Aug. 22, 2025

Make Believe Ballroom - 8/22/25 Edition

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Show Notes
Transcript

This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - some Bing Crosby duets, a long-forgotten female vocalist, a battling composer, a couple of first-time-ever-recorded songs - plus many more great records and stories to cherish and enjoy on this week's program.

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It's make Believe ballroom time. 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 Believe ballroom time and free to everyone.

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It's no time to friend your Dalis.

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Said bombs, close your eyes.

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And vis you lie in your solitude.

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Your favorite bands are on this dance and mister Miller,

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but you're in the wood. It's make Believe ballroom time.

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We are a sweet romance. You make bot Come on.

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To the last dance last.

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Hello world, I'm Jeff Presler, turning on the lights of

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the Make Believe 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. Please get ready as

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I play for you some amazing big band jazz, swing, blues,

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and boogie woogie favorites. Folks, you're listening to the Make

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Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hi, friends,

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and welcome into my Crystal studio for our usual assortment

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of great seventy eight RPM recordings, stories about the artists,

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and emails from our listeners. So to start, let me

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throw to you the first pitch of the game, and

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it's a strike right down the middle. With this great tune.

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Locker ro.

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On Victor Records when Buddha Smiles Benny Goodman and his Orchestra,

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recorded in Chicago, November the twenty second, nineteen thirty five.

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I give you folks a little baseball analogy about throwing

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the first pitch of the game before the Benny Goodman record,

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And well, let me tell you why. Carl Hubble. Carl

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Hubbell was a pitcher for the New York Giants later

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to become the San Francisco Giants, and Hubble was certainly

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one of the greatest pitchers of all time. For sure,

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his crowning achievement was most probably he had a number

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of crowning achievements, but I think his greatest achievement was

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in the nineteen thirty four All Star Game when in

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his hometown stadium of the Polar Grounds that was located

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in Harlem, New York, he struck out the first three

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batters in the first and the first two batters in

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the second innings. Now, if you're a baseball fan and

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know the history of the all time greats, Hubble in

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that first inning struck out Babe, Ruth Lou Garrick, and

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it was Jimmy Fox. And in the second inning, the

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first two batters in the second inning he struck out.

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I know it was Joe Cronin and Al Simmons. So

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they were not necessarily Simmons and Cronin, but certainly Ruth,

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Garrick and Fox were some of the greatest hitters of

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all time in baseball history. Now, again, if you're a

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of the sport, you know that in today's environment, if

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a pitcher can complete a full game, nine inning game,

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it's marked as a major achievement. But Carl Carl Hubble

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once pitched not nine innings, but eighteen scoreless innings and

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allowed only six hits to beat the Saint Louis Cardinals

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one nothing at the Polar Grounds. Now, I'm sure many

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of the Big Band's greatest musicians and vocalists of the

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time talked about Carl Hubble's all star achievement when they

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read the newspapers or listened on the radio. So he

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might be wondering why I'm bringing up Carl Hubble of

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all people on the Make Believe Ballroom. Well, I bring

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him up because one of Hubble's go to pitches that

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he threw during his entire career is some what enshrined

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in the title of a popular big band song, and

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I'm going to tell you about that pitch right after

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the record.

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The dipsy doodle is a thing to beware. The dypsy

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doodle will get in your hair, and if it gets you,

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it couldn't be worse. The things you say will come

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on and re wirst like.

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You love I and we love you.

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That's the way the dipsy doodle words they doodle is

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easy to buy. It's almost always in the back of

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your mind. You never know where it until it's too late,

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and then you're into a terrible state like jumped. O't

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borrow the cow head. And that's the way the dipsy

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doodle works. When you think that you're crazy, you are

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the victim of the dipsy doodle. But it's not your

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mind that's hazy. It's your tongue that's a fault, not

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your noodle. You'd better listen and try to be good

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and try to do all the things that you should.

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The gypsy doodle will get you. Some days you'll think

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you're crazy. The things that you'll say, like rhythm God

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I am hot am. I that's the way the dipsy

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Doodle works.

