The Cat Came Back

Last updated
"The Cat Came Back"
Cat-Came-Back-1893.jpg
Cover, sheet music, 1893
Song
LanguageEnglish
Written1893
Published Christmas, 1893
Genre Blues-folk, children's music, gallows comedy
Songwriter(s) Harry S. Miller
Composer(s) Harry S. Miller
Lyricist(s) Harry S. Miller

"The Cat Came Back" is a blues-folk gallows comedy song written by Harry S. Miller [1] in 1893. It has since entered the world of folklore and became a famous children's song.

Contents

Theme

The song tells a scary story about "old Mister Johnson" who had an "yaller cat" which kept coming back when he tried to get rid of it:

But the cat came back, he couldn't stay no long-er,
Yes the cat came back de very next day,
the cat came back—thought she were a goner,
But the cat came back for it wouldn't stay away.

Throughout the song, Mr. Johnson tries disposing of the animal in a variety of perilous ways. In one verse, he gives it to someone riding in a balloon, a trip that ends when the balloon drops far away with the person's whereabouts unknown. In another, a neighbor tries killing the cat with a shotgun, but accidentally blows himself up instead ("97 pieces of the man is all they found..."). Additional verses see Mr. Johnson handing the cat over to a man travelling west on a train that soon derails, killing everyone onboard except the cat; a little boy with a dollar riding up a river in his boat (which leads to the boy drowning and the river being dragged, while the cat, who had a rope tied around its neck, escapes unharmed), and a ship sailing across the ocean (an incoming gust of wind results in every passenger dying, but the cat survives). One verse reveals that the cat has a family of seven kittens, until a cyclone destroys its home and the kittens are blown around, never to be seen again.

In Miller's original, the cat finally died when an organ grinder came around one day and:

De cat look'd around awhile an' kinder raised her head
When he played Ta-rah-dah-boom-da-rah, an' de cat dropped dead.

Even then, the cat's ghost came back.

The first commercial recording of the song was c. 1894 for the Columbia Phonograph Company, Washington, D.C., performed by Charles Marsh. [2] "The Cat Came Back" was later recorded by Fiddlin' John Carson (OKeh catalog #40119) in April 1924. Other early recordings include one by Dock Philipine "Fiddlin' Doc" Roberts ("And the Cat Came Back the Very Next Day", Gennett 3235), on November 13, 1925.

The original sheet music described the song as "A Comic Negro Absurdity" on the back page and provided an additional eight verses as well as a final chorus. [3] A 1900 London edition of the sheet music described it as "A Nigger Absurdity" on the cover sheet. [4]

Timing of the song

The song is often used to teach children the concepts of rhythm and tempo. It is an excellent example in this regard, especially the minor key versions of the song, because of the strong and consistent beat pattern, combined with amusing and humorous lyrics.

Like many children's songs, the song has a strong well-defined beat pattern. It consists of one weak beat, one strong beat, so it is often sung in 2
4
time
.[ citation needed ] Thus it can be (and often is) sung while walking, with, for example, strong beats when the left foot hits the ground and weak beats when the right foot hits the ground.

Versions of the song

Lyrics of the original version by Harry S. Miller. The cat came back (NYPL Hades-449135-1690563).jpg
Lyrics of the original version by Harry S. Miller.

There are many versions of the song. One such variation goes something like:

First verse

Now old Mr. Johnson had troubles of his own,
He had a yellow cat that wouldn't leave his home,
He tried and he tried to give the cat away,
He gave it to a man going far away.

Chorus

But the cat came back the very next day,

The cat came back, we thought he was a goner,

The cat came back, he just wouldn't stay away.

Alternative chorus

But the cat came back he wouldn't stay away,

He was sitting on the porch the very next day.

Every second beat is emphasized (emphasized beats are shown underlined in bold).

Each line of text in the above has eight beats, and usually the chords fall (piano) or begin (organ) on the capitalized words.

