| Hecht-Lancaster & Buzzell Music | |
| Foundation: | January 1955 |
| Defunct: | 1960 |
| Key People: | Lu Ann Simms |
| Products: | Music Publishing |
Hecht-Lancaster & Buzzell Music, Inc. (sometimes referred to as Hecht-Lancaster-Buzzell Music Publishing, and later known as Hecht & Buzzell Music, Inc. and Colby Music, Inc.) was an American music publishing company founded by film producer Harold Hecht, his brother-in-law Loring Buzzell, and Hecht's business partner, actor/producer Burt Lancaster.[1]
Hecht-Lancaster & Buzzell Music was solely associated with the American Society of Composers, Authors and Publishers (ASCAP). The three partners also founded the music publishing company Calyork Music, Inc. (sometimes referred to as Calyork Music Corporation or Calyork Music Publishing), which was solely associated with Broadcast Music, Inc. (BMI). Hecht, Lancaster, and Buzzell also briefly operated their own record labels, Calyork Records and Maine Records, which were active in the late 1950s. Hecht-Lancaster & Buzzell Music, Calyork Music, Calyork Records, and Maine Records were divisions of Hecht and Lancaster's film production corporation Norma Productions.[1]
Compositions published by Hecht-Lancaster & Buzzell Music and Calyork Music have been recorded by dozens of artists and have in turn been released by such record labels as Columbia Records, Warner Bros. Records, MGM Records, ABC-Paramount Records, Capitol Records, London Records, United Artists Records, Decca Records, Mercury Records, RCA Victor Records, Jubilee Records, Coral Records, Top Rank Records, Date Records, Kapp Records, Apollo Records, Everest Records and Cabot Records; as well as their own imprints Calyork Records and Maine Records.
See main article: article and Norma Productions.
Following World War II, Hollywood's Golden Age started to fade. After a 1948 ruling that major studios could no longer own theater houses and thereby monopolize production, distribution, and exhibition, things changed greatly.[2] More room was awarded to independent producers, and fewer relied on long-term deals with major studios. Talent agent Harold Hecht and actor Burt Lancaster formed Norma Productions, a film production company, in the summer of 1947. But income in the movie business box office, although far from poor, continued to dwindle, because of stiff competition from radio and television.[2] By the mid-1950s most households owned a television, and the producers who could afford it started producing shows for that market. A similar situation was happening in the music business, as most households owned at least one phonograph. All the major studios either bought out existing record labels or started their own.[2] The studios also began exploiting the soundtrack album, which had before then mostly been an M-G-M musical fad, but caught on with all types of films in the mid-1950s.[2]
In January 1955, Hecht-Lancaster Productions, by then the leading independent film production unit in Hollywood, announced that it was extending its operations into music publishing, entering into a partnership with Howie Richmond's Cromwell Music, Inc. company.[3] [4] The contacts were made through Loring Bruce Buzzell, Hecht's brother-in-law (the brother of his first wife, Gloria Joyce Buzzell), who worked for Richmond at Cromwell Music. Loring and Gloria's father, Samuel Jesse Buzzell, had been a music patent attorney, and their uncle, Edward Buzzell, was a successful film director.[5] Both Hecht and Buzzell had worked for Irving Mills' Mills Music, Inc. company earlier in their careers.[6] [7] Buzzell was also a field man for the American Society of Composers, Authors and Publishers (ASCAP) and in July 1954 married singer Lu Ann Simms (née Lu Ann Ciminelli), who got her big break performing on the Arthur Godfrey show and had since then released a series of successful singles through Columbia Records.[8] [9]
Hecht-Lancaster Productions first published the music from their film Marty in April and June 1955 through Cromwell Music.[10] [11] This gave way for a series of interpretations by various artists of Martys theme song.[12] [13] [14] [15] Hecht-Lancaster Productions' next film soundtrack, The Kentuckian, composed by Bernard Herrmann, was published through Frank Loesser's publishing company, Frank Music, Inc.[16] It is unknown what kind of deal Hecht and Lancaster worked out with Frank Loesser, or if Hermann had a publishing deal directly with Loesser.
In June 1956, it was announced that Hecht, Lancaster, and Buzzell had formed their own music publishing company, Leigh Music, Inc., which would be co-publishing music from their 1956 film Trapeze with Cromwell Music.[17] The name of the company was based on Buzzell's daughter Cynthia Leigh Buzzell (Hecht and Lancaster frequently named their companies after their children). On July 6, 1956, the title song, Trapeze, was co-published through Cromwell Music and Leigh Music. By the second song co-published, Lola's Theme, on August 24, 1956, Leigh Music had been renamed Hecht-Lancaster & Buzzell Music, Inc.[18] [19] The new company was listed under the same address as Cromwell Music: 151 West 46th Street, New York City.[20] Lola's Theme also received various interpretations and singles.[21] [22] [23]
In mid-July 1956, the Hollywood-based Record Releasing Corporation approached Hecht-Lancaster Productions regarding a music deal, though no information surfaced as to future plans.[24]
The new company remained silent for the next six months, until a press announcement was made in March 1957.[25] By then, Hecht-Lancaster Productions had made James Hill a full partner in the company and changed its name to Hecht-Hill-Lancaster Productions, which was a subsidiary of Norma Productions, but Hill was not included in the music venture. The announcement revealed that Harold Hecht, Loring Buzzell and Burt Lancaster had formed a publishing company with plans to publish the scores of Hecht-Hill-Lancaster Productions films and non-film-related pop music.[1]
Two separate publishing firms were announced in the March 1957 press release. Hecht-Lancaster & Buzzell Music, Inc. was to be solely associated with ASCAP, while Calyork Music, Inc. was to work exclusively with BMI (Calyork Music's CAE/IPI number is 4901911).[1] The name Calyork was a combination of California, where Hecht and Lancaster were based, and New York, where Buzzell was based and where Hecht and Lancaster were originally from. The partners intended to alter between the companies for each release, starting with the soundtrack to Hecht-Hill-Lancaster Productions' The Bachelor Party through Hecht-Lancaster & Buzzell, and then the soundtrack to Sweet Smell of Success through Calyork.[1] Both Hecht-Lancaster & Buzzell Music and Calyork Music were under the umbrella of Norma Productions.
