June 20, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a game show hosts famous uncle, a longtime listners special playlist, a gambling song, Lenny from Down the Block with his Record Pick of the Week—this and many more great songs and stories to cherish and enjoy on the program.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:12):
It's make believe Ballom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
It's make belief Ballom time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis said Bamba.
Speaker 3 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this stance and mister Miller, but
you're in the mood. It's make believe Ballom time. We
are a sweet romance.
Speaker 4 (01:00):
As you make it.
Speaker 2 (01:01):
Bob, come on, Joe the Last das last.
Speaker 5 (01:05):
Hello World, I'm Jeff Presler, turning on the lights of
the make Fully Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
(01:26):
WGMC in Rochester, New York, or on a podcast, or
maybe even on internet radio in the United Kingdom, anyway
you've gotten here. I am pleased, so get ready as
I spend for you some amazing big band jazz, swing,
blues and boogie woogie favorites. Folks, you're listening to the
(01:49):
make believe ballroom broadcasting almost continuously since nineteen thirty five.
My folks, today's show is going to be a mix
of well, a few stories, some listener emails, a little
Leney from down the block, and other assorted stuff. And
(02:09):
while I sort things out, how about a little early
pearly May.
Speaker 6 (02:22):
Fifteen years and I'm still serving time, serving time with
that good.
Speaker 2 (02:27):
Man of mine. I've been married fifteen years.
Speaker 6 (02:32):
I've shared fifteen million tiars fifteen years, and I'm still
serving time.
Speaker 2 (02:39):
Fifteen years.
Speaker 6 (02:40):
And I ain't got a dime, not a dime in
those long fifteen years. Each night I drink fifteen years
to forget those fifteen years.
Speaker 2 (02:51):
Fifteen years with that good man of mine.
Speaker 6 (02:55):
Oh, there are as no barb on the window, and
raised no locks on the door, and there ranged no
LODs in the courtyard.
Speaker 2 (03:07):
But I'm a prisoner forever more.
Speaker 6 (03:12):
Fifteen years and I'm still serving time, serving.
Speaker 2 (03:17):
Time with that good man of mine.
Speaker 6 (03:20):
When I left those church bells, time, tell me, what's
that a crime?
Speaker 2 (03:24):
Fifteen years?
Speaker 3 (03:25):
Then I'm still serving time.
Speaker 2 (03:37):
All my cooking goes to waste, spread and waters all
our tails.
Speaker 3 (03:41):
Fifteen years.
Speaker 6 (03:42):
Then I'm still serving time with this family on my tail,
can't save up no door for bill. Fifteen years and
I'm still serving time. Oh, there raise no chains on
(04:05):
my ankles, and there raised no ropes on my hands.
And there ain't no ain't nothing nowhere. But I'm a
prisoner to that man. When his shirt hang on the line,
(04:30):
how I wish that neck was mine. Fifteen years and
I'm still serving time. Oh, there raised no dog on
the window, and there raised no locks on the door,
and there raised no dogs in the court yard.
Speaker 2 (04:49):
But I'm a prisoner forever more. Fifteen years and I'm still.
Speaker 6 (04:57):
Serving time, serving time with that man of mind. I
got the kids from one to nine, some of.
Speaker 2 (05:05):
His and some of mine. Fifty and.
Speaker 6 (05:13):
Live in time, and I love every moment of it.
Speaker 3 (05:17):
Was beautiful, just love.
Speaker 5 (05:19):
Fifteen years and I'm still serving time. A Pearl Bailey
vocal under the orchestra direction of Mitchell Ayres, recorded on
Columbia Records, April of twenty fourth, nineteen forty five, and
a great way to get this edition of The Make
Belief Ballroom underway. So I was reading this article about
(05:43):
the history of television game shows a few days ago.
In the article mentioned Chuck Barris Chuck Barris's company and
his hosting and producing of the very campy Gang Show,
which some of you might remember on television in the
(06:04):
nineteen seventies and eighties. Chuck Barris and his company produced
that program, as well as The Dating Game, The Newlywed Game,
and so many more. Now in conjunction with that. By coincidence,
I was playing a few days ago a recording featuring
(06:25):
the Rhythm Boys. I wasn't playing it on the air,
I was playing it for my own personal enjoyment. And
the boys were the great Bing Crosby al Rinker, who
by the way, was Mildred Bailey's brother, and the third
Rhythm Boy was Harry Barras. So when I read about
(06:48):
Chuck Barris, I quickly did a little research to see
if he Harry Barris was related to Chuck. I didn't
expect much, but lo, hold there was a strong connection.
Let me play a real oldie featuring the Rhythm Boys.
Then an amazing story of how Harry Barris joined the trio.
Speaker 7 (07:18):
This way.
Speaker 8 (08:44):
Why then goes down and I goes down the dark,
gather around down.
Speaker 9 (08:49):
They all began to show, Hey, I'll go down here
to be on the miss.
Speaker 3 (08:55):
But why I do.
Speaker 2 (09:01):
No he how I am telling.
Speaker 7 (09:02):
You all but up man any time.
Speaker 2 (09:06):
By time on their hands? John tab me out the town?
You and Honic come, where's the.
Speaker 10 (09:11):
Doc to beat on the miss Lord holiday boy?
Speaker 11 (09:17):
Listen?
Speaker 2 (09:20):
Told you don't.
Speaker 10 (09:24):
That music? Says the doctor on my dam? You they do?
Speaker 5 (09:37):
Norney?
Speaker 2 (09:38):
How I'm telling you?
Speaker 7 (09:40):
Oh fine a man take you time.
Speaker 9 (09:43):
I fading their hands just to tip me out of town.
Speaker 8 (09:46):
To you and Hona come, where's the docking be to
beat all the MESSI yami yana now June on? Wherema
(10:31):
doga men?
Speaker 2 (10:36):
Mud?