The chord progression repeats every 8 beats, so one might think of the song as being in either 2/ time or 8/ time (whichever denominator is used for reference time, i.e. 2/4 or 8/4 time if the beat is a quarter note, etc.). The pattern of 2/ and 8/ is similar to the beat pattern in "Twinkle Twinkle Little Star", but phase-shifted by 180 degrees (since the song starts on a weak beat rather than the strong beat beginning of "Twinkle Twinkle").

A later version of the song emerged during the Cold War, in which the final verse made references to the "atom bomb" and "H-bomb", and the subsequent destruction of the human race. [5]

Key

Many versions are in a major key, but there are some versions in a minor key. The chord progression for many of the minor-key versions is Em, D, C, B (or Am, G, F, E).

Variations in the melody of the additional verses

Original sheet music by Harry S. Miller. The cat came back (NYPL Hades-449135-1690561).jpg
Original sheet music by Harry S. Miller.
Original sheet music by Harry S. Miller. (Second page) The cat came back (NYPL Hades-449135-1690562).jpg
Original sheet music by Harry S. Miller. (Second page)

The additional verses often have a notable variation in melody but with the same chords. For example, the second verse often shoots up an octave to emphasize the words "dynamite" and "found" (each sung an octave above the first note of the song, which is "E" if the song is sung in the key of A-minor), even though the first verse does not shoot up that way

The third verse often contains a descending scale that does not appear in the first or second verses.

Microtonal and chirp-based versions of the chorus

Also, the second line of the chorus "thought he was a goner" is often sung either off-key (deliberately), or just spoken (not sung), or includes chirps or quarter tones (notes that fall between semitones). In some versions the chirps can be approximated by a chromatic glissando.

Bass line

Harmonic minor variations

The chord progression lends itself to a bass line that is natural minor descending, and harmonic minor ascending, i.e. in the key of A-minor, the 8 beats (in 8/ time) would play out as A, A, G, G, F, F, E, G♯. This is practically the lament bass used in many chaconnes, e.g. Pachelbel's Chaconne in F minor .

Melodic minor variations

Additionally, the bass line may be played as melodic minor (i.e. including both an F♯ and a G♯ on the way up). This second variation is effective in teaching children the concept of a melodic minor scale, since melodic minor otherwise occurs so seldom in simple children's songs.

Cordell Barker's animated film

Although the Barker animation does not involve many spoken lyrics, relying more on its animation to show the action, both spoken verses, as shown here, are different than other versions:

Now, old Mr. Johnson had troubles of his own.
He had a yellow cat that wouldn't leave his home!
A special plan with deception as the key.
One little cathow hard could it be?

and

Well, old Mr. Johnson had troubles of his own.
Still the yellow cat wouldn't leave his home!
Steps were needed to remove the little curse.
The old man knew it couldn't get any worse.

Translation

French

The song has been translated in 1970 by Steve Waring, a French-American author, under the title "Le matou revient" (a follow-up song has even been written in 2008 by the same author).

German

The song has been translated in the late 1970s into a German dialect, spoken in southwestern Germany around Saarbrücken. Its punch line is political: After the fall of atomic and hydrogen bombs, the whole world decays, including the Saar region, but the cat survives. [8] Erich Steiner, university professor for Anglistics, is cited as translator by folk musician Jürgen Brill. [9] Meanwhile, there exists another version in the similar dialect from Idar-Oberstein; here, the political statement has been removed. [10]

Related Research Articles

<span class="mw-page-title-main">Here, There and Everywhere</span> 1966 song by the Beatles

"Here, There and Everywhere" is a song by the English rock band the Beatles from their 1966 album Revolver. A love ballad, it was written by Paul McCartney and credited to Lennon–McCartney. McCartney includes it among his personal favourites of the songs he has written. In 2000, Mojo ranked it 4th in the magazine's list of the greatest songs of all time.

A Picardy third, also known as a Picardy cadence or Tierce de Picardie, is a major chord of the tonic at the end of a musical section that is either modal or in a minor key. This is achieved by raising the third of the expected minor triad by a semitone to create a major triad, as a form of resolution.

