Today’s post is the first of two by Kenneth Gear, long a friend of this blog. We have great news to report– Ken has finally been able to purchase all the remaining Railroad Record Club items from the dealer that purchased them many years ago from the estate of William A. Steventon, who died 25 years ago.

Ken details all that in another post, Railroad Record Club Treasure Hunt, Part 2. These new discoveries have enabled him to offer what is, to my knowledge, the first-ever comprehensive and factual history of William A. Steventon’s Railroad Record Club.

Thanks in great part to Ken’s dedication and persistence, you can find practically all the RRC’s 10″ and 12″ output, now digitized on compact discs for the 21st century, in our Online Store. We thank him for these efforts, and hope you will too.

-David Sadowski

INTRODUCTION

As regular readers of this blog know, David and I have been gathering bits and pieces of information about the Railroad Record Club and its founder, William A. Steventon. We wanted to get a better understanding of what went into making these records, and to put together a history of the club. David started the ball rolling in April 2015 when he wrote the first Trolley Dodger post about it. As soon as I read that post I jumped aboard having been interested in the subject for some time. Together we finally managed to accumulate enough separate fragments of the story so that when we put it all together, it formed an accurate outline of the events leading up to the formation of the club and offered some insight into its operation. We were also able to build a brief biological sketch of Mr. Steventon.

Separately David and I looked for any resource that might reveal some small bit of new information. We read liner notes, club newsletters, and we looked through back issues of magazines in search of RRC ads. We collected order blanks, and I purchased copies of records I already owned because they had club inserts tucked away in the jackets. I researched the meaning of the matrix codes engraved in the lead out grooves of the LPs to more accurately date them. We studied artwork and found some of Steventon’s personal correspondences.  Everything came together when I purchased a large collection of Railroad Record Club items from Steventon’s estate. Combing through this material finally gave us enough information so that David and I could piece together the Railroad Record Club story you are about to read.

There are still unanswered questions to be sure and there are also missing recordings. We haven’t been able to secure copies of the 5th and 6th year sampler records. We also can only speculate on how, to whom, and at what cost these sampler records were distributed.

If any readers have any RRC material, please contact David. We only ask for a scan of any paper work or leads you may be able to offer as to who might be able to help. Thank you.

I have recently been able to purchase the last of the Steventon estate items I left behind last year (more on that in A Railroad Record Club Treasure Hunt, Part 2) and with luck David and I will be able to put together a few more pieces of the Railroad Record Club puzzle.

WILLIAM STEVENTON & THE RAILROAD RECORD CLUB 

William A. Steventon was born in 1921 in Mount Carmel, Illinois, son of a locomotive engineer on the Big Four Railroad (New York Central). As a child he spent much of his time around the red brick passenger station and wooden freight house across from Main Street. The family eventually moved to Cairo, Illinois and there he would often ride in the locomotive cab with his father. In the liner notes to Record number 20- NYC/C&IM while describing an in-cab recording made with his father at the throttle, Steventon reminisces about his boyhood days spent there:

“It is strange that this recording should remind me of something that I had almost forgotten. If I hadn’t heard my father pull a whistle cord in 50 years, and in the distance I should hear a certain whistle, I would know that it was him. This recording also reminds me of the many times I had waited as a youngster for him to whistle near Cherry switch to let us know he was coming home from a north-end run. It reminds me of the many times I have walked down Washington Street in Cairo and heard him whistling in the yards.”

After serving in World War II Steventon married and took a government job. He and his wife settled in the Washington DC area and it is here that the Railroad Record Club story begins.

It all began when Steventon’s wife gave him a record of Railroad sound effects as a Christmas gift, most likely in 1952. While he was interested in the concept of recorded train sounds, he was very dissatisfied with this record. He was convinced that the sounds were not those of actual trains, that they were train “effects” created in a recording studio.  He wanted sound recordings of REAL trains. He purchased one of the new reel to reel tape recorders that had recently become available and in March 1953, set out to make his first railroad sound recordings.

The first recording he made was along the Baltimore & Ohio Railroad at the Riverdale, Maryland passenger station (MP 32.4 on the Washington Branch). As best as can be determined, the first train he recorded was # 523 the “MARYLANDER” powered by an EMD diesel (he did not make note of the locomotive number). His second train was powered by steam but in his haste to hear the recording immediately after making it, he accidently partially erased it! He wrote about his frustration in an article for TRACTION & MODELS Magazine:

“When we made our very first recording in 1953 we took the equipment to Riverdale, Maryland and recorded a steamer thundering past the B&O station. When it was gone we stopped the recorder, rewound the tape and played it back. Nothing happened-the tape was silent. we waited thinking that the steamer wasn’t within “hearing distance” as yet, but when it became evident that we should be hearing the sound, we investigated.  In our enthusiasm to “get recording” we had failed to become familiar with our equipment. Instead of pushing the playback key, we had pushed the record key and were erasing the sound we had just recorded.”

