By Thomas Conner
© Chicago Sun-Times
In his 1976 appearance as a celebrity guest on "The Muppet Show," singer-songwriter Paul Williams sang one of his own songs accompanied by a small Muppet choir, a backing band by the name Dr. Teeth and the Electric Mayhem (showing remarkable restraint), and the subdued piano of Rowlf the Dog.
The tune was called "Sad Song," but Williams remembers it as one of the happiest moments of his life.
"Oh, it's one of those Hallmark lyrics I wrote, basically a co-dependent anthem, which is pretty much what I spent my life writing. But the way it worked on the show is a perfect example of this intense emotional connectedness we feel with these characters," Williams says.
In the scene — see it and other great Muppet music moments here — the song winds to a close with Williams leaning on Rowlf's piano nonchalantly singing about "the sad song that used to be our song," a sharply sentimental but sweet moment, and as Rowlf plays the final chords, he glances at Williams, as if to say, "Did that help?" Rowlf then closes the piano keys and gently pats the lid.
"I mean, Rowlf did more with the closing of that piano than most actors ever got from Orson Welles," Williams says, laughing heartily at the 35-year-old memory.
Music always has been the beating heart of the Muppets. That "intense emotional connectedness" fans feel to the felt friends created by the late Jim Henson has fueled excitement about the first new Muppet movie in 12 years — "The Muppets," opening Wednesday in theaters — and it comes directly from the power of the franchise's iconic songs, such as Williams' and Kenny Ascher's "Rainbow Connection" and "Movin' Right Along."
For those of us who grew up with the Muppets, the music made an impact beyond celebrity moments on "The Muppet Show," the syndicated TV variety series Henson produced from 1976 to 1981. Those moments included Elton John performing "Crocodile Rock" with the song's namesake and Julie Andrews donning Maria's dress again for "The Lonely Goatherd" on a farm.
"The Muppet Show" celebrated pop songs by reimagining them, adding narratives and creating set pieces in the years just before MTV — always stopping just short of parodying them. Like classic Looney Tunes cartoons, this was a show aimed chiefly at adults; kids could LOL to Muppets dancing around to the Village People's "Macho Man," but adults were ROTFL when Gonzo's disco-dressed chicken gang rumbled with a posse of butch, leather-clad pigs. The show also unearthed folk classics, mid-century lounge music, Tin Pan Alley chestnuts and rhythm & blues.
"We covered everything — every genre and every century," Muppet performer Dave Goelz (Gonzo, Zoot and others) told the SF Weekly in 2007. "We did Charleston numbers, we did the latest stuff in rock 'n' roll, we did the '40s, '30s, classical. I really miss the way we worked with music. Jim was a pretty musical guy."
The new Muppet movie, fortunately, works with music in the same spirit. "The Muppets" soundtrack is not, thankfully, "The Green Album," an unnecessary, marketing-driven collection released in August featuring current indie-rockers (OK Go, Andrew Bird, Weezer, etc.) covering classic Muppet songs. The Muppets are doing their own thing again.
The film's director and music supervisor both come from a musical-comedy project that isn't just a kindred spirit; its title sounds like its own Muppets production number: "Flight of the Conchords."
"The Muppets and 'Flight of the Conchords,' yeah, there are quite a lot of similarities," says Bret McKenzie, half of the Conchords duo and music supervisor for "The Muppets." (The film's director is "Conchords" co-creator and director James Bobin.) "I really didn't have to shift gears, like, at all."
"Flight of the Conchords" was basically an adult "Muppet Show." Few actors are more Muppety than Jermaine Clement, and the songs he and McKenzie wrote for each episode of their acclaimed HBO comedy series (and live concerts) kept things movin' right along in the same adventurous, wondrous and usually optimistic spirit. Henson no doubt would have loved the "Bowie" episode, with Clement dressed up as "1986 David Bowie from the movie 'Labyrinth,' " a puppets-'n'-people fantasy film that Henson directed.
"There's a quality to the production [of 'The Muppets'], a looseness that reflects the looseness of the Muppets themselves, and I think you could say the same about [the Conchords] most times," McKenzie says. "This guy Chris Caswell, who worked on the original Muppets music as a piano player, told me Henson said, 'If it sounds too good, it's not right.' I kept thinking about that a lot. Finding the line between that looseness and a grand musical number — it's a challenge."
