Music For Cat and Dog in Space

This blog was begun for the purpose of identifying the background music in the original Hanna-Barbera cartoons. The first music employed by the studio came from the Capitol Hi-Q library, started in 1956. John Seely was manager of Capitol's film music library service, while composer Bill Loose was hired in February to run studio operations in Los Angeles.

When we began Yowping in 2009, you could not find any of the cues on-line. Though the late Earl Kress arranged for a handful (by EMI’s Phil Green) to be released on Rhino Records about 30 years ago, reels and discs with the cues were in the possession of collectors.

The internet has evolved and, over the years, library music fans who were into Hi-Q have shared their bounty with others. We’ll gloss over an involved and thorny story to remark that, very recently, a generous individual has digitised a number of the library’s D (“Dramatic”) series discs that were not in circulation.

Ruff and Reddy was H-B’s first series for television, debuting December 14, 1957. A decision was made to pay for library music rather than go to the expense of scoring each cartoon individually. Someone, and I’m not certain who, picked cues from the D series and either Greg Watson or Warner Leighton cut them onto the sound track. (Jack Shaindlin’s Langlois Filmusic library was also heard in the studio’s cartoons starting in 1958).

Thanks to the anonymous person mentioned above, some of those cues are now available. We pass them along. The first cue is by Spencer Moore (and is from reel S-4), the other five are by Geordie Hormel in D-32. I believe all of them were heard in the Muni-Mula storyline; certainly the Hormel music was.


L-628 DRAMATIC BRIDGE


ZR-90C WEIRD-EERIE


ZR-91A WEIRD-EERIE


ZR-92B WEIRD-EERIE


ZR-93C WEIRD EERIE


ZR-93K WEIRD EERIE

There is more Ruff and Reddy music in this post.

We’ve written about the two cartoons seen on the first show, so here’s a little bit about the third cartoon in the Muni-Mula adventure, The “Whama Bama Gamma” Gun, which opened the second show on December 21, 1957.

Narrator Don Messick begins the cartoon with an animation-saving recap from the last episode. Ruff and Reddy seal themselves in a space ship control room to get away from two metallic robots, but the flying saucer begins to drop.

The new adventure begins with the space ship seemingly under control, with braggart Reddy at the helm. Though there are no credits, the mouth shape on Ruff below shows the episode was animated by Ken Muse.



Speaking of mouths, there are times the lower lip goes past Reddy's jowl lines, though it likely wasn't noticeable on TV.



As in the earlier episodes, there are silhoutte drawings. I presume Dick Bickenbach was the layout artist; he claimed to have been working on Ruff and Reddy while still at MGM with Hanna and Barbera. Thought went into this scene, as the two characters are framed by the metal arch.



One of the robots burns a hole in the door, but Reddy manages to swat its gun away and holds the two of them.



Outer space weightlessness kicks in and everybody starts slowly rising. Ruff pulls on a lever that opens a hatch at the top of the space ship and the robots float up into space.



Gravity returns. Note the dry brush.



The space ship is pulled into a hole that opens up on the planet Muni-Mula.



Messick urges us not to miss the next episode (which will follow after the live-action host and an exciting Columbia/Screen Gems cartoon).

The music (the final cue is from reel L-4):
0:00 – Title card.
0:06 – ZR-91C WEIRD-EERIE (Hormel) – Recap.
0:22 – ZR-91B WEIRD-EERIE (Hormel) – Saucer starts tipping, “I feel kinda empty.”
2:07 – No music – Ruff floats up.
2:12 – ZR-91C WEIRD-EERIE (Hormel) – Ruff grabs lever.
2:44 – No music. Ruff on top of Reddy.
2:50 – ZR-53 COMEDY MYSTERIOSO (Hormel) – Saucer flies to Muni-Mula, end of cartoon.

Let us add a bonus cue, not heard at Hanna-Barbera. In 1958, Warner Bros. contracted with John Seely to use music from the Capitol Hi-Q library. The reason we've been told over the years is a musicians strike, but I have found nothing about it in any trade publication. Seely got screen credit but he was an executive at Capitol so I doubt he actually clipped together the cues to write a score.

You will hear an edited version of this cue from the D series during the mouse-running part of Hip-Hip-Hurry! It is also by Geordie Hormel.


