John Herndon Mercer (November 18, 1909 – June 25, 1976) was an American lyricist, songwriter, and singer, as well as a record label executive who co-founded Capitol Records with music industry businessmen Buddy DeSylva and Glenn E. Wallichs.[1]
He is best known as a Tin Pan Alley lyricist, but he also composed music and was a popular singer who recorded his own as well as others' songs from the mid-1930s through the mid-1950s. Mercer's songs were among the most successful hits of the time, including "Moon River", "Days of Wine and Roses", "Autumn Leaves", and "Hooray for Hollywood". He wrote the lyrics to more than 1,500 songs, including compositions for movies and Broadway shows. He received nineteen Oscar nominations, and won four Best Original Song Oscars.
Early life
Mercer's childhood home, 224–226 East Gwinnett StreetThe historic Mercer House in Savannah, Georgia, built for the songwriter's great-grandfather. (Mercer did not live there.)
Mercer's father, George Anderson Mercer, was a prominent attorney and real-estate developer. Mercer's mother, Lillian Elizabeth (née Ciucevich), was the daughter of a Croatian immigrant father and a mother with Irish ancestry. Lillian was the senior Mercer's secretary and second wife. Lillian's father, born in Lastovo, in 1834 to Ivana Cucevic and Marijo Dundovic, was a merchant seaman who ran the Union blockade during the Civil War.[6] Mercer was George's fourth son, and his first son by Lillian. His great-grandfather was Confederate General Hugh Weedon Mercer and he was a direct descendant of American Revolutionary War General Hugh Mercer, a Scottish soldier-physician who died at the Battle of Princeton. Mercer was also a distant cousin of General George S. Patton.[7]
Mercer liked music as a small child and attributed his musical talent to his mother, who would sing sentimental ballads. Mercer's father also sang, mostly old Scottish songs. His aunt told him he was humming music when he was six months old and later she took him to see minstrel and vaudeville shows where he heard "coon songs" and ragtime.[8] The family's summer home, "Vernon View", was on the tidal waters and Mercer's long summers there among mossy trees, saltwater marshes, and soft, starry nights inspired him years later.[9]
Mercer's exposure to black music was perhaps unique among the white songwriters of his generation.[citation needed] As a child, Mercer had African-American playmates and servants, and he listened to the fishermen and vendors about him, who spoke and sang in the Gullah language (also known as "Geechee"). He was also attracted to Black church services. Mercer later stated, "Songs always fascinated me more than anything."[10] He had no formal musical training but was singing in a choir by six and at 11 or 12 he had memorized almost all of the songs he had heard and became curious about who wrote them. He once asked his brother who the best Tin Pan Alley songwriter was, and his brother said Irving Berlin.[11]
Despite Mercer's early exposure to music, his talent was clearly in creating the words and singing, not in playing music, though early on he had hoped to become a composer. In addition to the lyrics that Mercer memorized, he was an avid reader and wrote adventure stories. His attempts to play the trumpet and piano were not successful, and he never could read musical scores with any facility, relying instead on his own notation system.[12]
As a teenager in the Jazz Era, he searched for records by early black blues/jazz figures including Ma Rainey, Bessie Smith, and Louis Armstrong. His father owned the first car in town, and Mercer's teenage social life was enhanced by his driving privilege, which sometimes verged on recklessness.[13] The family would motor to the mountains near Asheville, North Carolina, to escape the Savannah heat and there Mercer learned to dance (from Arthur Murray himself) and to flirt with Southern belles, his natural sense of rhythm helping him on both accounts. (Later, Mercer wrote a humorous song called "Arthur Murray Taught Me Dancing in a Hurry".)