Plus, the Muppet universe has a few commandments.
"I quickly had to learn a few things," McKenzie says. "Like, in the Muppets' world, they've always existed. Kermit was never a piece of fabric. I had one lyric with Kermit saying, 'I remember when I was just a piece of felt,' and they said, 'Oh, no, you can't use that.' Another thing is that all these characters have specific vocal ranges. If they go too high or too low, they stop sounding like the character we know. If Miss Piggy goes too high, she sounds like a squeaky mouse.
"Also, all animals can talk — except chickens. They can only cluck. I had this big finale with everyone singing along, and we cut to the chickens, and I said, 'OK, chickens sing.' 'Oh, no, chickens can't sing.' So it's even funnier, because it's, 'OK, cluck,' and they cluck, cluck, cluck."
McKenzie's "Life's a Happy Song" has such a finale — a classic Muppet cluster-cluck that even includes lines sung by Hollywood icon Mickey Rooney and indie rocker Feist. It's one of four new songs McKenzie wrote for "The Muppets" (the others are "Let's Talk About Me," "Man or Muppet" and "Me Party"), and he oversaw the production of other original songs, as well as the film's reprise of favorites like "Rainbow Connection."
The film also includes actor Chris Cooper, who plays villainous oilman Tex Richman, performing — ye gods — a rap song.
"The rap song was a very dangerous idea," McKenzie says. "I arrived and that was already in the script, so I had to make it work. The risk is that it will be a joke from the late '80s. We've all seen people rapping badly. So I gave Chris some rapping lessons — on Skype. If you can imagine, Chris Cooper and I rapping on Skype. It was so bizarre, one of many bizarre moments in this experience. God, it was funny." He laughs.
"He does a stellar rap performance, I must say. We had to make it Muppety, though, you know? We joked about adding, like, some Kanye AutoTune, but it's not about making some contemporary, winking reference. I didn't want this to sound like a Hannah Montana album."
A star is reborn
"Muppety." It's an adjective they all use. Williams says it's a quality he first spotted early in the morning.
"I was a solid fan of everything Henson before he asked me to come over and do 'The Muppet Show,' because living on the road at that time, the best, most intelligent entertainment we could find on television while getting up in the morning and getting ready to go to the next city was 'Sesame Street,' " he says.
The diminutive Williams was once a huge star, lest we forget. By the end of the '70s, he'd written huge hits — Three Dog Night's "An Old Fashioned Love Song," Barbra Streisand's "Evergreen" (from "A Star Is Born"), the Carpenters' "We've Only Just Begun" and "Rainy Days and Mondays," even the theme song for "The Love Boat" — and was a fixture on "The Tonight Show" with Johnny Carson (48 times!). By the '80s, he fell off the radar due to deep struggles with drug and alcohol addiction, a story that's told in a new documentary currently making the film-fest rounds, "Paul Williams: Still Alive." Williams also is in his second term as president of ASCAP.
"Everybody wanted to do 'The Muppet Show' because it was so very hip," Williams says. On the set of the show, "I understood the magic of what was happening when I was standing there talking to Jim and Frank [Oz, founding Muppet puppeteer and voice actor], and Frank has Miss Piggy on his arm and Jim has Rowlf and Kermit on his arms, so it was all of us in this conversation. There was this extra level of engagement, a kind of medium, that really made it special. Songs came alive in that."
After his "Muppet Show" appearance, Henson asked Williams to write some songs for another project he was working on, a holiday special that would double as a workshop for some production techniques later perfected for "The Muppet Movie" (1979). The special was "Emmet Otter's Jug-Band Christmas" for HBO.
Their relationship cemented, Williams went on to co-write the now-classic tunes for the first Muppets film. He remembers a moment in the creative process during that film that summarized the unique nature of creating with Henson.
"I love Gonzo most of all," Williams says. "We're all landlocked birds, you know? There was a great scene where the Muppets break down on the road in the desert, and I said to Jim, 'You know, I'm a child of the '60s' — I'm 21 years sober now, of course, but in those days, there were a variety of chemicals involved, and people were having a lot of spiritual awakenings as a result. I said, 'What if we write about that? Here's Gonzo experiencing that feeling of connectedness.' Jim said, 'That's really nice. What if we also get beyond the metaphoric and allow Gonzo to actually experience flying?' So he wrote that whole fair scene where Gonzo gets the balloons and is taken away just to support the song. It's so Muppets — it's a lofty dream squarely rooted on the ground."