That partially erased recording, as well as the others he made that night, were discovered on a 78rpm acetate record in his estate. It is included on the Trolley Dodger Railroad Record Club Rarities Steam & Diesel CD.

During the next few years, Steventon made numerous railroad sound recordings, both in and around Washington DC and on trips to visit family in Illinois. Near Washington DC he recorded the streetcars of the Capital Transit Company, steam & diesels on the B&O, and Pennsy GG-1s. He even recorded the sounds of the Senate Subway. He made trips to Maryland to record the Western Maryland, the Hagerstown & Frederick interurban cars and freight box motors, and he rode and recorded the Baltimore streetcars. In Pennsylvania he recorded mainline steam on the PRR, revenue steam on the East Broad Top, and made extensive recordings of the Johnstown Traction Company and the Altoona & Logan Valley. In Illinois he captured the sounds of the New York Central, Chicago & Illinois Midland, Nickel Plate, Illinois Central, and Chicago Burlington & Quincy among others. He did recordings of the passenger and freight operations of the Midwestern electric railways including the Illinois Terminal, Chicago North Shore & Milwaukee, Chicago Aurora & Elgin and even recorded an entire run of Chicago South Shore & South Bend M.U. car # 108 from Chicago to South Bend. In Iowa he added the Waterloo, Cedar Falls & Northern, Southern Iowa, Cedar Rapids & Iowa City and Charles City Western. In his travels he made recordings of the Pacific Electric, Shaker Heights Rapid Transit, Wabash, Soo Line, Denver & Rio Grande Western narrow gauge, and Norfolk & Western. In a 1958 newspaper interview he stated he had traveled to fifteen states to record train sounds. It is quite an extensive output and not all of it has been pressed into vinyl or released on tape or CD.

All this recording did not come easily. Dragging the equipment from home to car and from car to trackside required the help of at least one other person. Steventon wrote about the difficulty of using this bulky equipment in the field:

“We had a 12-volt auto battery for the primary power source, a 12 v.d.c. to 110 v.a.c. rotary converter, a reel to reel recorder plus a satchel of extra equipment, tapes, and assorted material. Two men could struggle with all this equipment, but it required three men to carry everything with any degree of ease and mobility. In addition, we normally carried a battery charger for use with keeping the battery up to par during the night. This could be left in the auto during the day but was a very necessary part of our total equipment requirement.”

It is a wonder anyone was able to record anything, considering the burden it must have been to get all this stuff trackside. It makes one grateful for the ability to record high quality sound and high definition video with just a tiny cell phone as we can do today.

Steventon eventually took a job as manager of the Cream Valley Telephone Company and he and his wife moved to Hawkins, Wisconsin. There he would continue to make railroad sound recordings, start a family. and create the Railroad Record Club.

Doing all this traveling and making these recordings invariably put him in contact with like-minded people. It is safe to assume that they would want to trade and share the recordings they made with each other. In the mid-1950s this was no easy task. Modern home audio systems, as we think of them now, simply did not exist. The problem was made even worse if recordings were to be shared or sold to someone who did not make recordings themselves and therefore did not own a reel to reel tape player/recorder. While most people at the time did not own a tape player, a phonograph could be found in most homes.

If Steventon wanted to give or sell his recordings to many other people, they would have to be put onto phonograph records. This too, wouldn’t be easy. The solution was to procure a portable disc cutter. These machines became available for home use starting in about 1929 and were most often used to record things off the radio. The standard record format of the time was a disc ten inches in diameter and made of aluminum covered with acetate. The 78rpm playing speed yielded no more than five minutes of content per side. These records had to be made in real time and the record blanks were quite heavy compared to a modern vinyl record. To distill more and varied content on these homemade records, he spliced together all sorts of bits and pieces and recorded brief introductions to tell listeners what they were about to hear. He conceived a catalog numbering system and had rubber stamps made for the most popular titles, the rest having hand-written labels. Steventon produced an extraordinary amount of records this way. Finding a sizable collection of these acetate records in the Steventon estate reveled just how extensive the output was. Although a complete catalog listing of these records can not presently be made, the following partial list is still very impressive.

