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This is not a conventional commercially pressed 78 RPM record. It is an individually cut recording disc of the type used during the 1930s and 1940s for home recordings, reference recordings and recordings made from radio broadcasts or other audio sources.
The black recording surface is lacquer over a rigid metal core, the construction commonly associated with period instantaneous recording discs. The original blank is branded Fidelity.
The disc also has the characteristic additional offset drive hole associated with many period disc-cutting systems.
Most importantly, the disc has been briefly auditioned, allowing the surviving handwritten information to be compared with what is actually heard in the grooves.
Side OneThe first selection begins with an upright string bass establishing the musical line while drums accompany and answer it, developing into a distinctive back-and-forth exchange between bass and drummer.
That performance strongly corresponds with “The Big Noise From Winnetka,” the famous number associated with the Bob Crosby organization and created by bassist Bob Haggart and drummer Ray Bauduc.
Haggart and Bauduc were members of Bob Crosby’s band, and their celebrated performance is built around exactly the unusual bass-and-drums interplay heard on this disc.
The surviving handwritten Fidelity label appears to reference:
“The Big Noise From Winnetka”
along with:
Bob Crosby
The second selection is audibly “Der Fuehrer’s Face.”
The sound changes dramatically. The arrangement has an exaggerated mock-military, pomp-and-circumstance character, with prominent brass, a particularly noticeable trombone-led sound, and a male crooner singing the vocal.
The handwritten label includes:
“Der Fuehrer’s Face”
and:
Spike Jones
This is consistent with the famous WWII-era treatment by Spike Jones and His City Slickers, whose recording of the song became one of the best-known novelty records of the wartime period.
Side One therefore appears to contain:
1. “The Big Noise From Winnetka” – Bob Crosby-associated Haggart/Bauduc performance
2. “Der Fuehrer’s Face” – Spike Jones-associated performance with male vocal
The reverse paper label is substantially more damaged, but surviving handwriting includes references to:
“Amen”
“You’ll Never Know”
Woody Herman
The first selection on Side Two is heard as a full instrumental orchestral performance, with a large ensemble sound and particularly strong emphasis on the horn section.
Woody Herman recorded “Amen” during this same general period, and the surviving handwriting appears to associate his name with this side of the disc.
However, the performance heard here was perceived during audition as instrumental and heavily horn-driven. For that reason, no claim is being made that this is the standard commercial Woody Herman recording, an alternate take, a broadcast performance or an otherwise undocumented version.
That portion of the disc remains especially interesting for further comparison by a knowledgeable Woody Herman, big-band or broadcast-recording collector.
The second selection features a female vocalist with orchestral accompaniment singing the familiar lyric:
“You’ll never know just how much I miss you…”
This identifies the song as the well-known “You’ll Never Know,” written by Harry Warren and Mack Gordon and introduced in 1943.
That gives the disc an important dating clue. Because this song dates to 1943, the recording itself appears to have been made no earlier than approximately 1943, assuming the audible identification is correct.
The identity of the female singer remains unconfirmed.
Numerous singers performed the song during the wartime period, and too much of the original paper label is missing to responsibly attribute this particular performance to a specific vocalist.
So, what appears to be on the disc is:SIDE ONE
1. “The Big Noise From Winnetka”
Upright bass and drums trading the musical lead, with handwritten Bob Crosby reference.
2. “Der Fuehrer’s Face”
Mock-military arrangement with prominent brass/trombone and male vocal, with handwritten Spike Jones reference.
SIDE TWO
1. “Amen” / Woody Herman-associated selection
Full instrumental orchestra with strong horn presence. Exact performance remains unconfirmed.
2. “You’ll Never Know”
Female vocalist with orchestral accompaniment singing the familiar 1943 wartime standard. Vocalist unidentified.
Whether these recordings were captured from radio broadcasts, commercially issued records, another audio source, or a combination of sources has not been established.
No claim is being made that any performance is unpublished, unique, alternate, or unavailable elsewhere.
What is established is that this is far more interesting than an anonymous home-recording blank: the disc contains recognizable WWII-era musical material corresponding closely with surviving handwritten references to Bob Crosby, Spike Jones and Woody Herman, while portions of Side Two still invite further identification.
ConditionAudio: The music competes well with the crackle. sample provided for your own determination.
The disc was briefly played sufficiently to identify and describe the musical contents. Because this is a vintage instantaneous lacquer recording rather than a conventional vinyl or shellac pressing, no standard record grade is being assigned.
The recording surface shows visible scratches, scuffs, handling marks and age-related wear.
Both original Fidelity paper labels show significant deterioration.
The Side One label remains substantially readable but has tears, cracking, edge losses and other age-related damage.
The Side Two label has major paper loss, including portions of the handwritten recording information.
Please examine all photographs carefully.
An unusual surviving 10-inch WWII-era acetate recording with connections to Bob Crosby, Spike Jones, Woody Herman, “Der Fuehrer’s Face,” “The Big Noise From Winnetka” and the wartime standard “You’ll Never Know.”
A compelling piece for collectors of acetates, instantaneous recordings, WWII music, radio history, big band, swing and one-off period recordings.
Sold exactly as photographed and described. No representation is made that any performance is unique, unpublished or unavailable elsewhere.
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