The group was originally composed of four brothers all born in Piqua, Ohio: John Jr (1911-1936) basso and guitarist, Herbert (1912-1989) tenor, Harry (1913-1982) baritone, and Donald (1915-1999) lead tenor. Their father owned a barber's shop, and founded a barbershop quartet called the Four Kings of Harmony. As the boys grew older, they began singing in the choir of the Cyrene African Methodist Episcopal Church and in the Park Avenue Baptist Church in Piqua. After their lessons at the Spring Street Grammar School, they would gather in front of their father's shop on Public Square or at the corner of Greene and Main to sing and play the kazoo to passersby.
They entered an amateur contest at Piqua's Mays Opera House, but while on stage Harry discovered he had lost his kazoo. He cupped his hands to his mouth and imitated a trumpet. The success of his imitation led to all the brothers taking on instruments to imitate and created their early signature sound. John Jr accompanied the four-part harmony first with a ukulele and then a guitar. They practised imitating orchestras they heard on the radio. John, as the bass, would imitate the tuba, Harry, a baritone, imitated the trumpet, Herbert became the second trumpet, and Donald the trombone. They entertained on the Midwest theatre circuit, at house parties, tent shows, music halls, and supper clubs throughout the area, and became well known for their close harmonies, mastery of scat singing, and their ability to imitate musical instruments with their voices.
In 1928, after playing May's Opera House in Piqua between Rin Tin Tin features, the brothers accompanied the Harold Greenameyer Band to Cincinnati for an audition with radio station WLW. The band was not hired, but the Mills brothers were. With the help of Seger Ellis, WLW Cincinnati D.J. and a music legend of the 1920s, they quickly became local radio stars and got their major break when Duke Ellington and his Orchestra played a date in Cincinnati. When the youngsters sang for Duke, he called Tommy Rockwell at Okeh Records, who signed them and took the group to New York.
In September 1930, Ralph Wonders urged broadcasting executive William S. Paley, at CBS Radio in New York, to turn on his office speaker and listen to an audition of four young men. For the audition they were "The Mills Brothers", but they had been known by many other names. They were billed as "The Steamboat Four" when they sang for Sohio, and had been called the "Four Boys and a Guitar" on their Sunday shows. When Paley heard their performance, he immediately went downstairs and put them on the air. The next day, the Mills Brothers signed a three-year contract and became the first black group to have a network show on radio.
Their first recording for Brunswick Records, a cover of the Original Dixieland Jass Band standard "Tiger Rag" became a nationwide best-seller and a number-one hit on the charts in a version with lyrics by Harry DaCosta. Other hits followed: "Goodbye Blues", their theme song, "Nobody's Sweetheart", "Ole Rockin' Chair", "Lazy River", "How'm I Doin'", and others. They remained on Brunswick until late 1934, when they signed with Decca, where they stayed well into the 1950s. On all of their Brunswick records, as well as the early Deccas, the label stated:
"No musical instruments or mechanical devices used on this recording other than one guitar."
They were a hit on CBS in 1930–1931, particularly when they co-starred on the widely popular The Fleischmann's Yeast Hour hosted by Rudy Vallee. They had their own popular radio series in 1932–1933, one of the earliest built around a black act, billed as the "Four Boys and a Guitar". Before their show announcers commonly explained to listeners that the only instrument was a guitar, as the vocal effects made many listeners think they were hearing a muted trumpet, saxophone, and string bass or tuba.
The Mills Brothers were sponsored by some of the largest advertisers in early radio; Standard Oil, Procter & Gamble, Crisco, and Crosley Radio. They began appearing in films. Their first, The Big Broadcast (1932) was an all-star radio revue that included Bing Crosby, Cab Calloway, and the Boswell Sisters. They also made three "bouncing ball" cartoon shorts for the Fleischer Brothers. In 1934, the brothers starred with Crosby for Woodbury Soap, and recorded their classics "Lazy Bones", "Sweet Sue", "Lulu's Back in Town", "Bye-Bye Blackbird", "Sleepy Head", and "Shoe Shine Boy". Their film appearances included Twenty Million Sweethearts (1934) and Broadway Gondolier (1935).
In 1934, The Mills Brothers became the first U.S. black musicians to give a command performance before British royalty. They performed at the Regal Theatre for a special audience: King George V, Queen Mary, and their mother. While performing in England, John Jr became ill. It took him months to recover from battling pneumonia. Before he was completely well, the brothers returned to England. John Jr once again became sick and died at the beginning of 1936.
The remaining brothers considered breaking up, but their mother told them John Jr would have wanted them to continue. They followed her suggestion and their father, John Sr, replaced John Jr as the baritone and tuba. At this time, Norman Brown joined the Brothers as their guitar player.
