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> Who decided which orchestra would record a song?
post May 29 2006, 07:37 PM
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Something I've often wondered about is, within a record company, how was it decided which orchestra (or personality as far as that goes if a vocal) would record which song. Within Victor, for instance, was there a person called Chief of Recording Sessions? I remember reading the name Eddie King somewhere, a person responsible for rejecting the Goldkette version of I Didn't Know--imagine what a test pressing of that record would be worth!-- because it was considered too jazzy for Victor's clientelle. Who decided, for instance, that the Coon-Sanders orchestra was the best one to cut Yes Sir! That's My Baby and Flamin' Mamie, as opposed to George Olsen or Johnny Hamp? Rust's shows that I Can't Realize, Yes Sir!, Everything is Hotsy-Totsy Now and Dreaming of Tomorrow were all cut on July 27, 1925, with Hotsy-Totsy being rejected, but then being recut and coupled with That's All There Is on August 7. I know these leaders had contracts with Victor--was it for a set number of sides? Would someone from Victor just call Coon or Sanders and say "We need your band in the studio on such and such a day" and they'd show up. Also, I understand that before the ASCAP strike of 1942, it didn't matter how many discs were sold of a recording--10 or 10,000,000--the band got the same pay, there was no such thing as royalties. The band leader was paid, then he paid his personnel out of his check. These are just some of the puzzlements I've had about this business over the years. And, as 'tho that's not enough, were the policies pretty much the same with all companies?


Eddie the Collector
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