Speaker 5 (10:38):
We just heard Mississippi Mud composed by Harry Barris and
featuring the legendary Paul Whiteman and his orchestra, with vocals
by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton,
Austin Young and Charles gay Lord, recorded on Victor in
(11:03):
New York City, February the eighteenth, nineteen twenty eight. Like
a musical variety show that record was, and speaking of
legendary Bix Beider becks Horn was featured on that best
selling version of the Harry Barris hit song Mississippi Mud.
(11:25):
So friends, As the story goes, first, let me say,
I think I forgot to mention that Harry Baris was
the uncle of the television game show genius Chuck Barris. Now,
in nineteen twenty six, Harry Barris was playing the piano
and occasionally providing vocals for the Paul ash Orchestra. Also
(11:51):
in that same year, nineteen twenty six, Al Rinker and
Bing Crosby became members of the Paul Whiteman Orchestra. Is
a singing duo, and they were very well received in
smaller venues. However, in February of nineteen twenty seven, Paul
(12:12):
Whiteman was booked into the cavernous Paramount Theater in New
York City. Now, in nineteen twenty seven, loudspeaker systems and
adequate microphones for large theaters were just being perfected, and
(12:32):
believe it or not, the Paramount at the time had
absolutely no microphones, no speaker system, So while the orchestra
of white Men could be heard, the vocals provided by
Bing Crosby and al Rinker were drowned out and just
couldn't be heard by the audience. So Paul Whiteman was
(12:56):
brought into the theater manager's office and given the bad
news that White Men and his orchestra were being dropped
from the bill. Now White Men had no problem attracting
crowds to his band's performances and decided to look for
a way to make sure that his vocalists could be
(13:19):
heard in the future no matter where they were playing well.
Paul Whiteman, band member who knew Harry Barris, suggested to
Paul that they add him to make a trio, and
the Rhythm Boys were formed in April of nineteen twenty seven,
(13:39):
and their vocals got a boost and were heard better
in the theaters where White Men appeared, and the Rhythm
Boys became a fixture in Whiteman's band for a number
of years. So an interesting story of how Harry Barris,
the uncle of Chuck Barris, became a rhythm boy all
(14:02):
the way back in nineteen twenty seven. I'm Jeff Bresler,
and you're listening to the one, the only, the original
Make Believe Ballroom to reach me. I'm Jeff at MakeBelieve
Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.
And some of the folks that did reach me will
(14:24):
in turn reach out to you. When I read a
few emails in just a little while. Let's now as
I look at my show list, here, let's spin a record,
and then from Tampa, Florida, the producer emeritus of the
Make Believe Ballroom, the inimitable Lenny from down the Block
(14:46):
with his record pick of the week. It's that was
(17:27):
the violinist extraordinary himself when Joven Nudi and his orchestra
here today on Decca Records with the song entitled The Flop,
recorded in New York City on January the twenty fifth,
nineteen thirty nine. And now from his palatial condo in Tampa, Florida,
(17:49):
the producer Emeritus of the Make Believe Ballroom, the Platter Prince,
the virtue Woeso of the Virtual Turntable, the world renowned
Miss their Excitement, himself, Lenny from down the Block with
his record pick of the week.
Speaker 12 (18:08):
Hi gang, Lenny from down the block here with my
record pick of the week.
Speaker 3 (18:12):
Whenever I do.
Speaker 12 (18:13):
Something wrong around the house, my wife Cookie calls me
a nitwit. Just last week, I messed up the garbage
disposal here in the condo, and the word nitwit reverberated
throughout Unit Oney one hundred and twenty six. I decided
to take a look and see if the word nitwit
was ever used in a big band song. I was
(18:36):
amazed to discover that Benny Goodman himself recorded a song
called Knitwitz Serenade. It was the b side to his
wildly popular version of Bugle Call Rag. The record was
produced for Columbia on August sixteenth, nineteen thirty four.
Speaker 5 (21:38):
Knit Wit Serenade Benny Goodman and his orchestraed. I don't
think Lenny mentioned it, but that song was written by
the great composer and bandleader Will Hudson. And now folks.
Speaker 13 (21:54):
Eny mysel Aleta.
Speaker 3 (22:00):
And make believe the game from you.
Speaker 2 (22:08):
I'm gonna rain.
Speaker 14 (22:09):
Worn so sweet.
Speaker 2 (22:12):
They're gonna allow me all my be.
Speaker 13 (22:17):
A lot of kisses on the bottom.
Speaker 2 (22:22):
I'll be glad I got home.
Speaker 13 (22:25):
I'm gonna smile and say I hope you're feeling better
him close with love the way you do. I'm gonna
send right down and write myself a letter.
Speaker 2 (22:50):
And made me.
Speaker 5 (22:51):
Believe the game from Yes, my friends, we do get letters,
many of them in email form, each and every week.
I would like to read a few for you. The
first comes from one of our great listeners who we
love to hear from. He knows his stuff when it
comes to big bands, and it reads Hi, Jeff, I
(23:16):
thought i'd get in on the act and send you
a few of my favorites. I had a hard time
thinking of some that weren't standards and it wouldn't be
likely to have been played, and I only came up
with six. As you can see, I like songs and vocalists,
And he lists six songs which I will play for
(23:40):
you in just a few moments. He goes on to write,
I enjoy the show on podcast every week, and I
especially enjoy your commentary and the historical background. By the way,
what happened to Dylan? The snotty Kids? List of big
band musicians on the Hollywood would walk of fame? Cordially yours,
(24:03):
Joel Eatman. Thanks Joel, writing to us from deep in
the heart of Texas by way of Dallas, a wonderful
state that I lived in twice for extended periods of time,
and where my daughter and son in law reside in Austin.
And I will, Joel at your request reprimand the snotty
(24:28):
kid Dylan, who indeed did not follow through. How did
I come to think of it? On continuing his research
on big band musicians and vocalists on the Hollywood Walk
of Fame. I would dock him pay Joel, but since
I don't pay him, I think I'll just relay your
(24:50):
consternation and have him complete the assignment. I actually haven't
seen him in the studio area today, but he should
be around shortly. But more important to the music at hand.
