July 24, 2025 • 29 mins
Please enjoy Oscar Levant a great episode of the legendary Bing Crosby Radio Show - a Old Time Radio OTR classic originally brought to you by General Electric.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:07):
Why the boom meets the goal.
Speaker 2 (00:15):
Of the day? Someone, why for me?
Speaker 3 (00:33):
What?
Speaker 4 (00:33):
You two already a time produce a transcribed in Hollywood
John Scott Frodd and his orchestra, the La Mares and
Things guests, Oscular Man, Peggy Lee, Red Nichols, Jovenile and
Ziggie Allman. And now I should like to present another
great musical talent, that prominent symbol beater been crossed banks can.
Speaker 5 (00:48):
But you're not quite correct. I am not a symbol beater. No,
I am a symbol tinkler.
Speaker 1 (00:53):
Oh I have a very light touch.
Speaker 5 (00:55):
Oh I see anyone can beat a symbol. I am
an artist. Sorry, Maestro, have I upset you?
Speaker 1 (01:04):
It's just may not play tonight, that's all. Well, Is
there any chance of your singing tonight that I'm not
sensitive about? Joan h.
Speaker 5 (01:27):
Joe Bahdud and Hammerhead Jones, if composing do tune entitled,
ain't doing bad, doing nothing. Joe's at my side now
ready for prompting and for fiddle passages.
Speaker 6 (01:38):
He ain't doing bad, doing nothing, just laying around older.
Speaker 1 (01:50):
I'm telling you, the less I do, the.
Speaker 3 (01:56):
Morphins come my way.
Speaker 2 (02:02):
When I gets up in the morning.
Speaker 7 (02:08):
Thinking of the day, makes me so din ride weary.
Speaker 2 (02:19):
I go right back to my bed.
Speaker 7 (02:25):
Why should I ever worry?
Speaker 8 (02:31):
It's such a leasing game. Why should I move? When
I can prove then I get there just the same.
In doing bad doing nothing, somehow it seems.
Speaker 2 (02:56):
To pay.
Speaker 1 (03:00):
I do.
Speaker 9 (03:01):
In bad doing nothing, you're just playing round all the the.
Speaker 1 (03:15):
You're playing round all.
Speaker 4 (03:28):
Ah, very very good, Bing and Joe. But ban ain't
doing bad doing nothing? Isn't that thought a little negative?
Right before my commercial?
Speaker 1 (03:36):
Of course it isn't. Ken tell us more, Ohbing, Philco
dealers are.
Speaker 4 (03:39):
Doing plenty with those new radio phonographs to play the
forty five minute record. And how can I miss Any
radio phonograph is out of date nowadays unless it plays
these amazing new records this year. The new filcals all
the way, from gorgeous consoles to space saving table models,
play both kinds of records, your standard records automatically plus
the sensational new law playing kind. And remember, only Philcoal
(04:02):
gives you the balance fidelity reproducer the original Tonin designed
for the long playing records at the request of the
engineers who developed them. It's real electronic magic, and it
gives you full tone fidelity without distortion from these high
quality vinylighted records. They're made for each other, the most
flawless reproduction in the history of recorded music. So hear
(04:24):
them together on a filco famous for quality the world over.
Speaker 5 (04:34):
It's always a pleasure to welcome the fellow who now
sits modestly at this time way his charm, his.
Speaker 1 (04:40):
Insouciance, his warmth, and his musical genius.
Speaker 5 (04:43):
Unknown to all of you, ladies and gentlemen, here's that
prominent piano thumper hoscule events.
Speaker 4 (04:55):
Thanks being, But you've made a slight air. I am
not a piano thumper.
Speaker 5 (04:59):
You pound them anyone can found the piano, and I
include most of my contemporaries.
Speaker 4 (05:04):
Then you admit that you're the best. I don't say
I'm the best. I merely say I'm the best I
ever heard.
Speaker 1 (05:11):
You get around much.
Speaker 4 (05:16):
Saving If I let you in on a big secret
about Jolson, Will you promise not to tell anyone Oscar?
Speaker 1 (05:22):
My lips are sealed. You're sure there's no one listening
to us? Another better be.
Speaker 4 (05:29):
Anyhow how old do you think the real Al Jolson is?
Speaker 1 (05:32):
Oscar? You keep referring to the real Al Jolson.
Speaker 4 (05:35):
Certainly you don't think the original Jolson's around Hollywood, do you.
Speaker 1 (05:40):
Well, who's that fellow on the craft program with you?
That's Jolson's son, Al Jolson Junior.
Speaker 5 (05:49):
He's a fellow about fifty two or fifty three.
Speaker 1 (05:55):
Well, Oscar, where's the original original? Say? We're talking about
him like he's an He won't.
Speaker 4 (06:01):
Mind being This may shock you, but the real Al
Johson has retired to a monastery in Tibet.
Speaker 1 (06:12):
Ill Ski.
Speaker 5 (06:14):
He's gone to Shangri Law, Shangry Law. You'd never recognize
the old place. There's a toll gate there now.
Speaker 1 (06:23):
But does he keep in touch with his son?
Speaker 5 (06:24):
This, this Al Johson Junior in the craft room, certainly
every week he sends a flock of doves to pick
up the kid's paycheck. He's in touch. Well, Oscar, here's
Peggy Leuie. Hello Peggy.
Speaker 1 (06:39):
Hi, fellow Peggy. Austri and I were just talking about
the original Al Johnson. Oh well, I never knew him,
but I know his son.
