Revealed: the secrets of Captain Scott’s playlist

New album is compiled from gramophone recordings explorer took on ill-fated journey to the Antarctic

This article was written by Adam Sherwin published by The Independant,  Thursday 10 May 2012

 Huddled together inside their hut while blizzards raged outside, Captain Scott and his men found solace in the gramophone records of comical music hall hits, operettas and stirring anthems which the doomed explorer transported with him to the South Pole.

A century on, the original recordings that lifted spirits and prompted moist-eyed thoughts of home during Robert Falcon Scott’s ill-fated expedition are being released on Monday on an EMI album, compiled using the journals left by the expeditionaries.

When Scott embarked upon the Terra Nova expedition in 1910, he took with him two HMV “monarch” gramophones, donated by The Gramophone Company, which later became EMI, together with several hundred 78rpm discs, chosen to boost the team’s morale.

The 25 men who shared the hut played discs ranging from celebrity classical recordings to the most popular musical hall performers and hits from the latest musical shows.

One of the gramophones was kept with Scott in the Cape Evans base-camp hut, which survives in Antarctica today, with the other moved to the Northern Party’s smaller hut at Cape Adare.

Scott noted: “Meares has become enamoured of the gramophone. We find we have a splendid selection of records.”

Scott and his final four companions perished during a desperate return journey, after reaching the Pole in January 1912 only to find that a rival team led by Norwegian Roald Amundsen had beaten them to it by 33 days. But Scott’s gramophone was rescued and returned to the Gramophone Company – it is currently on display at a major exhibition about the expedition at the Natural History Museum – and the diaries kept by his team of scientists record the vital role the recordings played in lifting spirits.

A team of archive experts at Abbey Road transferred and mastered the original recordings from the EMI archive to produce the double album, released in June, called Scott’s Music Box. Some have dubbed the eclectic 48-track selection, “Captain Scott’s iPod”.

The musical tastes reflect a class divide. Tony Locantro, who compiled the sleeve notes for the CD, wrote: “The serving men of the Terra Nova generally liked the songs from the musicals, dance tunes and musical hall items, especially comic songs and sketches.

“The officers apparently preferred something more cultured like stirring ballads and operatic arias.”

Tracks range from “The Dollar Princess Two-Step” by Black Diamonds Band and “Stop Your Tickling Jock!” by Harry Lauder, to “Trafalgar March” by the Band of the Coldstream Guards and Enrico Caruso’s “Mattinata”.

EMI hopes the album will demonstrate the inspirational role music can play in people’s lives.

http://www.independent.co.uk/arts-entertainment/music/news/revealed-the-secrets-of-captain-scotts-playlist-7729182.html

If your interested in learning more about Captain Scott’s Gramophone check out EMI Group Archive Trust website http://www.emiarchivetrust.org

To see Captain Scott’s Gramophone and learn more visit  The Natural History Museum exibition ‘Scott’s Last Expedition’ 20 January – 2 September 2012 

http://www.nhm.ac.uk/visit-us/whats-on/temporary-exhibitions/scott-last-expedition//index.html

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HARRY LAUDER (1870–1950)

By Tony Locantro

Harry Lauder (1870–1950), the great international Scottish entertainer, was born into a poor family in Portobello, near Edinburgh, and worked in Scottish coal mines during his youth. His fellow-mineworkers enjoyed his singing and encouraged him to perform in the local halls, which led to a full-time career as a singer.

He made his London music hall debut in 1900 under the Scots persona which became his hallmark, complete with a pastiche of highland dress, broad accent and a canny eye on his money.

From 1902, Lauder recorded extensively for The Gramophone Company, initially on G&T, and by the outbreak of war in 1914 much of his repertoire was on both HMV and Zonophone. The death of his only son on the Sommein 1916 prompted him to make a record appealing for £1 million to help disabled Scottish servicemen and he gave numerous fund-raising concerts at home and abroad. After the introduction of electrical recording in 1925, Lauder remade much of his earlier repertoire for HMV, Zonophone and Victor.

Harry Lauder – Don’t Let Us Sing About War Anymore.        If you’re a SOTH subscriber following by email please go to the actual blog to get the full posting.

Thank you to our friends at the EMI Archive Trust in providing these fine images.

The bass-baritone Peter Dawson (1882–1961)

  By Tony Locantro

gat134-018-LFCourtesy of  © EMI Group Archive Trust

The bass-baritone Peter Dawson (1882–1961) came to the UK from his native Australia to study singing in 1903. His lessons with Sir Charles Santley stood him in good stead for a career that lasted almost 60 years and encompassed every kind of music, from the oratorios of Handel via Gilbert and Sullivan to rousing patriotic ballads and popular songs of the day.  He began recording in 1904 on cylinders for the Edison company, and in 1906 Fred Gaisberg signed him to an exclusive contract with the Gramophone Company. His first flat discs were on the G&T label but he was soon appearing on HMV when the dog and trumpet trademark started being used on Gramophone discs around 1909. He went on to become one of the most prolific recording artists of all time and remained exclusive to HMV for the rest of his life.

