Review your 78 rpm records (military music)

[Alexander B.]

After thinking about it for a while, I decided it is best for now to simply have the record professionally transcribed.

For anyone interested, here are the unlisted songs, I'll do full videos on them soon, but for now I don't have the time to put full feature videos together.

[Links to the sound files have been moved to the original post (see the previous page). Ivan Ž.]

Once again, thanks to @Ivan for all the help on this particular record.

[Schmeisser]

Thanks so much for these records!

Is it possible to know matrix-numbers?

[Auceps]

Great!!! Thank you very much for such rarities!

[Alexander B.]

@Schmeisser and @Auceps, thank you, I'm glad some people enjoyed it!

Another record that I've been enjoying recently, Brillant-Special 217. Definitely my personal favorite version of "Nachtmarsch", and a well recorded version of "Schlesierlied", although not my cup of tea.

I've also got one of my holy grail finds coming in soon, I admit that I am an absolute sucker for this particular march, I've also never heard this version to my knowledge, and we all know how much I love mystery songs: "Durch deutsches Land marschieren wir" (also known more commonly as "SA marschiert") on Schallplatten-Volksverband M 2052.

Brillant-Special-217.jpg (258.98 KiB) Viewed 14972 times

Nachtmarsch
Composer/Lyricist: Werner Altendorf
Vocalist: Wilhelm Hesse
Vocal Group: Singschar des SA-Sturms 30
Instrumental Group: Kapelle der SA-Gruppe Berlin-Brandenburg
Conductor: Musikzugführer Johannes Fuhsel
Recording Date: 1933
Recording Location: Berlin
Record Company: NS-Schallplatten-Industrie

Schlesierlied (Kehr’ ich einst zur Heimat wieder)
Composer/Lyricist: Anonym
Arranger: Rolf Herzog; B. Bernards
Vocalist: Wilhelm Hesse
Vocal Group: Singschar des SA-Sturms 30
Instrumental Group: Kapelle der SA-Gruppe Berlin-Brandenburg
Conductor: Musikzugführer Johannes Fuhsel
Recording Date: 1933
Recording Location: Berlin
Record Company: NS-Schallplatten-Industrie

* B. Bernards = Bernhard Kutsch

[Discographical info added by the host; links to files digitized by a different collector removed.]

[Ivan Ž.]

I've noticed that you resize my photos and make polarize them, making them much better to look at. How is that process done so I can do it myself and save you the trouble?

In Photoshop, but it's no trouble, whenever I have time. No worries.

recording dates [...] How is this information found

There are original recording lists of several record companies still in existence. But they are often quite tricky to understand and one must really know what to look for in the lists and on the records themselves. One small hidden additional number can make even a whole year of difference in the recording date and can even identify an entirely different performer. Several excerpts of the Lindström and Telefunken company recording lists have been rewritten by Christian Zwarg and can be found for free here http://discography.phonomuseum.at/ But bear in mind that they aren't complete nor perfect; there are unfortunately a couple (not much) of misinterpretations and wrong identifications added by Zwarg, but overall, a great job done and extremely helpful. A fantastic work by Alan Kelly on HMV & related stuff can be found here http://www.charm.rhul.ac.uk (note: there are some minor errors and typos which will make some searches difficult / without results). Again, reminder: one must carefully look at all of the numbers on the record, including the hidden ones, and only then search in the lists for the additional info - and, again, must know in which list to search for (it can really be very tricky). So it's best to recheck every such info here.

Brillant-Special 217

Links to the files digitized by a different collector removed. Ivan Ž.

Dear Alex, I've noticed that the last six videos on your youtube channel contain sound files digitized by other collectors, not yourself. Please do NOT do that. I can understand that their sound might be better than yours, and you have the same records anyway, so what's the difference, etc. But! There is a difference. First of all, people who produce sound files of great quality do pay a lot more money for a record in mint condition than the ones who buy used/damaged ones. They also spend more money and time on the sound reproducing system. Let's respect that. But! What is even more important is the following: there are many cases where different takes of a recording were released on the same record under (seemingly) the same numbers. In these cases, you might not even notice that you have a slightly different version than some well known one - and then you replace your rare unknown version with the better sound of a similar but different, well known version. And the info that the two different takes were actually in existence gets lost this way. For example, we have discovered so far, in 3 different collections, 3 different takes of "Matrosenlied" (Gramm. rec.). When you hear them they sound the same; but when you compare them in a sound editing program you see the difference in the rhythm etc. Numbers are seemingly the same, but there are indeed written also very small different numbers of takes, not visible on the labels. There are also some different takes (again, seemingly the same) where we can hear some errors in singing, then the corrected versions, etc. There are more reasons for not using other people's files, but this one which potentially damages the historical research, is the most important one.