Speaker 10 (06:51):
Quite wrong, you do?
Speaker 1 (06:54):
Yes, I was over at his house for dub dinner
last night.
Speaker 4 (07:01):
The kid revolved. Huh, good for him and good for
us too. Shall we get on out or something charming
as you wish, i'llsk you what's say?
Speaker 1 (07:08):
Princess? You Peggy and I hit.
Speaker 5 (07:09):
Some tunes which we hope will bring back a few
pleasant memories to our listeners.
Speaker 1 (07:14):
Sure, why don't we do some oldies?
Speaker 5 (07:16):
Now, we'll do some antiquees antikis they would before oldies?
Speaker 1 (07:20):
Remember this one?
Speaker 2 (07:22):
While I love you?
Speaker 11 (07:27):
If you all me new all I want no blisses
that the sun gets from your kisses.
Speaker 2 (07:41):
Wood do you love me too?
Speaker 4 (07:48):
That was a great tune of the twenties written by
Vincent Yuman's an Oscar Hammersine the second, and you know
a funny thing being Oscar Hammersene the second is still
Oscar Hammersteine a second. Yeah, there's an Oscar Hammerstine the third,
but there's no Oscar Hamerstine the first.
Speaker 1 (08:01):
Well, which Oscar do you like best? The land never
heard of him? Kind of think of it.
Speaker 4 (08:09):
There was an Oscar Hammerstine the first, who headed a
big opera company and smoked cigars. But there is no
Oscar Hamersine the first. Now, which brings us up to
Jerome Current and Buddy Gasilva. We had quite to stay
with the Hammerstein Remember this from Sally Bank walks me and.
Speaker 1 (08:27):
Talks me.
Speaker 3 (08:31):
Look for the silver lining. Whenevera cloud hoppers.
Speaker 9 (08:40):
In the blue, Remember somewhere the sun is shining.
Speaker 1 (08:49):
And so the rioting.
Speaker 2 (08:52):
To do is make it.
Speaker 9 (08:55):
Shine for you a heartful ooh of joy. Gladeners will always.
Speaker 3 (09:05):
Bannish sadness and spries soul.
Speaker 1 (09:11):
Always looked all.
Speaker 2 (09:14):
The over lining and try to find the sunny side.
H Lode.
Speaker 1 (09:41):
Vlan Lolla sang silver lining, and Sally there was a talent.
She was lovely radiant, and she said alone to me
once well. I think most people say a load to
you once.
Speaker 4 (10:01):
Well bang Sometimes once is enough, which brings us up.
Speaker 1 (10:05):
To Coldport Old.
Speaker 4 (10:07):
Here's one of Cole's tunes from the New Yorkers, Take
me back.
Speaker 1 (10:12):
To Manhattan, Take me back.
Speaker 12 (10:15):
To New York, just long and don't see it for
my little home on the hundred floor. Don't take me
back to mant that dear old dirty tone.
Speaker 1 (10:31):
Aye, you are a great voice tonight, Oscar.
Speaker 5 (10:33):
You know, if we keep on doing these old New
York you too, we may replace Manhattan merry.
Speaker 1 (10:36):
Ground, Manhattan merry Ground. What's that? That's Winchell's theme song,
say bing.
Speaker 4 (10:47):
Remember back when Jimmy Walker was mayor of New York,
and cold Porter wrote, anything goes ah things.
Speaker 1 (10:53):
Certainly when you remember the speakers, he's oscar.
Speaker 4 (10:55):
Sure you knock on the door of people would open
and you'd ask for Tony.
Speaker 1 (10:59):
You do that today to get a permanent way.
Speaker 2 (11:05):
Oh?
Speaker 5 (11:06):
Yes, in those days, Broadway Rose was the debut time,
and Dave Chasing was just learning to cook.
Speaker 1 (11:12):
Where's Broadway Rose?
Speaker 2 (11:13):
Now?
Speaker 1 (11:13):
It's cooking for Dave Chasing? What happened to Colporter? Cold Porter?
Oh he's cooking at the lap of the arm the pavion.
Well that's so exclusive, core Porter. If you only want
it to get in, Well, let's get along.
Speaker 2 (11:27):
Shall we take over a peg?
Speaker 10 (11:31):
Wh Is this thing called this funny thing?
Speaker 13 (11:48):
Call just cansole Keepston? Why should I need.
Speaker 5 (12:07):
A fool?
Speaker 14 (12:14):
I said there one one waful day.
Speaker 10 (12:23):
You took my eyes and shoot away. That's why.
Speaker 1 (12:35):
School in heaven bove?
Speaker 10 (12:45):
What is this thing.
Speaker 1 (12:49):
Called very smooth?
Speaker 2 (13:09):
Peggy?
Speaker 1 (13:09):
You know coll Port? It deserves a lot of credit.
He's a rich boy made good. Well, let's know you huh?
Speaker 4 (13:17):
Well, why should poor boys be the only ones to
make good? Which reminds me of Irving Berlin. But I
think we got to go back to one of Irving's olds.
I felt Polly's tunes, Mandy.
Speaker 11 (13:26):
So listen, many, there's a minister Andy, and the sub
would be.
Speaker 1 (13:39):
If we'd let him make a fee. So don't you linger?
Speaker 3 (13:47):
Here's the ring for your finger. Here, isn't it a under?
Come along and let the wedding chime bring a happy time?