Through 1939 the group enjoyed remarkable success in Europe. In the period between John Jr's death and their return to the States, they re-recorded "Lazy River". It was followed by "Someday You'll Want Me to Want You", "Swing Is the Thing", "Long about Midnight", "Organ Grinder's Swing", and "The Song is Ended". They honoured Duke Ellington with a swing version of his "Caravan", and then produced a series of classic recordings: "South of the Border", which they performed in a tour of South America, along with "Ain't Misbehavin'", "It Don’t Mean a Thing", "Jeepers Creepers", "Three Little Fishies", and "Basin Street Blues".
During this era, there was also a brief time when the group performed with a non‑family singer. Gene Smith served as a stand-in for one year when Harry was drafted into the Army. Although Smith's solo singing did not particularly resemble the group's usual sound, he was able to harmonise well until the fourth brother's return. Smith is very noticeable in a number of the Mills Brothers' film appearances.
Returning to the States, the Brothers were anxious for a hit and recorded "I'll be Around" in 1943. Donald Mills chose "Paper Doll" as the B-side of the record. "I'll Be Around" became a popular hit, then a disk jockey turned the record over. "Paper Doll", recorded in fifteen minutes, sold six million copies and became the group's biggest hit.
The rise of rock and roll in the early 1950s did little to decrease the Mills Brothers' popularity. "Glow Worm" jumped to number one on the pop charts in 1952. The track also reached number ten in the U.K. singles chart in January 1953. "Opus One", an updated version of the Tommy Dorsey hit, was soon in the charts as well, followed by "You're Nobody 'til Somebody Loves You", "The Jones Boy", "Yellow Bird", "Standing on the Corner", and "If I Had My Way".
In 1957, John Sr, who was then sixty-eight, stopped touring with the group. As a trio, the Mills Brothers were frequent guests on The Jack Benny Show, The Perry Como Show, The Tonight Show, The Pat Boone Chevy Showroom, The Dean Martin Show, and The Hollywood Palace. A move from Decca to Dot Records brought a moderate 1958 hit, a cover of the Silhouettes' "Get a Job" that made explicit the considerable influence on doo-wop that the early Mills Brothers records had exerted. The Mills Brothers also charted "Yellow Bird" two years before Arthur Lyman's top-ten hit remake.
"Cab Driver", recorded in 1968, was their last hit. It was written by songwriter C. Carson Parks, who also wrote "Somethin' Stupid", a hit the previous year for Frank Sinatra and his daughter Nancy.
The Mills Brothers' fiftieth anniversary in show business was celebrated in 1976 with a tribute at the Dorothy Chandler Pavilion in Los Angeles, hosted by Bing Crosby. At the time, Harry was now almost blind as a result of diabetes.
As a trio, Herbert, Harry, and Donald continued performing on the oldies circuit until Harry's death in 1982. Herbert and Donald continued until Herbert's death in 1989. Then Donald began performing with the third generation of the family, his son, John III. In 1998 the Recording Academy recognised the Mills family's contributions to popular music when it presented Donald, as the sole surviving member, with a Grammy Award for Lifetime Achievement.
After Donald's death of pneumonia on the 13th November 1999, John III began touring under the name "The Mills Brothers" with Elmer Hopper, who had previously sung lead with Paul Robi's Platters.
Altogether, the group recorded more than 2,000 recordings, selling more than fifty million copies and gaining them at least three dozen gold records. The Mills Brothers were inducted into The Vocal Group Hall of Fame in 1998.
The Old Man of the Mountain
The Mills Brothers Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Old man in the mountain
With his long white beard
And his crooked step
He tramps along
While the folks all laugh
With a twinkle in his eye
He passes them by
He wears long hair
But his feet are bent
They say he′s mad as an old march hare
His cares are not any
And he owes no one
The old man of the mountain
He talks to the birds when he's lonely
He sleeps with the stars for a tent
And the bees spread a feast when he′s hungry
And God charges no rent
He'll live as long as an old oak tree
And laugh at fools like you and me
I often sigh and wish that I were
The old man of the mountain
With his long white beard
And his crooked step
(Skat)
The old man of mountain
He wears long hair
And his feet are bent
(Skat)
The old man of mountain
He talk with the birds when he's lonely
Sleeps with the stars in his tent
(Skat)
The old man of the mountain
(Skat)
Old man of the mountain
End
The lyrics of The Mills Brothers' song "The Old Man of the Mountain" describe a unique and intriguing character who is a source of curiosity and amusement for those who encounter him. The old man is depicted as having a long white beard and a crooked step, and he walks along while people laugh at him. However, there is a twinkle in his eye, hinting at a secret wisdom or joy that others may not understand. Despite his unconventional appearance, the old man continues on his journey, unaffected by the opinions of others.
The song emphasizes the old man's independence and freedom from worldly cares. He is described as being "mad as an old march hare," suggesting that his actions and mindset defy societal norms. The old man has no worries and owes nothing to anyone, symbolizing a liberation from the burdens and expectations of society. He communicates with birds when he feels lonely, finding solace in their companionship. He sleeps under the stars, enjoying the vastness of the universe as his only shelter. The bees even provide him with sustenance, suggesting a harmonious relationship with nature in which he is always provided for without any obligation.
