May 31, 2025 • 58 mins
This week's Make Believe Ballroom brings you Classic Big Band Hits from the 30s and 40s - a look at what Jeff Bressler feels is the primary reason for the demise of big bands, a story on how opposites attract, listener emails, and Lenny from Down the Block with his Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on the program.
The Make Believe Ballroom is broadcast on member-supported Jazz 90.1 WGMC in Rochester, NY, as well as on other fine radio affiliates across the United States and the United Kingdom, and is also available as a podcast.
The Make Believe Ballroom is broadcast on member-supported Jazz 90.1 WGMC in Rochester, NY, as well as on other fine radio affiliates across the United States and the United Kingdom, and is also available as a podcast.
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:12):
It's make believe ballroom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 3 (00:19):
All the bands are here to bring.
Speaker 2 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make belief ballroom time and free to everyone. It's
no time to friend your Dalis said bombs. Close your
eyes and visualize in your solitude.
Speaker 2 (00:46):
Your favorite bands are on the stands.
Speaker 4 (00:49):
And mister Miller, what's you're in the mood?
Speaker 1 (00:52):
It's make believe ballroom time. We are a sweet romance.
Is you make it bottom?
Speaker 3 (01:01):
Come on jo the last dast.
Speaker 5 (01:04):
Last, Hello world, I'm Jeff Presler, turning on the lights
of the make Bully Ballroom and welcoming you into my
Crystal studio for another program of classic big band hits
from the nineteen thirties and forties. Whether you're listening today
on the radio by a great affiliate's like Jazz ninety
(01:25):
point one WGMC in Rochester, New York, or maybe enjoying
the show on a podcast or even on internet radio
in the United Kingdom. Any way you've gotten here, I
deeply appreciate it, and join me as I get ready
to spin for you some amazing big band jazz, swing, blues,
(01:47):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five, and
to welcome well, welcome one and all into the Crystal Studio.
Why don't we open the show today with a couple
of vocals and you could never go wrong with these two.
(02:11):
Let's start with a little satch mode.
Speaker 6 (03:12):
All me?
Speaker 7 (03:15):
Why not take all of me? Baby?
Speaker 8 (03:18):
Oh can't you see I'm not going to worry about
you or anybody danging lives.
Speaker 7 (03:29):
I won't just leave them.
Speaker 9 (03:30):
Oh then taking my arm, I'll lever.
Speaker 7 (03:36):
Use them, old bed be your good bye? Left me
without that guy?
Speaker 2 (03:45):
Oh man, I got.
Speaker 4 (03:49):
I'm going there without you?
Speaker 7 (03:53):
You get before?
Speaker 6 (03:57):
That's what was mine? Oh oh the cost all the
(04:20):
say it.
Speaker 10 (04:41):
It di.
Speaker 2 (05:11):
All of me.
Speaker 5 (05:12):
Louis Armstrong and his Orchestra, recorded on Okay Records in
January of nineteen thirty two, and now a beloved depression
ratoon courtesy of Bing Crosby.
Speaker 9 (05:33):
A long time ago, a million years BC, the best
things in life were absolutely free, but no one appreciator
sky that was always blue, and no one congratulated Oh Moon,
(06:00):
he was always new. So it was planned that they
would vanish now and then and you must pay before
you get them back again. That's what storms were made for.
(06:21):
And you shouldn't be afraid for every time it rains.
Speaker 3 (06:32):
And he's from heaven.
Speaker 9 (06:37):
Don't you know each cloud contains and he's from heaven.
Speaker 3 (06:46):
You'll mind your fagin.
Speaker 11 (06:49):
Fallen all over time.
Speaker 3 (06:56):
Be sure that you're.
Speaker 7 (07:02):
Me is upside. Don pray them for a package all.
Speaker 9 (07:13):
Sunshining flower. If you want the things you love, you
must have shower.
Speaker 12 (07:27):
So well you hear it, thunder, don't run undert There'll
be pennies from Heaven for you and me.
Speaker 7 (07:53):
Moody, you must have shot so well you hear it. On,
(08:17):
don't run under.
Speaker 3 (08:23):
Low'dy.
Speaker 5 (08:24):
Pennies from Heaven for you, a number one hit parade
song for four weeks, a big top seller for being,
and the title song from a nineteen thirty six film
He started by Deca Records. Pennies from Heaven orchestra constructed
(08:47):
by Georgie Stall, recorded in Los Angeles, July the twenty fourth,
nineteen thirty six. And now why don't I go to
the playlist. I think what I'm going to do is
choose another that was recorded in thirty six. I am
(09:07):
perusing the playlist now looking for perhaps something a little
more up tempo to play, and well, here's a classic
(10:12):
sha on Victor Records, A Swing Time in the Rockies
(12:26):
by Benny Goodman and his Orchestra, recorded in New York
City June the fifteenth, nineteen thirty six. Let Me Play
One More by Benny Goodman and this record was part
of that same RCA Victor recording session for Goodman that
took place on June the fifteenth, nineteen thirty six. I
(14:58):
found a new baby any Goodman and his orchestra. I'm
Jeff Bresler, and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five. And I think what I'm gonna do now
is change things up a little. Usually play now listeners
(15:21):
emails pretty deep into the program. But what I think
I'm gonna do is read to you to listener's emails
right now.
Speaker 3 (15:31):
I'm going to send write down and write myself a.
Speaker 7 (15:36):
Lot and my belie the game from you.
Speaker 8 (15:48):
I'm going to write so sweet that all love me,
all a lot of kisses on the bottom.
Speaker 2 (16:01):
I'll be glad I got it.
Speaker 8 (16:04):
I'm gonna smile and say I hold you're fending better.
Speaker 7 (16:13):
M closes with love the way.
Speaker 8 (16:21):
I'm gonna send right down and write myself a letter.
Speaker 2 (16:30):
And made me with game from.
Speaker 5 (16:38):
I'm fortunate here in the Crystal studio to receive emails
each week. I love emails because it lets me know
that you're involved in the program and thoughtful enough to
drop me a line. Emails also let me know that
we indeed have listeners out there who enjoy the program,
and that I'm not just broadcasting to my cat or something.
(17:01):
I don't have a cat, but I think you get
the idea. Our first email today, and I don't know
whether she has a cat or not, comes to us
from Karen Schuster, who listens on Jazz ninety point one
in Rochester, New York, the wonderful jazz station that I
like to say is our flagship affiliate. And to Karen,
(17:23):
that's Karen with ac rights. I haven't written to you
in a few years. I'm the lady who gave you
the recipe for nocchi. Yes, yes, Karen, actually do remember
that Karen goes on I was recently speaking to a
cousin in Chicago who informed me that we were cousins
(17:46):
several times removed from a band leader named Benny Strong.
