Feb. 13, 2026
Make Believe Ballroom - 2/13/26 Edition
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On this week's edition of the Make Believe Ballroom, hosted by Jeff Bressler, a look at a bygone record company, movies from the silver screen, how a Bing Crosby financial investment changed audio recording, and more records and reminiscences from the golden age of the American songbook.
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It's make believe ballroom time.
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Put all your cares away. All the bands are here
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to bring good cheer your way. It's make believe ballroom
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time and free to everyone. It's no time to friend
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your Dalis said, boys, close your eyes.
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And vis you lie in your solitude.
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Your favorite bands are on the stands and mister Miller,
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but you're in the wood. Its make believe ballroom time.
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We are a sweet man.
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As you make it bottom.
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Come on, Jole the last dass last.
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Hello world, I'm Jeff Presler, turning on the lights of
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the Make Belief Ballroom and welcoming you into my Crystal
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studio for another program of classic big band hits from
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the nineteen thirties and forties. Please get ready as I
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play for you some amazing jazz, swing, blues and boogie
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woogie favorites. Folks, you're listening to the Make Believe Ballroom,
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broadcasting almost continuously since nineteen thirty five. And welcome one
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in all into the Crystal studio, and thanks so much
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for joining me today. A lot of music and a
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lot of great stories playing for today's program, and that
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planning gets underway with this record.
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Wow Wow, Wow, way on men, were men of men,
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and where men are.
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Very sweet, that's where I want to be. That's where
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I'm gonna be way up when just once.
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Again we're having ourselves complete.
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There's just one thing I mean, and it is there all.
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Give me a hot craty hawk, give me about.
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Room and let's be wo wow wow.
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Wow. Give me a ranch, sir, give me a step
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two and let's see.
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Wow wow wow.
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Give me the way of space.
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While I'm just like pray.
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Rolling wild raby roll. Give me a prairy, give.
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Me a gatt watch and let's see wow wow wow.
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He also.
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U on Perfect Records Wowhoo by Joe Haymes and his orchestra,
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Nice Vocal by Cliff Weston and the Headliners, recorded in
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New York City, January the twenty fifth, nineteen thirty six.
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And you know I don't play many Perfect Records on
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the show. I can't remember the last one I spun
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from that label, but from its start back in nineteen
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twenty two in Brooklyn, Perfect Records was for many years
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top selling record label. The American Record Corporation AARC purchased
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them in nineteen twenty nine, and Perfect continued to be
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a successful label. A successful budget label through the thirties,
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but then the ARC dropped their entire group of cheaper
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labels in late nineteen thirty eight, and with that went
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then to be defunct Perfect Records. Let me play one
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more from the Perfect Record Company.
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Just follow me and you will see what folks in
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hormone contriguration don't mean a thing this crazy swing ladies
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swinging hormone drigaration.
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Revo, look what you want and done revo.
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You won't give me one another pray is just another grade.
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Everyone in harmon don's rage. It did if not good,
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didn't but did not go if Martin skipping.
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More fine and stringer rag but nothing but not you
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laughing numble lands incluation really.
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A word, he lucky one, but it did not love me,
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did not don't keep but that nothing me.
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On Perfect Records. We just heard Tricker ration by Cab
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Callaway and his orchestra Vocal by Cab, recorded in New
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York City, October the twenty first, nineteen thirty one. I'm
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Jeff Presler, and you're listening to the weekly edition of
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the Make Believe Ballroom, coming to you from the Crystal Studio.
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I'm going to play another record. Then two songs that
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came out of movies. One of those movies and not
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so great, and the other history making for both the
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filmmaking and the vocalist.
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He and.
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He I.
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Do the.
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Way the Digger.
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Recorded on British Decca August the twenty sixth, nineteen thirty five.
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Coleman Hawkins and the Ramblers Dance Orchestra with meditation certainly
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one of my favorite Hawkins sides with the Ramblers. Coleman Hawkins,
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of course, was the father of the Tenor Sacks, and
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we just heard a very expressive peace. I also enjoyed
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the restrained backup by the Ramblers meditation, beautiful song. Coleman
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Hawkins and his Ramblers Dance Orchestra. I am not the
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father of the Tenor Sacks, but I am indeed a father.
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And you're listening to Jeff Bresler and the weekly edition
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of the Make Believe Ballroom. So back in nineteen thirty six,
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March fourth of that year, to be precise, Republic Pictures
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released a film titled Laughing Irish Eyes. It was released
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with the Republic just being founded about a year before that.
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In nineteen thirty five. The studio didn't make big budget films.
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Their bread and butter was to churn out Western's cliffhangers,
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serials and b films Laughing. Irish Eyes was about. It
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was about an Irish boxing promoter and he goes back
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to Ireland and he finds this big, burly blacksmith who
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he thinks he can make into the next heavyweight champ.
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And that film, as many of Republic's films were, was
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under an hour long. It was cheaply promoted, to mixed
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reviews from the critics, and for the most part, it
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appeared on the screen as fast as it left now.
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One song that came out of that film was recorded
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just a month after the film came out, and unlike
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the lackluster film, this song ranked number two on your
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Hit Parade.
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Oh my Life, I'm waiting for you, my wonderful one.
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I've begun living all my life. Oh my I love
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has been waiting for you.
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My life is sublime now that I am giving.
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Oh my Lord, you seem so lovely so far of me.
