Music Trade Review
Issue: 1926 Vol. 83 N. 18 - Page 43
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
The Change That Has Come in Linking
Up the Artist With the Composition
New Methods of Reaching the Buying Public on the Part of the Music Publisher Have Devel-
oped Radical Differences in This Work During the Past Two Decades
TX7HETHER it is the speed of present-
day life which is also reflected in activ-
ities- in the popular publishing field, or whether
it is due to the great volume of songs issued
each season, there has been a decided change
in the value and methods of hooking up
artists' names with current hits.
In glancing over the title pages of a decade
or so ago it will readily be found that most
popular songs had an artist's name connected
with them that did much in making them na-
tional successes. Indeed, old-timers, when
referring to songs of twenty years ago, gen-
erally speak of the artist's name in connection
with them. It might be noted here that prac-
tically all the songs of past decades that are
still remembered are numbers that were pro-
grammed repeatedly by nationally known
artists of those days.
The DeWolf Hoppers, the Marie Dresslers,
the Maggie Klines and others of that genera-
tion all exploited songs in a manner that
almost gave them exclusive use. At least they
did the publicity job so well that the song
and the artist are simultaneously remembered.
It is true that the present manner of releas-
ing talking machine records on a national
scale has in a measure been one of the reasons
that songs no longer wait for a single artist
or a few artists to introduce them nationally.
That, together with the fact that we have thou-
sands of orchestras playing dance music in
every city, town and hamlet, and all playing
up-to-date programs, has been another factor
in hurrying numbers to success and not wait-
ing for the delays that would be involved were
the old-fashioned methods used.
To-day the leading popular publishers have
branches in all principal cities and representa-
tives covering all outlying sections from these
central sources. This also helps the movement
of songs to success more quickly and over a
widespread territory. No doubt the great
wealth of theatres and photoplay houses has
been a measure in changing the style of ex-
ploitation.
Could the old-fashioned method of hooking
up a single artist or a few artists with a song
realize a sufficient measure of success to justify
in some instances reviving that plan? It would
hardly be worth while in trying that out on the
more legitimate numbers. In the comedy song
field, however, it might work our to advantage.
All too many of the comedy numbers have
too short a life and only a few of them are
substantial successes. These properties are not
so valuable to the publisher as his melody
songs, his love and ballad numbers, and for
that reason in some instances could be given
over to nationally known artists.
It might be somewhat difficult to find an
artist to take on the burden of carrying on
the activities of national exploitation single-
handed. In fact, we have not to-day the names
in the entertaining field that carry as much
influence as they did in the past generation.
Of course, we have Al Jolson and Eddie Can-
tor and a few other stars of like caliber, and
in a measure they do still continue to carry
on similar activity, but not quite approaching
the exclusive use that was available for the
artists of the past.
To the artist, however, there are some dis-
tinct values to be found in singing exclusive
or semi-exclusive material. Their names be-
come connected with the title and their photo-
graphs appear upon the frontispiece. To have
the general public say Al Jolson's "mammy"
song or Eddie Cantor's comedy hit should have
high advertising value for such artists, par-
ticularly to-day when these same artists can
do the record recording and thus doubly link
themselves with the number.
Whether or not there are still possibilities
in this type of exploitation, it is not amiss to
record the fact that times have certainly
changed.
Boston Music Publishers
Hold First Fall Meeting
J. W. Bratton Urges More Positive Publicity by
Trade—Robert Evans, London Publisher,
Also Speaks—James A. Smith Elected Sec-
retary
BOSTON, MASS., October 22.—The first regular
meeting for the season of the Boston Music
Publishers' Association took the form of a
luncheon instead of the customary dinner, and
it was held at the Boston Art Club, in the
Back Bay, which has become a popular ren-
dezvous for the club since the demolition of
the old Parker House.
William Arms Fisher presided and beside
him sat Robert Evans, the London music pub-
lisher. To fill the vacant post of secretary,
owing to the death of Clarence A. Woodman,
Mr. Fisher named James A. Smith and sub-
sequently in the course of the regular order
of business Mr. Smith was elected to this posi-
tion for the rest of the year.
A special committee, consisting of Mr.
Fisher, Charles W. Homeyer and Harry B.
Crosby, having a while ago been appointed
to draw up suitable resolutions on the death
of Mr. Woodman, the chair called upon Sec-
retary Smith to read the resolutions.
The resolutions were unanimously accepted
and the gathering stood as a mark of silent
respect to their beloved fellow-member.
A letter of resignation from Gustave Schir-
mer, in the name of the Boston Music Co.,
was read and accepted.
The chair introduced J. W. Bratton, of Music
and Youth, and he confined his remarks to a
consideration of the value that would accrue
to the Association through more positive ad-
vertising of itself as a musical body. Since
that here was an organization with a member-
ship representative of the very best in the
local publishing business, men of culture and
high intelligence, who should let the general
public know what they as an association stand
for and what they are doing. He suggested
that at a minimum of expense, and by resort-
ing to the mailing lists of the various houses,
the buying public could become familiar with
the position taken by the Association on al-
most any subject of musical importance.
