Music Trade Review
Issue: 1923 Vol. 76 N. 25 - Page 38
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
38
THE MUSIC TRADE REVIEW
JUNE 23, 1923
Three Novelty Fojt Trots —
(Joti can? go vJrong
vJith d/iy'jefsf so no'
BLUE
HOOSIER RUNN1N
WILD
BLUES
DUSTING
THE KEYS
ADustyRjig'
Fox Trot
A Rgal Homesickj
Blues FoxTrot.
An Ebony FoxTrot^
ASK ROYALTIES FOR BROADCASTING
FEIST RUSHING NEW NUMBER
HOLST'S NEWjOPERA PUBLISHED
'Cut Yourself a Piece of Cake, Make Yourself
at Home," to Be Widely Exploited by House
Novello & Co. Bring Out New Work by Well-
known English Composer
Early last week Leo Feist, Inc., took over a
song in manuscript form. The melody and
lyrics made an immediate appeal and a con-
ference was called at the Feist offices, with the
result that it was decided to issue the number
immediately. Plates, title pages and orchestra-
tions are being rushed through and a campaign
exploiting this issue will be immediately inau-
gurated.
Aside from its other merits the number is ap-
parently quite timely. It carries the humorous
title "Cut Yourself a Piece of Cake, Make Your-
self at Home." The professional department
of the company has already rehearsed several
acts with the number and it, undoubtedly, will
be programmed widely in vaudeville. The band
and orchestra department of the company will
send out orchestrations at once.
The title is one that should be a by-word
during the Summer season. Naturally, all the
wise guys who claim to be "the life of the
party" will take advantage of the song.
LONDON, EN<;., June 10.—Novello & Co. have
published a vocal score of Gustav Hoist's new
English opera, "The Perfect Fool," which was
performed for the first time by the British Na-
tional Opera Co. at the opening of its London
season. Mr. Hoist, being in America to con-
duct some of his compositions at the music
festival in Ann Arbor, Mich., could not hear his
opera.
Among the characters are two speaking parts,
the Fool and a Peasant. To an English inter-
viewer Mr. Hoist said that the opera is "in-
tended to be funny," and emphasized the fact
that it is not in any degree a skit on Wagner's
"Parsifal."
(Continued from page 37)
ridiculous. All of which brings up the point
that has been given consideration before that,
even where the American Society of Composers,
Authors and Publishers, or any other success-
ful organization, grants permission to use copy-
righted works, the radio station is under an
obligation not to broadcast unknown works or
works with little or no merit. For, after all, if
the radio station program becomes popular with
the radio enthusiast it is because successful
publishers allow the use of their material. If,
by the use of such valuable aid to radio popu-
larity, the broadcasting station takes advantage
of its position to exploit something unknown
or of little merit the real popular numbers are
carrying the burden of the program. In other
words, if a publisher or publishers give the
radio stations successful songs they have a
right, through a gentleman's agreement, of ob-
ligating the radio station to use "second-best"
numbers from the catalogs from which they
take the hits.
These and many other problems are con-
stantly arising regarding the use of copyrighted
compositions by radio broadcasting stations. It,
therefore, behooves all publishers who value
their property and wish to protect their rights
to move slowly, with caution, and with great
care, and insist upon some sort of an obliga-
tion from radio broadcasters when granting
permission.
If the standard publishers value radio pub-
licity the best way for them to cash in on their
broadcasting arrangement is to select particular
songs or instrumental pieces and have these
limited numbers exploited at frequent, obliga-
tory periods.
This, too, will demonstrate
whether there is any value in radio broadcast-
ing for such standard houses and will give num-
bers publicity which the publishers, from their
long experience, know will get a public re-
sponse. To hand over the entire catalog for
the radio station to select anything it wants,
and at any period it wants it, is not a suffi-
cient return to such publishers for the use of
valuable property.
j
j
i
f
1
Tune
BUYS NEW FREY NUMBER
Richmond-Robbins, Inc., Secures Rights to
"Bonnie," Hugo Frey's Latest Composition
After much bidding Richmond-Robbins, Inc.,
was fortunate in securing the publishing rights
to Hugo Frey's latest novelty fox-trot, entitled
"Bonnie." This is a typical Frey tune and is
distinctly original. Richmond-Robbins, Inc., is
enthusiastic over the fact that it publishes the
first Hugo Frey song. Mr. Frey has to his
credit such hits as "Mary" and "Havanola."
