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Harry Tilsley (né Henry Bailey Tilsley; July 1897 Ashton-under-Lyne, Greater Manchester, England – 6 December 1934 Lambeth, South London, England) was a British entertainer, comedian, lyricists, and composer.[1] He was one of the founders of Cecil Lennox, Ltd., a London-based publisher of popular music. He published music in 1925 under the pseudonyms Cub Chester.[2][3] and Henry Bailey.[4][5]


Tilsley, with Everett Lynton (pseudonym of Lawrence Wright; 1888–1964), co-wrote the song, "I Never See Maggie Alone," published in 1926 by Cecil Lennox, Ltd. Country music singer Kenny Roberts recorded it in 1949 and – on September 10, 1949, when it reached no. 9 – is believed to the first British tune to make the Country Top 10 in the United States.[6][7]

His more famous songs include:

  1. "I Never See Maggie Alone," recorded by:
    1. Bert Ralton and His Havana Band, sung by Ralton (aka Bert Louis Ralton; né Albert Lewis Ralton; ca. 1885–1927) (Columbia 4092; mx A 3829; 1926)
    2. Billy Mayerl and His Orchestra (Vocalion X 9843; mx M 07-1; 1926)
    3. Clarkson Rose (né Arthur C. Rose; 1890–1968) and/or Olive Fox (Zonophone Zon 2785; mx Yy-8860-3) (recorded September 10, 1926, Hayes, Middlesex)
    4. Harry Bidgood's Orchestra, sung by John Thorne (Little Marvel 1051-A mx S-2198)
    5. Irving Aaronson and His Commanders, sung by Phil Saxe[a] (Victor 20473-B; matrix 37410-3; 1927) (hit)[8]
    6. Hot Lips Page (Harmony HL1077; matrix CO41731; 1949)
    7. Honey Duke & His Uke (aka Johnny Marvin; né John Senator Marvin; 1887–1944) (Edison 3108; mx 31942-2 & Bell 479; 1927)
    8. Rosemary Clooney & Betty Clooney (vocalist) with Tony Pastor and His Orchestra (Col 38609; matrix C041726-1A; 1949)
    9. Kenny Roberts (Coral 64012; matrix runout 74894; 1949),
    10. Art Mooney and His Orchestra, sung by Tex Fletcher and the Art Mooney Choir (MGM 10548-B; 1949),
    11. Eddie Cantor, (RCA Victor label & run-out mx 54-0005-A (30-0010-A); 1949),
    12. Ernie Lee (1916–1991) and His Southerners (RCA Victor Catalog, label & mx 21-0023-B; 1949)
    13. Benny Strong and His Orchestra, sung by Benny Strong (Capitol 57-750; mx 4955; 1949)
    14. Nancy Lee[b] with the The Hilltoppers and Kenny Roberts (London L.506; matrix U-8838; 1949),
    15. Bob Hannon (né Lacy Rutherford Bohannon, Jr.; 1912–1993) and Johnny Ryan (Brunswick 04352; 1950)
    16. Max Miller (HMV BD9878; 1950)
    17. Slim Whitman (London & Imperial IF 795; matrix X8320; 1958/1959),[9]
    18. Ray Charles and Betty Carter (1961),
    19. Ray Charles (Have a Smile With Me; ABC-Paramount ABC495; 1963)
  2. "Maggie's Cold"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-1; matrix WA 9972; 1930)
  3. "I Wonder Why"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-55; matrix WA10245; 1930)
  4. "Fire! Fire!! Fire!!!"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-123; matrix WA10603; 1930)
  5. "Day By Day"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-151; matrix WA10750; 1930)
  6. "Pass! Shoot! Goal!"
    1. Debroy Somers Band (CB-238; matrix CA11251; 1931)
  7. "Bells of Normandy"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-2242; matrix WA11278; 1930)
  8. "Tell Me a Tale of Old Virginia"
    1. Jack Payne and his B.B.C. Dance Orchestra (CB-2242; matrix WA11278; 1931)
  9. "That's Somerset" (1931)
    1. Debroy Somers Band (CB-303; matrix CA11679; 1931)
  10. "If I Had My Time Over Again"
    1. Billy Cotton and His Band (CB-323; matrix CA11788; 1931)
  11. "Waiter's on Parade"
    1. The B.B.C. Dance Orchestra, directed by Henry Hall (CB-616; matrix CA13653; 1933)
  12. "Let's Have a Basinful of the Briny"
    1. The B.B.C. Dance Orchestra, directed by Henry Hall (CB-765; matrix CA14537; 1933)
  13. "Let's All Go to the Music Hall"
    1. The B.B.C. Dance Orchestra, directed by Henry Hall (CB-795; matrix CA14702; 1934)

Discography references

[edit]
Sources: Discogs & 45cat.com
  1. Irving Aaronson and His Commanders
  2. Slim Whitman
  3. Harry Bidgood's Orchestra, sung by John Thorne

Selected audio

[edit]



Pseudonyms

[edit]
  • Cub Chester → cited in the 1925 copyright of "A Message From Missouri" (1925), Cub Chester (words), Evans (music); Copyright renewed 16 May 1952 by Phyllis Douglas (widow of Tilsley); R97402. "Copyright Cards, 1946–1954." Library of Congress – via Internet Archive.


Main article: Huntley Trevor



?? His father was from Manchester?


The Merrymakers

[edit]

[10]

Captain Davey's 1924 production, The Merrymakers, featured Harry Tilsley. Tilsley's son, Reg Tilsley, adopted the name for his dance orchestra, "Reg Tilsley and His Merrymakers." Reg's wife, Maisie Tilsley, won the Castlebar Song Contest.

Photo of Reg Tilsley.
Photo of Maisie Tilsley.


British Armed Forces

[edit]
Regtl. No. 377592
Units: 2/10th Manchester R.
377592 Pte.
1/10th Manchester R.
377592
  • "Henry Bailey Tilsley". UK, World War I Service Medal and Award Rolls, 1914–1920 → British War Medal and Victory Medal, Manchester Regiment, Piece 1567. Company WO 329, Manchester Regiment (Regiment No. 377592). Rank: Private. Piece 1567. Digital image no. 6 (of 313) – via Ancestry.com.
    1. Original Source: The National Archives; Kew, Surrey, England; War Office and Air Ministry: "Service Medal and Award Rolls, First World War". WO329; Ref: 1567
    2. Digital Archive: Ancestry.com. UK, World War I Service Medal and Award Rolls, 1914-1920 [database on-line]. Lehi, UT, USA: Ancestry.com Operations, Inc., 2014.
    3. Original Data: War Office and Air Ministry: Service Medal and Award Rolls, First World War. WO329. The National Archives of the UK, Kew, Surrey, England.