From the Joel Eatman list, here is number one of sex.
Speaker 14 (26:34):
Wooming flabby, ring in my ears and blooms my DearS.
Speaker 15 (26:40):
I'm in my flat in man Pattern. My vapatient days
are in the past. They went to past. Why couldn't
they laugh?
Speaker 11 (26:51):
Jee's Monday in Manhattan, where it ends my holiday.
Speaker 15 (26:58):
I hate Monday in Manhattan, when my heart is miles away.
Speaker 11 (27:06):
Streets of leaning power seem to be my only view.
But I'll close my eyes for hours and I know
that I'll see you.
Speaker 16 (27:21):
Then the pavement changes into Hallwood, is glad beyond is
my arms again, and.
Speaker 15 (27:34):
It all seems so real. Near the sky line of
steel shouts it's Monday in Manhattan, that away your dreams
have low. Jeez, It's Monday in Manhattan, and it means
that I'm a Lowe.
Speaker 5 (28:14):
We just heard Monday in Manhattan Richard Himber and his
Ritz Carlton Orchestra, recorded on Victor Records January the nineteenth,
nineteen thirty five, with a Stewart Alan vocal, and Joel's
comment on that record, Monday in Manhattan is this is
(28:35):
one of my favorites. I think it's a lovely song,
and I don't have a recording of it. Let's now
move on to Joel's second pick.
Speaker 17 (29:01):
When you say.
Speaker 18 (29:06):
Just be friends, I thought I could let you go,
never thought, ID cried.
Speaker 17 (29:18):
I never knew I loved you. So I act gay,
laugh and play. It's so that no one will know
I've a broken hard.
Speaker 18 (29:39):
It's so hard to let you go.
Speaker 17 (29:45):
When I still thrilled to your touch, Live for your glance.
Speaker 18 (29:52):
Find myself trembling when you ask.
Speaker 19 (29:55):
Me to dance.
Speaker 17 (29:57):
The scene is the same.
Speaker 18 (30:00):
It's summer again. My friends to approach me, always.
Speaker 17 (30:05):
Screen your name, can't go on, can't forget.
Speaker 18 (30:12):
I'm jealous and hurting side when you said park, keep
my darling.
Speaker 19 (30:22):
How you love?
Speaker 17 (31:05):
When I still freil to your touch, Play for your glance.
Speaker 18 (31:13):
Find myself trembling when you ask me to dance.
Speaker 17 (31:20):
The seed is the same.
Speaker 18 (31:23):
It's summer again. My friend still reproach me for always
string Yourny.
Speaker 3 (31:33):
Can go?
Speaker 17 (31:37):
I can for again.
Speaker 18 (31:40):
I'm jealous and pertain side.
Speaker 20 (31:45):
When you said Park keeps my God.
Speaker 5 (32:03):
From Victor Records, Darling, how you lied? By Wayne King
and his Orchestra. Vocal by Buddy Clark, recorded in Chicago,
August the second, nineteen forty one and Joel An interesting
side note about this recording, Buddy Clark was the regular
(32:25):
vocalist on Wayne King's radio program, so on the original
Victor label of this record, Buddy Clark was not listed
as the vocalist, and this was due to the fact
that he had an exclusive contract as a soloist with
Okay Records. So little history behind the Buddy Clark Wayne King.
(32:50):
I guess you would call it a tear jerker, Darling,
How you lied? Folks? This is Jeff Bressler here and
you're listening to the weekly version of the Make Believe
Ballroom to Reach me like Joel Eatman did, Who's record
list of favorites we are enjoying? I'm Jeff at Make
(33:10):
Believe Ballroom Radio dot Com. That's Jeff at Make Believe
Ballroom Radio dot com.
Speaker 2 (34:19):
You but didn't care.
Speaker 4 (34:22):
More than words can say. If I didn't care, who the.
Speaker 7 (34:29):
Feels this way?
Speaker 4 (34:31):
If this isn't love, then maybe I'm lone. But why
do I love way all night and dreams?
Speaker 2 (34:42):
Oh? They love but didn't care?
Speaker 4 (34:47):
Would it be the same? Would my every prayer begin
on him was just your name?
Speaker 2 (34:56):
And would I be sure that this is love? Young?
Who knows this virtues?
Speaker 9 (35:04):
If not didn't a f.
Speaker 5 (35:59):
That was an Joel Eatman favorite big band arrangement of
the great nineteen thirty nine Ink Spots hit on Vocalian Records.
We just heard If I Didn't Care by Count Basie
and his Orchestra with a vocal by Helen Humes, recorded
in New York City on April fifth, nineteen thirty nine.
(36:24):
How about another Joel Eatman music list fave. I also
love this tune.
Speaker 21 (37:36):
McPherson is rehearsing and the bagpipes are.
Speaker 22 (37:39):
Repson for McPherson is rehearsing to swell and from Medenburg
to Dundee, every lad every LESSI no macpherson is we
hurtle to swee.
Speaker 2 (37:56):
I didn't I care, said Sandy.
Speaker 21 (37:58):
If the elders our approval either chickenwaar Gland, the Dandy
and the men a mellow grooves.
Speaker 22 (38:06):
Now the bunny bunny lessie with the kilties on their chessis.
Speaker 2 (38:11):
Have forgotten all about the Highland flag. Young and no
folks got to get to her in this truck.
Speaker 6 (38:20):
And then I had the when McPherson is reversing two sways.
Speaker 23 (38:58):
I got did not get that, Sandy give me how
then roof.
Speaker 4 (39:03):
I'm a chick web Ben Andy, and I'm in a
fella roof.
Speaker 2 (39:08):
Now the bunny bunny.
Speaker 22 (39:10):
Lessies with the guilties on their chessis.
