Music Trade Review

Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
12
THE MUSIC TRADE
REVIEW
SEPTEMBER 28.
1918
i^iliyjlii^il&jflitaM^liS^ilt^ia^il&a^
A Great Choice of
Good Music in the
CONNORIZED
OCTOBER LIST
Hand-Played Records
WITH
SONG WORDS
6334—Who'll Love You While I'm Gone—Fox-trot
—A Blues Jazzed
Maceo Pinkard
Played by Claar & Crosby
6335—On the Road to Home Sweet Home—Fox-trot
—Marimba Chorus
Kahn & Van Alstyne
Played by S. A. Perry, assisted by H. B.
6336— If I Could Peep Through the Window To-night
—Fox-trot
McCarthy. Van &. Schenck
Played by S. A. Perry, assisted by J. D.
6337—N 0 N A—Waltz Song—Fine arrangement for
song or dance
Shannon & Vandersloot
Played by 8. A. Perry, assisted by H. B.
6338— Let's Keep the Glow in Old Glory (And the
Free in Freedom, Too)—March and One-
step—Exceptional Orchestral Effects,
Nesbit & Speroy
Played by Perry & Sherea
6339—I Want to Learn to "Jazz" Dance—Fox-trot,
Buck & Stamper
Played by Claar & Sheres
6340—Any Old Time at All—Fox-trot—Zlegfeld Fol-
lies of 1918
Buck & Hirsch
Played by Herbert Claar
6341—Oh! How I Wish I Could Sleep Until Daddy
Comes Home—Ballad—A Sensational Hit,
Wendling, Lewis & Young
Played by S. A. Perry
6342—On the Level You're a Little Devil (But I'll
Make an Angel Out of You)—Fox-trot—The
Hit of the Passing Show 1918.Young & Schwartz
Played by S. A. Perry
6343—You Keep Sending 'Em Over and We'll Keep
Knocking 'Em Down—One-step. .Mitchell & Ruby
Played by Herbert Claar
6344—You're the Greatest Little Mother in the World
(Mothers of America)—One-step,
Lewis, Young & Gottler
Played by Herbert Claar
6345— If I'm Not at the Roll Call (Kiss Mother
Good-bye for Me)—Waltz Song—Marimba
Effects
George Boyden
Played by S. A. Perry, assisted by J. D.
6346—A Rainbow from the U. S. A.—One-step—The
Hit of the 1918 Hippodrome Production.
Mahoney, Jerome & Wenrich
Played by Herbert Claar
6348— An Irishman Was Made to Love and Fight—
One-step—Snappy Irish Comin War Song.
Bratton 4 Santly
Played by A. Hylatul
6349—Oh, Moon of the Summer Night (Tell My
Mother Her Boy's All Right)—Fox-trot,
Allan J. Flynn
Played by A. Hyland, assisted by H. K.
6350— I'm Glad I Can Make You Cry—Waltz Song—
Ukelele and Marimba Effects. .Carron & Morgan
Played by S. A. Perry, assisted by H. R.
6351—We're Tenting To-night—March Song—Artistic
Effects.
Played by S. A. Perry
6355—At Half-Past Nine—Fox-trot—Jazz Effects,
Lewis, Young & Gottler
Played by S. A. Perry, assisted by H. B.
HAND-PLAYED RECORD ROLLS
They are different—You will like them
20696—Garden of My Dreams—Fox-trot—"Zieefeld
Follies," 1918
Buck, Stamper & Hirsch
Played by Herbert Claar
20707—A Little Birch Canoe and You—Syncopated
Waltz with Marimba and Jazz Effects,
Callahan & Roberts
Played by Herbert Claar
20708—Hilo March—Hawaiian National March—Uke-
lele Effects
Pele & Howard .
Played by S. A. Perry, assisted by J. D.
20709—America Victorious—March—(Dedicated to Our
Boys "Over There")—Stirring March with
Full Orchestral Effects
Bertha G. Storer
Played by S. A. Perry, assisted by J. D.
20712—Belgian Rose—Fox-trot. Benoit, Levenson & G art on
Played by W. Arlington
20713—Oul Oui (Wee Wee Marie)—One-step,
Bryan, McCarthy & Fisher
Played by Jack De Vous
20715—We'll Do Our Share (While You're Over
There)—Fox-trot
Brown, Harriman & Egan
Played by Claar & Shipman
20716—Everything Is Peaches Down in Georgia—Fox-
trot—Bag Interlude
Clarke, Ager & Meyer
Played by Herbert Claar
20717—Smiles—Fox-trot
Callahan & Roberts
Played by S. A. Perry, assisted by H. B.