So many songs: 10 great Muppet music moments
As you gear up for Muppet-mania this week ahead of the new movie, "The Muppets" — read about the Muppets music and the Flight of the Conchords connection — here are 10 great musical moments from our felt friends (in no particular order), from the show, the movies and the viral videos.
Get this: The song "Mahna Mahna," written by Piero Umiliani, first appeared in a 1968 Italian film ("Sweden: Heaven and Hell") about Nordic sex, drugs and suicide. Thankfully, it resurfaced a decade later as a perfect set piece for "The Muppet Show," featuring two fluorescent pink cows (?!) and one very groovy beatnik.
'Last Time I Saw Him' with Diana Ross
Performing with Muppets is a transformative experience for some singers. In this clip from the fourth season of "The Muppet Show," Diana Ross appears more natural, relaxed and happy than she ever did with the Supremes, first sitting on the stoop and jamming with a few Muppets, then turning it into a full-on production number with a great arrangement that ambles like a Muppet road reverie. By the end of the tune, Muppet horn players are in a Dixieland breakdown, and Ross puts a period on the number with a hammy vaudeville face.
The Muppets started a comeback a couple of years ago with a series of YouTube videos — more respectful pop song covers — like this Muppety take on Queen's popera.
'While My Guitar Gently Weeps'
Sure, "The Muppet Show" had a laugh track, but some poignant moments found their way in. Sgt. Floyd Pepper, of the Muppet band Dr. Teeth & the Electric Mayhem, occasionally turned in cool, calm readings of pop songs. His performance of Paul Simon's "50 Ways to Leave Your Lover" (a duet with Janice, "fer sure") is smooth, but this take on this George Harrison song is a piece of pre-MTV perfection, setting up a little narrative in the scene — complete with Miss Piggy in silhouette during a very "Eleanor Rigby" kind of moment — and creating a transcendent moment, especially when Floyd caresses his guitar and says, "Oh, baby, don't cry."
How do you celebrate St. Patty's Day in Muppetland? With the three tenors, of course — the Swedish Chef, Beaker and Animal. Assembling three of the Muppets no one can understand to sing such a classic tune is only the start of the hilarity. The rest of it follows when Beaker overcomes his anxiety for a solo, Animal goes off actually looking for Danny, and the turtlenecks.
'Sad Song' with Paul Williams
After singer-songwriter Paul Williams made this appearance on the first season of "The Muppet Show" in 1976, Jim Henson asked him to write more Muppets music. That turned into a collaboration that lasted decades and produced some of the Muppets' most iconic songs, including "Rainbow Connection." Williams said of the scene: "I mean, Rowlf did more with the closing of that piano than most actors ever got from Orson Welles."
Animal vs. Buddy Rich
"The Muppet Show" showcased all kinds of music, including jazz. In this scene, Animal is let off his chain to challenge revered jazz player Buddy Rich to a drum battle. While Animal hollers like a tennis pro during the match, Rich flies over his kit with power and panache. Animal's drums, incidentally, were performed on the show by British jazz drummer Ronnie Verrell.
'In the Navy'
First, this is the second Village People song the Muppets covered (the other, well ...). For this musical number, the navy in question is a horde of marauding Muppet Vikings, and when they chant "We want you as a new recruit!" — they're not kidding. They come ashore and proceed to shanghai villagers into shipboard service. Educational on sooooo many levels.
'Grandma's Feather Bed' with John Denver
John Denver forged a lasting kinship with the Muppets — he made several "Muppet Show" appearances, hosted a Christmas special and the 1982 special "Rocky Mountain Holiday" — which began with this odd performance. Perhaps it was a less jaded era, so creators and audiences didn't see anything creepy about Denver hopping into bed with a bunch of Muppets, having a pillow fight with them, or dressing in drag as Grandma.
The movies are filled with great Muppet songs (one of my favorites is "The Happiness Hotel" from "The Great Muppet Caper"), but the benchmark was always Paul Williams' Oscar-nominated gem from the very first opening credits.
These online "clips" reproduce a self-selection of my journalism (music etc) during the last 20+ years. It's a lotta stuff, but it only scratches the surface. I do not currently possess the time or resources to digitize the whole body of work. These posts are simply a bunch of pretty great days at the office.