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Midnight In Moscow - Max Greger And His Orchestra* - Sax In Gold (8-Track Cartridge)

The label's field sales and merchan- dising preresenlatives wUI work closely with local radio sta- tions, distributors, one-stops, rack jobbers, and newspapers. Coupons covering this offer will appear in national ad- vertising. Hayer Co. Williamson and Stephens will co-ordinate their activities through Victor's Felton Jarvis in Nashville and will continue to handle all sessions and set re- leases.

Chart will continue to own all of its artist contracts and masters. Monique Peer-Morris aimed at expansion plans, re- cording activities and general discussion. Morris will host a cock- tail party at the Essex House on Sunday evening, 17 in honor of the managers. Previous conventions have been held in Geneva, Milan, Paris and Bar- celona. According to Sydney N. Gold- berg, Decca's vice-president in charge of sales, the company didn't lose any ground during August, and now, with the four strongest sales months for the industry coming up, he's bank- ing on a banner year for the company.

Goldberg also noted an up- surge in the sales of the com- pany's tape cartridge product. Decca has been committed to both 8- and 4-track tape car- tridges right from the start and Goldberg indicated that in the recent sales spurt, 8-track sales have been running ahead of 4- track.

To keep the sales ball roll- ing for its theme "Com- ing on Strong," the Decca and Coral labels are releasing 17 pop and classical albums for September. Coral Records' release fea- tures the Bunratty Singers in an album recorded in Ireland.

Point-of-sale merchandising aids in the form of mounted lithos have been prepared to support the September product. The company has also supplied its sales force with full color litho books spotlighting all the new releases. Executive Turntable David C. Watts joins Dot Records as controller-treasurer. He was formerly Western regional manager on Litton Industry's corporate consulting staff. Prior to his four years with Litton he was associated with Hughes Aircraft.

Ken Revercomb joins Dot as a sales oriented executive. His last affiliation was with Imperial as its general manager. Moore has been named to the new post of ad- ministrator, management services at the Capitol Record Club, handling data processing, industrial engineering and quality con- trol. He was formerly with Science Research Associates in Chi- cago.

He had been with the National Recording Corp. Parker will headquarter in Atlanta. He had been a senior broadcast copywriter with J. Ed Douglas is the new talent-promotion vice-president at the newly formed Stontry Publishing Co. Dennis Bond is president of the firm. Before joining Purcell, Miss Gold- man handled public relations for several Florida radio and tele- vision stations. The firm will develop TV, film and disk projects. Georgia broadcasters continue cam- paign against what they consider to be high music fees.

Woodward Bldg. Ciida Mgr. Phone: Phone: Subscription rates payable in advance. One year, S20 in U. Rates in olher foreign countries on reQoest. Copyright by Billboard Publications, Inc. Postmaster, ptease send Form to Billboard 19 Publications, Inc. The theme and slogan of the meet was "Fly High With EML" and the reception hall and con- ference room of EMI house were decked out as an airport reception lounge and airliner interior respectively, with a BOAC hostess to usher the sales force to their seats, with ap- propriate jet take-off effects.

Managing director Ken East opened the conference, welcom- ing the delegates and prepar- ing them for the disclosures to come. Sales and distribution general manager John Fruin ex- plained the incentive plan de- tails of which had already been mailed to dealers on EMI's list, together with a recorded mes- sage from East. Host of the new show is actor-musician Maurice Eaves. Show is aired p. Traditionally, light music is fea- tured early in the show, taper- ing toward heavier classics in the mid-morning hours and go- ing back to lighter music around dawn.

Mounted Records, has been formed by arranger Billy Ver Planck. The 36 prize winners and their wives will jet to Ber- muda on March 16 for 10 days at the Princess Hotel, and their staffs will get merchandise prizes.

Deputy marketing manager Jack Florey announced the mar- keting of 8-lrack stereo car- tridges this fall following a deal with University Recordings. Uni- versity will manufacture and distribute the cartridges in the U. The 8- track slot stereo is based upon the American Motorola deck system, and a trade letter giv- ing full details is being pre- pared. Florey also disclosed that EMI is broadening its reper- toire available through the Philips muicassette system.

By Christmas, there will be new releases featuring the Beatles. Cartridges will also share some of the limelight. The show is being held this year in the Statler Hilton Hotel, Sept. Brian Lane, her manager, and Mike Margolis, her producer, were in New York last week to arrange details with Columbia execu- tives here. She is tentatively set for a guest appearance on the "Ed Sullivan Show" Oct.

Lane said that an album tilled after her hit U. The single has been re- leased in this country. The film is comprised of Dyl- an's Britain tour taking in interviews, parties and back- stage shots. Columbia Records, which Dylan records for, is pro- viding theaters with the artist's albums for play in the lobby and outside. Also, Columbia is working on numerous promotion tie-ins for the film.

Bob Crewe, head of Bob Crewe Productions, may also partici- pate. On Saturday. Father Norman J. Seminars Thursday will also cover 4 and 8-track CARtridges and cartridges will also come up Friday in a panel on car- tridges, turntables, and chang- ers. Norelco is planning to ex- hibit its automatic cassette changer playback unit at the show. The unit, retailing for about SI 00, permits loading of up to six cassettes, providing a total of four and a half hours of music, according to Wybo Semmelink, assistant vice-presi- dent of North American Philips Co.

Norelco is also displaying the , a deck for manual playback of mono or stereo cas- settes. Semmelink stated there will be more than titles available in cassette form by the end of the year.

Many 4 and 8-track firms will have product on display. Their first Epic assignment is to produce for Don and the Goodtimes. They will be talent scouting for the label as well. The disit, set for release this month, will receive a special promotion push when Brynner appears on the Ed Sullivan Show Sunday Burk and Dick Peirce, vice-president and gen- eral manager, have begun eval- uating the label's functions and services.

Facing them arc: the re-es- tablishment of an international distribution network; the future of the Dot Record Club; the continuation of company-owned and independent distribution, including outside lines; he re- tention of such prestige artists as Lawrence Welk and Billy Vaughn, whose contract re- newals have not been com- pleted; infusing a feeling of optimistic excitement among company employees and gear- ing the company to react to a number of singles which show signs of breaking wide open at a time when the top manage- ment switchover from Randy Wood to the new Paramount team is still fresh in everyone's minds.

Burk, who has had no prior record in- dustry experience, admits that Peirce carries the predominant administrative load. With Paramount three years in various business af- fairs roles, Burk will lean on his contacts with the fi'm com- pany to obtain fresh approaches to problems facing the com- pany. We want to be pjrt of the industry. The Burk-Peirce top level team has been bolstered with the addition of a former Litton Industries business tech- nology expert, David C.

Watts, as controller-treasurer. Forty- three-year-old Watts, who will initiate modern business tech- niques throughout the com- pany, fills the post previously held by Bob Vartan, who left before the new management team arrived. Ken Revercomb, formerly general manager of Imperial Records, who was let go in a re- cent Liberty personnel switch- over, has been hired for his "acute knowledge of independ- ent and branch operations" ac- cording to Peirce.

Revercomb, as yet untitled, will trouble- shoot in all areas. To Move Swiftly Burk says the new Dot op- eration will move swiftly within the year. A broader scope of musical activities will be sought, with all independent production and distribtuion deals remaining intact.

Dot will shoot for closer liaiion with Paramount for film soundtracks and TV eries mu- sic. The tightened music concept was in the works over one year, according to Burk. Stinson, as vice-president- general manger of all the pub- lishing companies, co-ordinates the development of music for all Paramount film projects.

Internationally, Dot has to re- solve its overseas licensing. It has gone from British Decca to independent pacts with various firms plus representation with Pye for several nations. The Pye pact has not been renewed. Dot's ties with Cosdel in the Far East remain intact.

David Branower, vice-presi- dent of the association, is arrang- ing talent auditions and a screen- ing program. A successful fea- ture of the group's meetings is the open audition sessions which allow club owners from around the country to observe artists and then select those groups which appeal to them. Wil- liams. The first annual Ed Wynn Humanitarian Award will be presented to Williams at the dinner for his philanthropic and humanitarian causes.

Proceeds from the dinner will be used to establish the Ed Wynn Rehabil- itation Center here. The result was a success on all counts for the RCA Victor artist. Whether overpowering a song or spinning out soft phrases, Ames was at his best.

Possibly his most effective number was 'Try to Remember," which he sang to piano accompaniment without microphone, llie light- ing and vocal fadeout at the conclusion capped a memorable effort. But he also had the power when called for, and his acting experience helped make "John Henry" a standout.

He introduced Richard Rodg- ers' "Strangers" from the forth- songs for Andy Williams, the label's top male vocalist, al- though Nick DeCaro remains the outside producer. Cold is talking ot New York publishers about sendng out teams ot write for him for a number of weeks. Gold feels their time won't be wasted because he won't let them finish a tune he doesn't Uke.

Medleys also were good, especially one of modem pop music. His recent big hit "My Cup Runneth Over" added to the list of high spots, which in- cluded a plaintive "Ballad of the Sad Young Men," which came before his final number, a powerful, spirited "They Call the Wind Maria," a fine end- ing to a fine evening. Mil- lions of dollars are being lost. Reports are that some illegal duplica- tors have been able to turn out product even before the original is on the market.

