Edison Blue Amberol: Special

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Edison Blue Amberol: Special

円筒式蓄音機（イメージ）

Image credit: Wikimedia Commons (Public Domain)

Edison Blue Amberol: Special is a small set of "Special" issues for Edison's celluloid quarter-minute cylinders, "Blue Amberol," managed separately from the regular serial catalog. The core set consists of 10 titles, numbered A–K (with the missing number I). Originally released in April 1910 as "Amberol Special Issues," the set was offered as wax quarter-minute cylinders (Amberol) to purchasers of an attachment (converter) to convert half-minute machines to quarter-minute recordings. It was later reissued as Blue Amberol (celluloid) with the same lettering. Therefore, rather than focusing on the novelty of the recordings themselves, this series offers a valuable insight into the "special category as an institution," in which existing (or already prepared) repertoire was re-edited for promotional purposes and transplanted into the context of Blue Amberol during a period of media transition.

Series Overview

The key feature of this series is that it is separated from the regular Blue Amberol numbering range by the lettering system A–K (with the missing number). In the discography, these are grouped together as "Blue Amberol Specials (1912)," clearly indicating that a special set of wax Amberol was prepared in April 1910 as an incentive to convert from half-minute to quarter-minute compatible machines, and was later recreated and redistributed as Blue Amberol.

This "Special" was not a title widely sold in a regular monthly catalog, and was designed with restricted distribution conditions from the start (without assuming individual sales). In other words, the series name does not refer to a "music genre," but to a sales and distribution framework (packaging), and the letter symbols A–K function as an identifier to fix that framework.

Series Features

The features of Edison Blue Amberol: Special can be summarized into the following three points:
First, it is a "letter catalog" numbered A-K (I is missing). While regular Blue Amberol is managed by number, this set is unified by letter, and the same letter runs through both the "Wax Amberol Special Set" and the "Blue Amberol Special Set," maintaining the same packaging.

Secondly, the title lineup is cross-sectional, including "Demonstration (Military Music)," "Storytelling (Sketches and Narration)," "Songs (Male/Female Duos)," "Sacred Songs (Quartets)," and "Instrumental Music (Overtures and Fantasias)." It's arranged like a sample book, so as to convey the "charm of four minutes" to purchasers in a short space of time.

Thirdly, the same material can be re-released in a different format. It is clearly stated that K was also re-released as the regular-numbered Blue Amberol (BA 5378), which suggests that the Special is not a fixed "closed series," but rather has a circuit that moves from promotional projects to regular distribution.

Background of the establishment and sales promotion (from Special Amberols to Special Blue Amberols)

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Around 1910, Edison needed to convert its existing users, who were primarily using the half-beat format, to the quarter-beat format. However, in order to get them to upgrade their machines (playback machines, reproducers, and attachments), they needed to offer not only a price and effort but also a reason to upgrade—something they could listen to. To this end, a "special set" was planned to accompany the attachments (converters), and in April 1910, ten A–K records were offered as a special offer available under certain conditions. The discography specifically notes that this set was offered for a total of $1, was sold as a combination attachment outfit for dealers, was sold under conditions that prohibited individual sales, and did not have a standard catalog number.

Even more importantly, the same A–K reappeared later as the "Blue Amberol Specials (1912)." The "character package" established in the wax Amberol special set was transferred to the celluloid Blue Amberol and reused as an appealing point during the media's renewal period. While other special slots also existed around the same time (e.g., a group for the Hebrew market, a promotional list of 24 D-prefixes), these are not treated as having been transferred to the Blue Amberol Special slot in the same way, at least in terms of discography. This highlights the unique way in which the A–K set was "transferred."

The historical significance of the series

Edison Blue Amberol: Special is a highly readable example for understanding the "series as a commodity system" seen in the final days of cylindrical media. From the perspective of recording history, A–K do not necessarily represent the "release of new releases," but from the perspective of sales and media history, a single set condenses multiple turning points: the transition from two minutes to four minutes, the transition from wax to celluloid, and the transition from sales promotion to regular distribution (the example of K).

Furthermore, the fact that A–K are organized across religious songs, instrumental music, storytelling, and popular songs suggests that Edison at the time prioritized "a composition that allows users to experience the value of a new standard in a short amount of time" over "deep digging into a specific genre." As a result, this series serves as a historical document that visualizes, in the form of a written catalog, not only the technical features of Blue Amberol (wear resistance and stable supply), but also the "packaged listening experience" that serves as a basis for purchaser decision-making.

Individual commentary from A to K (I missing)

This set consists of 10 titles, A–K (I is missing), each of which is a short "sample" compilation for promotional purposes. The discography lists the recording location and time of all titles, A–K, as "New York: Before April 1910," revealing that they were originally released as Amberol Specials in April 1910 before being reclassified as Blue Amberol Specials (1912). The content is a mix of brass band, narrative (monologues/skits), vocal music (religious songs and duets), and instrumental solos (saxophone), making it suitable for live performance on a home phonograph.

Special A: The four Jacks — March (wind orchestra)

Origin: From Amberol Special A (and the same as Special L in the Hebrew market set).
Performers: New York Military Band.
Song: March "The Four Jacks — March." Composer listed as Lincoln (alias Losch).
Note: The same content appears in the Hebrew market set as "Die fier dzecks marsch."

