• This is a political forum that is non-biased/non-partisan and treats every person's position on topics equally. This debate forum is not aligned to any political party. In today's politics, many ideas are split between and even within all the political parties. Often we find ourselves agreeing on one platform but some topics break our mold. We are here to discuss them in a civil political debate. If this is your first visit to our political forums, be sure to check out the RULES. Registering for debate politics is necessary before posting. Register today to participate - it's free!

The 1900's --- Music hath charm to soothe the savage beast or Make it RAGTIME!

"Casey at the Bat: A Ballad of the Republic, Sung in the Year 1888" is a poem written in 1888 by Ernest Thayer, and originally published anonymously in The Daily Examiner of San Francisco, that same year. In 1906 this poem was recorded by an elocutionist named DeWolf Hopper on a VICTOR First Prize Record. As an elocutionist in Vaudeville, Mr. Hopper would claim that in 40 years he would recite the 5 minute poem CASEY AT THE BAT over 10,000 times. Here he is in 1906:

Casey at the Bat​

BY ERNEST LAWRENCE THAYER

A Ballad of the Republic, Sung in the Year 1888

The outlook wasn’t brilliant for the Mudville nine that day;
The score stood four to two with but one inning more to play.
And so when Cooney died at first, and Barrows did the same,
A sickly silence fell upon the patrons of the game.

A straggling few got up to go in deep despair. The rest
Clung to that hope which springs eternal in the human breast;
They thought if only Casey could but get a whack at that—
We’d put up even money now with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,
And the former was a no good and the latter was a fake;
So upon that stricken multitude grim melancholy sat,
For there seemed but little chance of Casey’s getting to the bat.

But Flynn let drive a single, to the wonderment of all,
And Blake, the much despised, tore the cover off the ball;
And when the dust had risen, and men saw what had occurred,
There was Jimmy safe at second and Flynn a-hugging third.

Then from 5,000 throats and more there rose a lusty yell;
It rumbled through the valley, it rattled in the dell;
It knocked upon the mountain and recoiled upon the flat,
For Casey, mighty Casey, was advancing to the bat.

There was ease in Casey’s manner as he stepped into his place;
There was pride in Casey’s bearing and a smile on Casey’s face.
And when, responding to the cheers, he lightly doffed his hat,
No stranger in the crowd could doubt ’twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;
Five thousand hands applauded when he wiped them on his shirt.
Then while the writhing pitcher ground the ball into his hip,
Defiance gleamed in Casey’s eye, a sneer curled Casey’s lip.

And now the leather-covered sphere came hurtling through the air,
And Casey stood a-watching it in haughty grandeur there.
Close by the sturdy batsman the ball unheeded sped—
“That ain’t my style,” said Casey. “Strike one,” the umpire said.

From the benches, black with people, there went up a muffled roar,
Like the beating of the storm-waves on a stern and distant shore.
“Kill him! Kill the umpire!” shouted some one on the stand;
And it’s likely they’d have killed him had not Casey raised his hand.

With a smile of Christian charity great Casey’s visage shone;
He stilled the rising tumult; he bade the game go on;
He signaled to the pitcher, and once more the spheroid flew;
But Casey still ignored it, and the umpire said, “Strike two.”

“Fraud!” cried the maddened thousands, and echo answered fraud;
But one scornful look from Casey and the audience was awed.
They saw his face grow stern and cold, they saw his muscles strain,
And they knew that Casey wouldn’t let that ball go by again.

The smile is gone from Casey’s lip, his teeth are clinched in hate;
He pounds with cruel violence his bat upon the plate.
And now the pitcher holds the ball, and now he lets it go,
And now the air is shattered by the force of Casey’s blow.

Oh, somewhere in this favored land the sun is shining bright;
The band is playing somewhere, and somewhere hearts are light,
And somewhere men are laughing, and somewhere children shout;
But there is no joy in Mudville—mighty Casey has struck out.
 
Last edited:
LET IT ALONE by Bert Williams Recorded on both COLUMBIA and HARMONY Records in 1906 would be among the top 4 seller that year: You may notice that the HARNONY Record has a center hole about the size of a nickel. This was a merchandizing ploy to sell records. A HARMONY Disc Player could be purchased very cheaply. HOWEVER, the spindle was large and could only fit the HARMONY Records. One would have to ream out the the holes of other record labels, and so the best thing to do was to only purchase HARMONY Records...
 
