Discographies: Association for Recorded Sound Collections Discographic Reference - Böcker

Ruppli always packs his books with every conceivable convenience, with the researcher in mind. Thus, we find complete listings of every LP and EP issued by Savoy and its subsidiaries, and also all records leased or purchased by Savoy, including, Bop, Dee Gee, Discovery, National, Jewell, Hi-Lo, and Signal. An artist index is the final helpful touch. Goldmine Magazine

Although somewhat more specialized than the Atlantic set because of Prestige's emphasis on jazz, this work is valuable for record collectors and researchers. American Reference Books Annual

Standard library cataloging rules are ill-adapted for the most part to serving the needs of the users or the compilers of discographies. . . . Rust offers a [broad] view of how the discipline has developed to date, since his interests lie in jazz and popular music, where much of the early discographical work was done. Choice

Knowledge of just what recordings of classical music have been issued in the Soviet Union has been very limited to date, since only a small number of such recordings have been licensed for production and sale by West European and American companies. . . . Bennett's discography of all LP recordings issued in Russia since 1951 is thus a valuable research tool for the serious record collector and music library. Choice

For the dedicated record collector and music lover this discography provides invaluable information about Legge himself and a crucial periodin recording history, from his issuance of discs on a subscripion basis tothe creation of the Philharmonia Orchestra to the systematic recording of the greatest musical artists of the world. Alan Sanders provides session-by-session data on works prepared under Legge's supervision, with the date of the recording, the location, the name(s) of the artist(s), and even the progress of the recording schedules. Also provided are serial and matrix numbers, the takes, catalog numbers, secondary issue numbers, and other data. To afford easy access to all this information, the discographyis indexed both by title and by artist.For the dedicated record collector and music lover this discography provides invaluable information about Legge himself and a crucial period in recording history, from his issuance of discs on a subscripion basis to the creation of the Philharmonia Orchestra to the systematic recording of the greatest musical artists of the world. Alan Sanders provides session-by-session data on works prepared under Legge's supervision, with the date of the recording, the location, the name(s) of the artist(s), and even the progress of the recording schedules. Also provided are serial and matrix numbers, the takes, catalog numbers, secondary issue numbers, and other data. To afford easy access to all this information, the discography is indexed both by title and by artist.

This exhaustive and complete discography of Indian music issued on microgroove discs and cassettes provides information on over 2,700 recordings of classical and semiclassical music of the Indian subcontinent. It covers the period from the early 1950s to the end of 1983 and also contains information on recordings from the early 1930s onward that were originally issued at 78 RPM and have been reissued on microgroove discs. The main text of the discography is divided into five sections: Hindustani Instrumental, Hindustani Vocal, Karnatic Instrumental, Karnatic Vocal, and Anthologies. Artists are listed alphabetically and brief biographical information is provided when possible. The recordings are indexed by Raga and Tala (the melody and the rhythm), thus allowing comparison between different recordings of the same piece. An instrumental index is included as are indexes to several styles of vocal performance.

Here is the first complete listing of all the recorded works of Hubert Prior Vallee, one of America's most versatile and accomplished entertainers. Kiner chronicles Vallee's work from its infancy in 1921 through his most popular era in the late 1920s and early 1930s into the war years of the 1940s and on into the next thirty years. All known Vallee recordings that were ever issued or intended for issue as commercial releases are listed. Also included are unissued recordings, private recordings, radio broadcasts and soundtracks, as well as private issues that were produced in sizable quantities. Each entry contains as complete a citation of a disc's production as possible, including: date, type, and location of performance; orchestral accompaniment with number of instruments and vocalist; song title and songwriter's name; and record size/rpm/label name, catalog number/matrix number, and take designation. The book contains illustrations, a preface by the artist himself, as well as indexes for Valle songs, 78 rpm single records, LP records, conductors, costars, musicians who worked in the Connecticut Yankees, and Vallee's motion pictures and radio series.

