21,650 shellac records · mostly British pressings, 1900s–1950s
21,650 records · page 8 of 452
Al Starita on Columbia 4834, performing 'I'm mad about you' and 'Dance little Lady' — a dance-band side from the mid-1920s.AI summary
Columbia 4834 Dance
Al Starita recorded 'I Want to Be Alone with Mary Brown' and 'Constantinople' for Columbia, catalogue 4886, likely in the 1920s-1930s dance era; Starita was an accomplished bandleader and recording musician of that period.AI summary
Columbia 4886 Dance
Al Starita recorded 'Why Do I Love You' and 'Make Believe' for Columbia, catalogue 4900. These are popular songs from the late 1920s; Starita is likely an American or dance-band vocalist.AI summary
Columbia 4900 Voice
Al Starita on Columbia 4908, performing 'How long has this been going on' and 'It don't do nothin' but rain', jazz-influenced popular recordings from the 1920s.AI summary
Columbia 4908 Jazz
Al Starita performs 'If I Had You' and 'A Kiss Before the Dawn' on Columbia — likely a dance, novelty, or light vocal side from the 1920s.AI summary
Columbia 5022 Dance
Al Starita recorded jazz and light orchestral material for Columbia's early numbered series around the mid-to-late 1920s.AI summary
Columbia 5108 Jazz
Columbia 5119 Dance
Al Starita recorded 'Rhythm King' and 'Oh What a Night to Love' for Columbia. The titles and Columbia 5000-series catalogue number place this in the late 1920s dance-music era.AI summary
Columbia 5266 Dance
Al Starita, a prolific British dance-band recording artist, performing 'Jericho' and 'My Mother's Eyes' on Columbia 5418 in the late 1920s.AI summary
Columbia 5418 Dance
Al Starita recorded two popular songs from early sound films—"Painting the Clouds with Sunshine" and "Smiling Irish Eyes"—for Columbia 5654.AI summary
Columbia 5654 Voice
Al Starita recorded two popular ballads for Columbia 5658 in the early sound era.AI summary
Columbia 5658 Voice
Al Starita on Columbia 5307. Starita was a British-Italian bandleader and recording artist of the 1920s-1930s, and his work appears on several British labels. This Columbia side represents his orchestra or vocal recording, though the specific titles and artists require confirmation.AI summary
Columbia 5307 Dance
Columbia 5308 Dance
Al Starita recorded 'Minnetonka' and 'Sleepy Town' for Columbia. Starita was a British bandleader and pianist of the 1920s–30s.AI summary
Columbia 5073 Instrumental
Al Starita Band, a British dance orchestra, recorded 'Make Believe' and 'Why Should I Love You' for Columbia. Starita was active in the early 1930s, and his recordings are typical of the commercial dance and popular-song material of that era.AI summary
Columbia 4900 Dance
Al Starita's band recorded popular dance and novelty songs for Columbia in the early 1930s, playing in the style of the dance bands of the era.AI summary
Columbia 4411 Dance
Al Starita and his orchestra recorded these two sides for Columbia; Starita was an American bandleader and accordionist of minor renown in the 1930s.AI summary
Columbia 5073 Dance
Al Tiers with She Was Poor but She Was Honest and A Convict's Dream on Dominion C306.AI summary
Dominion C306 Voice
Al Trace with Philosophy and When Lola Plays the Pianola on Columbia DB2826.AI summary
Columbia DB2826 Dance
Alabama Jug Band performing 'My Gal Sal' and 'Somebody stole my Gal' on Brunswick, the major American label's British pressing, catalogue 05092.AI summary
Brunswick 05092 Jazz
Alan Dale, credited on the Twin label T2006/5, 'Volunteer Organist' (Sharpley) and 'Killarney', are likely sentimental or novelty songs from the 1930s or 1940s; the artist and label are unidentified.AI summary
Twin T2006/5 Voice
Alan Freed was the influential American radio DJ and rock promoter credited with popularising rhythm and blues and rock and roll. 'Camel Rock' and 'I don't need lotsa money' on Coral are novelty or rock sides from the mid-1950s, reflecting his involvement in early rock records.AI summary
Coral 61660 Rock
Alan Selby band on Piccadilly (314) with 'Broadway melody' and 'You were meant for me'; Piccadilly was a cheap British marque of the late 1920s–1930s.AI summary
Piccadilly 314 Dance
The Alan Selby Band on Curry's Records, a very obscure British label, performing two sentimental dance-band numbers. Neither the label nor the band is documented in standard references; Curry's appears to have been a local or regional British marque.AI summary
Curry's 130 Dance
Alan Turner on Winner 2382, singing operatic arias from the early 20th century. Winner was a budget British label, and operatic ballads of this type were recorded frequently.AI summary
Winner 2382 Voice