Speaker 1 (14:00):
Oh Mandy and me? Now, Oscar, will you stand by
a while? Peggy and I do a course of one
of Jimmy mceue's fine tune.
Speaker 5 (14:16):
Well, the tune of Skyrocket of Jimmy mceeu. The fame
was exactly like you, exactly what we're going to do.
Jimmy's very proud of that tune.
Speaker 1 (14:23):
You know, he sort of stuck on himself in a
nail concealed.
Speaker 2 (14:26):
Sort of way.
Speaker 5 (14:29):
You mean, James is an extroverts and if you ever
bumped into him at a party, he's on his way
to the piano exactly like you.
Speaker 1 (14:39):
I don't play at party. Oh that was a que, Oscar.
I didn't mean anything. Are you ready peg read Let's
go there?
Speaker 15 (14:48):
No no wh in blue pretty snat for someone exactly
like you?
Speaker 11 (15:04):
Why should we spend money on a show or two.
Speaker 5 (15:13):
No one does those love scenes exactly like you.
Speaker 14 (15:20):
You make me feel so great. I want to hand
the world to you.
Speaker 5 (15:28):
You seem to understand each foolish little scheme I'm scheming,
streamind dreaming.
Speaker 1 (15:39):
Yeah, I know. My mother.
Speaker 14 (15:43):
Told me to be too.
Speaker 1 (15:47):
She me for someone exactly like you.
Speaker 5 (16:02):
Good old Pagan Bank, good old now being. Shall we
get along with Rodgers and haunt Well? I believe John
Scott has quite an arrangement of one of my favorite
Rogers and hearts.
Speaker 1 (16:11):
Right there on in the books. Ain't you John?
Speaker 11 (16:13):
Haven't you John?
Speaker 1 (16:18):
You are too beautiful idea to be fool.
Speaker 5 (16:23):
And I'm such a fool for beauty, fool by a
feeling that because I.
Speaker 1 (16:31):
Had found you, I could have found you too.
Speaker 5 (16:39):
You are too beautiful for one man alone, for one
lucky fool to be with when there are other men
with eyes of their own to see. Love does not
(17:03):
stand sharing, not if one cares.
Speaker 2 (17:12):
Have you been comparing my every kiss with that?
Speaker 1 (17:23):
If?
Speaker 2 (17:24):
On the other hand.
Speaker 6 (17:25):
I am faithful to you, it's not through some sense
of duty.
Speaker 3 (17:34):
You are too beautiful and I am a fool for you. Ah,
(18:03):
what a lyric that was. You are too beautiful for
one man alone? What an out for a fellow if
he wanted to get.
Speaker 1 (18:08):
Rid of a girl? Say, who's the next composer? You
got to mind?
Speaker 4 (18:14):
Ask you a very important one. And I feel rather
guilty for overlooking him for so long. His name, Ah,
it doesn't escape me for a moment. Levant, Oscar Levant.
Speaker 5 (18:25):
Yes, Oscar Levant, the composer of such songs as I'm
just a backward boy looking for a forward girl, Eskimo's sweetheart,
don't blubber over me. And when you walked out with
your shoes on, I knew you were gone for good.
Speaker 4 (18:45):
They want to smash Those were real smashes, all right?
Speaker 1 (18:52):
If I wrote some mild hits, two little things, little
roundelays that lulled the country. I wrote one song, for instance,
that even my friend than Like called, uh yeah, it's
the first laugh I ever interrupted.
Speaker 2 (19:06):
Called.
Speaker 1 (19:06):
Blame it on my youth. Blame it all.
Speaker 4 (19:07):
Yeah, would you like to sing a thing? Why don't
you get Joseph to sing? It happened Joson sing? Blame
it on my youth, Well then I'll do it. I
gotta hurry too.
Speaker 1 (19:24):
I expected love when first weekst.
Speaker 2 (19:28):
Blame it on my youth.
Speaker 1 (19:32):
Here, if only just for you, I did exist.
Speaker 5 (19:37):
Blame it on my youth. If I cried a little
bit when first.
Speaker 11 (19:45):
Time learn the truth, don't.
Speaker 10 (19:51):
Blame it on my heart, Blame it on my youth.
Speaker 3 (19:55):
You've got my Brunswick key there, tax I got my
Brunds with key.
Speaker 1 (20:01):
You mean the old uncollector's item. That's see. I remember
another one.
Speaker 5 (20:06):
Of your tunes, Oscar. It was very popular around nineteen
thirty or thirty one. That tune called Lady player Mandolin?
Speaker 1 (20:13):
Would you accompany me on?
Speaker 2 (20:14):
No lighter lighted were gone?
Speaker 5 (20:23):
Lady play your mandolin, Lady play your mandolin.
Speaker 1 (20:28):
That was an introduction?
Speaker 2 (20:29):
Was it.
Speaker 1 (20:31):
Oscar atanda for the.
Speaker 2 (20:40):
Late lay?
Speaker 1 (20:51):
You an play a vamp? I'll play a vampa, play
a vamp for about two or three hours. Let's go
take a big production this sense.
Speaker 5 (21:05):
Lady play your mandolin, Ladies sing your song, and si
no I fear you let me hear you play play
your mandolin? Say that sounded just like two pianos playing
that oscarar VMP proceeds solo.
Speaker 4 (21:37):
I enjoyed every note of that being, including the vamp,
which interminable. Now, should we get on to George and
Ira Gershman.
Speaker 1 (21:44):
I am more than willing you know.