Duxbury attempts to document the connections between the rock and classical music genres by listing recorded examples of rock instrumentals and songs that borrow from the classics, and orchestral versions of songs originally composed and/or recorded by rock musicians. . . . There are appendices of `selective' lists: big-band versions of the classics, etc. The general index includes the names of classical composers, rock groups and artists, orchestras, choruses, conductors, producers, and song titles. . . . The selective nature of the work might make it less appropriate for scholars, but it will interest and amuse fans and general readers. Recommended for collections specializing in popular music. Choice

The heart of Smith's well-researched, meticulously assembled discography is the detailed chronology of every Cash recording date through April 1984. Information given includes session date, location, musicians, producer, songs recorded (including takes), songwriter and release history. Scholarly notes aid the user in tracing retitled or redone versions of the same song. There are separate indexes for U.S., European, and bootleg releases; a song title index; and a listing of the songs Cash performed on his ABC television series. Superbly done; for appropriate research collections. Library Journal

This is a very good book which will certainly become one of the essential works of reference for the jazz enthusiast. It covers the ragtime to swing period by way of 250 LPs, each of which is afforded full discographical information on dates, titles, and personnels. . . . The quality of the writing is extemely high, as indeed one has a right to expect from authors of this calibre. . . . Harrison, Fox, and Thacker have produced some beautifully composed essays on artistes such as Billie Holliday, Roy Eldridge, Duke Ellington, etc. . . . It is a book which needs to be dipped into frequently, a volume to keep close to one's record collection. . . . It will increase immeasurably anyone's knowledge of, and appreciation for, jazz. The Gramophone

Worth and Cartwright have compiled a comprehensive discography documenting this exceedingly long career. In a chapter devoted to `The Art of John McCormack and the Phonograph,' McCormack's vocal technique is examined, and his artistic development chronicled. His talent for blending the intellectual and the intuitive in his musical interpretation is pointed out. An account of the events of his career adds to the history of singing. Recordings are listed chronologically by recording session, and a useful alphabetic listing by song title is provided. . . . The authors carefully acknowledge indebtedness to a number of McCormack discography researchers. A bibliography and artist index conclude the volume, which is sturdily bound. All undergraduate and graduate music libraries with McCormack recordings will want this book. Choice

This discography is successful in its attempt to `present a complete picture of women instrumentalists' recording activity from 1913 to 1968.' Jan Leder also shows the significant contributions made by women in jazz and their involvement playing jazz since its beginnings. The book contains two parts: Discography of Women in Jazz and Collective Section. The first section arranges names alphabetically by name of player with works arranged chronologically for each player. The second section is a chronological listing of recordings with two or more players. It gives date, place, name of orchestra, director, performers, recording titles, and company. Index of performers. An excellent resource on the subject. Reference Book ReviewThis discography presents as complete a picture as possible of the recording activity of women jazz instrumentalists between 1913 and 1968. It is divided into two sections. The first section is alphabetical by the last name of the player and chronological within each player's section; the second is a chronologically arranged collective section containing information on recordings with two or more women players. An index of all women players with references to the pages where information on their recordings may be found completes the volume.

With Thank You Music Lovers, Greenwood Press continues to expand its excellent series of discographies. Meticulously researched and exhaustively detailed, this volume chronicles the career of Spike Jones and his City Slickers from 1941 to 1965. Although subtitled a biodiscography, Mirtle's book is primarily a chronology of recordings, playdates, and radio and television shows. . . . Mirtle's book has a selective bibliography, indexes to the band's personnel, tunes played and recorded, and LP issues. Three appendixes contain further miscellaneous information. . . . Choice

