THE JOHN FLETCHER STORY
Part 1: “Music for Everybody” (1900 – 1921)
By Allan Sutton
This article is a substantially expanded version of a posting that originally appeared on the Mainspring Press website in 2001.
John Fletcher isn’t a name that normally comes up in discussions of recording industry pioneers. He managed to fail at virtually every venture he undertook (and there were many), and his involvement with Black Swan almost certainly contributed to that label’s demise. And yet, he was typical of many entrepreneurs who challenged the major companies during the record industry’s early boom years and, in doing so, managed to produce some intriguing records.
Fletcher, who began his career as a professional musician, claimed to have first recorded as a member of the Edison studio orchestra in the late 1890s. In a July 1918 interview with the Talking Machine World, Fletcher recalled, “My first phonographic experience was as a player in the old Edison cylinder laboratory in Orange, N.J., when you had to get up at 5 o’clock in the morning, be on the job, in your chair, and ready to play at 8 o’clock.” 
By the early 1900s, John Fletcher was performing and recording with Sousa’s Band, as a cornetist. He is almost certainly the “_Fletcher” cited by Brian Rust in early editions of Jazz Records (the name was deleted in some later editions, with no explanation offered).
Fletcher recalled, “The band was engaged for three weeks to make records for the Victor Company. At the time, the company’s laboratory consisted of a small room on the third floor in a building in the neighborhood of Tenth and Lombard streets, Philadelphia, and it was in this small room that I got my first insight into the mysteries of sound recording.”  (A search of the Victor files failed to turn up a contiguous three-week block of Sousa sessions. Perhaps Fletcher was referring to the period of May 31 through June 26, 1902, during which the band was in the studio on thirteen days.)
Fletcher toured Europe with Sousa’s Band, then reportedly joined the New York Symphony Orchestra upon his return. He is known to have made at least two recordings as a cornet soloist, for Indestructible cylinders in 1908 and 1910,  but his growing interest in sound recording soon eclipsed any desire to continue working as a musician. “During this time,” he told TMW, “I realized how imperfect were the methods then in vogue to record symphonic music with a few instruments, and I finally resolved to devote my future career to recording the various instruments comprising the grand orchestra, in sufficient numbers to produce the musical sensation caused by the combined tonality of such a large number of instruments.” 
Fletcher began to experiment with recording processes. He eventually devised what he termed “an extremely narrow” vertical-cut groove playable with an ordinary steel needle, for which he filed a patent application on July 3, 1915. Fletcher claimed that his process produced a record “found to be extremely durable in use,” a claim not supported by many of the surviving specimens in which it was employed. By the time the patent was finally granted in mid-1918, Fletcher had abandoned the fine-groove vertical cut.
Fletcher’s fine-groove vertical-cut patent, 1915 (U.S. Patent and Trademark Office.)
On December 15, 1914, The Talking Machine World reported that Fletcher, E. F. Gerner, and M. Naughton had filed incorporation papers in New York for the Operaphone Manufacturing Corporation, which was to produce phonographs and records.  George Thomas served as president of the company, and Fletcher managed recording and manufacturing. The company opened a New York office at 2 Rector Street (which was later moved to 200 Fifth Avenue), a pressing plant at 156 Meadow Street in Long Island City, and a recording studio at an unknown location. The latter was moved into the pressing plant in late 1916. 
The exact date on which Operaphone records were first sold remains uncertain, but a trademark application, filed belatedly by Fletcher on September 13, 1919, claimed use of the Operaphone name on records beginning March 1, 1915.  The initial offerings were seven-inch discs employing Fletcher’s fine-groove vertical cut, bearing pressed labels (using a “frosted” background, reminiscent of the Edison Diamond Disc, but with sharply raised type) and retailing for 25¢ each. Fletcher did little advertising during Operaphone’s earliest days; in fact, Crescent (an Operaphone client label) began advertising in The Talking Machine World a month before Operaphone itself. 
Fletcher was pursuing two conflicting goals — the production of a cheap record that virtually anyone could afford (reflected in his “Music for Everybody” slogan), and the recording of serious symphonic repertoire, an inherently costly undertaking. In the end, he opted for the former. Despite its name and Fletcher’s lofty ambitions, the Operaphone label leaned heavily toward current popular tunes, public-domain “standards,” and light-classical snippets, most often rendered by the house band or the usual studio free-lance performers.
There were occasional selections by more distinguished artists, including retired Metropolitan Opera soprano Gertrude Rennyson and Broadway star May Naudain, but they were the exceptions. Some other Operaphone artists, like “Dan Perry,” were purely fictitious; “Perry” turns out to have been studio denizen Arthur Collins, based upon unmistakable aural evidence.