a well recorded version of "Schlesierlied", although not my cup of tea

Note that at the time Fuhsel recorded the same arrangement of the song also with another singer (Rudolf-Reinhard Sorger), which can be found under the mx. Tono 2075.

I've also got one of my holy grail finds coming in soon, I admit that I am an absolute sucker for this particular march, I've also never heard this version to my knowledge, and we all know how much I love mystery songs: "Durch deutsches Land marschieren wir" (also known more commonly as "SA marschiert")

Don't be too disappointed after you receive it, because you've heard it for sure. It is a well known and mass-produced record. But still nice. It is Männecke's "Argonner-Marsch" which has the "SA marschiert" song in trio (when I typed "Argonner-Marsch" in Google just now, the first result was this version). Your real "Holy Grail find" so far is actually Polydor 2 17319, and thanks for sharing those sound files by the way. Are those the complete files, or are the intros missing?

Cheers,
Ivan

[Alexander B.]

@Ivan

Gee wiz, what a huge pile of information! You sir, work too hard!

1. I do understand in Photoshop . I was hoping you could give me the dimensions that you preferred for the forum, and instruct me as to what the secret to polarizing the records are, I'm pretty handy with Photoshop (I am a computer sciences major), but my attempts with at least my pictures of my record labels have not gone as well as normal landscape photographs and the like, and a polarizing filter on my Nikon 5200 makes the record labels look extremely tired. Its my dream when I finally have all my equipment unpacked at home that I'll just take my collection and scan all the labels with a large format scanner, so they look just as the should, all beautiful and perfectly round, and the Odeon ones will maintain their nice deep royal blue color. Even with proper lighting, Odeon records have been beyond irritating for me to photograph and edit, to the point that I think I subconsciously avoid buying them when I have a choice! My favorite colored labels are always Grammophon Red.

2. Thanks for the links and information. Even if it is not perfect its definitely better than nothing!

3.I will refrain from using sourced content in the future, I admit that currently I don't have any of my materials or sound equipment aside from my preamp, my Dual 1009SK AND Dual 1019 are both off getting fixed and I don't even have my desktop with the sound cards in it running right now, I'm reduced to an acoustic phonograph that I don't dare put anything rare on, lest it ruin anything difficult to replace. So I've been "borrowing" other recordings from random places around the internet. A practice that I definitely shouldn't be engaging in. I don't even have that nasty little turntable I reproduced my first few common records on like 4 years ago anymore, it went to the trash.

A question I might stem off from this subject, I have a very hard time finding any information on the equalization curves for these records. Is there a source you could point me to, as proper curves make a world of difference at least in my opinion!

4. Thanks for additional information on other recordings.

5. Me and Michail actually were talking about what version it was earlier! Unfortunately for me thats one of my least favorite versions of it, BUT! its still SA marschiert, and I still love it! I should explain better, I understand that it isn't a super rare record, but I have a certain draw to that particular march, I've never really understood why, perhaps its the articulation of the lyrics or the powerful message, or perhaps its the fact that I have not been able to obtain a copy and its become one of those "Want because I can't have" things, but it is absolutely one of my favorites, (its so hard to have just one with this hobby) especially when it comes to more propaganda-like music.
Do you or anyone else have any more examples of "SA marschiert" labels I could see? As I said, Its one of my favorites, so I'm fairly positive I'd love to see all the different versions.

6. As to the completeness of those two songs from the Polydor record. "Ein Volk - ein Reich" is complete, although I admit that it doesn't sound complete in the beginning, since the whole thing is really just a pieced together over edited pile short sections in the beginning it loses its "lead in" quality, that subtle difference in sound the outer grooves have compared to the rest of the music. I admit to goofing around a little with that record on my acoustic phonograph to try and see if anything was missing, it seems complete. Its also much like my copy of "Mein Nam' ist Annemarie" where the music starts almost instantly once the grooves start, instead of starting a few in. "Ein Gefrieter" I think definitely is missing an intro, and it does have some sort of instrumental at the beginning that I can here when I put it on my acoustic turntable. I've contacted my friend to see if he forgot to put the fragments for the intro together for that one, we will see!

