- published: 18 Feb 2017
- views: 28
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remove the playlistFirst Autumn Edison
- remove the playlistFirst Autumn Edison
Harud
Harud (also known as Autumn) is Aamir Bashir's directorial debut. It premiered at the 2010 Toronto International Film Festival. The film stars Reza Naji and Shahnawaz Bhat and takes place in Kashmir.
External links
Harud at the Internet Movie Database
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Harud
Autumn (1930 film)
Autumn is a Silly Symphonies animated Disney short film. It was released in 1930.
External links
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Autumn_(1930_film)
The Four Seasons (Vivaldi)
The Four Seasons (Italian: Le quattro stagioni) is a group of four violin concerti by Italian composer Antonio Vivaldi, each of which gives a musical expression to a season of the year. They were written about 1723 and were published in 1725 in Amsterdam, together with eight additional violin concerti, as Il cimento dell'armonia e dell'inventione ("The Contest Between Harmony and Invention").
The Four Seasons is the best known of Vivaldi's works. Unusually for the time, Vivaldi published the concerti with accompanying poems (possibly written by Vivaldi himself) that elucidated what it was about those seasons that his music was intended to evoke. It provides one of the earliest and most-detailed examples of what was later called program music—music with a narrative element.
Vivaldi took great pains to relate his music to the texts of the poems, translating the poetic lines themselves directly into the music on the page. In the middle section of the Spring concerto, where the goatherd sleeps, his barking dog can be marked in the viola section. Other natural occurrences are similarly evoked. Vivaldi separated each concerto into three movements, fast-slow-fast, and likewise each linked sonnet into three sections. His arrangement is as follows:
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/The_Four_Seasons_(Vivaldi)
Edison
Edison may refer to:
Education
Places
Other uses
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Edison
Edison (Monterrey Metro)
The Edison Station (Spanish: Estación Edison) is a station on Line 1 of the Monterrey Metro. It is located in Monterrey, Mexico at the intersection of Edison street and Colon Avenue in the Monterrey Centre. It was opened in 1991.
This station serves the west side of the downtown area and also the Talleres neighborhood (Colonia Talleres). It is accessible for people with disabilities.
This station is named after Edison Avenue, and its logo represents a phonograph, one of the inventions of Thomas Edison, whom the avenue is named after.
References
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Edison_(Monterrey_Metro)
First (Cold War Kids song)
"First" is a song by American indie rock band Cold War Kids. The song was written by the band and produced by Lars Stalfors and Dann Gallucci. It was the second single off their fifth album Hold My Home (2014) and was released on February 17, 2015. The song received a positive reception from music critics.
"First" peaked at number 1 on the Billboard Alternative Songs chart, becoming the band's highest charting single. A music video was made for the single and was released on January 12, 2015.
Critical reception
"First" received positive reviews from music critics. Philip Cosores of Paste called it a "clap-along anthem" and said that together with "All This Could Be Yours" and "Hot Coals", is "the strongest run the band has put together in its career." Heather Phares of AllMusic remarked the song being a highlight of the album due to its "anthemic power."
Music video
The music video was uploaded on the band's VEVO page on January 12, 2015.
Chart performance
The song appeared on the Billboard Alternative Songs chart at number 40 and peaked at number 1, their first song to top that chart. It has stayed on the chart for twenty-eight weeks (as of the October 24, 2015 chart date), making it their longest charting single to date.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/First_(Cold_War_Kids_song)
First (David Gates album)
First is the first solo album by David Gates of Bread. The musicians include: Jimmy Getzoff, Jim Gordon, Jim Horn, John Guerin, Larry Carlton, Larry Knechtel, Louie Shelton, Mike Botts and Russ Kunkel. Suite, Clouds & Rain is definitely worth a listen as Gates experimented with his sound.
Track listing
All tracks composed by David Gates
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/First_(David_Gates_album)
Podcasts:
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Manuel Romain "When Summer Tells Autumn Good-Bye" Edison cylinder 9675 (1907) BIOGRAPHY
Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675, issued in November 1907. Lyrics are by Arthur J. Lamb. Music is by J. Fred Helf. Manuel Romain was born on October 1,1872, in Cambridge, Massachusetts, according to a book by Edward Le Roy Rice titled Monarchs of Minstrelsy (Kenny Publishing Company, 1911). Jim Walsh noted that one source identified Romain's birthplace as Boston while other sources suggest Gibraltar or Spain. Romain spent much of his youth in the Boston area. He worked in a jewelry store for a time, then pursued a singing career. The April 1916 issue of Edison Phonograph Monthly states that he confined himself to church and concert work until 1893. It also states, "Then he went into the minstrel field, appearing with Primro...
published: 18 Feb 2017 -
Restoring the Queen Victoria recording of 1888
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially being used as the medium for recording sound (mainly the human voice). However, these early tin foil recordings were fragile and prone to tearing, and the sounds recorded on them were of poor quality and quickly wore out with repeated playing. In the early 1880s, researchers at a laboratory established by Alexander Graham Bell perfected a process of making recordings on wax coated cardboard cylinders, which allowed the human voice, as well as musical instruments and such like, to be recorded and replayed many times and with better reproduction. The improvements were partly due to the wax medium being more effective for the storage and transmission of sound waves, but also because the recordings were c...