Yet manufacturers, for the most part, have chosen to remain silent. Suits have been filed against bootleggers but generally by the song publishers. Bootlegging harms not only the record manufacturer, it under- mines everyone from manufacturer to the customer. Let's face it — bad product alienates the consumer from he label and the artist. Suf- ficient laws have been enacted both on the local and national levels. What is needed is a concerted effort on the part of the industry, preferably through the RIAA, to curb bootlegging once and for all.

Neither the bid nor the asked prices of unlisted securities represent actual transactions. Rather, they ore o guide to the range within which tdese securities could have been sold or bought at the time of compilation.

The above quototions compiled for Billboard by Merrill lynch. Earnings before taxes increased Earnings per share. Figures disclosed at annual meeting of stockholders which re-elected all directors.

The first disk being distributed by the com- pany is "Casanova" by Rudy Andrews on Zodiac. Doraine was the founder of Abbey Records and Banner Rec- ords. His associates in the new distributorship are Bob Turn- bull and George Ewing. They are located at 10th Avenue. The meetings were well attended but drew modest reaction.

The meetings were held on three of the mornings, with afternoons and evenings left open for lei- sure activities. The first of the seminars dealt with the rack merchan- diser in relation to the nation's total economy. Amos Heilicher, president of J. Cleveland, and Fred Traub of Disco in Boston, addressed the gathering of some rack merchandisers, distributors and manufacturer executives.

But the rack merchan- diser — he hasn't answered the pressures. Record sales, now accounting for about 75 per cent of business, have increased per cent in five years. David Handleman said, "Record volume is going ahead. Our number of accounts is increasing as well. We are filling in areas we are now in. Jim Shipley, Main Line, Cleveland, advised a "system of weight reduction. Shipley urged: "We must put controls in where we can keep them there.

He added that the economy is solid; that he preferred the going "If It Is a Little Rough"; but that if a shakeout occurred he did not wish to pay for it. He cautioned his listeners not to attempt to build their businesses on a "home run syndrome. He spoke of the population explosion's effect on the record industry and of the need to plan ahead in order to survive.

He concluded: "Real- istically. The new department, which will be separate and distinct from the records and machines departments, will handle the distribution of tapes, films and player equipment for the East- ern Pennsylvania, Southern New Jersey and Delaware areas.

It will mark the fourth separate distributing arm of David Rosen, Inc.. Foley, who was in his 50's, was contact man with Redd Evans' music firm. Before that he was partner in the Smith- Foley publishing firm. He was also a songwriter. Lewis Rosen, son of David Rosen, who has been active with the firm for a number of years, has been named vice- president in charge of the Film and Tape Center.

Distributor franchises already include the full line of Norelco and Craig tape recorder products. In addition, the new depart- ment will handle sales on both store and consumer levels for a vast library of color-sound mm films for coin-operated mov- ie machines, home and school use.

The Rosen firm is the exclu- sive United States distributor for coin-operated movie machines, home and school use. The Rosen firm is the exclusive United States distributor for Cinejuke- box, the only audio-visual ma- chine which combines movies and jukebox in a single unit. David Rosen, Inc. Tape and film sales, said Lewis Rosen, will be backed by "aggressive dealer promotion which will be geared to stimu- late maximum store traffic and store sales.

Doug McGuire is president. The disk is stepping out in the Pittsburgh area, and Date will release the song nationally this month. He but- tressed this with statistics on the growth of the piano and gui- tar fields. Handling "Wnng' Traub stated he felt the rec- ord manufacturers were correct in changing the price of mono LP's to the stereo price.

What was wrong, he said, "was the way the distributors, rack job- bers and retailers handled this changeover. Not enough thought went into the reaction of the consumer and how this person the consumer should have been slowly educated to this change. We failed to realize that the record customer will accept a change, but only if done in a proper manner.

We have found in the area we service that the situation of diminishing LP's has not affected sales, and in fact has increased sales. The reason we enjoyed a favorable transition is that we gave much thought to this change. The process basically used tickets which are returned by the stores as records are sold. Roy Jor- dan, also a composer, will oper- ate the firm. This workshop will be headed by Jordan and Lucas, with groups of young writers meeting to create and test and develop new concepts in lyrics and music.

One of the songs, "Brandy," has recently been cut by Dave Just- in for Polydor, which Farrell said was part of the big Eng- lish response to the material.

The group's single hit "Come on Down to My Boat," co-written by Farrell, has been covered several times. The songbook con- tains 28 pages. Capitol's pre- vious return policy during the period when mono and stereo were equal was a straight mono for mono stereo for stereo situation.

It's also under- stood that Capitol will begin releasing its classical product in stereo only. The label is in no way suggesting to its custom- ers that they decrease the mono price. In fact, the company hopes this price edge will allow store owners an added margin of profit on mono material and hopefully will spur the sales of catalog and standard titles in mono.

HARM Shifts to High —Cartridge Wing Set Stan Gortikov, president of the firm's distribut- ing corporation, is still enthusiastic for the "ulti- mate conversion to a one class inventory. Its death is greatly exaggerated. There is a total backing for mono, a compromise attitude, plus a total belief in exclusive stereo representation. Ticdjcns said the tape market is far too big today and its po- tential too promising to con- tinue being ignored by the asso- ciation.

He said he is no longer interested in the record business excent so far as it is "The mother indi'stry of the business I am now in.

The pre- sentation was impressive and convincing and apparently was aimed at creatine a groundswell amone members to favor the move. Several members, speakine from the floor, pointed out that NARM already covers the mer- chandising of recorded music and quest'oned the need for set- ting up a tape wing.

Art Tal- madge, Musicor Records presi- dent, cautioned members that the tape business perhaps was overblown with ballyhoo, and indicated that the association should not go overboard for tape at this time.

As it now stands, Finley said, auto- motive outlets dominate the carlridcc business. Indications are that the Tape Division's sessions will replace NARM's sagging mid - year meetings which have been drawing half- hearted attendance. The meet- ings have gradually turned into affairs more social than business in content, according to many.

The pallid nature of this year's meeting spurred grumbling among many who attended. Target of most complaints was this year's absence of person-to- person sessions between manu- facturers and rack jobbers. It is no secret that the sum- mer sessions have been a prob- lem for Jules Malamud. NARM's executive director, who has been pondering ways and means to attract healthier par- ticipation for these sessions.

The proposed Tape Division's sessions can help fill the grow- ing mid-year void. NARM's eagerness at this time to grant equal status to tape cartridges on a par with records was seen by some as a radical turnabout in the asso- ciation's unofficial attitude to- ward the new industry. Some members of the cartridge field had been miffed during recent months by what they detected as an anti-tape posture taken by NARM's executive director and some of its officers.

A number of cartridge men are still smarting from the sting of NARM's keynote address during its spring sessions which they felt threw cold water on their hot industry. They believed this talk mirrored NARM's cartridge attitude. In speaking for approval for a NARM Tape Division, several mentioned the mutual gain which could be derived from this move: NARM's members would benefit from exposure and guidance in a fast-growing industry, and NARM itself could bolster its member- ship ranks by an estimated members.

Tiedjens' presentation, com- ing as the last order of business during N A R M's Thursday morning tape meeting, sparked what many felt was an other- wise lackluster session. The company claims it does not scratch. Some of the points covered include such oft-repeated issues as marketplace confusion over multiple configuration, need for standardization in packag- ing, and the problems of pilfer- age. Noteworthy comments by panelists included Jaffe's advice to merchandisers to avoid in- ventory confusion by restricting the number of sources of car- tridge supply, Kirk's report that 90 per cent of Calectron's car- tridge sales were to non-music outlets, and Levitus' call for source marking of cartridge product.

This year, however, "after discovering the market is defi- nitely there, several firms are interested in getting deeper in- volved," he said. Also automobile and auto accessories manufacturers and dealers, photographic firms, consumer and trade pub- lications, record companies, dis- tributors and dealers. Late registrants will have to vie with regular customers for rooms. Mar- keting starts immediately. Each recording selected for release in mini-disk consists of a coupling of two top 10 sides by the same artist.

Thus an art- ist has to have two sides which reach the top 10 before he can be released in the Philco-Ford series. The company is using Billboard's Hot Chart to qualify artists for releases. Phil- co-Ford leases rights for the masters from labels on a master- by-master basis. The Hip Pocket disk release consists of 14 selections.

The firm expects to issue 24 during the first year. Armin E. Vincent P. Novak, new prod- ucts planning manager of the Consumer Electronics Division, said Philco-Ford was aiming its new disk concept at the "8 to year-old market.

Since 25 mini- disks fit into a pocket, Novak. Wholesalers and manufactur- ers here looked and listened to Philco-Ford's presentation but sparked little enthusiasm for the new concept. In addition, Barasb said he would examine each of the defendants before trial in an attempt to ascertain who were their suppliers. Barash said that B. Puppy has engaged the services of pri- vate detectives; that spot checks will be made to determine the purveyors of illegal records; and that a dossier of information will be collected to be made available to all manufacturers willing to fight the bootleggers.

New developments in 8-track, 4-track, 2-track, cas- sette, and other systems will be discussed. Novak's answer to thii was that the mini-disk was aimed at the youngster who al- ready owns the regular 45 sin- gle, but wants a mini-disk for portable use.