In the summer of 1957, Howie Richmond announced that he was interested in acquiring overseas distribution of the Hecht-Lancaster & Buzzell soundtracks.[26]
The soundtrack to Hecht-Lancaster Productions' film Trapeze was released by Columbia Records in June 1956 (catalog CL 870), to a degree of success.[27] [28] But it was the film's and soundtrack LP's theme song, Lola's Theme, that became a radio favorite. It spanned three successful singles interpreted by different bands; in June 1956 Columbia Records released a Muir Mathieson Orchestra version featuring Lola's Theme on the A-side and Mike and Lola's Love Theme on the B-side (catalog Columbia 40725).[21] This was followed in July by a Coral Records release of Steve Allen's version featuring Lola's Theme on the A-side and Conversation (on the Telephone) on the B-side (catalog Coral 61681).[22] Later that same month, a third single was released by Mercury Records of Ralph Marterie and His Orchestra's version featuring Lola's Theme on the A-side and Yes Sir, That's My Baby on the B-side (catalog Mercury 70197).[23]
Hecht-Lancaster & Buzzell Music and Calyork Music went on to publish songs for every future Norma Productions (and its subsidiary companies) films. Their films include The Bachelor Party and Sweet Smell of Success in 1957, Run Silent, Run Deep and Separate Tables (which was nominated for an Academy Award for Best Music, Scoring of a Dramatic or Comedy Picture) in 1958, Cry Tough, The Rabbit Trap, Take a Giant Step and Summer of the Seventeenth Doll in 1959 and finally, The Unforgiven in 1960.
It is now practically impossible to know all of the various interpretations of songs copyrighted and published by Hecht-Lancaster & Buzzell Music and Calyork Music, as some may only have been performed live with no documentation, others may have been recorded but not released, while others may have been recorded and released but did not chart. However, most of the movie soundtracks have been well discussed, even in negative criticism. The company's first official single, the theme song from The Bachelor Party, was composed and performed by Alex North but was not successful.[29] Theme Song from The Bachelor Party appeared on the B-side of an RCA Victor Records 7" showcasing Alex North's theme for Playhouse 90 on the A-side (catalog Victor 6896).[29]
The company's second offering, which featured music from Sweet Smell of Success, was extremely well received and was also of significant importance in the soundtrack category.[30] Sweet Smell of Success marked the first time that a film had two different soundtracks, each featuring completely different music.[30] [31] Thus, Sweet Smell of Success spanned two soundtrack LPs and two promotional singles.[32] The first soundtrack LP was released in July 1957 by Decca Records (catalog DL 8610) and featured the jazz score composed by Elmer Bernstein.[33] That same month, the lead single was released by Decca Records with the songs The Street and Toots Shor's Blues (catalog Decca 30379).[34] The second soundtrack LP featured music composed and performed by the Chico Hamilton Quintet, who also appeared in the film. Decca Records released this LP in August 1957 (catalog DL 8614) and promoted it with a single by Mark Murphy featuring Goodbye Baby on the A-side and The Right Kind of Woman on the B-side (catalog Decca 30390).[35] [36]
In October 1958 the Clifton Productions film (a subsidiary of Norma Productions) Separate Tables yielded three singles of its theme song. The first was performed by Vic Damone, released by Columbia Records (catalog Columbia 41287); the second was by Eydie Gormé, released by ABC-Paramount Records (catalog ABC 9971); and the third was by Lu Ann Simms, released by Jubilee Records (catalog Jubilee 1092).[37] [38] The Columbia Records single became Damone's best-selling record.[39]
Hecht-Lancaster & Buzzell Music's most significant song was May You Always, composed by Dick Charles and Larry Markes in the fall of 1958. It was first recorded by the McGuire Sisters, who were friends of Lu Ann Simms and had worked with her on the Arthur Godfrey show and attended Simms and Buzzell's wedding.[40] The version recorded by the McGuire Sisters, released by Coral Records (catalog Coral 62059), peaked at number 11 on Billboard's Hot 100 chart on January 26, 1959, and became the best-selling record of 1959; the song also became the second-best-selling sheet music in the United States and a top ten in Britain.[41] [42] [43] Other artists who have recorded the song include Vince Hill and Ken Dodd, both for EMI, The Kays for Gala Records, Barbara Cook for DRG Records, John Warren, Joe "Mr Piano" Henderson and The Jean-Ettes, all for Pye Records, Maureen Evans for Embassy Records, Carol Williams for Melcot Music, Anita Bryant for Columbia Records, Tammy Jones and Bobby Vinton, both for Epic Records, Page Morton for M-G-M Records, Dave Garroway and Sandy Stewart for Dick Charles Recording, Harry Harrison for Amy Records, The Gatlin Brother for Branson Entertainment, Eddy Arnold for RCA-Victor Records, Ian McNabb for This Way Up, The Mills Brothers for Dot Records, Johnny Gilbert for Janel Records, Deep River Boys for Fontana Records, Jack Scott for Jade Records, and Dorothy Squires for Esban Records.
