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Thanks, Nicholas.

I used to see Joe Daniels at record fairs in London - he was on the lookout for his own recordings. I manned one of the stalls. I got chatting to him and he said "Do you drum?" and I replied "No, but I hear that you can!" and then he proceeded to beat out a rhythm with his hands on the stall table for a minute or two....I'll never forget that. I have a tape of him talking about his first job at the Criterion Restaurant in London with Max Goldberg on trumpet and he told a funny story about a mouse that used to run across one of the beams in the ceiling and listen to the band. He named him Charlie and said "We'd to take a break and when we came back Charlie would run out to listen to us again". That was in 1926, when Joe was just 17.

@@nickdellow6073 Oh, my ... lovely memory! Thank you!

@@nickdellow6073 I remember a little man in a raincoat asking me for Joe Daniels records at Derek Spruce's record fair(Wandsworth I think). John Gunn informed me that it probably was Joe Daniels! Some collectors were a bit dismissive of Daniels' drumming on Roy's records, describing it as clattery but I think that's a bit unfair. You can hear him to good effect on some 8" Eclipse records-Syd Roy and his RKOlians. Your post of Nasty Man is amazingly 'Hi Fi'-would this be a product of Abbey Rd?

@@rogerkent7577 Hi Roger. I think that must have been Joe. I don't remember the raincoat but he was quite short. And it was definitely at the Wandsworth Record Fair at the Wandsworth Boys Club. I used to man Derek Spruce's stall, especially when Derek and his mates used to go to the pub at lunchtime!. It was Derek who got me into record collecting. I went to school with his children, my best friend lived over the road from him, and I only lived a few streets away….so it was inevitable that I would become a collector of 78s from an early age (around 19 years old) when I got to know Derek, and he introduced me to Brian Rust and the other main collectors of the time. Joe Daniels emphasised the novelty side of his drumming skills when he joined Harry Roy and he remained a show drummer throughout his career. Some jazz collectors would tut-tut about that, but one had to live and that novelty/showman style is what the people wanted and that's what sold the records. But he was also a very good jazz-inclined drummer with a solid beat, and he could basically do just about anything on the drums. Yes, this would have been an Abbey Road recording. Interestingly, one of Joe Daniels' Parlophones, recorded in 1941, is titled "Abbey Road Hop"!

So the garage replaced your disc breaks!

Many thanks, Michael. All best wishes for 2025.

@ And to you too, Nick!

Many thanks, Ferran. All the best for 2025

Many thanks

Although the Edison Gold-Moulded cylinders were standardised at 160 rpm from about 1902, according to the City Of London Phonograph and Gramophone Society "In 1903, Edison Bell brought out a moulded cylinder running at 144 to 155 rpm". That makes sense, because at 160 rpm this "Indestructible" moulded Edison Bell cylinder (which dates from 1903) sounds way too fast. I make the main key D at the speed I used, which would suit a banjo.

Thanks, Mike. Glad you liked it.

Many thanks for your comment. Just one point to add - Prince's Band wasn't a military band, it was a recording 'studio' band. In fact, some of the other bands labelled as 'military' or having military sounding names, were also studio bands made up of musicians who played in theatres etc. Genuine military bands did record as well of course, and even recorded ragtime numbers. The military association fell out of favour after WW1, and especially after the introduction of jazz based dance music.

Love Princes's Band!

Eine für 1913 äußerste schwungvolle Aufnahme, die durchaus schon die Rhythmen der 30er erahnen lässt. Danke dafür

@@caruso11041902 Vielen Dank. Ich stimme mit dem überein, was Sie sagen.

Wow. I'd love to hear the story about this. Very pleased to hear that at least one of his banjos survives (do others?).

I'm thinking that the mechanism ( the tone arm) is placed opposite where the speaker / horn would have been for the original cylinder players.

Thanks for your comment. I have quite a few videos featuring this player to upload to TH-cam, which I will do over the coming months. There are a couple I have uploaded recently.

Thanks for your comment. The recording is 110 or 111 years old. I have just uploaded a new video featuring an electrical transfer of a cylinder that is 121 years old.

@@nickdellow6073 I imagine it helps that you use a graphic equaliser to improve the sound & suppresss noise. Speaking of equalisation, I guess things like RIAA equalisation weren't even invented back then?

​@@vasilis8208 Yes, indeed, using a graphic equaliser is pretty essential really. In fact, I have variable equalisation at the phono stage input end of the pre-amp as well. I use a Klark Teknik DN360 graphic equaliser after the pre-amp stage, before feeding the signal to a sound card. RIAA was devised to reduce the damage that would otherwise arise during playback (and indeed during cutting to disc at the recording stage) of LPs, due to the 'micro' groove size. There were equalisation curves applied to electrically recorded 78s before this, starting in the mid 1920s, but they were nothing like the RIAA curve, which was unnecessary before the LP era as the groove diameter of 78s was wide enough to handle bass frequencies (in the vast majority of cases, so long as the electrical cutting head was dampened sufficiently). Acoustic recordings had no electrical equalisation, of course, and relied on the dimensions of the recording horns and the size of the studio, and how the walls and floor were constructed. There are no electrically recorded commercial cylinders, though there are some late 1920s Edison Blue Amberols that are dubbed from electrically recorded Edison Diamond Discs, but the dubbing process is mechanical not electrical!

@@nickdellow6073 Wow, so how does mechanical dubbing work??

@@vasilis8208 I'm not quite sure, to be honest. I'll have to look into it. If I find out, I'll let you know.

Hi, thank you for you comment, which is much appreciated. The cylinder was recorded in either 1913 or 1914.

I think they may have even been in the catalogue in the post-War period, probably up to the early 1950s.

They generally have less surface noise, which was the main point of lamination. This is because the surface lamination layer is much smoother, with a higher amount of shellac content, than most non-laminated 78s. Lamination also allows for greater fracture resistance due to the stronger composite construction (featuring a rougher but tougher underlying substrate sandwiched between two thinner laminated surface layers); this reduces the likelihood of significant cracks propagating through the 78 compared with standard non-laminated shellac-based 78s, when under strain. However, smaller so-called "lam cracks" can develop within the thin surface laminate layer. These are fairly common in laminated Columbias (and related labels), but less so in laminated HMVs, for some reason. Laminated 78s can also suffer from increased rumble due to a slightly uneven smooth surface, but this wasn't an issue on the old acoustic wind up machines with steel needles.

@@nickdellow6073 Thank you.

Their recording of Doctor Jazz is my favourite recording ever. Pretty much everything they did from 1924-26 is considered the best of hot jazz and all of Jelly Roll Mortons recordings are great.

Hello thank you for the information The things I have heard I agree with you 100% Thank you so much for this song suggestion

@@ferranmelero7727 Thats all right. Anything to get people to listen to my favourite band