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The Quarrymen – "That'll Be the Day"/"In Spite of All the Danger" (UK 78–rpm, acetate in plain sleeve, 1958). Only one copy made. The one existing copy is currently owned by Paul McCartney. Record Collector magazine listed the guide price at £200,000 in issue 408 (December 2012). McCartney had some "reissues" pressed in 1981 on UK 10-inch ...
The compilation was named after, and inspired by, a feature on Peel's BBC Radio show, in which Sheila would play 78 rpm records in between other tracks. The compilation's contents vary "from English brass bands, schmaltzy dance music and yodelling, to early rock ‘n' roll and traditional music from China and Africa" according to the record ...
Carlos Martín Ballester (born 1974): 75,000 78 rpm records (carlosmb archive) plus 5,000 78 rpms records and 200 cylinders (private collection). [27] It is the largest collection of 78 rpm records pressed in Spain. Part of the archive is on sale and new items are added regularly. [28] Elton John (born 1947): 70,000 items. [29]
European shellac records – In the first three decades of the twentieth century European companies including Pathé, Odeon, and Fonotipia made recordings in a variety of sizes, including 21 cm. [citation needed] 9 in (23 cm) Early American shellac records – Prior to 1910, nine-inch brown shellac records were issued under the Zon-O-Phone label.
However, some very early (c. 1928–1931) radio programs were on sets of 12-inch or even 10-inch (25 cm) 78 rpm discs, and some later (circa 1960–1990) syndicated radio programs were distributed on 12-inch 33 + 1 ⁄ 3 rpm microgroove vinyl discs visually indistinguishable from ordinary records except by their label information.
Because it ran 7m 57s, longer than both sides of a standard 78 rpm 10-inch record, it was released on Columbia's Masterwork label (the classical division) as two sides of a 12-inch record. [47] In the 78 era, classical-music and spoken-word items generally were released on the longer 12-inch 78s, about 4–5 minutes per side.
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Do Not Sell At Any Price was widely and favorably reviewed. [4] [5] [6] Randall Roberts described the book in the Los Angeles Times as a "thoughtful, entertaining history of obsessed music collectors and their quest for rare early 78 rpm records."