The theme song from The Unforgiven, titled "The Unforgiven – The Need for Love", was composed by Dimitri Tiomkin with lyrics by Ned Washington and was very successful with many recordings by popular artists in the early 1960s. It was recorded by Don Costa, Tito Rodríguez and Roy Liberto, all three for United Artists Records,[44] The McGuire Sisters for Coral Records,[45] Clyde Otis for Mercury Records,[46] Ronnie Hilton and Gloria Lasso, both for HMV Records, The Wally Stott Orchestra And Chorus for Pye Records, Ron Goodwin and His Orchestra for Parlophone Records, Jackie Gleason for Capitol Records, Earl Bostic and Leon Pops Orchestra, both for King Records, Franck Pourcel for Pathé, Robert Jeantal and Michel Clement, both for Philips Records, François Deguelt, Max Jaffa and Norrie Paramor, both for Columbia Records, Helmut Zacharias for Polydor Records, The Clebanoff Strings for Mercury Records, Petula Clark for Disques Vogue, Frank Chacksfield for Ace of Clubs Records, Lew Douglas for Carlton Records, The Medallion Strings for Medallion Records,[47] Jesse Crawford for Decca Records, and Gino Mescoli for Vesuvius Records.
Hecht-Lancaster & Buzzell Music also had fruitful collaboration with songwriters Kenny Jacobson and Rhoda Roberts, from whom they published and copyrighted over thirty songs. Some of these included "Just for Two" and "Somebody Loses, Somebody Wins", both recorded by Jaye P. Morgan for M-G-M Records,[48] "Run, Don't Walk", "The Mooch" and "Bye Um Bye", all three recorded by Lu Ann Simms for Columbia Records and Jubilee Records, "Baby, Je Vous Aime", "Crazy Dreamer", "That's All That Matters" and "The Wonder of It All", all four recorded by Bobby Miller for Jubilee Records and Apollo Records,[49] "Midnight Blue" and "This Could Be the Night", both recorded by Herb Corey for Top Rank Records,[50] "Easy Does It", recorded by Johnny Mathis for Columbia Records, "I'll Be Waitin'", recorded by Kenny Rankin for Decca Records, "Didja Mean Whatcha Said?", recorded by Steve Karmen for Mercury Records, "Made for Each Other", recorded by Don Rondo for Jubilee Records,[51] "Lovable", recorded by Jill Corey for Columbia Records,[52] "Have Another", recorded by Lou Monte for RCA-Victor Records,[53] "Bye Um Bye" recorded by Margaret Imlau for Decca Records,[54] "This Could be the Night", recorded by The Arena Twins for Kapp Records,[55] and "Cafe of Blue Mirrors" and "Ragamuffin's Holiday", both recorded by Ken Colby for Maine Records.[56] [57]
Little documentation has been found about Calyork Records and Maine Records, two record labels that Hecht, Lancaster and Buzzell operated together. Most independent record labels of the era pressed records in extremely limited quantities and were only sent to radio disk jockeys and magazine representatives, in the hope of creating enough buzz to secure a major record label re-release for the outing. In most cases, the independent record labels of the era used their releases as portfolios or demos to shop to the major record labels. As such, few copies of Calyork Records or Maine Records releases have survived.
The only known release by Calyork Records is from 1958; the two songs featured on the disk were published on April 15, 1958. The 45 RPM 7" vinyl credits Calyork Records with the two songs published to Calyork Music as a Lou Bartel Production (songwriter and producer). It features the songs Anxiously Waiting and She Flipped Me performed by doo wop band The Flipteens. The record also indicates that it is a "Promotion Record" and a "Sample Copy Not For Sale". The address of the record label listed 729 7th Avenue, New York City as its headquarters, which was where the Hecht-Lancaster & Buzzell Music offices were then located, having moved out of Howard S. Richmond's office at 151 West 46th Street in New York City.[58] [59] The record was manufactured by United Artists Records, which had a pressing plant in the same building as the Hecht-Lancaster & Buzzell companies.
The only known release by Maine Records, also known as Maine Record Company, is from 1959.[60] Maine Records was named after the State of Maine, where Buzzell had gone to university (he also named another company, Colby Music, after his alma mater).[60] In March 1959, Maine Records released a 45 RPM 7" vinyl by Ken Colby featuring the songs Cafe of Blue Mirrors and Ragamuffin's Holiday, two songs already published by Hecht-Lancaster & Buzzell Music.[56] The record was manufactured and distributed by Jubilee Records.
Buzzell, Hecht and Lancaster initially had to work out a licensing deal for their published songs to be legally available outside the United States and collect royalties for their songwriters. Buzzell worked out a tie-up deal with Howard S. Richmond's British-based subsidiary Essex Music, Ltd.[61] [62] Records and sheet music released in the United Kingdom were listed as from Essex Music, Ltd. Ultimately, Hecht, Lancaster and Buzzell founded their own British imprint, Colby Music, Ltd.[60] The name of the company came from Buzzell's alma mater Colby University.[60] Colby Music was also extended to several other European countries, which were each represented by local firms.[63] In Germany, Colby Music was represented by Julian Aberbach,[64] while in Sweden the Scandinavian rights were licensed to Multitone Musikförlag by its New York representative Claes Dahlgren.[65]
Calyork Music's final known registry is listed on September 23, 1958, with three Steve Karmen songs.[66] Although the copyrights and royalty collections remained active, no new works were published under that company, with Hecht-Lancaster & Buzzell Music taking on all new publishing. The Hecht and Lancaster Companies started having interpersonal issues in early 1959, resulting in an announced hiatus from the film business in April 1959.[67] In July 1959 Harold Hecht and Gloria Buzzell separated. This may have caused friction between Hecht and the Buzzell family. Both of these factors played against Hecht-Lancaster & Buzzell Music.