published: 17 Mar 2017 -
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994, issued in 1905. Composer is T. Brigham Bishop The four quartet members here are John Bieling, Harry Macdonough, S. H. Dudley, and William F. Hooley. The Edison Male Quartette was formed in the mid-1890s. It later used the name Haydn Quartet for other companies but continued to record for Edison's National Phonograph Company as the Edison Male Quartette. Jim Walsh states in the October 1962 issue of Hobbies that original members were Roger Harding, James K. Reynard, S. H. Dudley, and William F. Hooley. Jere Mahoney replaced Reynard, and after Mahoney contracted inflammatory rheumatism in 1899, he was replaced by Harry Macdonough. From about 1900 to 1908, records feature John Bieling (first ...
published: 21 Jan 2019 -
Byron G. Harlan "Can't You See" Edison Standard Record 10347 (1910)
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. Words are by Alfred Bryan (1871-1958). Music is by Albert Gumble (1883-1946). Byron G. Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers. He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage. The young Byron G. Harlan joined touring companies....
published: 06 Feb 2015 -
Byron G. Harlan "Keep On The Sunny Side" Edison cylinder 9271 (1906)
Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorded in 1906. Words are by Jack Drislane. Music is by Theodore F. Morse (1873-1924). This is not the song covered by the Carter Family. Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers. He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage. T...
published: 28 Dec 2014
developed with YouTube
2:14
Manuel Romain "When Summer Tells Autumn Good-Bye" Edison cylinder 9675 (1907) BIOGRAPHY
- Order: Reorder
- Duration: 2:14
- Uploaded Date: 18 Feb 2017
- views: 28
Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675, issued in November 1907.
Lyrics are by Arthur J. Lamb. Music is by...
Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675, issued in November 1907.
Lyrics are by Arthur J. Lamb. Music is by J. Fred Helf.
Manuel Romain was born on October 1,1872, in Cambridge, Massachusetts, according to a book by Edward Le Roy Rice titled Monarchs of Minstrelsy (Kenny Publishing Company, 1911).
Jim Walsh noted that one source identified Romain's birthplace as Boston while other sources suggest Gibraltar or Spain.
Romain spent much of his youth in the Boston area. He worked in a jewelry store for a time, then pursued a singing career.
The April 1916 issue of Edison Phonograph Monthly states that he confined himself to church and concert work until 1893. It also states, "Then he went into the minstrel field, appearing with Primrose and West, W. S. Cleveland, Primrose and Dockstader, W.H. West and Lew Dockstader's Minstrels--covering in all fifteen seasons. In 1906 he made his vaudeville debut and scored a tremendous 'hit' with some of his original compositions."
Rice reports, "In 1907 Mr. Romain entered the vaudeville field with an elaborate production entitled 'Down in Music Row,' and met with flattering success. Two years later he produced 'Before and After the Ball,' which, if possible, achieved even greater success..."
He was a composer as well as a performer. Songs written by the tenor include "I Would If I Could But I Can't," published in 1903, and, with lyricists Leighton and Leighton, "The Message of the Old Church Bell." The latter was published in 1905 by the Helf & Hager Company, owned by J. Fred Helf and Fred W. Hager. In his first few years as a record artist he cut many ballads written by Helf as well as other songs published by Helf's company.
Romain was more closely associated with Edison than any other company during his recording career. He made his debut with the two-minute cylinder "When the Blue Birds Nest Again, Sweet Nellie Gray" (9628), issued in September 1907.
The July 1907 issue of Edison Phonograph Monthly announcing its release identifies Romain as "a member of Dockstader's minstrels."
That first cylinder was followed in October by "Meet Me Sweet Kathleen in Honeysuckle Time" (9664).
His first four-minute cylinders were "Roses Bring Dreams of You" and "Belle Brandon," made available on October 1, 1908, when Edison's new four-minute Amberol cylinders were introduced to the market.
In late 1909 the first of several Victor discs was issued: "When We Listened to the Chiming of the Old Church Bell" (16363), backed by Walter Van Brunt's "When I Dream in the Gloaming of You." Romain recorded it on August 20, 1909 along with three other songs.
Following these releases, Romain signed an exclusive Edison contract.
"When You Were Sweet Sixteen," issued in January 1910, was the first cylinder to appear under this new arrangement.
Though he was a popular Edison artist, a special list of 500 "slow selling" cylinders issued by the firm on September 15, 1910, which authorized dealers to charge only 20 cents apiece in order to clear out inventories, contained a higher percentage of his titles than by any other singer. Walsh suggested that most of Romain's cylinders sold well when first issued but then sold poorly as newer material came out.
Romain was exclusive to Edison for one year. He began working for Columbia in July 1912. Songs he recorded for the company include "When I Lost You" (A1288, 1913), "I Miss You Most of All" (A1454, 1914), and "You're More Than the World To Me" (A1577, 1914). Columbia literature called him a counter-tenor despite his voice being a rather deep, chesty tenor, close to the baritone range.
He does not seem to have worked with a duet partner or in ensembles though occasionally he was assisted by a mixed or male chorus.
Soon after recording engineer Victor Emerson left Columbia to start his own firm, Romain began working for the new company, producing in 1916-1917 a string of double-faced seven-inch Emerson discs. In 1917 he sang "My Own Iona" on a vertical-cut Starr record. He also worked for Rex around 1915 to 1917 and for Imperial around 1918.
After the release in 1919 of "Did You Mean All You Told Me Last Night?" on Diamond Disc 50586, he did not record for any company until 1926. In the early 1920s the Edison company released several of the masters Romain had cut in the World War I period. His last releases were three 1926 Diamond Discs.
