MGM’s cartoon studio was going along steadily, despite the changes that would eventually lead to the closing of the studio. More people were staying home and watching television than going to the movies. There got to be less demand for things such as comedy shorts, serials, travelogues, newsreels, and yes, cartoons. Hanna and Barbera and Avery, however, were keeping up with production schedule, and Barney Bear was making a return. Avery was also finding a new niche for himself, in a series of retro-futuristic episodes of the wonders of things to come. Scott Bradley was increasingly writing his own scores, and not Interpolating so commonly MGM published songs. However, a few notable tunes, along with a bevy of reused ones, would still make appearances from time to time, along with several old and non-copyrighted items.
The House of Tomorrow (6/11/49) – A spot gag cartoon in a genre that might be called “yesterday’s future”. Tex Avery did several of these, about cars, farms, and TV, all of which suited his 60 gags per minute style. This cartoon includes a plethora of mother-in-law gags, as well as gags set n every room of the place except the bedroom. Amazingly, none of these seem to foreshadow anything that appeared in the Jetsons. One can only wonder what the kids thought of the three-screen television, that offers a cooking show for mother, a Western for them, and something on screen three for the tired businessmen in the audience. The fact that they built a gag around both a TV and a TV aerial takes credence away from the lore that Louis B. Mayer had ordered that no television appear in an MGM film – not even as a prop. Song: “Dream House”, heard over the opening titles, a 1928 pop song that originated on the West Coast and went East during that year. We may wonder if Scott Bradley heard it when the song was new, as I am unaware of any revivals of the piece in the late ‘40’s. Victor had a dance version credited to Art Hickman’s Orchestra (it was actually Nat Shilkret). Columbia had a vocal by Charles W. Hamp, and a dance version by Anson Weeks and his Orchestra (San Francisco’s most popular dance band). Columbia also had an additional dance version by a Ben Selvin group (possibly billed as Eddie Thomas’s Collegians). Brunswick had a dance version by Abe Lyman and his California Orchestra. Okeh issued Seger Ellis in a special picture-label vocal, and a dance version from San Francisco by Walter Krausgrill’s Balconades Orchestra. Pathe issued a version under their house pseudonym of the Casino Dance Orchestra (possibly Willard Robison).
Texas Tom (3/11/50) – Tom is in the lone star state. He sees a sweet young thing and goes ga ga. He rolls a smoke and skywrites the word “Howdy”. He tries a musical serenade, using a record player for a Western baritone drawl. But Jerry begins interfering, changing the speed of the record, to vary Tom’s voice from basso to chipmunk. Jerry gets Tom crossed-up with a mad bull. Tom detaches one of the bull’s horns and tries to play a tune on it as a shofar. By the end of the film, Jerry converts Tom into his personal steed, using spurs to ride Tom into the sunset. Songs: “I Tipped My Hat”, performed on soundtrack by the Kings’ Men, who had also performed the 1946 drugstore cowboy number live on the Fibber McGee and Molly show. Commercial recordings included Gene Autry on Columbia, Harry James on Columbia, Phil Harris on RCA Victor, Red Ingle on Enterprise, Bob Eberly on Decca, and Blue Barron on MGM.
“The Last Roundup”, was a 1933 song by Billy Hill, a songwriter who’d probably been no further West than Jersey. Don Bestor got the number on Victor. Bung Crosby had a good seller on Brunswick, which label also issued a dance version by Victor Young. George Olsen recorded it twice for Columbia, in both 10″ and 12″ size. Will Osborne did it for Perfect, et al., and Gene Autry performed a country version for the same labels. Hank Keene, a New York-based dude cowboy, recorded the Bluebird version.
A third number, performed diring the record player sequence, “If You’re Ever Down In Texas, Look Me Up”, was recorded by Phil Harris on RCA Victor. A World or Lang Worth Transcription also exists of Frankie Masters’ Orchestra performing it in 1947.
Tom and Jerry In the Hollywood Bowl (9/16/50) – Another attempt to put Tom and Jerry in a setting of classical music. They had already used the Liszt Hungarian Rhapsody in “Cat Concerto”, so wend here from both Liszt to Lehar, the latter providing the lion’s share of material from the orchestra’s featured work, the overture to Der Fledermaus, which is full of familiar melodic snatches. Tom is the conductor, all dressed to the nines. Jerry comes out of an artistic mousehole (shaped like the bowl dome), all dressed up himself to conduct – and Tom tries to ensure that he has no place to go. Eventually, Jerry is sawing through the stage floor, dropping whole sections of the orchestra out of the picture. Tom is forced to assume the role of a one-man band, stringing together all the remaining instruments in an attempt to single-handedly perform the finale. Jerry finally gets his chance to conduct him, and takes the bows in the final spotlight, but generously passes the spotlight to an exhausted Tom for a final bow – before sawing the floor out from under him too.
