© - Steven A. Cerra, copyright protected; all
rights reserved.
Sometimes it’s fun
to look back and see how much things can change in a person’s lifetime.
Until the advent of digital sound
files in the later part of the 20th
century, recorded music was still analog-based.
The music was
preserved on tape and then transferred to vinyl by record companies who owned
the rights to the music.
Cover art or
photography was commissioned, someone wrote the notes and compiled the track
information for the back cover and off went the newly minted 33 1/3 rpm
long-playing records to a wholesale distributor who then made them available to
retail outlets.
There are still
recording companies today, some very large and others of the boutique variety
which are usually devoted to a specific style of music. Much of today’s music
is self-produced.
Almost all of
today’s music is recorded digitally and distributed primarily through compact
disc or some form of downloadable file-sharing system or streaming app.
I doubt that the
following story that John Tynan, the then West Coast Editor of Downbeat magazine, recounts of the first
15-years or so of Capitol Records’ existence could be written today.
And that’s what
makes it so much fun to read.
What a difference
a half-century + makes!
© - John Tynan/Downbeat magazine, copyright
protected; all rights reserved.
"WHEN A RECORD COMPANY erects a
$2,000,000 temple to its own greatness, it's time to probe the wherefore.
About the time of
the outbreak of World War II in Europe ,
a quiet young Iowan named Glenn Wallichs was operating a small recording
studio at 5205 Hollywood Boulevard . With the country just pulling out of the
depression, things were beginning to improve a bit business-wise, but it was
still a scuffle for many small enterprises such as Wallichs'.
Sharing the
premises with the recording studio, even to using the same telephone, was a
radio announcer who owned a record store he called "The Stomp Shop."
His name was Al Jarvis. Also operating from the same location — and using that
same serviceable phone — were Charles Emge and Ward Humphrey the publishers of
a lively weekly magazine, Tempo,
which chronicled the music activities of the west coast throughout the '30s. From
this rather unseemly beginning grew Capitol Records.
WITH THE TURN of
the decade Wallichs decided to open a record store. To this end he entered into
partnership with his father, Oscar, who at the time owned an appliance shop in Hollywood . Together they launched Music City .
One such songwriter,
Johnny Mercer, who made Music City his base of social and professional
operations, had by 1941 formed a fast friendship with Wallichs. The
epoch-making negotiations between Mercer and Wallichs that led to Capitol's
founding reportedly went something like this:
Wallichs:
"Johnny, how would you like to start a record company?"
Mercer: "I
wouldn't. But I know someone who would."
Wallichs:
"Who is he? Can you get hold of him?"
Mercer:
"Name's Buddy DeSylva. He's head of production at Paramount ."
Wallichs:
"Let's get together with him and talk this thing over."
B. G. (Buddy)
DeSylva did indeed want to start a record company. The three pooled resources,
with DeSylva putting up $25,000 to kick the venture off. Wallichs contributed
his technical and organizational know-how, and Mercer's offering was equally
priceless — his genius for writing good
songs.
SO IT WAS DONE. In
July of 1942 Capitol Records elected as its first officers, B. G. DeSylva,
president; Johnny Mercer, vice president; Glenn Wallichs, general manager.
What followed
belongs a little in the realm of fantasy. Capitol first releases consisted of
six sides, among them Cow Cow Boogie
with music by Benny Carter and lyrics by Don Raye and Gene DePaul. Ella Mae
Morse did the rocking vocal with the Freddy Slack orchestra. For anyone who has
been conscious of popular American music over the last 15 years, nothing more
need be said about Cow Cow Boogie.
Along with Mercer's Strip Polka, it
virtually put Capitol Records in business.
With that
extraordinary acumen that enabled him to see the potential in a west coast
record company interested in producing well recorded, good pop material,
Wallichs immediately innovated another policy that was to revolutionize the
marketing strategy of phonograph records. He announced the plan of providing
disc jockeys throughout the country with complimentary copies of all Capitol
records. The idea proved so successful that soon the other big companies
followed suit.