Speaker 5 (21:46):
George Gershon was a contemporary of Vincent Humans. They were
about the same age and great professional rivals.
Speaker 4 (21:51):
Like Debussy and Ravel, like Tuscanini and Krusovitski, or like
you and Hildegarde. Please, I think the first of the
grocery music we should do tonight is I got rather all.
Speaker 5 (22:05):
Definitely, we can make this quite a miguela here, Beggy,
You and Buddy and Perry and Jova, Nudia, Rad Nichols.
Speaker 1 (22:10):
The whole mom can clamber in on this, I think, Joe.
Speaker 3 (22:17):
I've got rhythm, I've got music. I got my guy
who could ask for anything more.
Speaker 14 (22:25):
I got dad men past. I've got my man who cuds.
Speaker 10 (22:30):
More an more old man trouble, and I don't mind him.
Speaker 1 (22:36):
You won't find him hang around my door.
Speaker 10 (22:40):
I got ser.
Speaker 14 (22:44):
I've got my man who grass for anything, who gos.
Speaker 12 (22:48):
For anything more?
Speaker 3 (23:23):
Oh mind trouble, I don't mind him. You won't find
him hanging rounding my bakeball.
Speaker 2 (23:31):
I got some.
Speaker 10 (23:34):
I've got mine man.
Speaker 1 (23:36):
Who could I throw my nimo?
Speaker 2 (23:37):
Who got my fam?
Speaker 1 (23:44):
Oh nobody fell here? Nobody got lost or any. I
was really very jolly. It a bigger that.
Speaker 2 (24:08):
Hi movie.
Speaker 1 (24:09):
You only add high home. Now. I think I'll do
a piano solo. I'm sorry, I ask you, but it's
time for the commercial that you left out my solo.
Speaker 5 (24:20):
It wasn't an oversight either, But this is a real
dam commercial. West commercial is really a lovely thing. It's
it's going to be all about Toko. And there's new
long playing records. All those records had run for forty
five minutes. I know one of mine was released the
other day, the Tschaikowsky Piano Concerto accompanied I underlined by
the Philadelphia Symphony Orchestra. I'd like to run it through
(24:40):
for you once, so I don't think. I don't think
you could do it justice without the entire symphony. I
don't know what the key, cleb and see if they're there.
Speaker 1 (24:55):
Okay, let's have the commercial can and mention my records.
I may like it a fine Oscar.
Speaker 4 (25:01):
We'll mention them right away, Folks, On just one ten
inch long playing record, you can hear nine Oscar of
ant numbers.
Speaker 1 (25:08):
Ancidentally, that saves a nice piece of change in the
price of the records.
Speaker 4 (25:11):
But my point is when you play Oscars long playing
record on the fil coal, you hear the real thing
right out of the concert hall. You get full tone
fidelity without distortion thanks to Filcho's exclusive balanced fidelity reproducer.
It's the entirely new kind of tone I'm originally developed
in the filk Co laboratories, especially for the long playing records.
These new records are made of high quality vinyl light
(25:33):
you know, non breakable and so lifelike. When you hear
them on a pilkol, you wouldn't know a record was playing.
As for record scratch, well you just don't hear it.
Get a demonstration at your fill Co dealer now, doesn't
cost your dime and you'll get the.
Speaker 1 (25:46):
Listing thrill of your life from Philco the leader. Hey,
thank you? Did you join us in the hear me?
Speaker 2 (26:07):
The way you wear your hat.
Speaker 10 (26:12):
The way you stick your team, the memory of all.
Speaker 1 (26:19):
That, No, no, they can't take that away from me.
Speaker 2 (26:28):
The way your.
Speaker 10 (26:29):
Smile just be, the way you sing of keys.
Speaker 2 (26:39):
The way you harmed my dreams.
Speaker 1 (26:44):
No no, they can't take that away from me.
Speaker 14 (26:51):
We never never mean again on the bomb.
Speaker 15 (27:00):
To steal, always always keep from memory.
Speaker 1 (27:12):
The way you you know.
Speaker 2 (27:17):
The way we dance till three, the way you change
my law.
Speaker 1 (27:28):
No, no, they can't take that away from me.
Speaker 2 (27:35):
No, they can't take that away.
Speaker 4 (27:42):
From They wrote tunes then in those days it was
(28:08):
fun to carry a torch because they wrote such great
torch songs.
Speaker 1 (28:12):
Now what do they write? A tree in the meadow.
It's all real estate.
Speaker 5 (28:17):
There's a little romantic stuff around Oscar this time I
want to tell it's been charming to see you too,
and I do hope you've dropping again real soon.
Speaker 1 (28:25):
What was with you?
Speaker 2 (28:26):
Next week?
Speaker 5 (28:26):
Being well, next week we have Adolph Manjou. He's going
to pass the visits. The fine singer will be here.
Miss kay Starr sounds good. Oh oh, we hope it
will be Oscar.
Speaker 1 (28:35):
Good night, night, night night, Peggy, good night, Thanks folks,
and good night. Let's rot round.
Speaker 3 (28:48):
What do the last guy in Hollywood?
Speaker 15 (28:50):
By?
Speaker 10 (28:50):
No?
Speaker 2 (28:50):
Morally right over again?
Speaker 1 (28:52):
Don't have a pill? Go a radio time?
Speaker 4 (28:53):
Next week is here Ben Crosbid, John Scott Trotter and
his orchestra. They were the mares and things guests on
Off Marju and q Starck and remember keep your eye
on your philm called dealer. Now for the newest thing
in radio phonographs from film Call The Leader, m
Why the boom meets the goal.