Some wholesalers shrugged off the Hip Pocket disk idea, claiming they do not want to handle another disk form, and that the record business is al- ready burdened with multiple speeds and disk sizes. Most said it was against poUcy to turn their product over to an outside firm for marketing. Ford's own marketing organiza- tion will handle the disks and phonos, selling direct to rack jobbers and dealers via Philco- Ford's franchised distribution.

Several industry leaders here said they saw in Philco-Ford's move an exploratory probe at the record mdustry and if it succeeded, more could be ex- pected. Hits Dealers ging in key markets east of the Mississippi, and millions of dol- lars weekly are being dissipated.

Prices for bootleg goods range from 18 to 23 cents, as compared with the normaf- wholesale price of 64 cents. An in- ferior product is foisted on the consumer; the artists lose in popularity; the labels lose sales and its image deteriorates; the copyright owners lose out in mcchantca] royatlics, and the total industry loss is tre- mendous.

It has been rela- tively rare for manufacturers to institute suit; and it has been even rarer to aim the litigation at retailers and distributors. In January , the New York Legislature enacted a law mak- ing the dealer responsible for any bootlegging product mov- ing through his hands. The law states that it is a misdemeanor to manufacture or sell any rec- ord or tape with the knowledge that the product is counter- feited. In recent weeks, as reported exclusively in Billboard, ramp- ant bootlegging activities have prompted a number of manu- facturers including Atlantic, B.

Roulette and others to redesign their labels in order to pose tougher obsta- cles for the counterfeiter. Bee is former vice-president of Lance Music Enterprizes, Albuquerque. The Los Angeles office will market 27 models of color and black-and-white TV, radios, solid-state stereo, tape recorders and transceivers.

Stone Records in Canada has appointed Terry Mann as promotion manager. Mann has 1 1 years' background in radio in both the U. PARIS — Despite the general slump in record sales registered by most French companies this year, Philips sales for the first eight months of are 2 per cent up on the same period last year. This was reported at the annual Philips congress Aug. I which was presided over by S.

Meyerstein-Maigret said that the record industry in France was going through a difficult period and the one French company quoted on the stock exchange Pathe-Marconi had sales figures Solleveld, who said he was celebrating his 2Sth year with Philips, told representatives that Philips in France had shown vigorous growth and was often quoted as an example to other Philips companies. The record market was far from lively at the present time and Philips, under Meyerstein-Maigret, had done ex- tremely well, not only in the matter of turnover but also in the matter of creativity.

The various Philips department chiefs presented their program of new releases to the congress, aided by film clips, slides and excerpts from selected records, and laid particular emphasis on records for children. Philips now leads the French market in children's records and has sold 10 million in 10 years.

Plans for the season include a special record-color- ing book offer with a. Said Meyerstein-Maigret: "There is great potential in the children's market and we must set out to in- terest children in records when they are two years old, not wait until they are five years old. Why not record a winner. Hollywood Mr. Manufacturer: Salesman open for posHhxi. Harper West Hollywood. Write to Iw placed on our national mailing list We ship C. Broadcast writing and production experience a must.

Agency copywriter experience is also desired, preferably as copy chief. Tierketls lilted in parentheiei. Billy Joe Royol. He also will repre- sent Desi-Lu music. Hurt, a brother-in-law of Dot's Pat Boone, already has added the catalogs of Famous Music to his office in the RCA Victor building, and will com- plete the catalog listings as soon as they are available.

He also has been authorized to sign a limited number of exclusive writers, and will concentrate heavily on the country field. Wood, meanwhile, is ex- pected to return to Nashville in mid-September, and will be active in some way in the mu- sic field. Nashville, Tenn. Management: Ron Dillman P. The two companies are still planning to go ahead with KS's selling and distributing psyche- delic poster art created by Bay Area artists associated with Helms.

His debut Buddah LP will be released following change of cover art. The two writers turned vocal- ists, in turn produced the In- nocence single of "Turned On Time" for KS, which has been re-recorded as the background music for a new TV commer- cial. The commercial usage in TV marks a first for the com- pany, which plans expanding in- to other visual media.

Most of the calls, according to dealers and jobbers, are com- ing from instrumentalists in teen rock groups. They're looking for material to broaden repertoire. Though they learn most of their new material by listening to rec- ords and other groups, much of the old blues material they can- not find on record.

Though there are reports that old blues is in short supply on sheet music, jobbers deny this. This exciting album may be Caiola's best yet. It takes an outstanding instrument to keep up with the range and in- tensity of his performance: only an Epiphone Guitar will do. Advertisement live the exultation and suffering of bowed strings' changing moods, interwoven better within.

There's an excellent Leadbelly songbook available from Oak and a good Leadbelly method available from the publishing arm of The Richmond Organiza- tion. And there's a Leadbelly string method that may be called a bestseller. And he said Big Three handles material from Jobete, the Motown publishing wing.

This assures that hot material from Motown and Gordy will be available. We do get isolated calls for soul music, but not enough to indicate a grow- ing demand. The big sheet-mu- sic sellers today have an adult buyer at the other end.

If it weren't for the publisher's list under Billboard's hot I don't know how we would locate this music. Miss Jennings watches the charts closely when order- ing. She only orders in large quantity those that show rapid progress on the chart. Resourceful producers, such as Dunwich here, have found their own sources of notated blues and other material.

Oak has some excellent material, too. The kids are the greatest copiers in the world. They copy records and they copy each other. In the blues field they copy every- thing Paul Butterfield does, which is really copying a copy.

For Butterfield copied several old blues bands he heard when he used to hang around on Max- well Street in Chicago. Every dealer handling this popular instru- ment should know these basics, outlined by the American Mu- sic Conference: The first important must is good fingerboard action — the ease with which the strings can be depressed to the fingerboard. A musician should be able to achieve clear chords without too much effort. Established brand name prod- ucts are an eye catcher of guitar shoppers.

A beginner can become thoroughly discouraged if his instrument cannot produce good sound no matter how adept he becomes with the fingering. Crofut provided clari- net accompaniment to one of Walcott's sitar solos.

Warpage in the neck and fingerboard should be checked on all models. Without excep- tion, no type of guitar can be played if the neck and finger- board are out of line. The qual- ity guitars have a steel rod for neck support. Electrical guitars with steel strings especially need a lot of neck support, whereas some classical and flat top mod- els have nylon strings which cause less tension.

Ebony Most good guitars are made of different ratios of maple, spruce and mahogany. The best models feature ebony finger- boards. A guarantee from the manufacturer is about the best testimony a buyer can have concerning the quality of his instrument. Used guitars, especially the more expensive models, are also an excellent market for dealers because there is very little de- preciation in price.

A good used guitar has nearly the same value as a comparable new model. If you arc handling used models, here are the pitfalls to look for: warpage in the neck and fingerboard; holes or splits in the body; a loose neck; cracked or loose ribs in the body these will make chords buzz , good action and musical accuracy.

Harris-Teller Inc. Sales are increasing year by year. The Federal Guild of German Instrument Makers reported that German musical instru- ments are withstanding compe- tition on tfie world market better than almost any other German specialty product. The dilemma facing the Ger- man industry, however, is whether or not to mechanize. Those opposing mechanization contend that the strong compet- itive position enjoyed by Ger- man musical instruments at present is due to their hand- crafted production.

Although mechanization has doubled production since , many instruments are still com- pletely or partly hand-made. There are instrument fac- tories in Germany, but a large part of production comes from some 1, small workshops of artisans. Pratige It is these small workshops which give German musical in- struments their great prestige.

Almost all hand-made instru- ments in Germany are made on order, and are tailored to the specifications of the musi- cian. The most famous German- made musical instruments are probably Steinway pianos made in Hamburg and violins made in Mittenwald and Bubetu-euth- Erlangen.

The ancient Greek lyre was symmetrical, with seven to nine strings. Gaertner has created new forms for the lyre and given it new range. His lyres are asym- metrical, made of maple and have a two and one-half to three octave range. A large shipment of Spanish- made guitars arrived here on Monday 21 aboard the freight- er Prudential Seajet — the gui- tars being such products as satin among such products as satin handbags, lamps, wrought iron and brass candelabras.

Schmitt, Schmitt Music Co. King introduced a new line of accessories at the Music Show in Chicago. Shipments commenced Sept 1. This unit has two inch heavy-duty speakers which can handle 24 watts of peak power. It has a full complement of controls and in- puts for guitar, accordion, rock organ or wind instruments. Outstanding production work by Steve Douglas.

Miss Longet offers her most commercial effort to date. Top programming ballad that will prove to be a big sales winner. Evans Writer; Gentry Shayne, BMI — The Bobbie Gentry smash proves captivating material for pianist Bryant in this commercial dance arrange- ment loaded with juke box and discotheque appeal. A winner that could make it to the top in sales. Flip; "Ramblin"' M. Loughve T. Hashe- potc Writers: Lindsay-Meicher Daywln, BMI — Exciting rhythm entry, well performed and ar- ranged, should fast establish the new group as top sellers.

