Tom and Jerry & Tex Avery: Volume 1: The 1950's

Barbeque Brawl (1956, Tom And Jerry)

Downhearted Duckling (1954, Tom And Jerry)

Tom And Chérie  (1955, Tom And Jerry)

Pet Peeve  (1954, Tom And Jerry)

Downbeat Bear  (1956, Tom And Jerry)

Pecos Pest (1955, Tom And Jerry)

Dixieland Droopy (1954)

Neapolitan Mouse (1954)

Mouse For Sale (1955)

Busy Buddies (1956)

T.V. Of Tomorrow (1953)

Blue Cat Blues (1956)

Deputy Droopy (1955)

That's My Mommy (1955)

Touche', Pussy Cat! (1954 Tom & Jerry)

SD Where Are You

R&R Main & Sub-Main Title

The Nick Nick Nick Collection

Gangsta Opera

Afro Nick (stronger melody version)

Afro Nick (rhythmic version)

The Cades Mix

Top of the Hour - '87 Main Theme

Top of the Hour - '86 Main Theme

People Come On In

Heard It From a Friend

Whoah-oh

Say Hi

Better Off By Far

Calling Cades

Nick Nick Nick

Rusty Cloud: piano, composer, except Jane's Latin Thing  Jim Clouse: soprano saxophone, alto saxophone  Dave La Rocca: bass guitar, fretless base, composer*  Randy Richter: drums   Engineer: Fred Seibert   Recorded October 6, 1976  Grog Kill Studio  Willow, New York   Cover illustration by Frank Olinsky

River Of Fire

Honey Tree

Dance For Us All

Soundtrack to the short film "Into the Night with Dr. C"

Apple Candy - demo

Lookin' Good

Apple Candy

Minuet

What Kind of Love

Funky Town

MTV theme composed by Jonathan Elias, Elias/Petersen Associates 1981

M Theme by the Butthole Surfers

I make animated cartoons now, and I'm compiling soundtrack demos here. But I used to produce blues and jazz albums first for my own label, Oblivion Records, and then as a freelancer around New York.

Oblivion Records: 
In late 1971 my new friend Tom Pomposello and I decided to start a record company to record his music, and so I could become a record producer. He was 21, married with a small child, and owned a local hippie record store in Huntington, New York. I was 19, single, a college student in New York City. 

Tom loved the blues. I loved jazz, especially the avant garde variety. We both wanted to do more to promote artists we believed in. 

And it was the early 70s, the height of don’t trust anyone over 30 and the man can’t bust our music, and indie record culture was starting to flourish again. 

It seemed like a smart move not to start with the unknown Tom’s record —especially since we hadn’t figured out exactly what it would be yet— but we had a viable commercial tape we’d recorded of college concert star Mississippi Fred McDowell (with Tom on bass guitar) at the Village Gaslight in Greenwich Village. With the sales of this sure fire hit, we’d be on our way to the big time of indie labels. Our agreement was to make blues records for Tom and jazz records for me. We had a passion for underexposed American music and we were certain we’d be the two to bring unknown artists to prominence. 

The only question that lingered was where we would get the outrageous sum of $1800 to press the first 2000 copies? Tom came to rescue by bringing in our third partner Richard (Dick) Pennington, a friend of his from, uh, somewhere (I never actually found out). Dick stepped right up with enthusiasm and verve and stayed until our fourth album when he and Tom fell explosively out over something neither of them ever revealed. 

Tom chose the name “Oblivion” off of the back of a Leo Kottke LP and we released Obivion OD-1 —Mississippi Fred McDowell: Live in New York— in 1972; altogether we put out six records in four years (it still feels like 100 records in 1000 years) before we flamed out with musical dignity intact. Tom’s album was our last, so we had fulfilled our mission. 

You can read a lot more stories about Oblivion Records and its releases at our tumblr here: http://oblivionrecords.tumblr.com.

-Fred Seibert  
http://bit.ly/ieSWNC

soundcloud:tracks:108235319

Fred Seibert

Popular tracks