Here's the list.  I do know how to properly ship 78s--check my feedback.
1. TELEFUNKEN 2785 Rosita Serrano E- / E-
2. TELEFUNKEN 2187 ALFRED bortz Peter Kreuder
3. Eric Bernay's Music Room Brigadas Internationales Die Thalmannkolonie Ernst Busch--as I understand it, these are spanish communist records put out in 1937. E/ E 4. TELEFUNKEN 1333 Barnabas von Geczy mit orchetser E / E 5. Eric Bernay's Music room Los Cuantro Generales / Lied der Einheitsfront--this song is pretty famous, see link below. An anti-Nazi anthem from 1937


Shipping: $8


WIKIPEDIA:

The , patented by in 1857, used a vibrating and stylus to graphically record sound waves as tracings on sheets of paper, purely for visual analysis and without any intent of playing them back. In the 2000s, these tracings were first scanned by and digitally converted into audible sound. of singing and speech made by Scott in 1860 were played back as sound for the first time in 2008. Along with a tone and unintelligible snippets recorded as early as 1857, these are the earliest known recordings of sound.

In 1877, invented the . Unlike the phonautograph, it could both record and reproduce sound. Despite the similarity of name, there is no documentary evidence that Edison's phonograph was based on Scott's phonautograph. Edison first tried recording sound on a wax-impregnated paper tape, with the idea of creating a " repeater" analogous to the repeater he had been working on. Although the visible results made him confident that sound could be physically recorded and reproduced, his notes do not indicate that he actually reproduced sound before his first experiment in which he used as a recording medium several months later. The tinfoil was wrapped around a grooved metal cylinder and a sound-vibrated stylus indented the tinfoil while the cylinder was rotated. The recording could be played back immediately. The article that introduced the tinfoil phonograph to the public mentioned Marey, Rosapelly and Barlow as well as Scott as creators of devices for recording but, importantly, not reproducing sound. Edison also invented variations of the phonograph that used tape and disc formats.[] Numerous applications for the phonograph were envisioned, but although it enjoyed a brief vogue as a startling novelty at public demonstrations, the tinfoil phonograph proved too crude to be put to any practical use. A decade later, Edison developed a greatly improved phonograph that used a hollow wax cylinder instead of a foil sheet. This proved to be both a better-sounding and far more useful and durable device. The wax created the recorded sound market at the end of the 1880s and dominated it through the early years of the 20th century.

with disc record gramophone

Lateral-cut disc records were developed in the United States by (although Thomas Edison's original patent included flat disks), who named his system the "gramophone", distinguishing it from Edison's wax cylinder "phonograph" and 's wax cylinder "". Berliner's earliest discs, first marketed in 1889, only in Europe, were 12.5 cm (approx 5 inches) in diameter, and were played with a small hand-propelled machine. Both the records and the machine were adequate only for use as a toy or curiosity, due to the limited sound quality. In the United States in 1894, under the trademark, Berliner started marketing records of 7 inches diameter with somewhat more substantial entertainment value, along with somewhat more substantial gramophones to play them. Berliner's records had poor sound quality compared to wax cylinders, but his manufacturing associate eventually improved it. Abandoning Berliner's "Gramophone" trademark for legal reasons, in 1901 Johnson's and Berliner's separate companies reorganized to form the in , whose products would come to dominate the market for many years. Emile Berliner moved his company to Montreal in 1900. The factory, which became the Canadian branch of , still exists. There is a dedicated museum in Montreal for Berliner (Musée des ondes Emile Berliner).

In 1901, 10-inch disc records were introduced, followed in 1903 by 12-inch records. These could play for more than three and four minutes, respectively, whereas contemporary cylinders could only play for about two minutes. In an attempt to head off the disc advantage, Edison introduced the Amberol cylinder in 1909, with a maximum playing time of ​4 1⁄2 minutes (at 160 rpm), which in turn were superseded by , which had a playing surface made of , a plastic, which was far less fragile. Despite these improvements, during the 1910s discs decisively won this early , although Edison continued to produce new Blue Amberol cylinders for an ever-dwindling customer base until late in 1929. By 1919, the basic patents for the manufacture of lateral-cut disc records had expired, opening the field for countless companies to produce them. Analog disc records dominated the home entertainment market until they were outsold by digital in the 1980s, which were in turn supplanted by distributed via and .

