|Joined:||6 May 2011|
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29th Apr 2016
|The Kock Robyns|
A: One Kiss Led To Another
B: That's The Way It Is
28th Apr 2016
|Sheri King And The Court Jesters|
A: Tomorrow Is Another Day
B: So Sweet And So Good
|Cinema was indeed a song-poem label, although that doesn't assure that this is a "true" song-poem record. Discographies of song-poem labels include a number of variations on the form, and some of the companies even made half-hearted efforts to "go legit" from time to time.|
(In this context I'd loosely define "legit" as a record that's commercially distributed and promoted; by contrast, song-poem records, having already met their overhead + profit before they're even recorded, were typically given no further effort once the product was returned to the customer.)
One clue to a song-poem format is if the writing credits are of unknown names, as is the case here. It's very rare to see any sort of production credit on song-poem labels, but the use of them here seems more along the lines of financial provision rather than actual studio producer; and the "& A.M.P." is a clear reference to the listed publisher, Action Music Publishers of Hollywood.
But Action was affiliated with Sandy Stanton, of the Fable and Film City song-poem labels, rather than Cinema. My guess is that Cinema farmed this session out to Stanton, in other words had his studio record this pair of Cinema submissions (and most likely a batch of others at the same time). To me that makes the best sense of the available information.
27th Apr 2016
A: At The Rock And Roll Party
B: Life Is Sad And Dreary
24th Apr 2016
|Jack Covais And Pearl Woods|
A: My Donkey Wouldn't Walk
B: You're Getting Old Charlie
|Mickey's right that song-poem entrepreneurs typically submitted copyright registrations on songs that came through their companies, but (with a very few exceptions) the records they handled weren't made commercially available, and they knew that the chances of stumbling into a hit were essentially nil. Unlike real record companies, by the time a song-poem record is made the company has already earned back its overhead and made its profit, so the most efficient next move is to cut ties with the product and move on to the next sucker.|
The entire presentation of a song-poem company to its prospective clients was designed to further the deception that the company was a mainstream record label or song publisher (I hesitate to use the adjective "legitimate"). This included the language of their contracts (all of which were based very closely on those of the earliest song-poem companies, from the original Tin Pan Alley era), which was carefully crafted around the notion that their potential customers were unsophisticated on the business practices of the real record industry, and expected to see certain key phrases in the contracts without understanding their ramifications.
For instance, language claiming that the company would promote the resulting songs via "radio stations" and distribute them via "record stores" were often fulfilled by mailing the records to literally two radio stations, and having agreements with literally two stores to carry the records in an obscure bin in the corner of the shop. (Not needing such agreements with the radio stations, the transaction paperwork asked the customer to list his or her two favorite radio stations, which would form the mailing list for the resulting record.)
Likewise, the companies recognized that potential customers would be comforted by claims that they would handle the details of copyright submission, and so language to that effect was also included in the contracts. To fail to follow through on that promise would leave the company vulnerable to civil litigation or even criminal prosecution, however, and so it was in their interest to do so. It's not a coincidence that a disproportionate amount of song-poem entrepreneurs were also attorneys.
The psychology of customer expectation was split two ways on the issue of property ownership, however. Some companies felt that to own the song outright would be more desirable to potential customers, while others gambled that a 50/50 split would seem more legitimate. The latter are the companies whose owners are so frequently co-listed in LoC registration data, while registrations for the former are usually for the customer alone.
24th Apr 2016
A: Nurse, Nurse
B: You Made Me Blue
|Waskey Walls was also the song-poet (author) of the song-poet hit "Jimmy Carter Says Yes".|