01. Potomac Edison (aka Hagerstown & Frederick)
02. Shenandoah Central
03. Capital Transit
04. Johnstown Traction
05. Altoona & Logan Valley
06. Baltimore & Ohio
07. Shaker Heights Rapid Transit
08. Claude Mahoney Radio Program about NRHS fantrip (1953)
09. Pennsylvania Railroad
10. Nickel Plate Road
11. St. Louis Public Service
12. Illinois Terminal
13. Illinois Central
16. Norfolk & Western
17. Western Maryland Railway
18. Baltimore Transit
19. Senate Subway (Washington, DC)
21. Rochester Subway
22. East Broad Top
23. Chicago, Burlington & Quincy
24. Chicago & Illinois Midland
25. Niagara, St. Catharines & Toronto
26. Virginian
28. Queensboro Bridge
29. Wabash
30. 3rd Avenue Elevated
31. Minneapolis, St Paul & Sault Ste Marie
32. Louisville & Nashville
34. St Elizabeth’s Hospital (hospital in Washington DC that used a 0-4-0T to move coal from the B&O.)
37. Independent Subway

It is worth noting that this numbering sequence is totally different from the later one adopted for the 10” records issued later.

Things were apparently going well for Steventon’s railroad record enterprise for a while but things were about to change. Long playing 33 1/3 rpm records made of lighter materials and with improved sound were beginning to gain in popularity. Record blanks and parts for the disc cutter would undoubtedly become harder to get. Steventon needed to have his records made by a professional record pressing company to continue selling them. Steventon would have to make new master tapes for each release because the new records, although still 10”, could hold fifteen minutes of sound on each side-a full half-hour altogether. This would be the equivalent of more then five of the old acetates. He would forgo, for the most part, his spoken introductions and provide printed notes on the cardboard record jackets. These notes could be pretty sparse at first, containing little more than the railroad and locomotive number.

Eventually he began to write extensive notes on separate sheets of paper that were inserted into the record jackets. In time, the first completed master tape was sent off to the RCA Custom Record facility in Indianapolis, Indiana and soon afterward the first official Railroad Record Club LP came into being. The record was titled simply INTRODUCTORY RECORD and carried no catalog number. Side one contained the sounds of Soo Line 4-6-2 # 2718 powering an August, 1955 fan trip between Minneapolis, Minnesota and Rice Lake, Wisconsin. Illinois Central 0-8-0 # 3509 switching at Centralia, Illinois was featured on the flip side. A look at the first four characters in the matrix code engraved into the lead-out grooves of a first edition of this record, G8OL, gives the following information: First is the date code-G indicates the record was manufactured in 1956, then the label code-8 showing it was a custom job that was re-recorded from the client’s source material. Next is the category code-O meaning it is a phonograph record, and the fourth character-L denoted the size, speed & groove, 10”, mono, & 331/3 rpm. The final numbers 0479 for side one and 0480 on side two were simply sequence numbers. The Introductory Record was therefore available for sale sometime in 1956 or perhaps 1957.

He made the decision to sell these new records not as a regular mail order business, but as a club. The club membership idea may have been the direct result of the expense associated with this new endeavor. He had to have the records pressed by RCA which required metal master plates to be made. Cardboard record jackets had to be purchased and be printed with photographs or drawings. Tape stock had to be bought for the making of the new master tapes. All in all, this must have been a considerable expense. Selling the records through a club meant that the members were required to purchase a set number of records and paying for them in advance, thereby guaranteeing he would get some return on all this investment. The club worked like this: Four records would be offered per year. Members could buy the records at the discounted price of $4 each providing they maintained membership by purchasing at least three of the selections. Membership expired upon the purchase of one year’s group. There were no membership dues, but records were paid for in advance to provide the necessary money to have the metal masters made.  Special pressings could be purchased at club prices but were not counted toward the three-record minimum. Non-members could buy individual LPs at $5.25 each. $4.00 for a LP record sounds like a bargain but remember those $4 in 1958 had the same buying power as $34.72 in 2018! These Records weren’t cheap. According to a 1958 interview he gave to the Milwaukee Sentinel, the club started off very well. The article stated that there were some 200 club members through out the United States and several foreign countries including New Zealand, Australia, England and Canada. It goes on to state he has already sold 1,000 records.

Steventon continued to sell his records through the yearly club membership plan until October 1965 when the club membership requirement was withdrawn. The records would now be sold separately and at the same price to everyone.

