Coin Machine Review (& Pacific ...)

Songwriter Picks Automatic Phonouraphs As
Greatest Sonu Exploitation Method
by
OTIS RENE
ASCAP Member and Nationally Known Composer
Of Many Popular Hits
write a song hit is one thing and to
T o popularize
it is another. There is no
COIN
MACHINE
REVIEW
28
FOR
NOVEMBER
1943
"just happened" arrangement that any
songwriter can count upon. The song com-
position is paramount, but the job of sell·
ing the song- either to a music publisher
or doing the publishing job yourself-is a
tougher job in face of such competition as
songs from great shows and films that win
instant popularity because of the millions
of people who have heard them in the pro-
ductions. These songs automatically sell for
the publishers know that even though they
might be mediocre they can't help but
"click" with a certain percentage of the
millions who hear them.
The chances of getting songs into shows
and pictures is pretty much a "closed
shop" affair. You are either in the "clique"
or on th~ cold outside. Trying to get in is
hk~ looking for a needle in a haystack. To
WrIte songs for musical shows and motion
pic.tures the songwriter must have a repu-
tatIOn and several big hits to his credit be-
fore he is even considered.
My success as a song writer has been
won by an application of salesmanship to
. ~y own art. I k~ow that the constant plug-
gmg of a song, If it has merit, will make it
a hit eventually. I conceived the idea in
1933 of making transcriptions of my tunes
and having them plugged on the radio.
Through this method I had hoped to gain
the attention of music publishers. This sys-
tem created a small demand but not suffi-
cient to arouse the interests of any big
publishers.
A few years later I visualized the far
reaching advantages of the national net-
work of automatic phonographs. In all
types of locations these machines could put
my tunes right in front of the auditors who
were the ones who would eventually make
a tune a hit. I began experimenting with
small combinations such as quartets and
trios-with instrumental backgrounds of
usually four pieces- until I got a suitable
group to make an outstanding original rec-
ord. This record would then be distributed
to all ohonograph operators throughout
Southern California and its progress care-
fully watched.
My first successful record ' to cash in on
this play was "When It's Sleepy time In
Hawaii" and "Pick in' A Rib." I sold 4300
of these records and then Decca bought it
from me. The songs were sold to R.K.O.
Studios for the picture "She's Got Every-
thing" and sung by Ann Sothern.
The next successful record, launched on
the same plan, was "Someone's Rocking My
Dreamboat" as recorded by the Four Tones,
singing quartet, with the Eddie Beal Trio
doing the background. I sold over 10,000
records in Los Angeles alone and then sold
the master to Victor Records. This song
went to Witmark Publishing Co. and there
were some 18 different records made by
big recordi ng artists.
Since then I recorded singing Herb Jef-
fries on my own Excelsior Record label
doing "At Least You Could Save Me A
Dream." The Eddie Beal Trio and the
Three Shades of Rhythm did the back-
ground for this recording. I have sold over
] 5,000 records on this number
My recording on the King C~le Trio do-
ing "All For You" turned out to be my big-
gest phonograph exploited record. The Jeff-
ries and Cole records received Look maga·
zine mention and rating. Since then I have
sold the masters to Capitol Records for the
distribution and demand for the numbers
became more than I cuuld cope with. Thous-
ands of orders came in from automatic
phonograph operators all over the country
as the result of national exploitation on
'
phonograph machines.
I intend to continue this plan of ex-
ploitation of songs after the War because
I am thoroughly convinced that the phono-
graph machines feel the pulsebeat of the
nation's musical appetite and on the turn·
tables of this vast network of over three
hundred thousand automatic phonographs
a good song can be given the plugs that
will put it in the "Hit Parade" bracket.
Machine operators are unprejudiced as to
labels- all they want is a good money mak·
ing record and because of this fact song-
writers, publishers and recorders, with
worthwhile material, will find the boys who
operate the national phonograph network
as co-operative a bunch of business men
as you'll find anywhere.
* * *
Bill- L.ove's certainly grand. My feet are
on the ground, but my head's in the clouds.
Tom-You'd better pull yourself together.
We 'Widh :10 GxtenJ
Our Sincere
Congrafulafioru :10
THE E. T. MAPE MUSIC CO.
Your continuing to supply us--as well as other op-
erators-with necessary parts, supplies and service for
our SEEBURG Equipment has won for you the respect
and admiration of the Music Operators of the West.
You may be sure of our cooperation in not requesting
parts or service unless they are absolutely necessary
during these critical times.
(Signed) Frank Navarro.'
/-.
FRANK NAVARRO
•
NAVARRO PBONO' SERVICE
3706 WHITTIER BOULEVARD
LOS ANGELES 23. CALIFORNIA
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