Can you will let me do your detective work and
track down some of his music? I'll be listening. Thank you,
Karen Well, Karen, Karen with the Sea. Benny Strong was
a Chicago based band leader and singer, and I guess
(18:07):
that's why your cousin in Chicago found out that you
and her were related. So Benny was a show in
himself because in addition to being a band leader, he
was known for his dancing and his impersonations of other singers,
including Bing Crosby who we just heard, Rudy Valley, and
(18:29):
Harry Richmond. I guess Benny Strong was a good procurer
of talent because earlier in her career, June Christie was
a vocalist in his band Let Me now play for you, Karen,
the one the only top ten recording that was attributed
(18:52):
to one Benny Strong.
Speaker 3 (19:00):
Has she got naughty eyes?
Speaker 7 (19:03):
Yes, she has gotten naughty eyes. That's certain.
Speaker 3 (19:07):
That's certain parties you know the one I mean, sure,
you know all of what I mean. That's a certain
party of mine. All the eyes turned up, nose, rosy
cheeks pretty close and not a smarty has she got
(19:32):
loving ways. Sure she has got loving ways. That's certain
party of mine.
Speaker 11 (20:21):
All the eyes turned up, nose, rosy cheeks pretty close
and not this smarty.
Speaker 3 (20:31):
Yes she got loved waves. Sure she has got loving ways.
That's certain party of my. Has she got you?
Speaker 7 (20:43):
No one? Yes she has got you know what?
Speaker 3 (20:46):
Oh, that's certain that's certain party.
Speaker 10 (20:51):
As she got I forgot it.
Speaker 3 (20:54):
Yes she has got. I forgot that's certain party of my.
You know what I forgot?
Speaker 10 (21:04):
As?
Speaker 3 (21:05):
That's quite a lot whattest money?
Speaker 10 (21:12):
She got everything?
Speaker 3 (21:14):
Yes, she has got everything. That's certain party of min.
Speaker 11 (21:24):
Yes she has a bank account and she got a
large amount Ooh, has she elargemount?
Speaker 3 (21:32):
That's a certain party of min.
Speaker 5 (21:39):
That certain party by Benny Strong and his orchestra vocal
by Benny As I mentioned the only national top ten
record for Benny Strong and that song that Certain Party
was a revival of a hit song from the nineteen twenties.
And then poking around to get some more information about
(22:01):
Benny I discovered that many of the songs as Ben
played in which he provided the vocals, were indeed revivals
of popular songs from the nineteen twenties. So Karen a
little about your several time removed cousin, Benny Strong and Karen,
thank you so much for that email. Jeff at Mikebelly
(22:24):
Ballroomradio dot com. That's Jeff at Makebeley Ballroomradio dot com. Now,
when I mentioned that Benny's Strong impersonated Crosby Valley and
Harry Richmond, I'm sure most listeners obviously know who Bing
Crosby and Rudy Valley were, but I don't think many
(22:45):
remember hearing a record that featured Harry Richmond. And it's
a shame because he's a long forgotten But in his heyday,
in the twenties and thirties, his peak years, Harry Richmond
was one of the, believe it or not, the highest
paid performers in show business. It said that he was
making well what would have to be considered an astronomical
(23:08):
twenty five thousand dollars a week in nineteen thirty one.
Twenty five thousand dollars a week in today's money is astronomical,
But if you convert the twenty five thousand from nineteen
thirty one money to today's money, he was making I guess,
in essence, probably about a half a million dollars a week.
(23:29):
As a matter of fact, his version, Harry's version of
Putting on the Ritz outsold the fred Astaire record. Harry
originally starred in the Broadway musical Putting on the Rits.
Many think that fred Astaire did, but it was Harry Richmond.
Let's play one from Harry Richmond, who was a favorite
(23:55):
of Benny Strong, to impersonate.
Speaker 11 (24:07):
I walk with no one and talk with no one,
and I had nothing but shatter, And one morning you pass.
Then I write in.
Speaker 2 (24:19):
That loud.
Speaker 3 (24:22):
No, I greet the day and complete the day with the.
Speaker 7 (24:26):
Sun in my hall.
Speaker 11 (24:30):
All my worries blue a when you taught me how
to serve round your coat and get your hard leave
your worry on the doorstep, and just direct youry on
(24:54):
the funny side of the street. And you hear that
t her pa, A little happy tune is your stapp life.
And before sweed on the sunny side of the speed
Why should you walk in the shade with old blues
(25:20):
on the rain? All be off ray, be off over
and walk over. And if you haven't got a fair,
you'll be a rich Tiles rocke with old us at
(25:41):
yourby on the sunny.
Speaker 3 (25:44):
Side of the speed.
Speaker 11 (25:47):
Grab your coat, get that old Derby hat, leave all
your worries. Things right on your doors, lap right lamp,
direct your feet on the fanny side of the street.
Speaker 7 (26:03):
Listen, can't you hear.
Speaker 11 (26:05):
That little bitter past, all that happy tune? That should
be your head because life can be your post. And
we on the sunny side of the speed. Why should
you walk in the shade with all blue arrays? Come on, Paul,
(26:29):
don't be afraid see a little roll over and walk over.
Speaker 7 (26:36):
And if you haven't got.
Speaker 2 (26:37):
Us, and what of it? Mile laugh?
Speaker 11 (26:40):
You're a rich as lock all with gold at your.
Speaker 12 (26:48):
On the sunny oh.
Speaker 7 (26:54):
Of the scree.
Speaker 5 (26:58):
On Brunswick. Record on the Sunny side of the Street
Harry Richmond and his Orchestra vocal by Harry, recorded in
New York City in March of nineteen thirty one. So
a little history and music about a long forgotten beloved
artist of the nineteen twenties and thirties, Harry Richmond. Let's
(27:21):
move on now to another email, and I direct your
attention to a correspondence from one John kakoryan John Kakorian
who says he listens on kf QX, the Great Racketeer
Radio in Seattle, an extremely rich history behind those call
(27:45):
letters and a wonderful eclectic station. John writes, Hi, Jeff,
longtime listener to your make Believe ballroom. I recall several
years ago when you credited the cabaret tax to one
of the major reasons for the demise of big bands
(28:05):
in America. Can you talk about that devastating tax once again?
Keep the music alive? And that's signed John, and thank
you John for your email. And I did discuss cabaret
tax extensively on a past program a few years back.