From 1957 with the release of the Introductory record until October 1965 when the last regularly scheduled production of a Railroad Record Club release (Record number 32-New York Central) was offered, Steventon produced thirty-two regular club releases and three special pressings. One more release, SP-4-CSS&SB would be released later that year. Afterwards, Steventon released Records Numbers 33-36 and special pressings numbers SP-5 (a reissue of the introductory record) and the last all new Railroad Record Club record in 1983, number SP-6 Milwaukee Road box cab electrics. Each record was simply numbered in the order it was produced.

RAILROAD RECORD CLUB TITLES
0 Soo Line, Illinois Central (Introductory Record)
1 Wabash Railroad, Chicago, St. Paul, Minneapolis & Omaha
2 Waterloo, Cedar Falls & Northern, Southern Iowa Railway
3 Denver, Rio Grande & Western, East Broad Top
4 Baltimore and Ohio
5 Denver & Rio Grande Western
6 Potomac Edison (Hagerstown & Frederick)
7 Norfolk & Western, Illinois Central (Also includes a bit of Illinois Terminal Railroad)
8 Canadian National (aka Canadian Railroading in the Days of Steam)
9 Winston-Salem Southbound
10 Pennsylvania Railroad
11 Shaker Heights Rapid Transit
12 Duluth Missabe & Iron Range
13 Nickel Plate Road
14 Pacific Electric
15 Chicago, Burlington & Quincy
16 Westside Lumber Company
17 Minneapolis & St Paul, Sault Ste Marie Railway
18 Chicago, North Shore & Milwaukee
19 Duluth, Missabe & Iron Range
20 Chicago & Illinois Midland – New York Central
21 Duluth & Northeastern
22 Buffalo Creek & Gauley
23 Pennsylvania Trolleys
24 Canadian Pacific
25 Illinois Terminal Railroad
26 Chicago, North Shore & Milwaukee (freight)
27 Capital Transit Company
28 Charles City Western – Waterloo, Cedar Falls & Northern
29 Nickel Plate Road
30 Sound Scrapbook, Traction
31 Sound Scrapbook, Steam
32 New York Central
33 Chicago, South Shore & South Bend (freight)
34 Chicago, South Shore & South Bend (freight)
35 Milwaukee & Suburban Transport, Chicago, North Shore & Milwaukee
36 Chicago, Aurora & Elgin, Chicago Transit Authority

Special Pressings
SP1 The Silverton Train
SP2 Northern Pacific 2626 Memorial Album
SP3 Whistle ‘Round the Bend
SP4 Chicago, South Shore & South Bend Railroad (passenger)
SP5 Soo Line, Illinois Central
SP6 The Milwaukee Road (electric freight)

He also produced several “sampler” records which contain short snippets of tracks from the LP records.

THE RAILROAD RECORD CLUB SAMPLERS

1st & 2nd Year Sampler:  (short excerpts from records 1 to 4 on side one & records 5 to 8 on side two)
3rd & 4th Year Sampler: (short excerpts from records 9 to 12 on side one & records 13 to 16 on side two)
5th Year Sampler: (short excerpts from records 17 to 20 recorded on one side only)
6th Year Sampler: (short excerpts from records 21 to 24 recorded on one side only)
7th & 8th Year Sampler: (short excerpts from records 25 to 28 on side one & records 29 to 32 on side two)

Among these forty-two LPs there are some real gems. He certainly started off strong with Record Number one. On side two there is one of his best “sound picture” type recordings. It features Chicago, St. Paul, Minneapolis & Omaha 2-8-0 # 219 switching in the yards at Spooner, Wisconsin on a dark misty night in October of 1955. This was one of his favorite audio sequences and he described it like this in the record’s reissue liner notes:

“Close your eyes and imagine you are in a Pullman berth. Your passenger train has stopped at the station and you are sleepily listening to this nearby switching movement.” And from the notes to the original release: “That night in October of 1955 was very dark, moonless and misting heavily. The sulfuric, yet nostalgic odor of coal smoke drifted sluggishly over the Spooner, Wisconsin yards as the sound of exhausts and squealing brakes seeped through the murky atmosphere. A dim yellow light at the south end of the station platform rocked in the wind, flicking shadows to and fro over the moving cars.” 

If you don’t feel the dampness, smell the coal smoke, or find that you need to shake off a chill while listening to this, you’re just not trying.

There are so many remarkable sound sequences on these LPs that it would be impossible to list them all, Some of the most interesting ones include:  a D&RGW narrow gauge train with a mid-train helper on Cumbres Pass on Record number 3, the B&O EM-1 stopping and starting sequences on Record Number 4, a PRR 4-8-2 on slick rail on Record number 10, the cab rides in CSS&SB freight motors on Record numbers 33 and 34, the list goes on and on.