<span class="mw-page-title-main">Time (Pink Floyd song)</span> 1973 song by Pink Floyd

"Time" is a song by English rock band Pink Floyd. It is included as the fourth track on their eighth album The Dark Side of the Moon (1973) and was released as a single in the United States. With lyrics written by bassist Roger Waters, guitarist David Gilmour shares lead vocals with keyboardist Richard Wright.

Song structure is the arrangement of a song, and is a part of the songwriting process. It is typically sectional, which uses repeating forms in songs. Common piece-level musical forms for vocal music include bar form, 32-bar form, verse–chorus form, ternary form, strophic form, and the 12-bar blues. Popular music songs traditionally use the same music for each verse or stanza of lyrics. Pop and traditional forms can be used even with songs that have structural differences in melodies. The most common format in modern popular music is introduction (intro), verse, pre-chorus, chorus, verse, pre-chorus, chorus, bridge, and chorus, with an optional outro. In rock music styles, notably heavy metal music, there is usually one or more guitar solos in the song, often found after the middle chorus part. In pop music, there may be a guitar solo, or a solo performed with another instrument such as a synthesizer or a saxophone.

"I Got Rhythm" is a piece composed by George Gershwin with lyrics by Ira Gershwin and published in 1930, which became a jazz standard. Its chord progression, known as the "rhythm changes", is the foundation for many other popular jazz tunes such as Charlie Parker's and Dizzy Gillespie's bebop standard "Anthropology ".

<span class="mw-page-title-main">Sun King (song)</span> 1969 song by the Beatles

"Sun King" is a song by the English rock band the Beatles from their 1969 album Abbey Road. Written by John Lennon and credited to Lennon–McCartney, it is the second song of the album's climactic medley. Like other tracks on the album the song features lush multi-tracked vocal harmonies, provided by Lennon, Paul McCartney and George Harrison.

<span class="mw-page-title-main">Fixing a Hole</span> 1967 song by the Beatles

"Fixing a Hole" is a song by the English rock band the Beatles from their 1967 album Sgt. Pepper's Lonely Hearts Club Band. It was written by Paul McCartney and credited to Lennon–McCartney.

<span class="mw-page-title-main">Dogs (Pink Floyd song)</span> 1977 song by Pink Floyd

"Dogs" is a song by English rock band Pink Floyd, released on the album Animals in 1977. This song was one of several to be considered for the band's 2001 compilation album Echoes: The Best of Pink Floyd.

<span class="mw-page-title-main">Us and Them (song)</span> 1974 single by Pink Floyd

"Us and Them" is a song by English rock band Pink Floyd, from their 1973 album The Dark Side of the Moon. The music was written by Richard Wright with lyrics by Roger Waters. It is sung by David Gilmour, with harmonies by Wright. The song is 7 minutes and 49 seconds, the longest on the album.

"All the Things You Are" is a song composed by Jerome Kern with lyrics written by Oscar Hammerstein II.

<span class="mw-page-title-main">Close to the Edge (song)</span> 1972 song by Yes

"Close to the Edge" is a song by the English progressive rock band Yes, featured on their fifth studio album Close to the Edge (1972). The song is over 18 minutes in length and takes up the entire first side of the album. It consists of four movements.

<span class="mw-page-title-main">You're All I've Got Tonight</span> 1978 song by The Cars

"You're All I've Got Tonight" is a song by the American rock band the Cars, from their debut album, The Cars. Like "Bye Bye Love" and "Moving in Stereo", two other songs from the album, it continues to receive airplay on classic rock stations today despite never having been released as a single.

<span class="mw-page-title-main">FM (No Static at All)</span> 1978 single by Steely Dan

"FM (No Static at All)" is a song by American jazz-rock band Steely Dan, the title theme for the 1978 film FM. It made the US Top 40 that year when released as a single, a success relative to the film. Musically, it is a complex jazz-rock composition driven by its bass, guitar and piano parts, typical of the band's sound from this period; its lyrics look askance at the album-oriented rock format of many FM radio stations at that time, in contrast to the film's celebration of that medium.