On October 20, 1959, Loring Buzzell suffered a fatal heart attack.[68] Following this, few additional songs were published by Hecht-Lancaster & Buzzell Music. The exceptions include the theme songs for the Hecht-Hill-Lancaster Productions film Summer of the Seventeenth Doll and four songs co-written by widowed Lu Ann Simms and family friend Jaye P. Morgan. The final material published by the firm was Dimitri Tiomkin's soundtrack of the Hecht-Hill-Lancaster Productions film The Unforgiven, which was filled under the modified company name Hecht & Buzzell Music, Inc., as the film production company had dissolved by then and the three partners had gone their separate ways.[69] [70] Hecht & Buzzell Music was managed by Harold Hecht and Lu Ann Simms.[71]
Simms took over the publishing companies following her husband's death and continued after Hecht's exit.[72] [73] By 1961, Calyork Music and Hecht & Buzzell Music's addresses were listed as 119 West 57th Street, New York City, which was Irvin Feld's business address, who also administered other notable music publishing firms like Desilu Music Corp.[74] [75] Calyork Music remained intact through BMI and continued to be administered by Feld. Hecht & Buzzell Music was however renamed, yet again, around 1965, this time to Colby Music, Inc., which made it easier to relate the company its existing British and European venture Colby Music, Ltd. Colby Music's address was listed care of Samuel Jesse Buzzell (Loring's father), 460 Park Avenue, New York.[76] A deal was made with Richmond's Essex Music, Inc. to administer Colby Music, Inc. Many of the songs that had been previously recorded were re-issued on discs with updated publishing credits to Colby Music, which continues to administer the songs through ASCAP.[77]
This list was compiled from the Catalog of Copyright Entries, Music from 1955–1960. It is believed to be incomplete.[78] [79] [80] [81] [82] [83] [84] [85] [86] [87] [88] [89] [90] [91] [92] [93] [94] [95] [96]
| Date | Song | Composer | Catalog Number | Publisher | Associated Film | |
|---|---|---|---|---|---|---|
| April 21, 1955 | Hey, Marty | Harry Warren (m) & Paddy Chayefsky (w) | EP89219 | Cromwell Music | Marty | |
| June 10, 1955 | Saturday Night Mambo | Roy Webb (m) | EP90516 | Cromwell Music | Marty | |
| June 29, 1956 | Lola's Theme | Malcolm Arnold (m) | EU442973 | Cromwell Music | Trapeze | |
| June 29, 1956 | Mike and Lola's Love Theme | Malcolm Arnold (m) | EU442974 | Cromwell Music | Trapeze | |
| July 6, 1956 | Trapeze | Paul Elie (m) & Johnny Burke (l) | EP100758 | Cromwell Music / Leigh Music | Trapeze | |
| August 24, 1956 | Lola's Theme | Malcolm Arnold (w, a) & Al Stillman (l) | EP101709 | Cromwell Music / Hecht-Lancaster & Buzzell Music | Trapeze | |
| April 1, 1957 | Ragamuffin's Holiday | Kenny Jacobson (m) | EU472529 | Hecht-Lancaster & Buzzell Music | ||
| April 1, 1957 | While the City Sleeps | Kenny Jacobson (m) | EU472528 | Hecht-Lancaster & Buzzell Music | ||
| April 3, 1957 | Cheek to Chico | Chico Hamilton (m) & Fred Katz (m) | EU476352 | Calyork Music | Sweet Smell of Success | |
| April 3, 1957 | Goodbye Baby | Chico Hamilton (m) & Fred Katz (m) | EU476352 | Calyork Music | Sweet Smell of Success | |
| April 3, 1957 | Sidney's Theme | Chico Hamilton (m) & Fred Katz (m) | EU476351 | Calyork Music | Sweet Smell of Success | |
| April 26, 1957 | Run, Don't Walk | Kenny Jacobson (m) & Rhoda Roberts (w) | EU475523 | Hecht-Lancaster & Buzzell Music | ||
| May 3, 1957 | The Forest and the Sea | Kenny Jacobson (m, w) | EU476246 | Hecht-Lancaster & Buzzell Music | ||
| May 10, 1957 | Green Silk Pajamas | Joe Marsala (w) & Guy Wood (m) | EU477347 | Hecht-Lancaster & Buzzell Music | ||
| May 22, 1957 | No Place to Rest | Kenny Jacobson (m) & Rhoda Roberts (w) | EU478793 | Hecht-Lancaster & Buzzell Music | ||
| May 22, 1957 | If I Were the Judge and the Jury | Don Marsh (m, w) | EU478773 | Calyork Music | ||
| May 31, 1957 | Theme from The Bachelor Party | Alex North (m) | EP109947 | Hecht-Lancaster & Buzzell Music | The Bachelor Party | |
| July 3, 1957 | Goodbye Baby | Chico Hamilton (m) & Fred Katz (m) & William Engvick (l) | EP110121 | Calyork Music | Sweet Smell of Success | |
| July 5, 1957 | The Street | Elmer Bernstein (m) | EU484174 | Calyork Music | Sweet Smell of Success | |
| July 5, 1957 | Tangerine Peel | Elmer Bernstein (m) | EU484173 | Calyork Music | Sweet Smell of Success | |
| July 5, 1957 | Toots Shor's Blues | Elmer Bernstein (m) | EU484172 | Calyork Music | Sweet Smell of Success | |
| July 5, 1957 | Tropical Island Mood | Elmer Bernstein (m) | EU484171 | Calyork Music | Sweet Smell of Success | |