Speaker 2 (00:15):
Of the day? Someone, why for me?
Speaker 3 (00:33):
What?
Speaker 4 (00:33):
You two already a time produce a transcribed in Hollywood
John Scott Frodd and his orchestra, the La Mares and
Things guests, Oscular Man, Peggy Lee, Red Nichols, Jovenile and
Ziggie Allman. And now I should like to present another
great musical talent, that prominent symbol beater been crossed banks can.
Speaker 5 (00:48):
But you're not quite correct. I am not a symbol beater. No,
I am a symbol tinkler.
Speaker 1 (00:53):
Oh I have a very light touch.
Speaker 5 (00:55):
Oh I see anyone can beat a symbol. I am
an artist. Sorry, Maestro, have I upset you?
Speaker 1 (01:04):
It's just may not play tonight, that's all. Well, Is
there any chance of your singing tonight that I'm not
sensitive about? Joan h.
Speaker 5 (01:27):
Joe Bahdud and Hammerhead Jones, if composing do tune entitled,
ain't doing bad, doing nothing. Joe's at my side now
ready for prompting and for fiddle passages.
Speaker 6 (01:38):
He ain't doing bad, doing nothing, just laying around older.
Speaker 1 (01:50):
I'm telling you, the less I do, the.
Speaker 3 (01:56):
Morphins come my way.
Speaker 2 (02:02):
When I gets up in the morning.
Speaker 7 (02:08):
Thinking of the day, makes me so din ride weary.
Speaker 2 (02:19):
I go right back to my bed.
Speaker 7 (02:25):
Why should I ever worry?
Speaker 8 (02:31):
It's such a leasing game. Why should I move? When
I can prove then I get there just the same.
In doing bad doing nothing, somehow it seems.
Speaker 2 (02:56):
To pay.
Speaker 1 (03:00):
I do.
Speaker 9 (03:01):
In bad doing nothing, you're just playing round all the the.
Speaker 1 (03:15):
You're playing round all.
Speaker 4 (03:28):
Ah, very very good, Bing and Joe. But ban ain't
doing bad doing nothing? Isn't that thought a little negative?
Right before my commercial?
Speaker 1 (03:36):
Of course it isn't. Ken tell us more, Ohbing, Philco
dealers are.
Speaker 4 (03:39):
Doing plenty with those new radio phonographs to play the
forty five minute record. And how can I miss Any
radio phonograph is out of date nowadays unless it plays
these amazing new records this year. The new filcals all
the way, from gorgeous consoles to space saving table models,
play both kinds of records, your standard records automatically plus
the sensational new law playing kind. And remember, only Philcoal
(04:02):
gives you the balance fidelity reproducer the original Tonin designed
for the long playing records at the request of the
engineers who developed them. It's real electronic magic, and it
gives you full tone fidelity without distortion from these high
quality vinylighted records. They're made for each other, the most
flawless reproduction in the history of recorded music. So hear
(04:24):
them together on a filco famous for quality the world over.
Speaker 5 (04:34):
It's always a pleasure to welcome the fellow who now
sits modestly at this time way his charm, his.
Speaker 1 (04:40):
Insouciance, his warmth, and his musical genius.
Speaker 5 (04:43):
Unknown to all of you, ladies and gentlemen, here's that
prominent piano thumper hoscule events.
Speaker 4 (04:55):
Thanks being, But you've made a slight air. I am
not a piano thumper.
Speaker 5 (04:59):
You pound them anyone can found the piano, and I
include most of my contemporaries.
Speaker 4 (05:04):
Then you admit that you're the best. I don't say
I'm the best. I merely say I'm the best I
ever heard.
Speaker 1 (05:11):
You get around much.
Speaker 4 (05:16):
Saving If I let you in on a big secret
about Jolson, Will you promise not to tell anyone Oscar?
Speaker 1 (05:22):
My lips are sealed. You're sure there's no one listening
to us? Another better be.
Speaker 4 (05:29):
Anyhow how old do you think the real Al Jolson is?
Speaker 1 (05:32):
Oscar? You keep referring to the real Al Jolson.
Speaker 4 (05:35):
Certainly you don't think the original Jolson's around Hollywood, do you.
Speaker 1 (05:40):
Well, who's that fellow on the craft program with you?
That's Jolson's son, Al Jolson Junior.
Speaker 5 (05:49):
He's a fellow about fifty two or fifty three.
Speaker 1 (05:55):
Well, Oscar, where's the original original? Say? We're talking about
him like he's an He won't.
Speaker 4 (06:01):
Mind being This may shock you, but the real Al
Johson has retired to a monastery in Tibet.
Speaker 1 (06:12):
Ill Ski.
Speaker 5 (06:14):
He's gone to Shangri Law, Shangry Law. You'd never recognize
the old place. There's a toll gate there now.
Speaker 1 (06:23):
But does he keep in touch with his son?
Speaker 5 (06:24):
This, this Al Johson Junior in the craft room, certainly
every week he sends a flock of doves to pick
up the kid's paycheck. He's in touch. Well, Oscar, here's
Peggy Leuie. Hello Peggy.
Speaker 1 (06:39):
Hi, fellow Peggy. Austri and I were just talking about
the original Al Johnson. Oh well, I never knew him,
but I know his son.
Speaker 10 (06:51):
Quite wrong, you do?
