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47
THE MUSIC TRADE REVIEW
JANUARY 1, 1921
WHAT'S THE MATTER WITH THE SHEET MUSIC BUSINESS?—(Continued from page 46)
it lor 20 to 21 cents, or even 22 cents, and do .i
profitable business. The very cost of operation,
even with the cheaper grades of employes and
in out-of-the-way locations, forbids success com-
mercially at or near these prices. But it seems
a characteristic of the jobber that he is unwilling
to demand a fair return for his service. It must
be remembered that ,in order to a jobber, calling
often for a great many different items, may
actually take a half day of a clerk's time in
assembling ready for shipment. In assembling
the various items of the order the clerk may
walk back and forth among the tiling shelves a
distance of many city blocks; then there come
all of the other costs of wrapping, shipping,
bookkeeping and general overhead, to say noth-
ing of losses due to bad credits.
It remains, then, for the jobber to stick to
jobbing, to maintain a complete stock, to 'grant
credits sanely, to ship promptly, and to bill at a
price fair to himself and the purchaser.
The dealer's shortsighted policy of just letting
the sheet music department of his business "run
itself," instead of making it an activity that will
bring many persons into his store that otherwise
would not come; of not being completely stocked
—in short, of not making of this department the
splendid money-earning, profit-making activity
he might, permitting it to he a dead letter in his
business, is in a \ ery important degree respon-
sible for "what ails us." Sheet music will sell
rolls, records, pianos and accessories. Rolls,
records, pianos and accessories will sell sheet
music. The idea is demonstrable—provable, in
any store where all are handled; and sheet music
will ho]d its own. under intelligent and aggres-
sive management, with any other department of
the business, comparatively, in profits shown.
How many dealers make it their business to
know what is being sung and played at local
theatres?—or what is coming to their town that
will arouse interest in certain numbers?—and who
cash in on this one thing? How many dealers
make it their business to keep in close touch with
what's doing in the motion picture theatres, at
the dance halls, with cabarets, in hotels, and the
multitude of places where music is a factor? In business there has been a rather clear-cut divid-
ing line between these divisions of the business;
my observation, comparatively few.
Of late there has been widespread prevalence J believe that intelligence upon the part of the
of profiteering upon the part of the dealers in merchant will make "popular" music sell "stand-
sheet music This hurts the dealer, the pub- aid"" music, and vice versa, and I believe that
lisher, the entire industry, and is unfair to the both of these will sell all of the other products
public. Iiccause of the medieval custom of the usually handled in a "legitimate" music store.
publisher in printing on the cover of music a
! believe in making "two blades of grass
price in excess of what it was ever contemplated grow where one grew before," and I think that
it would be sold at, the dealer is enabled to there is no business on the face of this earth in
charge 45 cents for a number never intended to which there is such easy possibility of doing it
sell for more than 30 cents. The extent to which a;- in the sheet music business.
this is being done is surprising. It is the weak,
For the moment we are in the midst of a sort
shortsighted way of making money with sheet of a "slow panic"; in a buyer's, not a seller's,
music. Instead of moving an entire line at a market. A safe, sane economy, not a frightened
fair prolit, ?n excessive pront is taken upon the and thnid reluctance to invest in salable mer-
numbers for which there is an undeniable chandise, will best meet the situation. For, in
demand, and the balance of the line allowed to the end, all will come right.
remain dormant.
Finally, the public. The public now demands
"ALABAMA MOON" GOING STRONG
"value received"—the wild days of war-begotten
extravagance arc over. The public should, nay Victor Co. Makes Second Record of Popular
will, have its demand met, for at last it is the
Sam Fox Number in January Release
public that rules us all and dictates our business
The demand for the Sam Fox Publishing
success or failure. Serve the public intelligently
and it will buy as much sheet music as it ever Co. song "Alabama Moon" seems to be con-
did; or just about as much, with the difference stantly upon the increase and as further proof
more than made up through rolls and records— that this number is still at the peak of its popu-
for it must be recognized that we have reached larity conies the announcement that another
the age of mechanical music, and while the latter record, the second such issued by the Victor
will never replace the inherent desire of the Talking Machine Co., has been made of this
human to create his own music, sing 'his own composition. The new record released with
songs, play his own tunes, mechanical music has the January supplement is made by those two
now, and will have in increasing measure, its favorite singers, Elsie Baker and Olive Kline.
According to the sales reports of the pub-
market.
J believe in constructive business methods—1 lishers, copies of "Alabama Moon" ate in over
believe in a relationship between all of the a million homes. Naturally enthusiasm is run-
interests involved that is just and co-operative, ning high in the Fox offices in Cleveland and
that means intelligent merchandising, prompt New York and an additional advertising effort
payment of accounts, a fair deal for the public, is being put behind the number to still further
and a just atid generous prolit for every transac- stimulate the demand. It might he well to
mention here that within thirty days from the
tion.
original
publication of this song twenty-seven
] believe there is no essential difference—from
the merchandising standpoint—between the so- recording contracts were issued by the pub-
called "popular" and "standard" music, even lishers, and it is now stated that over forty-
though apparently since the inception of the one companies have reproduced ii, either for
rt cords or rolls.
"THE BABE RUTH OF SONG HITS"
JACK MILLS, ""
1921 SONGS
Every Song a Positive Melody Hit
M
PHINEST
A Z I E
PHOXTROT
PHANTASIE
STRUT MISS LIZZIE
NOCKOUT
NOVELTY
NUMBEN
WELCOME STRANGER
B E S T
B A L L A D
B E A U T I F U L
HEART OF MINE
M O S T
M A R V E L O U S
M K L O D Y
MY MAMMY'S TEARS
S U R E - F I R E
S O U T H E R N
S O N i ;
He Always ?%»•" Father
K L E V E R
K O M E D Y
K R E A T I O N
CUBAN MOON
—Two Foxy Foxtrot Hits
SWEET MAMMA
JACK MILLS, Inc.
152-4 West 45th Street
NEW YORK
CITY
CARBEN
JijTB HARMS,
tt S T R E E T
ITS
A HIT
MELODY Ht-a
ins
,
N E W YORK.
"Whispering," one of the biggest sensations
of many seasons, continues to hold its position
in orchestra, professional and trade circles. Re-
cently Sherman, Clay & Co., the publishers,
announced this number as "The Babe Ruth of
Si.ng
Hits."
BIG SELLERS
•elected from the
Popular Standard
Pictorial Catalog of
M. Witmark & Sons
All 30 cent numbers
LET THE REST OF THE WORLD GO BY
DOWN THE TRAIL, TO HOME, SWEET HOME
TRIPOLI (On the Shores of Tripoli)
WHO'LL TAKE THE PLACE OF MARY?
HO LA BO
I'VE GOT THE BLUES FOR MY KENTUCKY
HOME
MY HOME TOWN IS A ONE-HORSE TOWN
But It's Big Enough for Me
I'ARISIOLA (Par-ee-zee-ola)
IN THE DUSK (vocal and ins.)
RIO GRANDE (vocal and ins.)
HUMMING BIRD
COTTON (Cotton Was a Little Dixie Roue)
SUE'S THE HEART OF DIXIELAND
COMB BACK TO JUMBO GUMBO
Jee Jee Boo Bumbo
KAKLV TO BED, EARLY TO RISE
Never Made Anyone Wise
FORGIVE ME (Let's Start Over Again)
THERE'S
A TYPICAL
TIPPERARY
OVER
HERE
WHEN A PEACH IN GEORGIA WEDS A ROSE
FROM ALABAM'
MY MOTHER'S EVENING PRAYER