UPC · Release
Various Artists
Last verified:
The UPC for “Round the Town: A Night at the London Music Halls” by Various Artists is 4000127160218. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2000-01-01. Label: Bear Family Records. This release contains 106 tracks, each with its own ISRC.
Credit Chain
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Two Lovely Black Eyes | — | ||
| 2 | For Old Times' Sake / Daisy Bell | — | ||
| 3 | Nellie Dean / After the Ball | — | ||
| 4 | 'E Dunno Where 'E Are | — | ||
| 5 | The Man Who Broke the Bank at Monte Carlo | — | ||
| 6 | Lily of Laguna | — | ||
| 7 | The Grass Widower | — | ||
| 8 | Has Anybody Seen Our Cat? | — | ||
| 9 | How Do You Do? | — | ||
| 10 | Bill Bailey Won't You Please Come Home? | — | ||
| 11 | Can't You Take My Word? | — | ||
| 12 | The Galloping Major | — | ||
| 13 | Bedelia | — | ||
| 14 | Following in Father's Footsteps | — | ||
| 15 | The Bull & Bush | — | ||
| 16 | Mary Was a Housemaid | — | ||
| 17 | Callers | — | ||
| 18 | Waiting at the Church | — | ||
| 19 | Hello, Hello, Hello! It's a Different Girl Again | — | ||
| 20 | I've Told His Missus All About Him | — | ||
| 21 | The Boys' Brigade | — | ||
| 22 | There's a Girl Inside | — | ||
| 23 | You Splash Me and I'll Splash You | — | ||
| 24 | I'se a Waiting for Yer Josie | — | ||
| 25 | The Next Horse I Ride On | — | ||
| 26 | The Taximeter Car | — | ||
| 27 | She's a Lassie From Lancashire | — | ||
| 2-1 | Funicula | — | ||
| 2-2 | Oh! Oh! Antonio | — | ||
| 2-3 | Sea Shells | — | ||
| 2-4 | Has Anybody Here Seen Kelly? | — | ||
| 2-5 | Billy Brown | — | ||
| 2-6 | My Latchkey | — | ||
| 2-7 | The Suffragette | — | ||
| 2-8 | I Do Like to Be Beside the Seaside | — | ||
| 2-9 | Send for a Policeman | — | ||
| 2-10 | Ship Ahoy! | — | ||
| 2-11 | Don't You Think You've Overstepped the Margin? | — | ||
| 2-12 | Boiled Beef and Carrots | — | ||
| 2-13 | Come Up in My Balloon | — | ||
| 2-14 | Fall In and Follow Me | — | ||
| 2-15 | Come and Be One of the Midnight Sons | — | ||
| 2-16 | Henry the Eighth | — | ||
| 2-17 | Seventeen | — | ||
| 2-18 | King Ki Ki | — | ||
| 2-19 | I'm Shy, Mary Ellen, I'm Shy | — | ||
| 2-20 | If You Should See a Dandy Coon | — | ||
| 2-21 | They Can't Find Kelly | — | ||
| 2-22 | When Father Laid the Carpet on the Stairs | — | ||
| 2-23 | Adam Was a Scotchman | — | ||
| 2-24 | The Spaniard That Blighted My Life | — | ||
| 2-25 | I'm 21 Today | — | ||
| 2-26 | Beauty of the Guards | — | ||
| 2-27 | My Old Dutch | — | ||
| 3-1 | Does This Shop Stock Shot Socks With Spots? | — | ||
| 3-2 | Since I Had a Go at My Dumb Bells | — | ||
| 3-3 | Won't You Come, Dear, Into the Park? | — | ||
| 3-4 | Tommy Trouble | — | ||
| 3-5 | Every Little Movement Has a Meaning of It's Own | — | ||
| 3-6 | In the Morning | — | ||
| 3-7 | I Want a Girl | — | ||
| 3-8 | How Dare They? | — | ||
| 3-9 | I'm Going Back to Dixie | — | ||
| 3-10 | That's Philosopy | — | ||
| 3-11 | Father's Got a Job | — | ||
| 3-12 | Casey Jones | — | ||
| 3-13 | Who Were You With Last Night? | — | ||
| 3-14 | M.A.D.A.M. | — | ||
| 3-15 | Hullo! Miss London | — | ||
| 3-16 | They All Walk the Wibbly Wobbly Walk | — | ||
| 3-17 | Daily Mirror Front Page | — | ||
| 3-18 | Curiosity | — | ||
| 3-19 | Hold Your Hand Out, Naughty Boy | — | ||
| 3-20 | Strip the Bed and Have Another Look | — | ||
| 3-21 | What Would the Seaside Be Without the Ladies? | — | ||
