June 26, 2026

Make Believe Ballroom - 6/26/26 Edition

Show Notes
Transcript

This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a game show host's famous uncle, a longtime listener's special playlist, a gambling song, Lenny from Down the Block with his Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on the program.

WEBVTT

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

2
00:00:19.920 --> 00:00:23.800
All the bands are here to bring good cheer your way.

3
00:00:25.719 --> 00:00:32.560
It's make belief Ballom time and free to everyone.

4
00:00:33.280 --> 00:00:37.240
It's no time to friend your Dalis said Bob.

5
00:00:39.960 --> 00:00:45.520
Yours, close your eyes and visual lie in your solitude.

6
00:00:46.560 --> 00:00:51.000
Your favorite bands are on this stance and mister Miller,

7
00:00:51.119 --> 00:00:52.159
but you in the wood.

8
00:00:52.240 --> 00:00:57.920
It's make Believe Ballom time. We are a sweet romance

9
00:01:00.079 --> 00:01:04.359
as you make it, Bob, Come on, Joe the last dass.

10
00:01:04.079 --> 00:01:09.280
Last, Hello world, I'm Jeff Presler, turning on the lights

11
00:01:09.280 --> 00:01:12.400
of the make Fully Ballroom and welcoming you into my

12
00:01:12.560 --> 00:01:17.480
Crystal studio for another program of classic big band hits

13
00:01:17.640 --> 00:01:21.840
from the nineteen thirties and nineteen forties. Whether you're listening

14
00:01:21.879 --> 00:01:25.760
on the radio via great affiliates like Jazz ninety point

15
00:01:25.840 --> 00:01:30.959
one WGMC in Rochester, New York, or on a podcast,

16
00:01:31.120 --> 00:01:35.280
or maybe even on Internet radio in the United Kingdom,

17
00:01:35.359 --> 00:01:39.480
anyway you've gotten here. I am pleased, so get ready

18
00:01:39.879 --> 00:01:44.040
as I spend for you some amazing big band jazz, swing,

19
00:01:44.159 --> 00:01:49.000
blues and boogie woogie favorites. Folks, you're listening to the

20
00:01:49.079 --> 00:01:55.799
Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.

21
00:01:56.560 --> 00:01:59.840
My folks, today's show is going to be a mix

22
00:02:00.120 --> 00:02:05.120
of well, a few stories, some listener emails, a little

23
00:02:05.200 --> 00:02:09.560
Leney from down the block, and other assorted stuff. And

24
00:02:09.919 --> 00:02:13.479
while I sort things out, how about a little early

25
00:02:14.080 --> 00:02:15.159
pearly May.

26
00:02:22.199 --> 00:02:27.240
Fifteen years and I'm still serving time, serving time with that.

27
00:02:27.439 --> 00:02:29.439
Good man of mine.

28
00:02:30.039 --> 00:02:34.199
I've been married fifteen years, I've shed fifteen million tiars

29
00:02:34.199 --> 00:02:37.599
fifteen years, and I'm still serving time.

30
00:02:39.199 --> 00:02:40.560
Fifteen years.

31
00:02:40.639 --> 00:02:43.879
And I ain't got a dime, not a dime in

32
00:02:44.000 --> 00:02:49.080
those long fifteen years. Each night I drink fifteen ers

33
00:02:49.120 --> 00:02:51.240
to forget those fifteen years.

34
00:02:51.280 --> 00:02:55.879
Fifteen years with that good man of mine. Oh, there

35
00:02:55.879 --> 00:02:57.639
are as no bar.

36
00:02:57.759 --> 00:03:02.560
On the window, and raised no locks on the door,

37
00:03:03.879 --> 00:03:07.039
and there ranged no LODs in the courtyard.

38
00:03:07.800 --> 00:03:10.919
But I'm a prisoner forever more.

39
00:03:12.879 --> 00:03:17.599
Fifteen years and I'm still serving time, serving time with

40
00:03:17.800 --> 00:03:22.639
that good man of mine. When I left those church bells, time,

41
00:03:22.759 --> 00:03:24.639
tell me, what's that a crime?

42
00:03:24.800 --> 00:03:27.840
Fifteen years? Then I'm still serving time.

43
00:03:37.599 --> 00:03:40.360
All my cooking goes to waste, spread.

44
00:03:40.039 --> 00:03:42.800
And waters all our tails. Fifteen years.

45
00:03:42.879 --> 00:03:56.120
Then I'm still serving time with this family on my

46
00:03:56.319 --> 00:04:00.000
tail can't save up no door for bail. Fifteen years

47
00:04:00.080 --> 00:04:05.240
and I'm still serving time. Oh, there raise no chains

48
00:04:05.360 --> 00:04:10.439
on my ankles, and there raised no ropes on my hands.