Thanks
Alex

[Ivan Ž.]

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Das muß den Ersten Seelord doch erschüttern [Foxtrot]
Melody: Das kann doch einen Seemann nicht erschüttern [Foxtrot]/ Composer: Michael Jary
Lyricist: Gerhard Fließ
Vocal Group: Schuricke-Terzett, Berlin
Instrumental Group: Fred Dömpke mit seinen Solisten, Berlin
Recording Date: 29.11.1939
Recording Location: Berlin
Record Company: Deutsche Grammophon GmbH, Berlin

Matrosenlied (Wir fahren gegen Engelland)
Composer: Herms Niel
Lyricist: Hermann Löns
Arranger: Gustav Skibbe
Vocal Group: Soldatenchor
Instrumental Group: Reichsmusikzug des Reichsarbeitsdienstes, Potsdam-Golm
Conductor: Obermusikzugführer Herms Niel
Recording Date: 19.10.1939
Recording Location: Berlin, Central-Theater (Alte Jakobstraße 30-32)
Record Company: Deutsche Grammophon GmbH, Berlin


Here's one of my favourites, a tiny (size of a modern CD) anti-British early war propaganda record, produced by the Deutsche Grammophon company. The first song, "Das muß den Ersten Seelord doch erschüttern", is a parody of the (at the time new) sailors' hit song "Das kann doch einen Seemann nicht erschüttern". The new lyrics were written by Gerhard Fließ; they are praising Günther Prien's (U-47) sinking of the British battleship "Royal Oak" (14.10.1939) and mocking the British Fleet, Prime Minister Neville Chamberlain and, most of all, the First Lord of the Admiralty, Winston Churchill. Note: "Erster Seelord" means the "First Sea Lord", which was the title held at the time by Dudley Pound, but it is much more likely that the lyrics are referring actually to the First Lord of the Admiralty (and in Germany much more known) Winston Churchill (who held the same position in the WWI as well). Song originally had four strophes; in this short propaganda recording, only the 3rd strophe was recorded, with the refrain from the 4th (last) strophe. Lyrics were published the same year (1939) in the songbook "Der Führer hat gerufen" - but they were merged with the original sailors' hit song (Das kann doch einen Seemann...) and under the new title: "Das kann die ganze Flotte nicht erschüttern". The first three strophes were written by Bruno Balz (Das kann doch einen Seemann...) and the additional four were written by Fließ (Das muß den Ersten Seelord...). The second track on this record is an excerpt from (at the time new but already famous) Niel's own recording of his "Matrosenlied" (see also the release of the full recording on page 2). The excerpt contains the instrumental march intro with the 1st strophe.

Ivan Ž.

[Alexander B.]

@Ivan

What an interesting tune, I've never heard it before now, and you're right about that record being small! The parody is less than 2 minutes long!
I have heard the song that it is based on though, and I dare say I like this one just a little better, Its just a tad on the "snarky" side, its got that kind of "sophisticated joke attitude" much like the "Siegfried line" parody .

While we're on the topic of these interesting records produced by the big companies with a different label on them, heres something new of mine thats along a similar line, although its a full size 25cm (10 inch) record and neither of them are parodies. Mines got a nice crack running up about a quarter of the way, but its still very playable and the record is complete. "Hitlerleute" being one of my propaganda favorites, I've never really liked Horst Wessel Lied, but its a fitting combination.

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Horst-Wessel-Lied (Die Fahne hoch!)
Melody: ?/ Composer: Anonym
Lyricist: Horst Wessel
Vocal Group: Männerquartett
Instrumental Group: Blasorchester Carl Woitschach, Berlin
Recording Date: 1933
Recording Location: Berlin
Record Company: Deutsche Crystalate GmbH, Berlin-Reinickendorf

Giovinezza [Inno trionfale del Partito Nazionale Fascista]
Dedication: Al Duce
Composer: Giuseppe Blanc
Lyricist: Salvator Gotta
Instrumental Group: Blasorchester Carl Woitschach, Berlin
Recording Date: 1933
Recording Location: Berlin
Record Company: Deutsche Crystalate GmbH, Berlin-Reinickendorf

[Discographical info added by the host.]