On December 22, 1926, Manuel Romain died in a hospital in Quincy, Massachusetts, of acute anemic hemorrhage and cancer of the bladder.
https://wn.com/Manuel_Romain_When_Summer_Tells_Autumn_Good_Bye_Edison_Cylinder_9675_(1907)_Biography
Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675, issued in November 1907.
Lyrics are by Arthur J. Lamb. Music is by J. Fred Helf.
Manuel Romain was born on October 1,1872, in Cambridge, Massachusetts, according to a book by Edward Le Roy Rice titled Monarchs of Minstrelsy (Kenny Publishing Company, 1911).
Jim Walsh noted that one source identified Romain's birthplace as Boston while other sources suggest Gibraltar or Spain.
Romain spent much of his youth in the Boston area. He worked in a jewelry store for a time, then pursued a singing career.
The April 1916 issue of Edison Phonograph Monthly states that he confined himself to church and concert work until 1893. It also states, "Then he went into the minstrel field, appearing with Primrose and West, W. S. Cleveland, Primrose and Dockstader, W.H. West and Lew Dockstader's Minstrels--covering in all fifteen seasons. In 1906 he made his vaudeville debut and scored a tremendous 'hit' with some of his original compositions."
Rice reports, "In 1907 Mr. Romain entered the vaudeville field with an elaborate production entitled 'Down in Music Row,' and met with flattering success. Two years later he produced 'Before and After the Ball,' which, if possible, achieved even greater success..."
He was a composer as well as a performer. Songs written by the tenor include "I Would If I Could But I Can't," published in 1903, and, with lyricists Leighton and Leighton, "The Message of the Old Church Bell." The latter was published in 1905 by the Helf & Hager Company, owned by J. Fred Helf and Fred W. Hager. In his first few years as a record artist he cut many ballads written by Helf as well as other songs published by Helf's company.
Romain was more closely associated with Edison than any other company during his recording career. He made his debut with the two-minute cylinder "When the Blue Birds Nest Again, Sweet Nellie Gray" (9628), issued in September 1907.
The July 1907 issue of Edison Phonograph Monthly announcing its release identifies Romain as "a member of Dockstader's minstrels."
That first cylinder was followed in October by "Meet Me Sweet Kathleen in Honeysuckle Time" (9664).
His first four-minute cylinders were "Roses Bring Dreams of You" and "Belle Brandon," made available on October 1, 1908, when Edison's new four-minute Amberol cylinders were introduced to the market.
In late 1909 the first of several Victor discs was issued: "When We Listened to the Chiming of the Old Church Bell" (16363), backed by Walter Van Brunt's "When I Dream in the Gloaming of You." Romain recorded it on August 20, 1909 along with three other songs.
Following these releases, Romain signed an exclusive Edison contract.
"When You Were Sweet Sixteen," issued in January 1910, was the first cylinder to appear under this new arrangement.
Though he was a popular Edison artist, a special list of 500 "slow selling" cylinders issued by the firm on September 15, 1910, which authorized dealers to charge only 20 cents apiece in order to clear out inventories, contained a higher percentage of his titles than by any other singer. Walsh suggested that most of Romain's cylinders sold well when first issued but then sold poorly as newer material came out.
Romain was exclusive to Edison for one year. He began working for Columbia in July 1912. Songs he recorded for the company include "When I Lost You" (A1288, 1913), "I Miss You Most of All" (A1454, 1914), and "You're More Than the World To Me" (A1577, 1914). Columbia literature called him a counter-tenor despite his voice being a rather deep, chesty tenor, close to the baritone range.
He does not seem to have worked with a duet partner or in ensembles though occasionally he was assisted by a mixed or male chorus.
Soon after recording engineer Victor Emerson left Columbia to start his own firm, Romain began working for the new company, producing in 1916-1917 a string of double-faced seven-inch Emerson discs. In 1917 he sang "My Own Iona" on a vertical-cut Starr record. He also worked for Rex around 1915 to 1917 and for Imperial around 1918.
After the release in 1919 of "Did You Mean All You Told Me Last Night?" on Diamond Disc 50586, he did not record for any company until 1926. In the early 1920s the Edison company released several of the masters Romain had cut in the World War I period. His last releases were three 1926 Diamond Discs.
On December 22, 1926, Manuel Romain died in a hospital in Quincy, Massachusetts, of acute anemic hemorrhage and cancer of the bladder.
1:35
Restoring the Queen Victoria recording of 1888
- Order: Reorder
- Duration: 1:35
- Uploaded Date: 17 Mar 2017
- views: 1397427
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially being used as the medium for recording sound (mainly the human voice). ...
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially being used as the medium for recording sound (mainly the human voice). However, these early tin foil recordings were fragile and prone to tearing, and the sounds recorded on them were of poor quality and quickly wore out with repeated playing.
In the early 1880s, researchers at a laboratory established by Alexander Graham Bell perfected a process of making recordings on wax coated cardboard cylinders, which allowed the human voice, as well as musical instruments and such like, to be recorded and replayed many times and with better reproduction. The improvements were partly due to the wax medium being more effective for the storage and transmission of sound waves, but also because the recordings were cut into the wax rather than being embossed (as was the case with the tin foil recordings). Bell's invention was patented as the Graphophone . As a result of this development, tin foil was quickly abandoned as a recording medium and within a few years all phonograph cylinders were made of wax (subsequently other materials were also used).