78 rpm disc developments Hungarian record, 90 to 100 rpm Early speeds

Early disc recordings were produced in a variety of speeds ranging from 60 to 130 rpm, and a variety of sizes. As early as 1894, 's United States was selling single-sided 7-inch discs with an advertised standard speed of "about 70 rpm".

One standard audio recording handbook describes speed regulators, or , as being part of a wave of improvement introduced rapidly after 1897. A picture of a hand-cranked 1898 Berliner Gramophone shows a governor. It says that spring drives replaced hand drives. It notes that:

The speed regulator was furnished with an indicator that showed the speed when the machine was running so that the records, on reproduction, could be revolved at exactly the same speed...The literature does not disclose why 78 rpm was chosen for the phonograph industry, apparently this just happened to be the speed created by one of the early machines and, for no other reason continued to be used.

A multinational product: an operatic duet sung by and , recorded in the US in 1906 by the , manufactured c. 1908 in Hanover, Germany, for the , Victor's affiliate in England

By 1925, the speed of the record was becoming standardized at a value of 78 rpm. However, the standard differed between places with electricity supply at 60 (cycles per second, Hz) and those at 50 Hz. Where the mains supply was 60 Hz, the actual speed was 78.26 rpm: that of a 60 Hz illuminating 92-bar calibration markings. Where it was 50 Hz, it was 77.92 rpm: that of a 50 Hz stroboscope illuminating 77-bar calibration markings.

Acoustic recording

Early recordings were made entirely acoustically, the sound being collected by a horn and piped to a , which vibrated the cutting stylus. Sensitivity and frequency range were poor, and frequency response was very irregular, giving acoustic recordings an instantly recognizable tonal quality. A singer almost had to put his or her face in the recording horn. A way of reducing resonance was to wrap the recording horn with tape.

Lower-pitched orchestral instruments such as and were often doubled (or replaced) by louder instruments, such as . Standard in orchestral ensembles were commonly replaced by , which became popular with recording studios.

Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings. The loudest instruments such as the drums and trumpets were positioned the farthest away from the collecting horn. , a member of , which recorded at in 1923, remembered that at first Oliver and his young second trumpet, , stood next to each other and Oliver's horn could not be heard. "They put Louis about fifteen feet over in the corner, looking all sad."

Electrical recording An electronically recorded disc from AG, Germany, c. 1930

During the first half of the 1920s, engineers at , as well as independent inventors such as , developed technology for capturing sound with a , amplifying it with , then using the amplified signal to drive an electromechanical recording head. Western Electric's innovations resulted in a broader and smoother frequency response, which produced a dramatically fuller, clearer and more natural-sounding recording. Soft or distant sounds that were previously impossible to record could now be captured. Volume was now limited only by the groove spacing on the record and the amplification of the playback device. Victor and Columbia licensed the new system from Western Electric and began recording discs during the Spring of 1925. The first electrically recorded record was 's "Impromptus" and 's "Litanei" performed by for Victor in .

A 1926 ad in offers records "by the latest Victor process of electrical recording". It was recognized as a breakthrough; in 1930, a Times music critic stated:

... the time has come for serious musical criticism to take account of performances of great music reproduced by means of the records. To claim that the records have succeeded in exact and complete reproduction of all details of symphonic or operatic performances ... would be extravagant ... [but] the article of today is so far in advance of the old machines as hardly to admit classification under the same name. Electrical recording and reproduction have combined to retain vitality and color in recitals by proxy.

Examples of Congolese 78 rpm records A 10-inch Decelith blank for making an individually cut one-off recording. A German product introduced in 1937, these flexible all-plastic discs were a European alternative to rigid-based .

Electrically amplified record players were initially expensive and slow to be adopted. In 1925, the Victor company introduced both the , an acoustical record player that was designed to play electrically recorded discs, and the electrically amplified Electrola. The acoustical Orthophonics were priced from 95 to $300, depending on cabinetry. However the cheapest Electrola cost $650, in an era when the price of a new was less than $300 and clerical jobs paid around $20 a week.

The Orthophonic had an interior folded exponential horn, a sophisticated design informed by impedance-matching and theory, and designed to provide a relatively flat frequency response. Its first public demonstration was front-page news in The New York Times, which reported:

The audience broke into applause ... [said]: '[Gentlemen], that is a band. This is the first time I have ever heard music with any soul to it produced by a mechanical talking machine' ... The new instrument is a feat of mathematics and physics. It is not the result of innumerable experiments, but was worked out on paper in advance of being built in the laboratory ... The new machine has a range of from 100 to 5,000 [cycles], or five and a half octaves ... The 'phonograph tone' is eliminated by the new recording and reproducing process.

