Monthly Archives: May 2014

Scheherazade was one of those things that was part of the shared American, and perhaps Western, culture in the 1950s. The middle brow were expected to know it. So every cheap label had a recording of it, a school orchestra … Continue reading →

All of my remaining Scheherazade related covers on Angel. The one on Seraphim looks a lot like one of the best Angel ones, but apparently has a different designer. Again, the gamut of classical record cover tropes, including a naked … Continue reading →

Angel is or was an American label mostly devoted to classical music. These are the covers I have of Angel’s various issues of Scheherazade. The economics of classical recordings has never made any sense to me – there must have … Continue reading →

Rather than continue with recordings by cover designer, I am now going to post my collection of record covers related to Scheherazade. Most of these are recordings of Rimsky-Korsakov’s Scheherazade, some are pop records with one theme from Rimsky-Korsakov, and … Continue reading →

The cover art from the Mode issue continues to find use in some of the cheap reissues, just as it did on the Premier version. Other cheap reissues find some picture of the more famous musician, Herbie Mann. This picture … Continue reading →

I forgot to mention that the picture in the last post of Flute Fraternity on TopRank is of a 10 inch lp that only has four songs a side. The cheap reissue on Premier changes the title of one song … Continue reading →

I have just finished posting my collection of the covers of Curt John Witt, who worked for discount labels his whole career – Plymouth, Royale. These discount recordings were often European recordings that they changed the names on, so they … Continue reading →

Although I call the files by the name of Witt, many of them are signed by someone else. I don’t know if Witt designed and others drew, or how it worked.

The same cover as one from the previous post, this time used on a Remington release. Note the addition on the Remington of useful discographical information – performers names, in other words. Remington was close to being a quality label, … Continue reading →

One of my correspondents asks if Witt worked with Steinweiss. I don’t think so. They both designed for Remington at the same time, but I don’t have any reason to think it was together. I just think Witt was heavily … Continue reading →