ZR-57 CHASE

A Few More Background Tunes

The earliest Hanna-Barbera cartoons have a different feel to them than what came later, partly because of the stock music dropped into the background. Hoyt Curtin was hired to compose themes for each series as soon as the studio went into business but the music within the cartoons themselves came from production music libraries used in television and industrial films. Eventually, Curtin was asked to come up with cues to be used in the theatrical Loopy De Loop (1959) and his music eventually displaced stock music in all television cartoons made for the 1961-62 season.

The bulk of the music came from the Capitol Hi-Q library, created in 1956. Some of the music was especially composed for it, some came from other libraries such as EMI Photoplay and Sam Fox (probably the ‘Variety’ series). Most of the rest of what was played in the background of the cartoons was from the Langlois Filmusic library, compiled in 1954, whose credited composer was Jack Shaindlin.

None of this music was found in record stores and it wasn’t designed for home listening. It was only made available to film, TV and radio production companies on a contractual basis and used to set moods in the background.

You’ve been able to listen to many of the cues here on the blog. There are a number that are notably absent because I simply don’t have them, don’t know who might and, in some cases, can’t identify them at all. However, I’m going to post a few odds and ends that I haven’t before and I suspect these will be the last new ones you’ll find here.

A number of the cartoons (especially Huck’s) revolved around plots dealing with Merrie Olde England. Hi-Q had a whole specialty category—the ‘X’ series—where it put international music and a variety of other things. Among them were three English-style cues used by Hanna-Barbera, all of them credited to Geordie Hormel of Zephyr Records. They were on reels X-9 and 10.

ZR-103 PERIOD MAIN TITLE
ZR-126 ENGLISH MAIN TITLE
ZR-127 PERIOD CHASE

I suspect the two or three “American Indian” music cues used in several cartoons (such as the ones with Chief Crazy Coyote and Li’l Tom Tom) came from the ‘X’ series as well but I have not been able to track them down.

Hormel had another short cue that got some play as an introductory piece for western-set cartoons. It was from the Hi-Q ‘M’ series. There were two versions, one medium and one faster. Here’s the faster version:

ZR-39A WESTERN SONG

Music from the ‘M’ series was rarely used; the H-B sound cutters stuck mainly with the ‘L’ (“Light”). The best-known ‘M’ cue was not used in cartoons. It is the theme to The World Tomorrow radio and TV show, one of a bunch of documentary cues written by Bill Loose. Hanna-Barbera picked a different documentary pieces, a lovely, short, majestic fanfare by Phil Green. It can be heard at the start of a number of shorts, including the Huck cartoons ‘A Bully Dog’ and ‘Legion Bound Hound’.

EM-147 DOCUMENTARY MAIN TITLE

An ‘M’ cue by Loose opened ‘Snow White Bear’ and was, as far as I can tell, never used again.

C-71 ROMANTIC MAIN TITLE

Besides the ‘X’, ‘M’ and ‘L’ series, Hi-Q had two others. One was the ‘D’ (“Dramatic”) series. Only a few cues from this one, which found its way into dramatic TV shows and low-budget science fiction movies, were deemed appropriate for cartoons besides Ruff and Reddy and generally didn’t get much use. Here are a few I have only been able to find in one Quick Draw cartoon. The first was at the start of ‘Choo Choo Chumps’. It and the second cue both were used in ‘In the Picnic of Time’ when the ants begin their attack on Doggie Daddy. The third showed up under a bunch of sound effects and dialogue in ‘Scary Prairie’ when Grumbleweed flies into the air to the end of the scene after the boulder crashes on Quick Draw. The fourth was very briefly heard in ‘Masking For Trouble’ when Sundown Sam shoots Quick Draw in Sagebrush Sally’s house. In the first two cases, only the last half of the cue was used. All written by David Rose who signed over the royalty rights to Bill Loose and John Seely. In each case, the first name is what’s on the Hi-Q disc.

TC-14 CHASE-MEDIUM aka ZEALOUS PURSUIT
TC-15 CHASE-MEDIUM aka SPIRITED PURSUIT
TC-9 CHASE-HEAVY aka HURRIED PURSUIT
TC-74 SOMBER aka OPPRESSIVE DEATH

Another ‘D’-series cue only seems to have been used once. It’s a Joseph Cacciola cue that appeared when Aloysius meets the fake Aloysius in the Snooper and Blabber cartoon ‘Puss N’ Booty’. There are three versions in reel D-6; the cartoon seems to have used the slow one. A number of Cacciola’s cues in the Sam Fox library were later imported into Hi-Q and given generic names.

