessions when they did those sketches must have been a riot, with all sorts of things going on at once. This must have been the case with many of Porter's sketches for quartets. 

For this next record that is Christmas/winter related, it is time to listen to something by Silas Leachman

The title of the song is not really Christmas related, but the song itself is about riding in a sleigh in the falling snow, in the winter. It just seems like one of those holiday songs for some reason. Anyhow, here is Leachman and Banta's(?) "Whoa Dar Mule" from 1901. The jingle bells paired with "Hear Dem Bells" is really great, and the piano accompaniment is fantastic! I am unsure who the pianist is, I am really on the fence about this one, it's more likely Hylands though. Just somehow, that record seems like it works for the holidays, I don't know why, but it does for some reason. 

Here is another fun Christmas record by Burt Shepard

Yes indeed, the mysterious Burt Shepard. Anyhow, here is his wonderful rendition of "The Robin", with all his annunciations clear as a bell. Not much needs to be said here, as everything is said to the fullest by Shepard. 

Now to get a little off-subject, I found some interesting pictures in this last week, that I must share. Just to-day, I found another picture of Burt Green! 
Here you go:

Sorry it's so small. But that's it! There's a clearer image of Green from about 1910. He was a real good-looking guy! Seeing him more clearly makes the image of him and Hylands going out and drinking even more hilarious! Here's a small image of Hylands to get that image:

Yes, I can imagine it now... And how funny it is! 

Anyhow, here's the next picture I found this week:

(found from this stunningly informative website here!)

I bet some of you might be able to guess who this is. If you do know, that is awesome! If not, it's Russell Hunting. There's a million things that came into my head when I first saw this picture, I first saw the reminiscence of his Shakespearean days in his stare, and his tired and worn eyes. The next important thing that struck me is that there's a stamp on the left side of the picture, so that indicates that this was most likely his passport photo. That gives more of a focused date somewhat, indicating the early 1910's. Either way, I absolutely love this picture, and is pretty much sums up Russell Hunting. Not much needs to be said, as that look on his face says everything. He wasn't ashamed of his criminal past, and you can tell. 

Anyhow, these next two pictures go together, as they are both of Columbia's high official/paymaster Frank Dorian(also from the website listed in the link above!):

in 1892

and in 1894
Ahh yes, Frank Dorian, that man from Columbia when they began in 1889, who was their first paymaster and studio manager. He looked very stereotypical Victorian, and it almost made me laugh at how Victorian he looks! His facial hair says all of the Victorian jargon, and him recalling the old studio days as an older man. He later had a moustache though, which was also very Victorian-looking. He was the man who set up the Paris office for Columbia in August/September of 1897, which was a big thing for them, as this is why at one point in later 1897, we record nerds hear "For the Columbia Phonograph company of New York and Paris" as the announcement closer. Frank Dorian recalled much of his early recording days in the 1930's, when he was still working with Columbia vaguely, and giving advice to all of those new-fangled electric era recording engineers. I still want to see all of the interviews that Jim Walsh had with Dorian, as I have read only sections of them, and they're all great! If anyone knows how to find those in full, please contact me! 

And to close off, here are two of Burt Green and Irene Franklin's record from 1912(with Burt on piano! Sounding just like Hylands as always!):
https://www.youtube.com/watch?v=Fab97EcWDRw

http://cylinders.library.ucsb.edu/search.php?queryType=@attr+1=1020&num=1&start=1&query=cylinder13864

Merry Christmas to those who celebrate it! And happy holidays to all, no matter what it is you celebrate! Stay warm ;-D (because it's terribly cold out here in California right now!)

The ever changing Greater New York Quartette

Spencer 

Harding

The quartette of talented singers mentioned in this post's title is a varying mix, and there is only three of the quartette's original personnel pictured above. I'm not really the biggest fan of quartette records from the 1900's and teens', but some groups really get to me. The Quartette records from the 1890's particularly fascinate me. One of the few groups that I like who lasted from 1897 to about 1904 was the Greater New York Quartette. The only problem with this rare group is the fact that its personnel constantly changed, and was updated with newer artists every year or so. Their personnel can get confusing if you're listening to them and trying to figure out who's on it. 

Their earliest two years were wonderful, and the personnel of the original quartette was absolutely wonderful. So, according to The Phonoscope, the original personnel of this group was Steve Porter, Roger harding, Len Spencer and a gent whose full name had never been identified named "Mr. Depew". 

Now this first example is one from c.late-1897 with Fred Hylands on the piano, possibly with the original personnel:

http://cylinders.library.ucsb.edu/mp3s/9000/9989/cusb-cyl9989d.mp3

One thing is for sure, I hear Steve Porter and Roger Harding. 

