Make Believe Ballroom - 6/5/26 Edition

0:12 It's make Believe ballroom time. Put all your cares away. All the bands are here to bring. Good cheer your way. It's make Belief ballroom time and free to everyone. It's no time to friend your Dalis said Babs. Close your eyes and visualize in your solitude. Your favorite bands. Are on the stands. And mister Miller, what's you're in the mood? It's make Believe ballroom time. We are a sweet romances.

1:00 You make the bottom common jo, the last dat last. Hello world, I'm Jeff Presler, turning on the lights of the Make Belief Ballroom and welcoming you into my Crystal studio for another program of classic big band music from the nineteen thirties and forties. Please get ready as I play for you some amazing jazz, swing, blues, and boogie woogie favorites. Folks, you're listening to the Make Believe Ballroom, broadcasting almost continuously since nineteen thirty five, and to welcome, Welcome, Welcome one and all into the Crystal studio, and thanks so much for joining me today. One of my favorite things to do here in the ballroom is to play both the A and B sides of seventy eight RPM Records, and let's start off with an E side of a Brunswick recording.

2:15 The want. Nothing with anything, do anything. Swing me with rhadom Ah, That's why I live him.

3:19 Now. Swing me wear rdom all, drive my blues away wall. When I'm feeding blue and don't know what to do. Give me rhythm bar and I'll swing along with you. Swing me get riddom or drive my blues away yes.

4:50 From Brunswick Records. Swing Me with Rhythm by Louie Prima and his New Orleans Gang Vocal by Louie recorded in New York City, April the third, nineteen thirty five. And uh, that was the A side. Let's listen to Louie on the B side of that Brunswick record.

6:09 Roses are red violence of blue sugar is sweet, and so are you. My love is yours, Your love is mine. I'll tell the world that you're divine. When I first looked into your eyes. And you died, I found paradise. Roses are red pile as of blue sugar is sween, So are you all roserved and violets of blue sugar see you? When I first looked into your eyes and you die. And I find Paradise. Roses are writ and violence are blue.

6:49 Sugar is sweet and soil. You something to bomb the summers. From Brunswick. Sugar is sweet and so are You by Louis Prima and his New Orleans Gang. Vocal by Louis Prima,

8:21 recorded in New York City, April nineteen thirty five. And you know I really enjoyed that, so well, why not continue my enjoyment and hopefully yours with another A and B side. I got a guy who's all is late and a time we have a day. But I love her, Yes, I love.

9:12 He's gonna walk. Up to my gates. See if he can get it straight because he want wasn't. He's gonna ask. Her, it's you, wiz as you ain't my baby? Well, you're acting lady makes me die you It's still my baby, baby, It seems my flame and your heart's done gonaup.

10:00 A woman is a creature that has always been strange. Just when you're sure of one, you find she's gone and made a change. Is you is or is you ain't? My baby? Maybe babies found somebody in me? Is my baby? It's still my baby? True? Is you or is you ain't My baby, baby baby. By the way you're acting lety makes me down.

10:41 Yea, who's been cutting me? Still my baby, baby, baby, baby boy. It seems my flaming your heart's. Gone gone out black eyes. A woman is a creature that has all has been strange. Just when you're sure of one. You find she's gone and made a change and took my change. Is you is ea? Is you ay? My baby? Maybe baby find somebody you? Maybe baby's by somebody. My baby steal my baby? Is you or ain't You?

11:31 My baby? Bing Crosby and the Andrew Sisters recorded as the A side for Deca Records back on June the thirtieth of nineteen forty four. Is You or Ain't You My Baby? Was written by a gentleman we featured on I think it was last week's program Louis Jordan and Louis Jordan and his Timpany five made a hit out of that song one year earlier, in nineteen forty three, You know, Bing Crosby and the Andrew Sisters recorded an amazing I think it was close to fifty songs together during their Well They're immensely successful partnership with the Decca Records that produced so many hits. Now let's listen to the b side of Bing and the andrew Sisters, a World War Two morale booster.

12:33 There'll be a. Hot time in the town of Berlin when the Yanks go marching it. I want to be their bars, spreads and job when they take Old Berlin. There'll be a hot time in the town of Berlin when the. Brooklyn bars begins to take the Giina part and tear it down. When they take Old Berlin, they're gonna start around and show them how we paint the town back in cold mo. They're gonna take a hike through Hitler's right and change that high to watch. You know, Joe, There'll be a hot time in the town of Berlin when the Yanks go marching in.

13:17 You can never keep them happy down. On the farm. After the take Berlin. There'll be a hot time in the town of Berlin when the Yanks go marching in. I wanna be there, boys, spend some joy where. They take over. LI will be your hot time in. The Tiberlin when the Brooklyn boys begins to take the joint. Of pie, tear it down. When they go, They're gonna start a round and show them how you paint the down back in the chicken. They're gonna take a hike through Hitler's right as the hill to give me some skins.

