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Not quite. I have 2 Stokowski mono white label Victor LPs that have been for sale on Ebay- three, actually, as one is the two record Gurelieder, a 78 reissue. The other is the Sibelius First, still available. Steve Smolian -----Original Message----- From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Eric Nagamine Sent: Monday, February 22, 2016 4:03 AM To: [log in to unmask] Subject: Re: [ARSCLIST] A couple of Mercury questions for Tom Fine Tom, Thanks for the link to the Penndorf page. I'd forgotten about his work on labels. I found that he does mention that the colored labels were promo/for broadcast pressings in section 11. It's interesting that there were various colored promo labels when labels like Columbia generally only had white label promos. I think that RCA had no promo labels only the "for demonstration" stamp on the backs of their jackets. London only had those round promo stickers on the front of the jacket. I don't think I've ever seen EMI or UK Decca promo labels. Thanks to Karl Miller about the Copland 3rd. I guess I need to purchase the Pristine release of Carnegie Hall performance of BSO/Koussevitzky. -------------------------- Eric Nagamine -----Original Message----- From: Association for Recorded Sound Discussion List [mailto:[log in to unmask]] On Behalf Of Tom Fine Sent: Saturday, February 20, 2016 3:00 AM To: [log in to unmask] Subject: Re: [ARSCLIST] A couple of Mercury questions for Tom Fine Hi Eric: I don't have answers to all your questions, but some info. See below. -- Tom Fine ----- Original Message ----- From: "Eric Nagamine" <[log in to unmask]> To: <[log in to unmask]> Sent: Saturday, February 20, 2016 3:21 AM Subject: [ARSCLIST] A couple of Mercury questions for Tom Fine > Hopefully Tom can answer a couple of questions.. > > > > 1. I've been sorting through a deceased friend's collection and I > noticed there were many different colored labels in addition to the normal > Dark Plum or later Red labels. There's the common white label promo, but > I've also found Pink, Green, Yellow and Gold labels in place of the normal > plum or red labels on stereo SR series discs. Some say promo and some don't. > Any significance in this? I know some of the early mono Mercuries have the > Gold Label and I think so does the Civil War sets, but these are not those. > First of all see this, from the late Ron Pendorf http://ronpenndorf.com/labelography3.html Ron got his information directly from Harold Lawrence, so I assume it's correct. Ron doesn't address the green, pink and yellow labels I have seen from time to time. I assume they have to do with promotional or other uses. Ping me off-list with some deadwax info on those records and maybe we can figure out some things. One thing I can tell you is that the non-glossy sleeves of early issues, even if they have color printing on the back, indicate an inferior pressing from Mercury's own Richmond IN plant. The best pressings, 1951 through about 1962, were done at RCA Indianapolis and have an "I" somewhere in the deadwax. What has surprised me is how bad the Richmond "for broadcast only" white-label pressings are! Those were supposed to be the best vinyl, for broadcast. The examples I have did not shine a nice light on the quality of Mercury's plant. > 2. Do you know if the Dorati/Minneapolis Copland 3rd in the most > recent Mercury box has the uncut version of the finale? From what I > understand, every recording from the late 50's on use Leonard Bernstein's > cuts from the late 40's, even the 2 Copland led recordings. > I am not familiar enough with the work to know the answer. Here is a video said to be of that movement: https://www.youtube.com/watch?v=7ZruGxBJwwg BY THE WAY -- I can tell you that all the wow and flutter and distortion you hear in this lousy transfer DON't EXIST in the new CD reissue, thanks to Plangent Process. The work is available in Box Set 3 and as a 96/24 download from HDTracks. We also got a much more full sonic spectrum, thanks to Andy Walter at Abbey Road Studios. If there were enough potential sales, and thus interest from the corporate parent, I'd remaster all the mono recordings the way we did Copland 3rd. > > Thanks for any light you can shed on this. > You're welcome! > > > -------------------------- > > Eric Nagamine > > > >