1932 Paul Whiteman ‘LP’ - Dance Selections (Irene Taylor & Jack Fulton, vocal)
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- Опубликовано: 11 дек 2024
- Pressed at 33 1/3 rpm, this 10-inch gold label RCA Victor ‘Program Transcription’ disc contains a continuous 6:47 performance of three songs that ‘Pops’ had also recorded individually at a previous session for regular 78rpm release. Manufactured not as a ‘broadcast transcription’ for radio use, this series of early LP’s was marketed toward the consumer. For additional information, check out the ‘transcription disc’ entry in Wikipedia.
1 Willow Weep For Me (Ronell) - Irene Taylor, vocal
2 Take Me In Your Arms (Parish-Rotter-Markush) - Jack Fulton, vocal
3 In The Dim Dim Dawning (Adams-Goodhart-Hoffman) - Irene Taylor, vocal
Transferred from RCA Program Transcription L-16017 - Dance Selections by Paul Whiteman & his Orchestra, recorded in NYC November 25, 1932 .
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Such nice music! Lovely singing.
❣🎶🎺🎻
the second big favorite..
Oh wow, this is fun! :D
I have about 60 Program Transcriptions pressed in Victrolac - both singles and those contained in album sets. All but a few are still in excellent playing condition. Proving that Victrolac held up to repeated playings far better than many claim. One reason may be is that they were played with a special chromium needle and that the tone arm was lightened with the use of a counter weight. I also have about 45 of the 10 inch shellac pressings - mostly of popular music. Having much harder playing surfaces, they have all held up very well. Needless to say, they have very high surface noise. The last of the shellac Program Transcriptions are "Z" pressings, and are as quiet as the Victrolac pressings. By late 1932 the Program Transcription had been totally perfected. If you get a chance to hear the PT recordings of "Skyscrapers" by John Alden Carpenter or Grofe" "Grand Canyon Suite" - you will understand that these are just as good in sound quality as the 78RPM recordings of the same works. It is a shame that RCA Victor simply "gave up" just at the moment it had a perfected product. But sales were close to zero! Blame the great depression!
Wonderful find! And while Fulton's not very convincing and Taylor is a bit too metallic sounding for me, the band's the real highlight, with short but tasteful solos. Thnx for uploading!
My pleasure!
Three different songs in a row! I wonder how they managed that back in 1930, with no tape-recorders or editing equipment whatsoever!
What equipment could play back these 331/3 rpm discs at home in 1932?
RCA sold machines to play them. Considering it was the early 1930s and you needed to buy a whole new machine to play the records, I don't think it was high on many people's priority lists.
Also, the 12 inch "program transcription" discs (most if not all 10 inch discs used shellac) were pressed with a softer material similar to vinyl and for some reason, RCA didn't consider the fact that soft records and heavy pickups do not mix. Add the cost of buying replacement records every 2 to 3 plays with the cost of buying a whole new record player in the great depression, and you have a flop.
RCA pulled the plug on the product after only a year on the market.
@@scrunchgumpgins4711 Thank you for your answer! But luckily we have som that survived into our days, and are still playable with modern equipment! This record sounds so incredibly good!
@@scrunchgumpgins4711 In 1932 RCA Victor introduced an inexpensive adapter that would convert a standard 78 RPM turntable to 33 1/3. A counter weight was provided to lighten the weight of the magnetic pick ups. Thus Victrolac pressings could be played for several dozen times without showing significant groove wear. Program Transcriptions were released both as singles and in album sets - from 1931 and well into 1933. One of the last albums - and very rare - is the complete recording of the opera Carmen, on 7 records (1933)
@@scrunchgumpgins4711 Capehart also sold machines that played both 78 and 33 1/3 records. These were in the $1000.00 price range and certainly out of the buying power of the average record collector.
Both "Willow" and "Take Me ..." are beautiful tunes, but I find Irene's sound not ideally suited to the former and I've never been a big fan of Jack's delicate tones. Though the song itself isn't as good as the others, this hot take on "In The Dim Dim Dawning" is the best of the lot, as Irene's "let 'er rip" delivery is much more appropriate in this setting. Andy Secrest's muted eight bars is good, too.