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Ideally, the stamp should be retained on the item to which it belongs.As the stamps are not tied, subsequently proving this juxtaposition is near impossible.

This certainly makes sense for 78s, which are bulky and hard to display in any volume (although the occasional item in an exhibit will be attractive).what Glen suggesting akin to soaking 1d Blacks off covers.anyway how does one actually soak them off,does the circular label come off always leaving the stamp intact or does more care need to be taken with these ,as opposed to soaking stamps, Details Please. Albert & Son Pty type 6a 1 1/8d revalued to 1 5/8d in manuscript. There were several record series for kids, popular music and Jazz (this one). The earliest records of Kiri Te Kanawa, and John Hore, from c. As the US royalty rate was a fixed 2c per composition, this was covering for both sides of the record. Ironically not "standard", as it was one of a several special brands produced by Colombia with oversize spindle holes for special gramophones. This was because you got the best fidelity there (the most inches of groove passing under the needle per second) and many radio plays had a loud climax towards the end to encourage listeners back next time. Most of the stamps still used in the 1960s actually got stuck to the back of the LP cover.Usually they are separate stamps, but in this case one stamp covers both. The Mechanical Copyright Protection Society was formed in the UK 1924 and opened a branch in Australia shortly thereafter. They must be quite collectable to have their own catalogue. Glen do you have any beer tax stamps still on the barrel? Australians are lucky here as you have quite a few issuers, who were prolific over quite a few decades. I'd bet if you got yourselves down to you local Sally Army, junk second-hand shop or local weekly household auction place, you'd find a pile of 78s and in that pile would be quite a few records with these stamps.

It is still active today as the main collector of mechanical royalties for the UK. Pressed by Clifford Industries, only in 1928, using US masters. Probably not the ones illustrated in this thread, but enough to pique your interest.

Printed in England by Harrisons to be affixed to records exported to Australia. Record: Vox Humana VH8, produced by Pathe Freres in London for the Perpetual Trading Association. Stamps: The Gramophone Co (HMV) type S8 for Spain, c.1930.

Spanish-influenced area copyright stamps often cover the performer's copyright as well as the more frequently seen composer's copyright. The catalogue arose, not to satisfy a huge collector market, but just because the field was so wide I needed a catalogue to help me make sense of it.

Also would the value be more,,, or less,,,, on a record,, or off.

Copyright stamps represent an exciting new branch of Revenue philately. Special Regulations for the Evaluation of Revenue Exhibits.

Record: ARC (Australian Record Co) 16" 33 1/3rpm broadcast disc. Many of these massive discs were actually centre-start and played toward to outer edge. But some just look too nice as they are to mess with, like this one. The last stamps on record labels that I know of were in Australasia, on second tier record manufacturers, like Spotlight or Viking. The very last one I've seen was a LEEDS stamp from at least 1968 on a Mastertouch roll of "Love is blue".