[Fallersleben]

I have same record and it's a bit funny because every time I saw (not often!) one from this Hakenkreuz & Eichenlaub series it's these #6. If I remember correctly Woitschach's band is playing here.

[Ivan Ž.]

If I remember correctly Woitschach's band is playing here.

Indeed (see the info I've added above). It is the same record as the early variant of Kristall 2037 (mx. C 4552-1 / C 4520). Woitschach was uncredited there as well.

Several posts dealing with the song "SA marschiert" have been split off into a new topic.

Now let's please get back to the topic, which is the record reviews.

Cheers,
Ivan

[Alexander B.]

You are right, Ivan. Time to go back to the real subject at hand.

First though, let me say that your work IS appreciated, very much in-fact. By me, of course, and by many that don't even know who you are. For example, the fact that the pirates have been able to properly credit SS Musikzug 42 as the band responsible for the tracks used in "Der Sieg der deutschen Nation" based on information that you've provided is testament to just how far your work has spread, even if thats not exactly the kind of people that should really have your work. The point is, you've made an amazing difference in a study that, as you said yourself, was in pieces and has been so since the end of the war. You seem to be the most well versed out of any collectors I have met so far, you seem to really know what you're talking about and beyond that seem to care about the future of the information, which is a very admirable thing, especially when the information is as scattered as it is. Without information you've provided I 1. Wouldn't know half the people I buy records from. 2. Wouldn't understand what a large contribution Herms Niel made to music and how much impact his work still has. and 3. Would probably be handing out recordings of my records indiscriminately to unsavories without giving it a second thought. I hope to eventually know as much as you know, maybe even have as fantastic a collection. As I said before, don't take my confusion about this subject and its set of new rules and frustration with a lack of a true community as a personal problem with you, as it is farthest from that, you are really the only person that has been friendly enough to help me get my collection started and provide me with the information I need to keep going, and for that I have immense appreciation. You helped me get started when I didn't even know "Erika" was a Herms Niel song.

NOW...
Back to records

A song of Niel's that I feel gets less recognition than it deserves, "Mein schönes Fuldatal". (Ich bin der Bub vom Fuldatal)- A great song that I personally enjoy, I especially like the march accompaniment that precedes the start of the lyrics, it is among my favorite accompaniments by Niel.

My copy is the version by Herms Niel and his own Reichsmusikzug des RAD, the version I've been told is superior, but I honestly haven't really been able to hear anything I like more or dislike less opposed to the Imperial 19139 recording by the Musikkorps des Luftnachrichten-Regiments des Oberbefehlshabers der Luftwaffe.

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Mein schönes Fuldatal [Marsch]
Composer: Herms Niel
Trio: Ich bin der Bub vom Fuldatal/ Composer/Lyricist: Anonym
Arranger: Bernhard Kutsch
Arranger [Lyrics]: Otto Lindemann
Vocal Group: Männerchor
Instrumental Group: Reichsmusikzug des Reichsarbeitsdienstes, Potsdam-Golm
Conductor: Obermusikzugführer Herms Niel
Recording Date: 29.03.1938
Recording Location: Berlin, Lützowstraße 111-112
Record Company: Deutsche Grammophon GmbH, Berlin

O, du schöner Westerwald [Marsch]
Composer: Arno Hildebrand
Trio: Westerwaldlied (O, du schöner Westerwald)/ Composer/Lyricist: Anonym
Vocal Group: Männerchor
Instrumental Group: Reichsmusikzug des Reichsarbeitsdienstes, Potsdam-Golm
Conductor: Obermusikzugführer Herms Niel
Recording Date: 29.03.1938
Recording Location: Berlin, Lützowstraße 111-112
Record Company: Deutsche Grammophon GmbH, Berlin

[Discographical info added by the host.]

[Ivan Ž.]

Cheers.

A song of Niel's that I feel gets less recognition than it deserves, "Mein schönes Fuldatal". (Ich bin der Bub vom Fuldatal)- A great song that I personally enjoy, I especially like the march accompaniment that precedes the start of the lyrics, it is among my favorite accompaniments by Niel.