14:02 There'll be a hot time the town of Berlin, and when. The Yanks go marching in, You're never going to keeping happy down on the parn after. The Burlin'll be a hot time in the town of burl when the Yanks go marching in. I wanna be there, boy, express some jo away. When they take Berlin the Yanks go Marchingen, will be your heart. Time in the town of Berlin when the brook when boys begin.

14:43 The boys begin to take the. Jar upon, tear it down. Why they take Berlin. It'll be a hot time the town of Berlin where. The Yanks don marching in. You can never keep ha. A life of these would never please the shutter with a law now you couldn't didn't. There'll be a hot time in the town of Berlin. Written by Sergeant Joe Bushkin and Private John Devrees, Bing Crosby and the Andrews Sisters Orchestra conducted by Vic Shoon.

15:32 I'm Jeff Presler, and you're listening to one of America's longest running programs the Make Believe Ballroom on the air almost continuously since nineteen thirty five, and you're I'm going to take a moment here, I guess when you look at music program longevity, it has to be the Grand Old Opry at number one, broadcasting to this very day, since I suspect it was, well, I didn't have time to research this. I'm just doing it off the cuff, but I would guess around nineteen twenty five. Then the second longest would probably be the Metropolitan Opera Weekly broadcasts still taking place to this very day during the opera season.

16:20 Those shows hosted for so many years by the legendary Martin Cross, started around I guess right around nineteen thirty And then I think third would be this program To Make Believe Ballroom since February third, nineteen thirty five, and except for a few years in the nineteen seventies, we've been broadcasting in one form or another since, sometimes on commercial radio and with your humble host for the last ten years, trying not to mess things up too badly on publican community radio stations all across the United States as well as in the United Kingdom, and to help assure that fact I need to spend a winner for you here, so there'll be a hot time in the town of Berlin. That we just heard was written by Sergeant Joe Bushkin and Private John Davrees. Joe Bushkin wrote the song with Dvrees while in the Armed Forces during World War Two, but Bushkin was known in civilian life as a really great jazz pianist. I think he was also a trumpeter, and of course is a triple threat, as mentioned a composer. So let me play a Bushkin civilian tune.

17:58 I'm not the guy who. Cared about love and another guy who cared about fortunes and such, never cared much. Oh look, you know, I never knew the technique of kissing. I never knew the thriller I could get from your touch, never knew much. Look at you know, you're a new man kissing over.

18:40 With a new heart, a brand new star. I'm so proud. I'm busting my. VESE saw you're the girl who turned out a love. Yes, I'm the guy who laughed at those blue diamond rings, one of those things. Look at you know, he's not the guy who cared about love. Man, He's not the guy. Who cared about fortunes. And such, cared about much bad. Look at him.

19:20 Now, I'm a lover. He never knew the technique of kissing. He never knew the thrill he could get from her touch, never knew much fine. Look at him now, man, and I really come on. He's a new man, that a band caressing over and his best rider, with a new. Start, a brand new hall. He's so proud he's busting his best. So he's the guy who turned out a lover.

20:02 So he's the guy who laughed at those blue diamond rings. One of those things, Bud, Look at me. Now he's a new man, better fan, Castanova. He's got a new giant it's ring. Why I'm so proud, I'm busting my vest. He's a lover. Yes, we know he's a lover. Yes, I laughed at those blue diamond rings. Just one of those things.

20:42 God, look at him, Jack, I'm ready look at him. Oh, look at me now. A classic by Tommy Dorsey and his orchestra, vocal by Frank Sinatra, Connie Haynes and the Pied Pipers, written by Joe Bushkin and John Davrees, recorded on Victor Records back in nineteen forty one. Now from nineteen forty one, let's go back to nineteen thirty four with Todd Rollins and his orchestra. Todd Rollins never heard of him. Don't worry about that, because most people never heard of him either.

22:20 I'm going to give that junk man my broken heart, the broken heart I got from you. I'm going to give that junk man my broken heart for a load of thirty two. I'm going to give that junk man my old mad rags. I'm gonna wear the suit of black. You better pack your trunk out and pack your bags because I'm getting on your tracks now. I ain't bragging, no no, but you can't throw me down. I'm going to fix your wagon. Yeah, man, So you can't go to town. I'm going to do you right because you've done me wrong. I'm going to do you black and blue, and then I'll tell that junk man to come along and what's.

23:01 Left of you. And on the budget melatone label junk Man by Todd Rollins and his orchestra, vocal by Chick Bullock, recorded in New York City, January the twenty second, nineteen thirty four.

