By this time, the short subjects divisions of MGM were proving to be less profitable. People were staying away from the movie theaters, getting their entertainment at home via television. The cartoon division’s response to television was mostly derisive. What’s more, MGM wasn’t producing as many musicals as it had been, although they did produce some big budget musicals at this time. Scott Bradley was seemingly less willing to pick up in-house songs, and more willing to mine the classics – so stirring, so familiar, so public domain.
Cobs and Robbers (3/14/53) – Barney Bear in a typical cartoon situation – trying to guard his cornfield from a flock of hungry crows. Several of the crows dress as a scarecrow and try to flim flam Barney into a merry chase. Barney finds he cannot shoo them away. At one point, a fire gets loose, and turns at least one ear of corn into popcorn. Eventually, the crows conga their way to an exit with Barney’s corn for the fade out. Songs: “Cornfield Medley”, also known as “Way Down Yonder in the Cornfield”, and also known by the rubric of “Darktown Quartet Rehearsal”. Recorded by the Edison Male Quartet on 2 minute cylinder, the Imperial Quartet on Victor, the Invincible Quartet on a spoken introduced 1901 version for Columbia, the Columbia Stellar Quartette on Columbia, and the Peerless Quartet (basically same personnel as Invincible Quartet) on Okeh.
Johann Mouse (3/21/53) – A gentle fable about Johann Strauss and the cat and mouse (Tom and Jerry) who live in his house. Whenever the maestro plays, Jerry comes waltzing out of his hole, and Tom chases him – constantly hitting his head against the wall as Jerry darts back inside. When Strauss leaves the house for an excursion, there is no one to play the music – so Tom takes lessons in the attic from an E-Z manual Strauss has written on how to play the waltz in six easy lessons. Tom instantly becomes a proficient virtuoso, but before he can use his talent to lure Jerry into being trapped, the two are discovered by the house servants. Word of their talents spreads to the Emperor, who orders them to give a command performance. They perform at the palace magnificently, but at the end of the evening, Tom again chases Jerry and clunks his head, for the same old story. Winner of an Academy Award. Songs: “The Blue Danube Waltz” makes a reappearance, but is joined by three Strauss compositions not previously featured.
“The Emperor Waltz” was recorded by the Vienna Philharmonic Orchestra conducted by Bruno Walter for HMV, and later with conductor Herbert Von Karajan on British Columbia. The International Novelty Orchestra conducted by Nat Shilkret issued a single-side Victor dance version in the late 20’s. Andre Kostelanatz on Columbia Masterworks, and Al Goodman on red label, issued versions as part of sets. Erna Sack issued a coloratura version on Telefunken. A 1939 version appeared by the Brunswick Salon Orchestra conducted by Mortimer Palitz. Harry Horlick issued a Decca. Bob Stanley and his Orchestra on Varsity. Eugene Ormandy and the Philadelphia Orchestra performed it for Victor red seal, Victor Sylvester on British Columbia, a vocal version by Bing Crosby from the film of the same name on Decca, with a vocal cover on Columbia by Buddy Clark. The Twilight Three (replacement for The Three Suns) issued a version on Majestic. Bruno Walter would return to the piece with the Philharmonic Symphony Orchestra of New York on Columbia Masterworks. The FOK Symphony Orchestra were issued on Supraphon (a state label from Communist Czechoslovakia). Carmen Cavallero included it on a Decca multi-disc set. MGM had a single by David Rose. Henri Rene issued an RCA Victor side in the international series.
“Tritsch-Tratsch Polka”. its title using a phrase meaning chit-chat or gossip, was recorded in the 1930’s by the Vienna Philharmonic on HMV. The Orchestre Raymonde conducted by G. Walter issued a Columbia Masterworks blue label. A green label Masterworks was also issued by the Carnegie Pops Orchestra. Rawicz & Landauer, a duo-piano act, performed a British Columbia version. Rundfunk-Sinfonie-Orchester Leipzig issued a popular version on the Amiga label, a state label for East Germany. Arturo Toscanini and the NBC Symphony Orchestra issued a Victor version. Chris Hamalton issued a British Decca Hammond organ solo. Ronnie Ronalde, a singer and whistler, performed a version for British Columbia. The Boston Pops got their chance on Victor.
