The studio that Charles Mintz was using seemed to be humming along, as if no depression were going on. Unless somebody has the research tools, we don’t know what the exhibitors thought of the films, but the gags seem to have become punchier, and some of them actually have a semblance of a plot. Joe De Nat’s music is peppy, without being all that distinctive. The new character, Scrappy, must also have done all right with distributors – they kept making them.

The Little Trail (12/3/30) – Title reverses that of an early John Wayne epic, then recently released by Fox. Krazy Kat back out West. He comes upon a wagon train which includes Kitty. They meet up with up some threatening Indians, but Krazy manages to conquer them with a hot harmonica chorus of “Tiger Rag”. This excites the braves, the squaws, and the papooses. All seems proper at the end. “She Wore a Yellow Ribbon” is a newcomer also prominent in the score. One of the most popular versions was by the Andrews Sisters for Decca, covered by the Tanner Sisters on HMV. These were followed by Louis Innis on Mercury, Eddie “Piano” Miller on Rainbow, Ralph Flanagan on blue label RCA Victor, Tommy Tucker on MGM, and Jimmy Blaine on British Decca. Also included is “Love’s Old Sweet Song”, a piece so often recorded, by so many labels, that it nearly defies comprehensive description. Versions included W. Bryce on Berliner Gramophone, an anonymous violin, flute and harp session on early Columbia large note, the Columbia Band on Columbia, Corinne Morgan on Victor, Louise Homer on red seal Victrola, Elsie Baker on black label Victor, Phyllis Lett on Edison Bell, William Harper on Gennett, Al and Joe Blackburn on Polk, Larue Rappold on Edison Diamond Disc, Cora Tracey on Pathe, the Gondolier Trio on Brunswick, a 1927 Victor red seal by John McCormack, Layton and Johnstone on British Columbia, Anna Ziegler and Webster Booth on HMV. Pierre Fol and his Saloon Orchestra on 1930 British Decca, Scout Teddy James on British Broadcast 8″, Walter Rodney on Eclipse, Robert Gwynne on British Imperial, Jack Payne’s Orchestra on British Columbia (below), Nelson Eddy on Victor red seal. The Mills Brothers on Decca, Morton Downey on Decca, Deanna Durbin on Decca, Essie Ackland on HMV, Gloria Jean on Decca, Bob Hannon on Varsity, Richard Tauber on Parlophone/Odeon, The Charioteers on Columbia, Jo Stafford and Gordon Macrae on Capitol, and Vera Lynn on British Decca, among others.

Rodeo Dough (2/13/31) – Krazy and Kitty are riding a horse tandem. They see a sign advertising a rodeo where big prizes are offered. Kitty seems enthusiastic, but Krazy – not so much. But Kitty convinces him to try out for the event. Krazy sees a tough looking cowboy get tossed around by a bucking bronco, then is told he’s next, producing a tremulous reaction. Krazy actually doesn’t get tossed about as badly, but then winds up being assigned a bull to ride in the main event, which does much worse upon him. Still, Krazy ultimately prevails, winning the big prize, of which we are never told the amount. Songs: “I’m a Yiddish Cowboy”, a 1908 novelty recorded by Edward Meeker for both Victor and on an Edison Gold-Moulded cylinder.

Swiss Movements (4/4/31) – Krazy is operating a clock shop. There are gags about grandfather clocks with long white beards, who only require winding to rejuvenate them. Krazy hears a call from a remote peak – Kitty needs a house call, as the cuckoo in her clock is sick. Krazy braces against the winter cold to get to her, administers a dose of some cure-all to the bedridden bird, and finds the only problem was a live frog in the bird’s throat. Songs: “In the Hall of the Mountain King”, from Grieg’s Peer Gynt Suite No. 1. Recorded around 1908 by Prince’s Band for Columbia, later in England for HMV by the Orchestra of the Royal Opera House at Covent Gardens, and by the Philharmonia Orchestra of Hamburg on a young people’s educational label. A vocal rendition was performed by Alvino Rey with the King Sisters on Bluebird. Will Bradley gave it a swing fling on Columbia. Nelson Riddle later did his own take on the piece for Capitol. The Columbia Symphonette and Ray Carter (a leader who ping-ponged between dates in New York and Mexico City) issued a version for Columbia children’s series.