24:27 So Todd Rollins and his Orchestra was popular band in studio orchestra that recorded extensively during the mid nineteen thirties, particularly in nineteen thirty four and thirty five. The Orchestra released numerous seventy eight rpm records on budget labels like Banner Romeo and what We just heard Melotone Records. So why haven't we heard of Todd Rollins beyond the fact that he recorded for several budget labels. Well, that's because there was no Todd Rollins. The band was largely a studio creation, operating as a pseudonym for a collective of anonymous, highly skilled musicians and vocalists. Several of their notable releases featured vocals by famous performers of the era, such as Dick Robertson and Chick Bullock, who indeed did get credit on the record labels, not with pseudonyms, but with their actual names. So someone had to be fronting for the fictitious Todd Rollins. And who may that be?

26:43 Is no one fond of dumb one? Well, no one me? You lie the dumb one. You leave me hord of this? You hold me back? You mean dangling on a string like a jumping jack is no one. I'm the one who knows it. You're teasing me. Every action shows it. You build me up for kisses, then you let me down with none and sweet ones, No One.

28:34 Again from Melotone Records. It's No Fun by Jeane Cardos and his orchestra vocal by Bean Wayne, recorded in New York City, March the thirteenth, nineteen thirty six. And yes, indeed the mystery is solved. It was Hungarian bandleader Gene Cardos, who was also known as Todd Rollins, who made a series of records for Melotone, an in studio band that never appeared in public. Now. Cardos, if I recall, left the band business full time around nineteen forty, and he actually went to work for the postal service by day and played exclusively for many years at a small Hungarian restaurant. I think it was in New York Town or Yorkville section in New York City, and I think it was also called Zimmerman's. And how do I remember that, because probably about five or six years ago a listener actually sent us a menu, an old menu from the nineteen forties. I think it was called Zimmerman's Hungaria. I'm gonna have to look around to see if I still have that menu, but nevertheless Jeane Cardos aka Todd Rollins.

30:25 Fish the Fish the.

32:12 Right Right. Us from Decca Records. Blues On Parade by Woody Herman and his Orchestra, recorded in New York City, December the thirteenth, nineteen thirty nine. I'm Jeff Bresler, and you're listening to the one, the only, the original Make Believe Ballroom. And thanks for joining me today in the Crystal studio as I spin some great records by great bands and orchestras, and not many greater than this orchestra.

34:41 The sh. From Them.

36:20 From Bluebird Records. Johnson Rag by Glenn Miller and his Orchestra, recorded in New York City, November fifth, nineteen thirty nine. From early Glenn Miller here on the Make Believe Ballroom. Now let me place on the turntable a number one record from the year nineteen forty five. My Shuper Cay.

37:04 Because I'm sweet on candy, and Candy is sweet on me. Sheer stands me my understanding. Candy and Candy is. All always handy. When I need savebody. I wish that fair world for of her so I could love much more of her.

37:53 She has taken my come sweet. Heart, God a sweet to for my sweetheart. Can It's not a be just the day I take my canby and make her mine all mine. Can I call my sugar Can.

38:41 Because I'm sweet on Candy, and candy sweet on. With that world for. So kolmuchrom him. He has taken your complete hard You gotta sweet due for your sweet Marckety.

39:21 It's gonna be. Just name me the God take my can. Jeehov A side will shot on the Tame Bcks. On Capitol Records from nineteen forty five. We just heard the classic Candy sung by Johnny Mercer and Joe Stafford and the Pied Pipers Orchestra conducted by Paul weston a Billboard chart number one record back in nineteen forty five.

40:13 I'm Jeff Bresler, broadcasting from the Crystal Studio when you're listening to the weekly edition of the Make Believe Ballroom and, as I referred earlier, the third oldest musical broadcast still on the air. If you'd like to reach me, I'm Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at Makebelie Ballroom Radio dot com. And if we have some time. I have a couple of requests coming your way in a few minutes. But first a trivia question. With her nineteen forty one hit Walking by the River, she became the first black woman to have a composition placed on a national US Billboard chart.

40:57 Who was she? I'll give you the answer after I play said song. There's d up on the ground. And not a soul inside. I'm looking by. The river because of meeting someone. They tonight, I hear a distant.

41:38 Song, I see a far off flight. I'm looking by. The river because of meeting someone. They to night. Murmur water say there's no time to delay. Hurry on your way, my friends. If you don't get the soup, they may not be to guide you to that happy My heart is riding high.

42:23 My blues have taken the flight. And I'm walking by. The river because I'm meeting someway tonight. M hm.

