Music Trade Review

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52
BUSINESS NOT UP TO THE MARK.
Feeling of Disquietude Concerning General
Conditions Prevails in the Popular Publica-
tion Field—High Class Works Are Selling
Well and There Seems to be an Increasing
Demand Owing to Better Appreciation of
Good Music—Leading Dealer Chatting With
The Review Says That Things Are Going
from Bad to Worse Owing to the Lack of
Back-Bone in Prices.
Complete Tocal score and Separate Numbers of
"THE ROSE OF THE ALHAMBRA
9t
Book and Lyrics bj CHAS. BMERSON COOK
Music by LUCIUS H0SMH5R.
Featuring the well-known prlma donna,
lime. LILLIAN BLAUVELT.
Supplementary Bongs In the following productions :
EDNA MAX'S New Musical Play,
"THE CATCH OP THH SEASON."
"RAINING"
By Jerome D. Kern
BHUBBKT BROS.' English Musical Comedy Success,
"THE EARL AND THE GIRL."
"HOWD YOU LIKE TO SPOON WITH ME."
Max. C. Eugene's hit, "IN ROSBLAND" IntermeHn
Published bv
T. B. HARMS CO.
26 West 44th St.
NEW YORK
THE STAR DANCE FOLIO
1NO.
INO.
A
JEROME H. REMICK & CO.
Another Chapped Production Success
THE BLUE NOON
| Publisshers o
The publishers of popular music are not alto-
gether in a pleasant frame of mind, due to the
fact that general business with them is not up
to the mark. There seems to be in the air a
feeling of disquietude concerning conditions
which no one is quite able to explain clearly.
The willingness to supply information on this
score is not lacking by any manner of means,
but the sources of these so-called explanations of
what appears to be a delicate situation are
neither trustworthy nor satisfactory. Trade at
large in every branch of industrial or mercan-
tile endeavor has never before been equaled
in this country. In other sections of the music
business there is no diminution of sales or
briskness, hence the far from happy publisher—
unless in possession of a hit—regards the out-
look with grievous eyes.
That is to say, this appears to be the consensus
of opinion. Productions are apparently the most
profitable development, for in the line of single
pieces, whether instrumental or otherwise, the
methods of doing business are approaching a
crisis, real or imaginary. Jobbers declare sales
with them are strong and increasing, but their
failure to place orders with publishers for more
than immediate needs, is perplexing and discon-
certiner. The legitimate dealer is beginning to
regard their sheet music department with indif-
ference, if not contempt; that is, outside of the
better grades of goods in which they are pro-
tected to an extent that publishers of popular
music never seem to contemplate, let alone make
an effort to cope with intelligently. It is a state
of affairs that is causing the regular dealers to
consider the advisability of "cutting out" the
handling of sheet music entirely.
With something of this in his mind, a dealer
ot long standing in the trade remarked to The
Review: "For the life of me I cannot see what
the publishers are driving at. Things are going
from bad to worse. Their salesmen come along
and sell us a bill of goods, say, for ten cents, and
then go right around the corner and take an or-
der for the same titles so that they can be re-
tailed at a price for which we buy at wholesale.
Besides, we pay the shipping charges and the
cost of placing them on the market. Not to men-
tion inconsistency, this is neither fair nor just.
It will mean one result only, the retirement of
the regular or legitimate dealer from a field now
being rapidly occupied by the price-cutting de-
partment establishment, and the five and ten-cent
store, which are getting all the business. Be-
fore it is too late reputable publishers should
refuse to sell any one excepting at one and the
same price."
Bar,' 'We Never Speak as We Pass By,' 'The
Song I Heard One Sunday Morn,' 'The Lone
Grave,' by the late Paul Dresser, and others so
Willis Woodward, the Veteran Publisher, Tells
dear to the hearts of 10 or 20 years ago? I had
About the Pitfalls of the Business—The
a hand in publishing a lot of these songs, and I
Singer's Graft—Music Prices Cut in Half.
know it to be true when I say that they all had
Time has made many changes in the ways used big sales and became popular on their merits
in making songs popular. Twenty years ago the alone.
"Songs used to have a vogue as long as a year
singer had to depend on the publisher for much
of his reputation; to-day the publisher's pros- and a half. Nowadays the life of a song is from
perity rests with the performer. Willis Wood- three to six months. This is in a measure
ward, one of the oldest of the publishers of what due to the output. Where there used to be pub-
is known in "Tin Pan Alley" as "yellow music," lished about two dozen songs or thereabouts a
was the first to meet the performer half way, year by one firm, it is no uncommon thing for
observes the New York Sun. "I figured that it an up-to-date publisher to issue that many in
would be a good thing to help the artist in some less than two months. In this way the songs
way," said Mr. Woodward. "About fifteen years that are popular or are what the trade terms
ago I had occasion to visit a theater where a 'big sellers,' are crowded out by the new ones."
minstrel show was being given. One of the
singers was using a song of mine called 'Pretty
SUCCESSES FROM JOS. W. STERN & CO.