William Steventon did not exclusively use his own recordings on the Railroad Record Club LPs. In the second year of the club he began to utilize the talents of his friends, and the most notable of the group was Elwin D. Purington. Mr. Purington’s considerable recording talents added greatly to the quality of Steventon’s releases. Three records were entirely comprised of his recordings and they are three of the best. Record number 8-Canadian National (re-released as “Canadian Railroading in The Days Of Steam”) is one of Steventon’s favorites, and SP-2 the Northern Pacific 2626 memorial album Steventon called “a masterpiece.”  He provided the sounds for side one of Record number 12-DM&IR and his recordings of the CMSt.P&P electric freight locomotives are featured on Record SP-6.  He also did the narration on Number 3-East Broad Top and SP-3-Whistle ‘Round the Bend. Thomas A. Hosick recorded the train sounds for Record number 9-Winston-Salem Southbound, and John L. Wise contributed to Record number 10-PRR. Harold O. Lewis did some fine recording work that was used on three LPs, Record number 16-Westside Lumber, number 24-Canadian Pacific, and number 31-Sound Scrapbook-Steam. Eugene Van Dusen made all but the final three cuts for Record Number 32-NYC, and finally A. L. Shade, another top-notch sound recorder of trains, added his talents to Record numbers 13-Nickel Plate, 29-NKP 779 and 22-Buffalo Creek & Gauley.

The sounds on these LPs were great right from the start, but it took awhile for the record jackets to evolve into something interesting and appealing. At first the record jackets had little in the way of cover art, nothing more than a small photo or two plus a few paragraphs of text. Eventually sketches of the featured locomotive pulling a train were added, usually draw by an artist who signed his work HM Pech. These drawings could range from excellent (Record number 5) to marginal (1st edition of Record number 8). All mediocrity was removed for good when the cover art for Record number 19 was revealed. The cover of this record is a very nice accomplishment. The drawing of DM&IR 2-8-8-4 # 222 is perfect in every way. This great drawing combined with an appealing layout makes for a wonderful cover. A new visual benchmark for the Railroad Record Club had been reached and there was no going back. The drawing was done by Marshall P. (Pat) McMahon. He worked for the Minneapolis Star Tribune as an illustrator. His drawings of railroad equipment are flawless. The detail is meticulously rendered and drawn with precision and skill. Mr. McMahon would from here on out, be the main artist used by Steventon to illustrate the record jackets. When second editions of previously released records were pressed, McMahon would be called upon to create a new cover drawing. Every one is a vast improvement over what had come before. He also got the call to do new drawings when the records began to be reissued on 12″ discs, and he even did at least one drawing that Steventon sold prints of (Soo Line steamer # 2715). He would go on to do cover illustrations for thirty record jackets for the club! Rounding out the list of artists employed by the Railroad Record Club: Ernie Towler did a fine pencil sketch of a Shay locomotive for the 12″ reissue of Record Number 16-Westside Lumber and he did the cover of the reissue of number 15-CB&Q. Herb Mott did a painting of a boy watching a steam train passing for the cover of SP-3-Whistle ‘Round the Bend. This record has the distinction of being the only one with a full color cover.

Advertising had to be done, and ads were placed in several railroad and modeling magazines including Trains and Model Railroad Craftsman. Such tag lines as “Authentic steam and electric railway recordings,” “Sounds you like to hear steam-traction,” and “Out of the past and into your home” were used. A mailing list was maintained, and announcements and sales information mailed directly to those on it. Records were sold in hobby stores, and Steventon sent LPs  to railroad historical societies that coincided with the group’s interests. He even devised a unique “Audition Set Program”. To audition a set of records a request form had to be filled out. A choice could be made as to which records were wanted but a choice of pre-selected LPs could be made by choosing ” all steam” or “all traction” or both. A “random” selection could be made giving the customer the choice of titles and number of records. A deposit in the following amounts had to be sent: “all steam” consisting of 25 10″ records-$100.00, “all traction” consisting of 15 10″ records-$60.00 and “random” $4.00 each. After listening, the records were to be returned with (hopefully) a purchase order. The money for the purchased records would be deducted from the deposit and the remainder returned with the record order.

