Aileen Stanley (1897-1982) was popular on records and in vaudeville.
Her stage appearances billed her as "The Phonograph Girl" and "The Girl With The Personality". Her great personality and jazz style comes through very clearly in these recordings. Stanley performed on vaudeville and in cabarets.
In 1920 she made a hit in New York City in the review show "Silks And Satins". She made the first of her numerous recordings the same year. Throughout the 1920s she would record prolifically. The majority of her records were for the Victor Talking Machine Company, but she also recorded with other record labels with recording studios in the New York City area, including Edison, Pathe, Okeh, Brunswick, Vocalion, Gennett and others.  Her partnership with Billy Murray began after the untimely death of Ada Jones in 1922. Many of her records sold well at the time. Her last records were recorded in London 1937.

Billy Murray (1877-1954) was probably the most popular recording artist of the acoustic era. Edison released Murray cylinders in 1903. Murray started recording fairly regularly at that time, first for Edison, and then for Columbia and Victor. Murray's voice was well suited for acoustic recording. He sounded natural while singing loudly into the recording horn used in the acoustic recording process. When electrical recording became the standard in 1925, Murray had to adjust. He had to sing more quietly to avoid overdriving the microphones and amplifiers. The public's tastes in music were also changing (largely due to the influence of jazz), and Murray's popularity declined rapidly at this point.
In the thirties, Murray recorded only sporadically. He performed on radio, and provided voices for a couple of cartoons. In the forties, he performed on the National Barn Dance radio show. He made his last record in 1943 for the Victor Bluebird label.