Three weeks ago, in passing, I
mentioned my Broadway music radio program. Since my last blog post my notes
have been more specifically related to my weekly on air show. There were two groups that received
correspondence. One segment was composed of press agents for
theatrical productions in Connecticut and New York City. The second cluster consisted of
individuals involved with the production, manufacturing and distribution of
Broadway original cast recordings (OCR).
The people that head these companies are so important to show music djs
like myself. They are the ones
that are meticulously documenting the Broadway musical through a show’s OCR
even though all but a select few recordings will ever sell huge numbers.
This was not always the
situation. Cast albums of popular musicals in the
1940’s – 1960’s sold millions of copies.
The cast recording of Oklahoma!, which was the very first OCR to feature
the complete score of a Broadway show with the original performers, sold over a
million copies. Some OCRs not only
had blockbuster sales, but also spent weeks on the pop charts. The Music Man’s OCR spent 12 weeks as
the number one album in the country.
It stayed on the Billboard charts for a total of 245 weeks. Not only have the OCRs of earlier
musicals been hits with the public, but individual songs from Broadway shows
have been popular. For instance,
“Some Enchanted Evening,” from South Pacific was the number one song in the
United States for five weeks in a row; “Hey There,” from The Pajama Game spent
six weeks at number one in the summer of 1957.
During the 1940’s through the early
1980’s there were major record labels such as Columbia, Capitol, Decca and RCA
Victor vying for the rights to record Broadway productions. Today, with consolidations in the
recording industry and the demise of show tunes as a fixture on radio there are fewer record labels devoted
to OCRs. This was one of the
reasons I mailed cards to some of the people that run companies devoted to
preserving the scores of Broadway shows.
Without CDs from the current crop of musicals my radio
broadcast would just be a museum piece of older shows and their respective LPs. I wanted the people behind Ghostlight
Records, PS Classics, and Masterworks Broadway to know I appreciated their endeavors
as well as providing me with the CD and/or digital version of their latest
offerings. There are very few
Broadway music radio programs around the country. Those of us “in the business” become slightly more relevant
when we can play selections from such Broadway hits as “The Book of Mormon,”
“Billy Elliot,” and “In the Heights” among others.
Part of the pleasure of hosting my
own radio program in Hartford, CT is the ability to take in shows in The Big
Apple and Connecticut. I then
offer up reviews to my listeners and readers of my blog (http://stuonbroadway.blogspot.com). Over many years I have cultivated
relationships with press representatives at some of New York’s largest agencies
as well as with individuals at Connecticut’s nationally known regional theaters. Without these contacts I would not be
able to be the critical eyes and ears for would-be audience members. With the upcoming Broadway season and
subscription series for Connecticut theaters about to begin I wanted to thank
the press people for returning my emails and answering my phone calls.