The Crown name was used by several record labels, but around 1935 was used by the Crystalate company to produce a range of 9-inch (22.5 cm) 78rpm records for Woolworths in the UK.
Woolworths had been selling its Eclipse range of 8-inch records since 1929, but rising raw material costs forced them to try something new and they began selling the Crown range in 1935. Unusually, these were pressed on Bakelite, an early form of plastic, and as this was cheaper than shellac the size could be increased. The grooves could also be packed more closely, allowing more playing time, but Woolworths were still able to sell them for sixpence.
The music on Crown records produced by Crystalate was almost all from UK masters, and included popular bands and singers of the time, including Vera Lynn (though she was uncredited).
By 1937, costs had risen and selling records for sixpence was no longer profitable so Crown records were dropped.
V-Disc was a record label that produced music for US military forces between 1943 and 1949, pressed on 12-inch 78 rpm phonograph discs. Most V-Disc records were pressed on a mixture of Vinylite and Formvar, making it much easier to dispatch records without breakage (many of the brittle shellac records sent by relatives arrived in pieces) although Columbia, one of the companies that pressed V-Discs, continued to use shellac despite it being in short supply during World War II.
The V-Disc label came about as a way to boost morale among the forces. A strike by the American Federation of Musicians over royalty payments from the major record labels meant an agreement that the V-Disc records were not to be sold commercially, and the masters were disposed of. The V-Disc project meant the forces could hear newly recorded music they would not otherwise hear due to the strike, and these included big band, swing, jazz and marches, often by famous performers who also put spoken greeting into the recordings.
Because of the larger disc size, and closer groove spacing, each side of the disc could hold up to 6 minutes, so performances could be longer and jams could be extended. Discs were sent in sets of 30, and included phonograph needles, lyric sheets and feedback forms to gauge which material was most popular.
After the war ended, the cost of producing V-Disc records meant that the project was gradually run down, with smaller consignments of discs, or longer intervals between them, though they continued to provide entertainment to forces stationed overseas as part of the Marshall Plan. The last consignment of 10 discs was sent in May 1949, and after this many masters and discs were destroyed as part of the agreement with the American Federation of Musicians.
Over 900 V-Disc record titles were issues, and over 8 million discs were produced.
Kid Kord was a record label in the UK, that produced records for children around the 1930s.
The records themselves were shellac, played at 78rpm and were 8-inches in diameter. Each disc contained about 2¼ minutes per side, and form part of an album of six discs. The colourful centre labels depicted the contents of the record.
Most of the records contained nursery rhymes and children’s songs, though there is a series of zoological records with descriptions of animals, and pictures of them on the centre label.
The National Library Service for the Blind and Physically Handicapped (NLS/BPH) began distributing magazines and books on flexible discs running at 8⅓ rpm in the early 1970s in the US. Machines capable of playing this very slow speed had already been made available a number of years previously when model AE-1 was introduced in 1965, and existing machines were also converted by volunteers. Standard ‘rigid’ records running at 8⅓ rpm had been available via the NLS/BPH since 1969.
Magazine titles available included Readers Digest, National Geographic, Sports Illustrated, and U.S. News & World Report.
The flexi-discs were 9-inches in diameter and had Braille centre labels. They also had narrower grooves than a standard record, so a finer stylus is required to avoid damage. The use of a slow speed and fine grooves allowed very long playing times, but lower fidelity. The discs could be produced quickly and cheaply, meaning audio magazines could be distributed as soon as possible after the print copy. Their success meant the NLS/BPH stopped using rigid records by the late 1980s.
After 1994, audio magazines on flexible disc began to be phased out in favour of Compact Cassettes, and the final discs were sent out in 2001.
Whilst the vast majority of Long Play records were played at 33⅓ rpm, a few records were made to be played at half that speed, 16⅔ rpm (usually listed as 16 rpm). Many of these were spoken word, since the slow speed meant lower fidelity reproduction, but despite this there were a few music releases, mainly from South Africa.
Even though 16 rpm records were rare even at the time, many record decks of the 1950s, 1960s and even into the 1970s came with a 16 rpm speed setting.
The current system for creating stereophonic (2 channel) phonograph discs date back to 1933 when Alan Blumlein, a senior sound engineer at EMI in London, demonstrated a single-groove system in which the stylus moves both horizontally and vertically.
When the 12-inch Long Play record was launched in 1948, it was initially monophonic, and it wasn’t until 1957 that stereophonic LPs were released, by now using a refined version of the EMI system developed by Westrex (a division of Western Electric) called Westrex 45/45 in which each channel drives the cutting head at a 45 degree angle to the vertical.
