Rare gramophone records “The Vogue Picture Record”. Part III
Vogue Records was a short-lived United States-based record label of the 1940s, noted for the artwork embedded in the records themselves. Founded in 1946 as part of Sav-Way Industries of Detroit, Michigan, the discs were initially a hit, because of the novelty of the colorful artwork, and the improved sound compared to the shellac records dominant at the time. Vogue picture records were of a very high quality, with little surface noise. The records were produced using a complicated process whereby a central core aluminum disc was sandwiched between the paper illustrations and vinyl. Perfecting this process took quite a while; Tom Saffady and his engineers spent several months working out the bugs that often resulted in torn or dislodged paper illustrations. The discs were manufactured by first sandwiching printed illustrations around a core of aluminum, then coating both sides with clear vinyl upon which the grooves were stamped.
The first 10-inch Vogue picture record (catalog number R707) was released to the public in May 1946. Production ceased less than a year later in April 1947, with Sav-Way entering into receivership in August 1947. During this time, approximately seventy-four different 10-inch Vogue picture records were released.
Each illustration has an “R” number (or catalog number) printed on it, ranging from R707 to R786. There are gaps in the sequence; not all of the eighty possible catalog numbers were used. There is also a “P” number (or matrix number) printed on the illustration (next to the copyright symbol). The printed matrix number should match the matrix number inscribed in the lead-out area of the record. Some collectors have found Vogue picture records with errors where the illustration does not match the song pressed on that side of the record; these records are sometimes marked as a “Factory Reject”. Vogues with damaged illustrations (smeared ink, torn paper, etc.) are sometimes marked as a “Vogue Second”. Normally both sides of a record have the same catalog number, but this is not always the case. Several records were released which had different combinations, such as R725/R726. The combinations were likely due to the hard financial times on which Sav-Way had fallen; they were hard-pressed to come up with new artists near the end of their one-year production life, so they resorted to re-using previously released material.
The colorful artwork on the records have made Vogue Records a collector's item.
There are ten such records in the museum Collection repository. One of them is numbered R777. Digitized recording of this record is posted in the museum Sound Library. On one side is the song “La Rumbita1)
Tropical", authors Fortunato, Gamse, Novarro, Rodon, performs Enriс Madriguera and his orchestra, vocal by Patricia Gilmore2).
On the other side -- “Tiqui Tiqui Tan” (Uno Momento), author Alberto Soccaras3), performs Enric Madriguera and his orchestra, vocal by Enric Madriguera.
The performer Enric R. Madriguera (February 17, 1902 – September 7, 1973) was a violinist of Catalan origin that was playing concerts as a child before he was admitted to the Barcelona Conservatory.
Enric Madriguera was born in Barcelona, Spain, and being 20 years old, he became the lead violinist in the Boston Symphony orchestra, and later he was conducting the Cuban Philharmonic Orchestra.
In 1932, he created his own orchestra in the Baltimore Hotel, which recorded music for Columbia until 1934. The orchestra played mostly Afro-American dance music or foxtrot music, often with jazz interludes. In the 1930s, Madriguera recorded almost exclusively Latin music. His composition "Adios" became a national hit song in 1931. On the radio, the group was called Enric Madriguera and His Music of America, and "Adios" became its musical theme. It was said that the ambassadors of all South American countries declared Madriguera" ambassador of music to all the America".
Madriguera starred in several "musical short films", including Enric Madriguera and his Orchestra (1946), where his wife Patricia Gilmore sang with the orchestra.
A review of one of his appearances recorded how he "reflected the warmth of our southern neighbors".
1) "Rumbita" - in some Cuban places, this word is used to refer to songs in the Guaracha style that have close links to the flamenco rumba.
2) Patricia Gilmore - actress and vocalist. Was a New York City singing nightclub headliner during the 1930s.
3) Alberto Socarrás Estacio, (1908 – New York City, 1987), was a Cuban-American flute player that played both Cuban music and jazz.
Ref.: https://www.phonographs.org/product/vr-707-vogue-picture-record-r707/; ttp://www.voguepicturerecords.org/records.html