Speaker 24 (39:14):
Have forgotten old fast, helvely.
Speaker 23 (39:19):
Younger, no folks get together.
Speaker 2 (39:21):
And they're struck in the header. When McPherson and rehearsal to.
Speaker 5 (39:27):
Swear, McPherson is rehearsing to swaying Chick Webb and his orchestra.
Ella Fitzgerald vocal recorded on Decca Records in New York
(39:49):
City back in nineteen thirty eight, and the next selection
by Joel is a Benny Goodman Fred Astaire collabor dration.
This is the second and I, come to think of it,
Benny Goodman tune. We're playing on the ballroom today. But hey,
you can never get enough of Benny Goodman?
Speaker 17 (41:12):
Who cares? If the sky.
Speaker 11 (41:17):
Cares?
Speaker 3 (41:18):
Who all.
Speaker 24 (41:20):
In the scene?
Speaker 25 (41:24):
Who cares?
Speaker 3 (41:25):
What banks fay in?
Speaker 25 (41:27):
Yon?
Speaker 19 (41:28):
Girls?
Speaker 5 (41:31):
Long as you got.
Speaker 14 (41:33):
To kiss thy conquers?
Speaker 17 (41:37):
Why should I care?
Speaker 25 (41:41):
Life is one long?
Speaker 15 (41:44):
You believe.
Speaker 17 (41:47):
Salmoni's eyes care for you, and.
Speaker 3 (41:54):
You care for me.
Speaker 5 (42:57):
From the George and Ira Gershwin hit Music of nineteen
thirty one of the I Sing on Columbia Records. Who
Cares by Fred Astaire with Benny Goodman and his Orchestra,
recorded in Hollywood, California, April the thirtieth, nineteen forty, and
Joel tells me in his email that Fred Astaire was
(43:20):
his favorite male vocalist. And now to round out the
Joel Eatman list, here on the Make Believe Ballroom.
Speaker 26 (43:45):
It's gonna rain in any minute. There is not a
storm time things on my floor. I guess I'll.
Speaker 2 (43:57):
Close the shop and go to Joe.
Speaker 24 (44:04):
I know he will be glad to see me without
a penny to the good. But I'm am not caring
much what happened.
Speaker 2 (44:24):
I did the best time.
Speaker 26 (44:30):
He's just good for nothing, Joe.
Speaker 2 (44:35):
But all love himself. Guess that die good for nothing?
Speaker 21 (44:44):
Joe ever tried to leave me flast.
Speaker 2 (44:51):
Oh, yes, I'm certain of that.
Speaker 27 (44:56):
Octane can't understand.
Speaker 26 (45:01):
Why I'm a pad that man, Lord, he tends me
like nobody cares.
Speaker 27 (45:13):
A a woman just like that.
Speaker 2 (45:20):
I wouldn't mine do what.
Speaker 24 (45:25):
I beat these three till my feet with.
Speaker 26 (45:34):
But when it's flows and I go home.
Speaker 24 (45:38):
To him instead of sympathy, he's just as mean as can.
Speaker 27 (45:50):
There's nothing I can do.
Speaker 2 (45:54):
Because I love him soul. I'd be good formhing to.
Speaker 26 (46:06):
With a good for nothing.
Speaker 27 (46:09):
Joe, sad, be good pa nothing do no.
Speaker 26 (46:32):
With a good porn nothing Joe, Go home.
Speaker 5 (46:43):
To Joe, Good for Nothing Joe by Charlie Barnett and
his Orchestra with a Lena Horn vocal recorded on Bluebird
Records in nineteen forty one. The song was a huge,
huge hit for Lena Horn in the early nineteen forties.
(47:04):
And thanks Joel Eatman for sharing your list of six
favorite recordings featuring big band orchestras with vocalists. You can
send me your own list by writing to me at
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
(47:25):
MakeBelieve Ballroom Radio dot com. You can also go to
Make Believe Ballroom Podcast dot com make Believe Ballroom Podcast
dot com and record a voicemail with your comments and requests.
Just go to the lower right hand corner of the
page and press the microphone icon and record away to
(47:47):
your heart's content. Radio is our main game here on
the Ballroom, and we certainly cherish all of our station
affiliates around the country. But a few years ago we
sided to also place many of our programs as podcasts
on all of the favorite podcast providing platforms, including Make
(48:10):
Believe Ballroom Podcast dot com. And that is how Joel
Eatman listens to the program. And there's a couple of
hundred shows on podcasts for your enjoyment at MakeBelieve Ballroom
Podcast dot com. Let's see what we have up next. Oh,
(48:31):
I wanted to mention this before I play this record.
Did you folks know that currently? I think you all
know currently in most states you can play the daily
Numbers game at any lottery dealer, any convenience store, you
go into supermarket, so many stores have lottery terminals. But
(48:55):
years ago the numbers game, which was illegal and there's
something you had to do through your favorite neighborhood. Bookie
was one of the most popular forms of gambling now.
The numbers used to be related to the last numbers
of the track handle for win, place and show at
(49:18):
different racetracks. So, for example, if the total win handle
was say one thousand and four dollars, the last number
was four, and that was the first number for the
three numbers you had to pick in the numbers game.
If place or the second place finishing total for the
(49:41):
day was say five hundred and eighty three dollars, the
second number was three, and the show the money for
the horses that came in third. The total daily handle,
say was two hundred and fifty seven dollars, the last
number was seven, So those three nine numbers, four, three,
and seven became the daily numbers. So a lot of
(50:05):
folks try to win the daily numbers to make a
few bucks back then, and there was actually a song
written at the daily numbers game, a.
Speaker 25 (50:17):
Tip on the number from the slud Fox. You canna
play it straight or in the box. On a Monday,
it's to eighty four to hit that day. You're gonna
play some more on a Tuesday, take eight twenty five.
If that comes.
Speaker 3 (50:36):
Out, good Grace is alive.