As well as his own name, he used many aliases, including Hector Grant, the pseudonym under which he performed the repertoire of Harry Lauder, not only on disc but also on the music hall stage in full Scottish gear, much to Lauder’s annoyance.

Listen to Dawson give a fine rendition of  “The Song of Australia“.   Written by English born poet Caroline Carleton in 1859 for a competition sponsored by the Gawler Institute. If you’re a SOTH subscriber following by email please go to the actual blog to get the full posting.

A stirring version of Dawson’s  Rule Britannia  is featured on the new double CD Scott’s Music Box, released on 14 May.

Captain Scott’s Desert Island Discs. A flavour of what were the happening sounds in Antarctica 100 years ago

This article was written by and published on theartsdesk 11 April 2012

 
The gramophone on which Scott and his men listened to music hall and opera at the bottom of the world
 

Centenaries are sizeable business in 2012. It just so happens that the Olympics are coming to the United Kingdom for the third time in a year which finds us thinking very hard about if being British still means the same thing as it did 100 years when two momentous calamities singed themselves into the national psyche: the Titanic sank, and Captain Scott and his four companions never made it back from the South Pole.

Adam Sweeting has already reported on the deluge of Titanica fanning across the television schedules from National Geographic docs to Drownton. The Scott industry is spreading itself more widely across the year. As well as three exhibitions – at the Natural History Museum, the Queen’s Gallery and the National Museum of Wales – you can also enjoy a musical flavour of what it was like to be a the bottom of the world with the Terra Nova expedition by investing in a new double-disc CD. On it is a selection of scratchy recordings Scott and co took south with them to remind them of home in the long polar night. In fact they had a library of hundreds of tunes to listen to, and the choice can do no more than suggest the range of musical tastes catered for, from Enrico Caruso to Nellie Melba, from Harry Lauder to Weber’s Concertino for horn. Wagner’s “Ride of the Valkyries” was on hand to gird the loins as the men prepared to strap themselves into man-hauling harnesses. For many of the jauntier tunes some of the chaps will dressed up in drag and danced along.

The records were donated to the expedition by The Gramophone Company (nowadays known as EMI), along with two splendid old gramophones, one of which is on display at the Natural History Museum’s current exhibition. The main track listing concludes with “God Save the King”. Two additional tracks include Ernest Shackleton taking about his own unsuccessful attempt on the Pole three years earlier. There is a piquant irony to its inclusion. Scott and Shackleton had history, and were not friends, although that did not stop Scott using Shackleton’s expedition journal as a useful pathfinder. The full track listing of Scott’s Music Box is as follows.

CD 1:

  1. The Black Diamonds Band – Dollar Princess Two Step
  2. The Dollar Princess Operatic Party – Opening Chorus (The Dollar Princess)
  3. George Grossmith Jr – Yip-I-Addy-I-Ay (Our Miss Gibbs)
  4. Margaret Cooper – Love is meant to make us glad (Merrie England)
  5. R. Kennerley Rumford – Four Jolly Sailormen (The Princess of Kensington)
  6. Huntley & Carroll – The Golf Scene (Three Little Maids)
  7. Yvette Guilbert – I want yer ma honey
  8. Band of HM Coldstream Guards – Trafalgar March
  9. Walter Miller – We all walked into the shop
  10. Florrie Forde – Oh! Oh! Antonio!
  11. George Robey – The Prehistoric Man
  12. Harry Lauder – Stop your tickling, Jock!
  13. Harry Tate – Motoring
  14. Gus Elen – Wait till the work comes round
  15. Olly Oakley – Anona Two-Step
  16. John Coates – Take a pair of sparkling eyes (The Gondoliers)
  17. Eleanor Jones Hudson – The sun whose rays are all ablaze (The Mikado)
  18. The Sullivan Operatic Party – When Britain really ruled the waves (Iolanthe)
  19. HM Band of the Royal Artillery – The Blue Danube Waltz
  20. Stanley Kirkby – The Trumpeter
  21. Harry Dearth – A Sergeant of the Line
  22. Clara Butt & R. Kennerley Rumford – Night Hymn at Sea
  23. Edward Lloyd – The Holy City
  24. Elizabeth Dews – O thou that tellest good tidings to Zion (Messiah)
  25. A Church Choir – Hark, the Herald Angels Sing

