May 29, 2026

Make Believe Ballroom - 5/29/26 Edition

Show Notes
Transcript

On this week's edition of the Make Believe Ballroom hosted by Jeff Bressler, a look at a world record-breaking Bing Crosby Hawaiian tune, two Artie Shaw classic radio remotes, two interesting Benny Goodman tunes, and more records and reminiscences from the big band and jazz era.

WEBVTT

1
00:00:12.320 --> 00:00:17.960
It's make Believe ballroom time. Put all your cares away.

2
00:00:19.879 --> 00:00:22.600
All the bands are here to bring.

3
00:00:22.399 --> 00:00:23.760
Good cheer your way.

4
00:00:25.679 --> 00:00:33.479
It's make Believe ballroom time and free to everyone. It's

5
00:00:33.560 --> 00:00:41.679
no time to friend your Dalisan bombs, close your eyes

6
00:00:41.759 --> 00:00:45.479
and visu lize in your solitude.

7
00:00:46.560 --> 00:00:49.119
Your favorite bands are on this.

8
00:00:49.320 --> 00:00:52.159
Dance and mister Miller, but you're in the wood.

9
00:00:52.240 --> 00:00:58.320
It's make Believe ballroom time. We are a sweet romance.

10
00:01:00.000 --> 00:01:00.640
As you make me.

11
00:01:01.920 --> 00:01:06.040
Come on Jo the last dass last.

12
00:01:06.200 --> 00:01:09.920
Hello world, I'm Jeff Presler, turning on the lights of

13
00:01:10.000 --> 00:01:13.640
the Make Belie Ballroom and welcoming you into my Crystal

14
00:01:13.719 --> 00:01:17.680
studio for ENDO, the program of classic big band music

15
00:01:17.719 --> 00:01:21.640
from the nineteen thirties and forties. Please get ready as

16
00:01:21.680 --> 00:01:25.239
I play for you some amazing jazz, swing, blues, and

17
00:01:25.280 --> 00:01:30.439
boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom,

18
00:01:31.000 --> 00:01:36.680
broadcasting almost continuously since nineteen thirty five. And welcome, Welcome,

19
00:01:36.719 --> 00:01:39.719
Welcome one and all into the Crystal studio. And thanks

20
00:01:39.799 --> 00:01:42.760
so much for joining me today. Why don't we get

21
00:01:42.760 --> 00:01:48.439
the program underway with the two Radio standard transcriptions, The

22
00:01:48.480 --> 00:01:51.680
first by the wonderful trombonist Jack T.

23
00:01:51.879 --> 00:05:12.160
Garden The Birds, the Clover.

24
00:04:15.719 --> 00:04:20.279
Rumping' and stomping Jack T. Garden his trombone and orchestra

25
00:04:20.519 --> 00:04:26.000
on a Standard Radio transmission sixteen inch disc recorded in

26
00:04:26.040 --> 00:04:30.519
Los Angeles, California, August the twenty second, nineteen forty four.

27
00:04:31.199 --> 00:04:33.839
And as I've discussed on this program many times in

28
00:04:33.879 --> 00:04:38.120
the past, like Standard and a Thesaurus, there were a

29
00:04:38.160 --> 00:04:44.319
number of companies that released transcribed discs to radio stations

30
00:04:44.360 --> 00:04:49.279
across the country to be used as syndicated programming. And

31
00:04:49.600 --> 00:04:54.120
that indeed number by Jack Teagarden went to stations all

32
00:04:54.240 --> 00:04:57.920
over the country. Let's play one more, this time by

33
00:04:58.319 --> 00:05:03.240
the Pied Pipers.

34
00:05:01.120 --> 00:05:07.600
Get down to Tampy call. Tampy call on the golf

35
00:05:07.680 --> 00:05:08.120
of Man.

36
00:05:08.160 --> 00:05:12.160
He called a Tampy call. Tampy Call. That's place for

37
00:05:12.360 --> 00:05:12.879
you to go.

38
00:05:13.439 --> 00:05:17.319
Tampy call, Tampy call where the big fat boats talk.

39
00:05:17.399 --> 00:05:22.279
Called Tampy car. Tampy call down a mex call. If

40
00:05:22.319 --> 00:05:26.759
you are planning a trip, come down Tampa away. Those

41
00:05:26.839 --> 00:05:30.360
lovely trump to see will make you wanna stay.

42
00:05:30.399 --> 00:05:33.360
Hey, Tampy call, Tampy.

43
00:05:32.959 --> 00:05:36.480
Call on the golf up Man, he called Tampy call,

44
00:05:36.879 --> 00:05:37.600
Tampy call.

45
00:05:38.240 --> 00:05:39.360
That's place to guard.