Sydney Morse - an investor in the British arm of the Graphophone company - had royal connections and in the Autumn of 1888 gained permission to take a Graphophone machine and several blank cylinders to Balmoral Castle in Scotland to demonstrate the recording technique to Queen Victoria. This could have been a considerable publicity coup, but Morse was strongly warned against advertising the event. Details of the occasion were, however, given by Henry Edmunds, the European representative for the Graphophone company, in "Reminiscences Of A Pioneer", an article he wrote 30 years later (published in the London newspaper "The Standard" in 1919): "My Offices in Hatton Garden were thronged with persons of all grades of society, all astonished with the new Gramophone (sic). Its fame even reached the ears of Royalty and the aged Queen Victoria expressed a desire to have a demonstration at Balmoral Castle. I could not go myself but my friend and solicitor, Mr Sydney Morse, took an instrument to Scotland and had the honour of showing it to the delightful old lady. Abandoning the usual Royal reserve, Her Majesty expressed her unqualified delight; so much so that Mr Morse was emboldened to request the Queen to speak a few words into the Gramophone (sic)".
Further on in his "Reminiscences", Henry Edmunds states "Mr Morse exhibited to me a small black cylinder with a few spiral lines traced upon it, containing the record of the voice and speech of the celebrated Queen. He declared that it was his most cherished possession: and would pass it to his children as his chiefest treasure."
In 1929, the estate of Sydney Morse (who had died that year) donated several items of interest to the Science Museum, London, including a Graphophone cylinder. Sydney's son Esmond Morse stated in a letter to the museum that his father had demonstrated the Graphophone to Queen Victoria and had recorded her voice. Decades later, two of Sydney Morse's grandchildren recalled that a cylinder was occasionally played to them in the 1920s and were told at the time that the female voice they heard was that of Queen Victoria.
For many years, the Science Museum remained unaware that the Graphophone cylinder that had been donated in 1929 by the Morse family was of such enormous potential historical significance. It was the author and researcher Paul Tritton who pulled all the various aspects together and realised the importance of the Graphophone cylinder held by the Science Museum. Mr Tritton arranged for sound engineers from the National Sound Archive (now the British Library Sound Archive) to make a digital transfer of the cylinder in 1991.
Given the above, it is quite possible that what you hear coming from this Graphophone cylinder recorded back in 1888 is indeed Queen Victoria's faint voice, but the cylinder has been badly damaged in the intervening years through repeated playing using a heavy stylus that has damaged the wax, making the recorded voice it contains difficult to decipher. Moreover, the person speaking has a soft voice, which mitigates against a clear recording being able to be made in the first place.
I have attempted to make the voice in this recording clearer, using a combination of audio restoration/forensic techniques. I cannot claim to have solved the riddle of this most precious of recordings, but for what it's worth I would like to suggest - after hours of listening and re-listening to the recording - that what is said might be:-
"Britons restless for their Queen to speak, let me answer, if can be, towards the end to a wonderful gift to me I have never forgotten"
https://wn.com/Restoring_The_Queen_Victoria_Recording_Of_1888
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially being used as the medium for recording sound (mainly the human voice). However, these early tin foil recordings were fragile and prone to tearing, and the sounds recorded on them were of poor quality and quickly wore out with repeated playing.
In the early 1880s, researchers at a laboratory established by Alexander Graham Bell perfected a process of making recordings on wax coated cardboard cylinders, which allowed the human voice, as well as musical instruments and such like, to be recorded and replayed many times and with better reproduction. The improvements were partly due to the wax medium being more effective for the storage and transmission of sound waves, but also because the recordings were cut into the wax rather than being embossed (as was the case with the tin foil recordings). Bell's invention was patented as the Graphophone . As a result of this development, tin foil was quickly abandoned as a recording medium and within a few years all phonograph cylinders were made of wax (subsequently other materials were also used).
Sydney Morse - an investor in the British arm of the Graphophone company - had royal connections and in the Autumn of 1888 gained permission to take a Graphophone machine and several blank cylinders to Balmoral Castle in Scotland to demonstrate the recording technique to Queen Victoria. This could have been a considerable publicity coup, but Morse was strongly warned against advertising the event. Details of the occasion were, however, given by Henry Edmunds, the European representative for the Graphophone company, in "Reminiscences Of A Pioneer", an article he wrote 30 years later (published in the London newspaper "The Standard" in 1919): "My Offices in Hatton Garden were thronged with persons of all grades of society, all astonished with the new Gramophone (sic). Its fame even reached the ears of Royalty and the aged Queen Victoria expressed a desire to have a demonstration at Balmoral Castle. I could not go myself but my friend and solicitor, Mr Sydney Morse, took an instrument to Scotland and had the honour of showing it to the delightful old lady. Abandoning the usual Royal reserve, Her Majesty expressed her unqualified delight; so much so that Mr Morse was emboldened to request the Queen to speak a few words into the Gramophone (sic)".
Further on in his "Reminiscences", Henry Edmunds states "Mr Morse exhibited to me a small black cylinder with a few spiral lines traced upon it, containing the record of the voice and speech of the celebrated Queen. He declared that it was his most cherished possession: and would pass it to his children as his chiefest treasure."
In 1929, the estate of Sydney Morse (who had died that year) donated several items of interest to the Science Museum, London, including a Graphophone cylinder. Sydney's son Esmond Morse stated in a letter to the museum that his father had demonstrated the Graphophone to Queen Victoria and had recorded her voice. Decades later, two of Sydney Morse's grandchildren recalled that a cylinder was occasionally played to them in the 1920s and were told at the time that the female voice they heard was that of Queen Victoria.