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I'm almost afraid of the girl.
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But I tell you I praised be all you are hard.
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That's an open book.
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All my life.
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Day O me close the yard.
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But all else above, Oh my.
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Lost Darling on my name Dad.
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Lovely about me?
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I'm Almo played a loo, but I know you I've
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played before you had that not book.
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Yeah, Oh my Life.
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From Victor Records, All My Life by Fats Waller and
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his rhythm vocal by Fats, recorded in New York City,
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April the eighth, nineteen thirty six. So Laughing Irish Eyes
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was basically a short lived, cheap budget film that didn't
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get much traction in the theaters. But on the reverse,
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the song I'm about to play came from an early
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film that was historic in its making, and equally as
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historic for this song and this artist.
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I'm just a woman, an only woman waiting all the
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weary short.
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I'm just a woman that's.
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Only human one.
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You should be sor more.
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Welcome this morning.
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I known about dawn without a warning, our bounding.
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How could he do it?
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Why should he do it?
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He never done it before?
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And my blue and my blue.
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Ain't these tears? And his eyes telling you.
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And my blue.
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Why you'd be too.
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If each plan when your man's done fell through.
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There was a time.
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When I was his only was, But now the sad
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and lonely one, Lord was a game.
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I tell you that.
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Now he's gone.
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And with you, my Blue?
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I know it's he is in Chicago and I'm.
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Down here in Burmanham trying to get the money to
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go and find my money. I am, Yes, indeed I am.
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I've got the blue in my heart and my shoes
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wanta dark, and I'm in a jail, a terrible jail.
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I don't ask me.
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I'm a blue?
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Why do you ask me?
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I'm my blue?
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Ain't he telling you? How can you ask me my blue?
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Why would you be you?
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Your man had done so me?
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Don't I remember the time.
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When I was his only one.
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One?
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Look at me?
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Now done that?
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And no, I did not used to be game.
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Jill you nay.
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And with you am up dream.
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On Columbia Records, Am I Blue by Ethel Waters with
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Studio Orchestra, recorded in New York City, May the fourteenth,
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way back in nineteen twenty nine. Now, Am I Blue
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came from an early talkie film named On with the Show,
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which was released on Made the eighth, nineteen twenty nine.
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It was a musical film that was produced by Warner Brothers,
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and even though it was nineteen twenty nine, it was
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filmed in two color Technicolor. Yes, they had a process
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for color motion pictures as far back as a nineteen
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twenty nine and the film On with the Show became
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the first all talking, all color feature length film ever.
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Ethel Waters sang am I Blue in the film, and she,
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as a result of that, became the first female vocalist
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to ever sing and an all Technicolor film. Of course,
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the first to sing on a film was Al Jolson
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a couple of years earlier. I think it was nineteen
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twenty seven in The Jazz Singer. That was basically a
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black and white silent film with some talking sections that
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included singing by Jolson. So you may be asking if
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there was color back in nineteen twenty nine in a
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mass produced film. In all films in the nineteen thirties,
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for example, appear in technicolor, and it's a good question.
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There are some answers. The Technicolor process was well, it
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was extremely time consuming and it also needed some very
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expensive equipment to process the film. The cost to produce
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Technicolor films was pretty much cost prohibitive and considered a novelty,
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and only a studio as big as Warner Brothers was
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able to produce a film like that, and also another
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reason is the quality was not good, which many producers
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felt created distraction to the story on the screen. So
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two records that I played, both evolving from motion pictures.
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I'm Jeff Bresler and you're listening to the one the only,
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the original Make Believe Ballroom broadcasting almost continuously since nineteen
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thirty five. Another record, then a listener's request.
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I'm an old gitle. I feel like cutting up a run. No,
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I'm over sixty five. I've got to jump on the
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joke by the time. Don't you move, I've got both
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feet in the group on me. Don't see blow your home.
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I know you never booke home.
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MM.
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When a listening to Glenn Miller, I could listen to
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m When I'm doing that, Can Filler shoots the John
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on the floor. I'm no flowed. I'm a killer ron
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the cow. I'm not again, I'm no month. I'm the
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hold of the bus, stop.
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A bus.
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I'm a no holding a bus drinking for her hummed.
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You hit a jug wh I love jumping jiving band
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because I'm reviving my glass and the tones of Rombo
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give me plenty of hormone. Wha am strictly swing the room,
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baham about her little session with you when a lady
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is too Fox Travish put her down as a hit
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kick hick and whenever she wants to shot his shoot
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the Mickey dor Quick Silver Tressmung the Gold. Here's the
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song that leaves me cold? Why take dancing as a drug?
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I'm gonna holding a bun buz bug bug whoah bud
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bug bug bug. Woh bu buzz buzz buzz bou buz
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buz buz.
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I'm just that you hit a bot.
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We just heard comedic movie actress, radio personality and vocalists
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the Deadpan Virginia O'Brien with im and hold Jitterbug, recorded
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on Columbia Records back in nineteen forty. Friends, you know
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on the Ballroom, I try to pack so much into
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an hour that I quite frequently forget to promote our
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own website, where past shows, or at least many past
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shows in the series are housed in podcast form. Make
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believe Ballroom is first and foremost the radio program, but
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when it clears all of our dozens of stations around
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the US as well as in the United Kingdom, I
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convert the shows to podcast form. So I guess there's
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