The lyrics evoke a sense of longing from the singer, who expresses a desire to be like the old man of the mountain. This longing reflects a yearning for a carefree and independent existence, unencumbered by societal norms and expectations. The singer admires the old man's ability to live on his own terms, without worrying about what others think or owe. It is a wistful reflection on the simplicity and freedom that the old man embodies, contrasting it with the complexities and restrictions of everyday life.
Line by Line Meaning
The old man of the mountain
This refers to an elderly gentleman who lives in the mountains
Old man in the mountain
The same as the previous line, emphasizing his age and location
With his long white beard
He has a beard that is long and white, indicating his wisdom and experience
And his crooked step
His walking is uneven, implying a physical ailment or old age
He tramps along
He walks with determination and purpose
While the folks all laugh
People around him find his actions amusing
With a twinkle in his eye
He has a mischievous or knowing look in his eye
He passes them by
He ignores the laughter and continues on his way
He wears long hair
His hair is long, suggesting a disregard for societal norms
But his feet are bent
His feet have become deformed or curved with age or wear
They say he's mad as an old march hare
People think he is crazy
His cares are not any
He doesn't have any concerns or worries
And he owes no one
He doesn't have any debts or obligations
He talks to the birds when he's lonely
He finds solace in conversing with birds when he feels lonely
He sleeps with the stars for a tent
He sleeps under the open sky, using the stars as his shelter
And the bees spread a feast when he's hungry
The bees provide him with abundant food when he's hungry
And God charges no rent
He doesn't have to pay anything to enjoy his natural surroundings
He'll live as long as an old oak tree
He has a longevity comparable to that of an ancient oak tree
And laugh at fools like you and me
He mocks or finds amusement in individuals who are less wise or perceptive
I often sigh and wish that I were
The artist often longs to be in the same position as the old man
The old man of the mountain
Reiterating the initial description
With his long white beard
Reiterating the characteristic of the old man's beard
And his crooked step
Reiterating the description of his walking
(Skat)
This is an instrumental section where the lyrics are replaced by scat singing
Old man of the mountain
Repeating the title, referring to the same person
Writer(s): Victor Young, George Brown
Contributed by Adeline P. Suggest a correction in the comments below.
@YounisJackson
The lyrics
With his long white beard and his crooked step
He tramps along with the folks all laugh
With a twinkle in his eye he passes them by
Old man of the mountain
He wears long hair but his feet are bare
They say he's mad as an old march hare
His cares are none and he owes no one
Old man of the mountain
He talks with the birds when he's lonely
Sleeps with the stars for a tent
While the bees spread a feast when he's hungry
And God charges no rent
He'll live as long as an old oak tree
And laugh at fools like you and me
I often sigh and wish that I were
The old man of the mountain
@hoodatdondar2664
Two sets of lyrics here:
With his long white beard and his crooked step
He tramps along with the folks all left (?)
With a twinkle in his eye he passes them by
The old man of the mountain
He wears long hair but his feet are bare
They say he's mad as an old March hare
His cares are none and he owes no one
The old man of the mountain
He talks with the birds when he's lonely
Sleeps with the stars for a tent
While the bees spread a feast when he's hungry
And God charges no rent
He'll live as long as an old oak tree
And laugh at fools like you and me
I often sigh and wish that I were
The old man of the mountain.
===========================
With a long, white beard and a crooked stare,
He tramps along with the folks all scared;
With a twinkle in his eye, he passes them by,
The Old Man of the Mountain!
Oh, he wears long hair and his feet are bare,
They say he's mad as a grizzly bear,
His cares are none and he fears no one,
The Old Man of the Mountain!
He talks with the bears when he's lonely,
He sleeps with the sky for a tent,
And he'll eat you up when he's hungry,
And it wouldn't cost him a red cent!
And he'll live as long as an old oak tree,
He'll eat up fools like you and me,
Oh, I often sigh and jump and cry
At the Old Man of the Mountain!
@egosactorco
I would’ve never thought that the trumpet noise was coming out of his hands that’s neat
@retiredmusiceducator3612
trumpet 'noise?' that is not noise. he toots better than most trumpet players!
@cynthiapickett7403
@Hmb MusicClass You got that absolutely right!
@bossfox5741
Wait you dont know about the old comb and paper jazz trick
@samspianos
@Boss Fox You can see his hands are empty;this trumpet sound is made with voice and hands
@manuelaffonso2191
@Boss Fox - We used the comb, and silver paper from a cigarette pack in the late 40's early '50's. Had to soak it in water first to remove it though. 🎺
@whiterook8022
So early that John Jr is there. ON FILM. Crystal clear, perfect audio. Excellent, excellent upload.
@gwendolyn2001
I am officially addicted to this group. I was born too late.
@mojavekiller5808
Yeah, after two world wars and a great depression
@gwendolyn2001
@@mojavekiller5808 I am 70--I have lived in periods of poverty in childhood and adulthood. I lost no one in the Viet Nam war, but I knew people who did. I lost friends to AIDS and have through several recessions. It isn't as if the eras after WW II have been trouble free.