49
00:04:11.680 --> 00:04:16.199
And there ain't no ain't nothing nowhere. But I'm a

50
00:04:16.360 --> 00:04:30.759
prisoner to that man. When his shirt hang on the line,

51
00:04:30.879 --> 00:04:32.839
how I wish that neck was mine.

52
00:04:33.000 --> 00:04:36.079
Fifteen years and I'm still serving time.

53
00:04:37.199 --> 00:04:41.959
Oh, there raised no dog on the window, and there

54
00:04:42.079 --> 00:04:46.959
raised no locks on the door, and there raised no

55
00:04:47.319 --> 00:04:48.800
dods in the court yard.

56
00:04:49.600 --> 00:04:56.720
But I'm a prisoner forever more. Fifteen years and I'm

57
00:04:56.759 --> 00:05:01.240
still serving time, serving time with that good man of mind.

58
00:05:02.240 --> 00:05:04.920
I got the kids from one to nine, some of

59
00:05:05.120 --> 00:05:14.800
his and some of mine. Fifty and live in time,

60
00:05:15.040 --> 00:05:18.639
and I love every moment of it. Was beautiful love.

61
00:05:19.399 --> 00:05:23.639
Fifteen years and I'm still serving time. A Pearl Bailey

62
00:05:23.800 --> 00:05:29.199
vocal under the orchestra direction of Mitchell Ayres, recorded on

63
00:05:29.279 --> 00:05:33.240
Columbia Records, April of twenty fourth, nineteen forty five, and

64
00:05:33.319 --> 00:05:36.839
a great way to get this edition of The Make

65
00:05:36.879 --> 00:05:43.360
Belief Ballroom underway. So I was reading this article about

66
00:05:43.399 --> 00:05:47.319
the history of television game shows a few days ago.

67
00:05:47.399 --> 00:05:54.120
In the article mentioned Chuck Barris, Chuck Barris's company and

68
00:05:54.399 --> 00:06:00.439
his hosting and producing of the very campy Gang Show,

69
00:06:00.720 --> 00:06:04.000
which some of you might remember on television in the

70
00:06:04.079 --> 00:06:09.920
nineteen seventies and eighties. Chuck Barris and his company produced

71
00:06:10.120 --> 00:06:14.720
that program, as well as The Dating Game, The Newlywed Game,

72
00:06:14.839 --> 00:06:21.600
and so many more. Now in conjunction with that. By coincidence,

73
00:06:21.759 --> 00:06:25.199
I was playing a few days ago a recording featuring

74
00:06:25.319 --> 00:06:28.360
the Rhythm Boys. I wasn't playing it on the air,

75
00:06:28.480 --> 00:06:32.959
I was playing it for my own personal enjoyment. And

76
00:06:33.079 --> 00:06:38.399
the boys were the great Bing Crosby al Rinker, who

77
00:06:38.399 --> 00:06:42.879
by the way, was Mildred Bailey's brother, and the third

78
00:06:43.120 --> 00:06:47.920
Rhythm Boy was Harry Barras. So when I read about

79
00:06:48.279 --> 00:06:52.079
Chuck Barris, I quickly did a little research to see

80
00:06:52.120 --> 00:06:57.839
if he Harry Barris was related to Chuck. I didn't

81
00:06:57.920 --> 00:07:03.759
expect much, but lo, hold there was a strong connection.

82
00:07:04.480 --> 00:07:07.920
Let me play a real oldie featuring the Rhythm Boys.

83
00:07:08.279 --> 00:07:17.800
Then an amazing story of how Harry Barris joined the trio.

84
00:07:18.680 --> 00:07:19.519
This way.

85
00:08:44.919 --> 00:08:48.240
Why then goes down and I goes down the dark,

86
00:08:48.399 --> 00:08:52.080
gather around down they all begin to show, Hey.

87
00:08:51.919 --> 00:08:55.480
I'll go down here to be on the missis.

88
00:08:58.399 --> 00:08:59.039
Why I do.

89
00:09:01.000 --> 00:09:03.039
Nod. How I am telling.

90
00:09:02.840 --> 00:09:06.440
You a fine up man any time?

91
00:09:06.519 --> 00:09:09.759
By time on their hands, John tab me out the town?

92
00:09:09.960 --> 00:09:12.039
You and Honic come, where's the doc to.

93
00:09:12.080 --> 00:09:21.279
Beat on the miss Lord holiday boy listen, told you

94
00:09:21.840 --> 00:09:30.759
don't all that music, says.

95
00:09:33.039 --> 00:09:38.000
The doctor on my damn you they do money?

96
00:09:38.200 --> 00:09:42.679
How I'm telling you, Oh fine a man, thank you?

97
00:09:42.799 --> 00:09:45.679
Time I five of their hands just to tip me

98
00:09:45.759 --> 00:09:46.559
out of town to.

