21,561 shellac records · mostly British pressings, 1900s–1950s
21,561 records · page 393 of 450
Sophie Tucker, the 'Last of the Red Hot Mamas', performing 'No Man is ever going to worry me' and 'Life begins at 40' on Decca 23033. Tucker was a major American stage and recording star of the 1920s and 1930s.AI summary
Decca 23033 Personalities (Prs)
Sophie Tucker, the American vaudeville star and 'Last of the Red Hot Mamas', recorded these novelty numbers for Brunswick in the early 1930s. 'Why Go to Havana' and 'No One Woman Can Satisfy Any One Man all the Time' are typical of the risqué material Tucker was famous for.AI summary
Brunswick 03897 Personalities (Prs)
Sophie Tucker, the 'Last of the Red-Hot Mamas', was a major American vaudeville and recording star. These Brunswick recordings from the 1930s capture her ribald, comedic style for which she was famous.AI summary
Brunswick 03898 Personalities (Prs)
Sophie Tucker, the American vaudeville star and 'Last of the Red-Hot Mamas', recorded 'My Yiddishe Momme' — her signature song — for Brunswick. This became one of her most iconic recordings, and she recorded it multiple times across labels and decades.AI summary
Brunswick 03904 Yiddish
Sophie Tucker, the American vaudeville and music-hall star known as 'the Last of the Red-Hot Mamas', performing 'Oh You Have No Idea' and 'Cause I Feel Low Down' on Parlophone.AI summary
Parlophone R197 Personalities (Prs)
Sophie Tucker, the legendary American vaudeville and recording star known as 'The Last of the Red Hot Mamas', performs 'I Wanna Say Hello' and 'After You've Gone' on Oriole 1088.AI summary
Oriole 1088 Music Hall
The Soul Stirrers, an influential American gospel vocal group, recorded for Specialty in the 1950s. The group was one of the most important gospel ensembles of their era.AI summary
Speciality 868 Voice
Sound Effects recorded a novelty side of train sounds for Columbia, catalogue YB23.AI summary
Columbia YB23 Misc.
'Sound Effects' — a Columbia novelty recording of sirens and aeroplane sounds on the YB-series, likely from the 1950s.AI summary
Columbia YB5 Misc.
A sound-effects record with orchestra tuning and chord on one side and trumpets and bugles on the other, on Columbia YB9.AI summary
Columbia YB9
A test recording of gliding tone on Parlophone 9794, likely an in-house quality-control or demonstration disc rather than commercial release.AI summary
Parlophone 9794 Misc.
A test record or demonstration disc on Parlophone, likely used for checking acoustic playback qualities. 'Howling Tone' is an engineering test signal rather than music intended for commercial sale.AI summary
Parlophone 9795 Misc.
A sound test record on Parlophone, catalogue number 9796, side A labeled 'Howling Tone -3' and part 4, used for testing pressing quality and playback systems.AI summary
Parlophone 9796 Misc.
A Parlophone test record of pure tones, likely used for demonstrating or standardising playback equipment rather than intended for commercial sale.AI summary
Parlophone 9797 Misc.
Parlophone pure-tone test record 9798, part 4 of a set for sound-level checking. Not a music recording.AI summary
Parlophone 9798 Misc.
Sousa's band on Victor 17976, performing two marches by the composer. Sousa was the most famous American bandleader and composer, and his recordings are collected by both musicians and military music enthusiasts; however, Victor 17976 series suggests common electrical recording.AI summary
Victor 17976 Orchestra
The South Sea Islanders were a vocal group, likely Samoan or Polynesian, who recorded for Columbia. 'For You and I' and 'Palolo' appear to be popular songs with Polynesian themes; the 1292-D catalogue number suggests a 1920s–30s pressing from Columbia's popular catalogue.AI summary
Columbia 1292-D Voice
Southern Rag-a-Jazz recorded 'Do You Ever Think of Me' and 'My Mammy' for Winner, catalogue 3592, likely early 1920s.AI summary
Winner 3592 Dance
Southern Rag-a-Jazz, a dance band, recorded for Winner 3625, performing 'Crooning' and 'Coal Black Mammy'. Winner was a British label. This appears to be from the 1920s jazz age.AI summary
Winner 3625 Jazz
Southerners performing 'Goodnight I'll See You in the Morning' and '(Jeffries) Some Other Bird Whistled a Tune' on Scala 798. Southerners is likely a house-band pseudonym; Scala was a minor British label.AI summary
Scala 798 Dance
Muggsy Spanier with the Chicago jazz of 'Friars Point Shuffle' from 1927 and 'Darktown Strutters' Ball' on Jazz Collection.AI summary
Jazz Collection 93 Jazz
A Spanish orchestra recorded two light classical or dance pieces—'Blue Danube' and 'Dolores'—for Tow, a small or short-lived label.AI summary
Tower 115 Orchestra
Paul Specht and his orchestra recording two popular ballroom numbers on Columbia from the late 1920s, representing the American dance-band style of the period.AI summary
Columbia 3477 Dance
Paul Specht was a well-known American dance-band leader and recording artist active from the 1920s onwards, and his orchestra recorded extensively for major labels. This Columbia 5455 side preserves his hot-dance or jazz-influenced work, and his recordings remain of interest to collectors of jazz and early swing-era dance music.AI summary