Speaker 1 (06:54):
Yes, I was over at his house for dub dinner
last night.
Speaker 4 (07:01):
The kid revolved. Huh, good for him and good for
us too. Shall we get on out or something charming
as you wish, i'llsk you what's say?
Speaker 1 (07:08):
Princess? You Peggy and I hit.
Speaker 5 (07:09):
Some tunes which we hope will bring back a few
pleasant memories to our listeners.
Speaker 1 (07:14):
Sure, why don't we do some oldies?
Speaker 5 (07:16):
Now, we'll do some antiquees antikis they would before oldies?
Speaker 1 (07:20):
Remember this one?
Speaker 2 (07:22):
While I love you?
Speaker 11 (07:27):
If you all me new all I want no blisses
that the sun gets from your kisses.
Speaker 2 (07:41):
Wood do you love me too?
Speaker 4 (07:48):
That was a great tune of the twenties written by
Vincent Yuman's an Oscar Hammersine the second, and you know
a funny thing being Oscar Hammersene the second is still
Oscar Hammersteine a second. Yeah, there's an Oscar Hammerstine the third,
but there's no Oscar Hamerstine the first.
Speaker 1 (08:01):
Well, which Oscar do you like best? The land never
heard of him? Kind of think of it.
Speaker 4 (08:09):
There was an Oscar Hammerstine the first, who headed a
big opera company and smoked cigars. But there is no
Oscar Hamersine the first. Now, which brings us up to
Jerome Current and Buddy Gasilva. We had quite to stay
with the Hammerstein Remember this from Sally Bank walks me and.
Speaker 1 (08:27):
Talks me.
Speaker 3 (08:31):
Look for the silver lining. Whenevera cloud hoppers.
Speaker 9 (08:40):
In the blue, Remember somewhere the sun is shining.
Speaker 1 (08:49):
And so the rioting.
Speaker 2 (08:52):
To do is make it.
Speaker 9 (08:55):
Shine for you a heartful ooh of joy. Gladeners will always.
Speaker 3 (09:05):
Bannish sadness and spries soul.
Speaker 1 (09:11):
Always looked all.
Speaker 2 (09:14):
The over lining and try to find the sunny side.
H Lode.
Speaker 1 (09:41):
Vlan Lolla sang silver lining, and Sally there was a talent.
She was lovely radiant, and she said alone to me
once well. I think most people say a load to
you once.
Speaker 4 (10:01):
Well bang Sometimes once is enough, which brings us up.
Speaker 1 (10:05):
To Coldport Old.
Speaker 4 (10:07):
Here's one of Cole's tunes from the New Yorkers, Take
me back.
Speaker 1 (10:12):
To Manhattan, Take me back.
Speaker 12 (10:15):
To New York, just long and don't see it for
my little home on the hundred floor. Don't take me
back to mant that dear old dirty tone.
Speaker 1 (10:31):
Aye, you are a great voice tonight, Oscar.
Speaker 5 (10:33):
You know, if we keep on doing these old New
York you too, we may replace Manhattan merry.
Speaker 1 (10:36):
Ground, Manhattan merry Ground. What's that? That's Winchell's theme song,
say bing.
Speaker 4 (10:47):
Remember back when Jimmy Walker was mayor of New York,
and cold Porter wrote, anything goes ah things.
Speaker 1 (10:53):
Certainly when you remember the speakers, he's oscar.
Speaker 4 (10:55):
Sure you knock on the door of people would open
and you'd ask for Tony.
Speaker 1 (10:59):
You do that today to get a permanent way.
Speaker 2 (11:05):
Oh?
Speaker 5 (11:06):
Yes, in those days, Broadway Rose was the debut time,
and Dave Chasing was just learning to cook.
Speaker 1 (11:12):
Where's Broadway Rose?
Speaker 2 (11:13):
Now?
Speaker 1 (11:13):
It's cooking for Dave Chasing? What happened to Colporter? Cold Porter?
Oh he's cooking at the lap of the arm the pavion.
Well that's so exclusive, core Porter. If you only want
it to get in, Well, let's get along.
Speaker 2 (11:27):
Shall we take over a peg?
Speaker 10 (11:31):
Wh Is this thing called this funny thing?
Speaker 13 (11:48):
Call just cansole Keepston? Why should I need.
Speaker 5 (12:07):
A fool?
Speaker 14 (12:14):
I said there one one waful day.
Speaker 10 (12:23):
You took my eyes and shoot away. That's why.
Speaker 1 (12:35):
School in heaven bove?
Speaker 10 (12:45):
What is this thing.
Speaker 1 (12:49):
Called very smooth?
Speaker 2 (13:09):
Peggy?
Speaker 1 (13:09):
You know coll Port? It deserves a lot of credit.
He's a rich boy made good. Well, let's know you huh?
Speaker 4 (13:17):
Well, why should poor boys be the only ones to
make good? Which reminds me of Irving Berlin. But I
think we got to go back to one of Irving's olds.
I felt Polly's tunes, Mandy.
Speaker 11 (13:26):
So listen, many, there's a minister Andy, and the sub
would be.
Speaker 1 (13:39):
If we'd let him make a fee. So don't you linger?
Speaker 3 (13:47):
Here's the ring for your finger. Here, isn't it a under?
Come along and let the wedding chime bring a happy time?
Speaker 1 (14:00):
Oh Mandy and me? Now, Oscar, will you stand by
a while? Peggy and I do a course of one
of Jimmy mceue's fine tune.
