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78 rpm: VARIOUS - Indian Talking Machine Part Two: Instrumentals Gems From 78RPM ERA
VARIOUS
Indian Talking Machine Part Two: Instrumentals Gems From 78RPM ERA
Sublime Frequencies US
Rel: 2 Mar 26
International
| Side 1 - Track 1. Indranil Bhattacharya (Sitar) C 1959 |
| Side 1 - Track 2. Mahboob Ali (Shehnai) C 1939 |
| Side 1 - Track 3. Amir Hussain Khan (Tabla) Madhavrao Alkutrar (Pakhawaj) 1950 |
| Side 1 - Track 4. Rajamanickam Pillai (Violin) 1938 |
| Side 1 - Track 5. Narayandas Mansukhram (Kashta Tarang) 1930 |
| Side 1 - Track 6. Bundu Khan (Sarangi) C 1939 |
| Side 2 - Track 1. T Balaram (Clarionet) 1935 |
| Side 2 - Track 2. Ambade Brothers (Sitar & Jalatarang) 1936 |
| Side 2 - Track 3. Hamid Hussain (Sarangi) C 1940 |
| Side 2 - Track 4. Rahim Baksh (Been) 1909 |
| Side 2 - Track 5. Vithal More (Sundri) C 1935 |
| Side 2 - Track 6. Venu (Saraswati Vina) C 1910 |
| Side 3 - Track 1. Imdad Khan (Sitar) 1904 |
| Side 3 - Track 2. Allauddin Khan (Sarod) 1935 |
| Side 3 - Track 3. Master Mohan (Kazoo, Jalatarang, Piano) C 1940 |
| Side 3 - Track 4. Ahmedjan Thirkhawa (Tabla) C 1940 |
| Side 3 - Track 5. Palladam Sanjeeva Rao (Flute) 1932 |
| Side 3 - Track 6. Faqir Habib Khan (Vichitra Vina) 1938 |
| Side 3 - Track 7. TN Rajaratnam Pillai (Nadaswaram) 1939 |
| Side 4 - Track 1. Brahma Sri T Appadurai Aiyengar (Jalatarang) 1908 |
| Side 4 - Track 2. Professor Kaukub (Sarod) 1909 |
| Side 4 - Track 3. Master Soman (Dilruba) C 1932 |
| Side 4 - Track 4. Mehta Braham Das (Harmonium) 1909 |
| Side 4 - Track 5. Mr K Arumuga Mudaliar (Banjo Mandolin) 1929 |
| Side 4 - Track 6. Sri Salil Kumar Mittra (Violin) 1945 |
| Side 4 - Track 7. Professor Ghosh (Whistle) C 1925 |
Indian Talking Machine Part Two extends Sublime Frequencies' excavation of India's 78rpm era into purely instrumental territory, drawing from shellac discs cut between 1904 and 1959, when the three-minute limit of the format forced ragas, folk airs and virtuosic showcases into concise, incandescent bursts. Producer Robert Millis curates a sweep across Hindustani and Carnatic traditions: from the pioneering sitar recordings of Imdad Khan to the sarod gravitas of Allauddin Khan, the tabla eloquence of Ahmedjan Thirakwa, and rarer textures such as jalatarang, vichitra vina and even banjo-mandolin. The surface noise and mechanical grain of the originals are part of the atmosphere, situating the listener in the era of colonial studios, regional presses and itinerant maestros capturing lineage onto wax. Rather than presenting a museum piece, the set reveals a living network of styles at a moment of transition; courtly traditions adapting to recording technology, devotional forms brushing against early modernity.