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Dipsy Doodle composed by Larry Clinton and recorded by Larry

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Clinton and his orchestra in the version we just heard

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with a vocal by b Wayne So. As the story goes,

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Larry Clinton was an avid baseball fan and one afternoon

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he was in attendance at the Polar Grounds. Now, Carl

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Hubbell had a famous pitch. It was a screwball that

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time and time again baffled hitters, and the pitch was

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affectionately called the dipsy do. The dipsy do. Now, when

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Larry Clinton in the stands since that Hubble was going

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to throw that pitch, he stood up and yelled out,

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give him the old dipsy doodle, Carl. So, this accidental

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phrase from dipsy doo to dipsy doodle stuck with Larry

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Clinton throughout that day. After he left the ballpark. That

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same evening, Larry was hanging out at the Onyx Club,

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which was a jazz club on fifty second Street in

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New York City. And at the time, fifty second Street

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was a renowned street that was well, it was literally

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filled door to dora with the greatest jazz clubs of

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the era, and at the Onyx Club they had something

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that was kind of unique. If you ordered food, the

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back of the menus were printed with a blank music

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score sheet. That same day that to Clinton yelled out

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dipsy Doodle. He wrote the melody to dipsy Doodle on

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his menu. Now, Larry Clinton didn't have a band of

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his own at the time. He actually wrote dipsy Doodle

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for the Tommy Dorsey Orchestra, who's nineteen thirty seven recording

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featured vocalist Edith Wright, and the song topped the Hit

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Parade charts. So Dorsey thought that that song made Clinton

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so well known because he composed it and arranged it

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that Larry was able. As a result of Dorsey's enthusiasm,

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he was able to start his own band with the

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financial backing of Tommy. Clinton's own band further popularized dipsy

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Doodle by using it as its theme song. So a

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little story about Howard Tripp to the Ballpark created both

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a number one hit as well as a new band.

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Hard and Soul. I've been in love with you hard

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and soul the way a.

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Fool would do madly.

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Because you held me its high and stole a kiss

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him the nye.

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Hard and soul.

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I beg to be adored, lost control and tumbled over

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fod gladly.

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That magic night.

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Weekess they're in the moon missed. Oh but your lips

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were really.

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March too, really.

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Never before were mine soul strangely willing, But now I

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see what one embraced. Can you look at me? It's

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got me loving you madly. That little kiss you store.

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Yelled of my heart and soul.

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Oh but your lips was drilling.

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Too, grilling.

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Never before were my soul.

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Strange le willing, But now I see what what abrace

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can do. Look at me. It's got me loving you madly.

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That little kiss your store held on my heart and soul.

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From Victor Records, Heart and Soul by Larry Clinton and

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his orchestra vocal by b Wayne, recorded in New York City,

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September the first, nineteen thirty eight. So a couple of

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Larry Clinton records just for you. On the one the only,

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the original make believe Ballroom, I'm Jeff Bresler and a

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listener's email coming your way after this.

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Gone, and I'm mad who walks him?

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When I woke out and who gives you that? Heidi

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high baby?

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Who's that?

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Who's got me jealous on you? Who walks him?

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When I woke up? Come tell me?

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Don't you know you're my baby?

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Who's that?

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Who's got me very worried too?

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Yeah?

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Marry when we kids?

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I kind of miss is something that just because every

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day while I'm away, I know.

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You're going up time when I'm out of time now?

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Who walks him? And I woke up? And who gives

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you that?

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Hilli high baby?

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Who's that?

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Who is got off and jealous?

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Assing on his master's voice? Who walks in when I

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walk out? British bandleader and also American based bandleader for

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quite some time, Ray Noble. That record recorded at the

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Abbey Road Studio in London on February the first, nineteen

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thirty four with an al bowley. I guess you'd call

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it a talking vocal on that one. I'm Jeff Bresler

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and this is the Make Believe Ballroom, and on my

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computer screen here in the Crystal Studio, I have waiting

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for me an email to read from Jim Manning, who

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lets us know he listens in Fort Lauderdale, Florida. Jim

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Wrights Hi, Jeff and Gang. I listen each week in

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Fort Lauderdale, and I have always been a huge Bing

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Crosby fan. It appears that Bing was not selfish or

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intimidated by sharing the studio microphone with some of the

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greatest vocalists of his era performing duets. It would be

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grand if you could play yodel and jive with Bing

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and the andrew Sisters, one of my favorites, although many

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of your listeners are probably more familiar with pistol pack

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and Mama. Keep up the great work on your program.

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And that is signed Jim Manning. Thanks Jim for your email.

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Ben Crosby did, indeed enjoy recording duets with vocal groups

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like the Andrews Sisters and the Mills Brothers, as well

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as greats like Louis Armstrong, Connie Boswell, Johnny Mercer. I

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think he recorded a duet with Bob Hope. Also recorded

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duets with some of the classic crooners from earlier in

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the era, Al Jolson and Eddie Canter, those great folks,

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amongst others. So at your request, I play for you,

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mister Manning yodelan jive.

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Since Jackson went over to Switzerland, he helps haven't been

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the same since he started practicing yodeling.

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He's on the road to fain and back in the States.

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He really rates as peoples anyone could and the headline say,

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you know the papers he said, your little boy makes good.

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Hold lady, Hold lady lady.