Eventually Steventon branched out and began to sell all types of things. His biggest sideline was selling photographs. The photo catalog alone was 40 pages! He sold 16mm, 8mm and super 8 traction movies, books, records from other producers, he even had a line of railroad logo watch fobs! In one sales flyer he was trying to unload his old adding machine, a Sears model No. 871.58251 (he wanted $40 for it postpaid).

After 1965, when The Railroad Record Club stopped functioning as a club, not much else changed. Steventon continued to release records and in fact had plans to release many more. In a 1966 newsletter Steventon makes mention of future planned releases, unfortunately not all of them were produced. He writes: “Future releases will be made on the basis of availability of time and material. At this writing an “on train” recording of the old 1000 series Chicago South Shore & South Bend locomotives is in production. No release date has been set.” (Records number 33 & 34). He continues: “Other material for future work includes many steam and electric lines including the Shenandoah Central (never produced), Baltimore & Ohio (never produced) Chicago Aurora & Elgin (Record Number 36), Chicago Transit Authority (record number 36) Queensboro Bridge (never produced) and others.”

This newsletter also announces the first Railroad Record Club selection ever to be released on 12” discs-Special Pressing number 4.  “On December 21, 1965 a new milestone was established with the release of a set of three 12-inch 33 1/3 rpm recordings of the complete run of interurban No. 108 from Chicago to South Bend. Approximately two hours playing time and conveniently arranged for automatic playing sequence. Prepared and recommended for the devoted traction enthusiast.”

Through the rest of the 1960s and into the 1970s Steventon successfully sold his records. Some of the most popular selections had second and even third editions pressed, and the covers and liner notes continued to evolve, The liner notes were becoming more extensive and contained more information, not just about the equipment recorded, but somewhat personal stuff as well. For example, on record number 17, the entirety of side one contains the sounds of the activities going on inside the Hawkins, Wisconsin Soo Line station. Although Steventon writes in the third person he conveys his pleasure at being there. The sound of the telegraph, talking with the agent, the rumble of trains going past, the whole “atmosphere” he loved. “Plant your feet on the desk” he writes, “lean back in your chair and you’re the agent at this small village station.” He wrote fond boyhood memories in the notes to Record number 20 and revealed in those same notes just how he felt about diesel locomotives. He wrote that while recording a C&IM 0-8-0 switcher going about her chores, he was “dismayed” and “disgusted” when a GM&O RS-1 came onto the scene.  He included the diesel on the record however, noting that the steamer and the diesel sharing the stage made for an interesting recording. As he puts it: “Actually this could be considered as the tug-of-war between two types of motive power as to which will dominate the railroad scene”. At this point, he had to be dismayed to know steam would be the loser. Eventually his negative view of diesels must have softened a bit because in 1988, when he revised the notes to Record number 20, he removed the word “disgusted” although he continued to be “dismayed”. Steventon never released an LP that was entirely diesel sounds. He recorded diesels with some degree of regularity, as his first recording was of one. In his estate there was an open reel tape labeled “Nickel Plate Diesels” and on those acetate records there are plenty of B&O diesels. Perhaps he thought his record buying customers wouldn’t want to spend money to hear those “disgusting” machines. Rarely is the sound of a diesel included on any of the records.

The Railroad Record Club continued steadily along until early in 1973. A situation then developed that could not be easily overcome, in fact, it never would be completely. Early in that year RCA informed Steventon that they would no longer press his records. In club announcements concerning this situation Steventon wrote “In February of 1973 they (RCA) notified us that all of their custom work was being discontinued.” If RCA would not press his records, he would just have to find another company that would. That plan quickly died when another, more devastating difficulty was discovered. RCA had lost or destroyed all the Club’s metal master discs at its Indianapolis plant. Without those master discs new records could not be pressed by anyone. Steventon was stopped cold.  If he wanted to continue selling his previously released records, new master discs would have to be made. By the early 1970s 7” singles and 12” albums were the standards and the old 10” format was on the way out. New master discs would have to be made and they would have to be 12”.  Steventon managed to surmount these obstacles. He found a new company to work with, Nashville Record Productions of Nashville, Tennessee.