Musical works

[edit]


    1. "Let's All Go to the Music Hall". Ralph Butler & Harry Tilsley (words), Horatio Nicholls (music); © 4 October 1934; Class E (musical composition) for. 36793; Lawrence Wright Music Co., Ltd. p. 964.


Cecil Lennox Limited

[edit]

CECIL LENNOX LIMITED was incorporated on Saturday, May 23, 1925 as a Private Limited Company with registered address in FULHAM. CECIL LENNOX LIMITED has the status: Active and it's listed in the following category: Sound recording and music publishing activities. This Private Limited Company has been operating for 97 years 4 months and 2 days.

Cecil Lennox, Ltd., was acquired by the Kassner Group Company.

Kassner Associated Publishers, Ltd.. Discogs Label No. NO. 290968.
Cecil Lennox Ltd. (aka Lennox Cecil, Ltd.). Discogs Label ID No. 481612.
Statements
for the year ended
December 31, 1994
  • Lindsey & Co.
  • Cecil Lennox Limited
Directors
D. Kassner
Edward Kassner
V.S. Haslam
Secretary
B. M. D. Seed
Business Address
Exmouth House
11 Pine Street
London
Registered Office
31, Great Queen Street
London
Auditors
Lindsey & Co.
The Chapel
Milton Lilbourne
Wiltshire
CECIL LENNOX LIMITED
    1. "Desire," as recorded by Dick James on London Records and issued in March of 1951, was, as claimed by Shapiro, Bernstein & Co., was a possible copyright infringement of a song by Irving Berlin




David Kassner (born 1950)

[edit]
Director information: David Kassner
DOB: May 1950
Units 6 & 7, 11 Wyfold Road, London, SW6 6SE
  • Current Director: Music Publishers Association Limited – Active (from: June 2013)
  • Current Director: Cecil Lennox Limited – Active (from: October 1991)
  • Current Director: Edward Kassner Music Co Limited (The) – Active (from: October 1991)
  • Current Director: Kassner Associated Publishers Limited – Active (from: October 1991)
  • Current Director: Pan-Musik Limited – Dissolved (from: October 1992)
  • Current Director: President Records Limited – Active (from: October 1991)
  • Current Director: Evengral Investments Limited – Active (from: November 1992)
  • Current Director: Applegrove Limited – Dissolved (from: October 1991)
  • Current Director: Success Music Limited – Dissolved (from: October 1991)
  • Current Director: Mediant Music Limited – Active (from: October 1991)
  • Current Director: American Metro Music Limited – Dissolved (from: October 1992)
  • Current Director: Bonney Music Limited – Active (from: October 1992)
  • Current Director: Mayhew Music Co.limited – Dissolved (from: May 1991)
  • Current Director: Duel Artistes Agency Limited – Dissolved (from: October 1991)
  • Current Director: Denker Music Limited – Active (from: October 1992)
  • Current Director: A.J. Music Limited – Dissolved (from: November 1992)
  • Current Director: Gemini Records Limited – Active (from: April 1992)
  • Current Director: Beautiful Music Limited – Active (from: October 1991)
  • Current Director: Holland Hill Media Limited – Active (from: October 1991)
  • Current Director: Morgan Dower Limited – Dissolved (from: October 1991)
  • Current Director: Performance Music Limited – Active (from: October 1991)
  • Current Director: Wyfold Studios Management Limited – Active (from: November 2000)
  • Current Director: Impel Collective Management Limited – Active (from: April 2018)
  • Current Director: Kassner Music Group Limited – Active (from: December 2021)
  • Current Secretary: American Metro Music Limited – Dissolved (from: October 1992)
  • Resigned Director: British Record Industry Trust – Active (from: November 2005 to: May 2020)
  • Resigned Director: Music Publishers Association Limited – Active (from: July 2001 to October 2011)