In late 1957, Audio Fidelity Records and Bel Canto in the US released demonstration stereo LPs, with the the Bel Canto release on multicoloured vinyl. The first mass-produced stereophonic LPs were released in early 1958.
Mono LPs continued to be released alongside stereo LPs for the next ten years or so with major labels ceasing production in 1968, but 7-inch singles continued to be mono for longer, into the 1970s in some cases.
Stereo records produced using the Westrex system played well on a mono record player, and mono records could be played on a stereo system.
In the 1970s, quadraphonic (4 channel) LPs were produced, but were not a great success partly because there were several competing and incompatible systems.
Filmophone was an early type of flexible record, introduced by Filmophone Flexible Records Ltd for the UK market in 1930.
They were 10-inches in diameter, double-sided and played at 78rpm. Unlike contemporary 10-inch 78s which were made of heavy and brittle shellac, Filmophone records were made of cellulose, and were initially available in a range of colours. Priced at 2 shillings and sixpence, they were popular in the UK for a time, and many of the releases were by British musicians.
Due to their flexibility, they don’t always lay flat on a turntable, and they were designed to last perhaps a dozen plays.
Nearly 400 titles were released on Filmophone records, but they stopped being produced in 1932.
The Little LP (also known as a Jukebox EP) was a 7-inch vinyl record with up to three songs on each side, that played at 33 ⅓ rpm in stereo, and had a small centre hole. They were first introduced by Cadence Records in late 1961, though the Cadence version was in mono and was not designed for jukeboxes.
The Little LP was not successful in the retail market, but it was picked up by Seeburg for use in their new jukebox, introduced in September 1962. The Seeburg version of the Little LP was in stereo, came with title strips, and had a colour cover for display in the jukebox. A number of record companies signed up, mostly easy listening and classical labels, and by 1963 there were 233 titles available with over 1,000 by 1966. Little LPs were also made for other jukebox manufacturers such as Wurlitzer and ATI.
Little LPs were essentially cut-down versions of the full 12-inch LP, and shared the same artwork. Record companies saw the potential of promoting the full LP version by having a selection of tracks available to hear, and the cover on display, in places where adult listeners gathered.
However by 1969, output of Little LPs had dropped sharply. A couple of small manufacturers revived the format in the early 1970s, but only a few titles per year were released in the period 1970-1975. Seeburg introduced new jukeboxes that didn’t play Little LPs in 1971, and the introduction of quadraphonic Little LPs didn’t make any difference as there were very few quadraphonic jukeboxes to play them on.
There were no new titles on the Little LP format for jukeboxes in 1976, but a few Little LPs have been released for the retail market as specialty items since then.
White label vinyl records are generally 12-inch LPs, or 7-inch singles and come with a plain centre label (usually white) and are in plain packaging. The centre label might have handwritten details of the artist and title, or may be rubber stamped, or have a sticker applied.
Some white label records are test pressings made by the pressing plant, usually in quantities of 5 or less, and then listened to to check the sound quality before pressing larger runs.
Some white label records are produced for promotional purposes, including advance copies sent to retailers or to DJs. Sometimes white labels are used to conceal artist identities, so the record is listened to without prejudice. Dance music producers might produce white label copies to play in dance clubs to gauge crowd response.
Other white label records are unofficial or partially unofficial releases, for example if a remix was made without the consent of the artist or label.
Generally, white label records are not distributed to the general public.
Sometime during the late 1900s, record companies began to sell sets of 78rpm disc records in hardback ‘albums’. These were much like photograph albums, but with paper sleeves for multiple 10-inch or 12-inch phonograph discs, and they allowed record companies to sell complete musical works such as operas or classical works. The 78 rpm records of the time were only able to contain around 3 minutes of playing time on the 10-inch version, and 5 minutes on the 12-inch versions, so a longer complete work had to be spread across several discs.
Around the same time, empty record albums became available to allow listeners to store and protect their own discs, write information about the contents on an index page, and display the album on bookshelves.
Record albums eventually came to be used to contain compilations by artist, or by genre, in addition to longer works, and a set of 4-5 discs could contain 8-10 songs. Later releases had cover artwork and liner notes.
With the advent of the Long Play microgroove record in 1948 that could hold the same number of songs on a single disc there was no longer a need for record albums containing several discs, and indeed by the late 1950s the 78 rpm disc itself was being phased out. However, the term ‘album’ continues to be used to describe a collection of songs, whatever the format.