Even as the process of remastering and pressing new records progressed, Steventon was cautious with his expectations. He wrote carefully in a flyer about the remastering: “Due to a shortage of raw material record pressings may become difficult to obtain. Consequently we have no guarantee that our complete line can be produced, but will re-issue each record as conditions permit.”  Interested parties were mailed a “Railroad Record Club Advance Notice Mailing Card.” On this card selections were to be made as to which records the recipient wanted to be notified of when the 12” reissue was being readied. The recipient could then purchase the record at a pre-production discounted price.  Progress was made, albeit very slowly. The RCA masters were lost in the winter of 1973 but by summer 1976, only two records had been reissued. The first two being number 10-PRR and the second Number 8-CN now titled “Canadian Railroading in The Days Of Steam.” Steventon could not simply reissue the records numerically starting at number one and progressing from there. This was a very expensive undertaking and he needed to release the most popular titles first. At first, he considered having all the records remastered at once and getting a press run of each. This idea was dropped when the cost turned out to be more then $30,000! He decided to go back to his original club plan where he required a set amount of those pre-production advance payments to come in. Once there was sufficient interest shown for a certain record, as calculated from the advance mailing cards, he would announce that it was being readied for remastering. He would only send an order to Nashville when enough of the pre-production money came in to justify it.

In a telling reply to an inquiry from a customer wanting to know why a certain record, number 36, was still unavailable, Steventon spelled it out clearly:

“The program of re-mastering was started in ’73 after RCA lost our metal masters. The pre-production offer is used to generate funds to pay for the re-mastering process. As a rule of thumb it takes about 125 pre-payments to cover these costs. Experience has shown that roughly only 50% of those who ask to be notified on a new selection actually follow through with an order. Thus we need 250 requests to start the program. As of this date (March 29, 1989) only 99 have shown an interest in record 36, CA&E. The pressing firm in TN has just notified us of another increase in production costs. Dollar wise we are now talking $1100 to $1200 to re-master and get the first press run. The RR club is not a profit venture – we only ask to break even. In 1987 we operated at a loss of $444.10. 1988 was better with a modest net income of $119.75. We need EVERY bit of interest shown to keep the program rolling – it is a tough job!”

It was a tough job to be certain and it was also a very slow one. An order blank from November 1984 shows only eight remastered records, Number 4-B&O, 7-N&W/IC, 8-CN, 10-PRR, 19-DM&IR, 29-NKP 779 and SP-5-SOO/IC the ex-intro record. Also for sale at that time was a second pressing of SP-4 the CSS&SB three record set. Also listed on this order blank was a brand new record. Even with the remastering difficulties going on the Railroad Record Club managed to release one last all-new record. This last hurrah was special pressing number 6-The Milwaukee Road- Box Cab Electric Locomotives on the Coast Division, recorded by Elwin Purington in stereo. On the jacket SP-6 is touted as the “30th Anniversary Issue 1953-1983.” Another fine McMahon drawing graced the cover.

As each 12” reissue was produced, Steventon would revise and update the liner notes. If the record had an existing McMahon illustration it was transferred to the new jacket in the same size it appeared on the 10” jacket, but with a wide white border. If a reissue did not have a previously drawn McMahon picture, one would be commissioned. These black and white record jackets were distinctive and attractive. On the reissues the audio content was always identical to the 10” version, since the same master tapes were used. There was one exception, however. Although the railroad sounds were exactly the same, on the original release of Record number 3-EBT/D&RGW, Steventon had recorded spoken introductions to each of the EBT tracks, just as he had done for the old 78 acetate records in fact, they are exactly the same.  Steventon wanted these introductions removed to correct a mistake and instead of simply taking them off and writing the information into the liner notes, he had Elwin Purington re-record them.

The long and expensive remastering project continued into 1990. A test pressing for Record number 16-Westside Lumber had a memo attached that read: “Record No. 16, Westside Lumber Co. Record pressing approved if “blips” at approximately 3 min, 36 seconds into side one and continuing for about 6 or 7 seconds were corrected. Card returned 1/10/90.”  Not all of the surviving test pressings have dates on the jackets, but it is obvious that this one had to be among the last. By the early 1990s’ compact discs were already poised to topple vinyl records as the standard audio format. Steventon simply choose not to upgrade to yet another new format. Record number 16 being reissued in 1990, proves that Steventon worked at remastering the records almost to the end of his life. He died in 1993, just three years after the test pressing date for Record number 16. The long, expensive, and difficult remastering program started in 1973 and continued into at least 1990. In all only 17 of the 40 10” records were reissued on 12″ discs.