Speaker 25 (50:38):
On Wednesday, play full eighty six. If that fall, I'll
get you know you've fixed On a Thursday, you played
three twenty eight. You better get on it before it's
too late. Just write these numbers in your books and
play them every day a newspaper and take a look
(51:03):
and see what's out today. On a Friday, it's sixty one.
If that comes out, your funny just be gone. On Saturday,
play three sixty nine. Gates still all one jumping? I
ain't lying.
Speaker 3 (51:20):
Well what you know that now? I don't know? I know, man,
what's you know?
Speaker 25 (51:24):
It's oh everything is really groovy, really goovy.
Speaker 3 (51:28):
Well look at pops, how about that number of to
day man?
Speaker 25 (51:32):
You're playing today?
Speaker 3 (51:33):
Well, I don't think I'm able to play.
Speaker 25 (51:35):
You know, you really kind of heavy on them, kind
of heavy.
Speaker 3 (51:37):
I know. I've been uplaining my skull. You know. Look
at you got a couple of gas meters. You can
lay on.
Speaker 25 (51:45):
A gas meter?
Speaker 3 (51:46):
Gas meter.
Speaker 25 (51:47):
I gotta douce some flippers, I lay on lips. What
I tell you, man, I need a couple of gas meterings. Well,
look ain, I just got my check this morning.
Speaker 3 (51:58):
You know, Oh my, is that all root? That's that's
all right?
Speaker 25 (52:03):
Look ahead, Dyland man, I'm talking about that fine welfare
checking one.
Speaker 3 (52:07):
Now look at him.
Speaker 25 (52:07):
I'm gonna get down on the heaven today.
Speaker 3 (52:09):
You better catch that time right away, you know, Lady.
Speaker 25 (52:42):
Thanday thing. Then on a Friday, it's sixty one. If
that comes out, just have your fun on the Saturday.
Play three six nine, Get the Augumn Fall nine lines.
Speaker 5 (53:13):
A tip on the numbers that was an ode to
the numbers game. Slim Gaillard and his Flat Foot Flugie
Boys on Okay Records Vocals by the dynamic duo of
Sam Gaillard and Slam Stewart, recorded March the eleventh, nineteen
(53:35):
forty one. And I think we have time for one
more email request from our friend Michael Fusco. He writes, high, Jeff,
can you play The Night We Met in Hanamu by
Larry Clinton and his orchestra with vocalist Peggy Man. Thanks Jeff,
(53:57):
signed Michael Fusco for you, Michael.
Speaker 8 (55:28):
More, Dipping down into the Sea, The Night you gave your.
Speaker 2 (55:36):
Love to me, The Night we met an Honomo the Stores.
It's like Norly Lennon song in space.
Speaker 6 (55:51):
They shed their light on our embraes.
Speaker 2 (55:55):
The Night we Met in honam.
Speaker 7 (56:01):
The palm trees is for gentless way the wind breathe.
Speaker 2 (56:12):
It's so to grown.
Speaker 8 (56:17):
For the moon and studer of forgetting, and I am.
Speaker 2 (56:25):
Left alone with reading. The night we met in Hanamu.
Speaker 13 (56:34):
Fairway to the palm tree.
Speaker 2 (56:38):
Sway where.
Speaker 13 (56:45):
To the winds gral.
Speaker 2 (56:49):
Saw the moon along the distonto the s.
Speaker 9 (56:57):
And you are far always from me, and where we
met at.
Speaker 5 (57:03):
Home the night we met in Hanamu on Bluebird Records,
recorded in nineteen forty one, and thank you Michael Fusco
for that request. Folks, we are out of time. I'm
(57:24):
going out with the abe Lyman version of the I
Sing recorded in nineteen thirty two from the Gershwin written
musical of the same name we discussed earlier. To reach me,
I'm Jeff at Make Believe Ballroom Radio dot com. That's
Jeff at Make Believe Ballroom Radio dot Com. Until next week,
(57:47):
this has been Jeff Bresler Maybe.
Speaker 17 (57:52):
Shining Star inspiration, Wordybu Mighty Nations of the Uh Chang
It's make believe Ballom time.
Speaker 2 (00:15):
Put all your cares away.
Speaker 1 (00:19):
All the bands are here to bring good cheer your way.
It's make belief Ballom time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis said Bamba.
Speaker 3 (00:39):
Yours.
Speaker 1 (00:40):
Close your eyes and visual lize in your solitude. Your
favorite bands are on this stance and mister Miller, but
you're in the mood. It's make believe Ballom time. We
are a sweet romance.
Speaker 4 (01:00):
As you make it.
Speaker 2 (01:01):
Bob, come on, Joe the Last das last.
Speaker 5 (01:05):
Hello World, I'm Jeff Presler, turning on the lights of
the make Fully Ballroom and welcoming you into my crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Whether you're listening on
the radio via great affiliates like Jazz ninety point one
(01:26):
WGMC in Rochester, New York, or on a podcast, or
maybe even on internet radio in the United Kingdom, anyway
you've gotten here. I am pleased, so get ready as
I spend for you some amazing big band jazz, swing,
blues and boogie woogie favorites. Folks, you're listening to the
(01:49):
make believe ballroom broadcasting almost continuously since nineteen thirty five.
My folks, today's show is going to be a mix
of well, a few stories, some listener emails, a little
Leney from down the block, and other assorted stuff. And
(02:09):
while I sort things out, how about a little early
pearly May.
Speaker 6 (02:22):
Fifteen years and I'm still serving time, serving time with
that good.
Speaker 2 (02:27):
Man of mine. I've been married fifteen years.
Speaker 6 (02:32):
I've shared fifteen million tiars fifteen years, and I'm still
serving time.
Speaker 2 (02:39):
Fifteen years.
Speaker 6 (02:40):
And I ain't got a dime, not a dime in
those long fifteen years. Each night I drink fifteen years
to forget those fifteen years.
Speaker 2 (02:51):
Fifteen years with that good man of mine.
