Sharples relocated to Fleischer’s Miami studio, where his orchestrations of Sammy Timberg’s Superman theme eventually became a blueprint for the television and movie versions that followed. Steve Stanchfield discussed Sharples’ work in the Van Beuren Rainbow Parade shorts here. They created scores for Chaplin comedies and other silent movies. Working with composer Gene Rodemich, he scored not only cartoons throughout the thirties, but also live-action sound films including Frank Buck documentaries. In this case, it led to Sharples’ hiring at the Van Beuren Company in New York. When he played in Vincent Lopez’s big band, he caught the attention of powerful show business columnist Walter Winchell, whose positive comments could boost a career. He studied at both Yale and Harvard (take that, Mr. Massachusetts-born Sharples started in Vaudeville, playing piano when he was eight. For those who grew up hearing it in Popeye, Harvey/Famous, King Features, Hal Seegar, and even some Total Television cartoons, it is like audio “comfort food” from bygone days.
While he is not the only composer to create a house sound, few adhered to it as consistently for the same length of time (though he was able to contemporize in the sixties). The cartoon music of Winston Sharples (Ma– April 3, 1978) registers its signature sound within seconds. And the inevitable interpolation of “It’s a Hap-Hap-Happy Day,” all coming from that distinctive, reverberant environment where the ceilings were high and the sounds bounced around the walls. Rhythmic, driving arrangements to underscore a progressive gag - a chase, a construction site, or a fleet of ships. Blaring horns to cue outrageous reactions. The jaunty, arm-swinging “going for a stroll” themes. To those familiar with classic theatrical animation and/or early television cartoons, the music is unmistakable.
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