ARSC Journal, Vol
WILLIE ROBYN: A RECORDING ARTIST IN THE 19205 (PART 2) By Tim Brooks Victor to Cameo The early 1920s must have been a heady time for young Robyn, with an exclusive Victor contract, a burgeoning stage and radio career, excellent reviews for his concert work, and talk of the Met. But by 1923 he had hit a plateau. The first setback was the loss ofhis agent, the enthusiastic Hugo Boucek. Boucek had run up large bills publicizing his artists. The economic depression of 1921-22 cut into concert revenues, and many concerts were canceled outright. Deeply in debt, Boucek skipped town, never to be heard from again. Left in the lurch, Robyn did not secure another agent, a move he later felt was a mistake. "I was the most mismanaged person that ever lived," he ruefully explained. The first matter he had to deal with was the expiration of his three-year Victor contract, in mid-1923. Victor was happy to renew, but for the same $7,000 per year as the previous term, and with Robyn still pretty much limited to the foreign series. Robyn insisted on more money, and another chance at popular recording. He made a new popular trial, "Dearest," on April 11th with Nat Shilkret accompanying on piano. Robyn scouted around for other options, and even made a test for Edison on May 24th. The test was reviewed by Thomas Edison himself, who noted of Robyn, 1 Has loud tremolo. Sings too loud. Ifsang less loud he would be much better and have less tremolo. He might do with proper songs.
[Show full text]