“Perpetuum Mobile”, written by Johann Strauss Sr., was recorded in a notable vocal version by the Comedian Harmonists on Electrola. The Vienna Philharmonic again issued a traditional version on HMV. Arthur Fiedler got a Victor version. Concertgebouw Orchestra of Amsterdam conducted by Willem Mengelberg appeared on British Columbia. The Cleveland Orchestra conducted by George Szell issued an LP version on Epic, which ended in an unusual manner, with the orchestra fading out during one of the repeated refrains, and the conductor stating, “And so forth.”
T. V. of Tomorrow (6/6/53) – The third of Tex Avery’s “yesterday’s future” cartoons, predicting developments in the far future. Most of the gags are more epithets against television, which jives well with the lore that Louis B. Mayer did not want TV’s used even as a prop. Gags refer to the problems with television reception (picture jumping, interference from passing planes), the television that may be available in the future (including the Las Vegas Special, which lets you gamble on your channel, in the manner of a three-screen slot machine), and the “endless variety” of programs available on TV (all Westerns). The cartoon wraps up with a broadcast from the planet Mars – which also turns out to be a Western. (When they say “Red Dust”, they ain’t kiddin’.) Song: “Be My Love”, a hit penned by Sammy Cahn and Nicholas Brodszky. It was indelibly associated with Mario Lanza, who introduced it in the film, “The Toast of New Orleans.” Lanza recorded a red seal Victor, which eventually sold over two million copies. One of the only performers initially brave enough to compete with the Mario version was Dorothy Squires on British Columbia. Connie Francis would later revive it on the MGM soundtrack album of her own film, “Looking For Love”. Mel Carter gave it a sterling performance as the title cut for an LP on Imperial.
Dangerous When Wet (7/3/53), an Esther Williams feature about an Englush Channel swim, provides Hanna and Barbera with their second chance to contribute a live-action/animation sequence to an MGM musical. The setup is provided loosely by Esther falling asleep after having been reading to a little girl from a Tom and Jerry comic entitled, “The Pearl Divers”. There is actually little time for seeking pearls (the only gag related to the title having Jerry clamp an oyster shell onto Tom’s nose), as Esther dives Into the middle of the comic, with intended purpose to swim for Dover. But Esther has tired of her heavy practice schedule, and finds any excuse to procrastinate and avoid her goal. Tom and Jerry intervene, deciding to tag along and attempt to keep Esther on the straight and narrow path to Britain. Their seven-minute escapade allows enough time for some synchronized swim moves, a mis-direction of a fish resembling Esther’s French swimming rival to swim away in the opposite direction from Dover, a brief encounter with sea-horses resembling Esther’s energetic family, a speed-swimming chase to avoid a needle-nosed shark or swordfish, and two encounters with an amorous beret-wearing octopus resembling Esther’s would-be French suitor. The octopus sets up a romantic cocktail tryst underwater, and eventually becomes too forward in his approach, wrapping his tentacles around Esther. Tom and Jerry tug and strain in attempt to pull Esther free from a tug of war with the love-struck sea-wolf, but the sequence abruptly ends, as the tugging at her feet is only from the little girl attempting to awaken Esther from her dream. Songs: “I Got Out of Bed on the Right Side” and “In My Wildest Dreams”, both with music by Arthur Schwartz and lyric by Johnny Mercer. At least two recordings have been made of the first in much later years, by John Pizzarelli and Joyce Breach on unknown labels. No commercial recordings appear to exist of “In My Wildest Dreams”.