Songs: excerpts from “Les Preludes” by Liszt provide score for the opening and closing titles. Recorded in 1922 by Willem Mengelberg and the New York Philharmonic Orchestra on Victor Red Seal. An electrical version by the San Francisco Symphony Orchestra replaced it in catalog in 1927. Herbert Von Karajan conducted a version in Germany for Polydor. A Telefunken version appeared by the Czech Philharmonic Orchestra. Mengelberg would re-record the piece electrically for European Columbia with the Concertgebouw Orchestra. Columbia in America would issue a later version by Eugene Ormandy and the Philadelphia Orchestra. Eterna, a state label produced in Germany, issued a version by the Leipzig Gewandhaus Orchestra. “Der Fledermaus” had coverage often in sections. Guido Fialdini issued an excerpt on acoustic Columbia. The waltz passage of same was recorded in dance tempo by Merek Weber and his Orchestra on Parlophon circa 1922. Edith Lorand issued a salon version for Parlophon. Neues Tonkunstler had an acoustic of the overture on Parlophon. The Berlin State Opera Orchestra had a performance of the full overture on HMV. A brass arrangement issued as “The Ball Room Orchestra” from a Beka master, on Australian Parlophone. The waltz was recorded electrically by the Chicago Symphony Orchestra on Victor red seal. Eugene Ormandy and the Minneapolis Symphony recorded a Victor red seal in 1935. Hans Knappertsbusch had a 30’s performance on Odeon. Foden’s Motor Works, a brass band, issued the full overture on British Columbia. The Halke Orchestra under Sir Hamilton Harty issued a British Columbia. Wilhelm Furtwangler and the Philharmonia Orchestra of Berlin issued a version on Polydor. A Zonophone version issued by the National Symphony Orchestra, probably a British studio group. Bruno Walter and the Berlin State Opera Orchestra issued a Columbia in Europe. The waltz would be performed in strict tempo by Victor Sylvester’s Orchestra. Ronnie Munro’s Orchestra issued the waltz in dance tempo on London records in the 1940’s.
Daredevil Droopy (3/31/51) – Droopy and Spike are both vying for the same job in the circus. The owner puts it on a competitive basis, and the one who shows off the best stuff, bravery and daring gets the job. Every time the bulldog performs, he also tries to do in Droopy – and in best Wile E. Coyote fashion, everything backfires. As an example, when both of them try a human bullet trick, Droopy lands in a net unharmed, while Spike goes right through the net, diced as if by a Veg-a-Matic into a pile of cubes. Song: “Castle of Dreams”, a 1919 ballad, originally from the score of the Broadway show “Irene”, and based off a theme from Chopin’s “Fantasie Impromptu”. One period version has been unearthed, by Gene Rodemich’s Orchestra on Brunswick.
Droopy’s Good Deed (5/3/51) – Same plot as the last cartoon, but now Droopy and Spike are vying for honors of top scout, and a free trip to Washington to visit the President. Lots of interesting censored sequences with blackface gags from lightning, fire, and explosions. Spike sets a fire to a cabin, then lures Droopy inside with effeminate cries for help. Droopy rushes in, and emerges carrying a lovely young lady he has rescued from nowhere. Spike, ga ga over the beauty, runs into the cabin himself in search of more, only to have the whole place burn up around him, Spike included. Droopy returns to the charred outlines of the doorway, and inquires, “Hey, Blackie. Any more babes in there?” Droopy ultimately wins the prize, travels to the White House, and enters the President’s quarters. We hear the strains of Harry Truman’s favorite piano piece – “The Missouri Waltz” – but the camera reveals it is only Droopy playing it on the President’s piano. “Well. Who did you expect to see – the President?”, Droopy asks the audience.
Songs: “Five Foot Two, Eyes of Blue”, a 1925 hit. Recorded by Art Landry’s Orchestra for Victor as a dance record, Lanin’s Redheads on Columbia, and The Golden Gate Orchestra (a regular pseudonym for the California Ramblers) for Edison Diamond Disc. The Broadway Broadcasters (usually Sam Lanin) issued a Cameo side. Billy Wynne’s Orchestra covered it for Harmony. A vocal was cut for Victor by Gene Austin, and by Nick Lucas and Esther Walker in respective releases on Brunswick. Arthur Fields got it for Banner and the dime store labels. Hugh (Cross) and Shug (Fisher) issued a 1930’s country Decca version. The Korn Kobblers issued a later side on Varsity. An excellent transcription version appeared by Spike Jones and his City Slickers. Guy Lombardo revived it for Decca (below). Floyd Cramer performed it in honky-tonk style on Briar. Merrill Moore had a version on Capitol. Art Mooney revived it in the wake of “Cruising Down the River” on MGM. Tiny Hill did a Columbia session, and a later ine on Mercury. Benny Strong, a midwestern dance band, issued it on Tower. Brother Bones gave it his treatment on Tempo. Lenny Dee, an organist from Nashville, issued a Decca side. The Four Knights issued a Capitol single in the 1950’s. Marvin Hughes issued a Dot single. The Firehouse Five Plus Two issued a single in their signature style on Good Time Jazz. Craig Douglas got a single on Top Rank. Shane Fenton issued an English update in the 1960’s on Parlophone. Other late versions included album cuts by Bing Crosby on Decca, Dean Martin on Capitol, and a Mrs. Mills version appeared in England. Les Elgart got an album cut for his “On Tour” LP for Columbia. Allan Sherman reworded the lyric into an outer space epic (“Eight Foot Two, Solid Blue”) on Warner Bros. LP.
