Variety (Oct 1948)

42 OIICIIESTKil-llIIJKIC Wednesday, October 6, 1948 Leeds, Par-Famous, Dreyfus Subsids Turn Down New SPA-MPPA Accord The recently completed coiiUacl between the Songwriters Protec- tive Assn. cind the Music Publish- ers Protective Assn. is not meeting with the complete approval of pub- lishers. Tliere are a number of pubs who have not sifined basic agreenionts with the SPA some for varying minor reasons. But throe iiiaior pubs liave not yet sicfneil, and one of these, Leeds Music is emphatic in its . objections to the terms of.: the pact and is arguing strongly against it, The others are Paramount > Famous, subsidiary . companies of Paramount Pictures, and. some ;:of the subsidiary firms . the Max Dreytus publishing group Leeds so far refuses to agree with the. pact developed by the SPA-^^PPA committees on the grounds that the terms tend to stifle the sma'ller publisher in manyways and that it gives the SPA entirely too much po\\'er. Dre.vfus has signed for his pop publishing ventures, such as Mu- tual Masic. bxit has withheld aligning firms such as T. B. Harms, IVjlliamson, and others in which he's , partnered with production writers, Dreyfus' deals with such men are made on Authors League contracts first, and since the latter gives him rights that he does not have under the new SPA pact, for example its foreign rights terms. By working through the Authors League agreement, Dreyfus can give hi.s Knglish aflfiliato, "Cliappell, tunes for the full British copyright tcrnir-^SO years beyond the death of the author: New SPA pact, re- stricts U. S. publishers from ownr: ing the English representation be- yond the U. S. copyright law.s. Paramount and B'amous are in peculiar position, too. These firms rarely accept songs from outside writers. They get material from the Paramount studio, \vhich has employment or per-,score deal!? w ith writers. Par's music head, Bernard Goodwin, wdnts to know before he signs with SPA how much effect N, Y. Federal Court .Tudge Vincent L Leibell's de- cision, which divests ASCAP of film-performance rights, will have on his setup. If Judge LeibRll's de- cision stands, it orders the film ex- hibition rights to be returned to the copyright owner. ,^ Since it has not yet been decided whether the publisher or the writer of a tune will have custody of those rights, Goodwin isn't, going further. He wants SPA and MPPA attorneys to settle who. is the copynght owner before aligning with SPA. WhetherJPar-Famous will have an advantage if: the publisher is named the owner is a moot point, but it seems likely in view of the film-company ownership of the two fii-ms.: Dreyfus, of course, has simi- lar problems since his writer.s are mostly production, men who have a big stake in television and film exhibition rights. .f^„,lfl Best Sellers on Coin-Machines..*?!!','!,'!?.-.?. 1. 2. 3. 4. 5. 6. ■■'.'■7.' 8. 9. 10. ,-B), TREE IN MEADOW <9< (SliSP' IT'S MAGIC (in («itm.uk) 12th STREET RAG (7) (Shapiro-B) MV HAPPINESS (?0) (Blasco) HAIR OF GOI D (7) (Mellin) . ,ti MAYBE YOU'LL BE THERE (9) (BVC) LOVE SOMEBODY (15) (KramernW.).:, LONG WAY FROM ST. LOUIS (15) (Jewel) Rail McKinley YOU CALL EVERYBODY DARLING (13) (Mayfair) UNDERNEATH THE ARCHES (?) (Robbins) ^ Coming L'p j Margaret "WhitingCapitol \ Monica Lewis Dccea ( Dick Hayvics Deccq i Doris Day Columbia Pec Wee H\mt Capifol ) Jon & Sondra Steele Dnmon t ) Pied P'pers , Capifol + I Joe)c Emerson Metrotoiie 1 Hnroionicats Universal i \ Eddy Howard Majestic {Gordon Jenkins Decca ■■ D. Day-B. Clark Columbia ? Vicior Decca XAlJTrttce Reqciit j Prnoo Scald Lo7idoii {Andreius Sisters Dceco RAMBLING ROSE (LaUreD ( Perry Como Vtcfor \Tony Pastor Colinnbia Tommy Dorsey Viclor '.: .DiKahr StipT^-'^ .; ^Gblnjiitiia-' UNTIL (Dorsey) ' BUTtONS AND BOWS (Famous) YOU WERE ONLY FOOLING (Shapiro-B) Blue Barron W-G-M .............: . Frniffcic .Lainc..,.;;. i - Meretiry: i ( Dick }Iaymes.., ..,.... Decca •' •••••• • • • • I Jo Stafford ....... .Capitol ^ ; .