Speaker 6 (02:55):
Oh, there are as no barb on the window, and
raised no locks on the door, and there ranged no
LODs in the courtyard.
Speaker 2 (03:07):
But I'm a prisoner forever more.
Speaker 6 (03:12):
Fifteen years and I'm still serving time, serving.
Speaker 2 (03:17):
Time with that good man of mine.
Speaker 6 (03:20):
When I left those church bells, time, tell me, what's
that a crime?
Speaker 2 (03:24):
Fifteen years?
Speaker 3 (03:25):
Then I'm still serving time.
Speaker 2 (03:37):
All my cooking goes to waste, spread and waters all
our tails.
Speaker 3 (03:41):
Fifteen years.
Speaker 6 (03:42):
Then I'm still serving time with this family on my tail,
can't save up no door for bill. Fifteen years and
I'm still serving time. Oh, there raise no chains on
(04:05):
my ankles, and there raised no ropes on my hands.
And there ain't no ain't nothing nowhere. But I'm a
prisoner to that man. When his shirt hang on the line,
(04:30):
how I wish that neck was mine. Fifteen years and
I'm still serving time. Oh, there raised no dog on
the window, and there raised no locks on the door,
and there raised no dogs in the court yard.
Speaker 2 (04:49):
But I'm a prisoner forever more. Fifteen years and I'm still.
Speaker 6 (04:57):
Serving time, serving time with that man of mind. I
got the kids from one to nine, some of.
Speaker 2 (05:05):
His and some of mine. Fifty and.
Speaker 6 (05:13):
Live in time, and I love every moment of it.
Speaker 3 (05:17):
Was beautiful, just love.
Speaker 5 (05:19):
Fifteen years and I'm still serving time. A Pearl Bailey
vocal under the orchestra direction of Mitchell Ayres, recorded on
Columbia Records, April of twenty fourth, nineteen forty five, and
a great way to get this edition of The Make
Belief Ballroom underway. So I was reading this article about
(05:43):
the history of television game shows a few days ago.
In the article mentioned Chuck Barris Chuck Barris's company and
his hosting and producing of the very campy Gang Show,
which some of you might remember on television in the
(06:04):
nineteen seventies and eighties. Chuck Barris and his company produced
that program, as well as The Dating Game, The Newlywed Game,
and so many more. Now in conjunction with that. By coincidence,
I was playing a few days ago a recording featuring
(06:25):
the Rhythm Boys. I wasn't playing it on the air,
I was playing it for my own personal enjoyment. And
the boys were the great Bing Crosby al Rinker, who
by the way, was Mildred Bailey's brother, and the third
Rhythm Boy was Harry Barras. So when I read about
(06:48):
Chuck Barris, I quickly did a little research to see
if he Harry Barris was related to Chuck. I didn't
expect much, but lo, hold there was a strong connection.
Let me play a real oldie featuring the Rhythm Boys.
Then an amazing story of how Harry Barris joined the trio.
Speaker 7 (07:18):
This way.
Speaker 8 (08:44):
Why then goes down and I goes down the dark,
gather around down.
Speaker 9 (08:49):
They all began to show, Hey, I'll go down here
to be on the miss.
Speaker 3 (08:55):
But why I do.
Speaker 2 (09:01):
No he how I am telling.
Speaker 7 (09:02):
You all but up man any time.
Speaker 2 (09:06):
By time on their hands? John tab me out the town?
You and Honic come, where's the.
Speaker 10 (09:11):
Doc to beat on the miss Lord holiday boy?
Speaker 11 (09:17):
Listen?
Speaker 2 (09:20):
Told you don't.
Speaker 10 (09:24):
That music? Says the doctor on my dam? You they do?
Speaker 5 (09:37):
Norney?
Speaker 2 (09:38):
How I'm telling you?
Speaker 7 (09:40):
Oh fine a man take you time.
Speaker 9 (09:43):
I fading their hands just to tip me out of town.
Speaker 8 (09:46):
To you and Hona come, where's the docking be to
beat all the MESSI yami yana now June on? Wherema
(10:31):
doga men?
Speaker 2 (10:36):
Mud?
Speaker 5 (10:38):
We just heard Mississippi Mud composed by Harry Barris and
featuring the legendary Paul Whiteman and his orchestra, with vocals
by Irene Taylor, Bing Crosby, Harry Barris, Al Rinker, Jack Fulton,
Austin Young and Charles gay Lord, recorded on Victor in
(11:03):
New York City, February the eighteenth, nineteen twenty eight. Like
a musical variety show that record was, and speaking of
legendary Bix Beider becks Horn was featured on that best
selling version of the Harry Barris hit song Mississippi Mud.
(11:25):
So friends, As the story goes, first, let me say,
I think I forgot to mention that Harry Baris was
the uncle of the television game show genius Chuck Barris. Now,
in nineteen twenty six, Harry Barris was playing the piano
and occasionally providing vocals for the Paul ash Orchestra. Also
(11:51):
in that same year, nineteen twenty six, Al Rinker and
Bing Crosby became members of the Paul Whiteman Orchestra. Is
a singing duo, and they were very well received in
smaller venues. However, in February of nineteen twenty seven, Paul
(12:12):
Whiteman was booked into the cavernous Paramount Theater in New
York City. Now, in nineteen twenty seven, loudspeaker systems and
adequate microphones for large theaters were just being perfected, and
(12:32):
believe it or not, the Paramount at the time had
absolutely no microphones, no speaker system, So while the orchestra
of white Men could be heard, the vocals provided by
Bing Crosby and al Rinker were drowned out and just
couldn't be heard by the audience. So Paul Whiteman was
(12:56):
brought into the theater manager's office and given the bad
news that White Men and his orchestra were being dropped
from the bill. Now White Men had no problem attracting
crowds to his band's performances and decided to look for
a way to make sure that his vocalists could be
(13:19):
heard in the future no matter where they were playing well.