<span class="mw-page-title-main">I'm Not the One</span> 1986 single by the Cars

"I'm Not the One" is a song by the American rock band the Cars, from their fourth album, Shake It Up. It features Ric Ocasek on lead vocals, Benjamin Orr singing the 'you know why' phrase, and the whole group repeating "going round and round" as backing vocals throughout the song.

<span class="mw-page-title-main">ChordPro</span>

The ChordPro format is a text-based markup language for representing chord charts by describing the position of chords in relation to the song's lyrics. ChordPro also provides markup to denote song sections, song metadata, and generic annotations.

<span class="mw-page-title-main">Ever Fallen in Love (With Someone You Shouldn't've)</span> 1978 single by Buzzcocks

"Ever Fallen in Love (With Someone You Shouldn't've)" is a 1978 song written by Pete Shelley and performed by his group Buzzcocks. It was a number 12 hit on the UK Singles Chart and was included on the album Love Bites.

"Bullet" is a song by American rap rock band Hollywood Undead. It was recorded as the sixth single and eleventh track from their second studio album American Tragedy (2011). The song was produced by Griffin Boice. This song is one of the few songs by Hollywood Undead to feature a member other than Danny or Deuce as the clean vocalist. Charlie Scene performs the chorus of "Bullet," in addition to "Rain" from Notes from the Underground. The song has received positive reviews from critics due to its cheerful tone and uptempo beat that directly contrast its dark lyrics about suicide and self-harm.

<span class="mw-page-title-main">Sundown Syndrome</span> 2009 single by Tame Impala

"Sundown Syndrome" is the debut single by Tame Impala, released as a single in 2009. Its B-side was a cover of the Blue Boy song "Remember Me". The title "Sundown Syndrome" refers to a neurological phenomenon called sundowning.

<span class="mw-page-title-main">Lucidity (song)</span> 2010 single by Tame Impala

"Lucidity" is a song by Tame Impala, released as a single in 2010. It was recorded during the sessions for the Innerspeaker album in 2009, and released as the second single from that album. The single features artwork from Australian artist Leif Podhajsky, who also created the artwork for Innerspeaker and the follow-up Lonerism. "Lucidity" came in at number 74 in the Triple J Hottest 100 in 2010.

<span class="mw-page-title-main">Lock and Key (Rush song)</span> 1987 promotional single by Rush

"Lock and Key" is a song written, produced and performed by Canadian rock band Rush. It is a promotional single from their twelfth studio album, Hold Your Fire. The song deals with the theme of every human being’s primal, violent instincts underneath their civil appearance - their “killer instinct”. Critics gave the song liking reviews, with some saying it had quality of a hit single, and would make it on the Billboard Hot Mainstream Rock Tracks chart; it went on to reach number 16 on the chart. The song's music video was originally released in 1987, and was produced by Bob Jason and directed by T. Vanden Ende. The song was only played live by the band on the Hold Your Fire Tour.

References

  1. Rise Up Singing page 70
  2. Copy in private hands in Los Angeles, CA.
  3. "054.022 - the Cat Came Back. The Song That Beats "McGinty." | Levy Music Collection".
  4. Sheet music, W. Paxton, London, copyright 1900
  5. Ira Glass (2006-08-18). "316: The Cat Came Back Transcript". WBEZ.
  6. "Return a Stranger"
  7. National Film Board: The Cat Came Back. Accessed 2011-11-03.
  8. Lyrictranslate.com: Liedtext: Die Katz (die is zurick komm') Accessed 2022-01-03.
  9. Youtube: Die Katz - Brill Alarm For Erich Steiner, see footer under the video. Accessed 2022-01-03.
  10. Youtube: Martin Weller "Die Katz". Accessed 2022-01-03.