Pond Lilies.' The song was catchy and tune-
Jos. W. Stern & Co. have again come to the
ful, and I liked the way it was sung. I went
back on the stage and took the man aside and front with a "hit." Miss Kummer, whose "Dearie"
has created such a furore, has written a number
said to him:
" 'You sang that song well to-night. I'm Mr. entitled "Popular Songs," which Hattie Williams
Woodward, and I want to show my apprecia- introduced in "The Little Cherub" last week at
tion for the way you are doing my song. How the Criterion Theatre, Broadway, New York, with
much did you have to pay for the orchestration gratifying success.
Earle C. Jones, the writer of "Nobody" and
and lead sheet?' He told me that it cost him
exactly $16. Then I told him that if he would other good successes collaborated with May Ir-
sing another song of mine called 'White Wings' win in the writing of a new song, entitled
T would supply him with a copy of the song, a "Dan." It has met with unusual success in her
lead sheet and orchestration free. News of the latest production now playing at the Bijou
innovatfon spread, and I had all the prominent Theatre, on Broadway. Mr. Jones is but one of
singers, minstrels and vaudeville performers my the many good writers on the staff of Jos. W.
friends. They were only too glad to get the Stern & Co., and the success of this as well as
other numbers which have been placed to ad-
songs and save $16 in the bargain.
vantage augers well for a very bright future for
"My idea was followed by other publishers,
this talented writer.
and eventually the professional 'copy,' or copy
of the song that is supposed to be the exclusive
property of the singer, made its appearance.
NOW READY:
To-day the idea has become a menace to the
trade, for these copies find their way into the
parlors and homes of the public. The singer
must be catered to these days. If the song has
not reached the top wave of popularity a per-
The "W. W." Mandolin Collection
former who is a headliner will insist on a week-
ly salary to push a song. He gets anywhere
from $10 to $50 each week.
THE REMICK ORCHESTRA FOLIO—NO. 1
"Then there is another thing to be considered.
Performers who do not demand any money for
singing a song must be remembered around the
48 West 28th Street,
INew York
holidays and on their birthdays. I know of a
^ T WRITE FOR PRICES
case where a certain prominent woman singer
who popularized a certain song by two negro
composers received from a local firm a silver set
costing $500 on Christmas. Another got a check
3
for $1,000 and a gold watch worth about $350.
The performers must also be looked after in
other ways, such as through the proper theatri-
Music by
cal and trade journals. They are advertised at
HOWARD TALBOT and PAUL A. RUBEN
the expense of the publishers.
•<
cu
Containing following Real Song Hits:
"When I was on the top I used to get from
V
"THE CROCODILE"
20 to 30 cents from the trade for each copy sold
"LITTLE B L V E MOON"
o
o
of a popular song. Now the rates have been cut
"BVRMAH GIRL"
c/5
to
•_
in half. Years ago a composer received as high
" S H E DIDN'T KNOW" :»
4>
_ra
as 8 and 9 cents a copy royalty on every song
CHAPPELL & CO., Ltd. >
sold. Now he must be content with 3 cents. Of-
37 West 17th Street, New York
5
ten in those days the composer furnished both
music and lyrics. Now most song writers work
in teams, one contributing the words and the
other the melody. So the royalties have to be di-
vided between them.
(GEORGE L. STANDEN)
"I can say without contradiction that the
51 West 28th Street, New York
songs of to-day cannot be compared with those
of twenty years ago. For instance, what sweeter
melodies ever appealed to any ear than 'Grand-
father's Clock,' 'If the Waters Could Speak as
They Flow/ 'Dear Robin, I'll Be True,' by Banks
We do NOT PUBLISH Music, SELLING AGENTS
Winter, a wandering minstrel; 'The Song That
exclusively.
Reached My Heart,' 'The Convict and the Bird,'
Ctrry Music of all the Publishers. We solicit the
'Here Lies an Actor,' 'Always Take Mother's
Sheet Music Business of Dealers throughout the country.
Advice,' 'Paddy Duffy's Cart,' 'The Market on
Orders properly taken care of and goods promptly shipped.
Saturday Night.' "I Never Drink Behind the
THE PROFESSIONAL COPY A MENACE.
-E CHE
'
THE MUSIC TRADE REVIEW
1 Pul >lisl
r
PUBLISHERS' DISTRIBUTING CO.
JOBBERS ONLY