Paul Whiteman, band member who knew Harry Barris, suggested to
Paul that they add him to make a trio, and
the Rhythm Boys were formed in April of nineteen twenty seven,
(13:39):
and their vocals got a boost and were heard better
in the theaters where White Men appeared, and the Rhythm
Boys became a fixture in Whiteman's band for a number
of years. So an interesting story of how Harry Barris,
the uncle of Chuck Barris, became a rhythm boy all
(14:02):
the way back in nineteen twenty seven. I'm Jeff Bresler,
and you're listening to the one, the only, the original
Make Believe Ballroom to reach me. I'm Jeff at MakeBelieve
Ballroom Radio dot com. That's Jeff at MakeBelieve Ballroomradio dot com.
And some of the folks that did reach me will
(14:24):
in turn reach out to you. When I read a
few emails in just a little while. Let's now as
I look at my show list, here, let's spin a record,
and then from Tampa, Florida, the producer emeritus of the
Make Believe Ballroom, the inimitable Lenny from down the Block
(14:46):
with his record pick of the week. It's that was
(17:27):
the violinist extraordinary himself when Joven Nudi and his orchestra
here today on Decca Records with the song entitled The Flop,
recorded in New York City on January the twenty fifth,
nineteen thirty nine. And now from his palatial condo in Tampa, Florida,
(17:49):
the producer Emeritus of the Make Believe Ballroom, the Platter Prince,
the virtue Woeso of the Virtual Turntable, the world renowned
Miss their Excitement, himself, Lenny from down the Block with
his record pick of the week.
Speaker 12 (18:08):
Hi gang, Lenny from down the block here with my
record pick of the week.
Speaker 3 (18:12):
Whenever I do.
Speaker 12 (18:13):
Something wrong around the house, my wife Cookie calls me
a nitwit. Just last week, I messed up the garbage
disposal here in the condo, and the word nitwit reverberated
throughout Unit Oney one hundred and twenty six. I decided
to take a look and see if the word nitwit
was ever used in a big band song. I was
(18:36):
amazed to discover that Benny Goodman himself recorded a song
called Knitwitz Serenade. It was the b side to his
wildly popular version of Bugle Call Rag. The record was
produced for Columbia on August sixteenth, nineteen thirty four.
Speaker 5 (21:38):
Knit Wit Serenade Benny Goodman and his orchestraed. I don't
think Lenny mentioned it, but that song was written by
the great composer and bandleader Will Hudson. And now folks.
Speaker 13 (21:54):
Eny mysel Aleta.
Speaker 3 (22:00):
And make believe the game from you.
Speaker 2 (22:08):
I'm gonna rain.
Speaker 14 (22:09):
Worn so sweet.
Speaker 2 (22:12):
They're gonna allow me all my be.
Speaker 13 (22:17):
A lot of kisses on the bottom.
Speaker 2 (22:22):
I'll be glad I got home.
Speaker 13 (22:25):
I'm gonna smile and say I hope you're feeling better
him close with love the way you do. I'm gonna
send right down and write myself a letter.
Speaker 2 (22:50):
And made me.
Speaker 5 (22:51):
Believe the game from Yes, my friends, we do get letters,
many of them in email form, each and every week.
I would like to read a few for you. The
first comes from one of our great listeners who we
love to hear from. He knows his stuff when it
comes to big bands, and it reads Hi, Jeff, I
(23:16):
thought i'd get in on the act and send you
a few of my favorites. I had a hard time
thinking of some that weren't standards and it wouldn't be
likely to have been played, and I only came up
with six. As you can see, I like songs and vocalists,
And he lists six songs which I will play for
(23:40):
you in just a few moments. He goes on to write,
I enjoy the show on podcast every week, and I
especially enjoy your commentary and the historical background. By the way,
what happened to Dylan? The snotty Kids? List of big
band musicians on the Hollywood would walk of fame? Cordially yours,
(24:03):
Joel Eatman. Thanks Joel, writing to us from deep in
the heart of Texas by way of Dallas, a wonderful
state that I lived in twice for extended periods of time,
and where my daughter and son in law reside in Austin.
And I will, Joel at your request reprimand the snotty
(24:28):
kid Dylan, who indeed did not follow through. How did
I come to think of it? On continuing his research
on big band musicians and vocalists on the Hollywood Walk
of Fame. I would dock him pay Joel, but since
I don't pay him, I think I'll just relay your
(24:50):
consternation and have him complete the assignment. I actually haven't
seen him in the studio area today, but he should
be around shortly. But more important to the music at hand.
From the Joel Eatman list, here is number one of sex.
Speaker 14 (26:34):
Wooming flabby, ring in my ears and blooms my DearS.
Speaker 15 (26:40):
I'm in my flat in man Pattern. My vapatient days
are in the past. They went to past. Why couldn't
they laugh?
Speaker 11 (26:51):
Jee's Monday in Manhattan, where it ends my holiday.
Speaker 15 (26:58):
I hate Monday in Manhattan, when my heart is miles away.
Speaker 11 (27:06):
Streets of leaning power seem to be my only view.
But I'll close my eyes for hours and I know
that I'll see you.
Speaker 16 (27:21):
Then the pavement changes into Hallwood, is glad beyond is
my arms again, and.
Speaker 15 (27:34):
It all seems so real. Near the sky line of
steel shouts it's Monday in Manhattan, that away your dreams
have low. Jeez, It's Monday in Manhattan, and it means
that I'm a Lowe.
Speaker 5 (28:14):
We just heard Monday in Manhattan Richard Himber and his
Ritz Carlton Orchestra, recorded on Victor Records January the nineteenth,
nineteen thirty five, with a Stewart Alan vocal, and Joel's
comment on that record, Monday in Manhattan is this is
(28:35):
one of my favorites. I think it's a lovely song,
and I don't have a recording of it. Let's now
move on to Joel's second pick.