Mr. Bratton's idea, meeting with considerable
approval, a committee consisting of Mr. Brat-
ton, chairman; C. V, Buttleman and Charles
E. Manny was appointed, to be known as the
publicity committee of the Association.
43
SONGS THAT SELL
Because I Love You (Irving Berlin)
How Many Times? (Irving- Berlin)
When the Red, Red Robin Comes Bob, Bob
Bobbin' Along
I'm on My Way Home (Irving Berlin)
That's a Good Girl (Irving Berlin)
Klsie Shultz-en-heim
Susie's Keller
At Peace With the World (Irving Berlin)
I Never Knew What the Moonlight Could D<
I'd Climb the Highest Mountain (If I KnevI
I'd Find You)
I'd I>«ve to Meet That Old Sweetheart o
Mine
Remember (Irving Berlin)
Always (Irving Berlin)
Let's Make I'p
But 1 Do, You Know 1 Do
Who Wouldn't?
In the Middle of the Night
B.ue Bonnet, You Make Me Feel Blue
Hoses Remind Me of You
To light's My Night With Baby
Put Your Arms Where They Belong
Poor Papa
Gimme a Little Kiss, Will "Va," Huh?
Say It Again
If You Miss Me as I Miss You
Oh, Boy, How It Was Raining:
And Then I Forget
I Found a Round-a-bout Way to Heaven
Pining for You
I'p and Down the Eight-Mile Road
That's Annahelle
No More Worryin'
Old-Fashioned Sal
Pretty Cinderella
—
—
—
—
BOOKS THAT SELL
X
—
New Universal Dance Folio
No. 13
Beady Oct. 30th to 25th
Peterson's Ukulele Method
World's Favorite Song's
Tiddle De I kes
Strum It With Crumlt
Irving Berlin's Song Gems
From the Musical Comedy Sensation
"THE COCOANUTS"
Ting-allng the Bell'll Ring
Why Do You Want to Know Why?
Florida By the Sea
The Monkey Doodle Doo
Luoky Boy
We Should Care
IRVING BERLIN, Inc.
1607 Broadway, New York
Mr. Evans, the London publisher, also intro-
duced by the chair, spoke of the progress that
musjg is making over in his country, particularly
along the lines of creating a deeper interest
among children. He promised upon his return
to England to send the Boston Association
literature showing what is being done by music
associations toward self-advertising.
It was moved to indefinitely lay on the table
the questionnaire which was lately sent out to
music dealers.
Consult the Universal Want Directory of
The Review.
IN THE WORLD OF MUSIC PUBLISHING
Conducted By V. D. Walsh
The Change That Has Come in Linking
Up the Artist With the Composition
New Methods of Reaching the Buying Public on the Part of the Music Publisher Have Devel-
oped Radical Differences in This Work During the Past Two Decades
TX7HETHER it is the speed of present-
day life which is also reflected in activ-
ities- in the popular publishing field, or whether
it is due to the great volume of songs issued
each season, there has been a decided change
in the value and methods of hooking up
artists' names with current hits.
In glancing over the title pages of a decade
or so ago it will readily be found that most
popular songs had an artist's name connected
with them that did much in making them na-
tional successes. Indeed, old-timers, when
referring to songs of twenty years ago, gen-
erally speak of the artist's name in connection
with them. It might be noted here that prac-
tically all the songs of past decades that are
still remembered are numbers that were pro-
grammed repeatedly by nationally known
artists of those days.
The DeWolf Hoppers, the Marie Dresslers,
the Maggie Klines and others of that genera-
tion all exploited songs in a manner that
almost gave them exclusive use. At least they
did the publicity job so well that the song
and the artist are simultaneously remembered.
It is true that the present manner of releas-
ing talking machine records on a national
scale has in a measure been one of the reasons
that songs no longer wait for a single artist
or a few artists to introduce them nationally.
That, together with the fact that we have thou-
sands of orchestras playing dance music in
every city, town and hamlet, and all playing
up-to-date programs, has been another factor
in hurrying numbers to success and not wait-
ing for the delays that would be involved were
the old-fashioned methods used.
To-day the leading popular publishers have
branches in all principal cities and representa-
tives covering all outlying sections from these
central sources. This also helps the movement
of songs to success more quickly and over a
widespread territory. No doubt the great
wealth of theatres and photoplay houses has
been a measure in changing the style of ex-
ploitation.
Could the old-fashioned method of hooking
up a single artist or a few artists with a song
realize a sufficient measure of success to justify
in some instances reviving that plan? It would
hardly be worth while in trying that out on the
more legitimate numbers. In the comedy song
field, however, it might work our to advantage.
All too many of the comedy numbers have
too short a life and only a few of them are
substantial successes. These properties are not
so valuable to the publisher as his melody
songs, his love and ballad numbers, and for
that reason in some instances could be given
over to nationally known artists.
It might be somewhat difficult to find an
artist to take on the burden of carrying on
the activities of national exploitation single-
handed. In fact, we have not to-day the names
in the entertaining field that carry as much
influence as they did in the past generation.
