3,430 shellac records · mostly British pressings, 1900s–1950s
3,430 records matching · page 22 of 72
Ella Shields, the Canadian-born music-hall star famous above all for 'Burlington Bertie from Bow', performing 'I'm Not All There' and 'Why Did I Kiss That Girl?' on Columbia catalogue 996. A Columbia catalogue number as low as 996 is among the earlier pressings in the series; any Shields recording is of collector interest for her connection to 'Burlington Bertie'.AI summary
Columbia 996 Music Hall
Columbia 629 Music Hall
Ella Shields, a British music-hall star and singer of novelty and comic songs, recorded 'Jolly Good Fellows' and 'San Francisco' for Columbia; she was well known in Edwardian and interwar British variety.AI summary
Columbia 3740 Music Hall
Columbia 3646 Music Hall
Elrick, credited on Columbia FB1954, recorded "I Love to Whistle" and "Tis Better to Have Loved and Lost", popular ballad material of the mid-catalogue era.AI summary
Columbia FB1954 Voice
George Elrick, a Scottish comedian and broadcaster, recorded 'George Elrick Successes' for Columbia FB1746. Elrick was popular in British light entertainment and radio from the 1930s onward.AI summary
Columbia FB1746 Dance
Elsa Lanchester, later famous as a film actress, recorded these comic and novelty songs for Columbia. She was active in British music-hall and revue in the 1920s and 1930s before her Hollywood career.AI summary
Columbia 4125 Music Hall
Elsa Lanchester, the British actress and entertainer, recorded comic material ('The Ladies' Bar', 'Don't Tell My Mother I'm Living in Sin') for Columbia in the early 1930s. Lanchester later became famous in films, and her early recordings are uncommon.AI summary
Columbia DB81 Comic
Columbia 7230 Opera
Elsie & Doris Waters, a British comedy and singing duo popular on stage and radio, on Columbia, performing 'Making a Christmas Pudding' in two parts, festive comedy material.AI summary
Columbia FB1186 Music Hall
Elsie and Doris Waters—the famous British comedy duo known as Gert and Daisy—recorded this Columbia side, catalogue FB1559, with music-hall material from the 1940s–50s.AI summary
Columbia FB1559 Music Hall
Elsie and Doris Waters, the celebrated British comedy duo, performing two comic sketches on Columbia—'Gert & Daisy & the Tandem' and 'Huntin''. The Waters Sisters were major music-hall stars and their recordings remain popular.AI summary
Columbia FB1559 Music Hall
Elsie Randolph, a British stage and film performer, recorded 'Just Round the Corner' and 'If I Had Only Known' (with Glen) on Columbia, catalogue 3539. Randolph was active in musical theatre and revue in the 1920s–30s.AI summary
Columbia 3539 Voice
Elvira de Hidalgo was the celebrated Spanish coloratura soprano who later became the teacher of Maria Callas. This Columbia D3500 disc contains 'Una voce poco fa' from Rossini's Il Barbiere di Siviglia and 'Son vergine vezzosa' from Bellini's I Puritani — two of her signature coloratura showpieces. De Hidalgo's recordings are collected both on their own account and for their connection to Callas.AI summary
Columbia D3500 Opera
Elvira de Hidalgo, a celebrated Spanish opera singer and teacher of Maria Callas, recorded 'Una voce poco fa' from The Barber of Seville and a Bellini aria on Columbia D4172.AI summary
Columbia D4172 Opera
Elvira de Hidalgo performing the Shadow Song on Columbia 65033-D. De Hidalgo was a celebrated Spanish soprano of the early twentieth century and was notably the teacher of Maria Callas.AI summary
Columbia 65033-D Opera
Emil Coleman's orchestra on Columbia, performing 'Earful of Music' and 'When My Ship Comes In' from the late 1930s-1940s. Coleman was a prolific Latin and dance-orchestra leader.AI summary
Columbia FB1012 Dance
Emil Coleman Band on Columbia, a popular light orchestra, with 'I'll Be Hard to Handle' and 'Let's Begin'—sentimental dance and popular music from the 1930s.AI summary
Columbia FB1097 Dance
