Here's the list. Visually graded, although I played these all, no skips. All these are in good shape and V+ at worst unless noted. Not necessarily all discs are pictured. I do know how to properly ship 78s--check my feedback. . All have tape on labels. It does not come off easily unless it is just masking tape
1.  DECCA 3330 Guy LOmbardo V+ 2. DECCA 2578 Paul Whiteman V+ ec dnap 3. DECCA 118 Dorsey Brothers V+ 4. 860 Jan Garber V+ 5. DECCA 693 Jan Garber V+ 6. Brunswick 7800 Jan Garber V+ 7. Brunswick 7702 Teddy Wilson V+ 8. Cadillac 127 Three Chicks allan hayes V+ 9. Melotone Vincent Lopez V+ 10. Columbia 37209 Gene Krupa V+ 11. BLUEBIRD 6943 Teddy Hill V+ 12. 6261 Brunswick Guy LOmbardo V


Shipping: $8

78 rpm materials

The earliest disc records (1889–1894) were made of variety of materials including hard . Around 1895, a -based material was introduced and became standard. Formulas for the mixture varied by manufacturer over time, but it was typically about one-third shellac and two-thirds mineral filler (finely pulverized or ), with cotton fibers to add tensile strength, carbon black for color (without which it tended to be an unattractive "dirty" gray or brown color), and a very small amount of a lubricant to facilitate release from the manufacturing press. Columbia Records used a laminated disc with a core of coarser material or fiber.

The production of shellac records continued throughout the 78 rpm era which lasted until the 1950s in industrialized nations, but well into the 1960s in others. Less abrasive formulations were developed during its waning years and very late examples in like-new condition can have noise levels as low as vinyl.[]

Flexible, "unbreakable" alternatives to shellac were introduced by several manufacturers during the 78 rpm era. Beginning in 1904, Nicole Records of the UK coated or a similar substance onto a cardboard core disc for a few years, but they were noisy. In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in 1907, but their longevity and relatively quiet surfaces depended on the use of special gold-plated Marconi Needles and the product was not successful. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around 1930 but not for long. The contemporary French Cellodiscs, made of a very thin black plastic resembling the vinyl "sound sheet" magazine inserts of the 1965–1985 era, were similarly short-lived. In the US, were introduced in early 1930. They were made of a patented translucent plastic called coated on a heavy brown paper base. A new issue debuted weekly, sold at newsstands like a magazine. Although inexpensive and commercially successful at first, they fell victim to the and US production ended in 1932. Durium records continued to be made in the UK and as late as 1950 in Italy, where the name "Durium" survived into the era as a brand of vinyl records. Despite these innovations, shellac continued to be used for the overwhelming majority of commercial 78 rpm records throughout the format's lifetime.

In 1931, RCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records. One was a 16-inch, ​33 1⁄3 rpm record used by the sound-on-disc movie system. In 1932, RCA began using Victrolac in a home recording system. By the end of the 1930s vinyl's light weight, strength, and low had made it the preferred material for prerecorded radio programming and other critical applications. For ordinary 78 rpm records, however, the much higher cost of the synthetic plastic, as well as its vulnerability to the heavy pickups and mass-produced steel needles used in home record players, made its general substitution for shellac impractical at that time.

During the Second World War, the United States Armed Forces produced thousands of 12-inch vinyl 78 rpm for use by the troops overseas. After the war, the use of vinyl became more practical as new record players with lightweight crystal pickups and precision-ground styli made of or an exotic alloy proliferated. In late 1945, RCA Victor began offering "De Luxe" transparent red vinyl pressings of some classical 78s, at a de luxe price. Later, introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.

78 rpm disc sizes

After moving to , Hill had early gigs with the , and 's orchestra in the 1920s, later forming his own band in 1934, which found steady work over the NBC radio network. Over several years it featured such major young musicians as , , and . Hill's band played at the regularly, and toured England and France in the summer of 1937. After leaving the band business, Hill began to manage in 1940, which became a hub for the style, featuring such major musicians as and . Hill left Minton's in 1969, long after its musical significance had declined; he then became the manager of Baron's Lounge.

Recording career In 1935, he recorded a four-song session for (Banner, Conqueror, Melotone, Oriole, Perfect, Romeo). In 1936, he recorded two sessions (four tunes) for . He signed with in 1937 and recorded 18 songs over three sessions.

Vincent Lopez was born of Portuguese immigrant parents in , New York City, United States, and was leading his own dance band in New York City by 1916. On November 27, 1921, his band began broadcasting on the new medium of entertainment radio; the band's weekly 90-minute show on the Newark, New Jersey, station boosted the popularity of both himself and of radio. He became one of America's most popular bandleaders, and would retain that status through the 1940s.

He began his radio programs by announcing "Hello everybody, Lopez speaking!" His theme song was "Nola", 's novelty ragtime piece of 1915, and Lopez became so identified with it that he occasionally satirized it. (His 1939 movie short for , Vincent Lopez and his Orchestra, features the entire band singing "Down with Nola".)

