47 Song Car-tunes were produced and released between 1924 and 1927.^[1] The first, Come Take a Trip on My Airship, was released on March 9, 1924. Beginning in 1925, an estimated 16 Song Car-tunes were produced using the Phonofilm sound-on-film process developed by Lee DeForest. The remaining 31 titles were released silent, designed to be played with live music in theaters.^[2]

The Fleischer brothers partnered with DeForest, Edwin Miles Fadiman, and Dr. Hugo Riesenfeld to form Red Seal Pictures Corporation, which owned 36 theaters on the East Coast of the U.S., extending as far west as Cleveland, Ohio. In September 1926, the U.S. division of DeForest Phonofilm and Red Seal Pictures Corporation filed for bankruptcy, and the Fleischers ended their use of the Phonofilm system, releasing their last sound Song Car-Tune, By the Light of the Silvery Moon (1927), just as the sound era was about to begin. In early 1929, the Fleischers signed a Paramount Pictures contract. Former Fleischer partner, Alfred Weiss re-released some of the silent Song Car-Tunes between 1929 and 1932 with new soundtracks, new animation, and new main titles that exploited the reputation of the popular song films with the elimination of the names of Max and Dave Fleischer.

With the sound era established, the Fleischers revived the song film series as Screen Songs in February 1929 on the strength of being the holders of the original Patent on the concept. Though Ko-Ko the Clown had been temporarily retired due to complications with the dissolution of the original Inkwell Studios, the "Bouncing Ball" was retained. This new series ran a full seven minutes, with more animation than the early Song Car-Tunes, built around the theme of the featured song.

The first films in the new series used standards such as The Sidewalks of New York (released on 5 February 1929) and Old Black Joe. The series continued with new productions of songs previously released in the earlier series, such as Daisy Bell, Good Bye, My Lady Love, Mother Pin a Rose On Me, Oh! How I Hate to Get Up in the Morning, and Come Take a Trip in My Airship, released by Paramount Pictures for nine years.

Many of the Screen Songs featured popular stars of stage, radio, and records such as Ethel Merman, Rudy Vallee, Lillian Roth, The Mills Brothers, and the Boswell Sisters. Starting in 1934, the Screen Songs series focused on the big bands of the "Swing Era", such as Abe Lyman, Shep Fields, Gus Arnheim, Hal Kemp, Jack Denny, Vincent Lopez, Henry King, Jay Freeman, Jerry Baline, Bert Block, Frank Dailey, and Jimmy Dorsey.

The "Screen Songs" concept was revised in a special edition of the Technicolor Noveltoons series in 1945 with When G. I. Johnny Comes Home Again, and the series officially returned in 1947 with The Circus Comes to Clown and continued until 1951. Paramount attempted to revive the series in 1963 after the television success of Sing Along With Mitch with the cartoon Hobo's Holiday.

The concept of the "Bouncing Ball" has become such an established cultural icon, that it has been used in television commercials to sell all sorts of products from sleeping tablets to cat food. Just before retiring in 1968, Dave Fleischer used a form of the "Bouncing Ball" for the ending of Thoroughly Modern Millie where he shot cutout animation to "bounce" the head of Beatrice Lillie over the lyrics to the title song.^[3]

Screen Songs for sound reissues in Cinephone were released independently by Alfred Weiss.

1924

• Come Take a Trip in My Airship (1924) (silent; sound re-issue)
• Goodbye My Lady Love (June 1924) (sound)^[4]
• Oh Mabel (May 1924) (sound)^[5]

1925

• Daisy Bell (May 1925) (sound)^[6]
• Dixie (November 1925)^[7]
• My Bonnie Lies over the Ocean (September 1925)
• My Wife's Gone to the Country (1925) (sound)^[8]
• Oh Suzanna (1925)
• Old Pal (Dear Old Pal) (1925) (sound)^[9]
• Pack Up Your Troubles (1925)
• Sailing Sailing Over the Bounding Main (1925)
• The Old Folks at Home (1925)
• The Sidewalks of New York (1925) (sound)^[10][11]
• Swanee River (1925)^[12]

1926

• Alexander’s Ragtime Band (1926) (silent; sound re-issue)
• Annie Laurie (1926) (sound)^[13]
• By the Light of the Silvery Moon (August 1926) (sound)^[14]
• Coming Through the Rye (September 1926) (sound)^[15]
• Darling Nelly Gray (February 1926) (sound)^[16]
• Has Anybody Here Seen Kelly? (March 1926) (sound)^[17][18]
• I Love a Lassie (January 1926)^[19][20]
• In the Good Old Summertime (1926)^[21]
• Margie (October 1926) (sound)^[22]
• Mother, Mother, Mother Pin a Rose on Me (December 1926) (sound)^[23]
• My Old Kentucky Home (April 1926) (sound)^[24]
• Oh! How I Hate to Get Up in the Morning (October 1926) (sound)^[25]
• Old Black Joe (July 1926) (sound)^[26]
• The Sheik of Araby (1926) (sound)
• Sweet Adeline (June 1926) (sound)^[27]
• Ta-Ra-Ra-Boom-Dee-Aye (February 1926).^[28][29]
• Trail of the Lonesome Pine (1925)
• Toot Toot Tootsie (1926)
• Tramp, Tramp, Tramp, the Boys Are Marching (May 1926) (silent; sound re-issue)^[30]
• Waiting for the Robert E. Lee (1926)
• When I Leave This World Behind (1926)
• When I Lost You (1926) (sound)^[31]
• When the Midnight Choo-Choo Leaves for Alabam' (1926) (sound)^[32]
• Yak-A-Doola-Hick-A-Doola (1926) (sound)^[33]

• History of animation
• Sound film
• Phonofilm
• RCA Photophone

• Leonard Maltin, Of Mice and Magic: A History of the American Animated Film (1980, revised 1987)
• Richard Fleischer, Out of the Inkwell: Max Fleischer and the Animation Revolution (2005)
• Ray Pointer, Max Fleischer's Ko-Ko Song Car-tunes (with the Famous Bouncing Ball) DVD (2002)

• List of early sound films 1894-1929 at Silent Era website