You have a good memory, but today let me give
(28:27):
you and our listeners the abridged version. When we think
of the demise of the big band era, the reasons
that come to mind, and possibly the first reason that
comes to people's mind was the devastating nineteen forty two
(28:49):
to forty four musicians strike and what happened was the union.
The Musicians Union told its members not to record records
until the record companies agreed to pay them each time
their music was played on the radio. Many attribute that
(29:09):
again is the number one reason for the demise. Another
reason for the end of the big band era was
that during World War Two, it was getting harder to
find quality musicians due to the draft, and along with that,
many band leaders and their band managers were starting to
(29:32):
look at the bottom line and realize that the costs
associated with moving their large bands across the country was
getting a little bit out of hand. Some people say
that the demise was due to music tastes that were
starting to change, and a number of other negative vibes
(29:55):
leading to end the era were certainly at play. But
I truly believe as John mentioned in his email, and
it was the cabaret tax that put the final nail
in a coffin, so to speak, of that grand time
in American music history. To fully understand this tax, we
(30:19):
have to go back to World War One. Now, during
the First World World War, excuse me, a tax was
introduced on entertainment. Now, this sort of sin tax s
in sin tax was a well, it was a necessary
evil to help to pay for the cost of the
(30:40):
war World War One. It ultimately ended up being called
the cabaret tax. And it was introduced in nineteen seventeen.
And what the tax did. It levied a rate of
five percent on all revenues from places where there was
a combination of eating drinking, dancing, and entertainment by live
(31:04):
performers such as big bands and their singers. The language
of the law as it was written referred to cabarets
and roof gardens, which made it sound as if only
swanky places, cabarets and roof gardens catering to rich people
(31:24):
were targeted by the tax. However, the Revenue Service interpreted
the wording to apply to any public place offering this
combination of services that meant from the elegant let's say
the well, it's like the store club in New York City,
(31:45):
right down to the lowest beer and dance joint. So
the tax was five dollars a five percent, excuse me,
and then it dropped to three percent after the war ended.
So at that five percent and then three percent level,
the tax didn't really make a significant difference in the
(32:07):
cost when folks went out dancing and wanted to get
something to eat and listen to music, and it really
didn't affect the bottom line of those who own the venues. Now,
early into World War Two, the government once again saw
the need to generate added revenue from the cabaret tax.
(32:28):
So from nineteen forty to forty three, it crept back
up from three percent to the higher five percent from
World War One, but by nineteen forty four, and with
the financial squeeze to fuel the war effort, Congress again
decided to put the squeeze on consumers in the Revenue
(32:53):
Act of nineteen forty four. Now, taxes on a broad
range of goods and services went up. Many taxes in
the United States doubled from five to ten percent, but
the cabaret tax, for whatever reason, was singled out. For
get this, folks. It was a six hundred percent increase,
(33:16):
going from five percent all the way up to thirty percent.
The initial hope was that patrons would be patriotic and
to simply be happy to pay more to help out
with World War Two, but when it comes to money,
that was certainly unrealistic, and the law was changed after
(33:38):
an outcry against it. However, the new rate was still
twenty percent. It was lower ten percent, still far above
other increases for products and services in the country. So
at this level, taxation passed on from the businesses to
the patrons, and that started to change their behavior. And
(34:00):
dancing and listening to large bands was simply unprofitable to
businesses and those individual patrons just didn't have the money
to be able to cover this exorbitant new tax in
the bills they received for food or entry into these
ballroom and hotel venues. Now, according to a study by
(34:22):
the Treasury Department in nineteen forty five, industry revenues had
crashed to less than half what they could have been
expected to be if the tax had stayed the same
at five percent. Now the business model had a change,
and ballrooms with big bands no longer made sense to
venue owners, even though the taste of the public hadn't
(34:46):
really changed. As the big bands then were forced to
break up, a new kind of club came to four,
that being the jazz clubs. A jazz club didn't have
a dance floor, and there was and no vocalist with
the band, and as a result, the clubs could avoid
the cabaret tax entirely. Now, when servicemen and women returned
(35:11):
from the war, they still wanted to dance and party,
and they could, except they didn't have ballrooms and hotels
to do it in. So they went to church socials
or private parties and small venues in town. But the
big dance hall was dead. The punitive cabaret tax had
(35:33):
an essence, and my estimation, killed an entire industry and
all its supporting industries, such as big band musicians and
dance schools. Why the cabaret tax was singled out from
all other taxes at the time with a six hundred
percent increases totally unknown to me, But I feel the
(35:57):
cabaret tax really put the big bands unfortunately to Bed
and John, That in a nutshell is the explanation I
gave several years ago. I call this an abridged version.
I can imagine how much time I spent when I
gave the full version of that a few years ago.
(36:19):
So nineteen forty five was the most devastating year for
the cabaret tax. As I discussed, why don't I look
at the playlist here to see what folks were listening
to in nineteen forty five. Let me pull up forty
five and oh, here's a big hit from forty five
(37:46):
Skyliner by Charlie Barnett and his Orchestra, recorded in Los
(39:43):
Angeles and released on Decca Records in April of nineteen
forty five. Let me playing another nineteen forty five recording
The year the cabaret tax really took a grip on
the industry.
Speaker 13 (40:26):
Once there was a little girl who lived next to me,
and she loved a sailor boy. He was only three.
Now he's on a battleship in his sailor suit, just
a great, big sailor man. But he's just as cute.
(40:49):
Foul bottom trousers, coat of navy blues. She loves her
saila and he loves her too. When they walk along
the street, anyone can see they are all so much
(41:10):
in love, happy as can be. Hand in hand, they
stroll along. They don't give a hoot. He won't let
go of her hand, even two salutes. Fou bottom trousers,
goad of navy blues. She loves her sailor and he
(41:33):
loves her too.
Speaker 3 (41:41):
Everywhere her sailor went, she was sure.
Speaker 4 (41:45):
To gone, till one day he sail away where she
doesn't know. Now she's gonna join the waves. Maybe go
to see you. Try to find her sailor boy, whatever
he may be. Quote of navy blue, and he loves
(42:13):
her too. At first, sailor she cant fine on the
bonding man. She is hopeful he will swim come home
safe again.
Speaker 3 (42:25):
So they can get married and raise a family.
Speaker 4 (42:30):
Dress up, all the kiddies in sailors dungle reeves, bell
bottom trousers called the Navy Blue.
Speaker 7 (42:41):
She loves her sailor boy, and he loves her.