Selected songs

[edit]
1910–1919


1920s
  • "Everyone Calls Me Tarzan, Tarzan of the Apes" (1920), Tilsley & Ventom Swift (words), Tilsley (music)
  • "Fido Followed Felix" (comedy fox-trot song) (1924), Tilsley (words & music) [staff and tonic sol-fa notations]
  • "Fiddler's Green; the Sailors Paridise" (1924), Fred G. Bowles (words), Tilsley (music)
  • "Lover's Dream" (1924), Tilsley (words & music)
  • "Mandy Lou," from Tonics (fox-trot song) (1924), Tilsley (words & music)
  • "A Message From Missouri" (1925), Cub Chester (words), Tolchard Evans (music)
  • "Guess Where I'm Going" (1925), Cub Chester (words), Tolchard Evans (music)
  • "Done!" (1925), Henry Baily, Eugene Stanley, A. Bluffa (words & music)
  • "Sarah and Clara" (comedy fox trot song) (1925), Tilsley & Hunter Trevor (words & music); in C [staff and tonic sol-fa notations]
  • "Starve, and Save Your Money" (1925), Tilsley, George Ricards & Eugene Stanley (words & music); in C [staff and tonic sol-fa notations]
  • "What's Wrong With Fish? Eat More Fish" (fox-trot) (1925), Butler, Tilsley, Evans (words & music); in D [staff and tonic sol-fa notations]
  • "Every Step Towards Killarnery" (1925), Tilsley (words), Evans (music); in G [staff and tonic sol-fa notations]
  • "Say It When You Get the Chance" (1925), Tilsley (words & music)
  • "Khartoum" (1926), Huntley Trevor (words), Tilsley (music)
  • "Wandering on to Avalon" (1926), Huntley Trevor (words), Tilsley (music)
  • "The Road to Loch Lomond" (1926), Tilsley (words), Evans (music)
  • "Bygone Melody" (1926) (adopted from theme in Zampa) (1926), Huntley Trevor & Tilsley (words), Evans (music)
  • "A Year Ago" (waltz) (1926), Tilsley (words), Evans (music)
  • "I Never See Maggie Alone" (song fox-trot) (1926), Tilsley (words), Everett Lynton (music); pf. and ukulele acc.; in G [staff and tonic sol-fa notations]
  • "Father Sings the Same Old Song Ev'ry Time We Have a Little Party" (1926), Hargreaves, Damerell, Tilsley (words & music); arr. for banjo & ukulele by Kel Keech
  • "It's for You to Decide" (1927), Tilsley (music), Evans (music); pf. and ukulele ace.: in G [staff and tonic sol-fa notations]
  • "Bandy Bandolero" (1927), Tilsley & Raymond Wallace (words & music); pf. and ukulele acc.; in E♭ [staff and tonic sol-fa notations]
  • "Dreamy Devon" (song valse) (1927), Tilsley (words), Evans (music); pf. and ukulele ace; in E♭ [staff and tonic sol-fa notations]
  • "In the Night" (photoplay music) (1927), by Montague Ewing, arranged by Tilsley; orch. with pf. conductor. 4to
  • "You Say That You Love Me, Prove It" (fox-trot) (1927), Tilsley & Evans (words & music); pf. and ukulele ace.; in E♭ [staff and tonic sol-fa notations]
  • "Elegy" (photoplay music) (1927), by Montague Ewing, arranged by Tilsley; orch. with pf. conductor. 4to
  • "Exultation" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "My Lady Frivol" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Old Man Dance" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Oriental Shadows" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Pantaloon" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Pathetic Melody" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Scandal" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Youth and Beauty" (photoplay music) (1927), by Montague Ewing, arranged Tilsley; orch. with pf. conductor 4to
  • "Don't Want the Sun" (1927), Tilsley, Wallace, Evans (words & music); pf. ace, with banjulele banjo and ukulele arr. by Alvin D. Keech; in G [staff and tonic sol-fa notations]
  • "Sunset Down in Somerset" (waltz) (1927), Tilsley (words), Evans (music); pf. and ukulele ace; in E♭ [staff and tonic sol-fa notations]
  • "By the Waterfall" (waltz) (1927), words by H. B. Tilsley, music by Reginald Tabbush, of Great Britain ; pf . ace, with banjulele banjo and ukulele arr. by Alvin D. Keech; in F. [Staff and tonic sol-fa notations] © Oct. 28, 1927 ; 1 c. Nov. 5 ; E 676663 ; Cecil Lennox, ltd., London. 22368
  • "I'm Living on love" (fox-trot) (1927), Wallace Holt (words), Tilsley & Evans (music); pf. and ukulele ace.; in G [staff and tonic sol-fa notations]
  • "Who murdered the blues ; Yale blues" (1927), Tilsley (word & music); pf. and ukulele ace.; in E♭ [staff and tonic sol-fa notations]
  • "I Loved No One but My Mother Till the Day That I Met You" (1927), Damerell & Hargreaves (words & music); banjo & ukulele arrangement by Alvin D. Keech
  • "Did Little Jack Horner Sit in a Corner When He and His Gal Were Alone?" (fox-trot) (1927), Tilsley & Evans (music); pf. and ukulele ace.; in F [staff and tonic sol-fa notations]
  • "In the Night" (photoplay music) (1927), by Montague Ewing, arranged by Tilsley; orch. with pf. conductor 4to
  • "I Can Do My Lovin' Anywhere" (1927), Huntley Trevor (words), Tilsley (music)
  • "Somewhere Down in Brittany" (waltz) (1928), Tilsley (words), Evans (music); pf. and ukulele acc.; in F [staff and tonic sol-fa notations]
  • "Yummy Yum Yum" (fox-trot) (1928), Tisley (words), Harry Adler (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Nobody Knows But Me" (fox-trot) (1928), Raymond Wallace (words), Tilsley (music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Sleepy Town" (vocal waltz) (1928), Tilsley (words), Evans (music); pf., banjulele banjo and ukulele acc. [staff and tonic sol-fa notations]
  • "Counting the Milestones" (fox-trot) (1928), Raymond Wallace (words), Tilsley (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Daybreak" (1928), Tilsley (words), Evans (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Love's Old Sweet Story" (waltz) (1928), Raymond Wallace (words), Tilsley (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Tho' Castles Tumble Down," theme song to Master and Man (1929) Hargreaves, Damerell, Pat Heale (words), Tilsley & Evans (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Yellow Corn," theme song to Cupid in Clover (1929), Hargreaves, Damerell, Pat Heale (words), Tilsley & Evans (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "He Loved Her, Who Did? He Did, Where?" (1929), Hargreaves, Damerell, Tilsley (words & music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "When I Met Connie in the Cornfield" (comedy song fox-trot) (1929) Tilsley, Hargreaves, Damerell (words & music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Maggie's Cold" (comedy fox-trot) (1929), written & composed by Harry Tilsley, Hargreaves, and Damerell; pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Giggling Golliwog" (1929), Erell Reaves (story), Tilsley & Evans (music)
  • "Keep on Repeating It" (song fox-trot) (1929), Erell Reaves and Tilsley (words), Marcelle Mayne (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Love Means Nothing to You" (song fox-trot) (1929) Butler & Erell Reaves (lyrics), Tilsley (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "That's All" (waltz) (1929), Hargreaves & Damerell (words), Tilsley (music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "I Say to Myself I Love You, a Million Times a Day" (fox-trot) (1929), Tilsley (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "I Ain't Certain" (comedy song fox-trot) (1929), Butler, Julian Wright, Tilsley; pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Giggling Golliwog" (1929), story by Erell Reaves; Tilsley & Evans (music)
  • "Haven't I" (fox-trot) (1929), Tilsley & Myers (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "My Irish Paradise" (song waltz) (1929), Tilsley (words), Evans (music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "A Wistful Melody" (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