Note that the song was not composed by Niel, it is a folk song. Niel composed the instrumental intro. Same thing with Hildebrand's march: intro is Hildebrand's and the song is a folk song.

Here's my Polydor variant:

Polydor-C-2767.jpg (298.47 KiB) Viewed 15829 times

Ivan

[Alexander B.]

Thanks for the info, Ivan.
I didn't know that "Mein schönes Fuldatal" wasn't Niel's composition, I've only ever seen his versions. Learning something new everyday!

I saw a very interesting Polydor copy of "Matrosenlied"/"Es geht um's Vaterland" Polydor G 11357 that I wanted, alas at 500 USD it was definitely too expensive to be a practical purchase. I have definitely changed my mind about the polydor label records after my experience with that lot from Austria that had the "Ein Gefreiter", "O du schöner Westerwald" and others in it, all Polydor. I initially wrote them off as Tempo quality recordings, but have since realized that they are actually quality records.

Also something I had a question about a record I purchased in a job lot recently, and I don't think I've ever heard either of the songs. I looked around on the internet and found a similar song to the one on side B, but I haven't found anything about the song on side A. Do you know anything about it? I have had good luck with Harry Steier, and I bet that this will be a very interesting tune.

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Soldaten müssen sein! [Marschlied]
Composer: John Walter; Siegfried Mitlacher
Lyricist: John Walter
Vocalist: Harry Steier
Vocal Group: Gemischter Chor
Instrumental Group: Orchester
Conductor: Kapellmeister Otto Dobrindt
Recording Date: 13.06.1933
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27), Raum II
Record Company: Carl Lindström AG, Berlin

Herr Hauptmann, Herr Leutnant [Marsch-Foxtrot]
Composer/Lyricist: Bert Reisfeld; Hans Lengsfelder; Rolf Marbot
Vocalist: Harry Steier
Vocal Group: Männerquartett
Instrumental Group: Orchester
Conductor: Kapellmeister Otto Dobrindt
Recording Date: 29.10.1932
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27)
Record Company: Carl Lindström AG, Berlin

* John Walter = John Walter Rühle

[Discographical info added by the host.]

[Ivan Ž.]

Also something I had a question about a record I purchased in a job lot recently, and I don't think I've ever heard either of the songs. I looked around on the internet and found a similar song to the one on side B, but I haven't found anything about the song on side A. Do you know anything about it?

See the added info.

Both songs were composed/written in 1932.

Polydor. I initially wrote them off as Tempo quality recordings, but have since realized that they are actually quality records.

But of course! Polydor was simply Grammophon's label for foreign market and the recordings are Grammophon's high quality production. Polydor G 11357 is the same as Grammophon E 11357. Tempo was a different company and produced low budget recordings and cheap records.

I didn't know that "Mein schönes Fuldatal" wasn't Niel's composition, I've only ever seen his versions.

"Mein schönes Fuldatal" is the title of Niel's march. The folk song he incorporated in it is "Ich bin der Bub (Bua) vom..." (there were many variants: Fuldatal/ Westerwald/ Aubachtal/ Elstertal/ Biebertal/ Neckartal etc).

It is very much possible that Niel composed not only the intro but also the ending ("Leb' wohl, mein Heimatland...") and that Otto Lindemann wrote those ending lyrics completely (and not that he only arranged some old ones). I haven't heard this part performed in the recordings of the solo folk song (nor I've seen it mentioned in "Ich bin der Bub" lyrics in songbooks), I've heard it only as part of Niel's march.

Cheers,
Ivan

[Alexander B.]

Polydor. I initially wrote them off as Tempo quality recordings, but have since realized that they are actually quality records.

But of course! Polydor was simply Grammophon's label for foreign market and the recordings are Grammophon's high quality production. Polydor G 11357 is the same as Grammophon E 11357. Tempo was a different company and produced low budget recordings and cheap records.

I do know the two were separate companies, I was looking for a way to describe my initial impression of the Polydor label. My first experience with Polydor label records was when I was in Hungary this past summer and procured some Hungarian market recordings, all of them coming from separate places around Budapest. They all seem to be deteriorating as a material, the shellac feels soft, and you can rub them with only a little force and shellac will start coming off with your finger, they also don't feel like the other Polydor records I have, in thickness and quality of construction. They're all very thin and have rough edges and the labels aren't centered well.