Mercer attended the exclusive Woodberry Forest School in Virginia until 1927. Although not a top student, he was active in literary and poetry societies and as a humor writer for the school's publications. In addition, his exposure to classic literature augmented his already rich store of vocabulary and phraseology. He began to scribble ingenious, sometimes strained, rhymed phrases for later use. Mercer was also the class clown and a prankster, and member of the "hop" committee that booked musical entertainment on campus.[14]
Mercer was already somewhat of an authority on jazz at an early age. His yearbook stated: "No orchestra or new production can be authoritatively termed 'good' until Johnny's stamp of approval has been placed upon it. His ability to 'get hot' under all conditions and at all times is uncanny."[15] Mercer began to write songs, an early effort being "Sister Susie, Strut Your Stuff".[16]
Given his family's long association with Princeton, New Jersey, and Princeton University,[17] Mercer was groomed to go to school there, but those ambitions were dashed by his father's financial setbacks in the late 1920s. He went to work in his father's recovering business, collecting rent and running errands, but soon grew bored with the routine and with Savannah.
Career
Starting out
Mercer moved to New York in 1928, when he was 19. The music he loved, jazz and blues, was booming in Harlem and Broadway was bursting with musicals and revues from George Gershwin, Cole Porter, and Irving Berlin. Vaudeville, though beginning to fade, was still a strong musical presence. Mercer's first few jobs were as a bit actor (billed as John Mercer). Holed up in a Greenwich Village apartment with plenty of time on his hands and a beat-up piano to play, Mercer soon returned to singing and lyric writing.[18] He secured a day job at a brokerage house and sang at night. Pooling his meager income with that of his roommates, Mercer managed to keep going, sometimes on little more than oatmeal. One night he dropped in on Eddie Cantor backstage to offer a comic song, but although Cantor didn't use the song, he began encouraging Mercer's career.[19] Mercer's first lyric, for the song "Out of Breath (and Scared to Death of You)" (1930), composed by friend Everett Miller, appeared in a musical revue The Garrick Gaieties in 1930. Mercer met his future wife at the show, chorus girl Ginger Meehan. She had earlier been one of the many chorus girls pursued by the young crooner Bing Crosby. Through Miller's father, an executive at the prominent music publisher T. B. Harms, Mercer's first song was published.[20] It was recorded by Joe Venuti and his New Yorkers.
The 20-year-old Mercer began to frequent the company of other songwriters and to learn the trade. He traveled to California to undertake a lyric writing assignment for the musical Paris in the Spring and met his idols Bing Crosby and Louis Armstrong. Mercer found the experience sobering and realized that he much preferred free-standing lyric writing to writing on demand for musicals. Upon his return, he got a job as staff lyricist for Miller Music for a $25-a-week draw, which give him a base income and enough prospects to win over and marry Ginger in 1931.[21] The new Mrs. Mercer quit the chorus line and became a seamstress, and to save money the newlyweds moved in with Ginger's mother in Brooklyn. Johnny did not inform his own parents of his marriage until after the fact, perhaps in part because he knew that Ginger being Jewish would not sit comfortably with some members of his family, and he worried they would try to talk him out of marrying her.
In 1932, Mercer won a contest to sing with the Paul Whiteman orchestra, but singing with the band did not help his situation significantly. He made his recording debut, singing with Frank Trumbauer's Orchestra, on April 5 of that year. Mercer then apprenticed with Yip Harburg on the score for Americana, a Depression-flavored revue famous for "Brother, Can You Spare a Dime?" (not a Mercer composition), which gave Mercer invaluable training. While with Whiteman, he recorded two duets with fellow band member Jack Teagarden, "Fare Thee Well to Harlem" and "Christmas Night in Harlem." Both are talk songs in a heavy Black accent. The latter was a best-selling record.[22] After several songs which didn't catch fire during his time with Whiteman, he wrote and sang "Pardon My Southern Accent" (1934). Mercer's fortunes improved dramatically with a chance pairing with Indiana-born Hoagy Carmichael, already famous for the standard "Stardust", who was intrigued by the "young, bouncy butterball of a man from Georgia."[23] Mercer, later well known for rapidly writing lyrics, spent a year laboring over the ones for "Lazybones", which became a hit one week after its first radio broadcast, and each received a large royalty check of $1250.[24] A regional song in pseudo-black dialect, it captured the mood of the times, especially in rural America. Mercer became a member of ASCAP and a recognized "brother" in the Tin Pan Alley fraternity, receiving congratulations from Irving Berlin, George Gershwin, and Cole Porter among others. Whiteman lured Mercer back to his orchestra (to sing, write comic skits and compose songs), temporarily breaking up the working team with Carmichael.
