Stomp Off 1001 - Dickbaker.org

We’ve not included arrangers as composersanywhere else, so I don’t see how we can doso here.He Likes It Slow (W. Benton Overstreet)Carol Leigh & Jim Dapogny 1064Red Onions & Ottilie 1090Rec. Butterbeans & Susie, 6/18/26, OKeh8355. Trixie Smith, 12/25, Paramount 12336,Broadway 5006, Silvertone 3525 et al.Confirmed by 8/13/26 copyright reg.He Used to Be Your Man But He’sMy Man Now (Robert Kelly)Neville Dickie 1324Rec.Edith Wilson, acc. by her Jazz Hounds, incl.Johnny Dunn, 12/13/22, Columbia A-3787.Label says by Bradford, no comma.Lizzie Miles, 1/23, OKeh 8048. Label credit isKelly.Lena Wilson, 1/31/23, Pathe Aktuelle 020910,Perfect 12044. Perfect label credit is Kelly.Copyright has a comma:HE USED TO BE YOUR MAN, BUT HE'S MYMAN NOW; from the Plantation review,words and music by Robert Kelley [of U.S.]© Nov. 25, 1922; 2 c. Dec. 11; E 552686;Blues music co., New York.Columbia Master Book Discocgraphy has thecomma. BUT it is not on the Columbia A3787label, the first issue of the record.BUT wait a minute: Credit on Columbia A-3787 is Bradford. Perfect 12044 is Kelly. AndOKeh 8048 is Robert Kelly. All three with nocomma, no parens.Internet Broadway Database confirmsPlantation Review in summer 1922, includedEdith Wilson, and Johnnie Dunn as the“eccentric cornetist,” but says music by RoyTurk and J. Russel Robinson and makes nomention of this title. But those are openingnight credits, and we know that revues like thishad plenty of new songs interpolated intothem throughout their run.And aha, there’s a more complete review ofPlantation Revue athttp://www.keepingscore.x10.mx/plantationrevue1922.html.It mentions that the show included HawaiianBlues by Perry Bradford (above), and givesthis title as “He Used to Be Your Man (But He’sMy Man Now)” by Robert Kelly.And aha! This Kelly ends up in the 1922copyright book with two different spellings:He’s Kelly for “Bugle Blues,” also in this show,and Kelley for “He Used to Be” and “ThatDog.” It appears that Kelly is the most likelyspelling, so that’s what we’ll stick with.Bradford’s credit on the Edith WilsonColumbia has to be in error, probably as aresult of the fact that he wrote some of theother songs in the show and, primarily,published all of them. Bill Haesler found someinfo in Bradford’s biography that points thisway:Earlier today I went looking for the PerryBradford autobiography to see if he refers to"He Used to be Your Man But He's My ManNow"He does, in connection with a request fromSophie Tucker for "some man song you hadpublished [my emphasis]."And mentions:"He Used To Be Your Man—But He BelongsTo Me Now" [sic]"He's A Mean-Mean Man—But He's So GoodTo Me"and"He May Be Your Man—But He Comes ToSee Me Sometimes".No claim that he composed them.Head Hunter’s Dream, The (AnAfrican Fantasy) (Tiny Parham)Jungle Crawlers 1084Minerva JB 1117Red Rose Ragtime Band 1128Rec Parham 7/2/28, Victor 21553.Copyright doesn’t have a subtitle:Head (The) hunter's dream; melody by H. S.Parham. © 1 c. Aug. 1928; E 696848; H.Strathdene Parham, Chicago.But the Victor label has it!Headin’ for Better Times(Charles Tobias–Murray Mencher)John Gill’s Novelty Orchestra 1270Rec. Ted Lewis 1/12/31, Columbia 2378-D,2721D, CB-304 et al. Confirmed by 12/26/30copyright, w/m both.Heah’ Me Talkin’ (Lil Hardin)Mojo Jazzin’ Five 1086Pam Pameijer’s New Jazz Wizards 1395We had Heah before.Rec. Johnny Dodds Orch w/Lil on pno, 2/7/29,Victor V-38541, Bluebird B-10241 et many al.(OOPS: the Victor label is “Heah’ Me Talkin’.”And Victor Project confirms it. This is a donedeal. AND it matches the copyright entry:Heah' me talkin' ; melody by Lillian Hardin. ©1 c. Dec. 7, 1929; E unp. 14379; Southernmusic pub. co., inc., New York.Heah Me Talkin’ to Ya? [Hear MeTalkin’ to Ya] (Don Redman–Louis Armstrong)Black Eagle JB 1356Pam Pameijer’s New Jazz Wizards 1363