| 3-22 | Lloyd Jarge | — | ||
| 3-23 | Popsy Wopsy | — | ||
| 3-24 | Innocent Bessie Brown | — | ||
| 3-25 | Waiting for Further Evidence | — | ||
| 3-26 | The School Strike | — | ||
| 4-1 | Burlington Bertie from Bow | — | ||
| 4-2 | He's a 'Pro' | — | ||
| 4-3 | The Mormon's Song | — | ||
| 4-4 | Baa Lambs | — | ||
| 4-5 | How's Your Father? | — | ||
| 4-6 | The Lads from Our Village | — | ||
| 4-7 | I Will Have a Night To-Night | — | ||
| 4-8 | The Night Began to Fall | — | ||
| 4-9 | That Charlie Chaplin Walk | — | ||
| 4-10 | I Went a Jazzing | — | ||
| 4-11 | Three Cheers for the Red, White and Blue | — | ||
| 4-12 | Archibald Certainly Not! | — | ||
| 4-13 | What D'Yer Think of That? | — | ||
| 4-14 | Ma! | — | ||
| 4-15 | Things Are Worse In Russia | — | ||
| 4-16 | Olga Petrovotski | — | ||
| 4-17 | Why Am I Always the Bridesmaid? | — | ||
| 4-18 | I Do Like to Sing in My Bath | — | ||
| 4-19 | Wireless on the Brain | — | ||
| 4-20 | Yes, We Have No Bananas | — | ||
| 4-21 | Show Me the Way to Go Home | — | ||
| 4-22 | Only a Working Man | — | ||
| 4-23 | He's Moved in a Bigger House Now | — | ||
| 4-24 | Don't Have Any More, Mrs. Moore | — | ||
| 4-25 | She Was Poor, But She Was Honest | — | ||
| 4-26 | The Laughing Policeman | — |
Musical Works (ISWC)
Songwriters/Publishers (IPI)
Credits Graph
4000127160218 is a Universal Product Code (UPC) assigned to Round the Town: A Night at the London Music Halls by Various Artists. UPCs (also called EAN barcodes) are unique numeric identifiers assigned by distributors to identify music releases — albums, EPs, and singles — across all digital and physical retail platforms.
This release contains 106 tracks. Each track has its own ISRC (International Standard Recording Code) that identifies the specific sound recording, while the UPC identifies the release as a whole. Knowing your release's UPC is essential for neighboring rights collection societies like SoundExchange and for transferring music between distributors.
Learn more about UPCs · Data powered by Notes.fm
The UPC for “Round the Town: A Night at the London Music Halls” by Various Artists is 4000127160218. UPCs are unique numeric barcodes assigned by distributors to identify a music release — album, EP, or single — across every digital and physical retail platform. Released 2000-01-01. Label: Bear Family Records. This release contains 106 tracks, each with its own ISRC.
| # | Track Title | Artist(s) | ISWC | |
|---|---|---|---|---|
| 1 | Two Lovely Black Eyes | — | ||
| 2 | For Old Times' Sake / Daisy Bell | — | ||
| 3 | Nellie Dean / After the Ball | — | ||
| 4 | 'E Dunno Where 'E Are | — | ||
| 5 | The Man Who Broke the Bank at Monte Carlo | — | ||
| 6 | Lily of Laguna | — | ||
| 7 | The Grass Widower | — | ||
| 8 | Has Anybody Seen Our Cat? | — | ||
| 9 | How Do You Do? | — | ||
| 10 | Bill Bailey Won't You Please Come Home? | — | ||
| 11 | Can't You Take My Word? | — | ||
| 12 | The Galloping Major | — | ||
| 13 | Bedelia | — | ||
| 14 | Following in Father's Footsteps | — | ||
| 15 | The Bull & Bush | — | ||
| 16 | Mary Was a Housemaid | — | ||
| 17 | Callers | — | ||
| 18 | Waiting at the Church | — | ||
| 19 | Hello, Hello, Hello! It's a Different Girl Again | — | ||
| 20 | I've Told His Missus All About Him | — | ||
| 21 | The Boys' Brigade | — | ||
| 22 | There's a Girl Inside | — | ||
| 23 | You Splash Me and I'll Splash You | — | ||