During the golden age of sophisticated popular song of the late 1920s and early '30s, songs were put into revues with minimal regard for plot integration. The 1930s saw a shift from revues to stage and movie musicals using song to further the plot. Demand diminished accordingly for the pure stand-alone songs that Mercer preferred. Thus, although he had established himself in the New York music world, when he was offered a job in Hollywood to compose songs and perform in low-budget musicals for RKO, he accepted and followed idol Bing Crosby west.[25]
Hollywood years
Mercer moved to Hollywood in 1935, and began writing music for films. His first Hollywood assignment was a B-movie college musical, Old Man Rhythm, to which he contributed two songs and appeared in a small role. His next project, To Beat the Band, was a commercial flop, but it led to a meeting and a collaboration with Fred Astaire on the moderately successful song "I'm Building Up to an Awful Let-Down".
Mercer landed into a hard-drinking circle, and began to drink more at parties and was prone to vicious outbursts when under the influence of alcohol, contrasting sharply with his ordinarily genial and gentlemanly behavior.[26] Often he would assuage the guilt he felt for this behavior by sending roses the following day to the friend or acquaintance he had treated unkindly while drunk.[27] Ironically, he would later say that he found the Hollywood nightlife lacking: "Hollywood was never much of a night town. Everybody had to get up too early ... the movie people were in bed with the chickens (or each other)."[28]
During a lull at Warners, Mercer revived his singing career. He joined Crosby's informal minstrel shows put on by the "Westwood Marching and Chowder Club", which included many Hollywood luminaries.[30] Mercer worked on numerous duets for himself and Crosby to perform: several were recorded, and two, "Mr. Gallagher and Mr. Shean" (1938) a reworking of an old vaudville song, and "Mister Meadowlark" (1940), became hits.[31]
In 1939, Mercer wrote the lyrics to a melody by Ziggy Elman, a trumpet player with Benny Goodman. The song was "And the Angels Sing" and, although recorded by Crosby and Count Basie, it was the Goodman version with vocal by Martha Tilton and klezmer style trumpet solo by Elman that became a major hit. Years later, the title was inscribed on Mercer's tombstone.
Mercer was invited to the Camel Caravan radio show in New York to sing his hits and create satirical songs, like "You Ought to be in Pittsburgh", a parody of "You Ought to be in Pictures", with the Benny Goodman orchestra, then becoming the emcee of the nationally broadcast show for several months. Two more hits followed shortly, "Day In, Day Out" and "Fools Rush In" (both with music by Rube Bloom), and Mercer in short order had five of the top ten songs on the popular radio show Your Hit Parade.[32] Mercer also started a short-lived publishing company during his stay in New York. Mercer undertook a musical, Walk with Music (originally called Three After Three), with Hoagy Carmichael, but it was critically panned and commercially unsuccessful.
Shortly thereafter, Mercer began working with Harold Arlen, who wrote jazz and blues-influenced compositions while Mercer wrote lyrics. Their first hit was "Blues in the Night" (1941), which Arthur Schwartz called "probably the greatest blues song ever written."[33]
Mercer founded Capitol Records in Hollywood in 1942, with the help of producer Buddy DeSylva and record store owner Glen Wallichs.[1] He also co-founded Cowboy Records. As the founder active in the management of Capitol during the 40s, he signed many of its important recording artists, including Nat "King" Cole. It also gave him an outlet for his own recordings. His hit "Strip Polka" was its third release. But Mercer recorded not only his own songs but ones by others as well. His four million-sellers were his own "Ac-Cent-Tchu-Ate the Positive" and "On the Atchison, Topeka, and the Santa Fe", and two by other composers, "Candy" and "Personality". One recording of a song that has lived on is his recording of "Zip-a-Dee-Doo-Dah", written by Allie Wrubel and Ray Gailbert for Disney's 1946 movie, Song of the South. Mercer's recording was a top hit for eight weeks in December 1947 and January 1948, reaching number 8. Today it continues to be the version most played on Sirius's 40s satellite channel.