99
00:09:46.600 --> 00:09:48.480
You and Hona come, where's the docking bes?

100
00:09:48.519 --> 00:09:50.080
And beat all the MESSI.

101
00:10:24.320 --> 00:10:31.559
Yami yana now June, wherema dog.

102
00:10:33.639 --> 00:10:36.639
Fa mem mud?

103
00:10:38.840 --> 00:10:45.080
We just heard Mississippi Mud composed by Harry Barris and

104
00:10:45.279 --> 00:10:50.440
featuring the legendary Paul Whiteman and his orchestra, with vocals

105
00:10:50.519 --> 00:10:57.759
by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton,

106
00:10:58.159 --> 00:11:03.519
Austin Young and Charles gay Lord, recorded on Victor in

107
00:11:03.919 --> 00:11:08.519
New York City, February the eighteenth, nineteen twenty eight. Like

108
00:11:08.600 --> 00:11:13.000
a musical variety show that record was, and speaking of

109
00:11:13.200 --> 00:11:19.480
legendary Bix Beider becks Horn was featured on that best

110
00:11:19.639 --> 00:11:24.279
selling version of the Harry Barris hit song Mississippi Mud.

111
00:11:25.639 --> 00:11:29.600
So friends, as the story goes, first, let me say

112
00:11:29.679 --> 00:11:33.240
I think I forgot to mention that Harry Baris was

113
00:11:33.360 --> 00:11:39.240
the uncle of the television game show genius Chuck Barris. Now,

114
00:11:39.360 --> 00:11:44.039
in nineteen twenty six, Harry Barris was playing the piano

115
00:11:44.879 --> 00:11:51.440
and occasionally providing vocals for the Paul ash Orchestra. Also

116
00:11:51.720 --> 00:11:56.039
in that same year, nineteen twenty six, Al Rinker and

117
00:11:56.679 --> 00:12:01.919
Bing Crosby became members of the Paul Whiteman Orchestra. Is

118
00:12:02.000 --> 00:12:07.159
a singing duo, and they were very well received in

119
00:12:07.360 --> 00:12:12.080
smaller venues. However, in February of nineteen twenty seven, Paul

120
00:12:12.200 --> 00:12:18.120
Whiteman was booked into the cavernous Paramount Theater in New

121
00:12:18.240 --> 00:12:25.600
York City. Now, in nineteen twenty seven, loudspeaker systems and

122
00:12:25.759 --> 00:12:32.039
adequate microphones for large theaters were just being perfected, and

123
00:12:32.240 --> 00:12:35.480
believe it or not, the Paramount at the time had

124
00:12:35.639 --> 00:12:42.519
absolutely no microphones, no speaker system, So while the orchestra

125
00:12:42.840 --> 00:12:46.960
of white men could be heard, the vocals provided by

126
00:12:47.559 --> 00:12:51.480
Bing Crosby and al Rinker were drowned out and just

127
00:12:51.600 --> 00:12:56.320
couldn't be heard by the audience. So Paul Whiteman was

128
00:12:56.440 --> 00:13:01.039
brought into the theater manager's office and given the bad

129
00:13:01.200 --> 00:13:05.720
news that white men and his orchestra were being dropped

130
00:13:05.919 --> 00:13:10.759
from the bill. Now White Men had no problem attracting

131
00:13:10.919 --> 00:13:15.440
crowds to his band's performances and decided to look for

132
00:13:15.559 --> 00:13:19.039
a way to make sure that his vocalists could be

133
00:13:19.200 --> 00:13:22.080
heard in the future no matter where they were playing.

134
00:13:22.960 --> 00:13:23.159
Well.

135
00:13:23.840 --> 00:13:29.360
Paul Whiteman, band member who knew Harry Barris, suggested to

136
00:13:29.679 --> 00:13:34.120
Paul that they add him to make a trio, and

137
00:13:34.639 --> 00:13:39.559
the Rhythm Boys were formed in April of nineteen twenty seven,

138
00:13:39.720 --> 00:13:43.759
and their vocals got a boost and were heard better

139
00:13:44.320 --> 00:13:48.240
in the theaters where White Men appeared, and the Rhythm

140
00:13:48.320 --> 00:13:51.639
Boys became a fixture in Whiteman's band for a number

141
00:13:51.759 --> 00:13:56.519
of years. So an interesting story of how Harry Barris,

142
00:13:57.720 --> 00:14:02.639
the uncle of Chuck Barris, became a rhythm boy all

143
00:14:02.720 --> 00:14:07.240
the way back in nineteen twenty seven. I'm Jeff Bresler,

144
00:14:07.279 --> 00:14:10.320
and you're listening to the one, the only, the original

145
00:14:10.639 --> 00:14:14.519
Make Believe Ballroom to reach me. I'm Jeff at MakeBelieve

146
00:14:14.559 --> 00:14:19.799
Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.