| 24 | I'se a Waiting for Yer Josie | — | ||
| 25 | The Next Horse I Ride On | — | ||
| 26 | The Taximeter Car | — | ||
| 27 | She's a Lassie From Lancashire | — | ||
| 2-1 | Funicula | — | ||
| 2-2 | Oh! Oh! Antonio | — | ||
| 2-3 | Sea Shells | — | ||
| 2-4 | Has Anybody Here Seen Kelly? | — | ||
| 2-5 | Billy Brown | — | ||
| 2-6 | My Latchkey | — | ||
| 2-7 | The Suffragette | — | ||
| 2-8 | I Do Like to Be Beside the Seaside | — | ||
| 2-9 | Send for a Policeman | — | ||
| 2-10 | Ship Ahoy! | — | ||
| 2-11 | Don't You Think You've Overstepped the Margin? | — | ||
| 2-12 | Boiled Beef and Carrots | — | ||
| 2-13 | Come Up in My Balloon | — | ||
| 2-14 | Fall In and Follow Me | — | ||
| 2-15 | Come and Be One of the Midnight Sons | — | ||
| 2-16 | Henry the Eighth | — | ||
| 2-17 | Seventeen | — | ||
| 2-18 | King Ki Ki | — | ||
| 2-19 | I'm Shy, Mary Ellen, I'm Shy | — | ||
| 2-20 | If You Should See a Dandy Coon | — | ||
| 2-21 | They Can't Find Kelly | — | ||
| 2-22 | When Father Laid the Carpet on the Stairs | — | ||
| 2-23 | Adam Was a Scotchman | — | ||
| 2-24 | The Spaniard That Blighted My Life | — | ||
| 2-25 | I'm 21 Today | — | ||
| 2-26 | Beauty of the Guards | — | ||
| 2-27 | My Old Dutch | — | ||
| 3-1 | Does This Shop Stock Shot Socks With Spots? | — | ||
| 3-2 | Since I Had a Go at My Dumb Bells | — | ||
| 3-3 | Won't You Come, Dear, Into the Park? | — | ||
| 3-4 | Tommy Trouble | — | ||
| 3-5 | Every Little Movement Has a Meaning of It's Own | — | ||
| 3-6 | In the Morning | — | ||
| 3-7 | I Want a Girl | — | ||
| 3-8 | How Dare They? | — | ||
| 3-9 | I'm Going Back to Dixie | — | ||
| 3-10 | That's Philosopy | — | ||
| 3-11 | Father's Got a Job | — | ||
| 3-12 | Casey Jones | — | ||
| 3-13 | Who Were You With Last Night? | — | ||
| 3-14 | M.A.D.A.M. | — | ||
| 3-15 | Hullo! Miss London | — | ||
| 3-16 | They All Walk the Wibbly Wobbly Walk | — | ||
| 3-17 | Daily Mirror Front Page | — | ||
| 3-18 | Curiosity | — | ||
| 3-19 | Hold Your Hand Out, Naughty Boy | — | ||
| 3-20 | Strip the Bed and Have Another Look | — | ||
| 3-21 | What Would the Seaside Be Without the Ladies? | — | ||
| 3-22 | Lloyd Jarge | — | ||
| 3-23 | Popsy Wopsy | — | ||
| 3-24 | Innocent Bessie Brown | — | ||
| 3-25 | Waiting for Further Evidence | — | ||
| 3-26 | The School Strike | — | ||
| 4-1 | Burlington Bertie from Bow | — | ||
| 4-2 | He's a 'Pro' | — | ||
| 4-3 | The Mormon's Song | — | ||
| 4-4 | Baa Lambs | — | ||
| 4-5 | How's Your Father? | — | ||
| 4-6 | The Lads from Our Village | — | ||
| 4-7 | I Will Have a Night To-Night | — | ||
| 4-8 | The Night Began to Fall | — | ||
| 4-9 | That Charlie Chaplin Walk | — | ||
| 4-10 | I Went a Jazzing | — | ||
| 4-11 | Three Cheers for the Red, White and Blue | — | ||
| 4-12 | Archibald Certainly Not! | — | ||
| 4-13 | What D'Yer Think of That? | — | ||
| 4-14 | Ma! | — | ||
| 4-15 | Things Are Worse In Russia | — | ||
| 4-16 | Olga Petrovotski | — | ||
| 4-17 | Why Am I Always the Bridesmaid? | — | ||
| 4-18 | I Do Like to Sing in My Bath | — | ||
| 4-19 | Wireless on the Brain | — | ||
| 4-20 | Yes, We Have No Bananas | — | ||
| 4-21 | Show Me the Way to Go Home | — | ||
| 4-22 | Only a Working Man | — | ||
| 4-23 | He's Moved in a Bigger House Now | — | ||
| 4-24 | Don't Have Any More, Mrs. Moore | — | ||
| 4-25 | She Was Poor, But She Was Honest | — | ||
| 4-26 | The Laughing Policeman | — |