Here is an example from that trip.

Polydor G 47575

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Lili Marleen (Lied eines jungen Wachtpostens)
Composer: Norbert Schultze
Lyricist: Hans Leip
Arranger: Bruno Seidler-Winkler
Vocalist: Mimi Thoma
Vocal Group: Männerchor
Instrumental Group: Orchester
Conductor: Lutz Templin
Recording Date: 30.09.1941
Recording Location: Berlin, Central-Theater (Alte Jakobstraße 30-32)
Record Company: Deutsche Grammophon GmbH, Berlin

Lieber Soldat, mein Kamerad! [Lied]
Composer/Lyricist: Franz Wilczek
Vocalist: Mimi Thoma
Instrumental Group: Orchester
Conductor: Lutz Templin
Recording Date: 30.09.1941
Recording Location: Berlin, Central-Theater (Alte Jakobstraße 30-32)
Record Company: Deutsche Grammophon GmbH, Berlin

Also of questionable quality were the Odeon label records I found, which despite my aversion to them due to their label color being hard to photograph, are usually top quality records with great sound. Hungarian versions were surprisingly bad. Not so much a problem with the actual record material or sound quality but the labels themselves were deteriorating at an interesting rate that I've never seen even on the most worn of copies from the German market, with pieces of the label having bubbled up and flaked off, the labels were also poorly printed, with text and numbers running into each other and into the label artwork, and again not well centered.

Some examples of Odeon labels that I brought home.

Odeon A 235740

Heres an example of what I believe to be an export version of Odeon O-11842 with the Musikzug SS-42. Printed well, low quality paper, bubbling and tearing though,.

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Horst-Wessel-Lied (Die Fahne hoch!)
Melody: ?/ Composer: Anonym
Lyricist: Horst Wessel
Vocal Group: Chor des SS-Sturms 3/II/42, Berlin
Instrumental Group: Musikzug der SS-Standarte 42, Berlin
Conductor: Musikzugführer Alexander Heinz Flessburg
Recording Date: 14.03.1933
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27), Raum IV
Record Company: Carl Lindström AG, Berlin

Volk, an’s Gewehr! (Siehst du im Osten das Morgenrot?) [Kampflied der SA-Standarte 7]
Dedication: Meinem verehrten Gauleiter Pg. Dr. Goebbels in dankbarer Erinnerung herzlich zugeeignet
Composer/Lyricist: SA-Sturmbannführer Arno Pardun
Vocal Group: Chor des SS-Sturms 3/II/42, Berlin
Instrumental Group: Musik- und Spielmannszug der SS-Standarte 42, Berlin
Conductor: Musikzugführer Alexander Heinz Flessburg
Recording Date: 13.03.1933
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27), Raum IV
Record Company: Carl Lindström AG, Berlin

Odeon A 235760

Another example showcasing the lack of consistency in the printing and cutting of the labels. See how to BIEM rights society seal is in noticeably different heights, also look how the printing runs off the label, or perhaps the label was cut off the sheet poorly, we also see the text running into the art a little bit here, at the bottom. It seems the Hungarian records (Or perhaps all export Odeon?) had a different number system which was much longer. Worst though is that if you look closely the record labels are of a distinctly different size compared to each other. Interesting for a collector, but I would not have been a very happy customer if I went to the store and received workmanship like this for my hard earned money back in the day.

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Lili Marleen (Lied eines jungen Wachtpostens)
Composer: Norbert Schultze
Lyricist: Hans Leip
Arranger: Helmut Koch
Vocalist: Irene de Noiret
Vocal Group: Kammerchor Waldo Favre, Berlin
Instrumental Group: Orchester
Conductor: Helmut Koch
Recording Date: 02.10.1941
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27)
Record Company: Carl Lindström AG, Berlin

Es wiegt sich ein Schiff im Wind [Langsamer Foxtrot]
Composer: Sascha von Stollberg
Lyricist: Wera von Stollberg
Arranger: Helmut Koch
Vocalist: Irene de Noiret
Vocal Group: Kammerchor Waldo Favre, Berlin
Instrumental Group: Orchester
Conductor: Helmut Koch
Recording Date: 02.10.1941
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27)
Record Company: Carl Lindström AG, Berlin