Speaker 5 (42:45):
Too, Bell bottomed trousers by Tony Pastor and his orchestra
vocal there by Ruth McCullough and Tony Pastor recorded on
(43:08):
Victor Records in nineteen forty five. And now friends, as
we leave this whole discussion of cabaret tax let me
go to well, wait a minute, let me take a
second here to mention how the old saying that opposites
(43:29):
attract is so true. Tony Pastor, who we just heard from,
the saxophonist, the band leader and vocalist, first made his
name in Artie Shaw's band before launching his own orchestra
at the end of nineteen thirty nine. Though never reaching
the same level of popularity as Artie, Pastor managed to
(43:52):
have a long and successful career. Tony was very expressive
in his singing. He had I do I describe this
from what I've read. He had an impish personality, and
he didn't just play music on the bandstand, but always
put on a good show for his audience. Tony Pastor
(44:17):
was said by many to both be honest and friendly,
as well as loved and beloved by musicians, fans, journalists,
just about everybody in the music industry. Now. Artie Shaw,
no one can argue was possibly the greatest clarinetist of
(44:39):
all time and one of the greatest musicians and band
leaders of the big band era. But Artie liked to
play music and not play up to his audience. As
a matter of fact, Artie was just the opposite of
Tony Pastor. He was said to be curt and indifferent
(45:00):
to his fans while on the bandstand. So it may
come as a surprise to you that Artie Shaw, with
serbic personality, and Tony Pastor with his happy, go lucky
demeanor were actually childhood friends in New Haven, Connecticut. Now,
when Artie Shaw walked off the stage at the Cafe
(45:22):
Rouge in the Hotel Pennsylvania during the middle of a show,
not to return to the stage for a couple of years,
he called the two closest confidants he had, Georgie Auld
and Tony Pastor, to his room to explain his rather
bizarre decision. Tony was the most recorded singer with Artie
(45:46):
Shaw appearing on well, I guess it was about close
to probably seventy recorded sides. He was also a saxophonist
with the band. Artie favored using him on what he
called put on songs, put n put on songs, which
(46:09):
were well like the song we just heard novelty oriented numbers.
Tony had a very Louis Armstrong, Louis Prima like approach
to his vocals, and that helped broaden the overall commercial
(46:30):
sound of the Artie Shaw orchestra. Indian Love Call, one
of his best known recordings with the band was the
original A side of the record that made Shaw a
superstar of the swing era with Believe It or Not
begin the begining. Who could believe that that classic ended
(46:54):
up as the B side of that record. Let's listen
to Indian Love.
Speaker 2 (46:59):
Call Sea.
Speaker 10 (47:35):
Blue the Jigit, jigit, jigit, jigit.
Speaker 7 (48:48):
When I'm calling you that do that? Do will you?
Speaker 10 (48:53):
Attitude?
Speaker 7 (48:53):
Do do that? Do did that? Dot?
Speaker 11 (48:55):
Do?
Speaker 7 (48:57):
That means the.
Speaker 10 (48:58):
Awfulman love to you to be wrong. If you refuse me,
I will be blue.
Speaker 14 (49:04):
I'm waiting all alone.
Speaker 4 (49:05):
But when you hear my love long ringing grill.
Speaker 15 (49:10):
And I hear you answering your gold, so then I
will know our sub will come through. You belong to me,
I belong.
Speaker 5 (50:02):
From Bluebird Records. Indian Love Call by Artie Shaw and
his orchestra, vocal by Tony Pastor and chorus, recorded in
New York City, July the twenty fourth, nineteen thirty eight.
And I still can't believe begin the beginning was the
B side to Indian Love Call.
Speaker 6 (52:00):
Mm hm.
Speaker 5 (53:33):
Again from Bluebird the B side begin to Beginning by
Alreadie Shawn his Orchestra, recorded in New York City, July
the twenty fourth, nineteen thirty eight. And how did we
actually get here?
Speaker 10 (53:49):
Oh?
Speaker 5 (53:49):
Yeah, I was reading emails and lost track as I
often do. As we meandered past Tony Pastor and some
other things again to reach me at Make Bully Ballroom
Radio dot com. That's Jeff at Makebully Ballroom Radio dot com.
And now stepping up to the mic, the producer emeritus
(54:10):
of the Make Bully Ballroom the platter Prince Mister Excitement
himself from Tampa, Florida. Lenny from down the Block with
his record pick of the week.
Speaker 16 (54:23):
Hi gang, Lenny from down the block here with my
record pick of the Week This week, I want to
talk about Tiny Hill. His real name was Harry Lawrence Hill,
and he was one of the biggest bandleaders of the
big band era. That statement was not purely based on
his popularity. It was because he weighed over three hundred
and sixty five pounds. For a time, Hill was billed
(54:46):
as America's biggest bandleader. Hill was also a drummer and
a vocalist. In nineteen thirty one, Tiny formed his first band,
which was known as the Fat Man's Band. Dixie Land
jazz and hillbilly music their original focus, but by the
late nineteen thirties, Hill and his band were producing big
band dance music. A break came for Tiny when he
(55:09):
started to receive notoriety on the Chicago based radio station WGN.
Tiny Hill acquired a nice following throughout the Midwest due
to his radio work and ballroom dates. In the early
nineteen forties, Hill branched out and developed a national audience
and successfully toured the country. In nineteen forty three, Tiny
(55:30):
Hill and his orchestra became the summer replacement band on
the hit radio show Your Hit Parade. Tiny and his
band continued to enjoy success for many years, extending well
into the nineteen fifties. Angry performed by Tiny Hill and
His Orchestra with a vocal by Tiny, was originally a
nineteen twenties song hit that became best known as the
(55:54):
signature tune for Hill and his Orchestra. Here is the
song recorded on Vocalion Records on June the first, nineteen
thirty nine.
Speaker 14 (56:53):
We don't be Angry, Old album A Home Majez and
you Ooh, I would leave that?
Speaker 3 (57:03):
You think I'll leavers honey Galls.
Speaker 14 (57:07):
I love you too, not just because I took a
look at tell Lodi.
Speaker 3 (57:16):
That's no reason you should put old Tiny on that Joe. Oh,
dearies Pa, don't be.
Speaker 14 (57:23):
Angry, Old album A hopes on you.
Speaker 5 (57:33):
Thanks Lenny for another great pick. And we will hear
from you again next week. And you will hear from
me again next week, because this week we are out
of time to right me. I'm Jeff at Make Bully
Ballroom Radio dot com. That's Jeff at Make Believe Ballroom
Radio dot com. So until next week, this has been
(57:54):
Jeff Wrestler.