147
00:14:20.799 --> 00:14:24.279
And some of the folks that did reach me will

148
00:14:24.480 --> 00:14:27.399
in turn reach out to you. When I read a

149
00:14:27.480 --> 00:14:32.399
few emails in just a little while. Let's now as

150
00:14:32.480 --> 00:14:35.799
I look at my show list, here, let's spin a record,

151
00:14:36.440 --> 00:14:40.559
And then from Tampa, Florida, the producer emeritus of the

152
00:14:40.679 --> 00:14:45.960
Make Believe Ballroom, the inimitable Lenny from down the Block

153
00:14:46.120 --> 00:17:27.279
with his record pick of the week. That was the

154
00:17:27.440 --> 00:17:32.640
violinist extraordinary himself when Joven Nudi and his orchestra here

155
00:17:32.759 --> 00:17:37.119
today on Decca Records with the song entitled the Flop,

156
00:17:38.000 --> 00:17:41.880
recorded in New York City on January the twenty fifth,

157
00:17:42.200 --> 00:17:48.799
nineteen thirty nine. And now from his palatial condo in Tampa, Florida,

158
00:17:49.319 --> 00:17:54.240
the producer Emeritus of the Make Believe Ballroom, the Platter Prince,

159
00:17:54.440 --> 00:17:59.559
the virtue Woeso of the Virtual Turntable, the world renowned

160
00:17:59.680 --> 00:18:04.599
Miss their Excitement, himself, Lenny from down the Block with

161
00:18:04.799 --> 00:18:07.400
his record pick of the week.

162
00:18:08.279 --> 00:18:10.519
Hi gang, Lenny from down the block, here with my

163
00:18:10.640 --> 00:18:13.759
record pick of the week. Whenever I do something wrong

164
00:18:13.839 --> 00:18:17.079
around the house, my wife Cookie calls me a nitwit.

165
00:18:17.720 --> 00:18:20.480
Just last week, I messed up the garbage disposal here

166
00:18:20.559 --> 00:18:25.319
in the condo, and the word nitwit reverberated throughout Unit

167
00:18:25.519 --> 00:18:29.599
Oney one hundred and twenty six. I decided to take

168
00:18:29.640 --> 00:18:33.079
a look and see if the word nitwit was ever

169
00:18:33.319 --> 00:18:36.559
used in a big band song. I was amazed to

170
00:18:36.680 --> 00:18:42.079
discover that Benny Goodman himself recorded a song called Knitwitz Serenade.

171
00:18:42.960 --> 00:18:46.000
It was the b side to his wildly popular version

172
00:18:46.079 --> 00:18:50.200
of Bugle Call Rag. The record was produced for Columbia

173
00:18:50.599 --> 00:18:53.680
on August sixteenth, nineteen thirty four.

174
00:21:38.559 --> 00:21:43.240
Knit Wit Serenade Benny Goodman and his orchestraed. I don't

175
00:21:43.279 --> 00:21:46.880
think Lenny mentioned it, but that song was written by

176
00:21:47.000 --> 00:21:53.960
the great composer and bandleader Will Hudson and now folks.

177
00:21:54.480 --> 00:21:57.480
Eny mysel Aleta.

178
00:22:00.759 --> 00:22:04.920
And make believe the game from you.

179
00:22:08.559 --> 00:22:14.119
I'm gonna rain wors so sweet, They're gonna allow me

180
00:22:14.359 --> 00:22:15.400
all my be.

181
00:22:17.079 --> 00:22:20.039
A lot of kisses on the bottom.

182
00:22:22.039 --> 00:22:24.240
I'll be glad I got home.

183
00:22:25.079 --> 00:22:30.559
I'm gonna smile and say I hope you're feeling better.

184
00:22:33.680 --> 00:22:38.119
Him close with love the way you do.

185
00:22:41.720 --> 00:22:47.000
I'm gonna send right down and write myself a letter.

186
00:22:50.200 --> 00:22:53.279
And made me believe game.

187
00:22:53.720 --> 00:22:57.519
From Yes, my friends, we do get letters, many of

188
00:22:57.599 --> 00:23:01.440
them in email form, each and every week. I would

189
00:23:01.519 --> 00:23:04.880
like to read a few for you. The first comes

190
00:23:04.920 --> 00:23:08.319
from one of our great listeners who we love to

191
00:23:08.400 --> 00:23:10.799
hear from. He knows his stuff when it comes to

192
00:23:10.920 --> 00:23:16.480
big bands, and it reads, Hi, Jeff, I thought i'd

193
00:23:16.559 --> 00:23:18.720
get in on the act and send you a few

194
00:23:18.799 --> 00:23:22.400
of my favorites. I had a hard time thinking of

195
00:23:22.519 --> 00:23:26.799
some that weren't standards and it wouldn't be likely to

196
00:23:27.000 --> 00:23:30.359
have been played, and I only came up with six.