Every recorded performance of Mahler shymphonies--and Das Lied--from 1924 until press time! What a labor and how sorely needed! Music JournalIn the past 25 years a revival of interest in the music of Gustav Mahler has resulted in nearly 300 new recordings of his symphonies. The breadth and complexity of these works, together with the plethora of recent releases, signals the need for a guide that will be useful both to novice and the experienced collector. Lewis M. Smoley's book fills this need, providing critical analysis and specific recording information for all known recordings of Mahler's symphonies as well as indexes by conductor, orchestra, and label.The result of extensive research, this volume includes many recordings that have not appeared in previous listings. Recording made around the world from 1924 through 1986 are treated in chapters devoted to each of the 11 symphonies--including Das Lied von der Erde and the unfinished 10th. Listings are arranged alphabetically under the name of the conductor and analyzed in terms of quality of performance, specific interpretation and interpretive styles, and sonics. Recordings of special merit are noted. Entries supply information about reissues as well as original pressings, type of recording, and alternative versions of some of the scores. Cross-referenced indexes list conductor, orchestra, vocal soloists, chorus, and record label for the recordings discussed. The foreword and preface place Mahler's recorded symphonies in perspective and discuss some of the interpretive and textual issues that continue to be debated. This single-volume guide is appropriate for both the average listener and the serious enthusiast, and will also be a valuable addition to the collections of music schools and conservatories.

Irish folk music has, since time immemorial, been a means of Irish self-expression and nationalism, with tunes and songs passed down through the generations preserving Ireland's lively oral tradition. With the advent of the phonograph, radio, and TV, Irish music reached a more varied, worldwide audience. This international enthusiasm produced, over the last three decades, an Irish folk music revival--a renaissance that came into full bloom in the 1970s and continues vigorously today. The ballad bands of the 1950s and 1960s, the more traditional music of pioneer Sean O'Riada, the purist approach of the internationally renowned Chieftains as well as late 1960s subtle ballad groups like Sweeney's Men form the rich tapestry of music and musicians that preceeded the evolution of such 1970s groups as Planxty and Skara Brae. They, in turn, spawned bands that accompanied traditional Gaelic songs with acoustic guitars and clavichord, among other instruments, and showed the influences of rock, jazz, classical, and pop music. Recent trends include Celtic fusion, an energized new age music, and excursions into rock'n'roll and pop. If anything, the current Irish music scene--composers and performers--is internationally visible, highly marketable, alive, and growing. Musicians, scholars, and cognoscenti of Irish music will be pleased to find references to Donal Lunny, Dolores Keane, and Mick Moloney in this valuable reference that covers the 1960s to the Spring of 1987.The first work to exclusively address and evaluate Irish folk music recordings, this selective annotated discography lists some 200 recordings and has citations to an additional 100 or more. Each entry is fully indexed by musician(s), producer, and contents of the recording, and entries also include main artists, year of release, record label, number, and more. The appendixes consist of a glossary of Irish words, musical terms, and a current directory of sources for obtaining the recordings. Informative annotations follow the basic discographic information and most entries have been critiqued by the author. This unique reference focuses mainly on recordings from the 1970s onward and, with few exceptions, all entries are in print and are released by United States and Irish record labels.

This supplement to V-Discs: A History and Discography updates the original volume which cataloged and described these unique recordings. The discographic section presents corrections and a wealth of new material that has come to light since the main discography was published. New information includes details on recording dates, personnel, vocalists and soloists, sources, playing times, composers, test pressings, studio dialogue, and spoken introductions, together with data on selections made from newly discovered V-Disc recording sessions. The supplement includes introductory material and notes (V-Disc personnel and recordings studios) and V-Disc mastering sheets. These 1942-1947 sheets complete the series inaugurated in V-Discs and are the last of these items in existence. The supplement also has an up-dated listing of AFRS transcriptions and LP record releases. Following the discography is a detailed artist/title index of all leaders, conductors, vocalists, and featured soloists appearing on selections listed in the supplement.

This unique one-volume discography provides a convenient reference to recordings of solo horn, horn duos and trios, multiple horns, and horns in combination with other solo instruments and with voice. Entries are organized by type of instrumental group or performance, with recordings of each artist listed under the composer of the work. Record label and number and an abbreviated list of reviews are provided, together with indexes of composers, hornists, and ensembles.