Soda Poppa (5/29/31) – Krazy works at a soda fountain as a soda jerk, where the customers sing of their love for ice cream. Kitty comes in, and immediately draws the attention of a wealthy-looking individual, who takes Kitty for a ride to his penthouse apartment, almost at the top of a skyscraper. He tries to have his way with her, to which Kitty is quite reluctant. Kitty eventually gets a phone call to Krazy to come help her. Krazy arrives, and a fight ensues. Krazy manages to defeat the lecher, and Kitty confirms in song that he is “The Kat’s Meow” – providing our only surviving brief snippet of a lyric to Krazy’s theme song. “I Scream, You Scream, We All Scream For Ice Cream” is the song sung by Krazy’s customers – a popular song of 1927. Recorded by Waring’s Pennsylvanians for Victor, Harry Reser’s Syncopaters for Columbia, the Six Jelly Beans (possibly another Harry Reser group) for Banner et al., Ronnie Munio for English Parlophone, and Lud Gluskin for French Pathe and English Perfect.

The Little Pest (8/15/31) – Scrappy is determined to go fishing, but his toddler brother Oopie insists on tagging along, much to Scrappy’s annoyance. Scrappy auditions worms for the role of bait, and the volunteer dolls up at a full make-up vanity for the part. The fish engage in quite a tug of war with Scrappy, their smallest member enlisting the help of even smaller fish, by opening a can of sardines to join in the pull. Then, Scrappy and Oopie’s hooks are strung together by the fish, causing Scrappy to reel Oopie in. Frustrated Scrappy tosses Oopie in the water, but Oopie seems not to be able to swim. Scrappy attempts to ignore Oopie’s cries for help, but then envisions the electric chair if he doesn’t. Scrappy dives in, rescuing the youth, and is happy when Oopie opens his eyes – but furious when Oopie remarks, “I wanna drink of water.” Scrappy launches Oopie again into the drink as the film ends. Song: “Down Home Rag”, written by Wilbur Sweatman, a black clarinet player who had been in Midwestern vaudeville from the turn of the century into the early 1920’s. Notable recordings include the composer’s own version in 1916 for 7″ Emerson, an Edison cylinder by the [Fred{ Van Eps Trio, the Victor Military Band on 10″ Victor, a 12″ Victor black label by Jim Europe and his Society Orchestra, one of the first black orchestras to record, which became the house band at the ballroom that featured Vernon and Irene Castle. An English version was recorded by the London Orchestra for Cinch in 1914, and a swing version was cut back in the states in 1934 by Benny Goodman for Columbia blue wax.

The Restless Sax (12/1/31) – Krazy Kat hears a saxophone player on the air, and decides to send off for a saxophone. He receives his C melody, and immediately figures out how to play “The Old Oaken Bucket” – badly. He is 86’ed from a radio station or theater, then has an encounter with a German band that is not very appreciative of his playing. Eventually, he serenades Kitty, both on his sax and with his singing. Songs: “I’m Just a Vagabond Lover”, theme song for Rudy Vallee, recorded by him for Victor, by Ben Selvin on Columbia, by Al Goodman on Brunswick, Jack Miller in a vocal version on Harmony et al., and Sam Lanin on Banner, Regal, Domino, Oriole, and Jewel. A 1950’s version was recorded by Eddie Fisher for Victor, and as a single on HMV. Mitch Miller had a sing along version on one of his many Columbia albums.

Piano Mover (1/4/32) – Krazy has the responsibility of moving a piano to an upper story apartment. This has the potential for the kind of thrill comedy Harold Lloyd might have done in live action. All the gags about hoisting the piano by block and tackle get trundled out. The piano eventually ends up on the ground, somewhat the worse for wear. Song: “That’s My Weakness Now”, a 1928 pop novelty about a boy who didn’t like what his new girlfriend likes, but now that he’s in love, that’s his weakness. Recorded by Nat Shilkret and the Victor Orchestra for Victor (below), Paul Whiteman for Columbia, Abe Lyman for Brunswick, and vocal consumers could have a Columbia by Cliff Edwards (Ukulele Ike), or by Helen Kane, the new Broadway sensation, on Victor. Fans of Laurel and Hardy will also remember hearing the piece on Vitaphone discs composed to accompany some of the duo’s silent films from around the date of the song’s composing.

NEXT TIME: More Scrappy, Krazy rhythms, with a side glance at entries by Toby the Pup.