[78-L] Department of Pseudonyms and Solos?

[Julian Vein]

Taylor Bowie wrote:
> Julian wrote:
> 
> In the 1920s and early ’30s, how was the decision made to apply
> pseudonyms to mainly dance band records? Did the record companies employ
> people to meet, say once a month, to discuss which pseudonyms to use on
> individual records, or was there a formula they used?
> 
> Similarly, who made decision whether to include solos on dance band records?
> 
> 
> 
> I have always wondered the same thing,  Julian.   Some of the pseudonyms 
> were very creative and one has to imagine that there were a few people in 
> the front office who had the enjoyable  task of thinking them up.
> 
> Some could be quite droll.  One pseudonym I have for Arthur Fields is Arthur 
> "Rivers."  Names on the Radiex/Van Dyke/Grey Gull records really could get 
> out there,  e.g. Ginger Ale and his Sparklers,  The Joy Dispensers,  and my 
> own personal favorite,  The Kitty Cat Jazzers.
> 
> I'd always assumed that solos on these records were called for by whoever 
> was fronting the session,  or by whoever wrote the arrangement (often a 
> doctored stock).
> 
> 
> Taylor
===================
Taylor,
The Grey Gull names I can understand--presumably they were intended to 
reflect the music on the records.

I can imagine a guy returning home from a day's pseudonyming work, being 
greeted by his wife: "Thought up any good names today, darling?" I doubt 
if any politician could be as obfuscating as these fellows.

I can't see that much point in pseudonymising names such as Ben Selvin, 
Fred Rich, Sam Lanin (unless they were under contract to another 
company) etc, but see the sense in Plaza and ARC/Brunswick using them 
for studio bands to give their catalogue a semblance of character.

Regarding solos, did they help sell records or not? If they did, then 
include them, if not don't.

      Julian Vein


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