For many years, the Science Museum remained unaware that the Graphophone cylinder that had been donated in 1929 by the Morse family was of such enormous potential historical significance. It was the author and researcher Paul Tritton who pulled all the various aspects together and realised the importance of the Graphophone cylinder held by the Science Museum. Mr Tritton arranged for sound engineers from the National Sound Archive (now the British Library Sound Archive) to make a digital transfer of the cylinder in 1991.
Given the above, it is quite possible that what you hear coming from this Graphophone cylinder recorded back in 1888 is indeed Queen Victoria's faint voice, but the cylinder has been badly damaged in the intervening years through repeated playing using a heavy stylus that has damaged the wax, making the recorded voice it contains difficult to decipher. Moreover, the person speaking has a soft voice, which mitigates against a clear recording being able to be made in the first place.
I have attempted to make the voice in this recording clearer, using a combination of audio restoration/forensic techniques. I cannot claim to have solved the riddle of this most precious of recordings, but for what it's worth I would like to suggest - after hours of listening and re-listening to the recording - that what is said might be:-
"Britons restless for their Queen to speak, let me answer, if can be, towards the end to a wonderful gift to me I have never forgotten"
- published: 17 Mar 2017
- views: 1397427
2:09
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
- Order: Reorder
- Duration: 2:09
- Uploaded Date: 21 Jan 2019
- views: 162
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994, issued in 1905.
Composer is T. Brigham Bishop
The four quartet memb...
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994, issued in 1905.
Composer is T. Brigham Bishop
The four quartet members here are John Bieling, Harry Macdonough, S. H. Dudley, and William F. Hooley.
The Edison Male Quartette was formed in the mid-1890s. It later used the name Haydn Quartet for other companies but continued to record for Edison's National Phonograph Company as the Edison Male Quartette.
Jim Walsh states in the October 1962 issue of Hobbies that original members were Roger Harding, James K. Reynard, S. H. Dudley, and William F. Hooley. Jere Mahoney replaced Reynard, and after Mahoney contracted inflammatory rheumatism in 1899, he was replaced by Harry Macdonough.
From about 1900 to 1908, records feature John Bieling (first tenor), Macdonough (second tenor), Dudley (baritone), and Hooley (bass).
The ensemble cut dozens of titles, mostly sentimental numbers, often without accompaniment. Representative titles on two-minute Standard cylinders are "My Old Kentucky Home" (2223), issued in 1898, and "Since Nellie Went Away" (9408), issued in November 1906.
The highest-numbered Edison Quartet cylinder features "Nancy Lee" (9816), issued in April 1908, though in September a new take of "The Old Oaken Bucket" (2216) was made available, and according to Edison Phonograph Monthly, it was "made over by the same talent."
After this, the quartet made records only for Victor as the Haydn Quartet, and the Edison company for the rest of 1908 relied upon the Knickerbocker Quartet for quartet records. The Peerless and Premier Quartets soon afterward recorded for the company.
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
https://wn.com/Edison_Quartet_Leaf_By_Leaf_The_Roses_Fall_Edison_Cylinder_8994_(1905)_Composer_T._Brigham_Bishop
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994, issued in 1905.
Composer is T. Brigham Bishop
The four quartet members here are John Bieling, Harry Macdonough, S. H. Dudley, and William F. Hooley.
The Edison Male Quartette was formed in the mid-1890s. It later used the name Haydn Quartet for other companies but continued to record for Edison's National Phonograph Company as the Edison Male Quartette.
Jim Walsh states in the October 1962 issue of Hobbies that original members were Roger Harding, James K. Reynard, S. H. Dudley, and William F. Hooley. Jere Mahoney replaced Reynard, and after Mahoney contracted inflammatory rheumatism in 1899, he was replaced by Harry Macdonough.
From about 1900 to 1908, records feature John Bieling (first tenor), Macdonough (second tenor), Dudley (baritone), and Hooley (bass).
The ensemble cut dozens of titles, mostly sentimental numbers, often without accompaniment. Representative titles on two-minute Standard cylinders are "My Old Kentucky Home" (2223), issued in 1898, and "Since Nellie Went Away" (9408), issued in November 1906.
The highest-numbered Edison Quartet cylinder features "Nancy Lee" (9816), issued in April 1908, though in September a new take of "The Old Oaken Bucket" (2216) was made available, and according to Edison Phonograph Monthly, it was "made over by the same talent."
After this, the quartet made records only for Victor as the Haydn Quartet, and the Edison company for the rest of 1908 relied upon the Knickerbocker Quartet for quartet records. The Peerless and Premier Quartets soon afterward recorded for the company.
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
- published: 21 Jan 2019
- views: 162
2:10
Byron G. Harlan "Can't You See" Edison Standard Record 10347 (1910)
- Order: Reorder
- Duration: 2:10
- Uploaded Date: 06 Feb 2015
- views: 478
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. Words are by Alfred Bryan (1871-1958). Music is by Albert Gumble (1883...
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. Words are by Alfred Bryan (1871-1958). Music is by Albert Gumble (1883-1946).
Byron G. Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
https://wn.com/Byron_G._Harlan_Can't_You_See_Edison_Standard_Record_10347_(1910)
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. Words are by Alfred Bryan (1871-1958). Music is by Albert Gumble (1883-1946).
Byron G. Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
- published: 06 Feb 2015
- views: 478
2:15
Byron G. Harlan "Keep On The Sunny Side" Edison cylinder 9271 (1906)
- Order: Reorder
- Duration: 2:15
- Uploaded Date: 28 Dec 2014
- views: 2457
Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorded in 1906.
Words are by Jack Drislane. Music is by Theodore F. Mors...
Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorded in 1906.
Words are by Jack Drislane. Music is by Theodore F. Morse (1873-1924).