Lopez worked occasionally in feature films, notably (1932) and as a live-action feature in the cartoon I Don't Want to Make History (1936). In 1940, he was one of the first bandleaders to work in movie musicals. He made additional Soundies in 1944.

Noted musicians who played in his band included , , , , , , and . He also featured singers , , and . Lopez's longtime drummer was the irreverent Mike Riley, who popularized the novelty hit "The Music Goes Round and Round".

Lopez's flamboyant style of piano playing influenced such later musicians as and .

In 1941, Lopez's Orchestra began a residency at the in that would last 25 years.

In the early 1950s, Lopez along with hosted a broadcast from the Taft Hotel called Shake the Maracas in which audience members competed for small prizes by playing with the orchestra.

Vincent Lopez died at the Villa Maria nursing home in , Florida, on September 20, 1975.

Wilson was born in , United States. He studied piano and violin at in . After working in 's band, with , and also understudying in Hines's Orchestra, Wilson joined 's in 1933. In 1935, he joined the Trio (which consisted of Goodman, Wilson and drummer , later expanded to the Benny Goodman Quartet with the addition of ). The trio performed during the 's intermissions. By joining the trio, Wilson became one of the first black musicians to perform prominently in a racially integrated group.

Jazz producer and writer was instrumental in getting Wilson a contract with , starting in 1935, to record hot swing arrangements of the popular songs of the day, with the growing jukebox trade in mind. He recorded hit records with singers such as , and . During these years, he also took part in many sessions with musicians such as , , , , , and . From 1936 to 1942, he recorded for Brunswick Records and . In the 1950s he recorded on .

Wilson formed his own short-lived big band in 1939, then led a sextet at from 1940 to 1944. He was dubbed the "Marxist Mozart" by due to his support for left-wing causes: he performed in benefit concerts for journal and for , and he chaired the Artists' Committee to elect (a New York City council member running on the ballot line). In the 1950s, Wilson taught at the . Wilson can be seen appearing as himself in the motion pictures (1937) and (1955). He also worked as music director for the .

Wilson lived quietly in suburban . He was married three times, including to the songwriter . He performed as a soloist and with pick-up groups until the final years of his life, including leading a trio with his sons Theodore Wilson on bass and Steven Wilson on drums.

In 1979, Wilson was awarded an Honorary Doctorate of Music from .

Wilson died of stomach cancer in , on July 31, 1986 aged 73. He is buried at Fairview Cemetery in New Britain. In addition to Theodore and Steven, Wilson had three more children, William, James (Jim) and Dune.

Garber was born in , . He had his own band by the time he was 21. He became known as "The Idol of the Air Lanes" in his heyday of the 1920s and 1930s, playing jazz in the vein of contemporaries such as . Garber played violin with the after and formed the Garber-Davis Orchestra with pianist Milton Davis from 1921 to 1924. After parting with Davis, he formed his own orchestra, playing both "sweet" and "hot" 1920s dance music. He was hit hard by the , and in the 1930s he refashioned his ensemble into a and recorded a string of successful records for . During , Garber began playing , a rather unexpected turn; his arranger during this time was Gray Rains and his vocalist was . The recording restrictions in America during the war eventually made his ensemble unfeasible, and he returned to "sweet" music after the war, continuing to lead ensembles until 1971. His last show was in Houston. Garber died in , in 1977.

He started his first band, a quartet, in 1918, and played violin in it. During the 1920s he formed the Garber-Davis Orchestra in Atlanta with pianist Milton Davis, playing mostly in the southern U.S. In 1927 he moved the band to Chicago and met Canadian bandleader and saxophonist Freddie Large. He took over Large's band, playing violin as leader, and played in Chicago and the midwest. While performing at the he received national attention when the shows were broadcast live over radio. An announcer called Garber "The Idol of the Air Lanes".

He signed with and toured on the West Coast of the U.S., playing . In 1942, he departed from Guy Lombardo–type music and began a swing band, but after three years the band was an expensive failure and he retired for a short time. When he returned to music, he played again with Large and with Larry Owen, who had written arrangements for Lombardo. In the 1950s, he and his wife Dorothy moved to Shreveport, Louisiana, where she was born. His band was voted No. 1 Dance Band in 1959 by the Ballroom Operators of America. He retired in his seventies and died in a hospital in Shreveport on October 5, 1977.

His sidemen included , Al Powers, Benny Davis, Bill Hearn, Bill Kleeb, Bill Oblak, Charlie Ford, Don Korinek, Don Shoup, Doug Roe, Ernie Mathias, Frank Bettencourt, Frank MacCauley, Freddie Large, Fritz Heilbron, Harold Peppie, Harry Goldfield, Jack Barrow, Jack Motch, Jerry Large, Joe Rhodes, Lew Palmer, Memo Bernabei, Norman Donahue, Paul Weirick, Rudy Rudisill, Russ Brown, Ted Bowman, Tony Briglia, Vince