  • "The Crook's Shadow" (comedy misterioso) (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
  • "Guilt" (photo play music) (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
  • "Interduction to a Comedy" (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
  • "A Love Theme" (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
  • "Busybodies" (1929), by Montague Ewing, orchestration by Tilsley; orchestra parts with pf. conducteur. 4to
1930s
  • "I Wonder Why?" (waltz) (1930), Tilsley (words), Marcelle Mayne (music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Memories of Devon" (waltz) (1930), Tilsley (words), Evans (music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Day by Day" (waltz) (1930), Tilsley (words), Marcelle Mayne (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "I Took Jane, Walking in the Rain" (1930), Hargreaves, Damerell, Tilsley (1930); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Japanese Fan" (oriental fox-trot) (1930), Robert Stanley (words), Tilsley (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Standing in the Sitting Room" (1930); Hargreaves, Damerell, Tilsley (words & music); pf. and ukulele acc. [staff and tonic sol-fa notations]
  • "Airman, Airman! Don't Put the Wind Up Me!" (fox-trot) (1930), Hargreaves, Damerell, and Tilsley (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "There's Hundreds, Thousands – Millions of Them Now!" (fox-trot) (1930), Hargreaves & Damerell (words), Tilsley (music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Bandy Bertha's Birthday" (comedy fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Fire! Fire! Fire!" (comedy fox-trot) (1930), Hargreaves, Damerell. Tilsley (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "Sam Sat With Sophie on the Sofa" (comedy fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); pf. and ukulele ace. [staff and tonic sol-fa notations]
  • "I Took Jane, Walking in the Rain" (1930), Hargreaves, Damerell, Tilsley (words & music); pf . and ukulele ace. [staff and tonic sol-fa notations]
  • "If I Hadn’t Been a Wanderer" (fox-trot) (1930), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Pass! Shoot! Goal!" (fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Sittin' on a Five Barred Gate" (1931), Hargreaves & Damerell (words), Hargreaves (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Slippery Sam the Stoker" (fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Going! Going! Gone" (fox-trot) (1931), Hargreaves & Damerell (words), Tilsley (music); with ukelele arr. [staff and tonic sol-fa notations]
  • "When I Met Sally at the Seaside" (fox-trot) (1931), Hargreaves & Damerell (words), Tilsley & Evans (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Old Man Sea" (fox-trot) (1931), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Bells of Normandy" (song waltz) (1931), Tilsley (words), Evans (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Don't Bring Polly to the Party" (1931), Tilsley (words), Evans (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Does a Choo-Choo Go Puff-Puff" (fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "If I Hadn't Been a Wanderer" (fox-trot) (1930), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Slippery Sam the Stoker" (fox-trot) (1930), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "If I Had My Time Over Again" (waltz) (1931), Tilsley, Evans, Robert Stanley; with ukulele arr. [staff and tonic sol-fa notations]
  • "Keep Walking" (1931), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "The Landlady's Daughter" (1931), Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Woof! Yap! Bow-Wow-Wow; The Casey Court Dog Race" (1931), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Tell Me a Tale of Old Virginia" (1931), Tilsley (words), Evans (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "That's Somerset" (waltz) (1931), Tilsley (words), Evans (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Let's Have a Darn Good Moan" (1932), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr.
  • "Our John Willie's Farm" (1932), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr.
  • "I've Stood in This Market Place" (fox-trot) (1932), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr.
  • "Darkietown" (1932), Tilsley (words), Montague Ewing (music); with ukulele arr.
  • "Here To-Day, and Gone To-Morrow, So, Let’s Be Happy While We May" (fox-trot) (1932), Tilsley (words), Montague Ewing (music); with ukulele arr.
  • "I’ve Got to Keep In With Her Father" (1932), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr. [staff and tonic sol-fa notations]
  • "Our Cat – And the Cat Next Door" (1932), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr.
  • "We All Wanna Know Why" (1932), Hargreaves, Damerell, Tilsley (words & music); with ukulele arr.
  • "When Matilda's Flirting Around (1932), Hargreaves & Damerell (words), Tilsley (music); with ukulele arr.
  • "Why Be So Unkind to Me?" (1932), Evans, Tilsley, Robert Stanley (pseudonym of Stanley Damerell) & Hargreaves (words & music)
  • "Piccaninny Lullaby" (1932), Tilsley (words), Evans (music)
  • "Bom-Ba-Diddy-Bom-Bom" (1933), Tisley & Robert Stanley (words), Evans (music); with ukelele arr.
  • "At Mary Ellen's Hot Pot Party" (1933), Hargreaves & Damerell (words), Tilsley (music); with ukelele arr.
  • "Our Maggie's Gone and Caught Another Cold" (1933), Hargreaves & Damerell (words), Tilsley (music); with ukelele arr.
  • "Waiters on Parade" (1933), Hargreaves, Damerell, Tilsley (words), Montague Ewing (music); with ukelele arr.
  • "Eleven Good Lads; Football Anthem" (1933), Hargreaves, Damerell, Tilsley (words & music)
  • "Gug-Gug-Gug-Gertie, I Lul-Lul-Lul Love You" (1933), Hargreaves, Damerell, Tilsley (words & music); with ukelele arr.
  • "It Was Four O'Clock in the Morning (1933), Hargreaves, Damerell, Tilsley (words & music)
  • "My Mother's Favourite Song (waltz) (1933), Hargreaves & Damerell (words), Tilsley (music)
  • "Altershot Tattoo" (1934), Butler & Tilsley (words & music)
  • "At the Level Crossing" (1934), Butler, Tilsley, Herman Darewski (words & music)
  • "Let's Have a Basinful of the Briny" (1934), Butler & Tilsley (words & music); with arrangement for ukelele, etc.
  • "Lost in the Middle of the Moor" (1934), Butler & Tilsley (words & music); with ukelele arr.
  • "There's No Green Grass Round the Old North Pole" (1934), Violet Loraine, Butler, Tilsley; with ukelele arr.
  • "Where the Mountains Meet the Sea" (1934), Butler & Tilsley (words & music); with ukelele arr.
  • "The Chelsea Pensioners" (1934), Ronnie Munro, Butler, Tilsley (words & music), with ukelele arr.
  • "Why Does a Donkey Bray? Hee-Haw – Hee Haw" (1934), Butler & Tilsley (words & music), with ukelele arr.
  • "Blow Your Own Trumpet" (1934), Butler, Tilsley, Ronnie Munro (words & music), with ukelele arr.
  • "Let's All Go to the Music Hall" (1934), Butler & Tilsley (words), Horatio Nicholls (music); with arrangement for ukelele, etc.
  • "Moonlight, Music and Mary" (melody fox-trot) (1934), Violet Loraine, Butler, Clark Gibson, Tilsley (words & music); with arrangement for ukelele, etc.
  • "Wand'ring Through an Old Ruined Abbey" (descriptive interlude) (1935), Butler & Tilsley (words & music), orchestrated by Joseph Engleman (1881–1949)
  • "My Old Man's a Commercial Traveller" (6⁄8 comedy song fox-trot) (1936), Butler (words), Tilsley (music)
  • "Keep It in the Family Circle" (1938), Damerell & Hargreaves (words), Evans & Tilsley (music)
1940s
1950s