Speaker 5 (14:16):
Well, the tune of Skyrocket of Jimmy mceeu. The fame
was exactly like you, exactly what we're going to do.
Jimmy's very proud of that tune.
Speaker 1 (14:23):
You know, he sort of stuck on himself in a
nail concealed.
Speaker 2 (14:26):
Sort of way.
Speaker 5 (14:29):
You mean, James is an extroverts and if you ever
bumped into him at a party, he's on his way
to the piano exactly like you.
Speaker 1 (14:39):
I don't play at party. Oh that was a que, Oscar.
I didn't mean anything. Are you ready peg read Let's
go there?
Speaker 15 (14:48):
No no wh in blue pretty snat for someone exactly
like you?
Speaker 11 (15:04):
Why should we spend money on a show or two.
Speaker 5 (15:13):
No one does those love scenes exactly like you.
Speaker 14 (15:20):
You make me feel so great. I want to hand
the world to you.
Speaker 5 (15:28):
You seem to understand each foolish little scheme I'm scheming,
streamind dreaming.
Speaker 1 (15:39):
Yeah, I know. My mother.
Speaker 14 (15:43):
Told me to be too.
Speaker 1 (15:47):
She me for someone exactly like you.
Speaker 5 (16:02):
Good old Pagan Bank, good old now being. Shall we
get along with Rodgers and haunt Well? I believe John
Scott has quite an arrangement of one of my favorite
Rogers and hearts.
Speaker 1 (16:11):
Right there on in the books. Ain't you John?
Speaker 11 (16:13):
Haven't you John?
Speaker 1 (16:18):
You are too beautiful idea to be fool.
Speaker 5 (16:23):
And I'm such a fool for beauty, fool by a
feeling that because I.
Speaker 1 (16:31):
Had found you, I could have found you too.
Speaker 5 (16:39):
You are too beautiful for one man alone, for one
lucky fool to be with when there are other men
with eyes of their own to see. Love does not
(17:03):
stand sharing, not if one cares.
Speaker 2 (17:12):
Have you been comparing my every kiss with that?
Speaker 1 (17:23):
If?
Speaker 2 (17:24):
On the other hand.
Speaker 6 (17:25):
I am faithful to you, it's not through some sense
of duty.
Speaker 3 (17:34):
You are too beautiful and I am a fool for you. Ah,
(18:03):
what a lyric that was. You are too beautiful for
one man alone? What an out for a fellow if
he wanted to get.
Speaker 1 (18:08):
Rid of a girl? Say, who's the next composer? You
got to mind?
Speaker 4 (18:14):
Ask you a very important one. And I feel rather
guilty for overlooking him for so long. His name, Ah,
it doesn't escape me for a moment. Levant, Oscar Levant.
Speaker 5 (18:25):
Yes, Oscar Levant, the composer of such songs as I'm
just a backward boy looking for a forward girl, Eskimo's sweetheart,
don't blubber over me. And when you walked out with
your shoes on, I knew you were gone for good.
Speaker 4 (18:45):
They want to smash Those were real smashes, all right?
Speaker 1 (18:52):
If I wrote some mild hits, two little things, little
roundelays that lulled the country. I wrote one song, for instance,
that even my friend than Like called, uh yeah, it's
the first laugh I ever interrupted.
Speaker 2 (19:06):
Called.
Speaker 1 (19:06):
Blame it on my youth. Blame it all.
Speaker 4 (19:07):
Yeah, would you like to sing a thing? Why don't
you get Joseph to sing? It happened Joson sing? Blame
it on my youth, Well then I'll do it. I
gotta hurry too.
Speaker 1 (19:24):
I expected love when first weekst.
Speaker 2 (19:28):
Blame it on my youth.
Speaker 1 (19:32):
Here, if only just for you, I did exist.
Speaker 5 (19:37):
Blame it on my youth. If I cried a little
bit when first.
Speaker 11 (19:45):
Time learn the truth, don't.
Speaker 10 (19:51):
Blame it on my heart, Blame it on my youth.
Speaker 3 (19:55):
You've got my Brunswick key there, tax I got my
Brunds with key.
Speaker 1 (20:01):
You mean the old uncollector's item. That's see. I remember
another one.
Speaker 5 (20:06):
Of your tunes, Oscar. It was very popular around nineteen
thirty or thirty one. That tune called Lady player Mandolin?
Speaker 1 (20:13):
Would you accompany me on?
Speaker 2 (20:14):
No lighter lighted were gone?
Speaker 5 (20:23):
Lady play your mandolin, Lady play your mandolin.
Speaker 1 (20:28):
That was an introduction?
Speaker 2 (20:29):
Was it.
Speaker 1 (20:31):
Oscar atanda for the.
Speaker 2 (20:40):
Late lay?
Speaker 1 (20:51):
You an play a vamp? I'll play a vampa, play
a vamp for about two or three hours. Let's go
take a big production this sense.
Speaker 5 (21:05):
Lady play your mandolin, Ladies sing your song, and si
no I fear you let me hear you play play
your mandolin? Say that sounded just like two pianos playing
that oscarar VMP proceeds solo.
Speaker 4 (21:37):
I enjoyed every note of that being, including the vamp,
which interminable. Now, should we get on to George and
Ira Gershman.
Speaker 1 (21:44):
I am more than willing you know.
Speaker 5 (21:46):
George Gershon was a contemporary of Vincent Humans. They were
about the same age and great professional rivals.
