The Time Draws Near the Birth of Christ

Edward Lear published two collections of arrangements of Alfred Tennyson’s poems. This first, in 1853, included four settings (‘Edward Gray’, ‘A Farewell’, ‘Tears, Idle Tears’, and ‘Sweet and Low’), the second, in 1859, added five more, including the one I am posting this week, for obvious reasons: The Time Draws Near the Birth of Christ. It is a setting of section CIV of In Memoriam.

The song is from a casette published in 1984 by Cabaletta (TCDN 5004) and was performed by tenor Robert Tear, accompanied by Gareth Morrell. Besides all nine Lear settings of Tennyson’s poems, the cassette contains five Liza Lehmann’s arrangements of Belloc’s Cautionary Tales and two more songs by Sterndale Bennett. The recording must be very obscure as I cannot find any reference to it anywhere, except on my page on Edward Lear and Music: time for a reprint?

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Nonsense Lyrics: Aba Daba Honeymoon

This week’s nonsense song has much in common with The Owl and the Pussy-cat; Aba Daba Honeymoon is another happy story of love and marriage, in this case between primates. It was written by Arthur Fields and Walter Donovan and brought to success by Ruth Roye, Princess of Ragtime, in 1914. The version I am posting was performed by Arthur Collins and Byron G. Harlan and is taken from the UCSB Cylinder Digitization Project (sheet music at the University of Colorado)

Aba Daba Honeymoon

More information and a somewhat better version at the American Memory site of the Library of Congress; a modern arrangement of the song, by The Fabulous Heftones, is also available under a Creative Commons licence.

Aba Daba Honeymoon

Way down in the Congoland
Lived a happy chimpanzee.
She loved a monkey with long tail
(Lordy, how she loved him!)
Each night he would find her there,
Swinging in the cocoanut tree,
And the monkey gay,
At the break of day,
Loved to hear his Chimpie say:

“Aba, daba, daba, daba, daba, daba, dab,”
Said the Chimpie to the Monk,
“Baba, daba, daba, daba, daba, daba, dab,”
Said the Monkey to the Chimp.
All night long they’d chatter away,
All day long they were happy and gay,
Swinging and singing in their hunky-tonkey way.
“Aba, daba, daba, daba, daba, daba, dab,”
Means “Monk, I love but you.”
“Baba, daba, dab,” in monkey talk
Means “Chimp, I love you, too.”
Then the big baboon one night in June,
He married them and very soon,
They went upon their aba, daba honeymoon.

Well, you should have heard that band
Play upon their wedding day,
Each Chimp and Monkey had nutshells
(Lordy, how they played them)
And now it is ev’ry night,
High up in the cocoanut tree.
It’s the same old thing,
With the same old swing,
When the Monk and Chimpie sing:

“Aba, daba, daba, daba, daba, daba, dab,”
Said the Chimpie to the Monk,
“Baba, daba, daba, daba, daba, daba, dab,”
Said the Monkey to the Chimp.
All night long they’d chatter away,
All day long there were happy and gay,
Swinging and singing in their hunky-tonkey way.
“Aba, daba, daba, daba, daba, daba, dab,”
Means “Monk, I love but you.”
“Baba, daba, dab,” in monkey talk
Means “Chimp, I love you, too.”
Then the big baboon one night in June,
He married them and very soon,
They went upon their aba, daba honeymoon.

“Aba, daba, daba, daba, daba, daba, dab,”
Said the Chimpie to the Monk,
“Baba, daba, daba, daba, daba, daba, dab,”
Said the Monkey to the Chimp.
All night long they’d chatter away,
All day long there were happy and gay,
Swinging and singing in their hunky-tonkey way.
“Aba, daba, daba, daba, daba, daba, dab,”
Means “Monk, I love but you.”
“Baba, daba, dab,” in monkey talk
Means “Chimp, I love you, too.”
One night they were made man and wife,
And now they cry, “This is the life,”
Since they came from their aba, daba honeymoon.

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Elton Hayes: The Jumblies

The second song from Elton Hayes’s first Edward Lear record: The Jumblies.

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Gilbert Mack (1912-2005)

Cartoon Brew reports that Gilbert Mack passed away on 5 December 2005 at the age of 93.

Edward Lear Nonsense Alphabet, told by Gilbert Mack

In addition to movies and lending his voice to several cartoon characters, Mack published 78-rpm records of his readings of two of Edward Lear’s Alphabets; there is no date on the records but they probably appeared in 1948-49. Here is the first one, from a badly scratched copy: Edward Lear Nonsense Alphabet, told by Gilbert Mack under direction of Mitchell Miller (Mercury Miniature Playhouse 31-98).