This discography provides a listing of the songs and singers on 459 original cast albums for New York musicals from 1931 to 1986. . . . [It] is a creditable . [It] is a creditable compilation that will be of interest to both upecialists and general collections. Reference Books BulletinThe most up-to-date and comprehensive discography available, it provides full information on 459 show albums ranging from the 1931 recording of The Band Wagon to current productions recorded in 1986. Some 4,000 song titles are listed. Entries are arranged alphabetically by show title. Production information includes opening date of the show and name of the theatre; revivals which produced new recordings; composer, lyricist, and conductor credits; cast members who sing on the recording; and songs included on the album. Multiple recordings of the same show are arranged chronologically. Complete discographic data is supplied--record label and number, both the original and the most recent reissue, type of recording (monaural and/or stereophonic), and availability as compact disc. An index of performers identifies the albums on which each person appears. Composers, lyricists, and musical directors are listed in a seperate index.

This book is a tribute to the talent of Clifton A. Edwards, the man who introduced the world to the ukulele, and whose career as a song writer spanned more than 60 years. He skyrocketed to national popularity when he appeared in the George Gershwin musical Lady be Good, became a well-known vaudeville entertainer and Hollywood star, and was largely responsible for the voice, character, and image of Jiminy Cricket, the famous cricket of the popular Disney color cartoon classic, Pinocchio. Larry F. Kiner has brought together in one volume a discography of the songs recorded by Cliff Edwards, a complete listing of songs written by him, a chronology of stage shows in which he appeared, a filmography, notes on his radio and television careers, and appendixes that provide 78 RPM records by label and catalog number, library transcriptions, and films on video tape.

Through its Decca 5000 series of the 1930s and 1940s, the American Decca recording company became the most influential record label in the burgeoning hillbilly music category, the forerunner of today's country and western music. This unique discography provides for the first time in print a systematic numerical listing and cross-referencing of all released recordings in the 5000 and 17000 Cajun series as well as records released under Decca's Champion 45000 and Montgomery Ward series, also devoted to hillbilly music. A total of 1514 discs are covered ranging from records released by such major hillbilly music stars as Jimmie Davis, the Sons of the Pioneers, and Ernest Tubb to those by less well-known solo artists and groups, including the Corn Cob Crushers and the Happy Hollow Hoodlums. Based on painstaking research in the original session books, ledgers, and label copy books as well as interviews with musicians and singers who participated in Decca recording sessions, this discography of one of the most remarkable record series of the 20th century makes a major contribution to the study of contemporary American music.The volume begins with an introduction which traces the early history of the Decca Record Company and its impact on hillbilly music of the 1930s and 1940s. Cary Ginell demonstrates that the Decca 5000 and other hillbilly series had a major role not only in documenting the history of hillbilly music but also in affecting its course by influencing future recording artists in the genre. Following a brief section which describes how to use the discography and the indexes, the discography itself is divided into four separate numerical listings: Decca 5000, Decca 17000, Decca/Champion 45000, and Montgomery Ward recordings. Each listing includes information about recording dates, master numbers, unissued titles, song titles and legends, songwriter credits, and release dates. Five indexes--artist, matrix and location, release dates, composer credits, and title--provide enhanced access to the main listings. Scholars and researchers of American country and folk music, both once included under the hillbilly banner--will find this discography an indispensable resource.

This discography provides, for perhaps the first time, a complete numerical catalogue of Italian gramophone recordings made by the Gramophone Company Ltd. Kelly has effectively used the archives and registers of EMI Limited (The Gramophone Company) to offer a richly detailed picture of recording activity during the years 1898 to 1929.The Gramophone Company was established in London in 1898 and by 1899 six branches had been set up in Europe, among them Milan, Italy. In each branch, matrixes were numbered serially and coded to indicate recorder, making it possible to identify not only the first Gramophone record to be made in Italy--Bice Adami singing Voi lo sapete with piano accompaniment--but to follow the course of the company's activities. The main catalogue is divided into three sections: recordings issued on the Gramophone label; recordings issued on the Zonophone label, including the Trento-Trieste Supplement; and recordings issued on the Gramophone Green label. Most entries include the following information: the original catalogue number; the matrix (serial) number of the recording in its correct form; the date of recording; the name of the artist(s) involved in making the recording, including the accompaniast where known; the title of the piece; and alternate issue numbers. Kelly's introduction gives an overview of the company's history and cataloging practices. Kelly not only examines the history of the Italian Gramophone Company, but added to the discographical record of the Victor Talking Machine Company, of which Gramophone was the European, Asian, and African partner. His discography will be welcomed by anyone interested in the international history of recorded music. Record collectors will also find it a valuable resource.

