Last week we wondered whether record titles, such as those listed in a ca. 1891 catalog of the New Jersey Phonograph Company, might not all have been actually recorded. Then we traced the offerings of Charles Asbury in New Jersey/U.S. Phono. Co. and Columbia catalogs from 1892 through 1897 to see which of his records were “hits”—cylinders likely to have been made again and again over that six-year period. Let’s revisit that 1891 New Jersey pamphlet.
New Jersey Catalog ca. 1891. (Composite; Library of Congress)
As we noted, the names of artists were not provided. This fact surprises many of us today, as we can’t imagine buying a record just to buy a record. It’s the talent that we’re interested in. But in 1891, the recording business was brand new, and the identities of the performers would have meant nothing to consumers. That would change quickly, as experienced exhibitors and arcade owners came to recognize and seek out cylinders by the best performers for their operations.
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April 1894 New Jersey catalog (Library of Congress)
We said on Monday that maybe by comparing the early catalogs of cylinder companies we can figure out which titles were recorded for certain because they continued getting listed month after month and year after year. A title that appears in a catalog once and then disappears—perhaps that title never actually got made because no clients showed interest in it.
In the case of Charles A. Asbury, whose work we release today on 4 Banjo Songs, 1891-1897: Foundational Recordings of America’s Iconic Instrument, there were 16 selections by him in the October 1892 catalog of the New Jersey Phonograph Company. That number decreases to nine in early 1894, but all nine were titles included among the 16 from earlier. So these are the “winners.”
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