46
00:05:40.000 --> 00:05:41.680
The temperature is very high.

47
00:05:42.160 --> 00:05:45.480
So when I caught the mad, don't try to get

48
00:05:45.519 --> 00:05:46.720
to romantic and.

49
00:05:46.879 --> 00:05:47.720
One hundred and ten.

50
00:05:47.839 --> 00:05:48.480
That's raining.

51
00:05:48.680 --> 00:05:52.759
Hey, Tampy call, Tampy call on the golf of Man,

52
00:05:53.000 --> 00:05:55.480
called tampy call, Tampy call.

53
00:05:56.079 --> 00:05:57.199
That's place to God.

54
00:05:57.759 --> 00:06:01.000
We used to work for t D he said, I sing.

55
00:06:01.079 --> 00:06:03.839
It was choice, but he paid off in the dark.

56
00:06:04.759 --> 00:06:06.160
Now we're with the voice.

57
00:06:06.439 --> 00:06:10.519
Hey, tampy call, tampy call on the gulf of Man.

58
00:06:10.560 --> 00:06:14.480
He called a tampy call, tampy call. That's a place

59
00:06:14.519 --> 00:06:15.000
to God.

60
00:06:15.600 --> 00:06:19.000
You go down better, relax well, to get away from

61
00:06:19.000 --> 00:06:19.600
the giant.

62
00:06:20.000 --> 00:06:24.519
A native greet you and see give me fire. Hey,

63
00:06:24.839 --> 00:06:28.959
tampy call, Tampy call on the gulf of Man called

64
00:06:29.319 --> 00:06:33.959
Tampy call, Tampy call. That's a place to go. We're

65
00:06:34.000 --> 00:06:37.399
getting singing this song. You must be needless to say.

66
00:06:37.879 --> 00:06:40.120
It's the repetitious.

67
00:06:39.360 --> 00:06:41.720
Mom to sing much more today.

68
00:06:42.160 --> 00:06:47.839
Hey, tampy call on tampy call on the bank.

69
00:06:47.920 --> 00:06:53.519
Look up, but with them many called tampee call. Say

70
00:06:53.680 --> 00:06:56.360
do you know cat?

71
00:06:56.360 --> 00:06:57.920
This song really got it.

72
00:06:58.000 --> 00:07:08.560
Gone Tampico the Pied Piper's Orchestra under the direction of

73
00:07:08.639 --> 00:07:12.319
Skippy Martin on a standard transcription disc from back in

74
00:07:12.439 --> 00:07:16.240
nineteen forty five. I'm Jeff Wrestler, and you're listening to

75
00:07:16.279 --> 00:07:18.839
the weekly edition of the Make Believe Ballroom coming to

76
00:07:18.879 --> 00:07:22.680
you from the Crystal Studio. Let's play another record. Then

77
00:07:23.000 --> 00:07:28.800
Benny Goodman rejects and is also rejected. What am I

78
00:07:28.920 --> 00:07:32.800
talking about? Well, I don't even know, but I'll figure

79
00:07:32.800 --> 00:07:55.560
it out. During the playing of this record, we.

80
00:07:55.600 --> 00:08:00.600
Had the Jim Jam Jim Man began in the truck

81
00:08:00.680 --> 00:08:04.920
and then the black Bottom two Jim Jim jump is the.

82
00:08:04.680 --> 00:08:07.759
Top of her town. But the he be geev is

83
00:08:07.800 --> 00:08:08.480
gonna more.

84
00:08:08.639 --> 00:08:09.199
I'm down.

85
00:08:09.920 --> 00:08:12.600
He bit geis rock rock.

86
00:08:13.439 --> 00:08:15.959
E b g bes flowing my top.

87
00:08:16.199 --> 00:08:20.199
Now, cut off my legs and call me shorty. She

88
00:08:20.680 --> 00:08:22.959
my head and called me both.

89
00:08:23.720 --> 00:08:24.959
Let's start something.

90
00:08:25.199 --> 00:08:26.199
Who you hunting ball?

91
00:08:26.600 --> 00:08:27.079
Oh?

92
00:08:27.160 --> 00:08:29.920
He be Jeeves is rocking her town.

93
00:08:30.680 --> 00:08:33.320
He bitch ge biz rock rock.

94
00:08:34.159 --> 00:08:36.759
He bit gebis flowing my top.

95
00:08:37.559 --> 00:08:42.120
Called my gaal on the phone, laying the lady said

96
00:08:42.279 --> 00:08:47.279
she wasn't home. Look out gate. I think I'm late.

97
00:08:47.559 --> 00:08:53.559
But the he beach gbis is rocking her town. Run

98
00:09:14.799 --> 00:09:19.000
he beat jee he beat gee business.