THE YOUNG FIRM grew phenomenally. Soon the demand for
Capitol's product was so great that an agreement was reached for the Scranton
Record Co. to supply limited amount of vital shellac in addition to that which
already was contracted for in Hollywood .
In the first six
months of Capitol's existence, hits like Ella Mae Morse's Mr. Five By Five, Elk's
Parade by Bobby Sherwood, and Johnny Mercer's I Lost My Sugar in Salt Lake City further consolidated the
company's economic position. Branch offices were opened in Chicago and New York , and the following year two more were
started in Atlanta and Dallas .
The second year of
Capitol's life was marked, among other things, by the introduction of another
new factor in the record business, the News
Magazine. In addition, the careers of Jo Stafford, Nat Cole, Peggy Lee,
Stan Kenton, and songwriter Dick Whiting's young daughter, Margaret, were
spawned on the label in 1943.
No big-time record
company is without its quota of album releases, and Capitol had big-time
aspirations by 1944. A package titled Songs
by Johnny Mercer was released to meet with immediate success, shortly
followed by a second album aimed at the growing kiddy market, Stories for Children By the Great
Gildersleeve.
WAR'S END saw an
increasing expansion by the label. In 1945, 14 albums were released and
marketed to be joined by 19 more in 1946, one of which proved to be the biggest
selling item in the children's field, Bozo
at the Circus. The same year also witnessed the inauguration of the
Capitol Transcriptions firm and the outright purchase of Scranton Record Co.
for $2,000,000. Capitol went on the market as a result, issuing its first stock
April 30, 1946 , offering 95,000 shares of common stock.
When the American
Federation of Musicians imposed a ban on all recording by its members in 1947,
Capitol plunged into a furious whirl of recording activity before the pre-announced
deadline, thereby obtaining a huge backlog of sides. Among these discs, which
turned into smash sellers, were Manana
by Peggy Lee, Nature Boy by Nat Cole,
and Pee Wee Hunt's Twelfth Street Rag.
One of the more
remarkable facts about this remarkable business enterprise is that the most
profitable year in Capitol's history was 1948, a gloomy year indeed for the
entire rest of the industry. Capitol's sales spiraled to $16,862,450, with a
profit of $1,315,847, and this bumper year saw them extend their market to
foreign countries.
THE FIRST FIVE years of the 1950s were a continuation of
the success story, climax of which was reached last year with the purchase of
96.4% of Capitol Records, Inc., by the British firm of Electric and Musical
Industries, Ltd., for $8,500,000, with Glenn E. Wallichs retained as president
of the company.
In 13 years
Capitol has risen from a less than audacious dream given utterance in a record
store to Big BIG Business in the commercial music world. With its new
international headquarters completed and occupied this month, the Capitol
Tower stands above Hollywood and Vine as a monument to the three men who begot
the enterprise out of their creative talents, drive, initiative, and
imagination — the late Buddy DeSylva, Glenn Wallichs, and tunesmith Johnny
Mercer.”
Capitol Bandwagon Is Booming
“Should big bands
ever rise to the peak of popularity they once knew, no one could be happier
about it than Capitol Records. For they have assembled the most imposing list
of top name orchestral talent to be found on any label.
And even if the
music world never again experiences the phenomenon of bands leading the
record-selling parade, Capitol is evidently quite satisfied with the results
its stable is achieving even now.
Look at some of
the crews now doing their waxing for Cap:
Les Brown, Harry
James, Ray Anthony, Billy May-Sam Donahue, Stan Kenton, Woody Herman, and Ken
Hanna.
In addition, they
have the big-selling Benny Goodman BG in
Hi-Fi album still going for them, and though Duke Ellington recently left
the company, there are discs of his still in the catalog as well as some
yet-unreleased sides in the bank.
Plus which Guy
Lombardo is now in the Capitol ranks — a man who sells steadily and well.” [!]
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