Speaker 4 (21:51):
Like Debussy and Ravel, like Tuscanini and Krusovitski, or like
you and Hildegarde. Please, I think the first of the
grocery music we should do tonight is I got rather all.
Speaker 5 (22:05):
Definitely, we can make this quite a miguela here, Beggy,
You and Buddy and Perry and Jova, Nudia, Rad Nichols.
Speaker 1 (22:10):
The whole mom can clamber in on this, I think, Joe.
Speaker 3 (22:17):
I've got rhythm, I've got music. I got my guy
who could ask for anything more.
Speaker 14 (22:25):
I got dad men past. I've got my man who cuds.
Speaker 10 (22:30):
More an more old man trouble, and I don't mind him.
Speaker 1 (22:36):
You won't find him hang around my door.
Speaker 10 (22:40):
I got ser.
Speaker 14 (22:44):
I've got my man who grass for anything, who gos.
Speaker 12 (22:48):
For anything more?
Speaker 3 (23:23):
Oh mind trouble, I don't mind him. You won't find
him hanging rounding my bakeball.
Speaker 2 (23:31):
I got some.
Speaker 10 (23:34):
I've got mine man.
Speaker 1 (23:36):
Who could I throw my nimo?
Speaker 2 (23:37):
Who got my fam?
Speaker 1 (23:44):
Oh nobody fell here? Nobody got lost or any. I
was really very jolly. It a bigger that.
Speaker 2 (24:08):
Hi movie.
Speaker 1 (24:09):
You only add high home. Now. I think I'll do
a piano solo. I'm sorry, I ask you, but it's
time for the commercial that you left out my solo.
Speaker 5 (24:20):
It wasn't an oversight either, But this is a real
dam commercial. West commercial is really a lovely thing. It's
it's going to be all about Toko. And there's new
long playing records. All those records had run for forty
five minutes. I know one of mine was released the
other day, the Tschaikowsky Piano Concerto accompanied I underlined by
the Philadelphia Symphony Orchestra. I'd like to run it through
(24:40):
for you once, so I don't think. I don't think
you could do it justice without the entire symphony. I
don't know what the key, cleb and see if they're there.
Speaker 1 (24:55):
Okay, let's have the commercial can and mention my records.
I may like it a fine Oscar.
Speaker 4 (25:01):
We'll mention them right away, Folks, On just one ten
inch long playing record, you can hear nine Oscar of
ant numbers.
Speaker 1 (25:08):
Ancidentally, that saves a nice piece of change in the
price of the records.
Speaker 4 (25:11):
But my point is when you play Oscars long playing
record on the fil coal, you hear the real thing
right out of the concert hall. You get full tone
fidelity without distortion thanks to Filcho's exclusive balanced fidelity reproducer.
It's the entirely new kind of tone I'm originally developed
in the filk Co laboratories, especially for the long playing records.
These new records are made of high quality vinyl light
(25:33):
you know, non breakable and so lifelike. When you hear
them on a pilkol, you wouldn't know a record was playing.
As for record scratch, well you just don't hear it.
Get a demonstration at your fill Co dealer now, doesn't
cost your dime and you'll get the.
Speaker 1 (25:46):
Listing thrill of your life from Philco the leader. Hey,
thank you? Did you join us in the hear me?
Speaker 2 (26:07):
The way you wear your hat.
Speaker 10 (26:12):
The way you stick your team, the memory of all.
Speaker 1 (26:19):
That, No, no, they can't take that away from me.
Speaker 2 (26:28):
The way your.
Speaker 10 (26:29):
Smile just be, the way you sing of keys.
Speaker 2 (26:39):
The way you harmed my dreams.
Speaker 1 (26:44):
No no, they can't take that away from me.
Speaker 14 (26:51):
We never never mean again on the bomb.
Speaker 15 (27:00):
To steal, always always keep from memory.
Speaker 1 (27:12):
The way you you know.
Speaker 2 (27:17):
The way we dance till three, the way you change
my law.
Speaker 1 (27:28):
No, no, they can't take that away from me.
Speaker 2 (27:35):
No, they can't take that away.
Speaker 4 (27:42):
From They wrote tunes then in those days it was
(28:08):
fun to carry a torch because they wrote such great
torch songs.
Speaker 1 (28:12):
Now what do they write? A tree in the meadow.
It's all real estate.
Speaker 5 (28:17):
There's a little romantic stuff around Oscar this time I
want to tell it's been charming to see you too,
and I do hope you've dropping again real soon.
Speaker 1 (28:25):
What was with you?
Speaker 2 (28:26):
Next week?
Speaker 5 (28:26):
Being well, next week we have Adolph Manjou. He's going
to pass the visits. The fine singer will be here.
Miss kay Starr sounds good. Oh oh, we hope it
will be Oscar.
Speaker 1 (28:35):
Good night, night, night night, Peggy, good night, Thanks folks,
and good night. Let's rot round.
Speaker 3 (28:48):
What do the last guy in Hollywood?
Speaker 15 (28:50):
By?
Speaker 10 (28:50):
No?
Speaker 2 (28:50):
Morally right over again?
Speaker 1 (28:52):
Don't have a pill? Go a radio time?
Speaker 4 (28:53):
Next week is here Ben Crosbid, John Scott Trotter and
his orchestra. They were the mares and things guests on
Off Marju and q Starck and remember keep your eye
on your philm called dealer. Now for the newest thing
in radio phonographs from film Call The Leader, m
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