Hot teen market item. The Leon Russell arrangement is outstanding. Flip: "Ju. Jerry Ross Writers: Weiss-Ross Saturday, BMI — By far his most commerical entry in some time, Butler offers a top blues ballad that fits all programming and is loaded with sales appeal. Pro- ducer Jerry Ross and the Jimmy Wisner arrange ment lend strong support. Miss Harris could easily make it big on this side of the Atlantic. Beautiful ballad, penned by Tom Springfield, will be started by middle-of-the- road stations.

True, we have in the past and will continue to share even more of the teen-age sale with small independents, but it will take the risk capital of major companies to exploit and maintain the new distribution methods and the heavy catalog necessary to a complete broad spec- company trum of sales. As to music itself, I would not begin to speculate on trends in the popular field. Trends will be created by the explosion of a hit record indicating a new appeal to young people.

And by the explosion of this new appeal, there will be a thousand followers immediately. Some trends will last for only a short time, and some will extend for many years. But it the trend is not something which can be predicted will invariably come from one hit record which has excited the fancy of the teen-age buyer.

Some of these trends will be picked up by older buyers who also find them to their liking, while others will never get beyond the teen-age world. But music of every single kind and dimension will be with us for the whole foreseeable future, and it is this kind of total record business, which Capitol will continue to exploit and even widen through every possible manner of merchandising and distribution.

Somebody, somewhere, erroneously decided that the attainment of a 25th anniversary miraculously endows one with the unique capacity to sift wisdom from the past and to perceive the future in perfect clarity.

But the 2Sth milestone truly brings no such special insight and scarcely offers opportunity to pant a little before resuming the race at breakneck speed.

The event does provide, at least, via the columns of a trade paper, an chance to reflect upon the official "license" to talk, a our commercial environment.

The prior 25 years have been great but how are we going to make our figures for our 26th7 pects, not history.

Capitol's successes of the past 25 years are meaningful, of course, to those of us in the Capitol companies and to the artists who helped shape those successes.

It might be enlightening for you of the trade subdistributors, retailers, radio stations to reflect, too, on the possible benefits yielded personally to you during Capitol's quarter century. What gains in sales, — and programming have you made, directly traceable to the scores of big names on the Capitol talent roster?

What rewards have been yours as a result profits, of Capitol's original pioneering in self-service retailing, in radio station servicing, in point-of-sale merchandising, in album packaging? Certainly those 25 years have favorably influenced most segments of the industry just as most segments of the industry have, in turn, enhanced the accomplishments of Capitol itself.

You live off your "hits" you constantly need a new "hot number" I. The great artistry of Soviet instrumentalists and vocalists has no political or geographic barriers. Hopefully such music contributes in mutual some small way toward better understanding peace. On the Third. Ultimately, we hope our American popular records be offered as freely to Ihe Russians. Perhaps someday like there will be a blending of our folk cultures Martini- will balalaikas.

I'm only kidding! I said I couldn't because being an international man I was leaving tomorrow for Sydney. They said, "Write it while you're traveling. I can't talk about international work without talking about Alex Porges who practically invented the business. In the pre-stratacruiser days, Alex took the boat to Europe, wandering by train from country to country, leaving a trail of upped guarantees behind him.

Trips in those days took endless weeks months and Alex was surely — the Lowell Thomas of the Capitol, owe a lot lo him. We, at say, it's a piece of cake. True, the brain gets a bit soggy from time and climate changes.

And it leaves no time for romantic dalliances, I am told. But you can touch all the bases and pick up enough local intelligence to later fortify your complaints about inadequate royalties.

I can remember when, returning from a trip like this, I would be the focal point of cocktail parties, where I would expound on foreign economics, politics and sexual mores without fear of successful contradiction. Now, the family may not bother to meet the plane, and the man who cleans our pool was there before me. In the office, far from being unique, I can be greeted by an executive like Glenn Wallichs with "How come we're not getting our share of window space in Addis Ababa?

You think I'm kidding? Ask Glenn! An and obvious commentary; In earlier you style change if your season is bad perpetuate style if your season is good.

Certainly the past 25 years in the record business have produced dynamic change. Changes and growth probably will mark the immediate promote. During my seven years in the industry, I've repeatedly heard the death knell sounded for the small indehe survives, resolutely bucking all the forces that allegedly imperil him.

I predict that on Capitol's golden anniversary, too, the independent proprietor will continue to fill a needed role. This will go on as long as certain entrepreneurs are fascinated with our kind of product, as long as they crave the retailer, and still autonomy of proprietorship, and as long as they provide personal services the public wants.

Say a little blessing each day for the chain retailer. He is constantly multiplying outlets for product. He brings the merchandise into the suburban population heartlands. He goes where the traffic is and then creates more.

He appeals to those groups with the highest discretionary income. And he generally pays his bills. The growth in records of many chain retailers is directly traceable to the contributions of the rack jobber, who has proved to the chains that profits can be made from well-operated record departments. Among ihe many changes in distribution patterns that have Sure, too, to chain retailer, Capitol's first quarter century, the emergence of the rack jobbers has certainly been the most dynamic.

The rack jobber has accelerated the distribution evolution by becoming the prime channel for trafficking large quantities of product through the large chain accounts. The rack jobber's own profile is hardly a static one. He is becoming more sophisticated in his marked methods, better capitalized, more promotionally inclined and bigger.

The bigness is the hallmark of Ihe "super" rack jobber who now specializes in servicing large national accounts from a network of warehouses and local representatives. It is. The role of rack job- tion will stand tury. And is became a member of the it yes.

But EMI had some great ambassadors in form of the late Dick Dawes, Charlie Thomas and others who charmed the muskets right out of our hand. EMI carries on "business as usual" in remote places durin,"?

I am fortunate because I have the opportunity to meet my English associates in exotic places and acquire some of their habits, drawing the line only at gin-and-waler. Ihe giants of Ihe industry will grow because this is not a penny-ante game, setting companies throughout the world, and operating bigger. But "as it was in Ihe beginning" these giants will be dependent upon the talent of creative individuals more so. And I am sure that more can be offered the artist in terms of immediate world-wide releases, promotional tours, profitable bookings, and probably new attractions that will be conjured up by the bright minds of the future.

While on this subject, may I emphasize the importance of artists and their managers having the vision lo see beyond the week-to-week domestic bookings, and dedicate time for promotional tours abroad. A trip, properly planned, can return record royalties for years 10 come. Two trips can almost assure it.

We have many case studies lo prove this. The U. You've got lo travel a few miles for the other, but it's well worth it and most artists have fun doing it. My linage is loo long now, so this point I will add something in a sentimental mood.

Another Martini, honey! The editors can snip this without any serious just as — perhaps. Thus I have been able, in negotiations, lo occasionally hoist them on their own petard Actually, in my profound moments I am constantly reminded that music is today the world's only international language.

Capitol's interesting pendent only the cla. World War II exploded American poi record sales abroad. And the Beatles H-bombed the compliment right back at us. Today, any record company that doesn't have strong outlets in major markets is just not years Vice-President, Capitol Records, Inc. What will the international record business of the future be like? I can only guess, like you. And my first guess is that they may not ever call it an "international business.

One big sales organization may be responprices, sible for simultaneous world-wide releases, policies and such, domestic and foreign. No more mystery about it. And I'm kinda sorry about that! A major contribution to such one worldliness, will surely be Ihe speed-up in travel time, when the new supersonic planes scream through the heavens God Oh tor of relationship, as sole distribuin the Western hcmi- Russian recordings, all deeply rooted, as they strive for lower purchase prices from manufacturers.

One manufacturer, through the purchase of two rack-jobbing firms, has already stepped into this form of distribution, and it is questionable whether this will set off a parallel chain reaction by other manufacturers.

If true, then the entire distribution trade could become a tangle of Interlocking, overlapping mazes all carrying duplicate inventories of everybody's labels. Whether this will come about will probably rest with the adequacy of retail product exposure for a manufacturer via the present forms of distribution.

If such exposure unduly shrinks, then manufacturers undoubtedly will seek supplemental and alternative avenues. One should not pass one's 25lh anniversary without saluting the one-stop too.

The one-slop remains the key patron of the single record, and the single record is cherished by us all as the fount of new albums and new artists. The one-slop also has become the valued funnel for channeling product to many small retailers. It is now time to pause for a "commercial" for the radio station.

Twenty-five years' worth of gratitude is due the radio industry for its role in showcasing our product. The gains have been mutual, as that same product has built formats, audiences, and income for the stations.

Unsolved problems in reaching the airwaves still plague all record companies, however in gaining representation on the ever-diminishing playlists In the same year that Capitol marks its 25th year, the mono album begins its exit, coincident with the unification of the mono and stereo prices.

This "disappearing act" would create quite a commotion at anybody's anniversary party. The eventual demise of. The physical space that is thus freed and the duplicated inventory dollars that will be released repre- sent long-awaited achievements. As mono descends slowly on Ihe horizon, it appears that we will not be wanting for substitute duplicated inventories.

A question; With all our headaches and heartaches the music business, have you ever known anyone left it, and doesn't miss it? Someone once defined happiness as "Doing what you like lo do and gelling paid for it. When you look at it that way, there should be a lot of happy people in our industry. With Ihe advent of the tape cartridge, it is almost a misnomer to stale that we are in the field of recorded entertainment, and we'll target lo the consumer, regardless of the communication vehicle he prefers.