Alan Turner, a male vocalist, performing two ballad standards—'Heart Bowed Down' and 'Love's Old Sweet Song'—for Columbia, catalogue 1130, from the early 1920s.AI summary
Columbia 1130 Voice
Alan Turner singing two operatic or theatrical numbers ('Yeoman's Wedding' and 'Toreador's Song') on Tri, a small British label.AI summary
Triumph 410 Opera
Alan Turner singing operatic selections 'The Heart Bowed Down' and 'Tempest of the Heart' on JBull 40353, credited to an obscure or short-lived British imprint.AI summary
John Bull 40353 Opera
Alan Turner sings two theatrical standards on the JBull label: 'A Soldier's Song' and 'Toreador's Song' from Bizet's Carmen. This is a budget British pressing of light operatic repertoire.AI summary
John Bull 40354 Opera
Alan Turner on Nassauphone (NasD), this pressing of 'Heart Bowed Down' and '(A Campbell) No One Knows' is an unidentified artist's sentimental vocal.AI summary
Nassau D159 Voice
Alan Turner sings operatic material—'Song of the Toreador' and 'A Soldier's Song'—on OlyJA, an obscure British label.AI summary
Oly JA87 Opera
Alan Turner performs 'Until' and 'Your Eyes Have Told Me So' on Pelican (Pel), catalogue 43, a minor British label.AI summary
Pelican 43 Voice
Alan Turner and F Wilson recorded 'Life's Dream is o'er' and 'Excelsior' for Hom, an obscure British imprint, likely in the 1920s.AI summary
Hom 425 Voice
Alannah Delias performing two classical piano pieces—Rondo by Hummel and the third movement of C.P.E. Bach's Italian Concerto—on Parlophone, catalogue E11032.AI summary
Parlophone E11032 Classical
Albert Bohme recorded two German art songs—Brahms' 'Die Poste Im Walde' (The Post in the Forest) and Wagner's 'O du Mein Holder Abendstern' from Tannhäuser—for the Odeon label. The programme suggests a classical or lieder singer, likely German or Austrian, recorded in the 1920s-30s acoustic era.AI summary
Odeon 34382 Classical
Albert Chapman with The Trumpeter and My Old Shako on Pick of All 35-4733.AI summary
Pickofall 35-4733 Voice
Albert Chevalier was one of the most beloved of all music-hall performers, famous above all for 'My Old Dutch'. This HMV single-sided disc, catalogue 4-2204, contains 'Wot's the Good of Hanyfink?' — one of his characteristic costermonger songs. Early single-sided HMV pressings of Chevalier are of significant collector interest.AI summary
His Master's Voice 4-2204 Music Hall
Albert Chevalier was a celebrated British music-hall star of the Victorian era, famous for his cockney songs and character work. 'My Old Dutch' is his most famous number, a cockney ballad of 1892. This His Master's Voice D373 pressing is from the early classical/voice series, probably 1920s–1930s, but may be a re-pressing of an earlier acoustic recording.AI summary
His Master's Voice D373 Music Hall
Albert Chevalier, the celebrated Victorian and Edwardian music-hall artist, recorded 'Our Little Nipper' on His Master's Voice 02351 in the acoustic era. Chevalier was one of the first major entertainers to record extensively.AI summary
His Master's Voice 02351 Music Hall
Albert Chevalier, the legendary British music hall star of the late nineteenth century, recorded 'E Can't Take a Roise Out of Oi' (a Cockney dialect piece) for His Master's Voice. Chevalier was one of the greatest and most influential performers in music hall history.AI summary
His Master's Voice 02398 Music Hall
Albert Chevalier, the Victorian-era British music-hall star and character comedian, on His Master's Voice 02355: one of his signature monologues in broad Cockney dialect, recorded in the acoustic era (before c. 1925).AI summary
His Master's Voice 02355 Music Hall
Albert Chevalier, the original 'Costermonger Laureate' of the London music halls, recorded his most famous songs for His Master's Voice; a defining voice of Victorian-Edwardian Britain.AI summary
His Master's Voice D373 Music Hall
Albert Chevalier singing 'Future Mrs. Hawkins' on GCo 02361. Chevalier was a celebrated British music hall singer and actor of the late Victorian and Edwardian era, known for his cockney character songs.AI summary
GCo 02361 Music Hall
Albert Chevalier, the legendary British music-hall performer, recorded the Cockney character song 'He Can't Take a Rosie Out of Oi' for His Master's Voice; this is a rare acoustic-era recording of a Victorian-era star.AI summary
His Master's Voice D374 Music Hall
His Master's Voice DB1103
Albert Coates conducting an orchestral arrangement of Wagner's Die Meistersinger von Nürnberg, recorded for His Master's Voice (catalogue D590). Coates was a distinguished conductor and recording artist active from the 1920s through the 1940s.AI summary
His Master's Voice D590 Orchestra
Columbia L1361