Last edited:
SO LONG MARY was a song by George M. Cohan for the Musical 45 Minutes From Broadway (a reference to the length of the train trip from New Rochelle to New York City) that opened in 1906. It was a pleasant enough tune but New Rochelle threatened a lawsuit against the production due to a feeling that the town was being disparaged as some hick town. The Musical brought so many visitors to the town that the lawsuit was dropped and the show was a major success. Ada Jones recorded SO LONG MARY on an EDISON Cylinder Record: Corinne Morgan recorded the song for VICTOR Records and COLUMBIA Records:
 
Last edited:
Speaking of 45 MINUTES FROM BROADWAY, in 1959, a presentation OMNIBUS show on Television hosted by Alistair Cooke presented this production as it was staged in 1906. This rare telecast will give anyone willing to watch a feel of theater long ago. I hope you enjoy this little trip to yesterday:
 
1905 a song was written that would become a standard to this day. In a long-standing tradition, floor traders at the New York Stock Exchange sing this song on the last trading day of every year and on Christmas Eve. The song has been the stock exchange anthem at least back as far as 1934. The song would begin to be recorded in 1906 and would reman popular ever since. The title is WAIT TILL THE SUN SHINES, NELLIE . And here is the popular record of that year. Here is a YOUTUBE extra I found to prove my point:
 
Last edited:
Collins and Harlan would have yet another ragtime hit 1906 on an EDISON CYLINDER Record. This record would make number 13 in 1906 and its name is CAMP MEETING TIME:
 
This hit, written in 1903 for a London musical became quite popular by 1906 the recording by Corinne Morgan with the Haydn Quartet selling very well: The Earl and the Girl is a musical comedy in two acts by Seymour Hicks, with lyrics by Percy Greenbank and music by Ivan Caryll. It opened at the Adelphi Theatre in London on 10 December 1903, transferring to the Lyric on September 12 of 1904 and run for a total of 371 performances. It would come to the States, at the Casino Theatre in New York beginning on 4 November 1905 for 148 performances. The song is HOW'D YOU LIKE TO SPOON WITH ME? In 1946 this song would appear in a movie with Jessica Langbury:
 
Last edited:
In May of 1906, THE GOOD OLD USA would come out and be quite popular. Of course all patriotic songs would be popular with the crowds in this era. Several recorded this song --- J.W. MYERS on VICTOR Records As did Byron G Harlan on EDISON Cylinder Records the same year:
 
Last edited:
"Home, Sweet Home" is a song adapted from John Howard Payne's 1823 opera Clari, the song's melody was composed by Englishman Sir Henry Bishop with lyrics by Payne. Bishop had earlier published a more elaborate version of this melody, naming it "A Sicilian Air", but he later confessed to having written it himself.

The song's lyrics are:

Mid pleasures and palaces though we may roam
Be it ever so humble, there's no place like home
A charm from the skies seems to hallow us there
Which seek thro' the world, is ne'er met elsewhere
Home! Home!
Sweet, sweet home!
There's no place like home
There's no place like home!

An exile from home splendor dazzles in vain
Oh give me my lowly thatched cottage again
The birds singing gaily that came at my call
And gave me the peace of mind dearer than all
Home, home, sweet, sweet home
There's no place like home, there's no place like home!
When the song was published separately, it quickly sold 100,000 copies. The publishers made a considerable profit of £2,100 in the first year, and the producer of the opera did well. In 1852 Henry Bishop "relaunched" the song as a parlour ballad, and it became very popular in the United States throughout the American Civil War and afterwards. The song's American premiere took place at the Winter Tivoli Theatre in Philadelphia on October 29, 1823, and was sung by "Mrs. Williams."

It is reputed that this song was banned from being played in Union Army camps during the Civil War for being too redolent of hearth and home and so likely to incite desertion.

The song is known in Japan as "Hanyū no Yado" ("埴生の宿") ("My Humble Cottage"). It has been used in such movies as The Burmese Harp and Grave of the Fireflies. It is also used at Senri-Chūō Station on the Kita-Osaka Kyūkō Railway.

Popular recordings were made by John Yorke AtLee in1891, Harry Macdonough in1902, and Richard Jose in 1906. There would be many recording made of HOME, SWEET HOME in 1906 alone; however, Richard Jose's recording would come in at 16 that year.
The song has become a bit of a cliché of house, home, youth, and mother and is still loved to this day.
 