197
00:23:30.880 --> 00:23:35.519
As you can see, I like songs and vocalists, and

198
00:23:36.000 --> 00:23:40.400
he lists six songs which I will play for you

199
00:23:40.599 --> 00:23:43.480
in just a few moments. He goes on to write,

200
00:23:43.559 --> 00:23:47.000
I enjoy the show on podcast every week, and I

201
00:23:47.279 --> 00:23:52.880
especially enjoy your commentary and the historical background. By the way,

202
00:23:53.119 --> 00:23:57.720
what happened to Dylan? The snotty kids? List of big

203
00:23:57.839 --> 00:24:03.039
band musicians on the Hollywood would walk of fame? Cordially yours,

204
00:24:03.640 --> 00:24:08.160
Joel Eatman. Thanks Joel writing to us from deep in

205
00:24:08.359 --> 00:24:12.799
the heart of Texas by way of Dallas, a wonderful

206
00:24:12.920 --> 00:24:17.640
state that I lived in twice for extended periods of time,

207
00:24:17.799 --> 00:24:22.319
and where my daughter and son in law reside in Austin.

208
00:24:22.920 --> 00:24:27.920
And I will, Joel at your request reprimand the snotty

209
00:24:28.079 --> 00:24:32.799
kid Dylan, who indeed did not follow through. How did

210
00:24:32.839 --> 00:24:36.319
I come to think of it? On continuing his research,

211
00:24:36.480 --> 00:24:41.440
on big band musicians and vocalists on the Hollywood Walk

212
00:24:41.519 --> 00:24:45.920
of Fame. I would dock him pay Joel, but since

213
00:24:46.839 --> 00:24:49.880
I don't pay him, I think I'll just relay your

214
00:24:50.880 --> 00:24:56.039
consternation and have him complete the assignment. I actually haven't

215
00:24:56.079 --> 00:24:59.160
seen him in the studio area today, but he should

216
00:24:59.200 --> 00:25:04.319
be around shortly. But more important to the music at hand.

217
00:25:04.519 --> 00:25:10.720
From the Joel Eatman list, here is number one of sex.

218
00:26:34.720 --> 00:26:39.720
Wooming flat, ring in my ears and blooms my fears.

219
00:26:40.559 --> 00:26:44.759
I'm in my flat in man pattern. My vapatient days

220
00:26:44.880 --> 00:26:45.920
are in the past.

221
00:26:46.839 --> 00:26:48.079
They went to past.

222
00:26:48.960 --> 00:26:50.319
Why couldn't they live?

223
00:26:51.319 --> 00:26:51.839
Jeeves?

224
00:26:52.119 --> 00:26:56.400
Monday in Manhattan, where it ends my holiday.

225
00:26:58.640 --> 00:27:04.839
I hate Monday in Manhattan when my heart is miles away.

226
00:27:06.519 --> 00:27:11.359
Streets of leaning power seem to be my only view.

227
00:27:13.480 --> 00:27:17.599
But I'll close my eyes for hours and I know

228
00:27:18.079 --> 00:27:19.480
that I'll see you.

229
00:27:21.640 --> 00:27:30.599
Then the pavement changes into Hallwood, is glad beyond is.

230
00:27:31.000 --> 00:27:35.720
My arms again, and it all seems so real.

231
00:27:36.279 --> 00:27:40.519
Near the sky line of Steel shouts it's Monday in Manhattan,

232
00:27:41.559 --> 00:27:47.920
that away your dreams have low Jeez, it's Monday in Manhattan,

233
00:27:49.039 --> 00:27:52.039
and it means that I'm a lowe.

234
00:28:14.160 --> 00:28:18.680
We just heard Monday in Manhattan Richard Himber and his

235
00:28:18.839 --> 00:28:24.000
Ritz Carlton Orchestra, recorded on Victor Records January the nineteenth,

236
00:28:24.319 --> 00:28:31.079
nineteen thirty five, with a Stewart Alan vocal, and Joel's

237
00:28:31.160 --> 00:28:35.799
comment on that record Monday in Manhattan is this is

238
00:28:35.920 --> 00:28:39.039
one of my favorites. I think it's a lovely song,

239
00:28:39.720 --> 00:28:43.240
and I don't have a recording of it. Let's now

240
00:28:43.480 --> 00:29:02.000
move on to Joel's second pick, where.

241
00:29:02.559 --> 00:29:07.960
You say, just be friends.

242
00:29:09.759 --> 00:29:17.000
I thought I could let you go, never thought ID cried.

243
00:29:18.599 --> 00:29:26.720
I never knew I loved you, So I act gay,

244
00:29:28.599 --> 00:29:29.799
laugh and play.

245
00:29:31.359 --> 00:29:38.119
It's so that no one will know I've a broken hard.