| July 29, 1957 | I'll Be Waitin' | Kenny Jacobson (m) & Rhoda Roberts (w) | EU486778 | Hecht-Lancaster & Buzzell Music | ||
| July 31, 1957 | Crazy Dreamer | Kenny Jacobson (m) & Rhoda Roberts (w) | EU487130 | Hecht-Lancaster & Buzzell Music | ||
| August 6, 1957 | My Haunted House | Kenny Jacobson (m) & Rhoda Roberts (w) | EU487896 | Hecht-Lancaster & Buzzell Music | ||
| August 6, 1957 | Puppet on a String | Kenny Jacobson (m) & Rhoda Roberts (w) | EU487895 | Hecht-Lancaster & Buzzell Music | ||
| September 9, 1957 | Who Can I Believe | Vance Packard (m, w) | EU492147 | Calyork Music | ||
| September 18, 1957 | Didja Mean Whatcha Said? | Kenny Jacobson (m) & Rhoda Roberts (w) | EU493353 | Hecht-Lancaster & Buzzell Music | ||
| October 16, 1957 | Run Silent, Run Deep | Kenny Jacobson (m) | EU496941 | Hecht-Lancaster & Buzzell Music | Run Silent, Run Deep | |
| October 24, 1957 | Made for Each Other | Kenny Jacobson (m) & Rhoda Roberts (w) | EU497986 | Hecht-Lancaster & Buzzell Music | ||
| November 8, 1957 | Dark Hazard | Anthony Tamburello (m) | EU499877 | Calyork Music | ||
| November 8, 1957 | Goblin's Gavotte | Anthony Tamburello (m) | EU499875 | Calyork Music | ||
| November 8, 1957 | Lady of Fashion | Anthony Tamburello (m) | EU499876 | Calyork Music | ||
| November 8, 1957 | Mama's Song | Anthony Tamburello (m) & Marianina Miraglis (m) | EU499874 | Calyork Music | ||
| November 8, 1957 | March Forth | Anthony Tamburello (m) | EU499878 | Calyork Music | ||
| November 8, 1957 | Naughty Nautical | Anthony Tamburello (m) | EU499879 | Calyork Music | ||
| November 8, 1957 | Theme for Radio | Anthony Tamburello (m) | EU499880 | Calyork Music | ||
| November 12, 1957 | Darts | Fred Elton (m, w) | EU500258 | Hecht-Lancaster & Buzzell Music | ||
| November 19, 1957 | So This Is How It Ends | Kenny Jacobson (m) & Rhoda Roberts (w) | EU501184 | Hecht-Lancaster & Buzzell Music | ||
| November 19, 1957 | Cross Country Tour | Anthony Tamburello (m) | EU501117 | Calyork Music | ||
| November 19, 1957 | 'Sembly | Anthony Tamburello (m) | EU501115 | Calyork Music | ||
| November 19, 1957 | So This Is Love | Anthony Tamburello (m) | EU501116 | Calyork Music | ||
| November 19, 1957 | Waltz for Jane | Anthony Tamburello (m) | EU501118 | Calyork Music | ||
| November 22, 1957 | You're the Prettiest Thing | Jane Douglas White (m) & Sydney Shaw (w) | EU501545 | Hecht-Lancaster & Buzzell Music | ||
| November 22, 1957 | Post and Horn Gallop | Anthony Tamburello (m) | EU501554 | Calyork Music | ||
| November 22, 1957 | Roundelay | Anthony Tamburello (m) | EU501555 | Calyork Music | ||
| December 18, 1957 | That's All That Matters | Kenny Jacobson (m) & Rhoda Roberts (w) | EU504584 | Hecht-Lancaster & Buzzell Music | ||
| December 18, 1957 | The Wonder of It All | Kenny Jacobson (m) & Rhoda Roberts (w) | EU504584 | Hecht-Lancaster & Buzzell Music | ||
| February 12, 1958 | I Don't Want to Do a Thing but Love You | Jane Douglas White (m) & Sydney Shaw (w) | EU511228 | Calyork Music | ||
| February 12, 1958 | Whispering Campaign | Jane Douglas White (m) & Sydney Shaw (w) | EU511227 | Calyork Music | ||
| February 17, 1958 | Made for Each Other | Kenny Jacobson (m) & Rhoda Roberts (w) | EP116677 | Hecht-Lancaster & Buzzell Music | ||
| March 20, 1958 | Now, Down to Earth | Kenny Jacobson (m) & Rhoda Roberts (w) | EU515896 | Hecht-Lancaster & Buzzell Music | ||
| March 21, 1958 | Bye Um Byee | Kenny Jacobson (m) & Rhoda Roberts (w) | EU516234 | Hecht-Lancaster & Buzzell Music | ||
| March 21, 1958 | The Mooch | Kenny Jacobson (m) & Rhoda Roberts (w) | EU516236 | Hecht-Lancaster & Buzzell Music | ||
| March 21, 1958 | Lovable | Kenny Jacobson (m) & Rhoda Roberts (w) | EU516235 | Hecht-Lancaster & Buzzell Music | ||
| April 4, 1958 | Be on the Lookout | Jane Douglas White (m) & Sydney Shaw (w) | EU517932 | Calyork Music | ||
| April 4, 1958 | Time Will Tell | Jane Douglas White (m) & Sydney Shaw (w) | EU517931 | Calyork Music | ||
| April 15, 1958 | Anxiously Waiting | Lou Bartel (m, w) | EU519508 | Calyork Music | ||
| April 15, 1958 | She Flipped Me | Lou Bartel (m, w) | EU519507 | Calyork Music | ||
| April 23, 1958 | Chum-Bam-Bele | Fred Elton (m, w) & Clint Ballard Jr. (m, w) | EU521044 | Calyork Music | ||
| April 24, 1958 | Separate Tables | Harry Warren (m) & Harold Adamson (w) | EU521155 | Hecht-Lancaster & Buzzell Music | Separate Tables | |
| April 29, 1958 | Easy Does It | Kenny Jacobson (m) & Rhoda Roberts (w) | EU521783 | Hecht-Lancaster & Buzzell Music | ||
| May 7, 1958 | Ring Around the Moon | Don Marsh (m, w) | EU523275 | Hecht-Lancaster & Buzzell Music | ||