Mercer by the mid-1940s enjoyed a reputation as one of the premier Hollywood lyricists. He was adaptable, listening carefully and absorbing a tune and then transforming it into his own style. Like Irving Berlin, he was a close follower of cultural fashion and changing language, which in part accounted for the long tenure of his success. He loved many words (Too Marvelous for Words), including puns (Strip Polka), and current terms ("G. I. Jive"). He employed sound effects, as well, such as the train whistle sounds in "Blues in the Night" and "On the Atchison, Topeka, and the Santa Fe."
Mercer preferred to have the music first, taking it home and working on it. He claimed composers had no problem with this method provided that he returned with the lyrics.
Mercer was often asked to write new lyrics to already popular songs. The lyrics to "Laura", "Midnight Sun", and "Satin Doll" were all written after the melodies had become hits. He was also asked to compose English lyrics to foreign songs, the most famous example being "Autumn Leaves", based on the French song "Les Feuilles Mortes".
In the 1950s, the advent of rock and roll cut deeply into Mercer's natural audience, and dramatically reduced venues for his songs. Mercer wrote for several MGM films, including Seven Brides for Seven Brothers (1954) and Merry Andrew (1958). He collaborated on three Broadway musicals in the 1950s—Top Banana (1951), Li'l Abner (1956), and Saratoga (1959).
Mercer was humble about his work, attributing much of his success to luck and timing. He was fond of telling the story of how he was offered the job of doing the lyrics for Johnny Mandel's music on The Sandpiper, only to have the producer turn his lyrics down. The producer offered the commission to Paul Francis Webster and the result was "The Shadow of Your Smile", which became a huge hit, winning the 1965 Oscar for Best Original Song. However, Mercer and Mandel did collaborate on the 1964 song "Emily" from the film The Americanization of Emily starring Julie Andrews.[11]
Late in his life, Mercer became friends with pianist Emma Kelly. He gave her the nickname "The Lady of Six-Thousand Songs" after challenging her, over several years, to play numerous songs he named. He kept track of the requests, and estimated she knew 6,000 songs from memory.[41]
Posthumous success
Self-portrait and signature of Johnny Mercer from bench at his grave in Bonaventure Cemetery in Savannah, Georgia
In the last year of his life, Mercer became fond of pop singer Barry Manilow, in part because Manilow's first hit record was "Mandy", which was also the name of Mercer's daughter Amanda. After Mercer's death, his widow, Ginger Mehan Mercer, arranged to give some unfinished lyrics he had written to Manilow to possibly develop into complete songs. Among these was a piece titled "When October Goes", a melancholy remembrance of lost love. Manilow applied his own melody to the lyric and issued it as a single in 1984, when it became a top 10 Adult Contemporary hit in the United States. The song has since become a jazz standard, with notable recordings by Rosemary Clooney, Nancy Wilson, and Megon McDonough, among other performers.
It has been said that he penned "One for My Baby (and One More for the Road)"—one of the great torch laments of all times—on a napkin while sitting at the bar at P. J. Clarke's when Tommy Joyce was the bartender. The next day Mercer called Joyce to apologize for the line "So, set 'em up, Joe," explaining "I couldn't get your name to rhyme."
