Aug. 2, 2024
Make Believe Ballroom - 8/2/24 Edition
On this week's edition of the MAKE BELIEVE BALLROOM’s weekly big band record party broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – How a Basie song got its...
On this week's edition of the MAKE BELIEVE BALLROOM’s weekly big band record party broadcast over member supported Jazz 90.1 WGMC-FM in Rochester, NY, and other fine affiliates across the US as well as in the United Kingdom – How a Basie song got its name, a nostalgic look at how people listened to recorded music, and some musical trivia. All this and more of the greatest hits of the big band era are played for your musical enjoyment.
WEBVTT
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It's make believe ballroom time.
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Put all your cares away.
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All the bands are here to bring.
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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 Bamba.
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Yours. Close your eyes and vis you lie in your solitude.
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Your favorite bands are on this dance and.
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Mister Miller, but you in the wood.
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Its make believe ballroom time.
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We are a sweet romance as you make live ballroom.
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Come on, jo last dast less.
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Hi, folks, 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 hour of the greatest swing, jazz and
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big band hits of the nineteen thirties and nineteen forties.
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I'm hosting the show to keep the music in traditions
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of past hosts Martin block Al, Jarvis William B. Williams
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in the legendary Steve Allen alive. Whether one of my
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longtime listeners or maybe joining us for the first time today,
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I invite you into the Crystal Studio for some of
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the greatest jazz and swing hits from the big band era.
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Hello World and Thank you for listening in on this
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broadcast of the Make Believe Ballroom coming to you coast
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to coast and across the Atlantic Ocean on wonderful stations
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like members of Ported Jazz ninety point one WGMC in Rochester,
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New York, and on other fine affiliates across the United
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States and in the United Kingdom.
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Folks.
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I received an email request this past week from the
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Watkins out of Tempe, Arizona. They wrote, Jeff, you played
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Woody Herman's Apple Honey on the Ballroom? Can you play
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for us the Glenn Miller Stealing Apples for you the Watkins.
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Here is one as sweet as apple Pie Left Happening
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that was Stealing Apples performed by Glenn Miller and the
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Army Air Force Band. I think it was first recorded
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by Fletcher Henderson in the early thirties, as well as
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scores more. I'm not one hundred percent sure of that
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about Fletcher Henderson, but I am one hundred percent sure
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that I have fulfilled the order to play the song
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as requested by the Watkins from Tempe, Arizona and to friends.
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You can also request your favorite swing and jazz tunes
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by emailing me at Jeff at MakeBelieve Ballroom Radio dot com.
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That's Jeff at MakeBelieve Ballroom Radio dot com. Or you
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can go to www dot MakeBelieve Ballroom podcast dot com,
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make Believe Ballroom podcast dot com and actually now on
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the site do an audio request that I will play
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for you on the air. That's make Believe Ballroom Podcast
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dot com and now friends of record that needed no
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advanced modern technology, but did need a good dose of
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late night electricity.
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It.
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Say they.
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Then the road the dreamer is in most ins is
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Moms the moth.
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The moth is.
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The on Decca Records, One o'clock Jump by Count Basie
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and his Orchestra, recorded in New York City July the seventh,
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nineteen thirty seven, and that Basi classic was called one
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o'clock Jump because the band practiced for Basi many nights
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at times, starting after one am, starting at that ungodly
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hour when they most probably just finished doing their night's gig. Basi,
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after the nineteen thirty seven recording, made the song one
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o'clock Jumps a theme song, and he played it at
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the conclusion of the band's appearances. Gee I guess for
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the better part of the next half century. Let me
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play one more for you. Then, folks, get your dimes
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and quarters ready, as I take you on a trip
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down memory lane.
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Happens very conting.
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That was the Hudson de Lange Orchestra version of Bugle
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Call Rag, recorded on Brunswick Records in nineteen thirty seven.