99
00:09:18.440 --> 00:09:19.360
Rocking the town.

100
00:09:19.600 --> 00:09:24.639
Now he beg, gee rock rock Now he bet g

101
00:09:25.159 --> 00:09:26.559
I'm still blowing my town.

102
00:09:26.720 --> 00:09:27.000
Boy.

103
00:09:27.039 --> 00:09:31.840
I bought myself sacks of phone. I tried to make

104
00:09:32.039 --> 00:09:36.679
that babe moan, but I found out Joe I couldn't

105
00:09:36.919 --> 00:09:40.799
blow because he be gee busiess rocking the town.

106
00:10:16.799 --> 00:10:20.919
The hebgb's are rocking the town A Lionel Hampton and

107
00:10:20.919 --> 00:10:25.159
his orchestra vocal bi Lionel recorded on Victor Records in

108
00:10:25.200 --> 00:10:30.080
October of nineteen thirty nine. So I mentioned before Hampton

109
00:10:30.200 --> 00:10:35.200
that Benny Goodman rejected, and he certainly did do that

110
00:10:35.360 --> 00:10:40.559
many times. Let me explain when Benny Goodman recorded. When

111
00:10:40.559 --> 00:10:43.559
he went into the studio, if you've read about Benny,

112
00:10:43.720 --> 00:10:48.559
he was, in no uncertain terms, a perfectionist and well

113
00:10:48.559 --> 00:10:51.200
he was a demanding band leader who set the highest

114
00:10:51.200 --> 00:10:55.720
standards for both himself and his musicians, and that led

115
00:10:55.759 --> 00:11:00.679
to many rejected takes in the recording studios, both Victor

116
00:11:00.759 --> 00:11:05.639
Records and Columbia, which were his two primary record companies

117
00:11:05.720 --> 00:11:11.559
during his career. Now, a number of those rejected takes survived,

118
00:11:11.639 --> 00:11:14.200
and I have one keyed up and they're ready to

119
00:11:14.279 --> 00:13:54.480
drop the needle on right now. We just heard a

120
00:13:54.600 --> 00:14:00.799
rejected Columbia record won that Benny himself rejected during a

121
00:14:01.240 --> 00:14:07.480
playing of Ramona. He recorded that take on February the fifth,

122
00:14:07.559 --> 00:14:13.000
nineteen forty two. It eventually got pressed and distributed. The

123
00:14:13.039 --> 00:14:15.399
final version of the record was never a hit or

124
00:14:15.440 --> 00:14:18.919
a top seller for Benny. Let me now play a

125
00:14:19.039 --> 00:14:24.200
recording that was actually rejected, not by Benny, but by

126
00:14:24.240 --> 00:14:25.840
the record company itself.

127
00:14:37.759 --> 00:14:50.480
I was born in Texas, raised in Tenny. Allah born

128
00:14:51.440 --> 00:15:00.360
in Texas, raised in Tenny.

129
00:15:00.759 --> 00:15:06.559
But A talk another man to me, he could fool

130
00:15:07.080 --> 00:15:07.879
lot of me.

131
00:15:12.240 --> 00:15:21.639
Not this man that I love pauses mean as he can.

132
00:15:23.759 --> 00:15:29.440
This is man that I love, hes and mean as

133
00:15:29.440 --> 00:15:34.720
he can.

134
00:15:35.159 --> 00:15:40.559
I never knew that a man could be to me

135
00:15:41.159 --> 00:15:48.720
for me. I'm gonna get me a.

136
00:15:48.879 --> 00:15:59.320
Shot gun just as long as I am talk get

137
00:15:59.559 --> 00:16:09.399
me a junk, not long as I am.

138
00:16:09.799 --> 00:16:15.080
I'm gonna shure that man to see him.

139
00:16:15.039 --> 00:16:20.279
Jump fall.

140
00:16:55.120 --> 00:17:19.079
Now with Manny Fay asked you who way.

141
00:17:19.119 --> 00:17:23.319
You said? The girl you know that she does.

142
00:17:31.200 --> 00:17:36.640
So it looks like Columbia rejected this recording that Benny

143
00:17:36.720 --> 00:17:42.720
Goodman made on vocal. Was the great Louise Tobin, married

144
00:17:42.720 --> 00:17:48.440
at one time to Harry James. So Tobin left Benny

145
00:17:49.000 --> 00:17:52.119
in nineteen thirty nine. That was the same year that

146
00:17:52.200 --> 00:17:56.920
Goodman switched from Victor to Colombia. I don't know if that,

147
00:17:57.319 --> 00:18:02.720
for whatever reason, had any bearing the Columbia decision. If

148
00:18:02.759 --> 00:18:05.559
you know, send me an email to Jeff at MakeBelieve