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Nonsense Lyrics: Chi-Baba, Chi-Baba

Sheet Music CoverAl Hoffman and Jerry Livingston, authors of last week’s Mairzy Doats, later teamed up with Mack David to form a trio specializing in nonsense songs: theirs are the famours Bibbidi Bobbidi Boo from Walt Disney’s Cinderella (1950) as well as The Unbirthday Party from Disney’s Alice in Wonderland (1951).

Before these songs, the first two in a series of eight to receive an Academy-Award nomination, however, they wrote Chi-Baba, Chi-Baba (My Bambino Go to Sleep), no. 1 in the charts for three weeks in 1947 thanks to Perry Cuomo‘s performance.

CHI-BABA, CHI-BABA
Perry Como

Many a year ago in old Sorrento
a certain ditty was quite the thing
Whenever a mother rocked her baby in Sorrento
this little ditty she used to sing:

Chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

Chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

All the stars are in the skies ready to say “goodnight”
can’t you see your doll is sleepy, too?
Close your drowsy little eyes, mama will hold you tight
while she sings a lullaby to you:

Oh, chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

(Chi-baba, chi-baba, chi-baba, chi-baba, chi-wawa, and chi-lawa)
Chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah (la goombah!)
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

( Chi, chi, chi-baba! )
Chi, chi, chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah (la goombah!)
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

All the stars are in the skies ready to say “goodnight, goodnight”
can’t you see your doll is sleepy, too?
Close your drowsy little eyes, mama will hold you tight
while she sings a lullaby to you, ever so sweetly!

Chi-baba, chi-baba, chi-wawa
An’ chi-lawa kook-a la goombah (la la goombah! chi-baba!)
Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!

Chi-baba, chi-baba, chi-wawa
my bambino go to sleep!
Chi-baba, chi-baba, chi-wawa
my bambino . . .
go to sleep!

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Elton Hayes: The Table and the Chair

Elton Hayes published three 78-rpm records with Edward Lear songs, the first one in October 1950 (Parlophone R 3329) and containing The Table and the Chair and The Jumblies (to be posted next Wednesday).

This was followed by Parlophone R 3602 (December 1952), containing The Broom, the Shovel, the Poker and the Tongs and The Quangle Wangle’s Hat, and Parlophone R 3692 (June 1953), with The Duck and the Kangaroo and The Owl and the Pussy-cat.

All six recordings were finally collected in the EP For The Children, Parlophone (GEP 8551) in 1955.

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Mairzy Doats

I’m also resuming the Nonsense Lyrics from the 1940s series after the hiatus due to the site hacking. This week Mairzy Doats ( words and music by Milton Drake, Al Hoffman, Jerry Livingston. Miller Music Corp., NYC, 1943) in Al Trace’s 1944 version.

MAIRZY DOATS
Al Trace

Oh, mairzy doats and dozy doats and little lambsy divey
A kiddle divey, too. Wouldn’t you?
Oh, mairzy doats and dozy doats and little lambsy divey

A kiddle divey, too. Wouldn’t you?

If the words sound queer and funny to your ear,
A little bit jumbled and jivey.
Say, “Mares eat oats and does eat oats
and little lambs eat ivy.”

Oh, mairzy doats and dozy doats and little lambsy divey
A kiddle divey, too. Wouldn’t you?
Oh, mairzy doats and dozy doats and little lambsy divey
A kiddle divey, too. Wouldn’t you?

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The Owl and the Pussy-cat

I am still working on the new nonsenselit.org site, but have decided to take down the “Sounds” section and re-post weekly what was in it here.

This week I’m posting a full BBC Radio 4 program of 2 December 2000 about Lear’s most famous poem, The Owl and the Pussy-cat. It was part of the series Adventures in Poetry and produced by Peggy Reynolds. It’s a big file (about 19 megs), but it’s worth the time to download!

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Fol-the-rol-lol

The recently launched Cylinder Preservation and Digitization Project at the University of California, Santa Barbara, provides a great collection of early recordings from the Edison era.

Among these Edward M. Favor‘s Fol-the-rol-lol is one of my favourites, at least since Arthur Deex sent me a cassette with one of the two recorded versions (I’m sorry to say the cassette has gone missing: I have been searching for it at least since I started this podcast).