TC-216 TENSION

The other series was the ‘S’ series, which YourPalDoug (who has a wonderful music blog, by the way) says was discontinued by Capitol. The ‘S’ series was for short edits of main cues to be used as intros, extros and bridges to (or from) scenes; you hear this sort of thing on radio and TV sitcoms. The Huck series stayed clear of them and generally went with longer, full music beds, but the sound cutters on the Quick Draw series (especially Snooper and Blabber) loved the little bridging music. The bulk of it originally came from the EMI Photoplay Q-2 discs repacked by Hi-Q and given ‘EM’ or ‘PG’ designations (‘GR’ is the code used in the EMI library). I’ve posted most of them here before but apparently missed a few of them. They’re all by Phil Green. Here are the ones I can find.

GR-454 THE ARTFUL DODGER SHORT BRIDGE No 1
GR-455 THE ARTFUL DODGER SHORT BRIDGE No 2
GR-457 DOCTOR QUACK SHORT BRIDGE No 1
GR-458 DOCTOR QUACK SHORT BRIDGE No 2
GR-82 FRED KARNO’S ARMY SHORT BRIDGE No 2
GR-85 THE BRAVEST WOODEN SOLDIER SHORT BRIDGE No 1
GR-86 THE BRAVEST WOODEN SOLDIER SHORT BRIDGE No 2
GR-97 BY JIMINY! IT’S JUMBO SHORT BRIDGE No 1
GR-98 BY JIMINY! IT’S JUMBO SHORT BRIDGE No 2
PG-160G LIGHT MOVEMENT
PG-161G LIGHT COMEDY MOVEMENT
PG-161H LIGHT MOVEMENT
PG-177C LIGHT COMEDY MOVEMENT
GR-346 FIRST BUDS

Finally, some odds and ends. Arrangements of several old public domain songs surfaced occasionally, like ‘Oh, Susannah’. One, almost a standard in any old movie’s snake charmer scene, appeared in one third-season Huck cartoon. Bill Loose did the arrangement of Streets of Cairo. It was on the original Hi-Q reel X-4 (Capitol replaced whole reels of cues with newer material; X-4 was replaced in the 1960s).
Spencer Moore concocted an odd version of Pop Goes the Weasel with a clock ticking effect. It’s heard just before the Fat Knight clubs Huck with a mace in ‘Sir Huckleberry Hound.’ You’ll also spot it toward the end of the Goofy Gophers cartoon Gopher Broke (1958), which used the Hi-Q library during a musicians strike. Another Moore cue only appears to have been used once, when Matilda the Kangaroo appears in Snooper’s ‘Hop to It.’
Phil Green came up with an eerie number featuring plucked strings found in ‘Impossible Imposters’ when Snoop and Blab enter the Mad Scientist’s hideout. It’s from EMI Photoplay 6-019 Additional Incidentals.
A western dance theme from the Sam Fox library pops up in a couple of Huck and Quick Draw cartoons. In that library, it’s called ‘Oh, Susannah’ and is by Jacob Louis Merkur.
Finally, there’s a short cue that came from another library, Valentino, from New York. It still sells library music for commercial purposes. It’s not the version of ‘Chopsticks’ you played on a piano as a kid. It was composed by the prolific Roger Roger, a Frenchman who seems to have been employed by many European music companies to compose stock music. It was used in a couple of Pixie and Dixie cartoons, such as ‘Missile Bound Cat.’

C-135 STREETS OF CAIRO
L-992 ANIMATION-CHILDREN
L-1147 ANIMATION-MOVEMENT
GR-57 THE SHADOW OF A MAN
SF-11 LIGHT MOVEMENT
CHOPSTICKS