This is not the song covered by the Carter Family.
Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
https://wn.com/Byron_G._Harlan_Keep_On_The_Sunny_Side_Edison_Cylinder_9271_(1906)
Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorded in 1906.
Words are by Jack Drislane. Music is by Theodore F. Morse (1873-1924).
This is not the song covered by the Carter Family.
Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
- published: 28 Dec 2014
- views: 2457
2:14
Manuel Romain "When Summer Tells Autumn Good-Bye" Edison cylinder 9675 (1907) BIOGRAPHY
Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675...
published: 18 Feb 2017
Manuel Romain "When Summer Tells Autumn Good-Bye" Edison cylinder 9675 (1907) BIOGRAPHY
Manuel Romain "When Summer Tells Autumn Good-Bye" Edison cylinder 9675 (1907) BIOGRAPHY
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- published: 18 Feb 2017
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Manuel Romain sings "When Summer Tells Autumn Good-Bye" on Edison Gold Moulded Record 9675, issued in November 1907.
Lyrics are by Arthur J. Lamb. Music is by J. Fred Helf.
Manuel Romain was born on October 1,1872, in Cambridge, Massachusetts, according to a book by Edward Le Roy Rice titled Monarchs of Minstrelsy (Kenny Publishing Company, 1911).
Jim Walsh noted that one source identified Romain's birthplace as Boston while other sources suggest Gibraltar or Spain.
Romain spent much of his youth in the Boston area. He worked in a jewelry store for a time, then pursued a singing career.
The April 1916 issue of Edison Phonograph Monthly states that he confined himself to church and concert work until 1893. It also states, "Then he went into the minstrel field, appearing with Primrose and West, W. S. Cleveland, Primrose and Dockstader, W.H. West and Lew Dockstader's Minstrels--covering in all fifteen seasons. In 1906 he made his vaudeville debut and scored a tremendous 'hit' with some of his original compositions."
Rice reports, "In 1907 Mr. Romain entered the vaudeville field with an elaborate production entitled 'Down in Music Row,' and met with flattering success. Two years later he produced 'Before and After the Ball,' which, if possible, achieved even greater success..."
He was a composer as well as a performer. Songs written by the tenor include "I Would If I Could But I Can't," published in 1903, and, with lyricists Leighton and Leighton, "The Message of the Old Church Bell." The latter was published in 1905 by the Helf & Hager Company, owned by J. Fred Helf and Fred W. Hager. In his first few years as a record artist he cut many ballads written by Helf as well as other songs published by Helf's company.
Romain was more closely associated with Edison than any other company during his recording career. He made his debut with the two-minute cylinder "When the Blue Birds Nest Again, Sweet Nellie Gray" (9628), issued in September 1907.
The July 1907 issue of Edison Phonograph Monthly announcing its release identifies Romain as "a member of Dockstader's minstrels."
That first cylinder was followed in October by "Meet Me Sweet Kathleen in Honeysuckle Time" (9664).
His first four-minute cylinders were "Roses Bring Dreams of You" and "Belle Brandon," made available on October 1, 1908, when Edison's new four-minute Amberol cylinders were introduced to the market.
In late 1909 the first of several Victor discs was issued: "When We Listened to the Chiming of the Old Church Bell" (16363), backed by Walter Van Brunt's "When I Dream in the Gloaming of You." Romain recorded it on August 20, 1909 along with three other songs.
Following these releases, Romain signed an exclusive Edison contract.
"When You Were Sweet Sixteen," issued in January 1910, was the first cylinder to appear under this new arrangement.
Though he was a popular Edison artist, a special list of 500 "slow selling" cylinders issued by the firm on September 15, 1910, which authorized dealers to charge only 20 cents apiece in order to clear out inventories, contained a higher percentage of his titles than by any other singer. Walsh suggested that most of Romain's cylinders sold well when first issued but then sold poorly as newer material came out.
Romain was exclusive to Edison for one year. He began working for Columbia in July 1912. Songs he recorded for the company include "When I Lost You" (A1288, 1913), "I Miss You Most of All" (A1454, 1914), and "You're More Than the World To Me" (A1577, 1914). Columbia literature called him a counter-tenor despite his voice being a rather deep, chesty tenor, close to the baritone range.
He does not seem to have worked with a duet partner or in ensembles though occasionally he was assisted by a mixed or male chorus.
Soon after recording engineer Victor Emerson left Columbia to start his own firm, Romain began working for the new company, producing in 1916-1917 a string of double-faced seven-inch Emerson discs. In 1917 he sang "My Own Iona" on a vertical-cut Starr record. He also worked for Rex around 1915 to 1917 and for Imperial around 1918.
After the release in 1919 of "Did You Mean All You Told Me Last Night?" on Diamond Disc 50586, he did not record for any company until 1926. In the early 1920s the Edison company released several of the masters Romain had cut in the World War I period. His last releases were three 1926 Diamond Discs.
On December 22, 1926, Manuel Romain died in a hospital in Quincy, Massachusetts, of acute anemic hemorrhage and cancer of the bladder.
1:35
Restoring the Queen Victoria recording of 1888
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially b...
published: 17 Mar 2017
Restoring the Queen Victoria recording of 1888
Restoring the Queen Victoria recording of 1888
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- published: 17 Mar 2017
- views: 1397427
As is well known, Thomas Edison invented the phonograph in 1877, with tin foil initially being used as the medium for recording sound (mainly the human voice). However, these early tin foil recordings were fragile and prone to tearing, and the sounds recorded on them were of poor quality and quickly wore out with repeated playing.