Affiliations

[edit]

Family

[edit]

Tilsley, in July of 1924 in Cardiff, married "Phyl" Longville (née Beatrice Phyllis Longville; 1903–1988).[11] Copyright renewals for Tilsley's works, in the 1950s, were filed by his widow under the name, Phyllis Douglas, who, in 1942, married Fred ("Buck") Douglas (aka Arthur Edward Clifton, né Arthur Edwin Clifton; 1885–1955), known in connection to the 1939 British TV series, Western Cabaret.[12] Henry Tilsley was a first cousin of Frank Tilsley (1904–1957), British novelist, broadcaster, and television dramatist. Harry Tilsley's son, Reg Tilsley (né Reginald Longueville Tilsley; 1926–1987) was a British composer and band leader.

Buck Douglas

[edit]
"Fred Douglas (1885–1955) – The Jobbing Singer-Entertainer," By Hector J. Hill
If asked to name a vocalist who recorded with (amongst others) Wag Abbey, Billy Cotton, Stan Greening, Henry Hall, Albert Ketèlbey, Arthur Lally, Joe Loss, Percival Mackey, Oscar Rabin, the Savoy Hotel Orpheans, George Scott Wood, Nat Star, Hal Swain, Jay Whidden and Jay Wilbur, would Fred Douglas have come to mind? His distinctive recorded voice conveys a man experienced in stage-craft. The internet has little about him; photographs are few; and his biography in This England's Second Book of British Dance Bands (2001) is just forty-six words, and twenty-seven of those are bandleaders names. The fourth of six surviving children, he was born on 18th April 1885 at 89 Pratt Street Camden Town; and baptised on 28th June. Father, Arthur Bruce Clifton, was a house painter from Leeds; mother, Jane Elizabeth née Jobling, from Newcastle. With their first child, Emily, they had moved to London in the late 1870s. Arthur Edwin Clifton is the name on Fred s birth and baptism documents; but, when twenty-five, he wrote Arthur Edward Clifton, Music Hall Artiste in neat backwardsloping script below his mother s details on their 1911 census form. On leaving school he worked briefly as a printer or painters assistant (the document is unclear probably it was 'painter' assisting father). By August 1902, aged seventeen, he was Fred Douglas humorist with the Clifford Essex Pierrots, touring south coast resorts. In the summer of
1905 he toured with Miss Ines Howard's Company as a humorous actor, working hard and successfully to keep the audience in good humour. By early 1906 he was a variety turn; and when at the New Parthenon in Liverpool The Era reported him to be a comedian and mimic with many good points. His billmatter, the descriptive remark below artistes' names on posters and programmes, was (with my apologies) The Versatile Coon (1910), The Famous Chocolate Coon (1912), The Popular Coon Impersonator (1914), and The Versatile Coon Impressionist (1917). Of his June 1926 performance at the Pavilion in Liverpool The Stage wrote The Coon character studies of Fred Douglas possess merit. Such routines were in his repertoire into the 1930s. Around the time he entered show business, there already was an Arthur Clifton actor and an Arthur Clifton the unique swell comedian. Also confusing the research, when he launched himself as Fred Douglas, a sixty-strong African-American troupe came to London to perform the musical In Dahomey at the Shaftesbury theatre in 1903 and on tour in One of the troupe was a Fred Douglas, who went into partnership with a Will Garland and toured Trip to Coontown in Fred married Winifred Thomson in Fulham around May They had two sons: Leslie D Clifton, 1 st May 1914; and Philip N. Clifton, 1st August Leslie became the bandleader Leslie Douglas. Fred was not in the armed forces in World War One. He can be traced working in theatres, halls and recording studios during the conflict. From 11 th November 1913 to 10 th November 1914 he cut thirty-three sides for the Gramophone Co Ltd. They were issued on seventeen 10 inch records, priced 1/1. By early 1915 he had begun his long association with Regal, the Columbia Graphophone Company's cheaper label. According to Rust, from October 1920 to November 1936 Fred recorded with thirty-one dance bands for Stan Greening s Band at Columbia
twenty-seven labels. This is but part of his discography, since Rust catalogued only dance music, omitting Fred s many other solo and duo recordings. Years after Fred's recording prime, in May 1941's The Gramophone, Herbert Ridout (Columbia's former publicist) reported Fred had confirmed 'no fewer than thirtythree aliases' and pointed out that Ridout had coined many of them. Ridout claimed Fred used a different delivery style for each alias, and wrote: 'Such a unique record of singing names surely calls for recognition, so here is the list under which he sang. On Regal he was Fred Douglas in popular ballads, F W Ramsey in chorus songs and tonguetwisters, Fred Murray in semi-ballads, Frank Terry in coon songs, Harry Vernon in musical comedy hits, Frank Greene in Jack Buchanan's songs, Charles Vernon in recitations, Fred Barmy in "potty" songs with Billy Cotton's band, Tom Gilbert in popular songs, and in duets as one of the Barmy Brothers, the Two Gilberts, Barmy and Buck, Fred and Harry, and the Two Duggies – the other being his