[78-L] San Francisco Records / Barbary Coast

Thu Jul 1 15:47:07 PDT 2010

Can anyone supply details for BARBARY COAST / San Francisco
33010
33012
33013
33016
33017
33019
33027

Thanks, 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: Thursday, July 01, 2010 11:16 AM
To: 78-l at klickitat.78online.com
Subject: Re: [78-L] San Francisco Records

A couple of additional things I found out after I'd logged off last night. Around June 1958, San Francisco Records was sold to a
group in Los Angeles who continued the label as Barbary Coast Records, apparently using the same numbering series. I have never
seen a 50s or 60s Barbary Coast pressing. My comment about thin low-grade vinyl and fake stereo was based on the reissued albums I
saw in the 70s. The highest number listed in ARLD is 33028, issued in December 1959. The highest San Francisco number in ARLD is
33015, which I have (as is the case with many other SF albums) on a Canadian pressing by Sparton.

dl

>
> > From: sternth at attglobal.net
> > To: 78-l at klickitat.78online.com
> > Date: Wed, 30 Jun 2010 23:56:25 -0400
> > Subject: Re: [78-L] San Francisco Records
> >
> > 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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