Of course, we have Al Jolson and Eddie Can-
tor and a few other stars of like caliber, and
in a measure they do still continue to carry
on similar activity, but not quite approaching
the exclusive use that was available for the
artists of the past.
To the artist, however, there are some dis-
tinct values to be found in singing exclusive
or semi-exclusive material. Their names be-
come connected with the title and their photo-
graphs appear upon the frontispiece. To have
the general public say Al Jolson's "mammy"
song or Eddie Cantor's comedy hit should have
high advertising value for such artists, par-
ticularly to-day when these same artists can
do the record recording and thus doubly link
themselves with the number.
Whether or not there are still possibilities
in this type of exploitation, it is not amiss to
record the fact that times have certainly
changed.
Boston Music Publishers
Hold First Fall Meeting
J. W. Bratton Urges More Positive Publicity by
Trade—Robert Evans, London Publisher,
Also Speaks—James A. Smith Elected Sec-
retary
BOSTON, MASS., October 22.—The first regular
meeting for the season of the Boston Music
Publishers' Association took the form of a
luncheon instead of the customary dinner, and
it was held at the Boston Art Club, in the
Back Bay, which has become a popular ren-
dezvous for the club since the demolition of
the old Parker House.
William Arms Fisher presided and beside
him sat Robert Evans, the London music pub-
lisher. To fill the vacant post of secretary,
owing to the death of Clarence A. Woodman,
Mr. Fisher named James A. Smith and sub-
sequently in the course of the regular order
of business Mr. Smith was elected to this posi-
tion for the rest of the year.
A special committee, consisting of Mr.
Fisher, Charles W. Homeyer and Harry B.
Crosby, having a while ago been appointed
to draw up suitable resolutions on the death
of Mr. Woodman, the chair called upon Sec-
retary Smith to read the resolutions.
The resolutions were unanimously accepted
and the gathering stood as a mark of silent
respect to their beloved fellow-member.
A letter of resignation from Gustave Schir-
mer, in the name of the Boston Music Co.,
was read and accepted.
The chair introduced J. W. Bratton, of Music
and Youth, and he confined his remarks to a
consideration of the value that would accrue
to the Association through more positive ad-
vertising of itself as a musical body. Since
that here was an organization with a member-
ship representative of the very best in the
local publishing business, men of culture and
high intelligence, who should let the general
public know what they as an association stand
for and what they are doing. He suggested
that at a minimum of expense, and by resort-
ing to the mailing lists of the various houses,
the buying public could become familiar with
the position taken by the Association on al-
most any subject of musical importance.
Mr. Bratton's idea, meeting with considerable
approval, a committee consisting of Mr. Brat-
ton, chairman; C. V, Buttleman and Charles
E. Manny was appointed, to be known as the
publicity committee of the Association.
43
SONGS THAT SELL
Because I Love You (Irving Berlin)
How Many Times? (Irving- Berlin)
When the Red, Red Robin Comes Bob, Bob
Bobbin' Along
I'm on My Way Home (Irving Berlin)
That's a Good Girl (Irving Berlin)
Klsie Shultz-en-heim
Susie's Keller
At Peace With the World (Irving Berlin)
I Never Knew What the Moonlight Could D<
I'd Climb the Highest Mountain (If I KnevI
I'd Find You)
I'd I>«ve to Meet That Old Sweetheart o
Mine
Remember (Irving Berlin)
Always (Irving Berlin)
Let's Make I'p
But 1 Do, You Know 1 Do
Who Wouldn't?
In the Middle of the Night
B.ue Bonnet, You Make Me Feel Blue
Hoses Remind Me of You
To light's My Night With Baby
Put Your Arms Where They Belong
Poor Papa
Gimme a Little Kiss, Will "Va," Huh?
Say It Again
If You Miss Me as I Miss You
Oh, Boy, How It Was Raining:
And Then I Forget
I Found a Round-a-bout Way to Heaven
Pining for You
I'p and Down the Eight-Mile Road
That's Annahelle
No More Worryin'
Old-Fashioned Sal
Pretty Cinderella
—
—
—
—
BOOKS THAT SELL
X
—
New Universal Dance Folio
No. 13
Beady Oct. 30th to 25th
Peterson's Ukulele Method
World's Favorite Song's
Tiddle De I kes
Strum It With Crumlt
Irving Berlin's Song Gems
From the Musical Comedy Sensation
"THE COCOANUTS"
Ting-allng the Bell'll Ring
Why Do You Want to Know Why?
Florida By the Sea
The Monkey Doodle Doo
Luoky Boy
We Should Care
IRVING BERLIN, Inc.
1607 Broadway, New York
Mr. Evans, the London publisher, also intro-
duced by the chair, spoke of the progress that
musjg is making over in his country, particularly
along the lines of creating a deeper interest
among children. He promised upon his return
to England to send the Boston Association
literature showing what is being done by music
associations toward self-advertising.
It was moved to indefinitely lay on the table
the questionnaire which was lately sent out to
music dealers.
Consult the Universal Want Directory of
The Review.
Future scanning projects are planned by the International Arcade Museum Library (IAML).