Trans Radio was a record label from Boston, Masachusetts. Trans Radio also produced the label Stellar.
Technichord Records was a small recording company in Brookline, Massachusetts, founded and owned by H. Vose Greenough, Jr. (1912-1976).
Though modest in size, Technichord Records was known for recording music by talented performers that many other companies overlooked. For example, Technichord was the first to record E. Power Biggs, the noted American organist and broadcaster, who did much to popularize the concert organ and organ music to the American public. Other recordings include harpsichordist Claude Jean Chiasson, tenor Hughes Cuenod, soprano Isabel French, and the Harvard Glee Club and the Radcliffe Choral Society performing with harpsichordist Putnam Aldrich.
In the 1940s the label was also distributed in New York (Musart Distributing Co., 7 West 46th St.) and Chicago (K.O. Asher, 1418 Hyde Park Blvd.).
Source: Discogs / Billboard
Late 1940s record label specializing in releases for roller rinks.
Fred H. Freeman, operator of Bal-A-Roue Rollerway in Medford, Mass. announced the Dance-Tone Record Company in June, 1947. Most of the releases on the Dance-Tone label feature Hammond Organ solos by Phil Reed. The company was successor to the H & W Recording Company and production operations were initially located in New Hyde Park, NY. Dance-Tone operations moved to Revere, Mass. in late 1947.
The company stopped producing records in the early 1950s and listed its recording equipment for sale in March, 1953.
This was a U.S. record label (1924 – ca. 1930), originally produced by the Emerson Recording Laboratories and the Scranton Button Company for Grey Gull Records, Inc.. A member of the Grey Gull chain of labels, Globe drew from the same pool of masters as the parent label and couplings and catalog numbers were usually identical to those of correspondig Grey Gull and Radiex releases. Production of this label seems to have diminished after 1927.
The Phono-Cut Record Company produced the first vertical cut records in the United States, from 1910 to 1913.
Based in Boston, Phono-Cut was established in 1910 as a subsidiary of the Boston Talking Machine Company. The vertical cut recording system was developed by Pathé in France in 1905 and did not infringe on patents held by Victor and Columbia. However, customers willing to purchase vertical cut records also needed to obtain special equipment to play them, equipped with a sapphire ball in the pickup rather than the standard steel needle. Consequently, the public’s marginal interest in vertical cut technology was not enough to keep Boston Talking Machine afloat, and in 1913 it was sold to Morris Keen and folded into his Keen-O-Phone firm.
Phono-Cut records utilized only one system of numbering starting with 5000; the highest known number is 5199.
Some members of the Boston Symphony Orchestra made Phono-Cut Records, among them legendary clarinetist Georges Grisez. Henry Burr also made some records for Phono-Cut. As they were made for a failed system, and most remaining vertical cut records were scrapped during the shellac drives of World War II, Phono-Cut discs are not common, though they are not viewed as exceptionally valuable by collectors.
Nevertheless, by bringing the vertical cut process to the United States, Phono-Cut paved the way for other labels, such as Rex Records, Gennett Records, Paramount Records, Okeh Records and Brunswick Records, to enter the marketplace using vertical cut technology until the Victor and Columbia patents were declared expired in 1921.
Radiex Records was a United States record label of the 1920s. It was manufactured by Grey Gull Records of Boston, Massachusetts, from 1921 until the demise of Grey Gull in late 1930; it was then pressed for a few more months into 1931 by the successor firm which continued the Radiex, Van Dyke and Madison labels.
Radiex records were sold in Montgomery Ward catalogs although they were not manufactured specifically for that firm. In some cases, records have been found which had the labels of other Grey Gull products over Radiex labels…or vice versa.
The issues are popular vocal and dance numbers of the era, from masters recorded by Grey Gull, Plaza Music, Emerson Records, and sometimes Paramount Records. Radiex discs bore the same catalog numbers, and contained the same material, as Grey Gull and other products of that company. There are however examples of Radiex issues using other takes of the same tunes as the corresponding Grey Gull issues (for example Sweethearts On Parade on Radiex 1587, which uses a faster take -A with partly different solos than on the slower take -B used on Grey Gull 1587).
Radiex Records were numbered in:
1000 series (dance music)
2000 series (vocal)
4000 series (standards)
7000 race series