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He sings as yodel and ChIL yo hold.

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And giant holding lady, holding lady lady.

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The mountains echo is your lynchi.

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Holding lady, holding Lady lady.

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The mountains echo is chive your hold and.

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Child hold lady, holding lady lady.

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The mountains thatch is jive again.

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Sometimes the yonds so sweetly to immitaate the.

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Swiss holy old lady. But the echo comes back like this,

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Yo ho ho, hold on lady, hold lady lady.

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The userbas alive with jodel.

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And giant hold lady, holding lady lady.

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The mountain's echo is yold ln jive you holding lady,

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holddle lady.

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They sing my yodeling, give the yodeling giant.

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Holding lady, hold the laddle lady.

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They sing my orderling, give all day.

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Your hold hold lady, hold lady hi joy.

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The mountains echo my give my yodeling giant.

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Hold lady, Hold on lady, hi joy.

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The mountains ech on my jive each day.

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Sometimes you do so so sweetly to hear my taint,

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so sweet Holy, hold lady about the heckle comes a black.

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Like them, the holding Lady, Holding Lady Lady, the hills.

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The role is alive with yodeling giant your holding lady,

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Holding lady lady. The mountains that on my yodeling give.

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Some Dante yodas, so sweetne you elmast take the Swiss.

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Old lady about the echo comes back like the hold Lady,

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Hold lady. Ladys are always alive. But yodl and giant

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hold Lady, Hold lady lady, the Mountain.

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Holding and jib, recorded in nineteen thirty nine on Brunswick Records.

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The yodel and jive bring Crosby and the Andrews Sisters

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with the joven orchestra and Joe's wonderful violin bing did

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some great yodeling on that Brunswick record. A few days ago,

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I was listening to a long forgotten female vocalist who

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was popular in the late twenties all the way into

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the beginning of the nineteen fifties, and I just thought

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of her while playing yodeling jive, because she too could yodel.

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The record I listened to by this female vocalist was

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not a yodeling record, but a song that went on

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to be a classic American standard. Let me see during

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the playing of this record that I'm about to play,

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if I can download the tune I am referring to

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and getting some information on the singer. It is certainly

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multitasking time here today. No Dylan in the Crystal studio.

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We only have Norton. Don't call me Ed Norton. My

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first name is Norton, the perpetual only studio audience member

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we've ever had here on the Make Believe Ballroom, and

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Norton treating the pristine Crystal Studio like it's a dinner

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theater because he's eating a genoa salami hero or a

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hogi as some of you call it, and he's on

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the other end of the studio. But it looks like

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provolone cheese and perhaps mustard.

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No, it's a mustard and mayonnaise mixture.

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Kind of gross.

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Correct, that is kind of gross. So while you enjoy

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your concoction, I'm not going to bother you to do

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any work, So I'll do it well. I now play

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another Bing Crosby duet for you, fine folks.

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I was talking to.

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The whipper will he says, you've got a corny drill?

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Why why I'm gonna swing to night?

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I was talking to the Monk and bird. He says

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you are the worst he's heard, Bob.

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What I'm gonna swing too night?

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Even the owl tells me your fool singing noose mallabos.

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Well he's a bring down. He never could swing down.

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He ain't got my hind notes.

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There's a lot of talk about you, Bob.

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They're saying your off the car. Why that's heresy.

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I'll sue beg it, miss dubb take it. Follow me, Bob.

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What we're gonna break it up to?

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Right now?

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Here's the wire from the whipple Will you have got

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a mellow drill?

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You, Bob? What we're in the group?

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You know?

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Now he's a number from the monk gamber.

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What does he have to say that you're the best

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he's heard? Episode? What we really sawn?

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Ivaniawu through in a towel after you thinks the cup.

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To and the Flamingo hollered b jingle of opinion.

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The consensus is that you're a solid with yes is saying, mister.

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B I'm gonna swing on merrily.

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Whoa, whoa.

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We really broke it.

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On the night on Deco Records, Bob White, What You're

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gonna swing tonight? Bing Crosby and Connie Boswell under the

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direction of the John Scott Trotter Orchestra, recorded in Los Angeles,

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September the twenty fifth, nineteen thirty seven. And thank you

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Joe Manning for the email suggesting I play a Bing

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Crosby duet and we stretched that out to two Crosby duets. Friends,

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if you have a request like Joe Manning did or comment,

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you can email me at Jeff at make Believe Ballroomradio

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dot com. That's Jeff at MakeBelieve Ballroomradio dot com. So

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during Bob White, I was able to download the recording

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by a vocalist named Lee Morse. She now long forgotten

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was one of the well She was one of the

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top selling female vocalists for both Perfect and Columbia Records

