[78-L] San Francisco Records

Wed Jun 30 20:56:25 PDT 2010

a quick search shows SAN FRANCISCO up to 33015 Bernie Green plays more than you can stand
                                         33014 Barbara Dane - Trouble In Mind
Barbary Coast up to 33028  The Three Of Us Play Solo
 Kurt Reher Cello,  Gene Garf Accordion, Burnett Atkinson Flute

PLEASE - can anyone fill in any higher numbers,
AND:
33010
33012
33013
33016
33017
33019
33021
33022
33026
33027

Thanks!
Best wishes, Thomas.

-----Original Message-----
From: 78-l-bounces at klickitat.78online.com
[mailto:78-l-bounces at klickitat.78online.com]On Behalf Of David Lennick
Sent: Wednesday, June 30, 2010 10:22 PM
To: 78-l at klickitat.78online.com
Subject: Re: [78-L] San Francisco Records, wuz (I forget)

I was about to ask the same question. The highest number I have is M-33009, which is HiFi Sounds for Hounds. Barbary Coast's
reissues were horrible, fake stereo, overdubbed, and pressed on that flimsy crap we started getting after the "oil shortage". When
did they appear? A mid 60s Schwann catalog lists 3 Albert White albums, but they're on Fantasy.

dl

> From: sternth at attglobal.net
> To: 78-l at klickitat.78online.com
> Date: Wed, 30 Jun 2010 21:54:58 -0400
> Subject: Re: [78-L] San Francisco Records, wuz (I forget)
>
> Can someone supply a listing of their releases?
>
> There were 3 labels, that I'm aware of: San Francisco, Barbary Coast, Talking Machine.
> Can anyone confirm that material was issued on all 3 labels, in mono and "stereo"
>
> A side note: the MAX MORATH recording was drawn from the GOLD CAMP series recorded at the Imperial Hotel, Cripple
> Creek, Colorado. "Enhanced" with saloon sounds by SF owner AL LEVITT.
>
> Supposedly the label(s) are now owned by FANTASY (thus Concord).
>
> Best wishes, Thomas.
>
>
> -----Original Message-----
> From: 78-l-bounces at klickitat.78online.com
> [mailto:78-l-bounces at klickitat.78online.com]On Behalf Of David Lennick
> Sent: Wednesday, June 30, 2010 2:14 PM
> To: 78-l at klickitat.78online.com
> Subject: Re: [78-L] San Francisco Records, wuz (I forget)
>
>
>
> Just steer clear of any reissues on Barbary Coast, which dropped tracks, had fake stereo and even overdubbed a freakin'
ACCORDION
> on the first Albert White album (I don't know if I ever dared listen to the second one).
>
> dl
>
> > From: mbiel at mbiel.com
> > To: 78-l at klickitat.78online.com
> > Date: Wed, 30 Jun 2010 10:04:19 -0700
> > Subject: Re: [78-L] San Francisco Records, wuz (I forget)
> >
> > Like everything this label released, this is a great album.
> >
> > Mike Biel mbiel at mbiel.com
> >
> > -------- Original Message --------
> > Subject: [78-L] San Francisco Records, wuz (I forget)
> > From: David Lennick <dlennick at sympatico.ca>
> > Date: Wed, June 30, 2010 12:48 pm
> > To: <78-l at klickitat.78online.com>
> >
> >
> > And now, because I don't have anything better to do, I'm going to post
> > the entire "Technical Gibberish" note from San Francisco M-33009, "Hi-Fi
> > Sounds for Hounds", a grab bag of "scraps taken from other albums that
> > we didn't think were really necessary" and "sounds or music that we
> > didn't think would have general commercial appeal..not that we want you
> > to get the wrong idea about this album, but anyway...".
> >
> >
> >
> > Ahem.
> >
> >
> >
> > TECHNICAL GIBBERISH
> >
> >
> >
> > The assembled recordings were produced over a period of approximately
> > two years at various studios and halls and basements and gutters. No
> > effort was spared to find suitable locations which would faithfully
> > reproduce the sonic characteristics of the individual instruments or
> > sounds. For example, it was discovered that the hall which best captured
> > the dynamics of (Fred) Hage's one-man band was the hall between the
> > bedroom and the bathroom in the home of Mr. and Mrs. Laertes "Groove"
> > Joost. Unfortunately, the Joost home was demolished by the California
> > State Highway Commission (J. D. Smith, Director) to make room for a
> > freeway before the recordings could be finished. We are happy to report