| May 9, 1958 | Baby, Je Vous Aime | Kenny Jacobson (m) & Rhoda Roberts (w) | EU523617 | Hecht-Lancaster & Buzzell Music | ||
| June 4, 1958 | Jackanapes | Anthony Tamburello (m) | EU527764 | Calyork Music | ||
| June 6, 1958 | Just About | Don Marsh (m, w) & Nancy Lee Marsh (m, w) | EU528079 | Calyork Music | ||
| June 10, 1958 | Green Jeans | Kenny Bowers (m, w) | EU528485 | Calyork Music | ||
| June 10, 1958 | Help! | Kenny Bowers (m, w) | EU528486 | Calyork Music | ||
| June 12, 1958 | Valse Viennese | Anthony Tamburello (m) | EU529893 | Calyork Music | ||
| July 1, 1958 | Someone Else's Ring | Steve Karmen (m, w) | EU531431 | Calyork Music | ||
| July 1, 1958 | Zoom Zoom | Steve Karmen (m, w) | EU531432 | Calyork Music | ||
| July 18, 1958 | Foolishly Young | Horace Linsley (m, w) | EU533818 | Hecht-Lancaster & Buzzell Music | ||
| August 15, 1958 | Run Silent, Run Deep | Kenny Jacobson (m) | EP121980 | Hecht-Lancaster & Buzzell Music | Run Silent, Run Deep | |
| September 19, 1958 | Good Time Charlie | Fred Elton (m, w) | EU542450 | Hecht-Lancaster & Buzzell Music | ||
| September 23, 1958 | I Found Love | Steve Karmen (m, w) | EU543067 | Calyork Music | ||
| September 23, 1958 | Oh! Oh | Steve Karmen (m, w) | EU543068 | Calyork Music | ||
| September 23, 1958 | Watchin' and Waitin' | Steve Karmen (m, w) | EU543066 | Calyork Music | ||
| October 7, 1958 | Smile for the People | Fred Elton (m, w) | EU544914 | Hecht-Lancaster & Buzzell Music | ||
| October 20, 1958 | Easy Does It | Kenny Jacobson (m) & Rhoda Roberts (w) | EP123982 | Hecht-Lancaster & Buzzell Music | ||
| October 22, 1958 | Separate Tables | Harry Warren (m) & Harold Adamson (l) | EP123983 | Hecht-Lancaster & Buzzell Music | Separate Tables | |
| November 14, 1958 | May You Always | Dick Charles (m, w) & Larry Markes (m, w) | EU550467 | Hecht-Lancaster & Buzzell Music | ||
| December 18, 1958 | May You Always | Dick Charles (m, w) & Larry Markes (m, w) | EP125691 | Hecht-Lancaster & Buzzell Music | ||
| January 26, 1959 | After | Dick Charles (m, w) & Larry Markes (m, w) | EU559562 | Hecht-Lancaster & Buzzell Music | ||
| January 26, 1959 | Dream Girl | Kenny Jacobson (m) & Rhoda Roberts (w) | EU559561 | Hecht-Lancaster & Buzzell Music | ||
| January 26, 1959 | Motherless Child | Jerry Fielding (m, a, w) | EU559560 | Hecht-Lancaster & Buzzell Music | ||
| February 26, 1959 | Zeitgeist – Cafe of Blue Mirrors | Kenny Jacobson (m) | EU564334 | Hecht-Lancaster & Buzzell Music | ||
| March 12, 1959 | Only Wishful Thinking | Horace Linsey (m, w), Bill Eisenhauer (m, w) & Pat Noto (m, w) | EU566792 | Hecht-Lancaster & Buzzell Music | ||
| March 17, 1959 | Don't Try to Make Me Smile Tonight | Gloria Shayne (m, w) & Noel Paris (m, w) | EU567450 | Hecht-Lancaster & Buzzell Music | ||
| March 18, 1959 | Somebody Loses, Somebody Wins | Kenny Jacobson (m) & Rhoda Roberts (w) | EU567735 | Hecht-Lancaster & Buzzell Music | ||
| March 24, 1959 | Enthusiasm | Fred Elton (m, w) | EU568550 | Hecht-Lancaster & Buzzell Music | ||
| May 11, 1959 | Have Another | Kenny Jacobson (m) & Rhoda Roberts (w) | EU576234 | Hecht-Lancaster & Buzzell Music | ||
| May 21, 1959 | Just for Two | Kenny Jacobson (m) & Rhoda Roberts (w) | EU577817 | Hecht-Lancaster & Buzzell Music | ||
| June 1, 1959 | That's the Way I Am | Gloria Shayne (m, w) | EU579267 | Hecht-Lancaster & Buzzell Music | ||
| June 10, 1959 | Cinderella | Jim Palmer (m/w) & Anthony Tamburello (m, w) | EU580518 | Hecht-Lancaster & Buzzell Music | ||
| June 16, 1959 | Smile for the People | Fred Elton (m, w) | EP131071 | Hecht-Lancaster & Buzzell Music | ||
| June 26, 1959 | Absence | Laurindo Almeida (m) | EU582858 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | The Big Town | Laurindo Almeida (m) | EU582853 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Club Caballeros | Laurindo Almeida (m) | EU582855 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Luna De Miel | Laurindo Almeida (m) | EU582852 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Mambo a la Teen | Laurindo Almeida (m) | EU582857 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Mambo Sin Mayores Consecuencias | Laurindo Almeida (m) | EU582859 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Nena | Laurindo Almeida (m) | EU582862 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | The Old Man's Mambo | Laurindo Almeida (m) | EU582854 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Sarita's Mambo | Laurindo Almeida (m) | EU582856 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Stool Pigeon | Laurindo Almeida (m) | EU582851 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | The Suspense Cha-Cha | Laurindo Almeida (m) | EU582860 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| June 26, 1959 | Trece Perros | Laurindo Almeida (m) | EU582861 | Hecht-Lancaster & Buzzell Music | Cry Tough | |