RAILROAD RECORD CLUB RECORDS REISSUED IN 12″ FORMAT
#1-WABASH (10″ 3rd Edition Cover Art)
#3-D&RGW/EBT (New Cover Art)
#4-B&O (New Cover Art)
#5-D&RGW
#7-N&W/IC (New Cover Art)
#8-CN (New Cover Art) Title changed to “Canadian Railroading In The Days Of Steam”
#10-PRR (10″ 2nd Edition Cover Art)
#15-CB&Q (New Cover Art)
#16-Westside Lumber (New Cover Art) Cover changed from a photograph to a pencil sketch
#17-Soo (New Cover Art)
#18-CNS&M (10″ 2nd Edition Cover Art)
#19-DM&IR
#20-C&IM/NYC
#26-CNS&M (Freight)
#29-NKP 779
#SP-2-NP 2626 (Same photo used on both 10″ & 12″ record covers but reproduced smaller on the reissue)
#SP-4-CSS&SB (passenger) 3 record set was only released on 12″ stock in display box
#SP-5-Soo/IC Formally the introductory record (New Cover Art)
#SP-6-MILW Box Cabs (Only released in 12″ format)
17 records reissued from 10″ to 12″
2 records only released on 12″

The Railroad Record Club didn’t completely die with William Steventon. His son Seth revived the club some years after his father’s death by putting the entire line of records on cassette tapes. By this time, however, CDs were the favored format and the effort was shelved.

Because of William A. Steventon’s commitment to recording the vanishing sounds of a passing era on American railroads, and just as importantly, making those recordings available to all who were interested, we can today hear the sounds of a Hagerstown & Frederick interurban car speeding past a lonely country crossing. We can experience the sonic thunder of a New York Central 4-6-4 blasting out of Mount Carmel, Illinois with a whistle full of water. We can ride along in the cab of a CSS&SB freight motor on its trip out of Michigan city, and we can enjoy the work of the other talented railroad recordists whose work Steventon put on his records. We can even listen to that whining rotary converter in Harristown, Illinois.

-Kenneth Gear

New Steam Audio CD:

FTS
Farewell To Steam
Mister D’s Machine
# of Discs – 1
Price: $14.99

Farewell To Steam
On February 6, 1955 the Santa Fe Railway ran a railfan train from Los Angeles to Barstow and back for the Railway Club of Southern California. This was Santa Fe’s last run powered by a steam locomotive over this route. The engine was a 4-8-4, #3759. We have used the original, rare 1955 mono version of this recording, and not the later 1958 reissue that had a bunch of echo added to create a fake stereo effect.

Mister D’s Machine
When diesel locomotives replaced steam in the 1950s, they offered a multitude of different sounds. This original 1963 stereo recording showcases the many sounds of diesels on the San Joaquin and Los Angeles Divisions of the Southern Pacific, including the Tahachappi Loop, an engineering feat that made modern railroading famous.

As with all of our recordings, this CD comes with the complete, original liner notes.

Total time – 72:56

Pre-Order Our New Book Building Chicago’s Subways

There are three subway anniversaries this year in Chicago:
60 years since the West Side Subway opened (June 22, 1958)
75 years since the State Street Subway opened (October 17, 1943)
80 years since subway construction started (December 17, 1938)

To commemorate these anniversaries, we have written a new book, Building Chicago’s Subways.

While the elevated Chicago Loop is justly famous as a symbol of the city, the fascinating history of its subways is less well known. The City of Chicago broke ground on what would become the “Initial System of Subways” during the Great Depression and finished 20 years later. This gigantic construction project, a part of the New Deal, would overcome many obstacles while tunneling through Chicago’s soft blue clay, under congested downtown streets, and even beneath the mighty Chicago River. Chicago’s first rapid transit subway opened in 1943 after decades of wrangling over routes, financing, and logistics. It grew to encompass the State Street, Dearborn-Milwaukee, and West Side Subways, with the latter modernizing the old Garfield Park “L” into the median of Chicago’s first expressway. Take a trip underground and see how Chicago’s “I Will” spirit overcame challenges and persevered to help with the successful building of the subways that move millions. Building Chicago’s subways was national news and a matter of considerable civic pride–making it a “Second City” no more!

Bibliographic information:

Title Building Chicago’s Subways
Images of America
Author David Sadowski
Edition illustrated
Publisher Arcadia Publishing (SC), 2018
ISBN 1467129380, 9781467129381
Length 128 pages

Chapter Titles:
01. The River Tunnels
02. The Freight Tunnels
03. Make No Little Plans
04. The State Street Subway
05. The Dearborn-Milwaukee Subway
06. Displaced
07. Death of an Interurban
08. The Last Street Railway
09. Subways and Superhighways
10. Subways Since 1960

Building Chicago’s Subways will be published on October 1, 2018. Order your copy today, and it will be shipped on or about that date. All copies purchased through The Trolley Dodger will be signed by the author.

The price of $23.99 includes shipping within the United States.

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