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during the nineteen twenties. You'll hear that Morse had a

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utterly unique style. Sheh had a very wide vocal range

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and in her recordings would sometimes break out into whoops

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and yodels. You'll get a little of that sense of

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yodeling in the record I have lined up. She was

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born in Oregon, and in addition to singing, she went

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on to become a moderately successful Broadway actress. Now Lee

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probably would have been a whole lot more famous if

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the problems she had with alcohol through most of her

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career hadn't held her back. But even with her alcoholism,

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she recorded over two hundred songs. Now, strangely enough, even

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though she yodeled on a number of records, she wasn't

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a country or hillbilly singer. She was regarded as a

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blues singer, a torch singer. Her group that she performed

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with was called the Bluegrass Boys, but also, strangely enough,

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that had no relation to either Bill Monroe's later band

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of the same name, nor to the style of bluegrass.

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And I like to play a song. This is the

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first time the song was ever recorded, and it went

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on to become an American standard.

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See that sun in them moaning he came over the hill.

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I'll bet your shoes it always has.

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I'm sure it always will.

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That time I feel about someone somebody feels about me.

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We're sure we love each other and that's the way

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we always be.

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Oh, we ain't got a barrel of money. May be

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we ragged and fay, but we'll travel alone, singing us

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sown side by time. Don't know what's coming to Mar,

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Maybe it's trouble and side, but we'll travel alone, singing

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us a.

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Side by side.

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Through all kinds of level.

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What if the sky should fall, As long as we together,

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it doesn't matter at all.

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And then they've all had their quarrels and.

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Palled, we'll be the same as we said, just traveling along,

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singing a song side by time.

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Oh, we ain't got a barrel of money.

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Maybe we ragged and coy, but we'll travel alone.

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Singing a song, Sir, Bye tide.

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Don't know what's coming to Mar, Maybe it's troubling side,

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but we'll travel a road shelling a load side by side.

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You have, well, what side you all? As long as

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we to care, it doesn't matter.

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And if he goes and takes him a notion to

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jump and drowning, yoh, it's think or it's swim all

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it's me and it's humide.

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What a wonderful and unique rendition of side by Side.

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The first time that song was ever recorded. It was

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recorded on Columbia Records in New York City March the sixteenth,

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way back in nineteen twenty seven, and it featured Miss

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Lee Morse with the vocal accompanied by John Kelly on

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the guitar. Lee Morse, the great jazz and blues vocalist.

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Now Side by Side was composed by Harry Woods with

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lyrics by the Great Gus Kahn. Harry Woods wrote a

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number of top tunes like side by Side. He wrote

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when the red Red Robin comes, Bob Bob Bobin along,

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I'm looking over a four leaf clover, when the moon

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comes over the mountain, the Great Kate Smith hit and

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a whole bunch more and collaboration with con and many

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other many other excuse me find composers.

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Now.

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One fault of Harry Woods is that he had a

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really bad, raging temper and a drinking problem that made

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him well what many said was a bad drunk in public.

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So there's a story. And as that story goes, Woods

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was once observed assaulting a customer at a bar who

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he got into an argument with, and a woman shouted out.

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A whiman that was in the bar shouted out, who

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was that horrible man, and a companion of Woods replied,

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that's Harry Woods. He wrote, you little tenderness.

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She may be weary.

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Women don't get weary wearing the same shammy grass. And

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when she's weary, try a little ten. You know she's waiting,

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just anticipating.

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Think she may never.

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While she's Witholcome try a little ten. It's not just sendimental.

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She has her revand and a word that's something gently

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00:39:55.440 --> 00:40:01.920
makes it easier to over. You won't regret it. Women

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don't forget it. Love as thou whold happiness.

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It's also easy.

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Try a little.

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Turns on Imperial Records, Try a Little Tenderness, written by

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Harry Woods and performed by Jack Payne and his band

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vocal by Jack, recorded in London, November of nineteen thirty two.

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So Harry Woods, the bed fighting drunk, perhaps should have

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taken his own advice at times by trying a little tenderness.

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I'm Jeff Wrestler, and you're listening to the weekly edition

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of the Make Believe Ballroom coming to you today from

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00:41:58.599 --> 00:42:03.840
the Crystal Studio. You know both of those Woods tunes

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I played side by Side and try a little tenderness

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with the first time ever those songs were recorded. So

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while we are on that track, let me spind a

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record for you. Then I'm gonna play for you after

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this recording, another first time ever record.

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My heart gives a chill. I feel such a thrill

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my feet. Won't you still when they swing that music?

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Rhythm like that puts me in a chance.

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Make Believe Ballroom - 8/22/25 Edition

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