| July 9, 1959 | Midnight Blues | Kenny Jacobson (m) & Rhoda Roberts (w) | EU584540 | Hecht-Lancaster & Buzzell Music | ||
| July 9, 1959 | This Could Be the Night | Kenny Jacobson (m) & Rhoda Roberts (w) | EU584541 | Hecht-Lancaster & Buzzell Music | ||
| July 21, 1959 | The Rabbit Trap Theme | Jack Marshall (m) | EU586203 | Hecht-Lancaster & Buzzell Music | The Rabbit Trap | |
| July 29, 1959 | Growing Up | Kenny Jacobson (m) & Rhoda Roberts (w) | EU587262 | Hecht-Lancaster & Buzzell Music | ||
| September 3, 1959 | Take a Giant Step | Jay Livingston (m, w) & Ray Evans (m, w) | EP133495 | Hecht-Lancaster & Buzzell Music | Take a Giant Step | |
| October 16, 1959 | Does She, or Doesn't She? | Jerry Alters (m) & Don Meyer (w) | EU598106 | Hecht-Lancaster & Buzzell Music | ||
| October 20, 1959 | I'll Always Remember | Dick Charles (m, w) & Larry Markes (m, w) & Murray Kane (m, w) | EU596288 | Hecht-Lancaster & Buzzell Music | ||
| December 9, 1959 | Ben Bernard Theme No. I | Benjamin Frankel (m) | EU604954 | Hecht-Lancaster & Buzzell Music | Summer of the Seventeenth Doll | |
| December 9, 1959 | Ben Bernard Theme No. II | Benjamin Frankel (m) | EU604953 | Hecht-Lancaster & Buzzell Music | Summer of the Seventeenth Doll | |
| December 11, 1959 | I Care | Jaye P. Morgan (m, w) & Lu Ann Simms (m w) | EU605544 | Hecht-Lancaster & Buzzell Music | ||
| December 11, 1959 | If Something's Gonna Happen Let It Happen | Jaye P. Morgan (m, w) & Lu Ann Simms (m, w) | EU605543 | Hecht-Lancaster & Buzzell Music | ||
| December 11, 1959 | Love Has Gone | Jaye P. Morgan (m, w) & Lu Ann Simms (m, w) | EU605546 | Hecht-Lancaster & Buzzell Music | ||
| December 11, 1959 | Somewhere There's a Rainbow | Jaye P. Morgan (m, w) & Lu Ann Simms (m, w) | EU605545 | Hecht-Lancaster & Buzzell Music | ||
| March 23, 1960 | The Unforgiven – The Need for Love | Dimitri Tiomkin (m) & Ned Washington (l) | EP139141 | Hecht & Buzzell Music | The Unforgiven | |
Though Hecht, Lancaster and Buzzell briefly operated the record labels Calyork Records and Maine Records, the majority of the recordings made from their published songs have been released on vinyl, cassette, CD and digitally through other record labels. This list is an attempt to document the company's efforts.
Legend:
≈ Cromwell Music publishing
† Hecht-Lancaster & Buzzell Music publishing
¤ Calyork Music publishing
‡ Hecht & Buzzell Music publishing
| Date | Record Label | Catalog Number | Artist | A Side | B Side | Ref. | |
|---|---|---|---|---|---|---|---|
| May 1955 | MGM Records | MGM 11981 | Dave (Tico) Robbins Quintette | "Silvana Mangano Mambo" | "Saturday Night Mambo" ≈ | ||
| May 1955 | MGM Records | K11970 | The Naturals | "Marty" ≈ | "The Jitterbug Waltz" | ||
| June 1955 | Coral Records | Coral 61425 | Les Brown Orchestra | "Something's Gotta Give" | "Saturday Night Mambo" ≈ | ||
| June 1955 | Columbia Records | Columbia 40513 | The Chappaqua High School Kids | "Marty" ≈ | "East Side, West Side" | [97] | |
| June 1956 | Columbia Records | Columbia 40725 | Muir Mathieson Orchestra | "Lola's Theme" ≈ | "Mike and Lola's Love Theme" ≈ | [98] | |
| July 1956 | Coral Records | Coral 61681 | Steve Allen | "Lola's Theme" ≈ | "Conversation (on the Telephone)" | [99] | |
| July 1956 | Mercury Records | Mercury 70197 | Ralph Marterie and His Orchestra | "Lola's Theme" ≈ | "Yes Sir, That's My Baby" | [100] | |
| April 1957 | RCA Victor Records | Victor 6896 | Alex North Orchestra | "Theme from Playhouse 90" | "Theme from The Bachelor Party" † | ||
| June 1957 | Columbia Records | Columbia 40937 | Lu Ann Simms | "Run, Don't Walk" † | "The Still Small Voice" | [101] | |
| June 1957 | Cabot Records | Cabot 104 | Danny Davis | "I Wonder Why" † | "To Mend My Broken Heart" | [102] | |
| July 1957 | Decca Records | Decca 30390 | Mark Murphy | "Goodbye Baby" ¤ | "The Right Kind of Woman" | [103] | |
| July 1957 | Decca Records | Decca 30379 | Elmer Bernstein | "The Street" ¤ | "Toots Shor's Blues" ¤ | ||
| 1957 | Decca Records | Decca 30485 | Kenny Rankin | "Saturday After the Game" | "I'll Be Waitin'" † | ||
| October 1957 | Mercury Records | Mercury 71208 | Steve Karmen | "How Soon" | "Didja Mean Whatcha Said?" † | ||
| December 1957 | Jubilee Records | Jubilee 5313 | Don Rondo | "Made for Each Other" † | "What a Shame" | ||
| 1958 | Calyork Records | none | The Flipteens | "Anxiously Waiting" ¤ | "She Flipped Me" ¤ | ||
| April 1958 | Jubilee Records | Jubilee 5321 | Lu Ann Simms | "The Mooch" † | "Bye Um Bye" † | [104] | |