CD 2

  1. Geraldine Farrar – Un bel dì vedremo (Madama Butterfly)
  2. Enrico Caruso – Recitar!…Vesti la giubba (Pagliacci)
  3. Nellie Melba – Waltz Song (Roméo et Juliette)
  4. Titta Ruffo – Largo al factotum (Il barbiere di Siviglia)
  5. Luisa Tetrazzini – Ombra leggera (Dinorah)
  6. Maurice Renaud – Serenade (Don Giovanni)
  7. Mattia Battistini · Emilia Corsi – Là ci darem la mano (Don Giovanni)
  8. Jan Kubelík – Chanson bohème (Carmen)
  9. Enrico Caruso – Mattinata
  10. Nellie Melba – Nymphes et sylvains
  11. Evan Williams – I’ll sing thee songs of Araby
  12. Edward Lloyd – Come into the garden, Maud
  13. Charles Draper – Weber: Concertino
  14. La Scala Theatre Orchestra – The Ride of the Valkyries (Die Walküre)
  15. Joseph Szigeti – Bach: Prelude (Partita No.3)
  16. Wilhelm Backhaus – The Harmonious Blacksmith
  17. Peter Dawson – Rule Britannia
  18. Ernest Pike – The Light of the World
  19. Robert Radford – Honour and Arms (Samson)
  20. Clara Butt – Abide with me
  21. Band of H. M. Coldstream Guards – God Save the King

BONUS TRACKS

  1. Major Sir Ernest Shackleton – The Dash for the South Pole
  2. Stanley Kirkby – ’Tis a story that shall live forever
  • Scott’s Music Box is released on 14 May

http://www.theartsdesk.com/classical-music/captain-scotts-desert-island-discs

If your interested in learning more about Captain Scott’s Gramophone check out EMI Group Archive Trust website.

http://www.emiarchivetrust.org/detail.aspx

 

“Stop Yer Tickling Jock”: The great Scottish singing swindle – Russell Hunting day #5

This is the final part of a five-day series of blog entries about Russell Hunting, a maverick who was involved at the start of the very start of the record business when its pioneers were searching to find the best business model to capitalise on the new sound-recording and playback technology. Hunting tried all sorts of ways to make money between 1894 and 1899 including comedy records, obscene records (for which he received a 3 month jail sentence), found himself being ripped off by a record company and made dramatic recordings to appeal to patriotism during the Boer Wars.

By 1904 Hunting had moved to London and had settled down a little. He was working for the newly formed Sterling Phonograph Company which was owned by Louis Sterling. A Russian-born American citizen now living in England, Sterling had been an early employee of The Gramophone Company before setting up on his own and would later go on to become the first Managing Director of the newly formed EMI in 1931, working with Fred Gaisberg’s old friend Alfred Clark (who became the first Chairman of EMI).

Louis Sterling

Hunting discovered a new Australian singer called Peter Dawson. Dawson was talented but poor and hungry for success, which meant that unlike the established singers of the day who were still loathe to record their voices Dawson “accepted all and sundry engagements – “smokers”, seaside concert parties, and phonograph recording” remembered Gaisberg later.

Peter Dawson

Dawson proved a remarkable and flexible talent who could sing beautifully in a range of styles. Gaisberg, Sterling and Hunting proved equally flexible and agreed a “secret understanding” to work together to their mutual benefit. In short they would record Dawson together and then Sterling would use the recordings for supplying phonograph owners with cylinders and Gaisberg would use the same recording for gramophone.

The flexibility of the singer and the three executives would be highlighted when one of Gaisberg’s star turns, Harry Lauder, proved reluctant to make the number of recordings desired by Gaisberg. Lauder was a big star at the time who specialised in Scottish balladry and presented himself as a comic Highlander.

His big songs included “I love a lassie” and “Stop yer tickling, Jock”

Peter Dawson was a fantastic mimic. He later recalled, “At The Gramophone Company one day I gave an imitation of Lauder singing “I love a lassie”. I was astonished at the reaction among the recording staff. Fred Gaisberg, the chief, came up to me excitedly and said:

“Peter, can you do any more like that. I mean, can you sing Scottish?” I was amused at the way the little American put it, and answered “Yes of course. I can sing all of his songs including “Stop Yer Tickling Jock”….”

A little while later he asked me what I thought of singing Lauder’s songs….under another name.” That other name was “Hector Grant”

Hunting, Sterling and Gaisberg leapt upon the imitation. The records became widely popular and they even persuaded Dawson to disguise himself and don a kilt to go on tour as “Hector Grant.”

Lauder was livid that he was being copied in this way. But after a while Grant’s records became less successful and the “Hector Grant” project was ended. Dawson and Gaisberg had a conversation with Lauder some years later after World War I, which Dawson recalled:

“Some time later I met Harry Lauder at the recording studio. I was making a Peter Dawson record…We chatted about old times, and he suddenly turned to Fred Gaisberg and myself:

“Did ye no ken a chap by the name of Hector Grant? He had a grrrand voice. He must have been killed in the war.”

Fred grinned and in his quiet American way asked, “Didn’t you know, Harry, that Hector Grant was Peter?”

But with obvious disbelief he replied. “Nah, nah, ye canna tell me that. I saw him in Glasgie. Yon was a much older man…”

In 1905 Sterling sold his Sterling Phonograph Company to Hunting who renamed it The Russell Hunting Record Company Ltd. Russell Hunting had begun to make some real money. He had become a player.