Mr. Frey will also contribute to the Richmond-
Robbins' motion picture catalog.
Richmond-Robbins, Inc., consider themselves
extremely fortunate in securing this number, as
Mr. Frey has a reputation of turning out num-
bers that have the habit of hitting the public
favorably and this latest composition is also
likely to do that.
WALTZ MUSIC IN BUFFALO
Public of That City Buying Heavily of Waltz
Numbers at Present Time
BUFFALO, N. Y., June 18.—Waltz music is be-
coming more and more popular in Buffalo, ac-
cording to some of the trades people behind
the sheet music counters. This is indicated by
the great demand for "Some Day I'll Forget
That I Ever Loved You," recently released by
Jack Mills, Inc. Another waltz soon to be re-
leased by this publisher and written by the
same author is "Jasamin Flower."
Albert Hay Mallotte is responsible for these
two bits of sentimental melody and ballad. Mr.
Mallotte is very popular in musical circles of
Buffalo and other large cities. "He is a real
musician," said one severe critic. The manner
in which Mr. Mallotte handles the great Wur-
litzer organ in the Hippodrome, Buffalo's lead-
ing theatre, proves him to be a musician not
only as a composer, but in interpreting music.
Through his connection with this theatre he has
become acquainted with what the people like
and, if the Buffalo public is a criterion, the
waltz is back.
BEAUTIFUL ROSE - WONDERFUL CHILD - LONESOME TWO
- HOME (My Lovin' Dixie Home) - SHE'S GOT ANOTHER DADDY -
ALWAYS LOOKING FOR A LITTLE SUNSHINE - IN BABY'S SMILE
- JUST A LITTLE GOLD WATCH AND CHAIN - PIANO DREAMS -
+ + + + + * * LOVE IS LOVE FOR EVER - STEP • + + + + + +
Prices F.O.B. Nearest Office
! .100 of One Song
- 14^c
j 100 Assorted Songs - I4Kc
Less than 100 . . . - 15c
Money Back Guarantee
HEARST MUSIC PUBLISHERS LTD.
1656 BROADWAY
NEW YORK
PHOENIX
T
BLOC
WINNIPEG
199 fONGE ST.
Unsold Copies of
Hearst Songs are
Fully Returnable
38
THE MUSIC TRADE REVIEW
JUNE 23, 1923
Three Novelty Fojt Trots —
(Joti can? go vJrong
vJith d/iy'jefsf so no'
BLUE
HOOSIER RUNN1N
WILD
BLUES
DUSTING
THE KEYS
ADustyRjig'
Fox Trot
A Rgal Homesickj
Blues FoxTrot.
An Ebony FoxTrot^
ASK ROYALTIES FOR BROADCASTING
FEIST RUSHING NEW NUMBER
HOLST'S NEWjOPERA PUBLISHED
'Cut Yourself a Piece of Cake, Make Yourself
at Home," to Be Widely Exploited by House
Novello & Co. Bring Out New Work by Well-
known English Composer
Early last week Leo Feist, Inc., took over a
song in manuscript form. The melody and
lyrics made an immediate appeal and a con-
ference was called at the Feist offices, with the
result that it was decided to issue the number
immediately. Plates, title pages and orchestra-
tions are being rushed through and a campaign
exploiting this issue will be immediately inau-
gurated.
Aside from its other merits the number is ap-
parently quite timely. It carries the humorous
title "Cut Yourself a Piece of Cake, Make Your-
self at Home." The professional department
of the company has already rehearsed several
acts with the number and it, undoubtedly, will
be programmed widely in vaudeville. The band
and orchestra department of the company will
send out orchestrations at once.
The title is one that should be a by-word
during the Summer season. Naturally, all the
wise guys who claim to be "the life of the
party" will take advantage of the song.
LONDON, EN<;., June 10.—Novello & Co. have
published a vocal score of Gustav Hoist's new
English opera, "The Perfect Fool," which was
performed for the first time by the British Na-
tional Opera Co. at the opening of its London
season. Mr. Hoist, being in America to con-
duct some of his compositions at the music
festival in Ann Arbor, Mich., could not hear his
opera.
Among the characters are two speaking parts,
the Fool and a Peasant. To an English inter-
viewer Mr. Hoist said that the opera is "in-
tended to be funny," and emphasized the fact
that it is not in any degree a skit on Wagner's
"Parsifal."