An early “frosted”-label Operaphone pressing (left), and a re-pressing of the same master using the later etched label. “Dan Perry” was actually Arthur Collins in disguise. (Author’s collection)
By the time that Operaphone finally began advertising regularly in early 1916, Fletcher had discontinued seven-inch discs and was producing eight-inch fine-groove pressings that he claimed would play “as long as the average twelve-inch records of other makers,” which in fact they did not. The copy was later revised to read, “more music than the ten-inch records of other makes,” which was still a bit of an exaggeration. Truth-in-advertising finally prevailed in 1917, when the wording was changed to “play at least as long as high-priced ten-inch records.”
The initial eight-inch Operaphone releases were listed in the January 1916 edition of The Talking Machine World, as February releases.  Retailing for 35¢, the eight-inch discs initially used the same dim, “frosted” labels as the seven-inch discs, which were soon replaced by more legible embossed labels with paint-filled type. In August 1916 the company finally announced, with some fanfare, that it was switching to paper labels. 
Fletcher also erred by sometimes coupling mismatched selections on his early releases, placing, for instance, a tired old hearts-and-flowers ballad on the flip side of a current pop tune—the same error Columbia had committed, then corrected, several years earlier. In September 1916, Fletcher promised that Operaphone would offer more compatible couplings on future releases. 
The first paper Operaphone label (left), introduced in August 1916. The design had already appeared very briefly in etched form. Crescent was Operaphone’s earliest known client label. (Kurt Nauck collection)
Despite such a bumpy start, Operaphone reported in August 1916 that production at the pressing plant had tripled in eight months.  Fletcher had also expanded his client list beyond Crescent and was now pressing eight-inch Operaphone discs under an array of labels that included All Star, Elginola, and the earliest version of Domestic. He soon secured Canadian distribution for Operaphone through the Canadian Phonograph Company of Toronto. During the spring of 1917, offices were moved to 489 Fifth Avenue, to allow easier access to the Long Island plant (which now also housed the recording studio) via the Queensboro subway line. 
Advertisements for eight-inch Operaphone discs, 1916
To all outward appearances, the Operaphone Manufacturing Corporation was a thriving business in the spring of 1917. And then it seemingly vanished, without explanation or even a passing mention in the trade papers. Fletcher finally alluded to the closing in his 1918 interview, recalling, “After facing abnormal conditions, due to the steadily increasing prices of raw materials, the Operaphone Company seized the psychological moment to shut down its factory… .” 
In short, Fletcher had badly under-priced his goods. A price increase might have been feasible had the eight-inch Operaphone disc been a high-quality product, but it was far from that. Weakly recorded, pressed in poor material, and offering little out of the ordinary in the way of artists or repertoire, the records had nothing to recommend them other than their unusually low price. Fletcher later admitted that the eight-inch discs “incurred tremendous expenses with returns that were hardly commensurate.” 
* * * * *
One year later, a new type of Operaphone record suddenly appeared on the market, with no prior notice of its impending arrival. First advertised in April 1918, the records were credited to a reorganized Operaphone Company, Inc.  They were an obvious departure from the earlier series, being ten-inch vertical-cut discs that employed a groove of normal dimensions. What was not obvious was that John Fletcher, although still running the company, was no longer making his own recordings.
Pathé supplied the masters for Operaphone’s new ten-inch series, the labels of which carry Pathé’s usual “U.S. Consumption Only” disclaimer. Many issues, like this one, were pseudonymous; “Albert Faber” was actually Eleanor Rae Ball.
Fletcher, having mothballed his Long Island City studio, was now obtaining his recordings from the Pathé Phonograph Company. Pathé recorded its masters on oversized cylinders, which could be dubbed in any number of disc formats using the pantograph, a mechanical transcribing device that contributed to the rumbling and clanking heard on acoustic Pathé products.
The new ten-inch Operaphone discs used material from the Pathé catalog, but Pathé’s involvement would not have been apparent to the average record buyer. Having been transcribed using a steel-needle cut, the discs bore no physical resemblance to their sapphire-cut Pathé counterparts, and the artists often were masked by pseudonyms. A TMW reporter opined that the new records “mark a distinct improvement over the former Operaphone products,” but expressed no suspicions as to their true source. 
In conjunction with his new series, Fletcher announced that he was “planning to devote more time to…the recording of the entire symphonic repertoire.” In fact, Fletcher so far had not devoted any time to such an undertaking, beyond releasing a few orchestral lollipops on Operaphone. Unsurprisingly, given his track record and the fact that he was now simply leasing existing Pathé material, his plan was never implemented.
During the summer of 1919, a subtle change appeared in the wording of Operaphone’s advertising. Previously, the records had been touted as playing on “all universal tone-arm machines” (i.e., an arm that could be converted to play either lateral- or vertical-cut discs, usually by simply pivoting the reproducer into the proper position). In June, that was amended to read simply, “play on all phonographs.” The reason was that Pathé had begun dubbing Operaphone masters in a universal-cut format that was playable (albeit with rather mediocre result) on lateral or vertical machines without the need for a convertible arm. The earlier label, which pictured a reproducer in the vertical-cut position, was replaced by a redesigned version that dispensed with the illustration and listed the Smallwood universal-cut patent, #639,452.