43:21 The murmur want to say. There's no time to delay, so hurry on your way, my friends. If you don't get that soup, it may not be a move to guide you to that happy And my heart is riding high. My blues have taken flights, and I'm walking by the River because I'm meeting someone there. To Walking by the River by Una May Carlyle Una May on piano, accompanied by Benny Carter with that muted trumpet, Everett Barksdale guitar, Slam Stewart the bass, and Zudi Singleton on the drums. A truly beautiful song composed and sung by Una May Carlyle, and that song, as I mentioned, the first ever to hit the charts as a number one Billboard song by an African American female. She was also the first African American to host a weekly national radio program, the Una May Carlile Radio Show, broadcast by ABC, and she learned well in her early years. She was

44:55 discovered at seventeen by the great Fats Waller, so Unam Carlisle modeled her initial piano technique after his rhythmic stride and boogie woogie styles. She sang with the Fats Waller's band on the famous nineteen thirty nine recording of I Can't give you anything but love Baby? So why don't I play that for you? Now? I can give you anything but love, Bay. That's the baing Of've plenty.

45:48 Of gem. Your own you shure you. Fil happenname. And again the whole thing you show to fine for she all to see you. Looking swell, my fail wind right outside the door, me looking swell anyway, dime, mbracets, woolvers dove, Sir.

46:30 I never had bristling in my life. Whatever I wanted for she's that lucky day you know? Done where what else. That I can. Anything? Come here? Let me tell you something. I can't dish out in anything. Bird loves best. That's the only thing I've got planted all.

47:11 Babe, you're talking about dreaming the wire, Give me the wine your shall provide. Happily, all those final Arabians things, your little hot pines fall. Yeah, skipper, I'd love to see you a little bit sweat. Diamond bracelet on one. Ain't got no business sellers, you can go to go carbu love well, well, well, hold till that duck eat me.

47:57 You know who's done well? Well, maybe I'm pass. And getting off. I can't give you anything but love. Recorded on Victor Records in October of nineteen thirty eight, featuring Thomas Fatzwaller and Una May Carlisle. And Now as I look at the clock, I think we can handle a couple of requests. I'm Jeff at MakeBelieve Ballroom Radio dot com. Jeff at MakeBelieve Ballroom Radio dot com and first Up and Felder from Sarasota, Florida. I would assume one of the members of the infamous Sarasota Condo Pool Gang and asks for any version of Holy smoke? Can't you take a joke?

48:58 So for you, Ann?

49:57 What if I showed up behind the legs coming from another day? Holy smooth? Can't you take a jewel? That was no lipstick on my tie? That was only cherry pie? Holy smooth? Can't you take a Joel? Bet? If you wrote to bitches Fairfax and that's heir what to do? Bet? If you only gave her the Fairfax, she'd say, I love you, Honey. I didn't tell those lies. Must have been you other guys. Holy small. Can't you take a Joe?

51:32 From Decca Records recorded on December fourth, nineteen thirty nine, Henry Bousse and his orchestra, vocal by Billy Sherman, Holy smoke? Can't you take a joke? And thank you Ann very much for that request. Once again, Jeff at Make Believe Ballroomradio dot Com. Jeff at MakeBelieve Ballroom Radio dot com. And now another request from our old friend in New York, York City, Michael Fusco, the ballroom Hunter. He writes, High Jeff, when you played the two Artie Shaw performances from the Cafe Rouge, I looked at my two terra cotta wall arch pieces from the Cafe Rouge and thought about how those original sound waves bounced off of them. I wonder if these are the only remaining remnants of the cafe?

52:29 Can you play Ted Heath and his Orchestras Hindustan that was recorded back in nineteen forty seven for Michael of course.

53:38 Name thank you.

54:57 Said he didn't the stand for Michael Fusco from back in nineteen forty seven. And I still have more requests that I don't think we're going to be able to get to. Joel, my friend, I'll play one for you next week. Who else do we have? We have Larry Lang who wanted O Johnny from the Andrew Sisters. Likewise, next week for you, Larry, Hopefully you got your andrew Sisters fix with the A and B side record with Ben Crosby I played earlier in the program. Folks, we are out of time. The big hand on the big bull of a clock here in the crystal studio is approaching the top of the hour. Thanks so much for joining me today. To reach me Jeff at Make Believe Ballroom Radio dot com. That's Jeff at make Believe Ballroom Radio dot com. We want to take a moment to thank our syndicators and distributors for offering the Make Believe Ballroom cost free to commercial, free, Public, Community, and Universe city radio stations. They are the Public Radio Exchange p r X, the PACIFICA Network, and Global Community Radio. The program's flagship affiliate is Jazz ninety point one WGMC in Rochester, New York. The Ballroom is also heard on your favorite podcast provider, So Friends until next week. This has been Jeff Bresler.

56:25 It will double my chances. I can see it your glance room for while we're playing and the man is playing music. Tammy show you broad tender, sweetly surrender, kill my willing up, Let. Go. It's only a small room. You know. Make me leave a room. Let us APIs the bush