Unfortunately, there are a number of cues I don’t have, including:
● About a dozen of Jack Shaindlin’s cues from the Langlois library that made appearances in many cartoons; Shaindlin was used on both the Quick Draw and Huck shows. Most are, alas, unidentified.
● There’s a short trumpet fanfare piece in ‘Missile Bound Cat’ I can’t place.
● A Green cue in ‘Space Bear’ when the alien is pointing to the film of Yogi.
● Boo-Boo discovering the ranger inside Whitey and telling Yogi in ‘Bearface Disguise’ is accompanied by what may be another Green cue.
● The brief woodwind bed when Doggie Daddy jumps in the well in ‘Crow Cronies’, though it may be a Clarence Wheeler piece called ‘Woodwind Capers.’
● The creepy muted horn cue when Ranger Smith is on the phone in ‘Space Bear,’ among a number of cartoons, that may have come from the Omar Library (distributed by Capitol).
● A nice little string Western piece at the opening of ‘Doggone Prairie Dog.’ It sounds like a number of similar Sam Fox library cues.
● The opening music to ‘Fast Gun Huck’, a building dramatic bed. I suspect it’s a Spencer Moore or Geordie Hormel cue on a ‘D’ series disc I don’t have.
● A completely inappropriate “1950s Modern Living” style cue that opens the Quick Draw cartoon ‘Slick City Slicker.’ I’m a sucker for music like that.
● ‘The Happy Cobbler’, the Hecky Krasnow composition in a number of Augie Doggie cartoons. There’s another odd cue when Boinga-Boinga climbs the walls in ‘Mars Little Precious’ I don’t have, either, called ‘Swinging Ghosts.’ Both came from the Sam Fox library.
● Latin American music that takes up the first couple of minutes in ‘Bull-Leave Me’ with Quick Draw and a chuckling bull.
● And several Hawaiian music cues by Ed Lund in ‘Hula Hula Hulabaloo’.

So this is the best I can do. I hope you’ve enjoyed the music. It’s taken me a very long time to find it with the help of some very kind collectors who enjoy it as much as I do.

Spencer Moore — Cartoon Music Mystery Man

A number of composers are listed on different albums/reels of the Capitol Hi-Q library at the time Hanna-Barbera used it, and you can find a little bit of information about most of the more common ones on-line. John Seely’s name comes to mind first because he got a credit on the six Warners cartoons that used the same library. Bill Loose’s name is connected with him.

You’ve read on this blog about Phil Green and Geordie Hormel adding to the sound of the 1950’s H-B cartoons through their cues picked up by Capitol (Green from EMI, Hormel from Zephyr). But there’s one composer who is a complete mystery. A chap named Spencer Moore.

You have to dig deep in the BMI database to find him; he’s not in the composer index. And a hunt for him on-line will find a reference to his stock music being used in the movie Night of the Living Dead (from the Hi-Q ‘D’ series). And that’s it.

So, just who was this guy? Was the name a pseudonym for some other composer?

Well, yes. And no.

Eventually on the blog, I’m going to do a piece on the Hi-Q library itself, but I want to focus on Mr. Moore. Let us go back to Geordie Hormel and the founding of Zephyr Records. Billboard Magazine reveals this in its edition of May 12, 1956:

Hormel Forms Zephyr Disks
HOLLYWOOD—Geordie Hormel, jazz pianist scion of the meat packing clan, has organized Zephyr Records, with the firm expected to get under way via its first initial release by June 1.
The disk firm will also operate Zephyr Music Library to supply music for radio, television and commercial films, and Austin Music, Inc. (BMI). Officers of the corporation, in addition to Hormel, include Roy Anderson and Marilyn Vaile, both associated with the Hormel Foundation of Austin, Minn.
Spencer Moore has been named general manager of the company, with Bill Hitchkock [sic] to helm a repertoire post.

There was a small, brief flurry of articles about Zephyr in mid to late 1956. On July 16, Billboard revealed Hormel was attending a convention “along with the firm’s comptroller-library chief, Spencer Moore.”

So it would appear that Moore was a money guy in charge of the Zephyr Music Library, which provided cues for the new Capitol Hi-Q library.

Moore didn’t stay with Zephyr very long. Variety of May 24, 1957 reports Moore had left the company amid reports Hormel was going to streamline operations (he was looking to sell the label a month later; Variety reported by November it was defunct). Moore went back to the music rep business. Variety mentions him again on October 1, 1958 in connection with a global tour for Arwin Records.

Hormel, if nothing, was ambitious. Billboard of September 29, 1956 tells that five projects were in the works, including “radio station management, artist representation, and TV film, motion picture and legit theater production.”

He actually did get a film company going. Eventually. From Boxoffice Magazine, April 26, 1965:

Geordie Hormel, record producer-arranger, is branching out into motion picture production and distribution, having formed Cinema-One, with plans for a slate of six features during the first year.

And guess who went along for the ride? This is from Boxoffice, Feb. 20, 1967:

SPCA Documentary Set
HOLLYWOOD—The Society for the Prevention of Cruelty to Animals has been documented in a half-hour film produced by Pacific Newsreel, a subsidiary of Hormel Films. To be shown in 600 Human Society Branches, the film was produced by Geordie Hormel and directed by Spence Moore. Action scenes of the sheriff’s aero squadron using helicopters in a chase of a “slasher” is part of the color film.