246
00:29:39.920 --> 00:29:41.519
It's so hard to.

247
00:29:41.720 --> 00:29:42.279
Let you go.

248
00:29:45.559 --> 00:29:49.119
When I still thrilled to your touch.

249
00:29:50.000 --> 00:29:55.400
Live for your glance, Find myself trembling when you ask

250
00:29:55.559 --> 00:29:56.440
me to dance.

251
00:29:57.519 --> 00:30:01.799
The scene is the same. It's summer again.

252
00:30:02.440 --> 00:30:07.880
My friends, to approach me away screen your name can't

253
00:30:08.000 --> 00:30:08.279
go on.

254
00:30:09.960 --> 00:30:16.119
I can't forget. I'm jealous and hurting side.

255
00:30:17.359 --> 00:30:23.720
When you said park, keep my darling, how you love?

256
00:31:05.000 --> 00:31:12.079
When I still frail to your touch, Play for your glance.

257
00:31:13.319 --> 00:31:16.279
Find myself trembling when you.

258
00:31:16.480 --> 00:31:23.759
Ask me to dance. The seed is the same. It's

259
00:31:24.000 --> 00:31:24.960
summer again.

260
00:31:26.240 --> 00:31:31.640
My friend still reproach me for always string rny.

261
00:31:33.119 --> 00:31:43.880
Can go, I can for again? I'm jealous and pertain side.

262
00:31:45.279 --> 00:31:50.599
When you said Park keeps my God.

263
00:32:03.319 --> 00:32:08.200
From Victor Records, Darling, how you lied? By Wayne King

264
00:32:08.519 --> 00:32:13.519
and his Orchestra. Vocal by Buddy Clark, recorded in Chicago,

265
00:32:14.319 --> 00:32:18.880
August the second, nineteen forty one and Joel An interesting

266
00:32:19.079 --> 00:32:24.920
side note about this recording, Buddy Clark was the regular

267
00:32:25.359 --> 00:32:30.440
vocalist on Wayne King's radio program, so on the original

268
00:32:31.079 --> 00:32:35.720
Victor label of this record, Buddy Clark was not listed

269
00:32:36.079 --> 00:32:39.599
as the vocalist, and this was due to the fact

270
00:32:39.720 --> 00:32:43.720
that he had an exclusive contract as a soloist with

271
00:32:44.279 --> 00:32:49.599
Okay Records. So little history behind the Buddy Clark Wayne King.

272
00:32:50.279 --> 00:32:53.200
I guess you would call it a tear jerker, Darling,

273
00:32:53.640 --> 00:32:58.079
How you lied? Folks? This is Jeff Bressler here and

274
00:32:58.519 --> 00:33:01.880
you're listening to the weekly version of the Make Believe

275
00:33:01.920 --> 00:33:06.279
Ballroom to reach me like Joel Eatman did, Who's record

276
00:33:06.440 --> 00:33:10.599
list of favorites we are enjoying? I'm Jeff at Make

277
00:33:10.640 --> 00:33:15.039
Believe Ballroom Radio dot Com. That's Jeff at Make Believe

278
00:33:15.160 --> 00:33:17.240
Ballroom Radio dot Com.

279
00:34:19.559 --> 00:34:24.599
Your but didn't care more than words can say.

280
00:34:25.719 --> 00:34:30.400
If I didn't care who the feels this way?

281
00:34:31.800 --> 00:34:38.480
If this isn't love, then maybe I'm lone. But why

282
00:34:38.599 --> 00:34:41.719
do I love way all night and dreams?

283
00:34:42.639 --> 00:34:42.800
Oh?

284
00:34:43.199 --> 00:34:49.000
They love but didn't care? Would it be the same?

285
00:34:50.159 --> 00:34:55.280
Would my every prayer begin on him was just your name?

286
00:34:56.480 --> 00:34:59.719
And would I be sure that this is love?

287
00:35:00.320 --> 00:35:06.920
Young who knows this feature is not? Didn't a f.

288
00:35:59.440 --> 00:36:03.960
That was an Joel Eatman favorite big band arrangement of

289
00:36:04.079 --> 00:36:09.719
the great nineteen thirty nine Ink Spots hit on Vocalian Records.

290
00:36:09.800 --> 00:36:13.519
We just heard If I Didn't Care? By Count Basie

291
00:36:14.199 --> 00:36:18.480
and his Orchestra with a vocal by Helen Humes, recorded

292
00:36:18.599 --> 00:36:23.880
in New York City on April fifth, nineteen thirty nine.

293
00:36:24.480 --> 00:36:29.159
How about another Joel Eatman music list fave. I also

294
00:36:29.440 --> 00:36:30.440
love this tune.

295
00:37:36.119 --> 00:37:40.400
McPherson is rehearsing and the bagpipes.