> > that Mr. Hage suffered only minor abrasions and a small scalp lesion.
> > Texcel 36-B masking tape was used exclusively and an AJAX Corporation
> > "Steno" wire recorder with a built-in telephone tap was employed for the
> > master recording. Seventeen Brush crystal multi-directional microphones
> > model nu
> > mber 37-U23, set wherever a wall met a floor or ceiling were used for
> > the major pick-up of the studio recordings. Field recordings were made
> > on the newly developed ACME (ruggedly constructed) carbon microphone,
> > which incidentally employ magnificent new low-hiss circuitry. All mixing
> > was done separately on another channel using a Hamilton Beach duo-beater
> > system. (Great for chocolate malts, by the way.)
> >
> >
> >
> > San Francisco Records exclusive process F.E.-F.I.E. (Fidelity Eh?
> > Fidelity Isn't Everything) specifies that absolutely no limiting of the
> > signal be employed. This means that you have to purchase a complete new
> > sound system utilizing a 70-watt power amplifier, two pre-amps and a
> > special stroboscopic turntable with a viscous damped pickup and a
> > variable reluctance arm using a supra-balanced head housing a thorium
> > needle, and a four-channel speaker system with two fifteen-inch low end
> > drivers, 21 ten-inch mid-range pushers, including seven multi-cellular
> > pressure tweeters connected by a dual exhaust cross-over network hooked
> > to your power amplifier.
> >
> >
> >
> > In order to hear the recording satisfactorily, the greater dynamic range
> > will be evidenced by the cracked plaster and the starboard list your
> > house assumes as it resettles on its foundation.
> >
> >
> >
> > Transfer from wire to disc was made on a Mergenthaler lino-type with
> > heated ultra-dynamic feedback employing a Yankee cold chisel type lathe.
> >
> >
> >
> > Pressings are pure custom reconditioned wax taken from old Edison
> > cylinders. Frequency reponse from 1 to 1 million cycles. Use the new
> > T.A.G.I.T.S.R. curve (Try and Get It To Sound Right).
> >
> >
> >
> > Technical Data written on the typewriter at Feibush and Sons Hat
> > Factory, 219 Kearny Street, next to the studios of San Francisco Records
> > by Bob Ross.
> >
> >
> >
> > ---------------------------------------------------------------------------------
> >
> > > From: dlennick at sympatico.ca
> > > To: 78-l at klickitat.78online.com
> > > Date: Wed, 30 Jun 2010 12:18:49 -0400
> > > Subject: Re: [78-L] Guckenheimer question, mein herr
> > >
> > >
> > > Both are Capitol pressings. Same master (FB 2926-D1) on side one, both copies, but TM-5 Side 2 is FB 2927-D2 and has TM-5 in
> the land as well.
> > >
> > >
> > >
> > > dl
> > >
> > > > From: mbiel at mbiel.com
> > > > To: 78-l at klickitat.78online.com
> > > > Date: Wed, 30 Jun 2010 09:11:37 -0700
> > > > Subject: Re: [78-L] Guckenheimer question, mein herr
> > > >
> > > > I believe that other, perhaps all, San Francisco records also appeared
> > > > on the Talking Machine label. I'm not sure if I have any examples like
> > > > this on both labels, but I think I have several TM records that had
> > > > earlier been on SF. Are both of your copies Capitol pressings using the
> > > > same masters?
> > > >
> > > > Mike Biel mbiel at mbiel.com
> > > >
> > > >
> > > > -------- Original Message --------
> > > > Date: Wed, June 30, 2010 11:56 am
> > > > > Repeating the question.
> > > > >> Date: Wed, 16 Jun 2010 00:48:06 -0400
> > > > >> How come I have the Guckenheimer Sour Kraut Band's "Oom-Pah-Pah In Hi-Fi"
> > > > >> on two different labels? Identical artwork and liner notes, but one is
> > > > >> San Francisco M 33005 and the other is Talking Machine TM 5. Did any
> > > > >> other of San Francisco's albums appear on this other label? (1900 in
> > > > >> Hi Fi would have been a natural.) Different addresses shown as well..
> > > > >> 562 Kearny Street and 217 Kearny Street. The TM release shows
> > > > >> "Copyright 1957 San Francisco Record Corporation". dl
> > > >
> > > >
> > _______________________________________________
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