Johnny Mercer: Savannah's Legendary Lyricist

 

Mercer statue, Ellis Square, Savannah, Georgia

November 18, marks the 114th anniversary of the birth of John Herndon Mercer (1909-1976). For fans of the Great American Songbook, this is a significant event. Mercer won four Academy Awards for Best Original Song and had another twelve nominations. Indeed he was quite a music master.

Born into wealth in Savannah, Mercer often recounted how his Aunt Hattie hummed to him in his crib and "he hummed right back at her." It was the beginning of a musical career that would produce more than 1500 published songs, a few thousand more unpublished songs and song fragments, scores of poems and prose pieces, an unfinished autobiography, and a major chapter in the history of American music in the twentieth century.

In Mercer's Savannah, a rich Southern culture blended with that of a diverse and exciting port city. He spent his childhood fascinated by train and ship whistles, and the sounds and rhythms drifting from the black churches around town. He was thrilled by the chance to slip away from his mother's watchful eye and visit the black business district on West Broad Street - now MLK Boulevard - where he listened to race records. The family's summer home on the Vernon River, about ten miles south of town, immersed him in the natural world of Georgia's tidal creeks and salt marshes. By his teen years, he loved hearing the dance and jazz bands every summer at the famous Tybrisa Pavilion on nearby Tybee Island. He also began writing songs and skits for his student productions at Woodberry Forest School in Virginia.

When the family business failed in the late '20s, any hope of returning to Woodberry or attending college dimmed. He grew bored at home and shipped off to New York to become a Broadway performer. The demand for singers was weak, but he began tinkering with lyric writing when he wasn't singing or working odd jobs. Here is his first published song lyric:

Lyrics are meant to be heard but it's not always easy to appreciate them without the poetry on the page, especially when written by such a word genius:


Out of Breath (1930)

lyrics by Johnny Mercer
music by Everette Miller


Mine's a hopeless case,
But there's one saving grace,
Anyone would feel as I do;
Out of breath and scared to death of you.
Love was first divined,
Then explored and defined,
Still the old sensation is new;
Out of breath and scared to death of you.
It takes all the strength that I can call to my command,
To hold your hand.
I would speak at length
About the love that should be made,
But I'm afraid.
Hercules and such
Never bothered me much,
All you have to do is say "Boo!"
Out of breath and scared to death of you.

Yes, it's pretty simple, comic stuff, but it had flashes of wordplay and bouncy rhythm. It was perfect for the Garrick Gaieties revue of 1930.

One of the chorus girls left Johnny out of breath as well. Her name was Ginger Meehan and she was Bing Crosby's squeeze at the time. Eventually, Mercer won her over and they married in 1931 after Johnny secured a staff job writing lyrics. The following year, his persistent work paid off when he partnered with Hoagy Carmichael, already well-known for his sensational song, Stardust. After several months, the collaboration produced Lazybones, Mercer's first hit song. It was full of black dialect and all the stereotypical perceptions of the day.

By the time Lazybones became popular, the New York music industry was in full transition thanks, in part, to the rapidly growing film industry in California. Films needed songs and with his prospects cooling in New York, Mercer traveled to Hollywood where he met his old friend, Bing Crosby, who had already made the transition to the West. The early years were a challenge for Mercer, but things changed in 1936. That year, Crosby offered to sing one of Mercer's songs in the film, Rhythm on the Range. The film wasn't much. The song was a runaway hit:

I'm An Old Cowhand
words and music by Johnny Mercer

I'm and old cowhand
From the Rio Grande,
But my legs ain't bowed
And my cheeks ain't tanned.
I'm a cowboy who never saw a cow,
Never roped a steer 'cause I don't know how,
And I sure ain't fixin' to start in now.
Yippy I O Ki Ay,
Yippy I O Ki Ay.

. . .

And I learned to ride
'Fore I learned to stand,
I'm a ridin' fool who is up to date,
I know ev'ry trail in the Lone Star State,
'Cause I ride the range in a Ford V-Eight

. . .