Speaker 14 (58:11):
Don't believe a thing you here, Just wait till you see.
Then you find no call to show your jealous of me,
poor dearie.
Speaker 3 (58:22):
He's On't me angry?
Speaker 14 (58:25):
I was on me pleas not diffies on me.
Speaker 7 (58:32):
Kes on you
It's make believe ballroom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 3 (00:19):
All the bands are here to bring.
Speaker 2 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make belief ballroom time and free to everyone. It's
no time to friend your Dalis said bombs. Close your
eyes and visualize in your solitude.
Speaker 2 (00:46):
Your favorite bands are on the stands.
Speaker 4 (00:49):
And mister Miller, what's you're in the mood?
Speaker 1 (00:52):
It's make believe ballroom time. We are a sweet romance.
Is you make it bottom?
Speaker 3 (01:01):
Come on jo the last dast.
Speaker 5 (01:04):
Last, Hello world, I'm Jeff Presler, turning on the lights
of the make Bully Ballroom and welcoming you into my
Crystal studio for another program of classic big band hits
from the nineteen thirties and forties. Whether you're listening today
on the radio by a great affiliate's like Jazz ninety
(01:25):
point one WGMC in Rochester, New York, or maybe enjoying
the show on a podcast or even on internet radio
in the United Kingdom. Any way you've gotten here, I
deeply appreciate it, and join me as I get ready
to spin for you some amazing big band jazz, swing, blues,
(01:47):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five, and
to welcome well, welcome one and all into the Crystal Studio.
Why don't we open the show today with a couple
of vocals and you could never go wrong with these two.
(02:11):
Let's start with a little satch mode.
Speaker 6 (03:12):
All me?
Speaker 7 (03:15):
Why not take all of me? Baby?
Speaker 8 (03:18):
Oh can't you see I'm not going to worry about
you or anybody danging lives.
Speaker 7 (03:29):
I won't just leave them.
Speaker 9 (03:30):
Oh then taking my arm, I'll lever.
Speaker 7 (03:36):
Use them, old bed be your good bye? Left me
without that guy?
Speaker 2 (03:45):
Oh man, I got.
Speaker 4 (03:49):
I'm going there without you?
Speaker 7 (03:53):
You get before?
Speaker 6 (03:57):
That's what was mine? Oh oh the cost all the
(04:20):
say it.
Speaker 10 (04:41):
It di.
Speaker 2 (05:11):
All of me.
Speaker 5 (05:12):
Louis Armstrong and his Orchestra, recorded on Okay Records in
January of nineteen thirty two, and now a beloved depression
ratoon courtesy of Bing Crosby.
Speaker 9 (05:33):
A long time ago, a million years BC, the best
things in life were absolutely free, but no one appreciator
sky that was always blue, and no one congratulated Oh Moon,
(06:00):
he was always new. So it was planned that they
would vanish now and then and you must pay before
you get them back again. That's what storms were made for.
(06:21):
And you shouldn't be afraid for every time it rains.
Speaker 3 (06:32):
And he's from heaven.
Speaker 9 (06:37):
Don't you know each cloud contains and he's from heaven.
Speaker 3 (06:46):
You'll mind your fagin.
Speaker 11 (06:49):
Fallen all over time.
Speaker 3 (06:56):
Be sure that you're.
Speaker 7 (07:02):
Me is upside. Don pray them for a package all.
Speaker 9 (07:13):
Sunshining flower. If you want the things you love, you
must have shower.
Speaker 12 (07:27):
So well you hear it, thunder, don't run undert There'll
be pennies from Heaven for you and me.
Speaker 7 (07:53):
Moody, you must have shot so well you hear it. On,
(08:17):
don't run under.
Speaker 3 (08:23):
Low'dy.
Speaker 5 (08:24):
Pennies from Heaven for you, a number one hit parade
song for four weeks, a big top seller for being,
and the title song from a nineteen thirty six film
He started by Deca Records. Pennies from Heaven orchestra constructed
(08:47):
by Georgie Stall, recorded in Los Angeles, July the twenty fourth,
nineteen thirty six. And now why don't I go to
the playlist. I think what I'm going to do is
choose another that was recorded in thirty six. I am
(09:07):
perusing the playlist now looking for perhaps something a little
more up tempo to play, and well, here's a classic
(10:12):
sha on Victor Records, A Swing Time in the Rockies
(12:26):
by Benny Goodman and his Orchestra, recorded in New York
City June the fifteenth, nineteen thirty six. Let Me Play
One More by Benny Goodman and this record was part
of that same RCA Victor recording session for Goodman that
took place on June the fifteenth, nineteen thirty six. I
(14:58):
found a new baby any Goodman and his orchestra. I'm
Jeff Bresler, and you're listening to the one, the only,
the original Make Believe Ballroom broadcasting almost continuously since nineteen
thirty five. And I think what I'm gonna do now
is change things up a little. Usually play now listeners
(15:21):
emails pretty deep into the program. But what I think
I'm gonna do is read to you to listener's emails
right now.
Speaker 3 (15:31):
I'm going to send write down and write myself a.
Speaker 7 (15:36):
Lot and my belie the game from you.
Speaker 8 (15:48):
I'm going to write so sweet that all love me,
all a lot of kisses on the bottom.
Speaker 2 (16:01):
I'll be glad I got it.
Speaker 8 (16:04):
I'm gonna smile and say I hold you're fending better.
Speaker 7 (16:13):
M closes with love the way.
Speaker 8 (16:21):
I'm gonna send right down and write myself a letter.
Speaker 2 (16:30):
And made me with game from.
Speaker 5 (16:38):
I'm fortunate here in the Crystal studio to receive emails
each week. I love emails because it lets me know
that you're involved in the program and thoughtful enough to
drop me a line. Emails also let me know that
we indeed have listeners out there who enjoy the program,
and that I'm not just broadcasting to my cat or something.
(17:01):
I don't have a cat, but I think you get
the idea. Our first email today, and I don't know
whether she has a cat or not, comes to us
from Karen Schuster, who listens on Jazz ninety point one
in Rochester, New York, the wonderful jazz station that I
like to say is our flagship affiliate. And to Karen,
(17:23):
that's Karen with ac rights. I haven't written to you
in a few years. I'm the lady who gave you
the recipe for nocchi. Yes, yes, Karen, actually do remember
that Karen goes on I was recently speaking to a
cousin in Chicago who informed me that we were cousins
(17:46):
several times removed from a band leader named Benny Strong.