149
00:18:05.559 --> 00:18:09.200
Ballroom Radio dot com. That's Jeff at Make Believe Ballroom

150
00:18:09.559 --> 00:18:13.359
Radio dot com. Now, the record that I had just

151
00:18:13.480 --> 00:18:18.680
played was never named, and it was never released. I'm

152
00:18:18.759 --> 00:18:22.519
Jeff Presler, and the show is named. It's the one,

153
00:18:22.599 --> 00:18:26.400
the only, the original Make Believe Ballroom. And you know,

154
00:18:26.480 --> 00:18:31.279
when I listened to Tobin singing the Blues, she reminds

155
00:18:31.359 --> 00:18:38.079
me of Teddygrace. Maybe Columbia had thought that Louise her

156
00:18:38.200 --> 00:18:42.440
rendition of the Blues sounded too much like Teddy Grace.

157
00:18:42.839 --> 00:18:43.319
I don't know.

158
00:18:43.599 --> 00:19:02.400
You decide all along the floor and around and cry, yes,

159
00:19:02.720 --> 00:19:06.519
I want the floor and around.

160
00:19:05.799 --> 00:19:07.599
My hands and cry.

161
00:19:11.200 --> 00:19:15.440
I had it down hearted blues, and I couldn't be said,

162
00:19:16.000 --> 00:19:25.720
it's fine, gee, but it's hard to love someone when

163
00:19:25.799 --> 00:19:33.000
I someone don't love you. I'm so disgusting love and

164
00:19:33.279 --> 00:19:34.519
hearted too.

165
00:19:35.240 --> 00:19:37.640
I got the down hearted.

166
00:19:37.160 --> 00:19:42.920
Glue once I was crazy about a man.

167
00:19:43.880 --> 00:19:46.640
He mistreating me all the time.

168
00:19:48.279 --> 00:19:51.480
The next man I get, he's got to promise to

169
00:19:51.759 --> 00:19:54.359
be mine more.

170
00:19:55.200 --> 00:19:55.400
Man.

171
00:19:56.960 --> 00:19:59.519
Oh, he mistreated me and he.

172
00:19:59.680 --> 00:20:02.960
Drove from his door.

173
00:20:06.039 --> 00:20:12.000
Yes, he mistreated me and he drove me from his door.

174
00:20:15.160 --> 00:20:20.519
But the good birth says you read just well you so.

175
00:20:51.799 --> 00:20:57.759
I never love the three men in my life.

176
00:21:02.079 --> 00:21:12.400
Never loved me my life, love my father, my brother,

177
00:21:12.559 --> 00:21:15.839
and a man who raised my life.

178
00:21:19.480 --> 00:21:31.880
What the world? Job destobel and job stop.

179
00:21:37.759 --> 00:21:38.880
I'm on a hold.

180
00:21:39.119 --> 00:21:43.039
Let him till you commander my command.

181
00:21:47.079 --> 00:21:52.839
From Deco Records, Teddy Grace's Down Hearted Blues, recorded on

182
00:21:52.960 --> 00:21:59.400
August fifteenth, nineteen thirty eight. Let me now play a

183
00:21:59.480 --> 00:22:04.640
record from Roy Eldridge and his Orchestra, then a listener's

184
00:22:04.680 --> 00:25:13.400
email and on Varsity Records, High Society roy Eldridge and

185
00:25:13.480 --> 00:25:17.319
his Orchestra, recorded back in December of nineteen thirty nine.

186
00:25:18.119 --> 00:25:21.359
This is Jeff Bresler. This is the Make Believe Ballroom,

187
00:25:21.400 --> 00:25:23.240
and this is also the place you can send me

188
00:25:23.279 --> 00:25:26.759
an email if you'd like to comment or make a request.

189
00:25:27.000 --> 00:25:30.880
Jeff at MakeBelieve Ballroom Radio dot com, Jeff at Macbelie

190
00:25:30.960 --> 00:25:33.799
Ballroom Radio dot com. And I received an email this

191
00:25:33.960 --> 00:25:40.359
week from Len Busby, who resides in Georgetown, Texas. That's

192
00:25:40.839 --> 00:25:44.880
outside of Austin. Lenny has reached out to the ballroom

193
00:25:44.920 --> 00:25:51.039
in the past. He wrote, Howdy partner, enjoyed that you

194
00:25:51.200 --> 00:25:55.599
played some Texas swing with my all time favorite Bob

195
00:25:55.640 --> 00:26:00.640
Wills on a recent show. You were lamenting over whether

196
00:26:00.720 --> 00:26:05.079
to play Texas swing on the make Believe Ballroom. Perhaps

197
00:26:05.160 --> 00:26:09.400
not big band jazz centric as your audience might have

198
00:26:09.480 --> 00:26:14.400
a taste for. Did you know that the first time

199
00:26:14.559 --> 00:26:17.920
Deep in the Heart of Texas was recorded? It was

200
00:26:18.000 --> 00:26:23.039
by someone who probably never saw the state, Alvino Ray.