In 1931, Mercer married Ginger Meltzer, a chorus girl, later a seamstress; and in 1940, when he was 30, the Mercers adopted a daughter, Amanda ("Mandy"). In 1960, Mandy married Bob Corwin, who was a pianist for Peggy Lee, Anita O'Day, and Carmen McRae, and also Mercer's long-time accompanist. They had a son, Jim Corwin, in 1961.[42]
In 1941, Mercer began an affair with 19-year-old Judy Garland, while she was engaged to composer David Rose. Garland ended her involvement when she married Rose. In later years, Garland and Mercer rekindled their affair. Mercer stated that his song "I Remember You" was the most direct expression of his feelings for Garland.[43]
Mercer died aged 66 on June 25, 1976, from an inoperable brain tumor, in the Bel Air neighborhood of Los Angeles, California. He was buried in Savannah's historic Bonaventure Cemetery.[44] The line-drawing caricature adorning his memorial bench is a reproduction of a self-portrait.
In 1980, the Songwriters Hall of Fame established the annual Johnny Mercer Award as its highest honor, for songwriters with a history of outstanding creative works.[46] Mercer was honored by the United States Postal Service with his portrait placed on a stamp in 1996. Mercer's star on the Hollywood Walk of Fame at 1628 Vine Street is a block away from the Capitol Records building at 1750 Vine Street.
A bronze statue of Mercer stands in Savannah's Ellis Square.
For the occasion of Mercer's 100th birthday in 2009, Eastwood produced a documentary film about Mercer's life and work called The Dream's on Me (Turner Classic Movies). The film was nominated for a Primetime Emmy in the category of Outstanding Nonfiction Special.
The Complete Lyrics of Johnny Mercer was published by Knopf[48] in October 2009. The Complete Lyrics contains the texts to nearly 1,500 of his lyrics, several hundred of them appearing in print for the first time.
In November 2009, a bronze statue of Mercer was unveiled in Ellis Square in Savannah, Georgia, his hometown and birthplace. It was commissioned by the Friends of Johnny Mercer.
The Johnny Mercer Collections, including his papers and memorabilia, are preserved in the library of Georgia State University in Atlanta. GSU occasionally holds events showcasing Mercer's works.
On March 25, 2015, it was announced that Mercer's version of the popular song "Ac-Cent-Tchu-Ate the Positive" would be inducted into the Library of Congress's National Recording Registry for the song's "cultural, artistic and/or historical significance to American society and the nation's audio legacy".[49] The music was written by Harold Arlen and the lyrics by Mercer. The song was nominated for the "Academy Award for Best Original Song" at the 18th Academy Awards in 1945 after being used in the film "Here Come the Waves." In describing his inspiration for the lyrics, Mercer told the "Pop Chronicles" radio documentary "[my] publicity agent ... went to hear Father Divine and he had a sermon and his subject was 'you got to accentuate the positive and eliminate the negative.' And I said, 'Wow, that's a colorful phrase!'"[50]
^"Paul Whiteman and His Orchestra", Joel Whitburn, Pop Memories 1890–1954, Record Research, Menomonie Falls, WI, p. 453. Mercer is on the recording but not mentioned in the listing.
^Bach, Bob; Mercer, Ginger (1982). Our Huckleberry Friend: The Life, Times, and Lyrics of Johnny Mercer. Secaucus, New Jersey: Lyle Stuart. p. 98. ISBN0-8184-0331-4.
^MacKenzie, Bob (October 29, 1972). "'40s Sounds Return to Radio". Oakland Tribune.
^Gilliland, John (1994). "Pop Chronicles the 40s: The Lively Story of Pop Music in the 40s" (audiobook). ISBN978-1-55935-147-8. OCLC 31611854. Tape 1, side B.
Further reading and listening
Bach, Bob; Mercer, Ginger (1982). Our Huckleberry Friend: The Life, Times, and Lyrics of Johnny Mercer. Lyle Stuart.
Eskew, Glenn T. (2013). Johnny Mercer: Southern Songwriter for the World. University of Georgia Press.
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