Special B: Father's eccentricities (storytelling + singing)

Origin: Derived from Amberol Special B.
Performer: Murry K. Hill (1865–1942) (narrator/singer), orchestral accompaniment.
Track title: "Father's eccentricities" (Hill). The internal structure is noted as "Father was out" and "Alphabet song."
Character: A typical example of storytelling/skit type (comedy centered on narration), responsible for "long dialogue-based pieces" on set.

Special C: If I must say farewell, Kate, let me kiss your lips goodbye (solo)

Origin: Derived from Amberol Special C.
Performer: Manuel Romain (c.1870–1926), orchestral accompaniment.
Song title: "If I must say farewell, Kate, let me kiss your lips goodbye."
Character: This category is responsible for popular songs and ballads (singing), and is positioned as a pillar of "songs" alongside the storytelling and instrumental music categories.

Special D: The ninety and nine (religious song)

Origin: Derived from Amberol Special D.
Performer: Edison Mixed Quartet.
Song title: Religious song "The ninety and nine" (Sankey–Clephane).
Character: Represents religious songs and choral music, and shows a set composition that is not limited to entertainment.

Special E: Scenes that are brightest — Fantasia (instrumental solo)

Provenance: From Amberol Special E (and the same as Special M in the Hebrew market set).
Performer: H. Benne Henton (1877–1938) (saxophone).
Track: Fantasia based on "Scenes that are brightest" from Wallace's "Maritana."
Note: The same content appears in the Hebrew market set as "Szenen wos seinen die lebendigste."
Character: It is an instrumental fantasia of classical origin, and has a different appeal than storytelling or popular songs.

Special F: Two rubes swapping horses (skit)

Origin: Derived from Amberol Special F.
Performers: Steve Porter (1863–1936) and Edward Meeker (1874–1937) (narrator/singer), with melodeon accompaniment.
Song: "Two rubes swapping horses" (Porter). The introduction is accompanied by "The old gray mare."
Character: A dialogue skit about "rubes" (country bumpkins), it's a typical example of storytelling that makes the most of its four-minute length.

Special G: I'm looking for a sweetheart (Vocal: Duet + Chorus + Orchestra)

Origin: Derived from Amberol Special G.
Performers: Ada Jones (1873–1922) + Billy Murray (1877–1954), chorus + orchestral accompaniment.
Song: "I'm looking for a sweetheart" (Burnside–Klein). Parenthetically, "Sporting Days" is included.
Character: Representing "popular singing with high commercial value" with a male-female duo and chorus, she strongly supports the entertainment value of the set.

Special H: Tramp! Tramp! Tramp! (Vocal: Duet + Chorus + Orchestra)

Origin: Derived from Amberol Special H.
Performers: Byron G. Harlan (1861–1936) and Frank C. Stanley (1868–1910), with choral and orchestral accompaniment. Noted for cheering.
Track title: "Tramp! Tramp! Tramp!" (Root).
Character: It features an uplifting performance that includes singing along and cheering, and is designed to create an "event-like" atmosphere even when played at home.

Special J: The Hermit's Bell Overture (Orchestral)

Provenance: From Amberol Special J (and the same Special O from the Hebrew market set).
Performed by: American Symphony Orchestra.
Song: "The Hermit's Bell Overture".
Note: This appears in the Hebrew market set as "Dem nosir's glok overture."
Character: Overture = As a purely instrumental piece, it is responsible for the "elegance" of the set.

Special K: The Peerless Minstrels (Storytelling + Singing)

Provenance: Derived from Amberol Special K, and clearly stated to have been reissued as the standard numbered Blue Amberol (BA 5378).
Performers: Peerless Quartet & Company, orchestral accompaniment.
Song: "The Peerless Minstrels." Other songs included are "The humming coon" and "Climb up, ye chillun, climb."
Character: A show-style medley (minstrel type), it represents a type of popular entertainment of the time.

Sources and research status (major discography/scope of primary sources)

Basic information about this series (conditions for forming a set, whether or not it can be sold individually, whether standard numbers are not assigned, whether it has been ported to Blue Amberol, and the performers, songs, and notes for each item A–K) is presented in the relevant chapter (Amberol Special Issues/Blue Amberol Specials) of the discography "Edison Four-Minute Cylinders: Amberols, Blue Amberols, and Royal Purple Amberols (Domestic Issues, 1908–1930)" by Allan R. Sutton (years of birth and death unknown).

On the other hand, when reinforcing the nature of "Special" from primary sources (company magazines and promotional documents from the time), descriptions of attachment promotions and the handling of "special records" published in Edison's monthly magazine (The Edison Phonograph Monthly) are important as they provide background information on the operation of the system. However, primary sources tend to focus on explaining the "planning intent and sales conditions," and in order to get a comprehensive overview of the songs, performers, and notes for each item A–K, organized materials such as the discography mentioned above are essential.

Therefore, from a research perspective, the most robust approach is a two-tiered reading: (1) confirming the identification and annotation of A–K in the discography (identity with the Hebrew set, recurrence in the standard numbering, etc.), and (2) using primary sources such as monthly magazines to support the question of "why the set was needed" and "under what conditions it was distributed."

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