(Continued from page 37)
ridiculous. All of which brings up the point
that has been given consideration before that,
even where the American Society of Composers,
Authors and Publishers, or any other success-
ful organization, grants permission to use copy-
righted works, the radio station is under an
obligation not to broadcast unknown works or
works with little or no merit. For, after all, if
the radio station program becomes popular with
the radio enthusiast it is because successful
publishers allow the use of their material. If,
by the use of such valuable aid to radio popu-
larity, the broadcasting station takes advantage
of its position to exploit something unknown
or of little merit the real popular numbers are
carrying the burden of the program. In other
words, if a publisher or publishers give the
radio stations successful songs they have a
right, through a gentleman's agreement, of ob-
ligating the radio station to use "second-best"
numbers from the catalogs from which they
take the hits.
These and many other problems are con-
stantly arising regarding the use of copyrighted
compositions by radio broadcasting stations. It,
therefore, behooves all publishers who value
their property and wish to protect their rights
to move slowly, with caution, and with great
care, and insist upon some sort of an obliga-
tion from radio broadcasters when granting
permission.
If the standard publishers value radio pub-
licity the best way for them to cash in on their
broadcasting arrangement is to select particular
songs or instrumental pieces and have these
limited numbers exploited at frequent, obliga-
tory periods.
This, too, will demonstrate
whether there is any value in radio broadcast-
ing for such standard houses and will give num-
bers publicity which the publishers, from their
long experience, know will get a public re-
sponse. To hand over the entire catalog for
the radio station to select anything it wants,
and at any period it wants it, is not a suffi-
cient return to such publishers for the use of
valuable property.
j
j
i
f
1
Tune
BUYS NEW FREY NUMBER
Richmond-Robbins, Inc., Secures Rights to
"Bonnie," Hugo Frey's Latest Composition
After much bidding Richmond-Robbins, Inc.,
was fortunate in securing the publishing rights
to Hugo Frey's latest novelty fox-trot, entitled
"Bonnie." This is a typical Frey tune and is
distinctly original. Richmond-Robbins, Inc., is
enthusiastic over the fact that it publishes the
first Hugo Frey song. Mr. Frey has to his
credit such hits as "Mary" and "Havanola."
Mr. Frey will also contribute to the Richmond-
Robbins' motion picture catalog.
Richmond-Robbins, Inc., consider themselves
extremely fortunate in securing this number, as
Mr. Frey has a reputation of turning out num-
bers that have the habit of hitting the public
favorably and this latest composition is also
likely to do that.
WALTZ MUSIC IN BUFFALO
Public of That City Buying Heavily of Waltz
Numbers at Present Time
BUFFALO, N. Y., June 18.—Waltz music is be-
coming more and more popular in Buffalo, ac-
cording to some of the trades people behind
the sheet music counters. This is indicated by
the great demand for "Some Day I'll Forget
That I Ever Loved You," recently released by
Jack Mills, Inc. Another waltz soon to be re-
leased by this publisher and written by the
same author is "Jasamin Flower."
Albert Hay Mallotte is responsible for these
two bits of sentimental melody and ballad. Mr.
Mallotte is very popular in musical circles of
Buffalo and other large cities. "He is a real
musician," said one severe critic. The manner
in which Mr. Mallotte handles the great Wur-
litzer organ in the Hippodrome, Buffalo's lead-
ing theatre, proves him to be a musician not
only as a composer, but in interpreting music.
Through his connection with this theatre he has
become acquainted with what the people like
and, if the Buffalo public is a criterion, the
waltz is back.
BEAUTIFUL ROSE - WONDERFUL CHILD - LONESOME TWO
- HOME (My Lovin' Dixie Home) - SHE'S GOT ANOTHER DADDY -
ALWAYS LOOKING FOR A LITTLE SUNSHINE - IN BABY'S SMILE
- JUST A LITTLE GOLD WATCH AND CHAIN - PIANO DREAMS -
+ + + + + * * LOVE IS LOVE FOR EVER - STEP • + + + + + +
Prices F.O.B. Nearest Office
! .100 of One Song
- 14^c
j 100 Assorted Songs - I4Kc
Less than 100 . . . - 15c
Money Back Guarantee
HEARST MUSIC PUBLISHERS LTD.
1656 BROADWAY
NEW YORK
PHOENIX
T
BLOC
WINNIPEG
199 fONGE ST.
Unsold Copies of
Hearst Songs are
Fully Returnable
Future scanning projects are planned by the International Arcade Museum Library (IAML).