201
00:26:24.160 --> 00:26:28.480
Since Ray recorded it, can you play it? And that's

202
00:26:28.519 --> 00:26:32.960
signed by Lend Busby And yes, I will be happy

203
00:26:33.000 --> 00:26:38.160
to play that request forgetting myself that that ode, the

204
00:26:38.319 --> 00:26:43.440
unofficial Texas National Anthem was indeed recorded by Alvino Ray

205
00:26:44.160 --> 00:26:47.440
and spent five weeks atop the Your Hit Parade radio

206
00:26:47.559 --> 00:27:00.200
countdown night.

207
00:27:00.400 --> 00:27:04.079
A big and broad in the.

208
00:27:07.880 --> 00:27:18.160
Prairie sky is wide and high in the sage in

209
00:27:18.559 --> 00:27:29.119
bloom is like perfume in the reminds me of the

210
00:27:29.319 --> 00:27:34.759
one my love in the Texas.

211
00:27:55.599 --> 00:28:07.200
The kild's wail along the trail jus, the rabbits rush

212
00:28:07.519 --> 00:28:25.359
around the brush, the cowboys cry yeh Beyond the Doggies,

213
00:28:25.680 --> 00:28:27.680
ball and ball and.

214
00:28:28.079 --> 00:28:57.720
Ball mersage in bloom is like perfume.

215
00:29:02.400 --> 00:29:06.960
Reminds me of one my love.

216
00:29:23.359 --> 00:29:26.759
From Bluebird Records Deep in the Heart of Texas by

217
00:29:26.799 --> 00:29:32.039
Alvino rayan orchestra vocal by Bill Shallon, Skeets Herford and

218
00:29:32.160 --> 00:29:37.000
his band also joining in. Recorded in Hollywood, California, November

219
00:29:37.000 --> 00:29:40.640
the twenty first, nineteen forty one. So thanks Len Buzzby

220
00:29:40.759 --> 00:29:44.359
for your email. We love to hear from listeners once again.

221
00:29:44.480 --> 00:29:48.839
Jeff at MakeBelieve Ballroomradio dot com. Jeff at MakeBelieve Ballroom

222
00:29:48.960 --> 00:29:51.599
Radio dot com. Why don't they play another first time

223
00:29:51.720 --> 00:29:53.119
ever recorded song.

224
00:30:06.160 --> 00:31:07.519
The stars shining right above you night praises seem to whisper.

225
00:31:07.759 --> 00:31:08.839
I love you.

226
00:31:09.640 --> 00:31:14.559
Birds singing in the sycamore tree. Dream a little dreamer,

227
00:31:17.720 --> 00:31:23.160
say nighty night and kiss me, Just hold me tight

228
00:31:23.279 --> 00:31:27.440
and tell me you'll miss me while I'm alone and

229
00:31:27.640 --> 00:31:31.640
the blue as can be. Dream A little dream of.

230
00:31:32.000 --> 00:31:39.480
Me, stars fading, but I linger on, dear, still craving

231
00:31:39.680 --> 00:31:46.839
your kids. I'm longing to linger till dawn, Dear, just

232
00:31:47.559 --> 00:31:55.640
saying this. Sweet dreams till sunbeams fine you, sweet dreams

233
00:31:55.680 --> 00:32:00.519
that leave all are ease behind you. But in your dreams,

234
00:32:00.559 --> 00:32:19.359
whatever they be, dream a little dream of me, Dream

235
00:32:19.440 --> 00:32:21.359
a little dream of me.

236
00:32:39.440 --> 00:32:45.039
Sweet dream till sunbeams find you. Sweet dreams that leave

237
00:32:45.119 --> 00:32:50.359
all wares behind you. What in your dreams, whatever they be,

238
00:32:51.440 --> 00:32:55.319
Dream a little dream.

239
00:32:54.039 --> 00:33:04.599
A Brunswick Records dream a Little Dream of Me by

240
00:33:04.759 --> 00:33:10.599
Ozzie Nelson and his orchestra vocal by Ozzie Nelson, recorded

241
00:33:10.640 --> 00:33:14.359
in New York City February sixteenth, nineteen thirty one, and

242
00:33:14.400 --> 00:33:19.319
that was the first time ever this standard was recorded.

243
00:33:21.440 --> 00:33:28.000
I received another email that I had it here before.