Can you will let me do your detective work and
track down some of his music? I'll be listening. Thank you,
Karen Well, Karen, Karen with the Sea. Benny Strong was
a Chicago based band leader and singer, and I guess
(18:07):
that's why your cousin in Chicago found out that you
and her were related. So Benny was a show in
himself because in addition to being a band leader, he
was known for his dancing and his impersonations of other singers,
including Bing Crosby who we just heard, Rudy Valley, and
(18:29):
Harry Richmond. I guess Benny Strong was a good procurer
of talent because earlier in her career, June Christie was
a vocalist in his band Let Me now play for you, Karen,
the one the only top ten recording that was attributed
(18:52):
to one Benny Strong.
Speaker 3 (19:00):
Has she got naughty eyes?
Speaker 7 (19:03):
Yes, she has gotten naughty eyes. That's certain.
Speaker 3 (19:07):
That's certain parties you know the one I mean, sure,
you know all of what I mean. That's a certain
party of mine. All the eyes turned up, nose, rosy
cheeks pretty close and not a smarty has she got
(19:32):
loving ways. Sure she has got loving ways. That's certain
party of mine.
Speaker 11 (20:21):
All the eyes turned up, nose, rosy cheeks pretty close
and not this smarty.
Speaker 3 (20:31):
Yes she got loved waves. Sure she has got loving ways.
That's certain party of my. Has she got you?
Speaker 7 (20:43):
No one? Yes she has got you know what?
Speaker 3 (20:46):
Oh, that's certain that's certain party.
Speaker 10 (20:51):
As she got I forgot it.
Speaker 3 (20:54):
Yes she has got. I forgot that's certain party of my.
You know what I forgot?
Speaker 10 (21:04):
As?
Speaker 3 (21:05):
That's quite a lot whattest money?
Speaker 10 (21:12):
She got everything?
Speaker 3 (21:14):
Yes, she has got everything. That's certain party of min.
Speaker 11 (21:24):
Yes she has a bank account and she got a
large amount Ooh, has she elargemount?
Speaker 3 (21:32):
That's a certain party of min.
Speaker 5 (21:39):
That certain party by Benny Strong and his orchestra vocal
by Benny As I mentioned the only national top ten
record for Benny Strong and that song that Certain Party
was a revival of a hit song from the nineteen twenties.
And then poking around to get some more information about
(22:01):
Benny I discovered that many of the songs as Ben
played in which he provided the vocals, were indeed revivals
of popular songs from the nineteen twenties. So Karen a
little about your several time removed cousin, Benny Strong and Karen,
thank you so much for that email. Jeff at Mikebelly
(22:24):
Ballroomradio dot com. That's Jeff at Makebeley Ballroomradio dot com. Now,
when I mentioned that Benny's Strong impersonated Crosby Valley and
Harry Richmond, I'm sure most listeners obviously know who Bing
Crosby and Rudy Valley were, but I don't think many
(22:45):
remember hearing a record that featured Harry Richmond. And it's
a shame because he's a long forgotten But in his heyday,
in the twenties and thirties, his peak years, Harry Richmond
was one of the, believe it or not, the highest
paid performers in show business. It said that he was
making well what would have to be considered an astronomical
(23:08):
twenty five thousand dollars a week in nineteen thirty one.
Twenty five thousand dollars a week in today's money is astronomical,
But if you convert the twenty five thousand from nineteen
thirty one money to today's money, he was making I guess,
in essence, probably about a half a million dollars a week.
(23:29):
As a matter of fact, his version, Harry's version of
Putting on the Ritz outsold the fred Astaire record. Harry
originally starred in the Broadway musical Putting on the Rits.
Many think that fred Astaire did, but it was Harry Richmond.
Let's play one from Harry Richmond, who was a favorite
(23:55):
of Benny Strong, to impersonate.
Speaker 11 (24:07):
I walk with no one and talk with no one,
and I had nothing but shatter, And one morning you pass.
Then I write in.
Speaker 2 (24:19):
That loud.
Speaker 3 (24:22):
No, I greet the day and complete the day with the.
Speaker 7 (24:26):
Sun in my hall.
Speaker 11 (24:30):
All my worries blue a when you taught me how
to serve round your coat and get your hard leave
your worry on the doorstep, and just direct youry on
(24:54):
the funny side of the street. And you hear that
t her pa, A little happy tune is your stapp life.
And before sweed on the sunny side of the speed
Why should you walk in the shade with old blues
(25:20):
on the rain? All be off ray, be off over
and walk over. And if you haven't got a fair,
you'll be a rich Tiles rocke with old us at
(25:41):
yourby on the sunny.
Speaker 3 (25:44):
Side of the speed.
Speaker 11 (25:47):
Grab your coat, get that old Derby hat, leave all
your worries. Things right on your doors, lap right lamp,
direct your feet on the fanny side of the street.
Speaker 7 (26:03):
Listen, can't you hear.
Speaker 11 (26:05):
That little bitter past, all that happy tune? That should
be your head because life can be your post. And
we on the sunny side of the speed. Why should
you walk in the shade with all blue arrays? Come on, Paul,
(26:29):
don't be afraid see a little roll over and walk over.
Speaker 7 (26:36):
And if you haven't got.
Speaker 2 (26:37):
Us, and what of it? Mile laugh?
Speaker 11 (26:40):
You're a rich as lock all with gold at your.
Speaker 12 (26:48):
On the sunny oh.
Speaker 7 (26:54):
Of the scree.
Speaker 5 (26:58):
On Brunswick. Record on the Sunny side of the Street
Harry Richmond and his Orchestra vocal by Harry, recorded in
New York City in March of nineteen thirty one. So
a little history and music about a long forgotten beloved
artist of the nineteen twenties and thirties, Harry Richmond. Let's
(27:21):
move on now to another email, and I direct your
attention to a correspondence from one John kakoryan John Kakorian
who says he listens on kf QX, the Great Racketeer
Radio in Seattle, an extremely rich history behind those call
(27:45):
letters and a wonderful eclectic station. John writes, Hi, Jeff,
longtime listener to your make Believe ballroom. I recall several
years ago when you credited the cabaret tax to one
of the major reasons for the demise of big bands
(28:05):
in America. Can you talk about that devastating tax once again?
Keep the music alive? And that's signed John, and thank
you John for your email. And I did discuss cabaret
tax extensively on a past program a few years back.
You have a good memory, but today let me give
(28:27):
you and our listeners the abridged version. When we think
of the demise of the big band era, the reasons
that come to mind, and possibly the first reason that
comes to people's mind was the devastating nineteen forty two
(28:49):
to forty four musicians strike and what happened was the union.