Peculiarly, the initial impetus for the tape cartridge was generated by the automobile and automobile-oriented retail and wholesale distribution channels. This is both a complication and a blessing a diversion from our tidy, comfortable format, but a revelation of brand-new market opportunities.

Such a trend can significantly displace the sale of records chiefly singles and dry up important sources of profit — and new talent. Capitol's 25 years mirror an entire industry's a capsule of dynamic changes in patterns of techniques, distribution, people and product.

If any single Capitol contribution can be identified, then that would be the legacy of Capitol's "people. That force is Ihe power of talent itself to shape gains of a record company and an industry. I must remember to do that. To date, I am certainly gratified with Capitol's newly achieved year foundation.

It's been a successful "experiment. Records, anyone? Hclldirvgfvti 16 Copanhaoan-Valbv. Macdonaid Orcriaid Road. Sandhamntgatan Phona Cotogna Gfxmophona Houm.

Uigal Bafcakina 11 Phona: Barctlona C. Oum Oum. Kenton today is outranked only by Tex Ritter in tenure with the Hollywood waxworks. At extreme left, however, is the late Floyd A. Bittaker, national sales manager, and at extreme right is Dave Dexter, now an exec producer, who is the only remaining employee from He occasionally contributes to Billboard and other publications.

Records, Inc. RooseDouglas MacArlhur. Corregidor had had begun May 1 Eastern Slates. Jimmy Dooliltle and 79 American liids had just raided Tolcyo. American iroops were landing in North Ireland. Glenn E. Wallichs roared into New York from Hollywood on a humid June afternoon, checked in New Yorker Hotel, and called the only trade paper editor and perhaps the only human being he at the — — knew who lived in Manhattan.

Together, we made the rounds of radio stations with a supply of the first Capitol records to come off the presses. Gasoline rationing million-selling platter on with an exclusive No. Based on a boogie-woogie bass figure, "CowCow Boogie" was left, as they say.

And that's how Slack. Miss Morse and Capitol popped orchestra and, fortunately for the fledging Johnny Mercer and a Hollywood studio dance band led by pianist Freddie Slack backing a big-voiced Texas brunette, 8-year-old Ella Mac Morse.

She was unknown to record buyers. There were some who recalled that Jimmy Dorsey had discovered her in Fort Worth in and fired her a month firm, 1 sicians American Federation of MuPetrillo decreed that no more under James Caesar records were to be made.

From this day on no more will ever be made by union musicians in the United Slates. RCA Victor as well, was the acute dearth of shellac. Discs in those days required the "juice" of millions of ground-up, pulverized, slightly dead little insects whose gooey remains formed a rare compound which gave strength to a record.

The insects, moreover, lived in trees only in the Orient and Far East, most of which area was occupied by the Japanese. Columbia and With the union's ban on recording and the frustrating shortage of bug "juice" for shellac, Capitol's chances for survival were esimated at 1 00 to one. But somehow it did. In the autumn of , Petrillo changed his mind, then signed contracts with the various networks, and the most spectacular growth of an American industry began. Alone with that expansion, of course, came to later.

By the old Big Three of the recording world had become the Big Four. Capitol was a power. Johnny Mercer sat in the booth.

Mercer was not only one of the nation's finest lyricist, but a gifted singer, talent finder and cofounder of Capitol with Wallichs and Buddy DeSylva of Paramount Pictures. He found a novelty song firm not only sold records, it published a money-making music magazine The Capitol News which attained a world-wide circulation of , copies monthly; marketed phonographs; it sold needles and blank it recording discs, and it had inaugurated a system of supplying radio announcers with special, vinylite pressings of all its new singles which led to the lamentable dog-eat-dog radio exploitation system in effect today.

But that war-torn summer when the Cardinals and Yankees were heading for pennants, she found herself in the C. Many a night we stayed up until 3 and 4 a. For years Capitol led all labels in airplay.

That year, Capitol marketed 14 albums and 48 singles. Mercer was not only writing one hit after another as a lyricist, but his records as a vocalist were consistent smashes. The modest Georgian, serving as Capitol's president, also kept a strong hand in signing and recording talent he favored.

Wallichs was tireless in guiding Capitol from the administrative and sales ends. He hit the road to set up company branches and indie distributors, and with the end of World War II he pioneered Capitol's entrenchment throughout Europe.

DeSylva, the third partner in management, was still a different type. A creative and top boss at Paramount and, like Mercer, a great songwriter on his own. Buddy wisely concerned himself with making profitable movies and leaving Capitol to the dynamic Wallichs-Mercer team.

Never once, in his eight-year affiliation with company, did he interfere with Capitol executives or employees. Lee Gillette came in from Chicago to head a new country and western division. Alan W. Livingston, fresh out of service and wandering casually down Vine Street one afternoon, knocked on the Capitol door, got an interview, was hired to make children's records although he had no children and eventually parlayed his Bozo the Clown series of sock kiddie packages into the presidency of the company.

Kay Starr, Sammy Davis Jr. This is a rare studio photo by Otto Roths- Kenton looked like this in late Ernie Ford. Molly Bee land have you seen her lately? Cole's death of cancer itn Feb. Gillette, are All this time, Capitol occupied a small office suite in the block on Hollywood's Vine Street. Wallichs was the man who unlocked the doors every morning.

Mercer came in, if not every day, frequently enough to keep his artistic fingers in the booming Capitol operation. Goldsen was brought out up and operate a Capitol music publishing enterprise.

And so, when Ihe company in faced another recording ban starting New Year's eve, Capitol issued its first stock dividend of exactly 20 cents its first public stock issue had gone on sale April 30 in Wallichs became the new president, artists were recording on tape for the first time, r. Capitol also moved its personnel into new office space on the northwest corner of Sunset and Vine just above the spacious Music City retail store.

Those same facilities are today occupied by Dot Records. By there were no more radio announcers. Now they were disk jockeys. Guys who didn't know a tenor sax from a tuba were spinning disks on three speeds and telling listeners what to buy. They were receiving hundreds of records a week from scores of companies. Payola became evident. More stress was being made on promoting, merchandising and selling.

The "little" became story shops record the Goliaths. One-slops the I's on, Ihe Capitol recapping. Conkling moved to New York as president of Columbia Records. DcSylva was dead. Wallichs continued to expand the company in every department. Mercer, perhaps disenchanted with the immensity and complex operation of the company, quietly concentrated on songwriting for motion pictures as he docs today.

Hal Cook, now the publisher of Billboard, came in from Peoria, Ken Nelson moved west from Chicago to take over the country and western wheel as Gillette moved up to a pop executive producer's desk. The brilliant arranger and saxophonist Dave D. The hits continued. Les Paul and their on own little Mary Ford broke through, making tapes at their residence and bringing spools ready to master. Kay Starr. Livingston, who played saxophone, sold whiskey and served in the Army before aligning with Capitol, is now today's Capitol's president.

Wallichs is active, despite a serious illness earlier this year, as chairman of the board. Great Britain's mighty EMI owns the company, and has since There are vice-presidents ensconed throughout Ihe top "E"' floor of the Capitol Tower in Hollywood, an imposing, unique circular structure which was completed in April, As Capitol swings into its 26th year, its oldest employee in terms of service Ihe one who careened about New York with Wallichs getting those first black and silver Cap singles aired occasionally reminisces: Let's start with Sammy Davis Jr.

We pulled him out of the Negro ghetto of Los Angeles' Central Avenue in , invited him to make records as a singer-dancer and worked with him nearly two years before Capitol's bosses demanded we drop him. It wasn't until five years later, when he etched "Hey, There" for Decca, that his star began its astounding ascendency. But never once has he acknowledged his "discovery" orally or in his recent biography. Maybe he's forgotten it.

Nat Cole, bless him, was a failure on Decca before he rang the bell on Capitol. It sold big. And when the union flashed the green light to resume live sessions, Ihe King Cole Trio was quickly signed by Wallichs and Mercer for exclusive disking services. It proved a memorable liason.

When the lovable Cole died on Feb. Stan Kenton's story is somewhat similar. He founded orchestra in June, , at Balboa, Calif. Decca recorded Ihe group until the ban began 13 months In the fall of when record studios became active again Wallichs and I were delighted to find Kenton available, and with Ihe approval of Stan's sweating, nervous mentor, Carlos Gastel, Ihe daring six foot-four inch pianist moved into the MacGregor studios and came out with "Eager Beaver," the company's 59lh single.

It promptly placed Kenton on a level with Ihe immensely popular bands of Glenn Miller. Harry James and the two Dorsey brothers. Benny Carter also comes to mind. His record of Hurry" with a sexy, insinuating vocal by Savannah Churchill put Capitol into the "Sepia" charts that's what they were called in for the first "Hurry, time. Capitol's first album featured Johnny Mercer as vocalist with Jo Stafford, Ihe Pied Pipers and Weston's Its second package, all 78 shellacs, remember, offered Christmas carols by a children's The third, a jazz program featuring impressive names like Jimmie Noone, Jack Teagarden.

A mother just a few weeks, her singing of "That Old Feeling" and "Ain't Going No Place" led her to a long-term Capitol contract and 25 years of enviable show business achievements. We recall one mad night when the genial Mercer, fortified by a case of fifths in a studio corner, worked as songwriter, singer and producer with Weston, Jerry Colonna and two dozen musicians. Somebody brought in a live horse and rode it around to lend "atmosphere" to the session. It look a couple of days to clean up the mess.

