Same here & pleased that some music hall managed to survive the 1920's & beyond xx

Glad you enjoyed. Kirkby recorded for many labels, but perhaps more frequently with E B Winner. His associate, Harry Hudson was musical director at this company. BTW, think there's a 'ghost sound' Someone appears to say "Stop" toward the end of the orchestral 'outro' Think I hear the same word in the intro, but its less clear.

@@tiga4180 I hear that too, very neat! In my copy of Sadie Say You Won't Say Nay by Will F. Denny you can very clearly hear talking during the piano introduction. kzfaq.info/get/bejne/gdiHZ69hvM_LYp8.htmlsi=FczfV7IWnv1LcE6x Can't make out a single word but the fact that people are talking is very apparent.

Yes it is indeed! Though considered in decline by then & many music hall stars were retiring and/or recording retro medleys on 78's a few soldiered on with the genre to great success. One was Leslie Sarony, whom I had the pleasure of meeting back in 1967. He wrote & performed the classic 'Aint It Grand To Be Bloomin Well Dead' along with many other music hall style comedy songs.

It is indeed my friend, even though it was considered in decline & many music hall performers were retiring, a few soldiered on with great success. Leslie Sarony was one & I had the pleasure of meeting him in 1967. I'm puzzled by the voice too. The orchestra doesn't appear to over run. Yes, lights were used, even in acoustic studios. Some early studios had a small door which the recording technician could open & give hand signals to the orchestra/singer.

@@tiga4180 I have heard of hand signals being given in a studio, a notable example being when Percy Phillips recorded the Quarrymen (later Beatles) acetate in 1958 at his home studio in Liverpool. ‘In Spite of All The Danger’ ran 3:25 and according to online sources, anecdotes have Phillips waving his arms at the band because the disc lathe was reaching the centre. That’s how I know of hand signals being used in studios to bring musicians to a stop.

It's small, but does punch above its weight. These sounds are not uncommon on really early records. I'm sure they thought they'd get away with it as pre microphone recording equipment wasn't that sensitive & neither were the playback machines. Who's going to put their ear to a gramophone horn anyway? That said, this is an electrical recording & its the first one on which I've heard a ghost sound. Here's an early example, in which the singer enquires: "What did they think?" in the final grooves: kzfaq.info/get/bejne/g7uZadph2-C3Z4k.htmlsi=-76zsQFDzk-iRSWr I have heard faint start cues such as: "Ready!" or "Go!" on early records & muffled conversation or shuffling in the final grooves.