20718—When Uncle Joe Steps into France—Fox-trot.
Grossman & Winkle
Played by Shipman & Crosby
20719—My Rose of Memories—Waltz Song—Banjo,
Ukelele and Marimba Effects,
Hill, Hoffman & Horwood
Played by S. A. Perry
Connorized Music Co.
E. 144th St. and Austin PI.
New York
1234 Olive St., St. Louis, Mo.
We understand that the music roll manufac-
turing interests are considering seriously the sit-
uation which arises from the undoubted and
admitted shortage in paper and are discussing
ways and means for coping with it. We like-
wise understand that there is considerable con-
cern over the labor question and over the never-
ceasing general rises in the cost of doing busi-
ness. Various plans are being and have been
proposed for dealing with this menace in all its
forms. Of all the solutions which have been
offered we can imagine none more important
in its possibilities or more generally promis-
ing than the proposed reduction in the size of
monthly issues. The matter here involved, in
fact, is so very important that we cannot afford
to miss the opportunity of examining it in all
its aspects.
The present system of issuing monthly bulle-
tins allows for from thirty to fifty separate
numbers each month. Now whoever has made
a study of these monthly bulletins knows that,
in order to undertake the hopeless task of sat-
isfying all tastes, the publishers have had to
include alwaj's a great deal of music that is
extremely ephemeral, with a certain amount that
is more or less dubious as to salability, while
usually only a very few numbers can be relied
on to make a hit each month. It is quite ob-
vious that the practice of issuing very large se-
lections of different numbers each month has
been due to the competitive conditions of pre-
war days. As things stand now, however, it is
necessary in this trade, as it has been neces-
sary in many others, to revise our ways, of do-
ing business in order to accommodate them to
conditions which we never could have antici-
pated. No one will pretend that it has been
good business, save only as a matter of doing
the same as the other fellow, to set forth each
month a quantity of publications in excess of
the normal healthy demand. The only ques-
tion will be how one can best discriminate.
Two points immediately emerge. One is that
the distinction between popular and artistic is
too sharply drawn in classifying rolls. Another
is that a great deal of the so-called popular
music is very poor stuff indeed and has little
or no real popular appeal. On the iirst point
it is well to remember that when we make a
distinct demarcation between "popular" and
"classical" we omit to remember that a large
and undefined territory lies between the two ex-
tremes.
There is so much music which is
neither exactly the one nor exactly the other.
We cannot, therefore, in justice say that, be-
cause the public like the popular music best, we
must only publish "popular" numbers, until we
have decided just what is to be included within
the classification. Are we to confine ourselves,
for instance, to the popular song, the jazz song,
the jazz dance and so on? Plainly this will not
do, for it leaves out the best of the ballads and
patriotic sentimental songs.
If we include
them are we not also bound to include the
Jacobs-Bond songs and the Herman Lohr stuff
and all that, like the good Chappell publications?
It does seem fairly plain that the only possible
Melville
Clark's
APOLLO 7Z
Established Retail Price t7AA ***
Consistent with Quality $fUU 10
,
MELVILLE CLARK PIANO CO.
FINE ARTS BUILDING, CHICAGO
basis for discrimination must be public demand.
And that means a selection from each and every
class of music.
Just one other point. In classifying certain
music as classical one obtains only a rough and
ready measure. Generally speaking, the custom
is to call everything "classical" which falls with-
in the category of art music, no matter what be
its form. But this is to include so wide a range
of subjects that disparate types are brought to-
gether artificially and forcibly.
MacDowell,
Nevin, Grieg, Chopin in his nocturnes, Dvorak
in his dances and humoresques, and many other
composers, are to be rated as good sellers, where
the larger works of the very same men were
scarcely known at all. Again discrimination
must be used.
The idea that follows may
therefore be useful.
Our suggestion would be for a new classifica-
tion. We should suggest that each publisher
bring out one good artistic number each month,
beginning with the best composers of the Al-
lied nations only, including France, Great
Britain, Italy, Russia, Bohemia, etc. Let Hun
music wait, even though the innocent and long-
dead Bach, Haydn, Mozart and Beethoven must
suffer. Then let a new classification be made
of sentimental music, and let us have, say, the
three or four best numbers of each month and
no more. Then, have a dance section with not
more than ten numbers and a miscellaneous with
about six more; keeping the whole down to
twenty-four number^ at the outside, publishing
only what we can be sure of as stickers, and
Hand Played
Rolls
With Words
CHICAO^'i
,-U
Hand Played
Rolls
Without Words