296
00:37:39.679 --> 00:37:44.679
Are Repson for McPherson is rehearsing to swell.

297
00:37:46.000 --> 00:37:52.119
And from Merienburg to Dundee, every lad every LESSI no macpherson,

298
00:37:52.360 --> 00:37:54.440
is we hurtle to swee?

299
00:37:56.519 --> 00:37:58.360
I didn't I care, said Sandy.

300
00:37:58.440 --> 00:38:03.920
If the elders our approval, hither chickenwear Gland the dandy and.

301
00:38:04.119 --> 00:38:05.880
The men a mellow grooves.

302
00:38:06.320 --> 00:38:11.719
Now the bunny bunny lessie with the kilties on their chessis.

303
00:38:11.639 --> 00:38:17.239
Have forgotten all about the Highland flag. Young and no

304
00:38:17.480 --> 00:38:20.000
folks got to get to her in this truck.

305
00:38:20.079 --> 00:38:25.760
And then the had the When McPherson is reversing two sways.

306
00:38:58.159 --> 00:39:01.599
I got did not get that, Sandy, give me how

307
00:39:01.760 --> 00:39:05.239
then roof, I'm a chick web Ben.

308
00:39:05.360 --> 00:39:07.599
Andy and I'm min afella.

309
00:39:07.880 --> 00:39:08.119
Roof.

310
00:39:08.639 --> 00:39:12.960
Now the bunny bonny lessies with the guilties on their

311
00:39:13.119 --> 00:39:18.000
chessis have forgotten old fast, helvely.

312
00:39:19.159 --> 00:39:19.599
Younger.

313
00:39:19.800 --> 00:39:23.960
No folks get together, and they're struck in the header.

314
00:39:24.360 --> 00:39:27.239
When McPherson and rehearsal to.

315
00:39:27.519 --> 00:39:43.880
Swear, McPherson is rehearsing to swaying Chick Webb and his orchestra.

316
00:39:44.239 --> 00:39:49.039
Ella Fitzgerald vocal recorded on Decca Records in New York

317
00:39:49.119 --> 00:39:55.679
City back in nineteen thirty eight, and the next selection

318
00:39:55.880 --> 00:40:00.400
by Joel is a Benny Goodman Fred Astaire collabor dration.

319
00:40:01.360 --> 00:40:04.079
This is the second and I, come to think of it,

320
00:40:04.159 --> 00:40:07.599
Benny Goodman tune we're playing on the ballroom today. But hey,

321
00:40:07.719 --> 00:40:09.880
you can never get enough of Benny Goodman?

322
00:41:12.239 --> 00:41:13.280
Who cares?

323
00:41:14.960 --> 00:41:16.239
If the sky.

324
00:41:17.920 --> 00:41:18.280
Cares?

325
00:41:18.360 --> 00:41:19.639
Who all.

326
00:41:20.960 --> 00:41:25.199
In the scene? Who cares?

327
00:41:25.480 --> 00:41:28.760
What banks fay in Yon? Girls?

328
00:41:31.199 --> 00:41:32.159
Long as you.

329
00:41:32.639 --> 00:41:39.880
Got to kiss thy conquers? Why should I care?

330
00:41:41.800 --> 00:41:43.559
Life is one long?

331
00:41:44.800 --> 00:41:46.239
You believe.

332
00:41:47.400 --> 00:41:49.159
So mons eyes.

333
00:41:50.119 --> 00:41:51.639
Care for you and.

334
00:41:54.519 --> 00:41:57.360
You care for me.

335
00:42:57.119 --> 00:43:01.000
From the George and Ira Gershwin hit Music of nineteen

336
00:43:01.159 --> 00:43:05.840
thirty one of the I Sing on Columbia Records. Who

337
00:43:06.039 --> 00:43:10.440
Cares by Fred Astaire with Benny Goodman and his Orchestra,

338
00:43:10.679 --> 00:43:16.280
recorded in Hollywood, California, April the thirtieth, nineteen forty, and

339
00:43:16.440 --> 00:43:19.960
Joel tells me in his email that Fred Astaire was

340
00:43:20.039 --> 00:43:24.000
his favorite male vocalist. And now to round out the

341
00:43:24.119 --> 00:43:46.079
Joel Eatman list, here on the Make Believe Ballroom, it's.

342
00:43:46.000 --> 00:43:51.440
Gonna rain in any minute. There is not a storm

343
00:43:51.679 --> 00:43:54.519
time things on my floor.

344
00:43:56.559 --> 00:44:01.320
I guess I'll close the shop and go to Joe.

345
00:44:04.400 --> 00:44:11.400
I know he would be glad to see me without

346
00:44:11.679 --> 00:44:18.719
a penny to the good. But I'm am not caring

347
00:44:18.920 --> 00:44:21.000
much what happened.