Drag-a-Long-Droopy (2/20/54) – A true saga of the range battles between the cattlemen and sheepherders – known to be true, as it was told by “a Texan”. Droopy is the sheepherder, and his herd is leaving devastated and bare range land – no more for the cattle to eat. This upsets the lupine manager of the Bear Butte Ranch, who is determined to chase the sheepherder and his “mangy sheep” off the range for good. One clever throwaway gag at night has Droopy dreaming by counting sheep jumping over a fence, and the sheep dreaming of Dtoopys jumping over a fence. Several Western cliches get the treatment, including a classic shooting match between Droopy and the wolf (“Y’all see that fly on that mesa yonder…”). And there is an anti-television gag thrown in as well, as the shooting in a saloon turns out to be nothing more than the cowpokes watching an old Western on the barroom TV. The wolf’s cattle and Droopy’s sheep engage in what amounts to a joust, leaving everybody but the sheep shorn. Even Droopy and his burro wind up well-trimmed at the tail, proving “the hero always comes out in the end.” Songs: mostly familiar Western themes, although we get for the first time “The Old Chisholm Trail”. Harry “Haywire” McClintock recorded a version for Victor in 1928 (considerably cut down from the reputedly hundreds of verses created by original cowhands). Patt Patterson and his Champion Rep Riders covered it in Plaza, Banner, Regal, Perfect, and related labels. The Cartwright Brothers (no connection with the Ponderosa) issued a Columbia cover. The Girls of the Golden West (Dorothy and Mildred Good), a duo from the National Barn Dance out of WLS Chicago, recorded a Bluebird version. Bobby Gregory (a New York based city-billy) and his Cactus Cowboys had it on HiTone. Gene Autry issued a version on Columbia, while Roy Rogers and Dale Evans issued a Little Golden release. Tennessee Ernie Ford had a version on Capitol, while Burl Ives issued a Decca. Tex Ritter would also get a Capitol version, possibly from LP. Brief versions appeared on several children’s labels, though avoiding many verses whose lyrics would not have fit well into a G-rated presentation.
Mice Follies (9/4/54) – Jerry and Tuffy invade the kitchen, but with new tricks In mind. They have set the kitchen sink to overflowing, flooding the place, then disconnect the refrigeration lines of the fridge to place into the water, turning the freezer control up to max. Result – instant ice skating rink. With colored lights provided by a flashlight projecting a beam through a rotating tray of multi-flavored Jello, an elaborate ice ballet begins. As usual, this doesn’t sit well with Tom, who quickly learns he can’t pursue the mice over the slippery surface without the proper equipment. A trip to the closet produces skates, and the race is on – enough to rival Hans Brinker. A quick turn of the freezer dial back to room temperature leaves Tom stumbling around in a puddle, soaking wet. Then, a return of the dial to full power freezes Tom in his tracks. Jerry and Tuffy resume their performance, with Tom serving the role of an ornamental ice sculpture in the center of the rink. Songs: Waltz from Act 1 of “Sleeping Beauty” by Pyotr Ilyich Tchaikovsky. The Chicago Symphony Orchestra issued a 1916 version on early Columbia. Marek Weber recorded it on Victor. The Danish State Radio Orchestra conducted by Nicolai Malko issued an HMV version. The Berlin State Opera Orchestra performed it on Parlophone. Rawicz & Landauer issued a piano duet on English Columbia. The Boston Pops would issue a red seal version which crossed over into the Victor children’s series. The melody would become “Once Upon a Dream” in Disney’s feature adaptation of the ballet.
The Flea Circus (9/6/54) – One of the most popular attractions in Paris is Pepito’s flea circus. Customers and handed magnifying glasses at the ticket booth, to witness an elaborate stage presentation by Pepito’s performing troupe – including a lavish musical number by Fifi La Flea and company. In spite of a “No Dogs Allowed” sign at the door, a mutt gets inside, and is quickly pursued by the entire troupe, save little Francois, the flea clown, who promises to bring the performers back to Pepito. The dog races to a park lake to remove the performers from his itching back, nearly drowning Fifi. But Francois performs a rescue, prompting Fifi to propose matrimony. After a wedding, a blessed event takes place – the birth of a new troupe of fleas, who become a family act with Francois and Fifi to save Pepito’s show. But the story doesn’t end there, as another blessed event is on the way, with Fifi breaking the news gently to Francois as she knits baby booties: “Francois, Vive la France.” Song: “Applause, Applause”, from the Marge and Gower Champion musical, “Give a Girl a Break” lyrics by Ira Gershwin (one of his last), music by Burton Lane. The song does not appear to have been commercially recorded, and the version in the cartoon (second verse) is lifted straight out of the feature soundtrack as performed by the MGM chorus.