So was Spencer Moore a money guy, composer and movie director? Well, the 1950 U.S. Census fills us in. It tells us he was a freelance writer and had moved from Westchester County, New York, to Los Angeles in 1949. He started, but never finished, grade 12. His 1949 income was only $1,000. The reason is revealed in several newspaper and trade publications of the day. Aline Mosby of the United Press wrote in her column of September 21, 1949 that Moore was going to star as himself in a semi-documentary about beating alcoholism, but not before some pretty tough times, including stretches in jail and drying out at Bellevue in New York (there’s no evidence the picture got out of the planning stage).

Moore was a graduate of St. Mary's School and Yonkers High School. At age 15, the Yonkers Herald-Statesman reported he got into a bit of trouble, discharging a .25 calibre gun into the tin roof of a house near his home, trying to hit a potato. In 1927, the local daily reported he has been hired as a clerk with the Quaker Lace Company on Fifth Avenue. He was 16. Census records in 1930 show he was in the engineering department of the city of New York, and a story in a 1936 edition of the Herald-Statesman said he had been on the paper's staff. The 1940 census records him as a helper with a moving van company, though his draft card that year lists his occupation as a freelance writer. He had sobered up by 1946, and we find him as director of publicity for the Phoenix Junior Police, organising a benefit starring Frank Sinatra; this was after a stint as editor of a Phoenix weekly. A story in the December 2, 1979 edition of the Santa Rosa Press Democrat reveals he had retired from documentary filmmaking and was a community volunteer at the St. Vincent de Paul store in Rohnert Park.

A book from the U.S. Library of Congress called Performing Arts: Broadcasting has a wonderful section on stock music by the premier scholar on the subject, Paul Mandell, and contained therein is this pertinent information:

Some hotshots of Capitol were able to grab performance royalties by bankrolling music packages. George Hormel, a pianist related to the Hormel meatpacking empire, laid claim to Hi-Q music which he financed but did not write. Spencer Moore was another. Composer Nick Carras recalled the scene: “Moore made his money by bringing his investors to Capitol and putting his name on our music...”

Maybe he could write a note of music. Or three or four. But it seems pretty clear that Spencer Moore was mainly a crony of fun-loving millionaire Geordie Hormel. And because of that, his music can be heard on some of the early Hanna-Barbera cartoons.

While Moore’s name is attached to different styles of music, H-B seems to have picked those with quirky violins, bassoons and horns.

L-75 is a string-and-woodwind melody that is very reminiscent of some of Hormel cues on Hi-Q; perhaps the same writer came up with it. L-85 was heard on only one cartoon, the nascent Pixie and Dixie adventure Little Bird Mouse. L-1158 is a collection of short bassoon pieces that were snipped and used as musical effects.

If you click on the name of the cue, it should download into your computer’s audio player.

L-75 COMEDY UNDERSCORE
L-78 COMEDY UNDERSCORE
L-80 COMEDY UNDERSCORE
L-81 COMEDY UNDERSCORE
L-85 LIGHT MECHANICAL
L-992 ANIMATION CHILDREN
L-1121 ANIMATION NAUTICAL
L-1147 ANIMATION MOVEMENT
L-1139 ANIMATION COMEDY
L-1154 ANIMATION COMEDY
L-1158 ANIMATION COMEDY

He was also responsible for a version of this song heard in a Yogi Bear cartoon. It is from the Hi-Q “X” speciality reels. L-75 La MARSELLAISE

Moore is listed as the composer of L-31 SOMBER MOVEMENT, a “D” series cue that appeared in a couple of cartoons. He is also credited with a piece of music with a double tom-tom beat in Yogi Bear’s Brave Little Brave. It’s very similar to his L-744 WESTERN MELODIC UNDERSCORE.

California state records show that Spencer Thomas Moore was born July 2, 1910 in New York and died in Sonoma, California, July 19, 1985.

The Cartoon Music of Geordie Hormel

It would seem, at first, to be improbable that there is a connection between Quick Draw McGraw and Spam. No, we don’t mean the e-mail kind of spam. We mean that pre-cooked food-ish product invented of necessity during the waning days of the Depression. For Spam is a product of the folks at Hormel. And one of those Hormel folks brought you some of the music which you hear in the background of the early Hanna-Barbera cartoons.

Cynics will suggest another similarity—that Spam bears as much resemblance to real food as the melodies wafting behind Baba Looey’s dialogue does to real music. Cynics are entitled to be wrong.