Emilie Herzog was a celebrated Swiss soprano of the late nineteenth century, admired in Mozart and Rossini. Her Columbia 40554 — 'Una voce poco fa' from Rossini's Barber of Seville — is an early acoustic pressing, and her recordings are uncommon outside specialist operatic discographies. The high catalogue number for Columbia of this period may indicate a European pressing.AI summary
Columbia 40554 Opera
Emilie Herzog, the Swiss soprano who was a leading lyric voice at the Berlin Opera in the late nineteenth and early twentieth centuries, sings 'Una voce poco fa' from The Barber of Seville on Columbia 40555, backed with a Barber of Seville overture by a band. Herzog made some of the earliest operatic recordings and is a name in historic vocal collecting.AI summary
Columbia 40555 Opera
Emmy Destinn (also spelled Destinová) was one of the supreme dramatic sopranos of the early twentieth century, celebrated at Covent Garden, the Met, and across Europe. Her recording of 'Kennst du das Land' (Mignon's aria from Ambroise Thomas's opera) on Columbia 40587 is a single-sided disc from her prolific acoustic recording career, likely made c.1906–1914. Destinn records are consistently sought by collectors of the Golden Age of singing.AI summary
Columbia 40587 Voice
Emmy Destinn (Ema Destinnová) was one of the supreme dramatic sopranos of the early recording era, celebrated at Covent Garden and the Met. Columbia D3035 couples her Habanera (from Carmen, recorded 1904) with the Toreador Song sung by baritone Titta Parvis — a notable pairing on a large-format acoustic disc from the first decade of commercial recording.AI summary
Columbia D3035 Opera
Emmy Destinn sings 'Ritorna vincitore' and 'I sacri nomi' from Verdi's Aida on Columbia A5387. These are two of the most demanding soprano arias in the repertoire, and Destinn was one of the supreme dramatic sopranos of the early recording era; this is a significant operatic coupling from one of the most collected early 78rpm singers.AI summary
Columbia A5387 Opera
Emmy Destinn, the Czech dramatic soprano regarded as one of the supreme voices of the early recording era and a celebrated Aida and Butterfly at Covent Garden and the Met, sings Musetta's Waltz from La Bohème and 'Stridono lassù' from Pagliacci on Columbia A5397. Destinn's recordings are among the most prized of all early operatic 78s, and this American Columbia pressing couples two of her finest roles.AI summary
Columbia A5397 Opera
Enrico Gentille recorded 'September Song' and 'Un Bacio' for Columbia (DCQ52). Enrico Gentille does not appear in standard discographies; Columbia DCQ series suggests 1940s–50s dating.AI summary
Columbia DCQ52 Voice
Enzo de Muro Lomanto was an Italian tenor and recording artist active in the early 20th century; this Columbia D pressing offers two arias from Puccini's Tosca.AI summary
Columbia D1656 Opera
Enzo de Muro Lomanto, an Italian operatic tenor, performing two arias from Verdi's 'Rigoletto' on Columbia — classical opera recordings, likely from the 1910s or 1920s.AI summary
Columbia 5060 Opera
Enzo de Muro Lomanto performing 'I almost see the Tears' and 'On every festal Morning' for Columbia, 5147. Lomanto was an Italian tenor of the 1920s–1930s, active in operatic and popular repertoire.AI summary
Columbia 5147 Opera
Enzo de Muro Lomanto, the Italian tenor who sang at La Scala and the Met in the inter-war years, performs 'Che gelida manina' from La Bohème and 'Il lamento di Federico' on Columbia D14711. De Muro Lomanto is a recognised name in operatic 78 collecting, particularly among admirers of the Italian lyric tenor tradition.AI summary
Columbia D14711 Opera
Eric Winstone Swing Quartet performing 'Down Forget Me Not Lane' and 'Whispering Grass' on Columbia FB2687, a 1940s British swing recording.AI summary
Columbia FB2687 Dance
Eric Coates, Britain's most prolific composer of light orchestral music, recorded two of his own compositions—'London Bridge-March' and 'Summer Afternoon (Idyll)'—for Columbia.AI summary