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And before that tune, I told you that I was
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going to take you on a trip down memory lane.
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I was in Vegas recently and I ate at the
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Johnny Rockets in the Mandalay Bay Hotel. Johnny Rockets for
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the uninitiated, as a chain of nineteen fifties retro style diners,
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and on each table you could find what was pretty
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much a required piece of machinery back in the fifties,
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that being a table version of a juke box. Many
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of you, of course remember those diner juke boxes where
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you threw in a coin and could choose from a
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menu of hit tunes. And of course many restaurants, bars,
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and certainly pizza joints had those big behemoth chrome and
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glass versions kind of a communal listening machine. If you
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were in a bar, the folks who put money in
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may have hit the buttons to play a record that
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you might have either loved or hated. Sometimes I remember
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waiting in anticipation as to when the songs that I
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put the money in for would be played. Coin operated
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music boxes were around since the early nineteen hundreds, but
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they really didn't come into their own until the nineteen forties,
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and that's when they were given the name jukeboxes. Jukeboxes
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were most popular from the forties through the mid sixties,
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particularly during their sweet spot years of the nineteen fifties.
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By the middle of the nineteen forties, and this is
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an amazing statistic, three quarters of the records produced in
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America went into jukeboxes. Billboard magazine was very cognizant of this,
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and they put together a top Hot one hundred list
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of top jukebox tunes. So why don't we spend this
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segment of the Make Belie Ballroom listening to some jukebox
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hits from the Big Band era. Let's start with the
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most definitive of all jukebox songs.
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Mobbing Up So to Bob Rickeys, to Our Hearts, Daylight.
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To Swing Quickies, Jukebox Saturday.
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Miller Well Thanks.
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Makes holes within their lines.
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Jukebox Saturday Nights. They put nothing past us.
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Me and Honey Lane making one cold blass us till
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it's time to scratch money. We really don't need.
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We make out all run, letting me out for guy
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feed ba jukebox Saturday Nights.
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After saving us, So do we got a scheme? Somebody
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else plays the record machine.
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It's so easy to say pet names when you listen
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to the trumpet of Harry James.
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We love to hear that tenor cruse whatever the ks
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not sing it.
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June.
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If I didn't know why the roses grow, then I
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would to why the roses growl.
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Oh, listen, Hony child. I didn't know.
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All them little things.
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I suppose alone, and I'm sure would.
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Be a sad man. Money well make me.
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That was Jukebox Saturday Night by Glenn Miller and his orchestra,
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with vocals by Marion Hutting, Text, Benekey and the Modernaires.
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Glenn Miller's recordings were in the jukeboxes all over America
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by the earl nineteen forties. Another amazing statistic, at third
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of all records played on American jukeboxes were Glenn Miller recordings,
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and of course, the song Jukebox Saturday Night highlighted the
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three top of big band leaders of the era, Benny Goodman,
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Nick kay Kaiser and Glenn Miller himself. There also tributes
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to Harry James and the Ink Spots in Jukebox Saturday Night.
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Let Me Now play a song that, in nineteen forty
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five spent an amazing eleven weeks on the Billboard Jukebox
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Hits List.
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Did you ever go down Trinidad? They make you feel
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so very glad?
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Clipso sing and make.
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Up rhyme, guarantee you one real good fine time drinking
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rum men, Cocca Pulla go down too, Mana both mother
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pen daughter.
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Working for the yankie Dolla. O mean it mon beat it.
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If the Yankee comes to Trinidad. They got the young
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girls all going up. Young girls say they treat them nice.
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Make Trinidad like Paradise drinking rum men, Coca Pula, go
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down to Mana both mother Penda working for the Yankie Dolla.
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You lex me, you flex me, chicken chin.
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Carry tomna'shile made it. Girls all dance and smile. Help
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Soach just celebrate his sleaves. Makes every day like New yearsy.
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Drinking romancoc La go down point Mana both mather and
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daughter working for the Yankie dollar.