Their harmonizing is absolutely pristine on their early records, I just cannot get over it! It's absolutely beautiful. They really had that perfected. The thing about their original personnel is that Len Spencer sometimes stuck out like mad. This was only because Spencer's voice was a very hard one to balance and blend with singing with anyone else, but once they got it sorted out, he blended well, even though you can still hear the odd deep-throated tones of Spencer's voice within the harmony.

This next one is from c.-late-1897 as well, with Hylands hitting one muffled A major chord at the beginning. This one is for sure with the original personnel, as I can hear that thing I described with Spencer in their blending. It's hard to hear, but if you known Spencer's voice well enough, you can hear it. 

http://cylinders.library.ucsb.edu/mp3s/14000/14246/cusb-cyl14246d.mp3

How they do it SLOW....

They sing this very slow compared to the other takes of this, but I'm guessing that that was how Spencer liked it, because in the later takes of this by this group were much quicker. 

Also, note! There's some chatter and faint noise of something else far back in the room if you listen closely!

I wonder what that was...

This next one is hard to pick out the vocal tones of certain singers. I hear Porter just as usual, Roger Harding, and I'm not sure who else because this record is to what I have found, the record by them where their harmonization at the beginning is truly gorgeous. I just wish I could pick out the voices better. 

Skip to 33:15 for the cylinder I mean! 

https://www.youtube.com/watch?v=QI70A5DIU08

The personnel by mid-1898 was different from the original group for some reason. Spencer had dropped out of the group by that time. As the September 1898 issue of The Phonoscope stated this:

"The Greater New York Quartette composed of Harding,[Will C.] Jones, Porter and Hargrave are furnishing the campaign music throughout the state this fall. They are seasoned singers and make a sure hit."

Hmm... I have heard of Will C. Jones before from the Albert Campbell line of the "Diamond Four" of 1897 and 1898, but I am not aware of this Mr. Hargrave. 

By the time Spencer, Hylands, and Yeager had become one with the publishing business(which was March, 1899), the personnel of the Greater New York had consisted of Harding, Porter, Jones, and the young and new Albert Campbell. 

As stated here:

Among the many other famous names we see here, I might like to call attention to three names(not relating to the Greater New York Quartette) that are present here. 

1: you see "Lenard G. Spencer"(bad editing) who we all know it's Len Spencer.

2:Fred. Hylands is mentioned before Spencer.

3: Harry Yeager is listed as the director.

These three names being listed all at the same performance is very interesting.The reason for this is because they must have already been putting together things like this months before they became a publishing firm. It must have also been a great scheme for the three of them to not only perform together, but to announce the creation of the new firm. 

If they performed together as three, Hylands would be at the piano, singing with Spencer and Yeager(as Yeager was a tenor), even though I'm not sure what range Hylands had, but he was indeed a singer. 

Back to the main subject of this post. The quartette's personnel had what was listed above in 1899 and 1900, as this same group can be heard here, with Albert Campbell taking the lead:

 http://cylinders.library.ucsb.edu/mp3s/7000/7926/cusb-cyl7926d.mp3

Sorry about the skipping groove at the beginning. 

This one is from 1900, and that's for sure because of the year that the song was composed, and who's in the group itself all line up with that year. 

To close off, here are two more takes of this quartette doing "Way Down Yonder in the Cornfield", one from c. December 1897 and the other from mid-1898.

(There's a short home recording at the end, sorry...)

http://cylinders.library.ucsb.edu/mp3s/13000/13289/cusb-cyl13289d.mp3

Oh! How Spencer is drunk! This one is really clear with that. His rattling deep-throated voice REALLY sticks out, this is exactly what I was talking about before. 

This last one is a quicker take(hence the thing about Spencer dropping out before!) by the second installment of the quartette from early or mid-1898

(this one also has a home recording at he end...)

http://cylinders.library.ucsb.edu/mp3s/13000/13309/cusb-cyl13309d.mp3

Hear all of that chatter in the background! 

The reason why I like this quartette so much is because they had a much fuller sound on the cylinders and they always had a great mix of voices, and with the changing personnel, it was slightly different every year they were together. Which makes them more interesting. The personnel changes make them interesting(and easier to date their cylinders!) but it also unfortunately makes figuring out who's on the record harder.They did all of this quartette work years before the "barbershop quartette" era of the 1900's and the teen's hit the record business hard.They are still a pleasure to hear nearly 120 years later. 

I hope you enjoyed this!