Columbia DB1382 Orchestra
Eric Coates was one of Britain's most successful light-music composers, and here he conducts his own 'London Suite' for Columbia in a deluxe double-sided issue. Coates's own recordings of his compositions are highly valued by enthusiasts of British light music and concert overtures.AI summary
Columbia DX470 Orchestra
Eric Foster, a British performer, recorded regional Tyneside material for Columbia; 'Tyneside Territorials' and 'The Pitman' appear to be local-interest songs with limited appeal beyond the North East.AI summary
Columbia 1298 Music Hall
Eric Foster performs two Tyneside dialect comedy sketches — 'Jack and Geordie at the Smoking Concert' and 'Pitman and His Wife at the Seaside' — on Columbia 174, a very early Columbia number indicating one of the earliest British Columbia acoustic pressings. Tyneside comedy on an early Columbia with a sub-200 catalogue number is an unusual and historically interesting item.AI summary
Columbia 174 Music Hall
Eric Winstone and his band, a mid-century British dance orchestra, perform 'Whispering Grass' and 'Down Forget Me Not Lane' on Columbia.AI summary
Columbia FB2687 Dance
Erica Storm recorded art-song repertoire including Schoenberg's Buch der Hängenden Garten for Columbia.AI summary
Columbia DB1787 Opera
Erich Kunz, an acclaimed Austrian baritone, recorded two Viennese songs ('Wie Meinahn'l zwanzig jahr' and 'Treu sein das liegt mir nicht') for Columbia—examples of the operetta and vocal repertoire Kunz specialised in.AI summary
Columbia LB117 Voice
Erik Tuxen conducting the Danish State Radio Symphony Orchestra in a 'Little Suite for Strings', parts 1 and 2, on Columbia's premium classical DX series.AI summary
Columbia DX8401 Classical
Erik Tuxen conducting the Danish State Radio Symphony Orchestra performing a 'Little Suite for Strings' on Columbia's DX series (long-playing classical); Tuxen was a respected Danish conductor.AI summary
Columbia DX8402 Classical
Ernest Butcher, a British comedian and music-hall performer, recorded these two novelty songs for Columbia, with titles suggesting comic Northern English monologues.AI summary
Columbia DB1520 Music Hall
Ernest Butcher performing two songs—the sentimental 'Peaceful Street' and the traditional drinking song 'Old and Mild' (credited to Regulars)—on Columbia's DB series from the late 1940s–early 1950s. Butcher was a music-hall and pantomime performer.AI summary
Columbia DB3207 Music Hall
Ernest Hastings recorded "A Soldier's Reminiscences" and "Church Bells as We Hear Them" for Columbia in the early 1920s. These are descriptive or programme pieces for recitation or instrumental performance.AI summary
Columbia 2451 Instrumental
Ernest Hastings on Columbia 2926, a comic vocal novelty from the early 1920s.AI summary
Columbia 2926 Comic
Ernest Hastings performing novelty pieces on Columbia, including variations on 'The Vicar of Bray'. The artist Ernest Hastings is not a major-label recording star, and the specific pressing is not identified in standard discographies.AI summary
Columbia 2494 Music Hall
Ernest Hastings performing sentimental ballads 'Emigrant's Letter' and 'Molly Magee' on Columbia 2518, from the early acoustic era.AI summary
Columbia 2518 Voice
Ernest Hastings on Columbia Records with 'Exemptions are otherwise' and 'I've heard a Rumour'.AI summary
Columbia 2772 Music Hall
Ernest Hastings is not well-documented. This Columbia 2973 side pairs 'Village blacksmith modern version' and 'Muldoon's ball', likely from the 1920s–early 1930s, representing popular novelty and traditional material.AI summary
Columbia 2973 Orchestra
Untitled
Ernest Hastings is not identified by artist or title on this Columbia 2940 pressing. Without catalogue information or a legible label, this record cannot be reliably described or valued.AI summary
Columbia 2940