Gradually, electrical reproduction entered the home. The spring motor was replaced by an electric motor. The old sound box with its needle-linked diaphragm was replaced by an electromagnetic pickup that converted the needle vibrations into an electrical signal. The tone arm now served to conduct a pair of wires, not sound waves, into the cabinet. The exponential horn was replaced by an amplifier and a loudspeaker.

Sales of records declined precipitously during the of the 1930s. , which purchased the Victor Talking Machine Company in 1929, introduced an inexpensive turntable called the Duo Jr., which was designed to be connected to their radio sets. According to Edward Wallerstein (the general manager of RCA's Victor division), this device was "instrumental in revitalizing the industry".

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

In the 1890s, the diameter of the earliest (toy) discs was generally 12.5 cm (nominally 5 inches). By the mid-1890s, discs were usually 7 inches (nominally 17.5 cm) in diameter.

By 1910, the 10-inch (25 cm) record was by far the most popular standard, containing about three minutes of music or other entertainment on one side.

From 1903 onwards, 12-inch (30 cm) records were produced, mostly featuring or selections, with four to five minutes of music per side. , and also issued 12-inch popular medleys, usually spotlighting a Broadway show score.

An 8-inch (20 cm) disc with a 2-inch (50 mm)-diameter label became popular for about a decade[] in Britain, but those records cannot be played in full on most modern record players, because cannot track far enough toward the center of the record without modifying the equipment. In 1903, Victor offered a series of 14-inch (36 cm) "Deluxe Special" records, which played at 60 rpm and sold for two dollars. Fewer than fifty titles were issued, and the series was dropped in 1906, due to poor sales. Also in 1906, a short-lived British firm called Neophone marketed a series of single-sided 20-inch (50 cm) records, offering complete performances of some operatic overtures and shorter pieces. also issued 14-inch and 20-inch records around the same time.

Einheitsfrontlied From Wikipedia, the free encyclopedia "Einheitsfrontlied"WrittenPublished1934

The "Einheitsfrontlied" (German for "United Front Song") is one of the most famous songs of the German . It was written by and composed by . The best-known rendition was sung by .

Contents History

After 's in January 1933, the situation for left-wing movements in Germany drastically deteriorated. The antagonism between the and the had long divided the German left. After the banned both parties and labour unions in the summer of 1933, many people, including Bertolt Brecht, believed that only a of and could fight back against . In 1934, at the request of fellow theatre director , Brecht wrote the "Einheitsfrontlied", calling for all workers to join the Arbeiter-Einheitsfront, the Workers' United Front. The song was performed the next year in the First International Workers Music Olympiad held in by a choir of 3,000 workers. Its first record was printed in 1937, during the , performed by communist actor and singer Ernst Busch. It was later published in Brecht's 1939 collection .

Composition

Hanns Eisler, who would later go on to compose the national anthem "", intentionally kept the composition of "Einheitsfrontlied" simple and easy to follow, so it could be sung by workers without much musical training. In doing so, the song is quite march-like. In 1948, Eisler wrote a symphonic version, which was also sung by Ernst Busch and recorded for his Aurora-Projekt.

Cover versions

covered the song on their 1971 album . recorded the song on his 1977 album  [].

Lyrics

German
Und weil der Mensch ein Mensch ist,
drum braucht er was zum Essen, bitte sehr!
Es macht ihn ein Geschwätz nicht satt,
das schafft kein Essen her.
Refrain:
Drum links, zwei, drei!
Drum links, zwei, drei!
Wo dein Platz, Genosse, ist!
Reih dich ein in die Arbeitereinheitsfront,
weil du auch ein Arbeiter bist.

Und weil der Mensch ein Mensch ist,
drum braucht er auch noch Kleider und Schuh!
Es macht ihn ein Geschwätz nicht warm
und auch kein Trommeln dazu.
Refrain

Und weil der Mensch ein Mensch ist,
drum hat er Stiefel im Gesicht nicht gern!
Er will unter sich keinen Sklaven seh'n
und über sich keinen Herr'n.
Refrain

Und weil der Prolet ein Prolet ist,
drum wird ihn kein anderer befrei'n.
Es kann die Befreiung der Arbeiter nur
das Werk der Arbeiter sein.
Refrain

English Translation
And because a person is a person,
he'll need something to eat, please!
He gets tired of prattle
for it does not give him food.
Refrain:
So left, two, three!
So left, two, three!
To where your place is, comrade!
Join up with the workers' United Front,
for you are a worker too!