And I come to town
Just to hear the band,
I know all the songs that the cowboys know,
'Bout the big corral where the doagies go,
'Cause I learned them all on the radio.

. . .

Where the West is wild
'Round the borderland,
Where the buffalo roam around the Zoo,
And the Indians make you a rug or two,
And the old Bar X is a Bar B Q.
Yippy I O Ki Ay,
Yippy I O Ki Ay.


I think Mercer came into perfect form with this one. With a little help from his pal, Crosby, his name became associated with songwriting among Hollywood's shakers and makers. In these early years, he struggled through a few flop movies, but he learned the ins and outs of Hollywood, and continued writing poetry to music.

Mercer went on to great fame after I'm An Old Cowhand. Movies, records, and radio brought his folksy, common sense, "free and easy, that's my style" personality into homes across America and made him a beloved next door neighbor. Mercer could be serious with a lyric, but he was equally capable of making us laugh at ourselves and our circumstances. Here are two outstanding examples:

I'd say almost every American can hum the title line of Hooray for Hollywood, but it's the rest of the lyric that really sparkles. Here's the song as it appeared in Busby Berkeley's 1937 blockbuster film hit, Hollywood Hotel. If you don't want to miss any words, the original lyric is below.

Hooray For Hollywood

words by Johnny Mercer
music by Richard A. Whiting

Hooray for Hollywood!
That screwy bally hooey Hollywood,
Where any office boy or young mechanic
Can be a panic,
With just a good looking pan,
And any bar maid
Can be a star maid,
If she dances with or without a fan,

Hooray for Hollywood!
Where you're terrific if you are even good,
Where anyone at all from Shirley Temple
To Aimee Semple
Is equally understood,
Go out and try your luck,
You might be Donald Duck!
Hooray for Hollywood!

Hooray for Hollywood!
That phoney super Coney Hollywood,
They come from Chilicothes and Paducahs
With their bazookas
To get their names up in lights,
All armed with photos from local rotos,
With their hair in ribbons and legs in tights,

Hooray for Hollywood!
You may be homely in your neighborhood,
But if you think that you can be an actor,
See Mister Factor,
He'd make a monkey look good.
Within a half an hour,
You'll look like Tyrone Power!
Hooray for Hollywood!


Over three decades Mercer wrote the lyrics to hundreds of songs, collaborating with the country's top music writers, including Harold Arlen, Bernie Hannigan, Hoagy Carmichael, Harry Warren, Gene DePaul, Henry Mancini, Jerome Kern, Rube Bloom, and Matty Malneck.

In 1971, Mercer appeared in what he called a "parlor evening" performance as part of the 92nd Street Y's Lyrics and Lyricists Series. At the end of the program, Mercer delivered an unforgettable medley of his "bread and butter" songs. I'd say most songwriters and performers would be pleased to have five songs in such a list. Mercer had twenty-nine. Regardless of your age and interest in popular music, you may be surprised at how many of these songs you recognize today:


Lazybones (1933), music by Hoagy Carmichael

Goody, Goody (1936), music by Marty Malneck

Too Marvelous For Words (1937), music by Richard A. Whiting

Jeepers Creepers (1938), music by Harry Warren

Satin Doll (1958), written with Duke Ellington and Billy Strayhorn

You Must Have Been A Beautiful Baby (1938), music by Harry Warren

That Old Black Magic (1943), music by Harold Arlen

Accentuate the Positive (1944) music by Harold Arlen

Fools Rush In (1940), music by Rube Bloom

I Remember You (1942), music by Victor Schertzinger

Day In - Day Out (1939), music by Rube Bloom

Dearly Beloved (1942), music by Jerome Kern

Come Rain or Come Shine (1946), music by Harold Arlen

Tangerine (1942), music by Victor Schertzinger

Hooray For Hollywood (1938), music by Richard A. Whiting

Laura (1945), music by David Raksin

Dream (1944), words and music by Johnny Mercer

On the Atcheson, Topeka and the Santa Fe (1946, Academy Award for Best Music, Original Song), music by Harry Warren