Coleman Hawkins, one of the two greatest tenor saxisis in history, insisted he could record only after he finished a nightclub gig at 2 a.

Along about 5, we finished a catchy little riff tune called "Stuffy" which sold , copies. He still gets royalties. Buddy DeSylya and Glenn E. Miss Morse, now retired, came out of Texas to team with pianist Freddie Slack for several smashes. This is a scene from Columbia's unmemorable "Reveille With Beverly" musical. The girl is June Hutton. Weston, Russell and the Pied Pipers turned out a series of hit and albums throughout the era in Hollywood.

She got her start, however, with orchestra of Joe Venuti. Kay Starr was always a marvelous singer. In Texas, in Oklahoma, in Tennessee and with Joe Venuti's dance band she impressed, but in hardly anyone knew of her talents.

When we pleaded to sign her with Jim Conkling, he agreed only if we placed her on ihc smaller Americana subsidiary label and treated her as a Negro blues shouter.

Even with that handicap, Kay made Lee was a warm and good-natured woman who played two-fisted piano and bellowed the blues Julia.

Recording Julia was like taking a vacation. Blues and jazz were fun projects and in those days they all sold profitably. Lizzie Miles and Bugle Sam Dekemel on acetate masters. For special sessions in which all styles were combined we named the band, with remarkable lack of ingenuity. The Capitol Jazzmen. On one wild dale we wound up with Goodman and Kenton singing a duct. Duke Ellington, greatest of the great, was a major disappointment.

During his two years with Capitol he composed only one original that has emerged as a standard, "Satin Doll. A solo piano album, nonetheless, remains a most artistic and musically valuable entry in the year Capitol catalogue. Woody Herman? Nicest man in the world to work with, and his musicianship and taste are unerringly the finest. Frank Sinatra was down and almost out in C movie offers nor personal appearances. Columbia's Mitch Miller humiliated Frank with bad songs; he even teamed him with a big-bosomed, no talent girl named Dagmar on a song which called for the once-mighty Sinatra to bark like a neither at the old C.

Studios in not only brought Peggy Lee out of married. Released during Christmas week that year, it zoomed into million-plus sales the first week and led into what still stands in as the most phenomenally successful artist or group of artists in history. No attraction in 25 years has meant so much to Capitol.

It's a long dim trail from the war-torn days of when "Cow-Cow Boogie" and "Strip Polka" catapulted Capitol off the firing pad and into contention as a record company. Artist and employees have come and gone, mammoth rack operations have replaced thousands of little record shops, r.

We We dog. But Frank's few loyal friends kept puiKhing in behalf. Capitol artists June Hutton and Axel persisted in pleading with this writer that Frank, after Columbia dropped him, was singing superbly once again and could become a winner if given another chance with a fresh label. And so with Alan Livingston's arranging for a contract with the William Morris office, the stubborn predictions of the HuttonStordahl team soon proved accurate and Sinatra has never slowed since, although his 51 -year-old pipes may at times sound rusty to some of who followed him closely as far back as when he pushed off from New Jersey as a kid baritone with Harry James' first band.

Moving into the stretch as we start our 25th year with Capitol, and not unaware of the hundreds of Capitol workers down through the years who have contributed much to the CR! In , British EMI offered to this writer, along with some 20 or more other singles samples in one carton, a r. Beatles single entitled "Love Me Do It was an undistinguished song, John Lennon's breathy harmonica sounded like a poor imitation of Sonny Terry, and the four Liverpool voices weren't much different than a jillion other quartets.

We swiftly rejected the record. After several other submissions, EMI placed it with Veejay, which not only released it but diligently promoted it. Neither record sold. Today, VeeJay is bankrupt. He had in retirement but to the Capitol label for a long and happy association. All of us who deal in talent and sounds have made flops than hits.

And today the world is inundated with albums and singles. Fewer than S per cent pay for their making. Yet it all remains a challenge, a lest, a constant competition to the many of us who know no other way more of life. It is definitely more difficult today to create entertainment that people want, and will buy, than it was 10, 25 or 50 years ago.

But to some of us who were destined to become record men, and who will remain record men until we die off one by one, there simply isn't anything else. Let's go for another 25! I forget what we scheduled on the "hit" side because Hal kept saying: "But listen, It Took Imagination, — play that 'Nola' side again that's the biggest have this summer. In three weeks we ate our words. Of course we didn't goof on everything. The best kicks were passing off Jo Stafford as Cinderella G. Stump on "Temptation" and Pee Wee Hunt's great hit of "12th Street Rag" which almost escaped us when the master was accidentally thrown in the ash can.

In he early days of Capitol, its philosophy in selecting artists and staff manpower was to take on the unl nown and develop him. Even today, Capitol seems to have no reputation of raiding its competitors for artists or manpower.

I think it was this philosophy that got me my job with Capitol. I really knew nothing about record making but Paul Weston then musical director of Capitol introduced me to Glenn Wallichs and Johnny Mercer. In spite of my lack of qualifications, they seemed willing to take a chance on an unknown and I was hired to assist At Johnny Mercer. But with Johnny Mer- personnel a the cer's intuitive sense of songs and artists, Capitol enjoyed a constant string of hits and new artists while Glenn Wallichs without a factory and with all kinds of war- — time restrictions on shellac, etc.

One great push forward occurred lichs located a source of Vinylite when Glenn Walwhich enabled Capitol to furnish the DJ's with the first non-breakable, noisecoupled with the excitement of new artists and new hits, made the Capitol label overnight the most played label on the air. About a year later, it was decided to expand the release of albums and to pioneer heavily in the untapped children's record field. I remember an Army lieutenant about to be discharged pestering me almost every day for a job.

He insisted that he could break open the children's market for Capitol and also run the album department with his left hand. His qualifications to run a children's department were challenging, for in addition to being an Army officer he had specialized before the war in public relations for Calvert's whisky. This, Seeming no less qualified In , when shellac was very short and Capitol, to make matters worse, didn't have a factory of its own, Johnny Mercer recorded "On the Atchison, Topeka and the Santa Fe.

But Glenn Wallichs went further. He was sure it was a hit and secretly had a half million copies manufactured before the record was ever released.

Today this might not seem so brave but you must remember then that this committed half of new job than I and Johnny hired for this had been a year before when Glenn the shellac available to Capitol for a six-week period committed to an untried record. It operated out of a couple of small store fronts on Vine Street with just a handful of people women. His name was Alan Livingston and he created an overnight hit with his writing and production of the Bozo the Clown Scries and many other great classics in the children's recorded field.

As an anticlimax, he is now president of Capitol. Both Glenn and Johnny were especially wonderful to work for because they encouraged all of us to seek always with the out the unusual and to take chances assurance that we had the right to make mistakes.

In this latter privilege, I sometimes think I overstepped what they had in mind. However, as a favor to Nat and the writers we condescended to throw it on the back of a sure hit and give — it a free ride. The absolute, positive, sure hit that it was to ride on the back of was called "The Greatest Inventor of Them All," which fell on its face the day after release and was never heard from again. The children's record field turned out to be a great success.

The comedy field as a pioneering effort was a disaster. It wasn't the artist's fault, for he was Bob Hope at the peak of his wartime popularity. The material was surewas edited down from the outstanding shows fire it he had done for the various branches of the Armed Services. The promotion was the biggest Capitol had ever done full-page ads in Life plus a chartered DC-4 carrying thousands of the heavy r. But the album hardlv sold a copy.

I think they are. If you ask me what is responsible for the? I like to use Capitol some other independent comnanics would also qualify as an example of what can he created under the free enterprise, competitive system in this country.

It seems to prove that it is still possible to build a leadine company from scratch in a field — dominated bv giants without monev in front; without pull or "knowine the right people"; without a PhD depree: without chcatintt or paying off.

Wallichs, invited me to lunch in Hollywood. During the course of our luncheon, he filled me in on the progress of one of his newer ventures, a new record company which he had set up in with Johnny Mercer, lyricist, and Buddy De Sylva, executive producer of Paramount Pictures. Glenn's invitation to join Capitol was too tempting to pass up.

Paul Weston, who was label's musical director: the late Floyd Biltaker. C Nothing equals the excitement or challenge of becoming a part of a new, vibrant and rapidly expanding operation in the entertainment field. Capitol was growing with explosive violence in those first few years, and all problems were compounded by the wartime regulations. In effect, wage, salary, and price controls were major blocks to manpower expansion of nonessential industries.

Office space was even in short supply, and building restrictions made for difficulties in altering existing structures. Recording studio space and time was at a premium, and the availability of custom pressing materials and plant facilities was a constant limitation on sales. At that time, 78 r. THE CAPITOL ERA One by one, we tackled and solved, or compromised, these problems, and with the additional help of the first Petrillo recording ban which gave new and small companies exclusives on their releases, Capitol rapidly established itself as the company to watch.

Johnny Mercer's genius was evident in the choice of tunes and artists recorded and lucked away before the ban stopped new recordings.

De Sylva's stature and connections with top artists too was of inestimable help to the company. All these factors, when combined with careful planning on the distribution of available merchandise and new ideas and methods of promotion through DJ's and radio stations throughout the country, quickly brought Capitol to the status of a major factor in what was then a pop singles industry.