Victoria Monks would have a HIS MASTER'S VOICE hit record from a music hall song written in 1905 ---- GIVE MY REGARDS TO LEICESTER SQUARE:

GIVE MY REGARDS TO LEICESTER SQUARE
The good ship will soon sail to distant shores
And friends are all saying good-bye
Farewell to the homeland and those so dear
Is uttered with many a sigh
The last handshake over, the last adieu
The vessel goes speeding away
You gaze at the friends you are leaving behind
Then try to be cheerful and say,

Chorus: Give my regards to Leicester Square, dear Piccadilly and Mayfair
Mention me to the folks round there, they'll understand
Speak of me to the boys you greet
Tell them in Bond Street we'll soon meet
Remember me kindly to Regent Street
And give them my love in the Strand.


Across the ocean blue you bound along
Thinking of those far away
The sweetheart you left standing on the quay
With mother so feeble and grey
'Tis hard for to part from the ones you love
The friends who would never forsake
To each passing vessel that's homeward bound
You give them this message to take,

Chorus:

At last you're returning across the sea
No longer you've needed far to roam
With gladness your heart beats to hear the band
On deck playing 'Home sweet home'
The harbour lights seem to shine brighter now
Than ever they did before
You know what welcome awaits you when
You hear your friends sing on the shore.

Chorus:
Written and composed by William Hargreaves - 1905​
Performed by Victoria Monks (1885-1927)​
 
Last edited:
Byron G. Harlan had a hit in 1906 at about 21 on the list for that year titled DADDY LITTLE GIRL:
 
KEEP ON THE SUNNY SIDE is a song recorded by Byron G. Harlon on an EDISON CYLINDER Record in 1906: This song originally written in 1899 by Ada Blenkhorn with music by J. Howard Entwisle. The song was again popularized in a 1928 recording by the Carter Family. A recording of the song with The Whites was featured in a 2000 film> O Brother, Where Art Thou?. Billy Murray would also record this song on a VICTOR Record in 1906.
 
At 24 for 1906 we have COLLEGE LIFE sung by Billy Murray. This song was written in 1905:
 
GOODNIGHT, LITTLE GIRL, GOODNIGHT -- is a 1906 hit that was written that year. A ballad that's rather schmaltz.y to say the least.
But this sort of nostalgia was appreciated in 1906 --- and obviously sold Henry Burr's recordings in great numbers:
 
Now we have a bit of an off color comic song. The song is titled -- WAITING AT THE CHURCH --- a 1906 English Music Hall favorite. It involves a lady who is left waiting at the altar. The man never arrives but has the audacity to send her a letter. What we have here is a very rare film that was lip-synced to a recording, and so what is achieved is an early sound recording. The film was done in 1907 and the record was recorded in 1906. This song performed on stage with the singer dressed in a wedding gown was common. The audience most certainly was expected to sing along. Our singer is Vista Victoria. Enjoy: In the United States, ADA JONES would record the song for EDISON PHONOGRAPH, and would be popular coming in at 30 for 1906: The punch line of the song would always bring a gafflaw from the audience. Please note that the video has an added surprise at the end. Watch as the lady turns around!
 
Last edited:
Indian (American Indian) songs were all the rage throughout this period. And CHEYENNE, written in 1905, was among them. It would end up about 28 on the chart for that year and Billy Murray would make it a swell hit on a VICTOR Record in 1906: Many people will recognize the Chorus. Again, it is interesting to realize that these early recordings were done in one shot or they were never recorded. If a mistake was made, the recording had to be entirely re-recorded. And there were no microphones, only recording horns ---- the whole recording you hear was a single performance and not overdubbed or multitrack. There was no tweaking the artist's voice. Billy Murray was known for his very good clear recording voice and could handle songs in one take without flubs... All the sound effects on this record all took place at once. Imagine the horror story that would be today. I'm not sure how they handled all this without cracking up!
 
Last edited:
Most of the recordings at this time were of older standards or there was a year or two lag between when the sheet music came out and a recording was made. And where the money was made was in selling SHEET MUSIC. The records were a way to promote the tunes and the selling of more sheet music. Many people back then played some sort of instrument. There was no TV and no radio --- yet. Many middle class homes had pianos. Guys played banjo and guitar. Violins/fiddles were also popular. This song is one of those sentimental songs that really asks a very poignant question in a very clever way ---- WILL YOU LOVE ME IN DECEMBER AS YOU DO IN MAY. It also one of the longest titles for a song. This was a very popular wedding song for years. All those very young couples who married, had children, grew old and are now long gone... The Haydn Quartette would have a very popular record with this song!