244
00:33:28.039 --> 00:33:30.519
I can't seem to find at the moment that I

245
00:33:30.640 --> 00:33:36.599
wanted to read well. In essence, the email asked about

246
00:33:36.599 --> 00:33:41.039
why Hawaiian music, which we played here on the ballroom

247
00:33:41.079 --> 00:33:45.880
a few weeks back, was introduced to the big band sound.

248
00:33:47.000 --> 00:33:49.920
Why don't I play a Hawaiian theme song? Then I'll

249
00:33:49.960 --> 00:33:51.200
answer that question.

250
00:34:00.160 --> 00:34:47.159
It's always think home is under lou.

251
00:34:48.559 --> 00:34:50.400
In under lou Loud.

252
00:34:51.159 --> 00:34:54.360
It's always finer made is.

253
00:34:54.440 --> 00:34:58.280
A home man, It's hoss from men.

254
00:34:59.079 --> 00:35:07.679
It's always swings in Honolulu, Oh Island, the things from Gooday,

255
00:35:08.400 --> 00:35:09.480
Oh Island, their.

256
00:35:09.360 --> 00:35:13.000
Own lovers place Oh Island, the swings with the swings,

257
00:35:13.320 --> 00:35:17.039
the wacky wacky wo and a lower ika poa, those beauty,

258
00:35:17.119 --> 00:35:20.880
the sands, snowy Wi. Those natives are love living right

259
00:35:21.039 --> 00:35:23.960
and those babies and love loving right need the.

260
00:35:24.000 --> 00:36:35.400
Younger moon is smellowed like a shallow.

261
00:36:42.440 --> 00:36:46.039
From Brunswick Records, Duke Ellington and his famous orchestra with

262
00:36:46.079 --> 00:36:51.199
an Ivy Andersen vocal with the swinging Swing Time in Honolulu,

263
00:36:51.679 --> 00:36:55.400
recorded back in nineteen thirty eight. And the question I

264
00:36:55.480 --> 00:36:58.960
posed before is that was in the email, is why

265
00:36:59.199 --> 00:37:04.920
was Hawaiian m so popular during the big band era? Well, first,

266
00:37:05.360 --> 00:37:08.239
I think a lot of that era took place during

267
00:37:08.280 --> 00:37:12.639
the depression, and it was pure escapism. Hawaii certainly was

268
00:37:12.679 --> 00:37:15.079
not a state at the time. It was just considered

269
00:37:15.119 --> 00:37:20.599
a tropical paradise and most people knew they would never

270
00:37:20.719 --> 00:37:25.480
have the opportunity to go there. So actually Hawaiian music

271
00:37:25.519 --> 00:37:32.719
became a craze. Folks were captivated by Hawaii's exotic, romantic

272
00:37:32.840 --> 00:37:38.119
imagery and that was easily adapted into big band arrangements.

273
00:37:38.840 --> 00:37:42.519
And it also allowed some big bands a little creative

274
00:37:42.599 --> 00:37:48.079
room to add the ukulele and steal guitars to numbers. Now,

275
00:37:48.119 --> 00:37:53.679
probably the strangest of all Hawaiian songs on records came

276
00:37:53.679 --> 00:37:57.880
from Bing Crosby in what I consider a mess of

277
00:37:57.960 --> 00:38:01.800
a song because of how it was deuced, not because

278
00:38:01.840 --> 00:38:05.280
of the song itself, but it also is a song

279
00:38:05.360 --> 00:38:07.440
that will live in music history.

280
00:38:07.960 --> 00:38:27.480
Let me play it, sweetlay Loney, Heavenly Loma.

281
00:38:27.800 --> 00:38:31.599
Nag fashion ros excuse with.

282
00:38:35.320 --> 00:38:41.239
Loney and she plays name in above.

283
00:38:45.639 --> 00:38:58.719
It was the star, sweetlay Loney, heavenly love.

284
00:39:03.519 --> 00:39:14.840
Me and eyes for you, Loy, You are my paraized

285
00:39:15.119 --> 00:39:18.719
complete love me Lo.

286
00:39:20.559 --> 00:39:37.599
You are my dream come Sweetly long, heavenly f.

287
00:39:42.400 --> 00:39:50.559
Tropic scars are jealous as they shone my sweet Clay lonely.

288
00:39:52.039 --> 00:39:55.400
I think they're jealous of.

289
00:39:55.119 --> 00:40:04.559
Your blue ear, lovely lonely, jealous because your.

290
00:40:07.719 --> 00:40:09.280
Sweet lay lod.

291
00:40:12.239 --> 00:40:13.159
Heavenly f.

292
00:40:18.159 --> 00:40:21.440
Wi dream of paradise.

293
00:40:21.920 --> 00:40:26.280
Hold, my sweet lay Love.