This discography provides a comprehensive listing of the songs from motion picture musicals, and the singers who performed them on commercially available albums. Covering the period from The Jazz Singer in 1927 to Three Amigos in 1987, and including 666 albums and 6,500 song titles, the book is a companion volume to Lynch's Broadway on Record (Greenwood Press, 1987), arranged in a similar format. While the scope is primarily American, albums of some foreign films that became popular in this country have been included. The entries are listed alphabetically by film title with the name of the company that produced it and the year it was first released. Remakes of musicial films are listed chronologically, and the original label and number are given, as well as information on the most recent reissue.This thoroughly researched reference offers easy access to a wealth of information on the subject of recorded songs from motion picture musicals and assists the user in identifying many little-known facts, such as the names of the title-song singers, names of singers who dubbed the voices of the stars, and additional composers and lyricists where there were several contributors to the film's score. Also provided is a complete guide to recording availability and type, and major composer, lyricists, and musical conductor credits are given, with an alphabetical list of cast members who sing on the recording. An exhaustive source for students and scholars of film history, film music, and popular culture, this book will be a valuable addition to all university and public libraries.

With its depth of coverage and international scope this first-of-its-kind volume contains a comprehensive collection of information on recordings (LPs, CDs, or Cassettes) in which percussion instruments are featured as solo instruments or as part of chamber ensembles, with the best of the literature and performers worldwide. Percussion Discography includes information about the composer of a particular work, the composition's title, the record company that issued the recording, the number of the recording, and the performer(s) on each recording. For example, at the entry for Paul Creston's widely known work Concertino for Marimba four separate recordings are cited. The discographic listings that deal entirely with music for which a written score is available as opposed to improvisational music are organized alphabetically by composer last name and within each composer's output by the title of the composition. Each compositional entry is followed by the record company and the catalog number. When possible, the performer's name is listed at the end of each entry. Indexes of performers and composition titles facilitate cross referencing and the directory of recording companies and distributors that have been mentioned in the discography aids those who wish to obtain an actual sound recording either through a record store or directly from the company.Containing some of the 20th century's most remarkable composers, arrangers, and performers, the volume will be useful to departments of composition at universities as a source for 20th-century compositional materials. Conservatory libraries and libraries at universities and colleges with music programs need the solid, in-depth coverage of the recorded percussion repertoire presented here. Performers, music educators, and students will find it an indispensable guide for expanding their knowledge of percussion literature.

Richard Chigley Lynch's latest discography completes his trio of reference works published by Greenwood Press. These review commercially available albums of show music, providing the researcher with the information given on album covers. This volume's 657 entries list some 6500 song titles and cover the years from 1874 (Die Fledermaus) to 1988 (Goya). Compiler Lynch has included every significant recording with the exception of some albums with uncredited vocals or those of well-represented scores with obscure vocalists. All commercially recorded tv musicals including some produced for younger viewers are contained here with--where available--the date of the recording. Studio cast albums are limited to those sung in English and performed in New York City and include English recordings of American shows. In addition to tv and studio cast recordings 14 other categories of recordings are listed under descriptive headings, including Archival Recreation, Concert Recording, Demo Recording, Failed Musical, Film Score, Ice Revue, Musical for Records, Night Club Revue, Original Concept Album, Pre-Broadway Recording, Puppet Show, Radio Production, Television Production, and Television Special.Following an introduction, the lengthy discography section arranges show titles alphabetically and lists the date of the show's first performance as well as the date of the first New York production of foreign shows. Also included here are original record label, number and information on reissues, and whether the recording is in mono or stereo or is available as a compact disc (CD). Major composer, lyricist, and musical conductor are credited and cast members who sing on the recording are listed alphabetically. Each entry also lists all songs included on the album in the order they are performed on the record followed, when available, by the name of the performer(s). Entries conclude with additional composers and lyricists who also contributed to the score and an occasional note of interest to the researcher. A separate television chronology includes the network that aired the musical, while the studio cast chronology indicates the musicals for records included. The movie chronology identifies the studio which originally presented the film. An index to performers lists each alphabetically followed by the titles of all albums on which the artist sings. The technical index alphabetically lists composers, lyricists, and musical directors with the show album titles following. This impeccable reference along with Lynch's Broadway on Record (Greenwood Press, 1987) and Movie Musicals on Record (Greenwood Press, 1989) are necessary additions to college and university libraries as well as to the reference collections of larger public libraries.

