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Several additional songs appear in the score of the cartoon, including “By the Beautiful Sea” (a 1914 song, revived in 1948 by Spike Jones for Victor), “The Cat” (a song penned by Isham Jones, recorded by him for Brunswick, and by the California Ramblers on Edison), “The Whisper Song (When the Pussy Willows Whispers to the Catnip)”, recorded by Art Landry on Victor, and a vocal version by the California Humming Birds on Victor), and “I Miss My Swiss”, most notably performed by the Happiness Boys on Victor and Columbia, with dance versions by Paul Whiteman on Victor, Carl Fenton on Brunswick, Ted Lewis on Columbia, the California Ramblers on the dime-store labels, and the Southern Serenaders (a Sam Lanin group including several Fletcher Henderson musicians including Louis Armstrong) on Harmony.Pillow Case

Mr. Waste (Hanna-Barbera, Yogi’s Gang, 10/27/73) – A famous record of the 40’s by Red Ingle and the Natural 7 began with the words, “A preachment, dear friends, you are about to receive…” The intro should have preceded every episode of this series, one of the sorriest projects to ever disgrace the Hanna-Barbera legacy. To its credit, it was one of the first ventures of the studio to try to reassemble under one roof a cast of all its famous animal stars of the past, and at least provided royalty checks to many of the studio’s favorite voice-over cast members. But entirely defeating the promise which was eagerly looked forward to by kids of the day from this all-star format were the motivation-driven morality play scripts that beset the entire series, placing every character in as likely a position as any other to be dealing out life lessons to the tiny tots. Thus, every character was played out-of-character for the usual personality traits that we fell in love with when each star was in his or her heyday, exhibiting nearly none of the quirks, temptations, and weaknesses that typically got them into enough trouble to support a plot. Cutting all the starring characters from the same cloth meant that there was no dependable source of comic relief to soften the blow of the hackneyed and over-driven plot points of what conduct the kiddies should strive not to do, making a series nominally about a bear virtually unbearable. It didn’t take more than a few episodes for the kids to realize that watching these snooze-reels wasn’t even going to generate a minimum quota of half-smiles, but seemed only intended to leave the viewer aghast that their cartoon favorites could be lead astray by villains so obviously named for any given vice that anyone with one-quarter of a mind should have easily been able to see through them. We thus lost all respect for the characters we loved, who appeared for at least half the show’s airtime to be blithering imbeciles manipulated like putty in the hands of the bad guys, in ways that were decidedly un-funny. At the time, with several of the lead characters having been out of circulation for several seasons, it almost made me wonder if my memory was failing me, and if these stars had ever been entertaining in the first place. To think now, with retrospect available at the touch of an Internet button, that any show could be written so badly as to achieve the result of nearly erasing from memory the sterling writing and clever wit of Hanna-Barbera’s early days, is a mind-shattering concept.

Had the Shermans’ “One Hundred and One Dalmatians” accompanied the opening titles, it would have been their first song in a Disney animated feature, before The Sword in the Stone. The tune also showed up on a 101 Dalmatians read-along book and record set in 1965. The remaining songs are from previous Disney films and Disneyland records, except perhaps “Sweet Adeline,” sung with canine howls by the Mellomen in the style of “Home Sweet Home” as heard in Lady and the Tramp. It was either the unreleased “B” side of a single or made for this album. Camarata versions of Lady and the Tramp tunes dominate the LP, though most of its score is not especially dog-specific.

Things changed in the nineties because Walt Disney Records was infused with the success of the “Disney Renaissance” of musical powerhouse films like Beauty and the Beast, The Little Mermaid, Aladdin and The Lion King, all films with scores that fortified the music division the way Mary Poppins did, many times over. Producer and historian Randy Thornton seized the opportunity to bring long-neglected soundtracks off the shelves and into the homes of waiting listeners.

Kemal Amin “Casey” Kasem was born April 1932 and passed away June 2014. Although primarily known as a radio personality with his popular American Top 40 franchise, he had an active career doing voice work.

Finally, Pink tries out the mechanical exrcise horse. As with Olive Oyl and others, the machine goes out of control and gallops off its mounting. But in an original twist, Pink pulls down a metal ring suspended from the ceiling and its supporting rope, twirls the ring at rope’s end like a lariat, and “ropes” the gorse’s neck with a fancy lasso swing. But the wild bronco won’t quit, and drags the panther along for the ride. After knocking the pins out from under the little man once again, Pink’s feet trip up on a barbell, and Pink crashes headfirst into the front entrance wall of the gymnasium. The little man has had it for the day, and exists the building, passing the “Body Beautiful” poster again. Now, the Panther’s head protrudes from the poster in place of the Adonis. Because the angle of the protrusion is crooked, the little man twists Pink’s head to make it level with the picture before leaving. In the same manner as Goofy in Goofy Gymnastics, Pink looks down at the poster image around his head, ad is entirely satisfied with the results of his workout, giving a smile to the camera for the iris out.

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Originally, the dolls were purchased by Walt and Roy to give to friends, business acquaintances, and special visitors to the studio and to be used for publicity photos.