The Musicians Union told its members not to record records
until the record companies agreed to pay them each time
their music was played on the radio. Many attribute that
(29:09):
again is the number one reason for the demise. Another
reason for the end of the big band era was
that during World War Two, it was getting harder to
find quality musicians due to the draft, and along with that,
many band leaders and their band managers were starting to
(29:32):
look at the bottom line and realize that the costs
associated with moving their large bands across the country was
getting a little bit out of hand. Some people say
that the demise was due to music tastes that were
starting to change, and a number of other negative vibes
(29:55):
leading to end the era were certainly at play. But
I truly believe as John mentioned in his email, and
it was the cabaret tax that put the final nail
in a coffin, so to speak, of that grand time
in American music history. To fully understand this tax, we
(30:19):
have to go back to World War One. Now, during
the First World World War, excuse me, a tax was
introduced on entertainment. Now, this sort of sin tax s
in sin tax was a well, it was a necessary
evil to help to pay for the cost of the
(30:40):
war World War One. It ultimately ended up being called
the cabaret tax. And it was introduced in nineteen seventeen.
And what the tax did. It levied a rate of
five percent on all revenues from places where there was
a combination of eating drinking, dancing, and entertainment by live
(31:04):
performers such as big bands and their singers. The language
of the law as it was written referred to cabarets
and roof gardens, which made it sound as if only
swanky places, cabarets and roof gardens catering to rich people
(31:24):
were targeted by the tax. However, the Revenue Service interpreted
the wording to apply to any public place offering this
combination of services that meant from the elegant let's say
the well, it's like the store club in New York City,
(31:45):
right down to the lowest beer and dance joint. So
the tax was five dollars a five percent, excuse me,
and then it dropped to three percent after the war ended.
So at that five percent and then three percent level,
the tax didn't really make a significant difference in the
(32:07):
cost when folks went out dancing and wanted to get
something to eat and listen to music, and it really
didn't affect the bottom line of those who own the venues. Now,
early into World War Two, the government once again saw
the need to generate added revenue from the cabaret tax.
(32:28):
So from nineteen forty to forty three, it crept back
up from three percent to the higher five percent from
World War One, but by nineteen forty four, and with
the financial squeeze to fuel the war effort, Congress again
decided to put the squeeze on consumers in the Revenue
(32:53):
Act of nineteen forty four. Now, taxes on a broad
range of goods and services went up. Many taxes in
the United States doubled from five to ten percent, but
the cabaret tax, for whatever reason, was singled out. For
get this, folks. It was a six hundred percent increase,
(33:16):
going from five percent all the way up to thirty percent.
The initial hope was that patrons would be patriotic and
to simply be happy to pay more to help out
with World War Two, but when it comes to money,
that was certainly unrealistic, and the law was changed after
(33:38):
an outcry against it. However, the new rate was still
twenty percent. It was lower ten percent, still far above
other increases for products and services in the country. So
at this level, taxation passed on from the businesses to
the patrons, and that started to change their behavior. And
(34:00):
dancing and listening to large bands was simply unprofitable to
businesses and those individual patrons just didn't have the money
to be able to cover this exorbitant new tax in
the bills they received for food or entry into these
ballroom and hotel venues. Now, according to a study by
(34:22):
the Treasury Department in nineteen forty five, industry revenues had
crashed to less than half what they could have been
expected to be if the tax had stayed the same
at five percent. Now the business model had a change,
and ballrooms with big bands no longer made sense to
venue owners, even though the taste of the public hadn't
(34:46):
really changed. As the big bands then were forced to
break up, a new kind of club came to four,
that being the jazz clubs. A jazz club didn't have
a dance floor, and there was and no vocalist with
the band, and as a result, the clubs could avoid
the cabaret tax entirely. Now, when servicemen and women returned
(35:11):
from the war, they still wanted to dance and party,
and they could, except they didn't have ballrooms and hotels
to do it in. So they went to church socials
or private parties and small venues in town. But the
big dance hall was dead. The punitive cabaret tax had
(35:33):
an essence, and my estimation, killed an entire industry and
all its supporting industries, such as big band musicians and
dance schools. Why the cabaret tax was singled out from
all other taxes at the time with a six hundred
percent increases totally unknown to me, But I feel the
(35:57):
cabaret tax really put the big bands unfortunately to Bed
and John, That in a nutshell is the explanation I
gave several years ago. I call this an abridged version.
I can imagine how much time I spent when I
gave the full version of that a few years ago.
(36:19):
So nineteen forty five was the most devastating year for
the cabaret tax. As I discussed, why don't I look
at the playlist here to see what folks were listening
to in nineteen forty five. Let me pull up forty
five and oh, here's a big hit from forty five
(37:46):
Skyliner by Charlie Barnett and his Orchestra, recorded in Los
(39:43):
Angeles and released on Decca Records in April of nineteen
forty five. Let me playing another nineteen forty five recording
The year the cabaret tax really took a grip on
the industry.
Speaker 13 (40:26):
Once there was a little girl who lived next to me,
and she loved a sailor boy. He was only three.
Now he's on a battleship in his sailor suit, just
a great, big sailor man. But he's just as cute.
(40:49):
Foul bottom trousers, coat of navy blues. She loves her
saila and he loves her too. When they walk along
the street, anyone can see they are all so much
(41:10):
in love, happy as can be. Hand in hand, they
stroll along. They don't give a hoot. He won't let
go of her hand, even two salutes. Fou bottom trousers,
goad of navy blues. She loves her sailor and he
(41:33):
loves her too.
Speaker 3 (41:41):
Everywhere her sailor went, she was sure.
Speaker 4 (41:45):
To gone, till one day he sail away where she
doesn't know. Now she's gonna join the waves. Maybe go
to see you. Try to find her sailor boy, whatever
he may be. Quote of navy blue, and he loves
(42:13):
her too. At first, sailor she cant fine on the
bonding man. She is hopeful he will swim come home
safe again.
Speaker 3 (42:25):
So they can get married and raise a family.
Speaker 4 (42:30):
Dress up, all the kiddies in sailors dungle reeves, bell
bottom trousers called the Navy Blue.
Speaker 7 (42:41):
She loves her sailor boy, and he loves her.