Columbia 5455 Dance
Specht on Regal 9341, a British dance side from the 1920s–30s.AI summary
Regal 9341 Dance
Specht on Columbia 3517, performing 'Oriental Love Dreams' and 'Bagdad', standard 1920s light orchestra repertoire. Paul Specht was a prolific American bandleader whose sides were issued widely in Britain.AI summary
Columbia 3517 Orchestra
Specht on Columbia 3300 with instrumental dance pieces 'Spanish Moon' and 'Mome Tango' from the early 1930s. Specht is not a recognized name in standard discographies.AI summary
Columbia 3300 Instrumental
Columbia 3323 Dance
Specht on Columbia 3517, performing 'Oriental Love Dreams' and 'Bagdad', standard 1920s light orchestra repertoire. Paul Specht was a prolific American bandleader whose sides were issued widely in Britain. (Duplicate of id 6153.)AI summary
Columbia 3517 Orchestra
Paul Specht's orchestra on Columbia 3599—a jazz-age dance band from the mid-to-late 1920s.AI summary
Columbia 3599 Jazz
Paul Specht was an American bandleader and recording artist active in the 1920s. His Columbia recording (3852) represents American jazz-influenced dance music of the early acoustic era.AI summary
Columbia 3852 Dance
Paul Specht's orchestra on Columbia 3930, performing 'Clap Hands here comes Charley' and 'Pretending' — a prominent American hot-dance band of the 1920s, with limited UK distribution.AI summary
Columbia 3930 Jazz
Speciale on Scala, a minor British imprint.AI summary
Scala 7181 Voice
The Speer Family, an American gospel vocal group, on their own Speer label 517, performing "No secret yet it's never fully told" and "O the glory did roll".AI summary
Speer 517
Spencer on Imperial label (Imp 1910), recorded 'Why do I love you' and 'Can't help lovin' dat man'. These are standard popular songs and ballads from the 1920s-1930s, but the artist is not identified in discography.AI summary
Imperial 1910 Voice
Spencer & Scott recorded 'Hawaiian Butterfly' and 'Arizona' for Diamond (411), a small British label from the early 1930s. The artists and label are obscure, but the Hawaiian title suggests this was part of the Hawaiian music boom.AI summary
Diamond 411 Hawaiian
The Spencer Trio recorded two novelty or sentimental numbers — 'Baby Won't You Please Come Home' and 'Lorna Doone Shortbread' — for Brunswick, one of the major British and American labels, suggesting this was likely a budget or reissue pressing of the 1920s–30s.AI summary
Brunswick 02657 Voice
Spencer Trio performing 'Baby won't you please come home' and 'Lorna Doone short bread' on Brunswick 02657 from the 1920s.AI summary
Brunswick 02657 Instrumental
Spike Hughes, British bandleader of the 1930s, on Decca F2735 with vocals by Edith Carlisle. This is a well-produced swing-era recording. Hughes' Decca sides are sought by British jazz collectors.AI summary
Decca F2735 Jazz
Spike Hughes was a significant British jazz arranger and composer of the early 1930s, and this Decca side showcases his sophisticated orchestral approach to 'Limehouse Blues' — a piece he wrote and was closely associated with.AI summary
Decca F3004 Jazz
Spike Hughes, a British bandleader, composer and music critic, on Decca F2373 performing two spirituals arranged for dance band. Hughes was a significant figure in British jazz and dance music of the 1930s; his recordings, though not numerous, are respected by jazz historians.AI summary
Decca F2373 Jazz
Spike Hughes, a British jazz musician and composer, performing two sides—'Dancing Time' and 'Kalua'—on Decca in 1936. Hughes was an accomplished reed player and bandleader active in the early British jazz scene; his Decca recordings are sought by enthusiasts of the period.AI summary
Decca F1816 Jazz
Spike Hughes, a British jazz musician and composer, performing the spirituals 'Joshua Fit de Battle of Jericho' and 'Roll Jordan' on Decca F2373.AI summary
Decca F2373 Jazz
Spike Hughes, a British jazz bandleader and composer, recorded 'Poor Butterfly' and 'Margie' for Decca F1815 in the mid-1930s. Hughes was influential in British jazz.AI summary
Decca F1815 Jazz
Spike Hughes, the British jazz composer, arranger and bandleader, recorded for Decca during his most active period in the mid-1930s. Hughes was a leading figure in British jazz and swing, known for sophisticated arrangements and modern hot-dance ideas.AI summary
Decca F1816 Jazz
Spike Hughes, the British jazz composer and bandleader, recorded for Decca in the early 1930s. Hughes was an important figure in British hot jazz and his recordings remain sought by collectors of the period, particularly his Decca sessions which often featured American and British swing musicians.AI summary
Decca F1844 Jazz
Spike Hughes was a leading British jazz composer and bandleader of the 1930s, known for sophisticated swing arrangements. This Decca recording of 'Darktown Strutters Ball' and 'Blues in My Heart' showcases Hughes's elegant orchestral jazz style.AI summary
Decca F2611 Jazz
Spike Hughes, the British dance-band leader and innovator, performing 'Dinah' and 'Doan You Grieve' on Decca F3399, a late 1930s British recording.AI summary
Decca F3399 Jazz