A novelty song is a type of song built upon some form of novel concept, such as a gimmick, a piece of humor, or a sample of popular culture. Novelty songs partially overlap with comedy songs, which are more explicitly based on humor, and with musical parody, especially when the novel gimmick is another popular song. Novelty songs achieved great popularity during the 1920s and 1930s. They had a resurgence of interest in the 1950s and 1960s. The term arose in Tin Pan Alley to describe one of the major divisions of popular music; the other two divisions were ballads and dance music. Humorous songs, or those containing humorous elements, are not necessarily novelty songs.
Novelty songs are often a parody or humor song, and may apply to a current event such as a holiday or a fad such as a dance or TV program. Many use unusual lyrics, subjects, sounds, or instrumentation, and may not even be musical. For example, the 1966 novelty song "They're Coming to Take Me Away, Ha-Haaa!", by Napoleon XIV, has little music and is set to a rhythm tapped out on a snare drum, a tambourine, and the bare sides of the musicians' legs.
A book on achieving an attention-grabbing novelty single is The Manual (How to Have a Number One the Easy Way), written by The KLF. It is based on their achievement of a UK number-one single with "Doctorin' the Tardis", a 1988 dance remix mashup of the Doctor Who theme music released under the name of 'The Timelords'. It argued that (at the time) achieving a number one single could be achieved less by musical talent than through market research, sampling and gimmicks matched to an underlying danceable groove.
History
Late 19th century – 1960s
Novelty songs were a major staple of Tin Pan Alley from its start in the late 19th century. They continued to proliferate in the early years of the 20th century, some rising to be among the biggest hits of the era. Varieties included songs with an unusual gimmick, such as the stuttering in "K-K-K-Katy" or the playful boop-boop-a-doops of "I Wanna Be Loved By You", which made a star out of Helen Kane and inspired the creation of Betty Boop; silly lyrics like "Yes! We Have No Bananas"; playful songs with a bit of double entendre, such as "Don't Put a Tax on All the Beautiful Girls"; and invocations of foreign lands with emphasis on general feel of exoticism rather than geographic or anthropological accuracy, such as "Oh By Jingo!", "The Sheik of Araby", and "The Yodeling Chinaman". These songs were perfect for the medium of Vaudeville, and performers such as Eddie Cantor and Sophie Tucker became well known for such songs.
Zez Confrey's 1920s instrumental compositions, which involved gimmicky approaches (such as "Kitten on the Keys") or maniacally rapid tempos ("Dizzy Fingers"), were popular enough to start a fad of novelty piano pieces that lasted through the decade. The fad was brought about by the increasing availability of audio recordings by way of the player piano and the phonograph; whereas much of Tin Pan Alley's repertoire was sold in the form of sheet music and thus had to be simple enough for an amateur pianist to play, novelty piano brought virtuoso-level performance to the home and to those who would not normally attend classical concerts.
At the outbreak of World War II in 1939, "Hitler Has Only Got One Ball" (set to the tune of British Army bandmaster F. J. Ricketts's popular World War Iera "Colonel Bogey March") was sung by British troops. A 1940s novelty song was Spike Jones' 1942 "Der Fuehrer's Face", which included raspberries in its chorus. Tex Williams's "Smoke! Smoke! Smoke! (That Cigarette)" topped the Billboard best-sellers chart for six weeks and the country music chart for 16 weeks in 1947 and 1948. Hank Williams Sr.'s "Move It On Over", his first hit song, has some humor and novelty elements (about a man having to share the doghouse when his lover kicks him out of the house), but contemporaries (among them Jerry Rivers) disputed this and noted that many men had been faced with eviction under similar circumstances. The 1953 #1 single "(How Much Is) That Doggie in the Window?" became notable both for its extensive airplay and the backlash from listeners who found it increasingly annoying. Satirists such as Stan Freberg, Allan Sherman, and Tom Lehrer used novelty songs to poke fun at contemporary pop culture in the 1950s and early 1960s.