Speaker 5 (42:45):
Too, Bell bottomed trousers by Tony Pastor and his orchestra
vocal there by Ruth McCullough and Tony Pastor recorded on
(43:08):
Victor Records in nineteen forty five. And now friends, as
we leave this whole discussion of cabaret tax let me
go to well, wait a minute, let me take a
second here to mention how the old saying that opposites
(43:29):
attract is so true. Tony Pastor, who we just heard from,
the saxophonist, the band leader and vocalist, first made his
name in Artie Shaw's band before launching his own orchestra
at the end of nineteen thirty nine. Though never reaching
the same level of popularity as Artie, Pastor managed to
(43:52):
have a long and successful career. Tony was very expressive
in his singing. He had I do I describe this
from what I've read. He had an impish personality, and
he didn't just play music on the bandstand, but always
put on a good show for his audience. Tony Pastor
(44:17):
was said by many to both be honest and friendly,
as well as loved and beloved by musicians, fans, journalists,
just about everybody in the music industry. Now. Artie Shaw,
no one can argue was possibly the greatest clarinetist of
(44:39):
all time and one of the greatest musicians and band
leaders of the big band era. But Artie liked to
play music and not play up to his audience. As
a matter of fact, Artie was just the opposite of
Tony Pastor. He was said to be curt and indifferent
(45:00):
to his fans while on the bandstand. So it may
come as a surprise to you that Artie Shaw, with
serbic personality, and Tony Pastor with his happy, go lucky
demeanor were actually childhood friends in New Haven, Connecticut. Now,
when Artie Shaw walked off the stage at the Cafe
(45:22):
Rouge in the Hotel Pennsylvania during the middle of a show,
not to return to the stage for a couple of years,
he called the two closest confidants he had, Georgie Auld
and Tony Pastor, to his room to explain his rather
bizarre decision. Tony was the most recorded singer with Artie
(45:46):
Shaw appearing on well, I guess it was about close
to probably seventy recorded sides. He was also a saxophonist
with the band. Artie favored using him on what he
called put on songs, put n put on songs, which
(46:09):
were well like the song we just heard novelty oriented numbers.
Tony had a very Louis Armstrong, Louis Prima like approach
to his vocals, and that helped broaden the overall commercial
(46:30):
sound of the Artie Shaw orchestra. Indian Love Call, one
of his best known recordings with the band was the
original A side of the record that made Shaw a
superstar of the swing era with Believe It or Not
begin the begining. Who could believe that that classic ended
(46:54):
up as the B side of that record. Let's listen
to Indian Love.
Speaker 2 (46:59):
Call Sea.
Speaker 10 (47:35):
Blue the Jigit, jigit, jigit, jigit.
Speaker 7 (48:48):
When I'm calling you that do that? Do will you?
Speaker 10 (48:53):
Attitude?
Speaker 7 (48:53):
Do do that? Do did that? Dot?
Speaker 11 (48:55):
Do?
Speaker 7 (48:57):
That means the.
Speaker 10 (48:58):
Awfulman love to you to be wrong. If you refuse me,
I will be blue.
Speaker 14 (49:04):
I'm waiting all alone.
Speaker 4 (49:05):
But when you hear my love long ringing grill.
Speaker 15 (49:10):
And I hear you answering your gold, so then I
will know our sub will come through. You belong to me,
I belong.
Speaker 5 (50:02):
From Bluebird Records. Indian Love Call by Artie Shaw and
his orchestra, vocal by Tony Pastor and chorus, recorded in
New York City, July the twenty fourth, nineteen thirty eight.
And I still can't believe begin the beginning was the
B side to Indian Love Call.
Speaker 6 (52:00):
Mm hm.
Speaker 5 (53:33):
Again from Bluebird the B side begin to Beginning by
Alreadie Shawn his Orchestra, recorded in New York City, July
the twenty fourth, nineteen thirty eight. And how did we
actually get here?
Speaker 10 (53:49):
Oh?
Speaker 5 (53:49):
Yeah, I was reading emails and lost track as I
often do. As we meandered past Tony Pastor and some
other things again to reach me at Make Bully Ballroom
Radio dot com. That's Jeff at Makebully Ballroom Radio dot com.
And now stepping up to the mic, the producer emeritus
(54:10):
of the Make Bully Ballroom the platter Prince Mister Excitement
himself from Tampa, Florida. Lenny from down the Block with
his record pick of the week.
Speaker 16 (54:23):
Hi gang, Lenny from down the block here with my
record pick of the Week This week, I want to
talk about Tiny Hill. His real name was Harry Lawrence Hill,
and he was one of the biggest bandleaders of the
big band era. That statement was not purely based on
his popularity. It was because he weighed over three hundred
and sixty five pounds. For a time, Hill was billed
(54:46):
as America's biggest bandleader. Hill was also a drummer and
a vocalist. In nineteen thirty one, Tiny formed his first band,
which was known as the Fat Man's Band. Dixie Land
jazz and hillbilly music their original focus, but by the
late nineteen thirties, Hill and his band were producing big
band dance music. A break came for Tiny when he
(55:09):
started to receive notoriety on the Chicago based radio station WGN.
Tiny Hill acquired a nice following throughout the Midwest due
to his radio work and ballroom dates. In the early
nineteen forties, Hill branched out and developed a national audience
and successfully toured the country. In nineteen forty three, Tiny
(55:30):
Hill and his orchestra became the summer replacement band on
the hit radio show Your Hit Parade. Tiny and his
band continued to enjoy success for many years, extending well
into the nineteen fifties. Angry performed by Tiny Hill and
His Orchestra with a vocal by Tiny, was originally a
nineteen twenties song hit that became best known as the
(55:54):
signature tune for Hill and his Orchestra. Here is the
song recorded on Vocalion Records on June the first, nineteen
thirty nine.
Speaker 14 (56:53):
We don't be Angry, Old album A Home Majez and
you Ooh, I would leave that?
Speaker 3 (57:03):
You think I'll leavers honey Galls.
Speaker 14 (57:07):
I love you too, not just because I took a
look at tell Lodi.
Speaker 3 (57:16):
That's no reason you should put old Tiny on that Joe. Oh,
dearies Pa, don't be.
Speaker 14 (57:23):
Angry, Old album A hopes on you.
Speaker 5 (57:33):
Thanks Lenny for another great pick. And we will hear
from you again next week. And you will hear from
me again next week, because this week we are out
of time to right me. I'm Jeff at Make Bully
Ballroom Radio dot com. That's Jeff at Make Believe Ballroom
Radio dot com. So until next week, this has been
(57:54):
Jeff Wrestler.
Speaker 14 (58:11):
Don't believe a thing you here, Just wait till you see.
Then you find no call to show your jealous of me,
poor dearie.
Speaker 3 (58:22):
He's On't me angry?
Speaker 14 (58:25):
I was on me pleas not diffies on me.
Speaker 7 (58:32):
Kes on you
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