son Leslie Douglas... On Columbia he sang as Stewart Morton and Harry Glen ... This does not exhaust his adventures in nomenclature, for under other names he sang later on Parlophone, Sterno, Imperial, Decca, Broadcast, Filmophone, Goodson, Durium, World-Echo, and Dominion records.' The other half of The Two Gilberts was Lionel Rothery (1922–24), Harry Cove (1924–28) and Leslie Rome (1928–31). Except for the odd private function, The Two Gilberts seem not to have performed publicly: indeed Leslie Rome toured with a Connie Leonard. In November 1931 Fred and Rome recorded with Harry Bidgood on Broadcast; and there is a Broadcast-Super-Twelve by Fred and Leslie Gilbert comedians recorded in January Fred was a significant performer for Regal. He contributed eight of the thirtyfour sides in their November 1925 advertised releases. Regal s 1926 catalogue lists two hundred and five sides by him: one hundred and five as The Two Gilberts; seventy-eight as Fred Douglas; ten as Tom Gilbert; seven as F W Ramsey; three as Frank Terry; one as Fred Murray; and one as Harry Vernon. If solo on only one side, the reverse was usually The Two Gilberts, or Regal paired him with sides by a few named tenors. Reviewing a Regal in The Gramophone of September 1928, 'TM' declared Fred to be 'one of the best of the music-hall comedians who sing for the gramophone'. The Barmy Brothers with George Buck was an early s duo ; famous for Ain t It Grand To Be Bloomin Well Dead (MR-559). They became Barmy and Buck on Regal Zonophone. Their first release, the rhyming-slang Up the Apples and Pears and Fiddler Joe (MR-856), was hailed as a first rate low comedy record by the Yorkshire Post in April Ted Lewis and Bertha Willmott each recorded duets with Fred on Regal Zonophone in Bertha joined him and son Leslie on British
Homophone Co. Ltd.'s Sterno and Solex labels in 1933 and Fred was on the radio from its early days. He partnered Harry Elliott in Turned Up, a two-man show on the eight month old 6BM-Bournemouth in June They were back there in July with Plantation Songs, then Ten Minutes in Coon Land, and an unspecified programme in September. He migrated to the National Programme and did many light entertainment and variety shows (one as Fred Barmy 'Descriptive Vocalist' on 1 st December 1932); and presented some programmes of themed records. In 1934 he appeared in seven Henry Hall broadcasts, partnering song-writer Harry Tilsley. Fred s radio career lasted until September 1950: of which more later. Throughout 1932 and 1933, he performed frequently in studio BB doing: Song and Dance; Pantomime Songs; Clown Songs; and Duets. One duo was with nineteen year-old son Leslie singing Hill-billy Songs and Spirituals. The halfhour broadcasts were at 11 pm after radio had closed, when the experiment could use the transmitters. On 17th January 1933 Fred was the Cat and the Cook in Dick Whittington, with music by Mr. Harry Bidgood's Instrumental Quartet ; and he was in Cinderella on 27th December In February 1934 He features in television history. Just after 11 pm on 22nd August 1932, with face and hands blacked-up and wearing a light hat, check shirt and lighttoned trousers, he performed in the very first BBC experimental television broadcast, which used Baird s thirty vertical lines mechanical scanning system. His co-artistes were vocalists Betty Bolton and Betty Astell, and comedienne Louie Freear. The TV studio was improvised in the art-deco dance-band Radio Studio BB in the subbasement of the recently-opened Broadcasting House. One newspaper mentioned Fred juggling; another commented that the blacking obscured his facial details on the receiving sets. Fred Douglas in a Baird TV experiment
Studio BB at Broadcasting House Studio BB was returned to its intended radio use; and Baird s equipment was moved to 16 Portland Place; where Fred apparently did not perform. This low-definition experiment ended in September. The Alexandra Palace 'high definition' ones began in November 1936. In a stage career lasting until 1953, Fred was a turn in variety shows,
revues, summer shows and cine-variety. In the latter he was the live act before the silent films; and was doing it as early as He was not a West End performer or a bill-topper; and his appearances before the late-1930s were in lower-rank theatres. From early 1919 he performed in variety as 'Stewart Morton' with a 'clever lady' assistant doing 'coon studies'. As Fred Douglas, in 1920 he toured in Busybodies, the Show with the Vim. In 1925 he toured with The Q's, a concert-party; and The Stage declared (he) is a splendid baritone and his Coon studies are artistic. In December 1925 he was with The Q's in revue in Worthing, doing comedy, 'coon-work', and singing. The Worthing Herald referred to him as 'Stewart Morton, a fine basso, of gramophone record fame'. In 1926 and 1927 he toured in the revue Stuff and Nonsense saw a series of cinevariety appearances such as in September at the Stoll Picture Theatre in Bedminster which billed Fred Douglas and assistant in Coon Studies at 5:20 and 7:55 pm, each just fifteen minutes before the films. The assistant was billed as


