WHAT’S THE STORY ABOUT "PUSH MARKS”?
Whenever Push Marks are mentioned, a reference to the SUN Label cannot be far behind. This despite the fact that many other Labels also issued records that carried the infamous Push Marks.
Push Marks, no doubt, developed their own brand of notoriety when collectors realized that their presence on any of the first 4 SUN issued Elvis Presley 45 RPM records were an almost indisputable sign of genuineness. Those first 4 discs, numbered 209, 210, 215, and 217, all carry Push Marks. Elvis’ last SUN release, number 223, does NOT! This absence is usually accounted for by asserting that newer machinery was used on that pressing.
Meanwhile, many other early SUN Label issues also carry Push Marks, including Johnny Cash’s first SUN release, # 221 and several releases on the SUN subsidiary Label, FLIP.
So, “What Are They?” – An early theory that has developed significant traction over time and with repetition is that they result from the mechanical process of extraction of a newly pressed 45 RPM record from the press. This theory seems to maintain that the central label area of the record, still being somewhat soft when extracted, “picked up” the impression of the 3 “fingers” of the machine used to perform the extraction. The 3 Push Marks are left behind in what can only be described as an equidistant triangle shape around the central large hole typical of American produced 45 RPM records.
One writer/observer characterizes this theory as “amateur guesswork”. He asserts that what they are is A FILLED HOLE on the acetate master the grooves were cut on to. The holes were needed to stop the acetate master from slipping as it was being cut and once the manufacturing process was started, the holes were filled in. If the holes were poorly filled they left an obvious bump or dip. If they were well filled and smoothed off, they barely show at all. No warm record off the press would have such heavy marks impressed that don't match on either side, yet without warping the record.
So why don’t the Push Marks match up on both sides of the record, you may ask. That’s because, under this theory, the two masters used in the pressing process are entirely separate of each other and are not matched up like both sides of a 45. One of the masters will be on the bottom of the press, facing up and the other at the top of the press, facing down. They are brought together to press the 45 on both sides and there is no commonality in position between them or their filled-in holes.
So the debate continues. Wouldn’t it be nice if we could find an old pressman from the factory to clarify this 60+ year old mystery for us?
Whenever Push Marks are mentioned, a reference to the SUN Label cannot be far behind. This despite the fact that many other Labels also issued records that carried the infamous Push Marks.
Push Marks, no doubt, developed their own brand of notoriety when collectors realized that their presence on any of the first 4 SUN issued Elvis Presley 45 RPM records were an almost indisputable sign of genuineness. Those first 4 discs, numbered 209, 210, 215, and 217, all carry Push Marks. Elvis’ last SUN release, number 223, does NOT! This absence is usually accounted for by asserting that newer machinery was used on that pressing.
Meanwhile, many other early SUN Label issues also carry Push Marks, including Johnny Cash’s first SUN release, # 221 and several releases on the SUN subsidiary Label, FLIP.
So, “What Are They?” – An early theory that has developed significant traction over time and with repetition is that they result from the mechanical process of extraction of a newly pressed 45 RPM record from the press. This theory seems to maintain that the central label area of the record, still being somewhat soft when extracted, “picked up” the impression of the 3 “fingers” of the machine used to perform the extraction. The 3 Push Marks are left behind in what can only be described as an equidistant triangle shape around the central large hole typical of American produced 45 RPM records.
One writer/observer characterizes this theory as “amateur guesswork”. He asserts that what they are is A FILLED HOLE on the acetate master the grooves were cut on to. The holes were needed to stop the acetate master from slipping as it was being cut and once the manufacturing process was started, the holes were filled in. If the holes were poorly filled they left an obvious bump or dip. If they were well filled and smoothed off, they barely show at all. No warm record off the press would have such heavy marks impressed that don't match on either side, yet without warping the record.
So why don’t the Push Marks match up on both sides of the record, you may ask. That’s because, under this theory, the two masters used in the pressing process are entirely separate of each other and are not matched up like both sides of a 45. One of the masters will be on the bottom of the press, facing up and the other at the top of the press, facing down. They are brought together to press the 45 on both sides and there is no commonality in position between them or their filled-in holes.
So the debate continues. Wouldn’t it be nice if we could find an old pressman from the factory to clarify this 60+ year old mystery for us?