Here's the list. Visually graded, although almost all of these I have played on my audiotechnica. All these are in excellent shape and V+ at worst. I do know how to properly ship 78s--check my feedback.
1. OKEH 10976 EMMETT MILLER V+ / V (V+ but there is a chip from the shellac that clicks--see photo) 2. VICTOR 1637 Cal Stewart V+ some greying 3. VICTOR 16068 Cal Stewart V++ / V++ 4. COLUMBIA 865 Cal Stewart V+ / V+ hairline 1" 5. Columbia 271 Cal stewart E- / E- 6. VICTOR 16520 Cal Stewart V 7. Victor 20299 Steve Porter V+ / V+ 8. COLUMBIA 608 Cal Stewart V++ / V++ 9. VICTOR 16936 Steve Porter E- / E- 10. Victor 5454 teve Porter V+ 11. Capitol 2693 Deacon Andy Griffith football E- / V++ 12. Victor 20788 Sam N Henry Ten PM WGN V+ / V+ edge chip dnap 13. VICTOR 17222 Tom McNaughton V / V, maybe better with cleaning

Shipping: $9

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.

The act was originated by (1888–1934), who hired actor as his partner. "Swor & Mack" enjoyed moderate success until Swor left the act. He was replaced by . The team of Moran and Mack caught on and became major recording stars. The Two Black Crows became a weekly radio show in 1928; Moran and Mack also guest-starred on 's radio show in 1933.

Although Moran and Mack's gags were mostly corny and the characters were stereotypical (one practical but naive, the other seemingly slow and lazy yet quick with a quip and a certain skewed logic), the relationship depicted plus their laconic delivery made them one of the most successful of comedy teams.

The team was known for two catchphrases. Moran would remind Mack of some unfortunate event, causing Mack to say, "Why bring that up?" Mack frequently would interrupt Moran's description of something with a drawling "What causes that?"

Moran and Mack The Two Black Crows ad from , 1932

The duo of Moran and Mack appeared in vaudeville with , on Broadway in the of 1920 and in in the mid-1920s. They also appeared in and The .

At the height of their popularity, after completing their first talking feature film, Moran had a salary dispute with Mack and sued him in 1930. A judge ruled that Mack legally owned the act and could pay whatever salary he wanted. Moran quit.

He was replaced by John Swor's brother, Bert Swor, who adopted the name Moran. The second "Moran and Mack" talkie (without George Moran) faltered at the box office, and the team made no further films until 1933, when the low-budget studio hired them for a feature film and a series of "Two Black Crows" short subjects.

Charles Mack died in an automobile accident on January 11, 1934. This ended the act, although George Moran did try to revive it with other partners.

Moran would later appear in three films, The Fatal Glass of Beer, My Little Chickadee, and The Bank Dick.

Moran died on August 1, 1949.

Legacy

Their catch phrase, "Who wants a worm, anyhow?", was the punchline to a lengthy dialogue that Moran initiated by telling Mack that, "The early bird catches the worm". Mack of course had never heard the expression, so he took it literally, and frustrated Moran by repeatedly asking inane questions about the saying. "Who wants a worm, anyhow?" was the closing statement by the crow in a Warner Bros. cartoon called The Wacky Worm, and parts of the routine appeared in other Warner cartoons.

Jokes

Typical joke:

MACK: On our farm, we had a thousand chickuns, an' 999 o'em laid eggs. MORAN: What was wrong with de udder one? MACK: Uh, he was de head man.

Once Moran played a blast on his .

MACK (annoyed): Boy, even if dat was good, I wouldn't like it! MORAN: I can play anything on dis! MACK: You caint play piano on dat!

And on it went. This shows at least how old the following joke is:

MACK: I'll meet you down by de pig-pen. You better keep yo hat on so's I'll know ya!

Even a , the essence of racial stereotyping, took on a certain air in their hands:

MACK: Wish I had an ice-cold watamelon. MORAN: Oh lawdy. Me too. MACK: Wish I had a thousand ice-cold watamelons. MORAN: Glory be. I bet if you had a thousand ice-cold watamelons, you'd give me one. MACK: No, no siree! If you are too lazy to wish for your own watamelons, you ain't gon' git none o' mine.