The final Operaphone label, showing Smallwood’s universal-cut patent number. Pathé was careful to disguise its more prestigious artists on Operaphone; “Rosner’s Dance Orchestra” was actually Joseph Knecht’s Waldorf Astoria Orchestra, and “Helene Buepre” was Claudia Muzio. (Kurt Nauck collection)
As with the previous Operaphone series, material came from the Pathé catalog, the artists were often disguised, and the records bore no physical resemblance to their Pathé sapphire-ball counterparts. The records were also pressed under several client labels, including Empire and World. Oddly, a comparison of Talking Machine World advance listings reveals that in some cases, the Operaphone release dates preceded those of the corresponding Pathé records by a month or more. This unusual reversal of normal client-label procedure might have been explained by the fact that Operaphone by then had become a full-fledged Pathé subsidiary. The corporate relationship was never acknowledged to the general public, but it was disclosed in various editions of Moody’s. 
Operaphone’s June 1920 list. “Wilbur Fairbanks” was Noble Sissle in disguise. The many other Operaphone aliases are unmasked in the author’s Pseudonyms on American Records — Third Revised and Expanded Edition (Mainspring Press).
By the autumn of 1920, there were subtle signs that all was not well with Operaphone. In September, the company opted for a cheaper black-and-white advertisement in TMW, instead of its customary two-color. The color was back in October, but the company did not advertise in December, at the height of the all-important holiday sales season, and no new releases appeared in TMW’s advance list that month. A new ad, with only ten releases rather than the usual twelve, appeared in January 1921—perhaps not coincidentally, the same month in which Pathé entered the lateral-cut market with its new Actuelle label.
A small ad in February, with no new releases listed, would be Operaphone’s last. A month later, TMW reported that the Operaphone Company was “winding up its affairs and will shortly withdraw from the records field.”  In the same issue, John Fletcher was listed as secretary of a freshly launched venture — the Olympic Disc Record Corporation. 
Part 2 – Fist-Fight in the Boardroom: The Remington-Olympic Saga (1921)
Part 3 – A Not-So-Black Swan (1922–1923)
Part 4 – Beating a Dead Horse in Chicago (1924–1925)
 “Noted Career in Record Field.” Talking Machine World (July 15, 1918), p. 96.
 Ibid. Victor moved into the Philadelphia studio in November 1901, according to recording engineer Harry O. Sooy, and did most of its recording there until early November 1907, when a new Camden studio opened. Contrary to numerous discographies, no Victor recording was done in Camden during this period; for details, see “Camden, Philadelphia, or New York? The Victor Studio Conundrum (1900–1920),” on the Mainspring Press website.
 “Pretty Peggy” (Indestructible 940, released c. December 1908); and “Infantry Calls, No. 1” (Indestructible 1308, released April 1910).
 “Noted Career in Record Field,” op. cit.
 “To Make Phonographs.” Talking Machine World (December 15, 1914), p. 43.
 “All Departments Under One Roof.” Talking Machine World (November 15, 1916), p. 71.
 Operaphone Company: “Operaphone.” U.S. trademark application #122,654 (filed 9/13/1919).
 “Crescent Records for Quick Delivery” (ad). Talking Machine World (December 15, 1915), p. 19. Crescent’s fine-groove discs of 1915–1916 were simply Operaphone pressings under a different label. The company later used other suppliers.
 “Record Bulletins for February, 1916—Operaphone Manufacturing Company.” Talking Machine World (January 15, 1916), p. 81.
 “Announce New Record Labels.” Talking Machine World (August 15, 1916), p. 26.
 “To Revise Operaphone Catalog–All Operaphone Records to Bear Two Selections of the Same Type.” Talking Machine World (9/15/1916), p.82.
 “Announce New Record Labels,” op. cit.
 “Operaphone Corp. Moves Offices.” Talking Machine World (May 15, 1917), p. 6.
 “Noted Career in Record Field,” op. cit.
 “Ten Inch Operaphone Records—Hill and Dale—Double Disc” (ad). Talking Machine World (April 15, 1918), p. 96.
 “Exhibitors of Talking Machines and Supplies at Music Show.” Talking Machine World (June 15, 1918), p. 101.
 “Pathé Frères Phonograph Co.” (lists Operaphone as Pathé subsidiary). Moody’s Manual of Railroads and Corporation Securities. New York: Moody Manual Co. (1922), p. 940.
 “Operaphone Co. to Withdraw.” Talking Machine World (Mar 15, 1921), p. 71.
 “New Concern to Make Records.” Talking Machine World (March 15, 1921), p. 3.
© 2017 by Allan R. Sutton. All rights are reserved.