| April 1958 | Decca Records | Decca 30641 | Jack Pleis Orchestra | "Run Silent Run Deep" † | "Gigi" | [105] | |
| April 1958 | Columbia Records | Columbia 41161 | Jill Corey | "Sweet Sugar Lips" | "Lovable" † | ||
| July 1958 | Date Records | Date 1004 | The Temples | "Whispering Campaign" ¤ | "I Don't Want to Do a Thing But Love You" ¤ | [106] | |
| 1958 | Decca Records | Decca 9-30562 | Merv Griffin with The Spellbinders | "Introduce Me to the Gal" | "You're the Prettiest Thing" † | ||
| 1958 | Jubilee Records | Jubilee 5329 | Bobby Miller | "Baby, Je Vous Aime" † | "Crazy Dreamer" † | ||
| October 1958 | Columbia Records | Columbia 41287 | Vic Damone | "We Kiss in a Shadow" | "Separate Tables" † | ||
| October 1958 | ABC-Paramount Records | ABC 9971 | Eydie Gormé | "Separate Tables" † | "The Voice in My Heart" | ||
| October 1958 | Jubilee Records | Jubilee 1092 | Lu Ann Simms | "Separate Tables" † / "There Will Never Be Another You" | "You're Getting to be a Habit with Me" / "Oh That Kiss" | ||
| November 1958 | Coral Records | Coral 62059 | McGuire Sisters | "May You Always" † | "Achoo-Cha Cha (Gesundheit)" | ||
| November 1958 | Mercury Records | Mercury 71386 | Steve Karmen | "Watchin' and Walkin'" ¤ | "Oh! Oh | " ¤ | [107] |
| January 1959 | London Records | London 45-1848 | Mantovani | "Separate Tables" † | "Under Paris Skies" | [108] | |
| February 1959 | Warner Bros. Records | Warner Bros. 5036 | Margaret Ann and the Ja Da Quartette | "My Cutey's Due at Two to Two Today" | "Good Time Charlie" † | [109] | |
| March 1959 | Maine Records | Maine 6000 | Ken Colby | "Cafe of Blue Mirrors" † | "Ragamuffin's Holiday" † | ||
| April 1959 | Coral Records | Coral 62108 | Lillian Briggs | "Rag Mop" | "Smile for the People" † | [110] | |
| June 1959 | RCA Victor Records | Victor 7554 | Lou Monte | "Pistol Packin' Mama" | "Have Another" † | ||
| July 1959 | MGM Records | MGM 12815 | Jaye P. Morgan | "Somebody Else Is Taking My Place" | "Somebody Loses, Somebody Wins" † | ||
| August 1959 | Capitol Records | Capitol 4259 | Tommy Sands | "I'll Be Seeing You" | "The Way I Am" † | [111] | |
| September 1959 | ABC-Paramount Records | ABC 10046 | Johnny Nash | "But Not for Me" | "Take a Giant Step" † | [112] | |
| October 1959 | Decca Records | Decca 30981 | Margaret Imlau | "Bye Um Bye" † | "No No Baby" | ||
| October 1959 | Top Rank Records | Top Rank 2018 | Herb Corey | "Midnight Blues" † | "This Could Be the Night" † | ||
| January 1960 | Kapp Records | Kapp 315 | The Arena Twins | "Jimbalay'a" | "This Could Be the Night" † | ||
| February 1960 | Apollo Records | Apollo 3854 | Bobby Miller | "That's All That Matters" † | "The Wonder of It All" † | ||
| February 1960 | Jubilee Records | Jubilee 5383 | Lu Ann Simms | "After" † | "Just About" ¤ | [113] | |
| March 1960 | United Artists Records | UA 221 | Don Costa | "Theme from The Unforgiven (The Need for Love)" ‡ | "Streets of Paris" | ||
| April 1960 | Coral Records | Coral 62196 | McGuire Sisters | "Theme from The Unforgiven (The Need for Love)" ‡ | "I Give Thanks" | ||
| May 1960 | Mercury Records | Mercury 71628 | Clyde Otis | "Theme from The Unforgiven" ‡ | "It's So Much Fun" | ||
| 1960 | HMV Records | HMV POP756 | Ronnie Hilton | "Theme from The Unforgiven" ‡ | "The Girl I Used to Know" | ||
| 1960 | Pye Records | 7N.15271 | The Wally Stott Orchestra And Chorus | "Theme from The Unforgiven" ‡ | "Mr. Lucky" | ||
| 1960 | Parlophone Records | 45-R 4663 | Ron Goodwin and His Orchestra | "Theme from The Unforgiven" ‡ | "Theme from Ben Hur" | ||
| Date | Record Label | Catalog Number | Artist | Title | Song(s) | Ref. |
|---|---|---|---|---|---|---|
| June 1956 | Columbia Records | CL 870 | Malcolm Arnold | Trapeze ≈ | All | [114] |
| June 1957 | Decca Records | DL 8610 | Elmer Bernstein | Music from the Sound Track Sweet Smell of Success ¤ | All | [115] |
| July 1957 | Decca Records | DL 8614 | Chico Hamilton Quintet | The Chico Hamilton Quintet Plays Jazz Themes Recorded for the Sound Track of the Motion Picture Sweet Smell of Success ¤ | All | [116] |
| January 1959 | Everest Records | LPBR 5018 | Anthony Tamburello | Music Tailored To Your Taste... ¤ | All | [117] |
| January 1959 | Jubilee Records | JLP 1092 | Lu Ann Simms | At Separate Tables † | "Separate Tables" | |
| 1959 | M-G-M Records | E 3774 | Jaye P. Morgan | Slow and Easy | "Just for Two" | |
| November 1959 | Capitol Records | ST 1263 | Laurindo Almeida | Happy Cha Cha Cha † | All | [118] |
| March 1960 | United Artists Records | UAL 4068 / UAS 5068 | Dimitri Tiomkin | The Unforgiven ‡ | All | [119] |
| July 15, 1963 | Columbia Records | CS 8844 | Johnny Mathis | Johnny † | "Easy Does It" | |