348
00:44:24.000 --> 00:44:33.559
I did the best time. He's just good for nothing, Joe,

349
00:44:35.320 --> 00:44:43.639
but all love himself. Guess that die good for nothing?

350
00:44:44.559 --> 00:44:49.679
Joe ever tried to leave me?

351
00:44:50.039 --> 00:44:52.159
Flast Oh?

352
00:44:52.320 --> 00:45:00.480
Yes, I'm certain of that octane can't understand.

353
00:45:01.639 --> 00:45:04.519
Why I'm a time that man.

354
00:45:06.480 --> 00:45:14.920
Lord, he tends me like nobody cares a a woman

355
00:45:15.480 --> 00:45:25.639
just like that, I wouldn't mine do what I'm.

356
00:45:28.239 --> 00:45:35.280
I beat these three till my feet with but when

357
00:45:35.320 --> 00:45:43.000
it flows and I go home to him instead of sympathy,

358
00:45:44.519 --> 00:45:47.480
he's just as mean as can.

359
00:45:49.840 --> 00:45:49.880
Do.

360
00:45:50.679 --> 00:45:57.440
There's nothing I can do because I love him soul.

361
00:45:59.719 --> 00:46:02.639
I'd be good formhing to.

362
00:46:06.639 --> 00:46:27.880
With a good for nothing Joe, sad be good for nothing,

363
00:46:28.119 --> 00:46:42.199
Do no with a good porn nothing Joe, Go.

364
00:46:42.960 --> 00:46:51.519
Home to Joe, good for Nothing Joe by Charlie Barnett

365
00:46:51.559 --> 00:46:54.719
and his Orchestra with a Lena Horn vocal recorded on

366
00:46:54.880 --> 00:47:00.000
Bluebird Records in nineteen forty one. The song was a huge,

367
00:47:00.039 --> 00:47:04.119
huge hit for Lena Horn in the early nineteen forties.

368
00:47:04.840 --> 00:47:08.840
And thanks Joel Eatman for sharing your list of six

369
00:47:09.079 --> 00:47:15.880
favorite recordings featuring big band orchestras with vocalists. You can

370
00:47:15.960 --> 00:47:20.159
send me your own list by writing to me at

371
00:47:20.519 --> 00:47:25.400
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at

372
00:47:25.440 --> 00:47:29.199
MakeBelieve Ballroom Radio dot com. You can also go to

373
00:47:29.639 --> 00:47:34.320
Make Believe Ballroom Podcast dot com. Make Believe Ballroom Podcast

374
00:47:34.440 --> 00:47:39.440
dot com and record a voicemail with your comments and requests.

375
00:47:40.159 --> 00:47:42.639
Just go to the lower right hand corner of the

376
00:47:42.760 --> 00:47:47.320
page and press the microphone icon and record away to

377
00:47:47.480 --> 00:47:52.440
your heart's content. Radio is our main game here on

378
00:47:52.639 --> 00:47:55.880
the Ballroom, and we certainly cherish all of our station

379
00:47:56.000 --> 00:47:59.360
affiliates around the country. But a few years ago we

380
00:48:00.159 --> 00:48:04.039
sided to also place many of our programs as podcasts

381
00:48:04.760 --> 00:48:10.320
on all of the favorite podcast providing platforms, including Make

382
00:48:10.400 --> 00:48:14.519
Believe Ballroom Podcast dot com. And that is how Joel

383
00:48:14.679 --> 00:48:18.039
Eatman listens to the program. And there's a couple of

384
00:48:18.239 --> 00:48:23.880
hundred shows on podcasts for your enjoyment at MakeBelieve Ballroom

385
00:48:24.039 --> 00:48:30.960
Podcast dot com. Let's see what we have up next. Oh,

386
00:48:31.039 --> 00:48:34.719
I wanted to mention this before I play this record.

387
00:48:35.400 --> 00:48:39.000
Did you folks know that currently? I think you all

388
00:48:39.079 --> 00:48:42.320
know currently in most states you can play the daily

389
00:48:42.519 --> 00:48:48.320
numbers game at any lottery dealer, any convenience store, you

390
00:48:48.480 --> 00:48:55.119
go into supermarket, so many stores have lottery terminals. But

391
00:48:55.360 --> 00:49:00.719
years ago, the numbers game, which was illegal and there's

392
00:49:00.760 --> 00:49:05.400
something you had to do through your favorite neighborhood bookie

393
00:49:05.719 --> 00:49:10.679
was one of the most popular forms of gambling Now,

394
00:49:10.800 --> 00:49:14.599
the numbers used to be related to the last numbers

395
00:49:14.880 --> 00:49:18.320
of the track handle for win, place and show at

396
00:49:18.719 --> 00:49:24.119

Make Believe Ballroom - 6/26/26 Edition

Listen On

Recent Episodes