Also, “Missouri Waltz”. Columbia had early versions by Prince’s Orchestra, and another by Earl Fuller’s Rector Novelty Orchestra. Edison had a version by Jaudas’ Society Orchestra. Joseph C. Smith, resident of the Plaza Hotel in New York (where the real Chef Boiarde came from) issued the Victor version. The Peerless Orchestra got an early vertical release on Brunswick. Fredric Fradkin issued a violin version on Brunswick. Dan and Harvey’s Jazz Band issued a 1919 version for British Columbia. Henry Burr issued a vocal on 9″ Emerson. Paul Whiteman had a 1927 version for Victor. In later years, Bing Crosby would have a vocal for Decca (below). The Ranch Boys would also issue a Decca side. Dick Jurgens got a Vocalion side in 1939. Al Goodman issued it in a 1940 album set for Columbia. Glenn Miller issued a Bluebird arrangement. Also on Bluebird were “The Tobacco Tags” (two singers with mandolin and guitar). Bob Stanley also got an orchestral version on Varsity. Musicraft would issue a vocal by the Fontaine Sisters, before they went with Perry Como. Eddy Howard did a Majestic version in the mid-1940’s. Gene Autry issued a red Columbia. Harry Davidson, a specialist in Old Time Dance music, issued a 1940’s side for British Columbia. Lawrence Welk issued a Coral session. Eddy Arnold issued an RCA in the Bluebird series (below). Ken Griffin issued a Broadcast single on organ. Jackie Lee did a Coral side.
His Mouse Friday (7/7/51) – Tom, riding a raft on the ocean subsequent to a shipwreck, washes up on one of those inevitable little islands that inevitably show up. There, he meets Jerry, and tries to get him onto a frying pan (only to have Jerry smack it into the puss’s puss.) The chase leads to a deserted cannibal village, where Jerry, using soot from the bottom of the cooking pot, disguises in blackface as a hungry native. Tom winds up in a stew, peeling his own potatoes for the pot. But there are real natives, who prove to be as hungry as Jerry pretended to be. Both the cat and mouse end the film running at spearpoint from the charge of the hostile tribe. Song: “Chloe (Song of the Swamp)”, written by Neil Moret and Gus Kahn in 1927. The tune became very popular with jazz and swing musicians. Recorded by the All Star Orchestra on Victor, Tracy Brown Orchestra on Columbia with vocal by Sam Coslow, The Colonial Club Orchestra on Brunswick. The Gotham Troubadours (Sam Lanin) on Okeh, and vocal record by the Rounders on Victor. In later years, Dinah Shore issued a version in her first set of sides for Victor connected with the Chamber Music Society of Lower Basin Street. Benny Goodman and Tommy Dorsey both issued 1930’s versions for Victor, and Duke Ellington on Victor in the 1940’s (below). Henry Red Allen issued a ‘30’s Vocalion. Still later, Art Tatum would perform it on Decca, and Bill Doggett on King. Guy Lombardo issued an album cut on Decca. The Ravens cut a Mercury side in 1952. Of course, possibly the most remembered version was the parody by Spike Jones and his City Slickers, recorded both for Standard Transcriptions and then for Victor.
Cat Napping (12/8/51) -Tom is going to spend a languorous afternoon in a hammock – only to find that Jerry has already parked himself there, snoring away. Tom provides a rude awakening, by lowering one end of the hammock rope into a fish pond, dousing Jerry. Jerry keeps somehow returning to the hammock, leading to a gag sequence (appearing for the first time, though twice repeated in later episodes of the series) involving soldier ants, who carry Jerry off, but then are rerouted by Jerry onto the hammock rope, causing the rope to snap, and Tom to be wound up in the fabric like a windowshade. Jerry uses the hammock as a slingshot to launch Tom into the commercial air lanes, then lures Spike into the hammock before Tom gets bacl. Tom beats up on the hammock’s occupant, only to find Spike – and his collar – wrapped inside. After the expected canine retaliation, Tom spends the rest of the day as a harem slave, fanning Spike and Jerry while they rest, and receiving regular kicks in the rear from Spike. Songs: “A Frog He Would a Wooin’ Go”, a song whose text can be traced back to Elizabethan England, with certain texts referring to “the most strange wedding between the frog and the mouse.” Variants of the song have undergone at least three different melodies (one a country-style version which will be encountered in a later cartoon to be discussed in this series). A melody probably closer to the Elizabethan seems today to be the most prominent, and appeared in an early Columbia Playtime release by Arthur Hall. However, it is not the melody which Scott Bradley chose. A long version of the one Bradley used is embedded here from a Somerset Children’s LP, probably circa the late 1950’s. Also included in the film is a heavy reuse of a song already featured elsewhere, “Here Comes the Sun”.