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It's a fat man, It's a fact in Old Trindad.
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I also fear the situation is mighty queer like the
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Yankee girls and Native swoon when she hears your bingle
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krum drinking Romanalca go down point mana, both mother and
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daughter working for the Yankie dollar. Our on Men's and
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Nello beach Gei romance with Native beach all night long,
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made tropically well the next day sitting hotson and cool
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off drinking Romman Cocacula, go down to Coolna, both Mada
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and working for the Yankie Dollar.
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That man.
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Rummen, Coca Cola, Rummencca.
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Working for the Yankie Dollar.
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Rum and Coca Cola by the Andrew Sisters Orchestra conducted
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by Vic Shown, a number one record chart hit for
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the Sisters and Decca Records. Now let me play for
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you a find the record here, a nineteen forty seven
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number one tune that sat on the Billboard jukebox list
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for an enviable six weeks on Capitol Records. We just
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heard Twelfth Street Rag by Peewee Hunt and his Orchestra
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and folks let me ask you this, what was the
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number one most played jukebox hit of all time? I'll
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let you think about that one for a few minutes
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while I play this record.
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Naturally, Month of June. Naturally, there's a moon that shine
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a naturally, Just we two, Naturally dreams.
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Come true and we.
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Love.
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You're in my arms and all your charm they are divine.
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To all of this.
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Just ad a kiss and then a whisper.
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Will You'll be mine?
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And naturally it's small? Will the storms make a col
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will Naturally I.
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Fool you and me.
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From Decca Records. Naturally by Ben Pollack and his Orchestra,
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vocal by Paula Gail, recorded August fourth, nineteen thirty eight,
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And if I am not mistaken, that was possibly and
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I'm looking it up. It was the last recording by
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Ben Pollack and his orchestra. And I asked you before
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the Pollock Tomb, what was the number one most requested
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jukebox hit of all time? Well, it wasn't a Glenn
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Miller or Andrew Sisters record or Elvis Presley. Perhaps singing
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hound Dog played so much on jukeboxes in the nineteen fifties.
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It was a song actually written by Willie Nelson and
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sung by Patsy Klein.
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Crazy.
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I'm crazy for feeling.
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So lonely.
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I'm a crazy.
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Crazy for feeling.
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So I love.
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You, love me as long as you wanted. I'm love
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Someday you leave me for somebody new.
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Worry?
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Why do I let myself worry? Wondering what in the
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world did I do? Crazy for thinking that money.
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Love could hold you.
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I'm crazy for crying and crazy for crying, and I'm
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crazy for loveving you, crazy.
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For thinking then.
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Manela could hold you.
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I'm crazy for ryant and crazy for crying.
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And I'm crazy for.
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You.
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Crazy, recorded in nineteen sixty one, Patsy Klein's vocal masterpiece,
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written by Willie Nelson and a double whammy on Me.
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I Guess.
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Not a big band jazz and swingtune, but a country
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music record, and not a song recorded in the thirties
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or forties, but nevertheless piece of music history as Crazy
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ranked as the top played jukebox record of all time.
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I'm Jeff Bresler, and you're listening to the weekly edition
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of the Make Believe Ballroom. To reach me, please email
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Jeff at Make Believe Ballroom Radio dot com. That's Jeff
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at MakeBelieve Ballroomradio dot com. And since I asked the
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Patsy Kline jukebox trivia question a few minutes ago, another
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trivial fact I need for you to ponder during this
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next recording. The question I ask is who recorded the
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greatest number of Irish songs in the first half of
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the twentieth century. Who wrote the greatest number of Irish
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songs in the first half of the twentieth century. Well,
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this isn't Irish in nature, but it's a great one. Nevertheless,
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come on over here, boy, do you want girl?
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Play something for me?
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Oh?
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I don't know how to play nothing.
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Well I'll show you up.
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Oh you blow through here.
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