In the early 1880s, researchers at a laboratory established by Alexander Graham Bell perfected a process of making recordings on wax coated cardboard cylinders, which allowed the human voice, as well as musical instruments and such like, to be recorded and replayed many times and with better reproduction. The improvements were partly due to the wax medium being more effective for the storage and transmission of sound waves, but also because the recordings were cut into the wax rather than being embossed (as was the case with the tin foil recordings). Bell's invention was patented as the Graphophone . As a result of this development, tin foil was quickly abandoned as a recording medium and within a few years all phonograph cylinders were made of wax (subsequently other materials were also used).
Sydney Morse - an investor in the British arm of the Graphophone company - had royal connections and in the Autumn of 1888 gained permission to take a Graphophone machine and several blank cylinders to Balmoral Castle in Scotland to demonstrate the recording technique to Queen Victoria. This could have been a considerable publicity coup, but Morse was strongly warned against advertising the event. Details of the occasion were, however, given by Henry Edmunds, the European representative for the Graphophone company, in "Reminiscences Of A Pioneer", an article he wrote 30 years later (published in the London newspaper "The Standard" in 1919): "My Offices in Hatton Garden were thronged with persons of all grades of society, all astonished with the new Gramophone (sic). Its fame even reached the ears of Royalty and the aged Queen Victoria expressed a desire to have a demonstration at Balmoral Castle. I could not go myself but my friend and solicitor, Mr Sydney Morse, took an instrument to Scotland and had the honour of showing it to the delightful old lady. Abandoning the usual Royal reserve, Her Majesty expressed her unqualified delight; so much so that Mr Morse was emboldened to request the Queen to speak a few words into the Gramophone (sic)".
Further on in his "Reminiscences", Henry Edmunds states "Mr Morse exhibited to me a small black cylinder with a few spiral lines traced upon it, containing the record of the voice and speech of the celebrated Queen. He declared that it was his most cherished possession: and would pass it to his children as his chiefest treasure."
In 1929, the estate of Sydney Morse (who had died that year) donated several items of interest to the Science Museum, London, including a Graphophone cylinder. Sydney's son Esmond Morse stated in a letter to the museum that his father had demonstrated the Graphophone to Queen Victoria and had recorded her voice. Decades later, two of Sydney Morse's grandchildren recalled that a cylinder was occasionally played to them in the 1920s and were told at the time that the female voice they heard was that of Queen Victoria.
For many years, the Science Museum remained unaware that the Graphophone cylinder that had been donated in 1929 by the Morse family was of such enormous potential historical significance. It was the author and researcher Paul Tritton who pulled all the various aspects together and realised the importance of the Graphophone cylinder held by the Science Museum. Mr Tritton arranged for sound engineers from the National Sound Archive (now the British Library Sound Archive) to make a digital transfer of the cylinder in 1991.
Given the above, it is quite possible that what you hear coming from this Graphophone cylinder recorded back in 1888 is indeed Queen Victoria's faint voice, but the cylinder has been badly damaged in the intervening years through repeated playing using a heavy stylus that has damaged the wax, making the recorded voice it contains difficult to decipher. Moreover, the person speaking has a soft voice, which mitigates against a clear recording being able to be made in the first place.
I have attempted to make the voice in this recording clearer, using a combination of audio restoration/forensic techniques. I cannot claim to have solved the riddle of this most precious of recordings, but for what it's worth I would like to suggest - after hours of listening and re-listening to the recording - that what is said might be:-
"Britons restless for their Queen to speak, let me answer, if can be, towards the end to a wonderful gift to me I have never forgotten"
2:09
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994,...
published: 21 Jan 2019
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
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- published: 21 Jan 2019
- views: 162
The Edison Quartet sings "Leaf By Leaf The Roses Fall" on Edison Gold Moulded Record 8994, issued in 1905.
Composer is T. Brigham Bishop
The four quartet members here are John Bieling, Harry Macdonough, S. H. Dudley, and William F. Hooley.
The Edison Male Quartette was formed in the mid-1890s. It later used the name Haydn Quartet for other companies but continued to record for Edison's National Phonograph Company as the Edison Male Quartette.
Jim Walsh states in the October 1962 issue of Hobbies that original members were Roger Harding, James K. Reynard, S. H. Dudley, and William F. Hooley. Jere Mahoney replaced Reynard, and after Mahoney contracted inflammatory rheumatism in 1899, he was replaced by Harry Macdonough.
From about 1900 to 1908, records feature John Bieling (first tenor), Macdonough (second tenor), Dudley (baritone), and Hooley (bass).
The ensemble cut dozens of titles, mostly sentimental numbers, often without accompaniment. Representative titles on two-minute Standard cylinders are "My Old Kentucky Home" (2223), issued in 1898, and "Since Nellie Went Away" (9408), issued in November 1906.
The highest-numbered Edison Quartet cylinder features "Nancy Lee" (9816), issued in April 1908, though in September a new take of "The Old Oaken Bucket" (2216) was made available, and according to Edison Phonograph Monthly, it was "made over by the same talent."
After this, the quartet made records only for Victor as the Haydn Quartet, and the Edison company for the rest of 1908 relied upon the Knickerbocker Quartet for quartet records. The Peerless and Premier Quartets soon afterward recorded for the company.
