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• Das Bilderlexikon der deutschen Schellack- Schallplatten (The German Record Label Book) by Rainer E. Lotz with Michael Gunrem and Stephan Puille
• Ruprecht Langer

Anyone who is interested in German shellac records—whether as a collector, a researcher or a discophile—will have heard of Rainer Lotz. Lotz, who was born in Hamburg, says that he started collecting records in 1955 and is still doing so today. However, his talents include [End Page 378] networking as well as collecting. Together these form the foundation on which his life's work is based: Das Bilderlexikon der deutschen Schellack-Schallplatten (The German Record Label Book). This encyclopaedia is the work of the century—so much can be said even now.

Although the five-volume encyclopaedia clearly bears Lotz's signature, his long-time collaborators, Michael Gunrem and Stephan Puille, are also named as authors. Both of them are collectors with an outstanding knowledge of their subject, and their rare images, valuable notes, and important background information contribute significantly to the success of the work. However, they are not the only ones: around 300 other names are listed in the acknowledgements, including collectors, archivists, researchers, and institutions from all over the world whose knowledge has flowed into this lexicon, the creation of which spanned several decades. Rainer Lotz understands his pictorial encyclopaedia as a collation of information from a global community, and sees himself not as a guru, but rather as a kind of guiding spirit. This is no doubt another reason for the scope and quality of the work.

The desire to create a list of all the German shellac record labels is not new. Forty years ago, Klaus Teubig published a list of this kind in the article Deutsche Schellackschallplattenmarken 1894–1958 (German Shellac Record Labels 1894–1958), which appeared in Forum Musikbibliothek (20, no. 2 [1980]). This was largely based on the German Music Archive's collection of records at that time and was supplemented by additional information from older publications on this subject, including Rainer Lotz's Grammophonplatten aus der Ragtime-Ära (Gramophone Records from the Ragtime Era [Dortmund: Harenberg Kommunikation]), which was published in 1979. Klaus Teubig's list encompasses around 300 labels, for each of which he names the owners and the years of production. There are no illustrations. In 1988, Franz Schorn published the illustrated volume Alte Schallplatten-Marken (Old Record Labels [Wilhelmshaven: Florian Noetzel]), which mainly focuses on leading German shellac labels. By around 1993, Michael Gunrem already knew of 750 labels dating back to the shellac era, and nowadays there are of course other dictionaries and online lists on this subject. The most important authors of these include Sutton & Nauck, who concentrate on American labels, and Yuri Bernikov, who maintains an excellent list of Russian records. In England, Frank Andrews and Brian Rust in The American Record Label Book (New Rochelle, NY: Arlington House, 1978) spent decades collecting information about British and American labels.

People who are familiar with the preliminary work carried out and lists compiled for other countries will be particularly impressed by the scope, wealth of information, and meticulousness of this pictorial encyclopaedia. Lotz fills more than 2,200 pages with essential information on record labels and illustrates them with more than 13,000 colour images. The structure is always the same: each label is printed in colour together with information on the series (numerical blocks), the number of records produced, the label owner, the record manufacturer, distribution, the repertoire recorded, the production period, and the colour and designs printed on the labels themselves. Even more fascinating is the body of text, which provides background information on almost every label—just a few lines for labels that are largely unknown, for others half a page or more.

Here there are a few curiosities and a number of narratives that are quite exciting from the perspective of industrial history. One example is the label Waffah-Record, the name of...

审核人：

• Rainer E. Lotz与Michael Gunrem和Stephan Puille共同撰写的《德国唱片厂牌书》上的《德国唱片标签书》（Das Bilderlexikon der deutschen Schellack- Schallplatten）
• 鲁普雷希特·兰格（Ruprecht Langer）

任何对德国虫胶记录感兴趣的人，无论是作为收藏家，研究人员还是对碟虫有兴趣的人，都会听说过Rainer Lotz。出生于汉堡的洛兹说，他于1955年开始收集唱片，如今仍在收集唱片。但是，他的才华包括[End Page 378]联网和收集。这些共同构成了他一生的工作基础：《德国唱片标签书》（Das Bilderlexikon der deutschen Schellack-Schallplatten）。这本百科全书是本世纪的工作-即使到现在也可以说很多。

尽管这本五卷本的百科全书显然带有洛兹的签名，但他的长期合作者迈克尔·冈雷姆（Michael Gunrem）和斯蒂芬·普耶（Stephan Puille）也被任命为作者。他们都是对主题有丰富知识的收藏家，稀有的图像，有价值的笔记和重要的背景信息对作品的成功做出了重要贡献。但是，它们并不是唯一的：确认中还列出了约300个其他名称，其中包括来自世界各地的藏家，档案保管员，研究人员和机构，这些知识已经渗透到这个词典中，该词典的创建过程长达数十年。赖纳·洛茨（Rainer Lotz）将他的绘画百科全书理解为来自全球社区的信息整理，并且不认为自己是专家，而是一种指导精神。

创建所有德国虫胶记录标签列表的愿望并不新鲜。四十年前，克劳斯·特比格（Klaus Teubig）在1894-1958年的德国schellackschallplattenmarken（德国紫胶唱片标签1894- 1958年）一文中发表了此类清单，该书出现在Musikbibliothek论坛（20，第2期，1980年）中。这主要是基于当时的德国音乐档案馆的唱片收藏，并由有关该主题的较早出版物的其他信息进行了补充，包括Rainer Lotz的Grammophonplatten aus derRagtime-Ära（Ragtime时代的留声机唱片[Dortmund：Harenberg Kommunikation]），于1979年出版。KlausTeubig的唱片目录涵盖了大约300个唱片，他分别为唱片所有者和生产年份命名。没有插图。1988年，弗朗兹·斯科恩（Franz Schorn）出版了插图集《阿尔特·谢尔普拉滕·马尔肯（旧唱片公司标签[Wilhelmshaven：Florian Noetzel]），主要关注德国领先的虫胶标签。到1993年左右，迈克尔·冈雷姆（Michael Gunrem）已经知道了750个可追溯到虫胶时代的标签，如今，当然还有其他有关此主题的词典和在线列表。其中最重要的作者包括专注于美国唱片公司的Sutton＆Nauck，以及保存了出色的俄罗斯唱片清单的尤里·伯尼科夫（Yuri Bernikov）。在英格兰，弗兰克·安德鲁斯（Frank Andrews）和布莱恩·鲁斯特（Brian Rust）在《美国唱片标签书》（纽约新罗谢尔：阿灵顿大厦，1978年）中花费了数十年的时间收集有关英国和美国唱片公司的信息。

熟悉所进行的初步工作并为其他国家编制清单的人们将对该图片百科全书的范围，丰富的信息和细致的印象特别深刻。Lotz用记录标签上的基本信息填充了2200多页，并用13000多个彩色图像对其进行了说明。结构始终是相同的：每个标签都以彩色打印，并带有有关系列（数字框），产生的记录数，标签拥有者，记录制造商，发行，记录的曲目，生产周期和标签编号的信息。标签上印刷的颜色和图案。更令人着迷的是文本正文，它提供了几乎每个标签的背景信息-几行几乎不为人所知的标签，

从工业历史的角度来看，这里有一些有趣的故事和很多叙述。一个示例是标签Waffah-Record，名称为...