Joyce for the March appearances at the Gaiety in Belfast; a cinema for the lower end of the market according to Culture Northern Ireland. In 1929 he did a week at each of the fourteen cinemas of the United Picture Theatres circuit around London. For the 1930 summer season, he was with the Jacks and Jills pierrot troupe at the Beach Pavilion Great Yarmouth. In March 1935, he advertised for work in the Wanted Engagements – Variety Artists column in The Stage as Fred Douglas, the original television croon [sic] and hill-billy singer who could also produce and stage-direct. 18 Manor Road, Wallington, Surrey was his address. He later moved house along that road. Like many entertainers, Fred performed at private functions for wellheeled associations, Masonic lodges and the like. The troupes assembled for some of those evenings could involve several significant names. Fred never recorded with Marius B. Winter s band, but was their vocalist in a 1931 Pathétone short film. Lean, with sharp facial features, he sang "A Farmyard Symphony" whilst dressed as a bewhiskered old country-character Fred, left, with Marius B. Winter


beyond his forty-six years. Available at BritishPathe.com, it is a glimpse of Fred the stage performer. Otherwise, he seems not to have had a film career. His career changed in late 1938 when, aged fifty-three, he joined a troupe supporting Big Bill Campbell, a Canadian who had already achieved radio and (Columbia) record success with his Rocky Mountaineers. They toured the major variety theatres with a 'second-half' show. Initially called Way Out West, then Rocky Mountain Rhythm, it was revived annually. They also had a popular radio show, first called Hill-Billy Round Up, then The Cabin In The Hills, then Big Bill s Prairie Round Up. It aired from September to September 1950, and its catch-phrases (principally 'Mighty Fine' ) were lampooned in ITMA. The radio show s format was exploited in the stage show. Fred played Buck Douglas an Old Cow Puncher who sang prairie songs, and was billed (and even signed autographs ) as Buck Douglas. The Stage reviewer commented on his noticeable stage experience and repose; and one local newspaper described him as 'tough and wiry'. He stage-managed and led when Campbell was indisposed. The troupe did five shows of the Western Cabaret at Alexandra Palace on the 405-lines, London-only, BBC television service in 1939; and another two each of Rocky Mountain Rhythm and Way Out West in They recorded for Decca's Rex in the early 1940s, including Der Fuehrer's Face with vocal by Buck Douglas (R-7087). Fred is on Bill Campbell CD compilations. In the breaks between Campbell s troupe's tours, Fred made solo variety appearances as Buck Douglas. After Campbell s death on 25 th April 1952, his widow Peggy Bailey led the troupe; and sixty-seven year-old Fred continued touring as Buck Douglas for about another year in a new second-half show called The Golden Prairie. From the late 1930s Fred and Winifred s home was 32 Manor Road, Wallington, Surrey (octogenarian Leslie Douglas s address in The International Who's Who in Popular Music ). Winifred died in 1942 aged fortyeight and Fred married widow Beatrice Phyllis Tilsley née Longville. He died peacefully at home on 1st March 1955, aged sixty-nine, and is buried in Mitcham Road Cemetery Croydon. The family announced his death in The Stage on 3rd March as Fred (Buck) Douglas. His death was registered as Arthur E. Clifton. Widow 'Phyl' posted an In Memoriam to 'Fred (Buck) Douglas' annually in The Stage until 1978. (The image of Fred in pierrot costume is reproduced by kind permission of This England magazine. Mike Thomas supplied details of The Two Gilberts, and the Columbia studio photograph of Fred with Stan Greening, Nat Star, Ted Heath, Wag Abbey etc.)

Hill's article references

[edit]


  • Marius B. Winter (1898–1956).
  • Keefe, Thomas M. (Fall 2002). "This England's Book of British Dance Bands: From the Twenties to the Fifties". IAJRC Journal (book review). 35 (4). Dayton: 48–49.
  • Keefe, Thomas M. (November 1983). "Carroll Easton, Straight Ahead: The Story of Stan Kenton". IAJRC Journal (book review). 15. Dayton: 29.
  • Berresford, Mark, ed. (Winter–Spring 2019). Front Matter. Vol. Issue 183. p. 2. Retrieved October 10, 2022 – via Issuu. {{cite book}}: |journal= ignored (help); |volume= has extra text (help)CS1 maint: date format (link) ISSN 0042-6369, ISSN 2516-807X.
    " ... sad news that the IAJRC Journal is ceasing publication ... "

Bibliography

[edit]

Annotations

[edit]
  1. ^ Phil Saxe (né Philip Oscar Mühlenthaler, aka Mullenthaler; 1896–1977), MC, comedian, woodwind player, violinist, and vocalist – collaborated with comedian-pianist Ed "Slim" Pressler (né Edward Pressler; 1896–1937), Sophie Tucker, Irving Aaronson – and, beginning around 1934, directed his own orchestra.
  2. ^ Nancy Lee (née Agnes Rose Gross; 1919–2011), vocalist with The Hilltoppers, in 1941, married Sam DeVincent (né Salvatore Divencenzo; born 1917, Chicago). The Hilltoppers, based in Fort Wayne, were composed of Jack Carmen (né Carmen Vincent Bovio or Carmine Vincenzo Bovio; 1920–2002) (violin, mandolin, axolin, banjo), Roy Hansen (né Victor LeRoy Hansen; 1911–2000) (bass fiddle), Sam DeVincent (accordion, arranger, leader), and Nancy Lee (guitar, comedienne, vocals).

Notes

[edit]
  1. ^ Sunday Mercury, February 24, 1935, p. 3.
  2. ^ Copyright Renewal, May 16, 1952, p. 123.
  3. ^ Copyright Renewal, July 3, 1952, p. 123.
  4. ^ Copyright Renewal "Done", July 3, 1952, p. 113.
  5. ^ Kilgarriff, 1998, p. 534.
  6. ^ Larkin, 2006, pp. 58–59.
  7. ^ Athol Daily News, October 22, 1993, pp. 1, 12.
  8. ^ Victor 20473-B, 1927.
  9. ^ Imperial IF-795, 1959.
  10. ^ Test.
  11. ^ Recorder, October 6, 2022, p. 23.
  12. ^ Hill, Spring 2019, pp. 24–29.

References

[edit]





Obituaries


The Stage (December 13, 1934). "Death of Harry Tilsley" (2802): 6 (col. 6, middle) – via British Newspaper Archive. {{cite journal}}: Cite journal requires |journal= (help)
"We regret to announce the death of Harry Tilsley, the well-known song-writer, who passed away in King's College Hospital on December 6."


The Stage (December 5, 1935). "In Memorandum" – W.C.2. "Death of Harry Tilsley". {{cite journal}}: Cite journal requires |journal= (help)
"Always in the thoughts of her daughters Edith ami Daisy and son-in-law Victor Crawford. riLSLKv. In loving memory of Harry Tilsley. December 6, 1934. Phyl and Boys."


The Stage (December 3, 1936). "In Memorandum". {{cite journal}}: Cite journal requires |journal= (help)
"Tilsley: In loving memory of Harry Tilsley, who passed on December 5, 1934. Ever remembered by his wife Phyllis and his two boys, Reg. and Norman."




    Songs mentioned:
    1. "Fire! Fire! Fire!"
    2. "Let's Have a Basinful of the Briny"
    3. "Wandering Through an Old Ruined Abbey"
    Played by:
    1. Jack Payne's Dance Orchestra
    2. Henry Hall's Dance Band


  • South Yorkshire Times and Mexborough & Swinton Times. "Death of Harry Tilsley". OCLC 749945182 (all editions).
    " ... excellent in those two old stagers "Drinking" and "Down Among the Dead Men." But I cannot find anything good to say about Harry Tilsley's "Sam Sat With Sophie on the Sofa" and "Hunting Tigers Out in India." I am beginning to despair of our humorists. It is ... "













    1. Both Vols. Combined – via Internet Archive Free access icon.
    2. Vol. 1 "A–K" – via Google Books (University of Michigan Library) Free access icon.
    3. Vol. 2 "L–Z / Index" – via Google Books (University of Michigan Library) Free access icon.



