The Talking Machine Forum — For All Antique Phonographs & Recordings

gramophoneshane wrote:

Steve wrote:As for the "collecting labels" idea, has anyone considered that it's essentially the same as buying different versions of the same material on different CDs? I'm prepared to bet that there aren't many 78 collectors who also own material on CD, that would automatically buy a duplicate CD of something just to get a different picture on the booklet or a different record company logo etc on the artwork?

In essence, that is all that a "record label" represents, surely? So to my mind, having the material is key and not having 3 or 4 different labels for the same recording.

I've rarely found the same recording on two different labels. It does happen, but normally it will be a different take, or from a different recording session for a different label. Often these will be accompanied by a pseudonym which I find interesting too.
Then you've got artists like Caruso, where you buy an acoustic original, or a later "electrofied" version, so in reality, they're not really the same recordings.

I can't say I've bought many duplicate CD's because of a different label or cover art- with the exception of Kylie but I do buy vinyl with different labels etc. Back to Kylie again, I've found some PWL pressing sound better than her Mushroom pressings & visa-versa. Often the flip sides are different too. This also occures on 78's as well.
I think I've got examples of just about every "Oklahoma" soundtrack pressings that was done over the years, including a CD lol. I find the label changes & physical make-up or the records interesting too.

Even with cylinders that I really like, I'll buy duplicates if they're a different take, or even mould number.

I guess it is a bit like stamp collecting, but far more enjoyable

If you had a Louis Armstrong record on the Decca label, but then came across an Aussie pressing of the same song on the Festival label for $1, would you leave it behind?

MordEth wrote:the Black Swan label is noted for some of the jazz musicians who had initial success there, such as Ethel Waters. Fletcher Henderson was the recording director for that label from 1921-1923.

Pathé Logical wrote: Mon Jan 08, 2024 9:37 pm Pre-dog Monarchs are certainly worth something due to their relative scarcity, regardless of artist or content. An interesting title or artist will help in the desirability of a certain record, and condition is also quite important. I really love to find pre-dog Eldridge R. Johnson discs, but pre-dog Victors are also interesting. You've piqued my curiosity by eluding to "a faint image of Nipper" on one of your records. I've been looking for a record with several, faint images of Nipper embedded in the grooves of the record rather than on the label. Is this what you have? If so, that would be something I would be interested in. But I believe these Nippers in the grooves only appeared on some 7" Canadian Berliners, but I could be mistaken...

Sounds like a fun batch of records,
Bob