„ ; i ;> .r. Ai't ' .Moitiiey ■;:>:;;; '■. -..i iWysM-'t I yaiifflni iWonroc ...... i . .Victor AH BUT IT HAPPENS (Bourne) , EVERY DAY I LOVE YOU (Harms) . ... BLUEBIRD' OF HAPPINESS (T. B. Harms) COOL WATER (American) IT'S TOO SOON TO KNOW (Morris) LITTLE GIRL (Leeds) , DARKTOWN STRUTTERS' BALL (Feist) FOR YOU (Witmark) WALKIN' WITH MY SHADOW (Johnstone-Montei) .. SAY SOMETHING SWEET (Mills) ( Orioie.s , Nrtfiira? ( Ella Fitzgerald Dec-ea t Kiri.of Cole Capitol f . Dale-Haines ......... . Signature Gordon Jenkms■.,:,, ... . .Dacca Fotir Knights ...Decca J Spots Dccctt XAnne Shelton London [Fiijures t?i parentheses indicate number of weeks song, has been in the Top 10.]. . ►-♦-^♦♦♦♦-f* ■♦^♦■♦-♦■♦^♦ ♦ ♦ ♦ ♦ ♦ ♦ t f f ♦ » ♦ ♦♦♦♦ ♦♦♦ ♦♦♦ ♦♦ ♦♦ ♦ AL TRACE'S SUCCESS STORY IN BRIEF- Started in M3 with "Mairey Doafo." PMHip Merrit program en CBS, Feature Ketures fer Celembia. Kate Smith and Paul Whiteman diewt and new breaking all attendance re«* erdi at Chicago's Blaekhawk Rettaurant with the greatest band of Ms career featur* ing BOB VINCENT, singing star; LEE PINES, Brilliant young pianist and "RED" MAD- DOCK, dynomie dnimmer. Olrecf/ont MCA At Trace's Newesf Hif Song, "BRUSH THOSE TEARS FROM YOUR EYES.'* Disk Jockey Reviews RAY GRANT SHOW With Ray Grant .Mon.-thru-Fri., 11-11:15 p.m. DOLLY MADISON WINE WSBC, Chicago iSchoenfeld, Hubcr & Green) As guitarist and bass singer with the Four Vagabonds, Ray (Pappy) . Gr<int formerly was .familiar to listener.s of "C1 u b Matinee,", "Breakfast Glub" and other net shows. Failing eyesight forced hia withdrawal from. I'adio several years ago and led to the temporary breakup of the Vags. Now, with sight partl.y recovered, Jie's back. in there pitching via a wee-watter. Newfledged .lock has qualities that should get him a sepia follow- ing in short order, Hl.s comments are nimble and his choice of disks - backed by hop musicianship. He sings with tlio records occasionally, tossing olT expletives that enhance What's spinning. There's avoidance ol the threatbare throughoutj both, in patter and platter. ; Disk fare Is mostly race stuff on the jive side, with sweets sand- wiched in between; Commercials: are brief and persuasively handled. Baxt. JAZZ UNLIMITED With Dick MacDougalt Arlcna Mead 120 Mlns.; Sat., 4 p.m. CJBC, Toronto With CJBC, key station of the Pominion web of the Canadian Broadcasting Coi-p., upping its power to 50,000, it also switched frequencies from 1010 to 890 kilos, so the pop "1010 Swing Club" was out. Dick JN'lacDougal took the opportunity to drop the ".swing" tag and cling to ja/z atone. Being a .lazzman himself, and with another ,iazz student, Ailene Mead, as liis producer, he has a swell time playing with the two-hour ses- sion devoting one stanza of it ia Ellington, another to Dixieland, others to a jazz quiz with prizes; a now-and-then se&'-ion. Records aie gleaned from AlacDougal's o\\ n col- lection of 3,000 jau disks and the CBC record library, which brings to the show quite a few items not available otherwise. Once in a while, the show goes li\e, ringing in ja/,i musicians picked by dialers. The live .ses- sions, produced by Miss Mead, aie expected to result in selection ot the CBC All-star Jazz Band, with a contract for waxing by a United States firm. Dixieland se.ssion, titled "At the Jazz Band Ball," is culled from the collection of Dixieland recordings of Clyde Clark ot Toronto, who also scripts the stanza. Clark's script and MacDougal's ad-libs give in- side dope on leaders and sideraen and seldom get dull though the show is twice as long as it should be by any other standard. Canada, never a jaz/i Utopia, may get to know about solid j azz from shows like this. It would lielp a lot U„eTCU a part of it could be sent to