NEXT WEEK: Into 1952, and another Oscar winner.
James Parten has overcome a congenital visual disability to be acknowledged as an expert on the early history of recorded sound. He has a Broadcasting Certificate (Radio Option) from Los Angeles Valley College, class of 1999. He has also been a fan of animated cartoons since childhood.
Franz Lehar didn’t compose “Die Fledermaus”, Johann Strauss the younger did. (And it is “Die Fledermaus”, not “Der”; “Maus” is a feminine noun in German, and one would only say “Der Fledermaus” when speaking in the dative case.) Lehar lived a generation after Strauss. His biggest hit was “The Merry Widow”, which, like “Die Fledermaus”, is a fun show full of wonderful music with some great waltz tunes. Both operettas, coincidentally, were first staged at Vienna’s historic Theater an der Wien, but over thirty years apart. When Dmitri Shostakovich composed his Leningrad Symphony during World War II, he used a melody from “The Merry Widow” to represent the invading German army. Bela Bartok, upon hearing the American premiere of the symphony on the radio, found Shostakovich’s appropriation of Lehar (a fellow Hungarian) so outrageously inappropriate that he wrote a savage parody of Shostakovich’s music into the fourth movement of his Concerto for Orchestra. None of this has anything to do with MGM cartoons, of course. I merely mention it to show how bitchy great composers can be.
The big fanfare theme from “Les Preludes” was played before radio news broadcasts in Nazi Germany during the war. Like Wagner’s Overture to “Rienzi”, it was so closely associated with the Nazi regime that it became musica non grata in Germany for many years afterward. Even today, “Les Preludes”, like Liszt’s orchestral music in general, is not performed nearly as often as it was before the war. It’s not Franz Liszt’s fault that his daughter and grandchildren were intimate friends with Hitler, but don’t hold your breath waiting for the Israel Philharmonic to record it. It’s never going to happen.
One place where you can be sure of hearing “Les Preludes” performed is at the end of the final concert of the summer at the Interlochen Center for the Arts in northern Michigan, the world’s oldest and biggest music camp. Summers at Interlochen have traditionally concluded with “Les Preludes” ever since the place was founded nearly a hundred years ago, the idea being that a summer at Interlochen is like a prelude to a life in music. All of the orchestras and bands in the camp combine into a mammoth ensemble of about 800 people overflowing from the stage of a vast amphitheatre called the Interlochen Bowl. The conductor has to stand on top of a ladder and keep time with a giant baton the size of a fishing rod, and the bombastic din can be heard for literally miles around. Interlochen alumni always feel nostalgic when we hear “Les Preludes”, because it reminds us of going home and finally getting to sleep in a proper bed and eat decent food again after eight weeks of hell.
I actually thought the song you referenced as “4 foot two, eyes of blue“ was actually called “has anybody seen my gal?“ Am I anywhere near right? I will be interested to read comments as they show up. Also, the “froggy“ song that appears in the cartoon “cat napping“ may be actually the title you mentioned, but what other song you might be talking about is “froggy went a-courtin’“ which will show up in “Pecos pest“ which you will get to in weeks to come.
The song’s original sheet music gives its title as “Five Foot Two, Eyes of Blue (Has Anybody Seen My Girl?)” Mark the word “Girl” in the parenthetical subtitle. It’s often corrupted to “gal”, for example in the title of the film comedy “Has Anybody Seen My Gal?” starring Piper Laurie and Rock Hudson, but this is a later development. Also, I just noticed that the original sheet music contains the line “Flapper? Yes, sir! One of those,” which I have always sung as “Never had no other beaux.” Since the song is in the public domain now, Heaven knows, anything goes.
As a fan of very old horror movies and serials, LES PRELUDES immediately makes me think of FLASH GORDON CONQUERS THE UNIVERSE (1940) and a scene or two from THE BLACK CAT (1934).
Regarding CASTLE OF DREAMS, I think there’s Victor recording from around the same time period that I got from a collection of old 78 rpm records and a chopped down Victrola from a good friend of my grandparents when I was a little boy. The collection of records is at my brother’s house and not easily located – sadly.