June 20, 2025
Make Believe Ballroom - 6/20/25 Edition
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a game show hosts famous uncle, a longtime listners 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.
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It's make believe Ballom time.
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Put all your cares away.
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All the bands are here to bring good cheer your way.
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It's make belief Ballom time and free to everyone.
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It's no time to friend your Dalis said Bamba.
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Yours.
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Close your eyes and visual lize in your solitude. Your
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favorite bands are on this stance and mister Miller, but
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you're in the mood. It's make believe Ballom time. We
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are a sweet romance.
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As you make it.
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Bob, come on, Joe the Last das last.
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Hello World, I'm Jeff Presler, turning on the lights of
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the make Fully 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 nineteen forties. Whether you're listening on
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the radio via great affiliates like Jazz ninety point one
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WGMC in Rochester, New York, or on a podcast, or
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maybe even on internet radio in the United Kingdom, anyway
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you've gotten here. I am pleased, so get ready as
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I spend for you some amazing big band jazz, swing,
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blues and boogie woogie favorites. Folks, you're listening to the
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make believe ballroom broadcasting almost continuously since nineteen thirty five.
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My folks, today's show is going to be a mix
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of well, a few stories, some listener emails, a little
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Leney from down the block, and other assorted stuff. And
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while I sort things out, how about a little early
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pearly May.
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Fifteen years and I'm still serving time, serving time with
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that good.
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Man of mine. I've been married fifteen years.
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I've shared fifteen million tiars fifteen years, and I'm still
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serving time.
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Fifteen years.
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And I ain't got a dime, not a dime in
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those long fifteen years. Each night I drink fifteen years
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to forget those fifteen years.
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Fifteen years with that good man of mine.
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Oh, there are as no barb on the window, and
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raised no locks on the door, and there ranged no
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LODs in the courtyard.
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But I'm a prisoner forever more.
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Fifteen years and I'm still serving time, serving.
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Time with that good man of mine.
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When I left those church bells, time, tell me, what's
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that a crime?
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Fifteen years?
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Then I'm still serving time.
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All my cooking goes to waste, spread and waters all
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our tails.
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Fifteen years.
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Then I'm still serving time with this family on my tail,
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can't save up no door for bill. Fifteen years and
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I'm still serving time. Oh, there raise no chains on
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my ankles, and there raised no ropes on my hands.
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And there ain't no ain't nothing nowhere. But I'm a
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prisoner to that man. When his shirt hang on the line,
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how I wish that neck was mine. Fifteen years and
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I'm still serving time. Oh, there raised no dog on
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the window, and there raised no locks on the door,
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and there raised no dogs in the court yard.
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But I'm a prisoner forever more. Fifteen years and I'm still.
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Serving time, serving time with that man of mind. I
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got the kids from one to nine, some of.
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His and some of mine. Fifty and.
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Live in time, and I love every moment of it.
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Was beautiful, just love.
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Fifteen years and I'm still serving time. A Pearl Bailey
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vocal under the orchestra direction of Mitchell Ayres, recorded on
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Columbia Records, April of twenty fourth, nineteen forty five, and
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a great way to get this edition of The Make
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Belief Ballroom underway. So I was reading this article about
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the history of television game shows a few days ago.
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In the article mentioned Chuck Barris Chuck Barris's company and
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his hosting and producing of the very campy Gang Show,
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which some of you might remember on television in the
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nineteen seventies and eighties. Chuck Barris and his company produced
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that program, as well as The Dating Game, The Newlywed Game,
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and so many more. Now in conjunction with that. By coincidence,
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I was playing a few days ago a recording featuring
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the Rhythm Boys. I wasn't playing it on the air,
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I was playing it for my own personal enjoyment. And
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the boys were the great Bing Crosby al Rinker, who
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by the way, was Mildred Bailey's brother, and the third
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Rhythm Boy was Harry Barras. So when I read about
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Chuck Barris, I quickly did a little research to see
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if he Harry Barris was related to Chuck. I didn't
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expect much, but lo, hold there was a strong connection.
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Let me play a real oldie featuring the Rhythm Boys.
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Then an amazing story of how Harry Barris joined the trio.
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This way.
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Why then goes down and I goes down the dark,
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gather around down.
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They all began to show, Hey, I'll go down here
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to be on the miss.
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But why I do.
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No he how I am telling.
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You all but up man any time.
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By time on their hands? John tab me out the town?
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You and Honic come, where's the.
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Doc to beat on the miss Lord holiday boy?
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Listen?
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Told you don't.
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That music? Says the doctor on my dam? You they do?
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Norney?
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How I'm telling you?
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Oh fine a man take you time.
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I fading their hands just to tip me out of town.
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To you and Hona come, where's the docking be to
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beat all the MESSI yami yana now June on? Wherema
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doga men?
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Mud?
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We just heard Mississippi Mud composed by Harry Barris and
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featuring the legendary Paul Whiteman and his orchestra, with vocals
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by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton,
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Austin Young and Charles gay Lord, recorded on Victor in
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New York City, February the eighteenth, nineteen twenty eight. Like
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a musical variety show that record was, and speaking of
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legendary Bix Beider becks Horn was featured on that best
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selling version of the Harry Barris hit song Mississippi Mud.