Innovation was always a major policy with Capitol, which pioneered in the development of specially planned albums of records, as opposed to other companies which packaged existing singles in album form.

Another major first for Capitol during its early years was the development of a very strong children's catalog using Disney and other cartoon characters as well as their own specially developed characters, stories and record readers, which combined books and records for children.

Later years particularly the from shellac to the first of the available on all were equally productive and hectic, years of the speed changes and switch vinyl records. State Dept. Says manager Bill McEuen: "On the creative level we dealt directly with the Russians but financial matters were handled by the State Dept. In this case the U. It's like giving a velvet suit to a lady in a Motel 6," says McEuen.

The only personal turmoil was a few cases of "road tension amplified by not being able to talk to home. But we hope we made a dent in the door.

For 26 years he has been employed here by Capitol Records as a graphic arts wizard. All are nationally noted craftsmen. Many art directors have recently been reaching back to the prevailing styles of years ago for motifs and symbolisms and then restructuring them to more sophisticated contemporary tastes.

They are all viable today. Schwartz doesn't bitch about it. Schwartz, a fervent disciple of est and an airplane pilot every weekend, reminds that it was Capitol which dared to use four -color album covers -a worldwide industry first in when he was a mere rookie with the company.

Lou Schurrer and Lloyd W. Schwartz says he has produced "thousands" of LP covers. For six years now he has worked exclusively with Capitol's Angel Records wing and exclusively with classical prod- - uct. It must be exceptional, and just precisely right for whatever the music is in the album. Armitage Ave. And some labels are still relying on reproductions of oil paintings, as we did for many years.

But if you have an LP by a young and promising artist like the conductor Riccardo Muti, and you are advised he will be touring the U. It's all dreadful. It minimizes the sales of their records. Jackie Gleason used to do that back in the '50s with his mood music albums.

His original paintings weren't that bad but they never seemed to complement the music he was performing. In his office in the circular Capitol Tower, Schwartz conceives the front and back covers of virtually every classical LP issued by the parent EMI England firm internationally.

His artwork is shipped all over the world, via four color separation negatives and a fifth "floating" negative which accommodates the various logos involved. He skies to London every year to huddle with EMI graphics experts from all over the globe. Schwartz' title is director of EMI's international design center.

He admires the creations of many others in the same job, even those with rival labels. Columbia's John Continued on page 77 www. Some attended bash. Reitman emphasized that the label will formulate "a more flexible advertising plan" while targeting ad dollars to more clearly defined demographics.

Cohen said that future signings will be on a limited basis, although the label is seeking "fresh and distinctive new talent. Fead added that equipment is being scrutinized and samples have been shipped to deejays. Continued from page 10 tional sales on new and established artists. Other topics dealt with bar coding, tape marketing, multiple pricing on albums and in -store displays. Constant interaction between manager and record company was the underlying premise at the managers panel, chaired by Martin Kirkup, director of artist development.

Rudge claimed the label's field force was equally as important as the head office in letting management know how strong a band is in each market.

In a lively question and answer period, Rudge argued how difficult it is to break a new act and complained about the lack of adequate venues. Said Rudge: "If an act is good it's got a fair shot regardless of where it plays. In fact, too hot to handle. And as it bulleted up the charts, we knew we were to going have to release the single that gave the album so much energy. It's out now. In fact, the first 50, copies were shipped in a glowing red vinyl. And you'll know why the whole countrys ears are burning.

The performer says that's what he's used to and he's comfortable with the noise and the crowd reaction. You have to tell the artist that tv is tremendously intimate and you need a whole different psychological approach to performing in it.

Consequently, he has to have an approach to presenting music on the tube when he does land a contract to produce a program or weekly stanza. We're a contemporary- formated station on the Eastern shore of Maryland with a clear channel signal covering Delaware, Maryland and Virginia counties.

We have a record rotation of about 50 singles based on Billboard's Hot Chart, plus picks by our jocks. Mixed in with the currents are album cuts from the Top LPs chart and, of course, oldies. The large and flexible playlist gives the jock a chance to pretty much program his own show with a good music flow.

As far as record service goes, we have little to complain about. The companies have been great getting us not only singles, but LPs, too. Some have even sent us releases of up to 10 years ago that we never had. There are some really fine record reps working in the Baltimore -Washington -Philadelphia area who have gone out of their way to help us. Our jocks include Fred Webster 6 a. Bob Connelly and Mike Hartman work weekends and fill -in.

WDMV is always running some sort of promotion, but one thing in particular that I've never heard any other station doing was what we did at the end of last summer. We decided to have an unique way to raise money for the retarded citizens of the area. So Johnny Donovan volunteered his services and climbed to the top of our tower feet and held a sitathon.

He planned on staying up there for a few days but the wind got bad and almost blew him across Chesapeake Bay. A two -hour big event on the American teenager is set for NBC TV in October featuring music of the period as well as other arts remembrances.

With representatives from one of these major U. We've made what we've done succeed. Rawls came across so well that Clark booked him among the guests on the Anson Williams special. The "Bandstand" anniversary airing on Feb. He's already mapped out the idea. It's an automated beautiful music station, with programming from the FM people in Chicago. Rob just wants to take a rest. Says he'll report in when he gets back to town in a few weeks. And the station sounds great. On preliminary samples we're taking the town by storm, especially in our target area of 25 Except, since these are the only awards given in this business that amount to anything and I value the two which I won , I would encourage you to further the idea and award time periods by regions or the like.

I can't wait to do an album together, but I've only been here six months. Titled "Not Just Whistlin' Dixie: Atlanta's Music, ," the show includes the first chimes used by WSB for station identification, a vintage microphone on which Rudolph Valentino sang while visiting the infant WSB in , an early WSB identification banner, an early crystal -type radio receiver, and one of the first "portable" radios ever made.

I'm a card carrying sentimentalist. Hearty congratulations to these writers of the most performed songs in the BMI repertoire during Billboard Publications, Inc. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior written permission of the publisher.

J;n A:1,42i, a ii. Johnson, program director of KDAY. The main thing I'm toying to do is get black folks to listen to the station. At one time you could do that. But now the blacks will simply listen to another radio station. Johnson his real name is James O. Johnson Jr. His radio career actually started in the first week of when he started working part-time at WABQ, a day-time soul music station in Cleveland. Highest numerical position record reached.

Total number of weeks on Label and record number. Picture Trivia index of Top Artists. Be an Order your set today! Box Mail your check or money order to: Record Research Inc. Box Menomonee Falls. Name Address e. I'd like to get in touch with him, if anyone knows' his phone number. Sea had been the night jock. Zip learned in the previous three years.

For a while, he worked one shift and then another noon, midnight -6 a. I was program director and I did a lot of work, but I didn't actually program the station. And I don't think I did a very good job, really.

The circumstances were kind of weird. I couldn't relate to the station, which is no excuse because when you have a job to do, you do it.

But, for one reason or another, I couldn't pull that one together right. I know Maddox offered me a job at least twice, but I respectfully turned it down. It was a great radio station. In winter, I worked only on the weekends. Usually, I would sign the station on in the morning, then go home and go to school, then come back at 7 p. I was 19 years old. It was cool. He thinks he may have been the youngest jock to work at the station until that time years old. And as swing man, "I made more money for less work than I'd ever earned in my life.

On the other hand, when you worked. At press time no replacement had been named. The figure is a licensing fee from the network to the producer, he explains, and that includes above the line and below the line expenses.

Talent is above; equipment below the line. There are times where you have above the line costs only, Clark notes, because the network provides the equipment. If there is one area which irks Clark the most it is probably the qualifications of persons calling themselves executive producers of musical variety shows.

It's the worst title held in the least regard, but I don't mind because I work at it. I'm the only one who's appeared on both sides of the camera.

That's the nature of the television business. The stanza now carries Black's name. Jay Stone, production director of 96KX in Pittsburgh, calls it "the most definitive statement on pop music ever produced. Which is to say since I am the show's talent coordinator, researcher, writer, announcer, producer, contract supervisor, packager and promoter , I'll be there with my portable tape recorder.

And he's enjoying it. And I still don't. I just can't picture myself in a steel mill. Radio isn't work. In other jobs, they want human machines. In radio, everyone is a personality-from Paul Drew to the account executive. Everybody is always firing off one -liners. The radio man is fortunate, he feels, who finds himself a real radio wife.

He speaks of Don St. John's wife Brenda "who understands the most technical aspects of radio and participates in conversation because I don't care what a radio man is doing or where he's at, he's more than likely talking shop. Those kind of women, though, are rare, I think. It's just that Maddox is not me. If I had one, I'd just get hung up on it. Actually, in music I'm going to do whatever it takes to get ratings.

And sometimes there may be a question about a record and I'll watch it, instead of playing it, but other times I'll play a record right out of the box and so far I haven't been wrong when I did this. Other times when I've waited, I've eventually had to go on a record. Let's see what happens.

I'm actually not a big planner. That's what's important. Play your aircheck and he will critique it as well as guide critiques from other general managers and program directors at your table. This is your chance to find out what other PDs and GMs really think of your station and format! Sales Mgr. VP, Oper. Speakers to be announced. Example: Gen. American Express www. On the air continuously since World War II, 'Here's To Veterans' is broadcast by some 1, radio stations in this country and overseas, so it's an effective vehicle for exposing new records while also helping inform veterans about the benefits they earned while in military service.