And because a person is a person,
he will need clothes and shoes!
Prattle will not keep him warm,
and neither will the drums [of war].
Refrain

And because a person is a person,
he doesn't need a boot to the face!
He wants no slaves under him,
and no masters above!
Refrain

And because a is a prole,
no one else will free him.
The liberation of the working class can only be
the job of workers.
Refrain

Singable
And just because he's a human,
a man would like a little bite to eat;
he wants no bull and a lot of talk
that gives no bread or meat.
Refrain:
So left, two, three!
So left, two, three!
To the work that we must do.
March on in the workers' United Front,
for you are a worker too!

 
 
 
 
 
 
And just because he's a human,
he doesn't like a pistol to his head.
He wants no servants under him,
and no boss over his head.
Refrain

And just because he's a worker,
no class can free him but his own.
The emancipation of the working class
is the task of the worker alone.
Refrain

See also ""

He started Keynote Records in 1937; previously he had been the owner of a record store, The Music Room. His primary interest was politics, which were unabashedly ; he was devoted to his causes and used Keynote to disseminate his political views. Among his early recordings are the and the Chorus. Most of the early releases were predominantly and , including works by , and . Among his notable early releases were , the "spirited and immensely popular" Six Songs for Democracy ( music of the , sung by , recorded in , while under siege in 1938, with a chorus of veterans of the ), and the ' debut album, . Songs for John Doe was released in 1941 before the Soviet Union entered the war, was "vitriolically" anti-war and had a strong response among New York leftists. One song had a chorus:

Franklin Roosevelt told the people how he felt. We damned near believed what he said.

He said I hate the war and so does Eleanor, but we won't be safe till everybody's dead.

"felt a need to warn its readers," describing the album as echoing "the mendacious Moscow line." Eleanor Roosevelt said the songs were clever "but in poor taste." After Russia and the U.S. were allies, Bernay strongly supported the war and released the pro-war Dear Mr. President. Bernay said: "Now is our chance to make up with Franklin Roosevelt, who is not really such a bad guy." The title song, "Dear Mr. President", a solo by Pete Seeger, expressed Bernay's newfound support for the war effort. In 1943, looking for a larger audience he turned to jazz. Recording "the most celebrated jazz soloists," with as producer, in a span of three years Keynote "produced some of the finest jazz recordings of the era." The quartet session of 1943 was Keynote's first jazz effort and marked Young's first as a leader. 's recording debut was with Keynote at the end of 1943. In a session with the band, she recorded Evil Gal Blues.

Left-wing activist The Communist magazine, The New Masses; Bernay was a publisher in the 1930s

He has been described as a member of the Communist underground. He testified that he was a member of the from 1936 to 1938, and was publisher for the official Party organ, during that time. He employed both and at Keynote. Lerner had to leave the after being caught photographing the cyclotron at the . Adams, a , was hired in 1945 for $75 a week as a plastics consultant. In 1945 he helped Adams escape FBI surveillance and leave New York City, accompanying him to Chicago. He advanced Adams money to make his way to , where he was stopped by the FBI trying to leave the country. Bernay claimed that he never suspected Adams was a spy, although he knew he had been under constant surveillance. The conclusion of the was that "it is unquestionable that persons associated with Adams ... furnished him with assistance with his espionage activities."

Later years

did his record pressing, but became too busy in 1947. An "ill-advised investment" in a led to Keynote's demise. To avoid bankruptcy in 1948 he sold Keynote to . In 1965 he started the music division of the . He managed prominent theatrical figures, including , , and , among others. At the time of his death he was president of a record distribution company.

Legacy

In 1986 and 2013 there were reissues of the 1941–1947 Keynote jazz collection. The reviews were strongly positive, noting that Keynote "made a very strong contribution to the world of jazz," and the reissue "contributed greatly to documenting the jazz history of 40s America." He released the first early Almanac albums; he helped introduce artists such as Woody Guthrie, Pete Seeger, , , and . They used song "as a weapon in the struggle for a fair, equal and peaceful society" and "led to a rediscovery of our popular musical roots...and a retelling of our American story."