Something's Gotta Give (1954), words and music by Johnny Mercer

One For My Baby (1943), music by Harold Arlen

In the Cool, Cool, Cool of the Evening (1951, Academy Award for Best Music, Original Song), music by Hoagy Carmichael

Skylark (1941), music by Hoagy Carmichael

Autumn Leaves (1950), music by Joseph Kosma

I Wanna Be Around (1962), words and music by Johnny Mercer and Sadie Vimmerstedt

Blues in the Night (1941), music by Harold Arlen

Charade (1963), music by Henry Mancini

Summer Wind (1965), music by Henry Mayer

Moon River (1961, Academy Award for Best Music, Original Song), music by Henry Mancini

Days of Wine and Roses (1962, Academy Award for Best Music, Original Song), music by Henry Mancini


That's plenty of "bread and butter" on one man's plate, but we need to keep in mind that he had seven more songs nominated for an Academy Award that never made it into the medley. What a talent.

If you're curious to learn even more about Mercer, your minimal immersion requires three books, one website, and one audio disk.


THE BOOKS:






A good starting point is, Johnny Mercer: The Life, Times and Song Lyrics of Our Huckleberry Friend. It was collected and edited by television producer Bob Bach and Ginger Mercer, Johnny's widow. There's nothing scholarly about it. It is simply a nostalgic look at Mercer's career through photos, letters, notes, sheet music covers, lyrics, and tributes. Photos are always worth their thousand words, and the book gives readers the chance to study the lyrics to almost 100 Mercer songs. One highlight is the publication of the texts of four Christmas greeting cards. In two of them, Johnny worked his lyrical magic using all the surnames on his card list. The book concludes with incomplete lists of his published songs and motion picture contributions.







Philip Furia takes a more scholarly approach to Mercer in his book, Skylark: The Life and Times of Johnny Mercer. This book is a well-balanced treatment of a life characterized by great success as well as trouble and torment. It is well known that Mercer could be not only a gentleman and generous friend when sober, but also a vicious drunk who frequently sent roses to his victims the day after his verbal assaults. But Furia is at his best analyzing the process of songwriting, devoting many pages to a single song, and detailing the origin and evolution of the lyric. If you want to skip the nostalgia and go straight to reading a very good biography, Furia has written your book.







Gene Lees was a music biographer, lyricist and jazz historian who was a personal friend of Mercer's beginning around 1950. He brings more of a Hollywood insider perspective to the Mercer story, and does so with an entertaining, informal style. If this is what you look for in a biography, then Portrait of Johnny: The Life and Times of John Herndon Mercer is your book. The book doesn't have Furia's tight organization, but it is full of personal recollections and opinions from scores of close friends and associates. The high point for me is the author's extensive use of direct quotes from Mercer's unpublished autobiography. On the other hand, Lees gives his readers almost too much detail on Ginger Mercer as the terror in her family's life. Some readers may say the book is more of a layman's psychological analysis than a true biography. Regardless, it provides a nice balance to Furia's book in spite of the duplication.

This exhaustively researched 2013 biography by Georgia State University professor, Glenn Askew adds much to the Mercer story, builds upon the previous popular biographies, and places Mercer firmly in the context of American music and its impact throughout the world. Askew's thesis that Mercer brought blues, jazz, and Southern-themed music, first, to the attention of American audiences and, second, throughout the world with his founding of Capitol Records, is soundly defended. His ninety pages of notes provide even more information in addition to valuable documentation and context. 

THE WEBSITE:

If you want to use the Internet as a source of information on Johnny Mercer, there is no better site than the Johnny Mercer Foundation. The home page may look a bit complex, but don't let that fool you. The links open windows to hundreds of pages of information and media.


THE AUDIO CD:

You can find scores of audio CDs featuring the songwriting and singing talent of Johnny Mercer. For me there is one essential CD and an "honorable mention." The essential is An Evening With Johnny Mercer, the 92nd Street Y Lyrics and Lyricists program Mercer did in 1971. I think it's a great hour to spend with the man and his music.