KCUB needs an air personality; English is also doing -3 p. He's another Texas University grad like me, so he can't be all bad. Jet says it was the first time these stations were linked for any reason. Has seven years experience, "includ- ing three years programming WMMR in its heyday. Brunswick, N. McCoy immediately took off on vacation to Europe, leaving Patton to push "Recon," a research system that probably has Arbitron executives downing aspirin tablets by the ton.

If you haven't heard about "Recon" yet, you might call Patton at and find out what it's all about. Lineup includes Bryan Hicks with country music a. Clifford is music director and both he and Betsy play Top 40, but they need records and guarantee air- with a patio-garden equipped with waterfall.

When my music director came to me the other day with two new music releases asking what I thought about the lyrics, I figured it was about time to jump on the bandwagon with many programmers who are concerned about some lyrical content of certain country songs. One of the attractions of country music, I believe, is that many of the songs are about actual experiences and listeners can relate personal experiences of their own to the songs.

It hits home. But there should be some discretion from record labels as to what they put out. Like the complaints that came occasionally from the drug- related songs in rock music, over- suggestive sexual overtones in country music is getting to be too much.

With the growth country music has experienced in the last few years, I believe it may get into serious trouble if the controversy continues about the lyrics. From less than stations playing country music in to more than 1, today speaks pretty good for country.

In many cases if some of these few cases of bad lyrics continue to grow, we could see a decline in country music popularity. The problem can't be entirely with the artist. Some writers and publishers should get with it and realize the harm they can do. With a little help from the country promotion people, and everybody involved, I think it can stop.

Our switch to country music has been profitable for us and popular with our listeners. The country promotional staffs are the best as far as my experiences are concerned there are, so why don't we all wake up together and whip it? There are some good new artists not being heard in some areas solely on the content of their music. And some established stars will get a bad rap, too. Country music is fantastic. I still have my copy, but I couldn't find it in 4, years.

He'll see record people and listen to product 10 a. Mondays and Tuesdays and take phone calls Thursdays and Fridays 10 -noon. Up to 52 monthly and annual charts per year!!!!! PLUS-More than trivia questions and answers!! PLUS-6 Indexes! Each singles index contains every record that ever made the weekly top 10 charts; each album index contains every album that ever made the weekly top 5 charts!!

Box , St. Louis, MO Please send me: of all four books at the special! No part of this publication may be reproduced, stored in a retrieval system, or transmitted, it any form or by any means. A London spokesman says the tapes are being issued to fill "a modest but persistent demand for quality product" in the format.

Additional titles will be imported on a periodic basis, he says. Most recently, London 8 -track tapes were duplicated and marketed in the U. Fleetwood Mac, Warner Bros. Thirteen titles comprise the initial offering, made up of standard classical works taken from the London, Phase 4, and Argo catalogs. Artists featured include Luciano James Taylor, Columbia 3.

The Russian ballet music will comprise one of three direct -disks the L. Leinsdorf, former music director of the Boston Symphony, will helm all three. The conductor has programmed Ravel's "La Valse" and Stravinsky's "Firebird Suite," in the original orchestration, to comprise the second direct -disk, while a third album will be devoted to orchestral Wagner, including "Sigfried's Death And Funeral Music" from "Gotter- dammerung.

It will be only the third time that a symphonic ensemble has participated in modern direct -disk recording. Avery Fisher was honored for his gift to Lincoln Center to rebuild the New York Philharmonic concert hall and improve its acoustics. Registering approval at right is Rose classical buyer Rik Schoenberg. Tucked away in the label's first release are a number of albums in first -time offerings through retailers that may quickly take a preferred position among competing versions.

These titles are in the segment of the Pickwick budget line tagged "Critic's Choice," each carrying a reprint of a laudatory review intended to influence new buyers faced with heavy duplication of standard repertoire.

They were formerly available in this country only through the Readers Digest mail-order club. Of particular interest are two concerto recordings by pianist Earl Wild, an artist whose time for major recognition is long overdue. Few performers can muster the fresh excitement he brings to those over -familiar warhorses, the Tchaikovsky No. Hardly of less significance are the several titles recorded by Jascha Horenstein of Dvorak, Tchaikovsky and Brahms symphonies, as well as in an accompanying role with Wild.

More of the late conductor's work has been surfacing lately on a number of labels and a Horenstein cult has been a- building. Add a top -level reading of the Sibelius Second Symphony by Sir John Barbirolli and the Royal Philharmonic and the number of outstanding performances in the first Quintessence release assumes awesome proportions.

Most of these recordings were produced for Readers Digest in the early s, but no apologies for the sound are needed. If not the last word in contemporary recording technique, they nevertheless do display a quality of sound more than adequate to the musical purpose. They may well add additional support to the long- standing claim of collectors: Newest isn't always the best. The music season gets underway July 12 with a performance of Gustav Mahler's "Symphony of a Thousand" with Erich Leinsdorf appearing as guest conductor.

Thirty -five concerts are booked, all presenting internationally known conductors, instrumental soloists and singers. The resident orchestra is the Los Angeles Philharmonic. This year's series will close Sept. The ploy of using a single to gain airplay and chart placings, so promoting an LP, is standard in the pop area, but new to classical marketing here. The Decca release is more unusual in that it comes from a company not used to "revolutionary" marketing techniques.

White, A. Washington, M. Hicks, M. Adams, D. Webster, T. Dozier, F. Miller, T. Lockett, O. Wilhoite, C. Wolinski, A. Randazzo, V. Pike, R. Hill W Banks, H. O -Ohio Players W. Beck, J. Williams, M. Jones, M. Pierce, R. Middlebrooks, C. Brown, T. Ashford, V. Simpson , Warner Bros. Bland, A. Doheny, H. Stuart , Spring Polydor Wainer Bros. Kirke, P. Warner Bros. Dickerson, L. Jordan, C. Miller, L. Oskar, H. Scott, J.

Sager, Crusaders Hooper, W. Felder, L. Carlton, R. Popwell, L. Tayter, P. McDonald, D. Shields, A. Abrahams, T. Wiley , 20th Century , 70 Masser 8 Mandrill M. Willis, A. Allen, H. Brown, Phonogram 74 L. Farrow, C. Williams, C. McDonald, P. Baskett, L. Groves , Columbia 3. Gibb, R. Gibb, M. Gibb , Warner Bros. King N. Byrd, M.

Saunders , Fantasy 40 I H. Mason , Arista Peabo Bryson P. Green, R. Roker, G. BMI S. Casey, R. Felder, N. Harris, R. Adams , Red Greg Sug. Lucas, V. Preston, B. Woods, T. Tyson, R. Addrisi, D. Gamble, L. Huff, C. Brinson, E. McGhee, F. Felder, T. Conway, R. Isley, O. Isley, R. Isley, E. Isley, M. Isley, 20 E. Marshall, T. Lewis, F. Blackmon, G. Sylvers, J. Graham , Warner Bros. Collins, G. Clinton , Warner Bros. Baylor, L.

Boyell, B. Tamerlane, BMI 12 9 C. Ivey, T. Hamlisch, C. Gamble, n T. Woodford, M. Stokes, B. Just because they're black organizations is no longer enough of a reason. The money spent on black product is minimal and the blacks with impressive titles have no voice in setting policy. This same programmer feels that by the year's end feedback to the existing three groups will be overwhelmingly in favor of them mere: ing to have one conference while retaining separate entities.

No part of tn. The problem is that these conventions have the same people involved, talking about the same problems to the same audience and everyone going away with the same answers. When some labels decide not to, many people claim the companies support all white conventions but not ours. With the label and radio representatives, the conventions could be broadened to include black publishers, artist managers and maybe even a session conducted by recording artists themselves.

Oliver, W. Robbins, T. It's also an inexpensive form of entertainment and people who are into music can get all the music they want in these places. Now I find that with the same types of acts the audience is 16 to 45," he adds. King contends that there are times when a promoter must take a financial cut in order to give his audience an exceptional show and at the same time build his credibility in the marketplace.

He further claims that unlike the past when the most important element when buying talent was the acts' performance, the promoter must now deal with the personal habits of acts. The audience is just not buying the big ego trips and acts that actually insult them from the stage," says King. He notes that many of his acts are through Billboard, local record shops in the areas where he intends to put on shows and from questionaires distributed through retail record outlets. King cites an example of a group which he refused to book.

I couldn't take a risk with this act. He just might do this to my audience, so I canceled the show. We try to stay selected 77 2 7 away from acts which are ego -tripping or drug addicts.

How do you give them that kind of money and then pay a supporting act plus your overhead? They have outpriced themselves. He claims the Southern region is economically lower than some other parts of the country, therefore ticket prices reflect the difference. In buying you must buy within the ticket price range," he says. He adds that this doesn't mean you're giving the Southern states second rate entertainment, "it only means that you're making less profit.

It's in the process of packaging a summer jazz festival and an all- country concert.

8 thoughts on “Midnight In Moscow - Max Greger And His Orchestra* - Sax In Gold (8-Track Cartridge)”

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