Also, “Washington Post March” by Sousa. First recorded by the United States Marine Band in 1890 on a Columbia cylinder. It went through various reiterations on Victor, both acoustic and electric, by Sousa’s Band. Prince’s Band received it on Columbia, and even issued a 5″ Little Wonder anonymously. Alexander Prince also issued a concertina solo on Columbia in 1913. Walter B. Rodgers got it for Brunswick, while Lieutenant Francis Sutherland’s 7th Regimental Band performed it for Vocalion. A 1930’s Canadian Bluebird issue would feature the Vancouver Kiltsilano Boys’ Band. The Goldman Band would issue a 1939 Victor. The Boston Pops would issue a Red Seal Victor and a V-Disc. A massed military band version would appear on Parlophone. The Band of the Coldstream Guards would do an HMV version. Eugene Ormandy and the Philadelphia Orchestra would issue a Victor Red Seal. A swing rendition was performed on Coral by Bob Crosby’s orchestra (below). Also, some bits from Wagner’s Lohengrin, and numerous additional snips from tunes we’ve heard before.
NEXT TIME: Still more from the waning years of MGM shorts.
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.
Two things about “Perpetuum Mobile”: First, it was composed by Johann Strauss the Younger, not Senior. Second, the ending where the conductor stops the orchestra in midstream and says “And so forth” (or in German, “Und so weiter”) is far from “unusual”, but in fact customary. The score ends with a repeat sign going back to the beginning of the piece, along with the words “Ad libitum”. Strauss didn’t write an ending for it, because it’s not perpetual motion if it comes to a stop.
I haven’t heard “Be My Love” since my mother-in-law, a Mario Lanza fan from way back, passed away over twenty years ago. It was sung, if that’s the right word for it, by the eternal troubadour Tiny Tim on his 1968 Reprise album “Concert in Fairyland”. The audience laughs hysterically throughout a performance that, if she had ever heard it, would have brought my mother-in-law to tears.
Just to give a plug to some of my hometown colleagues, the “Washington Post March”, along with the complete marches of John Philip Sousa, was recorded in the Bicentennial year of 1977 by the Detroit Concert Band under the direction of Leonard B. Smith. As principal trumpet of the Detroit Symphony Orchestra in the 1930s and ’40s, Smith played the opening fanfare of Rossini’s “William Tell” Overture at the beginning of every broadcast of the Lone Ranger radio program.
RobGems68 wrote:
Tiny Tim didn’t even want to have that cover of “Be My Love ” released, and it wasn’t released on Reprise Records. Rather, it was recorded three years earlier for George Goldner and Morris Levy at Blue Cat Records. Blue Cat issued only one single (“April Showers” from 1966) before Tiny Tim’s breakthrough on Reprise in 1968,but Goldner and Levy still had the Blue Cat master tapes in their possession and decided to cash in on his Reprise Records success by issuing a cheap fake live album of the songs Tiny recorded for Blue Cat three years earlier with an overdubbed audience to make it fake stereo. The album in question, “Concert In Fairyland” A/K/A “With Love & Kisses, Tiny Tim” was issued on Bouquet Records, a subsidiary of Roulette Records, which Morris Levy ran (with help from the infamous Genovese Mafia family, by the way) and George Goldner in tow since Goldner had a bad gambling habit and had to be bailed out by Levy by buying his many labels (Gee, Gone, End, Mark-X, Cindy, and two labels Goldner bought from other owners, Hull and Rama-all of them were purchased by Levy and Roulette when Goldner was in debt to pay his bookies for gambling in casinos and spending bets at the race tracks.) Levy pocketed the money from the profits Tiny’s infamous cash in album made, and Tiny reportedly didn’t get any revenues from the album’s release, which pissed him off enough to state that the songs were “horribly done” and should have never been released under any condition. The album was lousy, but it sold quite well enough, and I do still see this infamous album in antique and thrift stores to this day, but I know that Tiny was ripped off with this “live” album. Tiny went to his grave hating that album and regretted that it was left in Goldner’s and Levy’s hands to be a cash in release when he did find success after leaving the Blue Cat label. Goldner died in 1970 after attempting to form yet another label, Inferno Records. Morris Levy was found guilty of acquittal for scamming record stores, threatening musicians (including the infamous beating of pop singer Jimmy Rodgers in 1967 by a hit man disguised as an L.A. cop),issuing pirated albums, and money laundering and fraud charges in 1988, but died in 1990 before he could see jail time. Tommy James, an artist who put up with the worst of Morris Levy’s thug like behavior over the years of his career later wrote a tell-all book about Levy (and to a lesser degree, Goldner) in the 2017 book “Roulette, The Mob, And Me”.
