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THE MUSIC TRADE REVIEW
gems of Pete Dailey's "Press Agent" Co. "L«t
Me Sing," which is featured by Frank Daniels in
"Sergeant Brue," is practically a specialty in
itself, the way Mr. Daniels puts it on, and it is
considered the "real thing" of the show. Ray-
mond Hitchcock, in singing "The Land of Make-
Believe" in the third act of "The Galloper,"
makes the song stand out so distinct that he
takes four and five encores on it. Nella Webb, in
"His Honor the Mayor," is creating quite a stir
with Jerome and Schwartz's great Irish ballad
song, "Sweet Anastasia Brady." The only inter-
polated number in Lillian Russell's new comedy,
"Barbara's Millions," which is, "When the Stars
Are in the Quiet Sky," is owned by this lucky
firm. This is certainly great luck on top of
their sensational hit, "Waiting a t the Church,"
which is considered the most wonderful song in
the past ten years. Last, but not least, Jerome
& Schwartz's breezy waltz song, "Float Me,
Charlie," has crept out and is making such won-
derful strides that they do not hesitate to say
that it will be the only waltz song in the course
of two months before the public.
"THE MAN ON THE STREET.'
English Publications Handled by Harms—
Ricordi
a
Vegetarian—Shapiro-Remick
Suit Settled—A Story of Henry Blossom—
Success of Mme. Butterfly—Other Items.
T. B. Harms Co. are not only the publishers of
a large number of high-class production songs,
all good sellers, but are also sole American
agents for the catalogue of Aschenberg, Hop-
wood & Crew, Ltd., London, England. Max
Dreyfus, the president of the company, is wide-
awake to the possibilities of the times, and sel-
dom, if ever, misses a chance to get hold of a
good thing, as he is a clever composer and ar-
ranger, as well as an accomplished pianist.
mineral water. He is *a strict vegetarian, and
is absolutely opposed to all kinds of alcohol.
"Mme. Butterfly" is a tremendous success, hav-
ing its first New York production Monday even-
ing a t the Garden Theater. The catalogue is-
sued by G. Ricordi & Co. is over a half-foot
thick, and includes many of the operas of modern
times.
The suit of Maurice Shapiro against Jerome H.
Remick & Co., in the New York Supreme Court,
Part I., for royalties and an accounting, was
settled out of court last week, as Mr. S. re-
marked, "amicably and with the passage of a
check "running into five figures." He also added:
"I could also re-enter the publishing business be-
fore December 1; in fact, was dead anxious to
get in on November 1, but I couldn't get the
stuff, so, not being ready, what is the use?"
The French and Italian publishers are noted
"Shapiro, the Music Publisher," will have a
for the delicately artistic covers they use on
swell suite of offices at 1416 Broadway, which is
their sheet music. Many of these are the works now being fitted up in luxurious style.
of high grade artists, and their colors are bright
and harmonious, while the figure lines are
graceful.
"Mam'selle Sallie," Raymond Hubbell's new
two-act musical comedy, published by Charles K.
"We'll Be Sweethearts to the End," by Lewis Harris, and in which Katie Barry sings the title
& Rose, with the publishing print of Willis role, is meeting with success wherever produced.
"Whistle When You Walk Out," the big hit, is
Woodward & Co. attached, is being featured on
Only One in Ten Thousand Good for Any-
taken literally at the close of each performance.
the
vaudeville
circuits
of
Kohl
&
Castle
and
thing—Coon Melodies Characteristic of This
Keith & Proctor. I t is scoring big, and with
Country and Will Survive.
"Tesch" accordingly happy. The firm have sev-
While still living in St. Louis Henry Blossom
eral new ones in preparation which will go
May Irwin, now playing "Mrs. Wilson-An-
is said to have looked upon New York as a sort
equally strong.
drews" at her own theater, the Bijou, New York,
of lion's den for any one who had dreams of try-
has an interesting interview on the selection of
ing to be somebody in the first city in the world.
When Tito Ricordi of Ricordi & Co., the great Knowing New York only so far as an occasional
songs in the Evening World. On this subject
she is considered something of an authority by publishing house of Milan, Italy, who came here trip might acquaint him, young Blossom was
publishers, as follows: "Picking out wall papers voluntarily to see the Savage production of
wont to shake his head apprehensively when his
is almost as hard as picking out a song," sighed Puccini's "Mme. Butterfly," first arrived in New fellows in the Western city used to pat him on
Miss Irwin. "A really good song is written once York he was the guest of one of his friends at the back and suggest that he turn his face to-
in ten years, and only one in ten thousand is a dinner in one of the large restaurants. To ward the East. It wasn't until a New York
good for anything. You've no idea of the num- the surprise of everybody at the table Signor
manager sent for the author that Blossom had
ber of utterly worthless songs that are turned Ricordi scorned all of the delicate and rare dishes courage to pack his suit case and come on. With
out these days. Not that they're worse, on the that were handed to him. He made his meal, the career of the author since most patrons of
whole, than the songs of other days. But there after he had explained the peculiarities of his the theater are familiar—"The Yankee Consul,"
,are so many of them that the public has become taste, on fried potatoes and a bottle of French
"Mile. Modiste" and "The Red Mill" tripping suc-
surfeited. Most of the songs that we get to-day
are machine-made, and that is why we are so
sick of them. They're manufactured wholesale
on the same pattern, and you can hardly tell
one from the other.
"It is only now and then we get a song with
individuality or originality. 'Moses Andrew
Jackson' has individuality—genuine humor and
a swing to it. A great deal, of course, depends
on the singer. There's 'Bill Simmons,' for in-
stance. The fame of that song reached me at
my home in the Thousand Islands last summer,
and I asked one of my sons to bring a record of
it for the phonograph. When I heard it on the
phonograph I couldn't understand how it had
made such a hit. But when I came to town and
heard Maude Raymond sing it, I understood why
it was so popular. It was the way she sang it.
She made you see and feel 'Bill Simmons.' I
Will be a Children's Number and
almost fell out of the box with laughter. She
put character into the song; that was the secret
by far the most attractive and hand-
of her success.
some number we have ever issued.
"I always approach a song with fear and trem-
bling. Glen McDonough calls a song-cue 'the
guilty moment.' That's exactly the way I feel.
We advise all Music Dealers to
In fact, I feel like a fool. The play stops with-
out any excuse, and there I am with my song.
DOUBLE T H E I R ORDER and
When you stop to think of it, the situation is
ridiculous.
DO IT NOW, for the demand will
"You should see some of the songs that I get,"
went on Miss Irwin. "The other day some one
surely exceed the supply.
sent me a 'mother' song, saying he was sure it
would just suit me. Can you see me singing a
Send your order to-day.
'mother' song? Why, I'd be mobbed. The 'coon
song' comes by every mail. The man who says
that the 'coon song' is dead doesn't know what he
is talking about. It's very much alive. I don't
believe it will ever die. It is characteristic of
the country."
MAY IRWIN ON SELECTING SONGS.
THE MUSICIAN
FOR DECEMBER
OLIVER DITSON COMPANY
Kelly and Violette, the "Fashion Plates" in vau-
deville, are using two songs from the "House of
Hits" to several encores nightly. The songs are
"Sambo and Dinah" and "Mexico."
BOSTON