The one above is the later, longer version of 1908, but do not miss the 1905 one, also available on the site and probably not known to Arthur.

Arthur, the most learned of limerickologists, also sent me an article from his monthly newsletter, The Pentatette; I’m sure he will not be offended if I republish it here:

FOL THE ROL LOL
Arthur Deex

Although all but forgotten today, one of the earliest (if not the original) refrain to the sung limerick was “Fol the rol lol.” When Edward M. Favor, the noted vaudeville comedian and singer, appeared in England and America at the turn of the century (1898 to 1910) his repertoire of “comic song(s) in Irish dialect” included limericks with the “Fol the rol lol” refrain after each pair of five line verses.

In the great “record wars” of 1905-1908, the National Phonograph Co. and the American Gramophone Co. discovered what was to become the first law of canned music — You make more money on records than you do on players. One of the early two minute wax (metallic soap compound) cylinders recorded by Edison in November 1905 was Edward M. Favor singing limericks. As the fever of competition swept though the infant record/recording industry (there were a surprisingly large number of companies) the Indestructable Company threatened to flood the market with its high quality Indestructable Records. Edison responded with a four-minute record, albeit on the same fragile cylinders as its standard two-minute version. In the race to regain its share of the market, Edison sold conversion kits for its older recorders virtually at cost. For five dollars (eight-fifty for fancier models) a gear reducer, reproducer, and a set of ten “specially-recorded demonstration records” could be obtained. By the end of 1908 thousands of the Edison kits had been sold and thousand of Edison recorders could play the new (200 grooves per inch) long playing four minute cylinders.

One of the very first, number fourteen to be specific, of the new Edison “Amberol” records made at the Edison studio and factory in West Orange, NJ, was a four-minute version of FOL THE ROL LOL by Edward M. Favor. Cut in September 1908, this recording was listed as “Fol-the-rol-lol, Limericks. Eighteen verses of nonsense, but the kind of nonsense that is clever and mirth-provoking.” It shared the lime light with such other Amberol favorites as “Gee! But It’s Great to Meet a Friend from Your Home Town” by Billy Murray, “He’s My Soft Shell Crab on Toast” by Marie Dressler, and “Goo-Goo Land” by Harry Fay.

The record began with an announcement by Favor that this was Fol The Rol Lol by Edward M. Favor, presented by Edison. Then he jumped into the limericks (with accompaniment):

I just learned a comical ditty
From some of my friends in the city.
      The verses are short
      And I think that you ought
To admit that the verses are witty

There was a young lady from Pella
Fell in love with a bowlegged fella
      This nutty young chat
      Made her sit in his lap
But she fell staight through to the cella

Fol The Rol Lol – Fol The Rol Lol –
Fol The Rol Lol La La Lonny

Fol The Rol Lol – Fol The Rol Lol –
Fol The Rol Lol La La Lonny

The verses continued in pairs followed by the nonsense refrain…

There was an old woman took stuff…

A Russian he rushed into Russia…

Jim Jones was the son of a brewer…

The was an old lady in Worchester…

A certain young maiden named Emma…

There was a bright youngster from Maine…

There was a young miss from Decatur…

Another young miss from Fall River…

A composer who lived in the ghetto…

There was an old maiden named White…

There was a young man from Woontucket…

There was a young girl from Pawtucket…

A dame in a riverside flat…

There was a young lady in Lynn…

There once was a blushing youg bride…

There was a young lady named Mabel…

The only one familiar to today’s limerick buff is the young lady from Lynn, who was so uncommonly thin… and fell in.

Listening to Favor belting out the verses in his “stage Irish” dialect, brings waves of nostalgia for the music hall circuit when burlesque was a family affair. It is interesting to note that of all the principals – Edward M. Favor, Amberol Records, the “Fol The Rol Lol” refrain, and the limerick – only the limerick remains.

From The Pentatette, March 1985.

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Meta: nonsenselit.org hacked

I’m sorry to say that the main page of nonsenselit.org has been hacked. This has already happened a couple of times since last summer, but I’m not going to repair it this time as I no longer trust PostNuke enough: I’ve been thinking of moving to another CMS for some time and this is a good opportunity. The new, improved site should be up in a couple of days.

In the meantime, the sections devoted to Edward Lear, Peter Newell, TheFlight of Old Woman Who Was Tossed Up in a Basket and Nonsense in the Early Comics are all available as usual.

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