Thanks for that information, Rob. I have the Tiny Tim biography ETERNAL TROUBADOUR, but it doesn’t mention Levy’s involvement in the “Concert in Fairyland” album. By coincidence, George Goldner was the father-in-law of Tiny’s friend and record producer Richard Perry. According to the biography, Tiny had recorded “Be My Love” back in 1962 (as Darry Dover and the White Cliffs). Sammy Cahn and Nicholas Brodszky, who wrote the song, threatened to sue Tiny for “killing” it, but never took action against him.
RobGems68 wrote:
So Tiny Tim’s “Be My Love” was recorded in 1962 under the alias of Darry Dover, eh? So that means that only “April Showers, the single that was officially released on Blue Cat was recorded in 1966, all of the other songs on the “Fairyland” album were from 1962. Thanks for reminding me of that info. I knew that George Goldner was Tiny’s relative in law to Richard Perry. There was a connection to them before 1968, and it did help that Tiny made promotional appearances on “The Tonight Show With Johnny Carson” and “Rowan And Martin’s Laugh In” to introduce the world to his curious and unusual performances. These TV appearances helped him to sell his Reprise albums, but the “Concert In Fairyland” album was considered unauthorized, a quick fast-buck cash-in by Goldner and Levy to piggyback on to Tiny’s sudden rise to fame in 1968, and Tiny had wished it was never released in any form, he was that embarrassed by the album. “Fairyland” to my knowledge was issued on both 12-inch album and 8-track cartridge tape, and Tiny said it once had 100,00 copies sold to Tiny fans that were taken to buy it. Goldner and Levy wanted $25,000 in advance payment from Warner/Reprise’s Mo Ostin to prevent it’s release, but Ostin refused to pay, so that’s how the album got out. “That’s what killed my career in the phonograph business” quipped Tiny after that album’s release. No wonder it’s not mentioned in the “Eternal Troubadour” book listing Tiny’s numerous albums from 1968 until his 1996 passing, he was so humiliated with it that he pretended that it didn’t existed. I know I’m a bit off the subject of a blog mentioning MGM cartoons, but I’ll leave a mention of them. I saw all of these cartoons as a child when Channel 50 (WKBD) showed them on TV, then again when Ted Turner showed them in the 80’s and 90’s on the WTBS, TNT, and Boomerang/Cartoon Network channels. Of all of them, “Johann Mouse” and “Cobs And Robbers” are my favorites, and “The Flea Circus” is pretty solid, too. I think the subject of Fifi The Flea inspired British songwriter/singer Graham Nash as a child to compose a song in 1966 when he was with The hollies titled “Fifi The Flea”, which is a tragic song rather than a happy one for the fleas (hint: Fifi dies at the end of the song of a broken heart.) The Everly Brothers heard the song when they were touring England in 1966 and decided to cut an album over there of Hollies songs titled “Two Yanks In London.”. Many of the songs were credited to a “L. Ransford”, who was Graham Nash’s Great-Grandfather, but the songs were really composed by Graham Nash, Allan Clarke, and Anthony Hicks.
RobGems68 wrote:
Excuse me, but I have to correct a mistake printed earlier today with my second post: Tiny Tim said it was 100,000 (one hundred thousand to be exact) copies that “Concert In Fairyland” sold on 12-inch album and 8-track cartridge tape. I forgot to add an extra zero. That’s quite a fairly large number in sales for what was an unauthorized album with dubbed in fake laugh track and canned applause on a phony live album. And it was a fast buck cash-in for Tiny’s first two Reprise albums, which both sold very well. Again, no wonder Tiny disowned that album for the rest of his life, he really had the right to hate it.
Wondering: Were there management directives on how much MGM music Bradley used? Either to emphatically plug it, or to leave it alone?
Have to say that’s a really nice mock-up of a typical 1953 Dell T&J comic book in Dangerous When Wet–Even the logo is accurate for the era. I suppose it would have been distracting and confusing for the audience if the left hand banner with the comic’s supporting characters ( Droopy, Barney, Wuff, et al.) had been included, especially as its only on screen for a few seconds.
Does anybody know the name of the conga song in “Cobs and Robbers”, or was that an original Bradley composition?