Will You Love Me In December As You Do In May​


Now, in the summer of life, sweetheart
You say you love but me
Gladly I give all my heart to you
Throbbing with ecstasy
But last night I saw, while a-dreaming,
The future old and gray,
And I wondered if you'll love me then, dear
Just as you do today?
Will you love me in December as you do in May?
Will you love me in the good old-fashioned way?
When my hair has all turned gray,
Will you kiss me then and say,
That you love me in December as you do in May?
You say the glow on my cheek, sweetheart
Is like the rose so sweet
But when the bloom of fair youth has flown
Then will our lips still meet?
When life's setting sun fades away, dear,
And all is said and done,
Will you arms still entwine and caress me?
Will our hearts beat as one?
Will you love me in December as you do in May?
Will you love me in the good old-fashioned way?
When my hair has all turned gray,
Will you kiss me then and say,
That you love me in December as you do in May?
 
At 31 we have a very cheerful song that was very popular in 1906, WALTZ ME AROUND AGAIN WILLIE. What is you have here is an opportunity to hear Billy Murray sing it on both a FLAT DISC VICTOR TALKING MACHINE Record from 1906 and an EDISON Wax Cylinder recording from the very same year. Billy Murray was very popular and apparently a very nice guy and had no problems recording for whichever company had an open recording session. The sound quality of both is nice and loud. In 1906 both the cylinder and the disc records were still quite popular. So now you can decide which sounds best to you: The Victor Model 2 is from around 1905. The Edison Fireside is likely 1908

And not to be outdone the music box companies also offered the latest tunes for their customers. This is played on a 1906 MIRA 18 1/2" Concert Grand from 1906 --- that had interchangeable discs. Many ICE CREAM PARLORS, SODA FOUNTAINS & CANDY KITCHENS from this time period also had coin operated music boxes. I can imagine a young man putting his nickel in the slot and playing this for his sweetie...
 
Last edited:
Mlle. Modiste is an operetta in two acts composed by Victor Herbert with a libretto by Henry Blossom. It concerns hat shop girl Fifi, who longs to be an opera singer, but who is such a good hat seller that her employer, Mme. Cecil, discourages her in her ambitions and exploits her commercial talents. Also, Fifi loves Etienne de Bouvray, who returns her love, but his uncle, Count Henri, opposes their union. After tryouts in Trenton, New Jersey and Washington, D.C., in October 1905, and a two-month tour, the operetta premiered on Broadway on December 25, 1905, at the Knickerbocker Theatre, where it ran for 202 performances and was revived the next season. A song that would become a favorite in 1906 would be I WANT WHAT I WANT WHEN I WANT IT! And George Alexander would have himself a hit: Frank Stanley also had a hit with his recording of this song on an EDISON CYLINDER ---
 
In 1906 there was a nice vaudeville skit recorded by none other than Ada Jones and Len Spencer. What is interesting about this song and this duet, is that they recorded this song for EDISON CYLINDER Phonograph Co., VICTOR Talking Machine Co., Busy Bee Records (uncredited), possibly others. The song was that popular and Ada Jones and Len Spencer had both recorded for various companies independently for some time. The song is entitled PEACHES 'n' CREAM ... :https://playback.fm/charts/top-100-songs/video/1906/Len-Spencer--Ada-Jones-Peaches-n-Cream You will hear exactly what your great grandparents heard when they didn't wind up the phonograph enough...:rolleyes:😃
 
Last edited:
Again in 1907, Pagliacci · VESTI LA GIUBBA Sung by Enrico Caruso was a big hit; however, this time it reached number 1 for the entire year. This time the song was re-recorded by Caruso with the VICTOR Orchestra. If you see number 2 for 1905, you can enjoy that earlier version recorded in 1904
 
Number 2 for 1907 was AULD LANG SYNE sung by Frank Stanley:
 
BECAUSE YOU'RE YOU is a Victor Herbert song written in 1906. It would become a hit in 1907 reaching number 3 that year sung by Harry MacDonough and Elise Stevenson. The song debuted in THE RED MILL --- that musical premiered on Broadway on September 24, 1906 at the Knickerbocker Theatre and ran for 274 performances,

Lyrics​

[Bertha]
Love is a queer little elfin sprite,
[Governor]
Blest with the deadliest aim!
[Bertha]
Shooting his arrows to left and right, Bagging the rarest game.
[Bertha]
Filling our hearts with a glad surprise,
[Governor]
Almost too good to be true!
[Bertha]
And still can you tell me why do you love me?
Only because you are you, dear!
[Refrain]
Not that you are fair, dear,
Not that you are true.
Not your golden hair, dear,
Not your eyes of blue.
When we ask the reason,
Words are all too few!
So I know I love you dear, because you’re you.
 
Here is another song from 1906 and was very popular and reached number 4 for 1907 --- HE'S A COUSIN OF MINE:
 
Last edited:
Back
Top Bottom