This is a companion volume to the Italian catalogue, La Voce del Padrone, already published by Greenwood Press. This new volume provides a complete catalogue of French gramophone recordings made by the Gramophone Company Ltd. between 1898 and 1929. During this period the Compagnie Francaise du Gramophone was the continental European, African, and Asian end of a powerful partnership between the Victor Talking Machine Company and the Gramophone Company Ltd.The volume includes details of Victor recordings issued outside the Americas and hence is a useful adjunct to the series The Encyclopedic Discography of Victor Recordings, also published by Greenwood Press. The first three sections conform to the previously established pattern of listing Gramophone black and celebrity labels followed by the Zonophone green labels and the Gramophone green labels. In 1920, it was decided to issue records specifically for the Belgian/Flemish market; these are detailed in the fourth section. The contents of each section are listed in numerical order following the pattern of the early printed catalogues, that is, bands followed by orchestras followed by talking, etc. A list of the series actually used precedes each section and acts as a table of contents for the section. Each catalogue entry comprises as much as possible of the following information: the original numerical catalogue number; the matrix (serial) number; the date of the recording; the name of the artist(s) involved; the title of the piece; alternative issue numbers; and occasional notes. The introduction provides an overview of the company's recording practices and cataloging systems. This volume provides much-needed guidance for the serious collector and will be a valuable resource for the music historian.

Compiled in cooperation with the Antonin Dvorak Society of Prague, Czechoslovakia, to commemorate the 150th anniversary of the composer's birth, this is the first book-length discography on Dvorak. It updates the discography appended to Jarmil Burghauser's Antonin Dvorak Thematic Catalogue (1960). Burghauser, President of the Dvorak Society, explains in a foreword to the present work that, due to the immense proliferation of Dvorak recordings, it was decided not to include a discography in the revised edition of the Thematic Catalogue. Organized similarly to the Catalogue by genres and works, Antonin Dvorak on Records may be used in conjunction with it and, further, will be valuable to musicians, students, collectors, and others primarily interested in the recordings.The discography selects from the many thousands of Dvorak recordings those of excellence and historic significance on LP and CD formats, representing the diversity of the oeuvre. The volume introduction surveys the recording history before the LP revolution. Indexes provide access to the recordings by works and by performers and performing groups.

In a distinguished 43-year recording career that began with the recording of two duets by Blangini and Leguerney in 1944, this remarkably versatile artist recorded more than 750 titles in at least 15 languages. These recordings, appearing on nearly 50 labels (more than 535 different catalog numbers) on 78s, 45s, LPs, prerecorded open reel tapes, 8-track cartridges, cassettes, and CDs, earned Souzay numerous awards. Souzay won the prestigious French Grand Prix du Disque on three separate occasions for performances of a Handel aria, Ravel songs, and classical arias with orchestra. Except for operas and cantatas, Souzay rarely recorded joint programs: his only recorded duets were with his sister, soprano Genevieve Touraine, Germaine Lubin, and Elly Ameling. This three-section discography has been meticulously researched and organized by Manuel Morris and includes cross-referenced indices to facilitate easy access to needed information. Separate sections present a chronological list of all Souzay's recordings; an alphabetical list by composer and title of work; and a list of all the recordings that have been assigned catalog numbers. Recordings of an archival nature such as radio broadcasts and privately recorded concert performances that were not released for sale are not included in the discography but virtually all information relating in any way to a listed recording has been included.Following the work's introduction, the discography is organized into principal sections: Chronology, Composers and Titles, Recordings, and Indices. The Chronology lists all of Souzay's recordings, including, when known, recording dates and matrix and take numbers. When located, data on rejected takes has been included here. The Composers and Titles section provides an alphabetical list by composer of the title of the recorded work. All recordings that have been assigned catalog numbers, including those not published, are listed in the main entries of the Recordings section; this is divided into four subsections based on recording companies. Within groups, recordings are listed alphabetically by label. Data on the availability of the recording, its release, and deletion are usually provided with each listing. Two indices consist of an alphanumeric listing of all known labels and catalog numbers (cross-referenced to the recording section) and a listing of all artists who appear in recordings with Souzay. Morris's systematic and comprehensive discography will make this an indispensable resource in the musical reference section of libraries at universities and conservatories. It should also prove useful for professional singers, vocal teachers and their students, collectors, and musicologists.

