Hit of the Week Records

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Hit of the Week Record
HitOfTheWeekLabel.png
Label featuring the orchestra of Andy Sannella, May 1932
Parent companyDurium Products Corporation
Founded1930 (1930)
FounderDurium Products Corporation
Defunct1932 (1932)
GenrePop, jazz
Country of originU.S.
LocationNew York City

Hit of the Week was an American record label founded in 1930 that sold low-priced records made of Durium instead of the usual shellac. [1]

A record label, or record company, is a brand or trademark associated with the marketing of music recordings and music videos. Sometimes, a record label is also a publishing company that manages such brands and trademarks, coordinates the production, manufacture, distribution, marketing, promotion, and enforcement of copyright for sound recordings and music videos, while also conducting talent scouting and development of new artists, and maintaining contracts with recording artists and their managers. The term "record label" derives from the circular label in the center of a vinyl record which prominently displays the manufacturer's name, along with other information. Within the mainstream music industry, recording artists have traditionally been reliant upon record labels to broaden their consumer base, market their albums, and be both promoted and heard on music streaming services, radio, and television. Record labels also provide publicists, who assist performers in gaining positive media coverage, and arrange for their merchandise to be available via stores and other media outlets.

Contents

History

Around 1930, several types of thin, flexible records made of various plastic formulations were introduced in Europe, such as the German Phonycord, French Pathé Cellodisc, British Filmophone and Goodson, and Spanish Delfos records. In the US, this short-lived trend was represented by Hit of the Week records, which were made of a sturdy brown paper base coated with Durium, a lightweight synthetic resin. Apart from a tendency to low-frequency rumble due to their texture, their audio fidelity was equal to or better than most ordinary shellac records. Unusually, Hit of the Week records had a recording on one side only, an early record industry practice which most other manufacturers had abandoned around 20 years previously. As a consequence of being uncoated on the other side, they have a strong tendency to curl and now often require the use of a clip or weight around the turntable spindle to keep them sufficiently flat during play. A few releases had the performer's portrait printed on the uncoated paper side, or were imprinted there with advertising matter. They were issued in flimsy rice paper sleeves, few of which have survived.

A new issue featuring a current "hit" popular song was released every week. Unlike other records, they were sold at newsstands. Previous issues could be obtained by mail order. Retailing for 15 cents each, later raised to 20 cents, Hit of the Week records were by far the lowest-priced records in the US at that time.

The first regular issue was released in February 1930. By the summer of 1930, up to half a million copies of each week's issue were produced. But as the Depression worsened, sales slumped. In March 1931 the company went into receivership and in May it was purchased by the Erwin, Wasey & Company advertising agency. [1] A new format debuted in August, featuring two songs or dance tunes on each single-sided disc and a total playing time of about five minutes, but the label remained unprofitable. The final Hit of the Week issue was released in June 1932.

After the demise of the label, some limited use was made of smaller (often only four inches in diameter) records made of the same material, mostly for giveaway advertising novelties. Specimens of one of the most common advertising records, which invited the recipient to come see the new 1932 Chevrolet automobile, are usually found with a mailing label and postage on the uncoated back side.

Musicians who recorded for Hit of the Week included Gene Austin, Duke Ellington and His Orchestra (under the pseudonym "Harlem Hot Chocolates"), Ben Pollack, Eddie Cantor (on a special 25 cent "Durium De Luxe" issue), Morton Downey, and Rudy Vallée. Most of the arrangements were performed by studio musicians in New York, led by Adrian Schubert, Bert Hirsch, Vincent Lopez, Don Voorhees, and Phil Spitalny. Jazz "breaks" by instrumental stars such as Joe Venuti and Eddie Lang enlivened some recordings. The vocalists who recorded with the studio bands included several popular radio singers of the period, such as Ralph Kirbery and Helen Rowland.

Gene Austin American singer and songwriter

Gene Austin was an American singer and songwriter, one of the first "crooners". His recording of "My Blue Heaven" sold over five million copies and was the largest selling record of all time. His 1920s compositions "When My Sugar Walks Down the Street" and "The Lonesome Road" became pop and jazz standards.

Duke Ellington American jazz musician, composer and band leader

Edward Kennedy "Duke" Ellington was an American composer, pianist, and leader of a jazz orchestra, which he led from 1923 until his death over a career spanning more than six decades.

Ben Pollack American musician

Ben Pollack was an American drummer and bandleader from the mid-1920s through the swing era. His eye for talent led him to employ musicians such as Benny Goodman, Jack Teagarden, Glenn Miller, Jimmy McPartland, and Harry James. This ability earned him the nickname the "Father of Swing".

In the UK, a similar series was issued on the Durium label.

Durium Records (UK) British record label

Durium was a short-lived record label in the United Kingdom run by Durium Products (GB) Ltd in the 1930s.

See also

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References

  1. 1 2 Rye, Howard (2002). Barry Kernfeld (ed.). The New Grove Dictionary of Jazz, vol. 1 (2nd ed.). New York: Grove's Dictionaries. p. 255. ISBN   1561592846.

Discographies