Odeon A 235761

This one here is perhaps the worst example of lazy text control on the Hungarian Odeon records. But it is also a very strange outlier from the rest, as it has the typical high quality royal blue Odeon label paper, is cut well and is not bubbling and rubbing off of the record due to poor materials used or poor application. (The damaged label on the B side appears to have once had a collectors label over it, and as such isn't the manufactures fault) The text setting and leveling is extremely poor, though. I've noticed the great majority of record labels might have the text at a different angle by MAYBE a couple of degrees, I see this small difference in degree with many of my Grammophon labels, the results of working on things on an industrial scale before computerized production, and that is understandable, but this here is just lazy. Here we see on side A, BIEM is printed ontop of the Odeon artwork, The title is printed into the record's hole, everything is tilting slightly to the right, and of course the worst looking part is that its all pushed far right onto the right side of the label where the end of the words are going into the right side of the artwork.

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Lili Marleen (Lied eines jungen Wachtpostens)
Composer: Norbert Schultze
Lyricist: Hans Leip
Arranger: Helmut Koch
Vocalist: Sven-Olof Sandberg
Vocal Group: Kammerchor Waldo Favre, Berlin
Instrumental Group: Orchester
Conductor: Helmut Koch
Recording Date: 11.10.1941
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27), Raum II
Record Company: Carl Lindström AG, Berlin

Ich schreibe meiner Mutter einen Brief [Lied]
Composer/Lyricist: Fred Kassen
Arranger: Helmut Koch
Vocalist: Sven-Olof Sandberg
Instrumental Group: Orchester
Conductor: Helmut Koch
Recording Date: 11.10.1941
Recording Location: Berlin, Carl Lindström AG (Schlesische Straße 26-27), Raum II
Record Company: Carl Lindström AG, Berlin

Odeon O-5107

This is probably the overall best example of the Hungarian records I have found, although it has the lower quality paper/application, it has been stored fairly kindly, and has not suffered bubbling and peeling, nor does it share the same degree of crooked text/bleeding into the artwork.

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Marcia Reale / Giovinezza
Composer: Giuseppe Gabetti / Giuseppe Blanc
Lyricist: / Salvator Gotta
Instrumental Group: Banda Fascista (Gran Concerto „Citta di Chieti“)
Conductor: Domenico Valenti
Recording Date: 1934
Recording Location: Berlin
Record Company: Carl Lindström AG, Berlin

Faccetta nera (La canzone dei Legionari)
Composer: Mario Ruccione
Lyricist: Renato Micheli
Instrumental Group: Orchestra
Conductor: Del Pistoia
Recording Date: ?
Recording Location: Milano
Record Company: Carl Lindström AG, Berlin

Radiofunken R 8007

Although unrelated to the rest of these, here is another record that fits the same kind of theme. A "Radiofunken" label meant for the US market. From what I understand they were actually not at all part of Telefunken and we're instead pirates that stole lots of sound recordings and made their own records with them. Very interesting. The only complaint I have about this record is that it is very thin, one of the thinnest non flexible 78's I have ever encountered, and as such is already very worn.

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Horst-Wessel-Lied (Die Fahne hoch!)
Melody: ?/ Composer: Anonym
Lyricist: Horst Wessel
Arranger: Carl Woitschach
Vocal Group: Chor des SA-Sturms 33 und Mitglieder der SA-Standarte 1, Berlin
Instrumental Group: Blasorchester Carl Woitschach, Berlin
Recording Date: 05.04.1933
Recording Location: Berlin, Sing-Akademie (Am Festungsgraben 2)
Record Company: Telefunken-Platte GmbH, Berlin

Ich hatt’ einen Kameraden (Der gute Kamerad)
Composer: Friedrich Silcher
Lyricist: Ludwig Uhland
Instrumental Group: Blasorchester Carl Woitschach, Berlin
Recording Date: 21.11.1936
Recording Location: Berlin, Sing-Akademie (Am Festungsgraben 2)
Record Company: Telefunken-Platte GmbH, Berlin

Regards
Alex

[Discographical info added by the host.]