This directory details the output of transcriptions from the Armed Forces Radio Service from the beginning in 1942 up to 1967. Since many official papers of the early days are no longer available, the information was gathered from many private sources. The range of programs the AFRS covered was immense. Particularly during the war years the accent was on entertainment. Popular and classical music and comedy and drama shows were rebroadcast over AFRS stations all over the world. The AFRS also produced many programs designed to inform and educate. This directory attempts to present the complete range of series the AFRS transmitted. Collectors and followers of popular, country or series music and of drama or comedy shows will appreciate the short description of the AFRS shows, complete with cast names and issues and recording dates, that comprise the entries. The entries are organized by series and include the Libraries series, H-Series, Network Series, R-Series, and Assigned Matrix Numbers. An appendix of non-AFRS transcriptions is included along with a bibliography for further research.

This directory details the output of transcriptions from the Armed Forces Radio Service from the beginning in 1942 up to 1967. Since many official papers of the early days are no longer available, the information was gathered from many private sources. The range of programs the AFRS covered was immense. Particularly during the war years the accent was on entertainment. Popular and classical music and comedy and drama shows were rebroadcast over AFRS stations all over the world. The AFRS also produced many programs designed to inform and educate. This directory attempts to present the complete range of series the AFRS transmitted. Collectors and followers of popular, country or series music and of drama or comedy shows will appreciate the short description of the AFRS shows, complete with cast names and issues and recording dates, that comprise the entries. The entries are organized by series and include the Libraries series, H-Series, Network Series, R-Series, and Assigned Matrix Numbers. An appendix of non-AFRS transcriptions is included along with a bibliography for further research.

The One Night Stand Series broadcasts from 1943 to 1965 made the United States Armed Forces Radio Service the biggest music producer the world has ever known. Played over both military and civilian radio stations in many countries, most Armed Forces Radio Service rebroadcasts were sheer entertainment but they kept memories of home alive for American Service men and women around the globe. The 30-minute One Night Stand transcriptions included live broadcasts or remotes from all the popular ballrooms and hotels in the United States. Every type of band such as Hawaiian, Latin, novelty, sweet, dance, swing, jazz, large, small, black, and white was represented. Found here is the Regular Series up to 1001--to round off a mastering week. The Fill Series and the Popular Music Replacement Series, also found here, ran concurrently with the main series. A small number of transcriptions missing from the official libraries have not been included but otherwise compilers Harry Mackenzie and Lothar Polomski have gathered together every available shred of information for this exhaustive volume. Besides a history of the Armed Forces Radio Service and the Regular, Fill, and Popular series, the book contains a list of unidentified programs, five separate appendixes, and two indexes. The book begins with an extensively researched history of the Special Service Division of the Armed Forces that oversaw the production of the transcribed broadcasts and facilitated their distribution globally. Included here is a detailed discussion of the methods and materials of transcription and reproduction as well as a history of the American Forces Network: its spread and current status. Then follow the discographies for the Regular Series, Fill Series, Popular Music Replacement Series, and Unidentified Programmes. Five appendixes contain information such as location addresses, a directory of bandleaders, themes, and commercial issues by country of origin. There are also two separate band indexes. This is a singular reference for anyone seeking information about the music of the World War II and post-war eras.

In 1943 the Armed Forces Radio Service began transmitting programs that linked the thousands of American military personnel and civilians stationed overseas to the United States. This definitive study provides discographical data for the first 1,000 recordings of the AFRS Basic Musical Library, P (Popular) Series. This series of recordings of popular, jazz, and classical music constituted a permanent music library at every military radio station and allowed AFRS personnel at the numerous broadcast facilities around the world to act as disc jockeys, playing the most popular and requested songs and artists for their audiences--principally American GIs. Some of the many orchestras and singers represented in the collection include Bing Crosby, Harry James, Count Basie, Cab Calloway, the Andrews Sisters, Frank Sinatra, and Peggy Lee. The sources of the recordings were variable and included commercial recordings (occasionally alternate takes) principally from Columbia, Decca, and Victor; radio broadcasts (often from dress rehearsals); concerts; and AFRS's own recording sessions. Larry F. Kiner and Harry Mackenzie have meticulously and comprehensively researched the AFRS files to produce this first complete listing of these recordings and their compilation is also the first to identify the many commercial record issues that have been derived from the series. Following the introduction that advises readers how to use the book and also explains its format and abbreviations, the 1,000-entry discography begins. Each entry lists the AFRS Basic Musical Library P Series catalog number; the matrix number; take number as shown on the ARFS label; song title; artist identification; running time in minutes; source of the take, including exact date and geographical location, when known; and size, speed and issue data. Two appendixes center on the most popular artists and most popular songs of the collection and two separate indexes list articles and songs to facilitate ease of location. Of special interest are the over three dozen label illustrations. This important source of information on American popular songs, artists, and recordings of the 1943 to 1947 period will be welcomed by musical scholars of the World War II era and by those with a penchant for American popular music.