294
00:40:27.559 --> 00:40:36.880
You are my paradise comeleader. Lovely lay Love, you are

295
00:40:37.360 --> 00:41:01.360
my dream come true.

296
00:41:01.719 --> 00:41:06.519
You arema paradise leader.

297
00:41:07.679 --> 00:41:19.360
Lovely Leilani, you are my dream.

298
00:41:15.800 --> 00:41:29.599
Ca from Decca Records. Sweet Leilani by Bing Crosby with

299
00:41:29.840 --> 00:41:35.159
Lannie McIntyre and his Hawaiians, recorded in Los Angeles, February

300
00:41:35.159 --> 00:41:39.079
the twenty third, nineteen thirty seven. So I think not

301
00:41:39.199 --> 00:41:42.639
the tune, but the record was a mess. The tune

302
00:41:42.679 --> 00:41:48.159
itself was an Oscar winning ballad for the Bing Crosby

303
00:41:48.239 --> 00:41:55.280
film Wakaki Wedding with the vocal and instrumental assistance, so

304
00:41:55.519 --> 00:42:01.079
as the song goes, Bing loved the melody and insisted

305
00:42:01.440 --> 00:42:04.480
it to be in the movie that he was starring in.

306
00:42:04.519 --> 00:42:08.719
As I mentioned Waka Kei Wedding. Now, when the Paramount

307
00:42:08.800 --> 00:42:14.960
Pictures producers refused to add the song Sweetlilani, Bing, in

308
00:42:15.039 --> 00:42:18.920
his usual style, walked off the set and went golfing

309
00:42:19.119 --> 00:42:23.800
for two days until the producers relented. So the movie

310
00:42:23.880 --> 00:42:27.119
ended up being a big success. And let me tell

311
00:42:27.119 --> 00:42:29.800
you now why the record I think was a little

312
00:42:29.880 --> 00:42:35.800
messed up. Deco Records president at the time, Jack Capp

313
00:42:36.320 --> 00:42:42.440
was strongly against being recording and releasing the track, predicting

314
00:42:42.480 --> 00:42:46.280
that it was going to fail, but Crosby, being the

315
00:42:46.280 --> 00:42:50.440
big star he was, won the argument a low. He

316
00:42:50.559 --> 00:42:56.719
had a compromise with Cap and Havelannie McIntyre and his

317
00:42:56.800 --> 00:43:01.760
Hawaiians sing first, probably to shield Bang from what Deca

318
00:43:01.840 --> 00:43:05.559
thought would be a flop record. But in the end,

319
00:43:05.880 --> 00:43:10.599
Sweet Lailani holds a distinction one that I think may

320
00:43:10.639 --> 00:43:14.760
never be broken. Now. Due to Ban's enormous popularity and

321
00:43:14.840 --> 00:43:19.039
his talent for singing on winning records, a lot of

322
00:43:19.079 --> 00:43:21.760
folks went out and bought the sheet music to different

323
00:43:21.840 --> 00:43:27.400
songs that he recorded. So Sweet Lalani became, to this

324
00:43:27.679 --> 00:43:34.079
very day, at fifty four million copies, the number one

325
00:43:34.320 --> 00:44:20.320
selling piece of sheet music of all time.

326
00:45:00.159 --> 00:45:24.840
Then it.

327
00:45:47.760 --> 00:45:48.800
Give me bad.

328
00:46:10.199 --> 00:46:40.800
A nothing.

329
00:47:16.000 --> 00:47:21.079
Artie Shaw and his orchestra man from Mars from the

330
00:47:21.199 --> 00:47:24.679
Cafe Rouge at the Pennsylvania Hotel in New York City

331
00:47:24.840 --> 00:47:29.199
back in nineteen thirty nine. And I think those radio

332
00:47:29.320 --> 00:47:32.880
remote appearances by Artie were some of his finest still

333
00:47:32.960 --> 00:47:36.400
work as a band leader. Let's play another from the

334
00:47:36.519 --> 00:47:41.800
Cafe Rouge in nineteen thirty nine via the NBC Radio Network.

335
00:47:42.880 --> 00:47:44.639
And now I heard Tom's the one you've all been

336
00:47:44.679 --> 00:47:47.000
waiting for, the kilodella that's going to knock the place,

337
00:47:47.159 --> 00:47:49.159
probably the roof right over, we hope not that it's

338
00:47:49.199 --> 00:47:50.119
a long way to the ground.

339
00:47:50.480 --> 00:48:47.599
Like Carrioka, the Moons, he.

340
00:48:54.960 --> 00:49:19.280
Fa beat the s.

341
00:51:56.960 --> 00:52:00.400
What are my all time favorites? Karaoka are? Do you sean?