True, the music was never scored to the cartoons, like Carl Stalling did to everyone’s great delight—and to the cartoons’ benefit—at Warner Bros. Hanna-Barbera went the inexpensive route and paid for needle-drops from production libraries. The composers were all experienced musicians but the most improbable musician out of the lot was Geordie Hormel.

George Albert Hormel II was born in 1929 and named for his grandfather, who started a family meat-packing company in 1891. But Geordie was interested in things other than canned luncheon loaves of, well, something. He sounds like a cool guy I’d loved to have met. He gave away money to charity. He bought the Wrigley Mansion in Phoenix in 1992 (being an heir has its privileges) and could be found there every Sunday playing his Steinway. He married (and divorced) Leslie Caron. He fired a bullet through the window of his home (after being acquitted on a bizarre marijuana possession charge) as a publicity gag. More germane to our story is he founded his own little record label, Zephyr Records, in Los Angeles in mid 1956. Zephyr leaned toward jazz recordings but the label also signed Paul Frees as a singer in August that year (yes, that Paul Frees). Somewhere along the way, Hormel came up with a pile of background music cues (whether he even arranged them, let alone wrote them, is open to question).

About this time, Capitol was putting together a production library. While some of the cues were specifically written for it by Bill Loose, music from other sources was acquired to flesh out the library. A lot of it came from Phil Green writing for EMI, some from the Sam Fox library (for which Loose and John Seely had earlier done work). But Capitol also picked up material from Hormel’s Zephyr Records.

Several years ago, I had a little conversation on the web with someone who had been working for four years with Geordie to restore his music. About the Capitol Hi-Q library, he wrote:

His contibution to the library consisted of 16 of the Lp's we believe. All his Q's begin with the track # and then ZR. We have Lp's in D, L, M, S and X Reel libraries.

Capitol used the term ‘reel’ to refer to both reel-to-reel tape and 33s. As for how Geordie got involved, my anonymous correspondent revealed:

Geordie told me the story shortly after I began working for him, the details are a bit fuzzy but something along the lines of ... while in the coast guard he met a gentleman, name I cannot remember, and after a brief conversation, Geordie had told him of these themes that he had written and before long they were sent to Sweden or Denmark or somewhere like that and recorded and then sent on to Capitol, I am pretty sure it was at the beginning of the Zephyr era, again most of the details elude my memory.

Some of the cues from the ‘D’ reels were re-released. As best as I can tell, ‘D’ stands for ‘dramatic’ and a number of the Hormel dramatic beds ended up (with other Capitol Hi-Q music) in the soundtrack of that cult movie favourite Night of the Living Dead. At least the soundtrack gave them interesting names; Capitol was happy enough with things like “7-ZR-33 Sombre Emotional” (on reel D 14).

The Hormel ‘L’ reels are numbers 3 and 4, and almost all the cues on L 4 were grabbed by the audio cutter at H-B and came to rest in the background of Ruff and Reddy and then in the Huckleberry Hound series (Yogi Bear continued to use Capitol cues in the first year of his own show; the other cartoons that filled out the half hour featured Hoyt Curtin’s new stock music in the background).

Below are links to the nine cues on reel L 4 ‘Metropolitan Movement’. I don’t recall if the second cut was used, but any H-B fan should recognise most of the others. Click on the title and the melody should load into your default audio player.

ZR-45 METROPOLITAN
ZR-46 LIGHT MOVEMENT
ZR-47 LIGHT MOVEMENT
ZR-48 FAST MOVEMENT
ZR-49 LIGHT EERIE
ZR-50 UNDERWATER SCENIC
ZR-51 LIGHT ANIMATION
ZR-52 LIGHT QUIET
ZR-53 COMEDY MYSTERIOSO

One note about ‘ZR 48 Fast Movement’—a practically identical cue was written for the Sam Fox library called ‘Water Skis.’ That cue is credited to Bill Loose and John Seely. My wild guess, judging by the arrangement, is it was the original cue, and Hormel re-worked it.

‘ZR 53 Comedy Mysterioso’ was used on Ruff and Reddy but didn’t quite fit the comedy cartoons. I only recall hearing it in the Pixie and Dixie short Little Bird-Mouse.

Considering Hormel was a pianist, it’s odd none of the arrangements feature a piano. They’re all led by strings.

Geordie Hormel passed away on February 12, 2006, leaving behind fond memories for many TV cartoon fans. Which is more than most of us can say for spam.