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So friends, As the story goes, first, let me say,
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I think I forgot to mention that Harry Baris was
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the uncle of the television game show genius Chuck Barris. Now,
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in nineteen twenty six, Harry Barris was playing the piano
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and occasionally providing vocals for the Paul ash Orchestra. Also
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in that same year, nineteen twenty six, Al Rinker and
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Bing Crosby became members of the Paul Whiteman Orchestra. Is
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a singing duo, and they were very well received in
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smaller venues. However, in February of nineteen twenty seven, Paul
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Whiteman was booked into the cavernous Paramount Theater in New
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York City. Now, in nineteen twenty seven, loudspeaker systems and
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adequate microphones for large theaters were just being perfected, and
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believe it or not, the Paramount at the time had
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absolutely no microphones, no speaker system, So while the orchestra
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of white Men could be heard, the vocals provided by
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Bing Crosby and al Rinker were drowned out and just
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couldn't be heard by the audience. So Paul Whiteman was
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brought into the theater manager's office and given the bad
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news that White Men and his orchestra were being dropped
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from the bill. Now White Men had no problem attracting
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crowds to his band's performances and decided to look for
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a way to make sure that his vocalists could be
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heard in the future no matter where they were playing well.
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Paul Whiteman, band member who knew Harry Barris, suggested to
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Paul that they add him to make a trio, and
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the Rhythm Boys were formed in April of nineteen twenty seven,
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and their vocals got a boost and were heard better
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in the theaters where White Men appeared, and the Rhythm
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Boys became a fixture in Whiteman's band for a number
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of years. So an interesting story of how Harry Barris,
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the uncle of Chuck Barris, became a rhythm boy all
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the way back in nineteen twenty seven. I'm Jeff Bresler,
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and you're listening to the one, the only, the original
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Make Believe Ballroom to reach me. I'm Jeff at MakeBelieve
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Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.
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And some of the folks that did reach me will
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in turn reach out to you. When I read a
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few emails in just a little while. Let's now as
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I look at my show list, here, let's spin a record,
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and then from Tampa, Florida, the producer emeritus of the
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Make Believe Ballroom, the inimitable Lenny from down the Block
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with his record pick of the week. It's that was
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the violinist extraordinary himself when Joven Nudi and his orchestra
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here today on Decca Records with the song entitled The Flop,
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recorded in New York City on January the twenty fifth,
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nineteen thirty nine. And now from his palatial condo in Tampa, Florida,
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the producer Emeritus of the Make Believe Ballroom, the Platter Prince,
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the virtue Woeso of the Virtual Turntable, the world renowned
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Miss their Excitement, himself, Lenny from down the Block with
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his record pick of the week.
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Hi gang, Lenny from down the block here with my
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record pick of the week.
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Whenever I do.
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Something wrong around the house, my wife Cookie calls me
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a nitwit. Just last week, I messed up the garbage
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disposal here in the condo, and the word nitwit reverberated
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throughout Unit Oney one hundred and twenty six. I decided
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to take a look and see if the word nitwit
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was ever used in a big band song. I was
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amazed to discover that Benny Goodman himself recorded a song
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called Knitwitz Serenade. It was the b side to his
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wildly popular version of Bugle Call Rag. The record was
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produced for Columbia on August sixteenth, nineteen thirty four.
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Knit Wit Serenade Benny Goodman and his orchestraed. I don't
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think Lenny mentioned it, but that song was written by
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the great composer and bandleader Will Hudson. And now folks.
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Eny mysel Aleta.
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And make believe the game from you.
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I'm gonna rain.
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Worn so sweet.
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They're gonna allow me all my be.
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A lot of kisses on the bottom.
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I'll be glad I got home.
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I'm gonna smile and say I hope you're feeling better
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him close with love the way you do. I'm gonna
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send right down and write myself a letter.
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And made me.
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Believe the game from Yes, my friends, we do get letters,
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many of them in email form, each and every week.
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I would like to read a few for you. The
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first comes from one of our great listeners who we
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love to hear from. He knows his stuff when it
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comes to big bands, and it reads Hi, Jeff, I
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thought i'd get in on the act and send you
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a few of my favorites. I had a hard time
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thinking of some that weren't standards and it wouldn't be
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likely to have been played, and I only came up
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with six. As you can see, I like songs and vocalists,
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And he lists six songs which I will play for
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you in just a few moments. He goes on to write,
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I enjoy the show on podcast every week, and I
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especially enjoy your commentary and the historical background. By the way,
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what happened to Dylan? The snotty Kids? List of big
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band musicians on the Hollywood would walk of fame? Cordially yours,
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Joel Eatman. Thanks Joel, writing to us from deep in
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the heart of Texas by way of Dallas, a wonderful
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state that I lived in twice for extended periods of time,
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and where my daughter and son in law reside in Austin.
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And I will, Joel at your request reprimand the snotty
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kid Dylan, who indeed did not follow through. How did
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I come to think of it? On continuing his research
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on big band musicians and vocalists on the Hollywood Walk
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of Fame. I would dock him pay Joel, but since
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I don't pay him, I think I'll just relay your
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consternation and have him complete the assignment. I actually haven't
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seen him in the studio area today, but he should
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be around shortly. But more important to the music at hand.
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From the Joel Eatman list, here is number one of sex.
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Wooming flabby, ring in my ears and blooms my DearS.
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I'm in my flat in man Pattern. My vapatient days
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are in the past. They went to past. Why couldn't
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they laugh?
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Jee's Monday in Manhattan, where it ends my holiday.
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I hate Monday in Manhattan, when my heart is miles away.
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Streets of leaning power seem to be my only view.
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But I'll close my eyes for hours and I know
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that I'll see you.
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Then the pavement changes into Hallwood, is glad beyond is
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my arms again, and.
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It all seems so real. Near the sky line of
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steel shouts it's Monday in Manhattan, that away your dreams
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have low. Jeez, It's Monday in Manhattan, and it means
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