342
00:52:00.480 --> 00:52:05.519
His orchestra on an NBC radio remote from August of

343
00:52:05.719 --> 00:52:11.920
nineteen thirty nine, and I think we have time for

344
00:52:12.000 --> 00:52:14.400
a request. Let me just take a look at the

345
00:52:14.480 --> 00:52:19.559
clock here. We certainly do. This is from John Mnana,

346
00:52:20.320 --> 00:52:26.679
who listens in New Orleans, probably on WXDR and John

347
00:52:27.000 --> 00:52:32.000
asks for well, he actually says, make believe ballroom? Can

348
00:52:32.079 --> 00:52:36.920
you play Bob Crosby's between eighteenth and nineteenth on Chestnut Street.

349
00:52:37.599 --> 00:52:41.119
I'm an old Philly guy and that is signed John

350
00:52:41.239 --> 00:52:44.599
and John. Try this with your next cheese steak.

351
00:54:02.320 --> 00:54:04.679
Have you heard about a place in town?

352
00:54:05.280 --> 00:54:07.519
I need plays, drink and plays of great.

353
00:54:07.400 --> 00:54:12.519
Renown food town food to.

354
00:54:15.280 --> 00:54:18.559
I know a rip where the folks all meet meat

355
00:54:18.639 --> 00:54:20.159
every morning for the drinking.

356
00:54:21.559 --> 00:54:24.559
It's not for hoclass, but it can't be be Between.

357
00:54:24.320 --> 00:54:27.000
Hate Sea then nineteen on Chestnut Streams.

358
00:54:27.880 --> 00:54:30.159
You have Pianna played by Stacey Trends.

359
00:54:31.079 --> 00:54:32.800
He is a famous boogie woogie.

360
00:54:33.039 --> 00:54:35.239
Gents, you want to stop there.

361
00:54:35.320 --> 00:54:38.480
If your pleasure been between Hate Sea, then nineteen on

362
00:54:38.760 --> 00:54:41.679
Chestnut Streams come along from that.

363
00:54:42.280 --> 00:54:44.159
If you're feeling right, well a.

364
00:54:44.199 --> 00:54:45.239
Cloud for a hat.

365
00:54:47.159 --> 00:54:52.440
You'll have a reservation will some day breaks incervacions.

366
00:54:53.559 --> 00:54:54.159
That's well.

367
00:54:54.360 --> 00:54:59.320
The hearty toy needs the horriblelarm.

368
00:55:00.039 --> 00:55:00.320
And that.

369
00:55:02.960 --> 00:55:05.320
His girlfriend and Brussor wether a rhymestone gown.

370
00:55:06.159 --> 00:55:08.400
I's on the south, not on the edge of town.

371
00:55:08.559 --> 00:55:11.840
The eighteenth nineteen Street.

372
00:55:41.119 --> 00:55:46.119
On Decca Records between eighteenth and nineteenth on Chestnut Street,

373
00:55:46.480 --> 00:55:51.239
written by will Osborne, Bob Crosby and his orchestra, vocals

374
00:55:51.320 --> 00:55:55.440
by Eddie Miller and Napia Lamar, recorded in New York City,

375
00:55:55.519 --> 00:55:59.440
December the sixth, nineteenth thirty nine. And thanks John Manana

376
00:55:59.639 --> 00:56:04.000
for requesting that one. Actually I never listened to that record,

377
00:56:04.079 --> 00:56:08.159
and I did enjoy it very much. And folks, we

378
00:56:08.320 --> 00:56:10.880
are out of time. The big hand on the big

379
00:56:10.960 --> 00:56:13.639
bull of a clock here in the crystal studio is

380
00:56:13.719 --> 00:56:16.400
approaching the top of the hour. Thanks so much for

381
00:56:16.559 --> 00:56:20.199
joining me today to reach me. I'm Jeff at MakeBelieve

382
00:56:20.239 --> 00:56:25.840
Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.

383
00:56:26.400 --> 00:56:29.000
Want to take a minute to thank our syndicators and

384
00:56:29.119 --> 00:56:35.079
distributors for offering the Make Believe Ballroom cost free to commercial, free, public,

385
00:56:35.280 --> 00:56:39.840
university and community radio stations. They are the Public Radio

386
00:56:40.000 --> 00:56:46.639
Exchange PRX, the PACIFICA Network, and Global Community Radio. The

387
00:56:46.760 --> 00:56:52.159
program's flagship affiliate is Jazz ninety point one WGMC in Rochester,

388
00:56:52.320 --> 00:56:55.760
New York. The Ballroom is also heard on your favorite

389
00:56:55.840 --> 00:57:00.559
podcast provider, We're going to make Believe Ballroom Day dot com.

390
00:57:01.320 --> 00:57:04.840
So until next week, this has been Jeff Bresler