Edison Quartet "Leaf By Leaf The Roses Fall" Edison cylinder 8994 (1905) Composer T. Brigham Bishop
2:10
Byron G. Harlan "Can't You See" Edison Standard Record 10347 (1910)
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. W...
published: 06 Feb 2015
Byron G. Harlan "Can't You See" Edison Standard Record 10347 (1910)
Byron G. Harlan "Can't You See" Edison Standard Record 10347 (1910)
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- published: 06 Feb 2015
- views: 478
Byron G. Harlan sings "Can't You See?" on Edison Standard Record 10347, issued in 1910. Words are by Alfred Bryan (1871-1958). Music is by Albert Gumble (1883-1946).
Byron G. Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
2:15
Byron G. Harlan "Keep On The Sunny Side" Edison cylinder 9271 (1906)
Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorde...
published: 28 Dec 2014
Byron G. Harlan "Keep On The Sunny Side" Edison cylinder 9271 (1906)
Byron G. Harlan "Keep On The Sunny Side" Edison cylinder 9271 (1906)
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Byron G. Harlan sings "Keep On The Sunny Side" on Edison Gold Moulded Record 9271, recorded in 1906.
Words are by Jack Drislane. Music is by Theodore F. Morse (1873-1924).
This is not the song covered by the Carter Family.
Harlan was born on August 29, 1861. The tenor became known as half of a popular duo, but Harlan made many records without Arthur Collins. Harlan specialized in sentimental ballads and rube numbers.
He was born in Kansas as George Byron Harlan. An Edison catalog states that his birthplace was Lynn, Kansas, but Harlan's widow reported that the singer was born in Paris, Kansas. His father, George Winchester Harlan, moved the family to Sioux City, Iowa, to begin a brick business, then moved the family to Canton, South Dakota, where he operated an overland stage.
The young Byron G. Harlan joined touring companies. Walsh writes in the March 1965 issue of Hobbies, "He got his first chance in...show business when Gus Brigham, a traveler for 'the Yanes Piano House,' heard him singing while he was working as a hotel clerk in South Dakota, and told the manager of the Hess Opera Company about him. Harlan became a member of the Newton Beers' 'Lost In London' company, then was with Hoyt's 'A Texas Steer' for three and one-half years..."
At age 24 "he went to Chicago and studied music...After gaining valuable theatrical experience by his appearances in opera, he accepted a part with Otis Harlan in A Texas Steer. Later he became a producer and had a company of his own. His singing of 'coon' and 'rag' songs gained him much renown and when the phonograph came into general use he became an Edison artist."
Harlan formed his own "Lost In London" theatrical company and by 1899 reached Orange, New Jersey. Walter Miller, Edison's recording director, invited Harlan to make cylinders. Harlan's first record may be "Please, Mr. Conductor, Don't Put Me Off The Train," issued as Edison 7219 in the autumn of 1899. From the beginning he was associated with sentimental numbers.
Harlan settled in Orange for the rest of his life and was a personal friend of Thomas A. Edison. Walsh writes in "The Funny Side of the Phonograph World" published in the May 1952 issue of American Record Guide, "When Byron was married, the inventor gave him the then latest model Edison cylinder phonograph as a wedding present, and when Mr. and Mrs. Harlan's daughter was graduated from high school, he presented her with an Official Model Diamond Disc instrument."
Harlan made no Berliners. He made early Columbia discs though discs with low catalog numbers usually featured other singers on initial pressings, Harlan being issued on later pressings. Victor discs followed a session on October 31, 1902. On this date he worked as a solo artist but also was teamed with Arthur Collins, perhaps for the first time (in the previous year, Collins cut duets with tenor Joe Natus). Collins and Harlan recorded five titles during that Victor session.
Around 1902, Harlan recorded ten Edison selections with whistler Joe Belmont. From 1901 to 1909 he made 50 Edison recordings with fellow Orange resident Frank C. Stanley.
The two recorded for other companies,
He was paired often with Steve Porter in rube sketches. His earliest regular partner was bass A.D. Madeira. An Edison ensemble called the Big Four Quartet combined the duo Harlan and Madeira with the duo Collins and Natus, and from this sprang eventually the team of Collins and Harlan.
He probably cut more material for Leeds & Catlin in 1905 than any other artist.
He was especially successful with "child" ballads, or songs with lyrics featuring a child's point of view. The February 1907 issue of Edison Phonograph Monthly states, "Mr. Harlan occupies an almost unique position in the talking machine world as a singer of these songs."
A popular rube song is "They Gotta Quit Kickin' My Dawg Aroun'."
It was among the first records he made after recovering from a serious illness in 1911 (Collins worked with Albert Campbell until Harlan was well again). The January 1912 issue of Edison Phonograph Monthly, announcing the March release of "I Want To Be Down Home In Dixie" performed by Collins and Harlan on Amberol 948, states, "Mr. Harlan is just getting around again after his long illness, and his voice sounds fresher and more pleasing than ever."
In the 1910s Harlan as solo artist recorded fewer sentimental numbers. Songs with child or "kid" themes remained fashionable for female singers such as Irene Franklin and Frances White but not for male singers. Companies increasingly relied upon Will Oakland and Manuel Romain for sentimental material. Harlan as a solo artist performed mostly as a rube singer, sometimes using the name Cyrus Pippins.
Other pseudonyms include Deacon Treadway (for Pathé), Bert Terry, Byron Holland, Chester Lincoln, and Cy Stebbins.
He died on September 11, 1936.
Harud
Harud (also known as Autumn) is Aamir Bashir's directorial debut. It premiered at the 2010 Toronto International Film Festival. The film stars Reza Naji and Shahnawaz Bhat and takes place in Kashmir.
External links
Harud at the Internet Movie Database
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Harud
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