The "honorable mention" is Ella Fitzgerald Sings the Johnny Mercer Songbook. Fitzgerald's brilliant eight-album Songbook Series was recorded between 1956 and 1964, at the height of her vocal quality. The Mercer tribute is included here because of her near-perfect diction - you do want to hear the words - the fact that Mercer was the only lyricist honored in the Songbook Series.

I have provided you with some details about Mercer's life, his contribution to American popular music, and best of all, several examples of his words and music. In addition, for those interested in learning more about him, I listed several sources in a variety of formats. There's plenty more to know. For example, you'll find that Mercer was both the source of the idea and a founding member of Capitol Records. You'll also read that he was extraordinarily generous. And you'll also find out that almost throughout his life, the fame and fortune came at great personal cost. That seems to be the rule. Still, Mercer's gap-toothed smile and performance talent brought a wealth of entertainment to millions of Americans during his active years beginning in the mid 1930s.

Almost two generations have passed since Mercer's death in 1976. He may be gone, but that mountain of music and the ideas he left behind are very much alive and well. Mercer stays with Great American Songbook and jazz enthusiasts through the singers and organizations that keep his music and legacy alive. Here is a list of past and present singers


THE SINGERS:

Margaret Whiting (Long associated with Mercer as a performer and family friend, she was a most significant individual promoter of Mercer's music late in her life.)

Frank Sinatra

Mel Torme (extensive recordings from the Mercer catalog, but no single album)

Sylvia Syms

Nancy LaMott (outstanding interpretation; her untimely death was a great loss to the music world))

Susannah McCorkle

Diana Krall (extensive recordings from the catalog, but - very sadly - no single album)

Bobby Darin (a landmark album recorded with Mercer; it's a classic)

Maxine Sullivan (simply swinging jazz from a great vocalist)

Shari Lynn

Jenny Ferris

Blossom Dearie (close associate of Mercer in his last years who kept his memory and music very much alive until her death in 2009)



That just about covers my Mercer birthday tribute this year. I want to end with three favorite Mercer lyrics that have become embedded in our culture as great American songs and jazz standards over their sixty years. They are:


Midnight Sun

Lionel Hampton and Sonny Burke wrote Midnight Sun in 1954 as an instrumental and had a big hit with it. The story goes that Mercer heard the tune on the freeway heading to his office. By the time he got there, he had the lyric. Ella Fitzgerald has "owned" this song for fifty years.

Your lips were like a red and ruby chalice warmer than the summer night
The clouds were like an alabaster palace rising to a snowy height
Each star its own aurora borealis suddenly you held me tight
I could see the midnight sun....


Early Autumn

Early Autumn was composed in 1949 by Ralph Burns and Woody Herman.

When an early autumn walks the land and chills the breeze
And touches with her hand the summer trees,
Perhaps you'll understand what memories I own.
There's a dance pavilion in the rain all shuttered down,
A winding lane all russet brown
A frosty window pane shows me a town grown lonely....


Laura

In 1944, the film, Laura, appeared with a theme song composed by David Raskin. The next year Mercer added the haunting lyrics.

Laura is the face in the misty lights,
Footsteps that you hear down the hall.
The laugh that floats on a summer night
That you can never quite recall.

And you see Laura on the train that is passing through,
Those eyes how familiar they seem.
She gave your very first kiss to you
That was Laura but she's only a dream....



If you do pick up a book or check out a website, you'll find that Mercer was quite a diverse personality. As a lyricist, composer, performer, businessman, and philanthropist, he shaped much of the American popular music industry for forty years, beginning in the mid 1930s. You'll also find that, almost throughout his life, the fame and fortune came at great personal cost. That seems to be the rule. Still, Mercer's gap-toothed smile and performance talent brought pleasure to millions of Americans during the mid-century. He's still with us in so many ways.

So happy birthday, Johnny. You're just about too marvelous for words.





References: Books by Bach and Mercer, Furia, and Lees; Johnny Mercer Foundation; Georgia State University Archives, and The Complete Lyrics of Johnny Mercer, by Kimball, Day. Kreuger and Davis.