Joe Batten’s Book: The Story of Sound Recording

SOTH would like to thank our latest contributor Michael Lloyd-Davies for his insightful review on the memoirs of Joe Batten – pioneer recording manager.   

By Michael Lloyd-Davies

 

 In his foreward to Joe Batten’s memoirs, Joe is described by Sir Compton McKenzie as “that other great recorder” bracketed with Freddy Gaisberg. Joe Batten’s story is perhaps wider in its horizons. The core of the book is the excitement of pioneer recording from wax-cylinder to L.P., in which mechanical hazards and progress are described as an explorer could write of his adventures.

The period before the First World War saw sound recording grow from being a novelty toy to become an industry full of innovation and eventually accepted as a serious medium and art form by both artists and the public.

Joe was one of the pioneers who began as a pianist accompanying vocalists in recording rooms as early studios were known, to become the artistic manager for Edison Bell, and later, the Columbia Graphophone Company which merged in 1931 with The Gramophone Company to form Electric and Musical Industries Ltd (EMI).

At EMI he formed the Special Recording Department which was located at new studios at Abbey Road. This venture began making sponsored shows for the Commercial Radio companies which were springing up in the mid 1930’s. The department was almost immediately shut down at the outset of the Second World War but re-opened to make recordings for the troops through ENSA up to 1945.

In the last five years of his 50 year career in the music industry, Joe made some notable recordings including two historical events, the silver wedding of King George VI and Queen Elizabeth and the wedding of H.R.H. Princess Elizabeth and the Duke of Edinburgh.

Inevitably Joe Batten amassed a vast number of friends and memories in the musical concert and light opera fields and it is fitting that the book (out of print since the first edition in 1956) should close with select memories of the life and times at The Savage Club, London’s last bohemian rendezvous where Joe Batten concluded his life as he began it – accompanist to those spontaneous musical evenings which from the West End to the East were once such a feature of London Life.

Joe retired in 1950 but died five years later before his memoirs were published.

Joe Batten’s Book: The Story of Sound Recording is now available via Kindle Book Store: www. https://www.amazon.co.uk/dp/B007Q1U4RA

More royal microphones

Following on from our first blog item below about the microphone used in the new film The Kings Speech and in response to the huge correspondence that the blog item stirred up (well I had one email about it), here are some more of the royal microphones held by the EMI Group Archive Trust. Two of them were also used in the film. Here are the royal beauties one by one (and I must thank world famous microphone meister Lester Smith for writing the technical descriptions of these pieces):

This is the HM Queen Elizabeth the Queen Mother microphone (1936) which is the same as the KGVI one in the original blog item, apart from the silver gilt front with the Silver Marks of G.& S.Co.Ltd. and the Lion and Leopard’s Head but no date letter. On the top is also the Royal Coat of Arms. This was used in the film.

The above microphone is the HM King George V piece. Its is a 1925 Marconi-Reisz carbon microphone with marble body made by the Marconi company (a company taken over by the Gramophone Company in 1928). and was used at Silver Jubilee Celebrations in Westminster Hall, May 9th, 1935. This was the third and final microphone owned by the EMI Group Archive Trust that was used in recording the soundtrack of The Kings Speech.

This microphone was built for George VI’s father, HM King George V  in 1923 and is a Marconi-Sykes design – very heavy and impressive with marble body

The final royal microphone in this part of the collection is the HM Queen Mary microphone which is a 1925 Marconi-Reisz carbon microphone.

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