Copyrights

    1. Nos. 3–4 (March & April 1925) → "A Message From Missouri". Cub Chester (words), Tolchard Evans (music); © 16 April 1925; 1 copy 21 April 1925; Class E (musical composition) 609969; Cecil Lennox & Co. p. 298.
    2. Nos. 5–6 (May & June 1925) → "Guess Where I'm Going". Cub Chester (words), Tolchard Evans (music); © 2 June 1925; E614818; Cecil Lennox & Co. p. 504.
    3. Nos. 3–4 (March & April 1925) → "Done!". Henry Baily, Eugene Stanley, A. Bluffa (words & music); © 2 June 1925; E614821; Cecil Lennox & Co. p. 483.
    1. "A Message From Missouri". Cub Chester (pseudonym of Harry Tilsley) (words), Tolchard Evans (music); © 16 April 1925; E609969. Renewed 16 May 1952 by Tolchard Evans & Phyllis Douglas (widow of Tilsley); R97402. p. 145.
    2. "Guess Where I'm Goin'". Cub Chester (pseudonym of Harry Tilsley) (words), Tolchard Evans (music); © 2 June 1925; E614818. Renewed 3 July 1952 by Phyllis Douglas (widow of Tilsley) & Tolchard Evans; R97410. p. 123.
    3. "Done!". Henry Baily (pseudonym of Harry Tilsley), Eugene Stanley (pseudonym of R.T. Butler), A. Bluffa (words & music); © 2 June 1925; E614821. Renewed 3 July 1952 by Phyllis Douglas (widow of Tilsley) & R.T. Butler; R97413. p. 113.



    1. "A Message From Missouri". Cub Chester (pseudonym of Harry Tilsley) (words), Evans (music); © 16 April 1925; E609969. Renewed 16 May 1952 by Tolchard Evans & Phyllis Douglas (widow of Tilsley); R97402.
    2. "Guess Where I'm Goin'". Cub Chester (pseudonym of Harry Tilsley) (words), Evans (music); © 2 June 1925; E614818. Renewed 3 July 1952 by Phyllis Douglas (widow of Tilsley) and Tolchard Evans; R97410.
    3. "Done!". Henry Baily (pseudonym of Harry Tilsley), Eugene Stanley (pseudonym of R.T. Butler), A. Bluffa (words & music); © 2 June 1925; E614821. Renewed 3 July 1952 by Phyllis Douglas (widow of Tilsley) & R.T. Butler; R97413.

Copyrights

[edit]
    1. "Lady of Spain" (©4 Februaryy 1931; 1 copy [unpublished] March 11, 1931; Class E [musical composition] for. 17297; Cecil Lennox, Ltd., London). Spanish quick-step or fox-trot, lyrics by Erell Reaves; music by Tolchard Evans of Great Britain; with ukulele arrangement [staff and tonic sol-fa notations]. p. 343 – via Internet Archive Free access icon.
  • Catalogue of Copyright Entries. "Part 3: Musical Compositions." "New Series".
    1. Vol. 10. Part 1. First Half of 1915. Nos. 1–7.
    2. Vol. 10. For the Year 1915. Nos. 1–13.
      3. World War I
    3. Vol. 15. Part 1. First Half of 1920. Nos. 1–7. ‡
    4. Vol. 15. Part 2. Last Half of 1920. Nos. 8–13.
    5. Vol. 16. Part 1. First Half of 1921. Nos. 1–7.
    6. Vol. 16. Part 1. First Half of 1921. Nos. 1–7.
    7. Vol. 16. Part 2. Last Half of 1921. Nos. 7–12.
    8. Vol. 16. Part 2. Last Half of 1921. Nos. 7–13 (includes Index).
    9. Vol. 16. 1921. No. 13 (includes Index).
    10. Vol. 17. Part 1. First Half of 1922. Nos. 1–6.
    11. Vol. 17. Part 2. Last Half of 1922. Nos. 8–13.
    12. Vol. 18. Part 1. First Half of 1923. Nos. 1–7.
    13. Vol. 18. Part 2. Last Half of 1923. Nos. 8–13.
    14. Vol. 19. May & June 1924. Nos. 5–6.
    15. Vol. 19. September & October 1924. Nos. 9–10.
    16. Vol. 19. November & December 1924. Nos. 11–12.
    17. Vol. 19. "Annual Index for 1924.".
    18. Vol. 19. For the Year 1924. Nos. 1–12.
    19. Vol. 20. For the Year 1925. Nos. 1–12.
    20. Vol. 21. For the Year 1926. Nos. 1–12.
    21. Vol. 22. Part 1. First Half of 1927. Nos. 1–6.
    22. Vol. 22. Part 2. Last Half of 1927. Nos. 7–12.
    23. Vol. 23. Part 1. First Half of 1928. Nos. 1–6.
    24. Vol. 23. Part 2. Last Half of 1928. Nos. 7–12.
    25. Vol. 24. For the Year 1929. Nos. 1–12.
    26. Vol. 25. For the Year 1930. Nos. 1–12.
    27. Vol. 26. For the Year 1931. Nos. 1–12.
    28. Vol. 26. Part 2. Last Half of 1931. Nos. 9–12.
    29. Vol. 27. Part 1. First Half of 1932. Nos. 1–8.
    30. Vol. 27. Part 2. Last Half of 1932. Nos. 9–12.
    31. Vol. 28. Part 1. First Half of 1933. Nos. 1–9.
    32. Vol. 28. Part 2. Last Half of 1933. Nos. 10–12'.

      33. Americanized spelling: Catalogue Catalog of Copyright Entries

    33. Vol. 29. Part 1. First Half of 1934. Nos. 1–8.
    34. Vol. 29. Part 2. Last Half of 1934. Nos. 9–12.
    35. Vol. 30. For the Year 1935. Nos. 1–12.
    36. Vol. 31. Part 1. First Half of 1936. Nos. 1–8.
    37. Vol. 33. Part 1. First Half of 1938. Nos. 1–9.
    38. Vol. 36. Part 2. Last Half of 1941. Nos. 5–12.
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