Despite his premature death in 1982, Canadian pianist Glenn Gould remains extraordinarily influential in contemporary music. Known especially for his interpretations of Bach and a wide range of classical, romantic, and twentieth-century composers, Gould was also an accomplished composer and conductor, as well as provocative lecturer, writer, and critic. His music remains vital on recordings, and his published writings, and taped radio documentaries and television specials are available for archival research. Canning's A Glenn Gould Catalog provides a detailed roadmap to his career as performer, conductor, composer, host, guest, narrator, writer, and producer.The volume's main catalog, organized by composer, documents Gould's commercial discography and Canadian public radio and television recordings with detailed information, including: recording dates and location, release or broadcast date, commercial catalog and internal matrix numbers, album or broadcast name, producer(s), and various notes. The Musical Repertoire and Recording Chronicle sections provide access to the recordings by composition and opus number and by recording data respectively. The Canadian Broadcasting Corporation Archives section lists Gould's radio and television programs by date, and other chronologies are included for his Sony Catalog, Other Commercial Releases, and Unreleased Recordings. A bibliography of Gould's published writings and a bibliographical note on writings about Gould complete the volume. Carefully documented, cross-referenced, and indexed, the Glenn Gould Catalog constitutes an autobiographical outline of Gould's career through his works. It is an important resource for research and a valuable adjunct to published biographies and critical studies. The compiler's lively introductory material is augmented by photographs and interview commentary from Gould's colleagues.

In 1943 the Armed Forces Radio Service began transmitting programs that linked the thousands of American military personnel and civilians stationed overseas to the United States. This definitive study provides discographical data for the first 1,000 recordings of the AFRS Basic Musical Library, P (Popular) Series. This series of recordings of popular, jazz, and classical music constituted a permanent music library at every military radio station and allowed AFRS personnel at the numerous broadcast facilities around the world to act as disc jockeys, playing the most popular and requested songs and artists for their audiences--principally American GIs. Some of the many orchestras and singers represented in the collection include Bing Crosby, Harry James, Count Basie, Cab Calloway, the Andrews Sisters, Frank Sinatra, and Peggy Lee. The sources of the recordings were variable and included commercial recordings (occasionally alternate takes) principally from Columbia, Decca, and Victor; radio broadcasts (often from dress rehearsals); concerts; and AFRS's own recording sessions. Larry F. Kiner and Harry Mackenzie have meticulously and comprehensively researched the AFRS files to produce this first complete listing of these recordings and their compilation is also the first to identify the many commercial record issues that have been derived from the series.Following the introduction that advises readers how to use the book and also explains its format and abbreviations, the 1,000-entry discography begins. Each entry lists the AFRS Basic Musical Library P Series catalog number; the matrix number; take number as shown on the ARFS label; song title; artist identification; running time in minutes; source of the take, including exact date and geographical location, when known; and size, speed and issue data. Two appendixes center on the most popular artists and most popular songs of the collection and two separate indexes list articles and songs to facilitate ease of location. Of special interest are the over three dozen label illustrations. This important source of information on American popular songs, artists, and recordings of the 1943 to 1947 period will be welcomed by musical scholars of the World War II era and by those with a penchant for American popular music.