Speaker 17 (29:01):
When you say.
Speaker 18 (29:06):
Just be friends, I thought I could let you go,
never thought, ID cried.
Speaker 17 (29:18):
I never knew I loved you. So I act gay,
laugh and play. It's so that no one will know
I've a broken hard.
Speaker 18 (29:39):
It's so hard to let you go.
Speaker 17 (29:45):
When I still thrilled to your touch, Live for your glance.
Speaker 18 (29:52):
Find myself trembling when you ask.
Speaker 19 (29:55):
Me to dance.
Speaker 17 (29:57):
The scene is the same.
Speaker 18 (30:00):
It's summer again. My friends to approach me, always.
Speaker 17 (30:05):
Screen your name, can't go on, can't forget.
Speaker 18 (30:12):
I'm jealous and hurting side when you said park, keep
my darling.
Speaker 19 (30:22):
How you love?
Speaker 17 (31:05):
When I still freil to your touch, Play for your glance.
Speaker 18 (31:13):
Find myself trembling when you ask me to dance.
Speaker 17 (31:20):
The seed is the same.
Speaker 18 (31:23):
It's summer again. My friend still reproach me for always
string Yourny.
Speaker 3 (31:33):
Can go?
Speaker 17 (31:37):
I can for again.
Speaker 18 (31:40):
I'm jealous and pertain side.
Speaker 20 (31:45):
When you said Park keeps my God.
Speaker 5 (32:03):
From Victor Records, Darling, how you lied? By Wayne King
and his Orchestra. Vocal by Buddy Clark, recorded in Chicago,
August the second, nineteen forty one and Joel An interesting
side note about this recording, Buddy Clark was the regular
(32:25):
vocalist on Wayne King's radio program, so on the original
Victor label of this record, Buddy Clark was not listed
as the vocalist, and this was due to the fact
that he had an exclusive contract as a soloist with
Okay Records. So little history behind the Buddy Clark Wayne King.
(32:50):
I guess you would call it a tear jerker, Darling,
How you lied? Folks? This is Jeff Bressler here and
you're listening to the weekly version of the Make Believe
Ballroom to Reach me like Joel Eatman did, Who's record
list of favorites we are enjoying? I'm Jeff at Make
(33:10):
Believe Ballroom Radio dot Com. That's Jeff at Make Believe
Ballroom Radio dot com.
Speaker 2 (34:19):
You but didn't care.
Speaker 4 (34:22):
More than words can say. If I didn't care, who the.
Speaker 7 (34:29):
Feels this way?
Speaker 4 (34:31):
If this isn't love, then maybe I'm lone. But why
do I love way all night and dreams?
Speaker 2 (34:42):
Oh? They love but didn't care?
Speaker 4 (34:47):
Would it be the same? Would my every prayer begin
on him was just your name?
Speaker 2 (34:56):
And would I be sure that this is love? Young?
Who knows this virtues?
Speaker 9 (35:04):
If not didn't a f.
Speaker 5 (35:59):
That was an Joel Eatman favorite big band arrangement of
the great nineteen thirty nine Ink Spots hit on Vocalian Records.
We just heard If I Didn't Care by Count Basie
and his Orchestra with a vocal by Helen Humes, recorded
in New York City on April fifth, nineteen thirty nine.
(36:24):
How about another Joel Eatman music list fave. I also
love this tune.
Speaker 21 (37:36):
McPherson is rehearsing and the bagpipes are.
Speaker 22 (37:39):
Repson for McPherson is rehearsing to swell and from Medenburg
to Dundee, every lad every LESSI no macpherson is we
hurtle to swee.
Speaker 2 (37:56):
I didn't I care, said Sandy.
Speaker 21 (37:58):
If the elders our approval either chickenwaar Gland, the Dandy
and the men a mellow grooves.
Speaker 22 (38:06):
Now the bunny bunny lessie with the kilties on their chessis.
Speaker 2 (38:11):
Have forgotten all about the Highland flag. Young and no
folks got to get to her in this truck.
Speaker 6 (38:20):
And then I had the when McPherson is reversing two sways.
Speaker 23 (38:58):
I got did not get that, Sandy give me how
then roof.
Speaker 4 (39:03):
I'm a chick web Ben Andy, and I'm in a
fella roof.
Speaker 2 (39:08):
Now the bunny bunny.
Speaker 22 (39:10):
Lessies with the guilties on their chessis.
Speaker 24 (39:14):
Have forgotten old fast, helvely.
Speaker 23 (39:19):
Younger, no folks get together.
Speaker 2 (39:21):
And they're struck in the header. When McPherson and rehearsal to.
Speaker 5 (39:27):
Swear, McPherson is rehearsing to swaying Chick Webb and his orchestra.
Ella Fitzgerald vocal recorded on Decca Records in New York
(39:49):
City back in nineteen thirty eight, and the next selection
by Joel is a Benny Goodman Fred Astaire collabor dration.
This is the second and I, come to think of it,
Benny Goodman tune. We're playing on the ballroom today. But hey,
you can never get enough of Benny Goodman?
Speaker 17 (41:12):
Who cares? If the sky.
Speaker 11 (41:17):
Cares?
Speaker 3 (41:18):
Who all.
Speaker 24 (41:20):
In the scene?
Speaker 25 (41:24):
Who cares?
Speaker 3 (41:25):
What banks fay in?
Speaker 25 (41:27):
Yon?
Speaker 19 (41:28):
Girls?
Speaker 5 (41:31):
Long as you got.
Speaker 14 (41:33):
To kiss thy conquers?
Speaker 17 (41:37):
Why should I care?
Speaker 25 (41:41):
Life is one long?
Speaker 15 (41:44):
You believe.
Speaker 17 (41:47):
Salmoni's eyes care for you, and.
Speaker 3 (41:54):
You care for me.
Speaker 5 (42:57):
From the George and Ira Gershwin hit Music of nineteen
thirty one of the I Sing on Columbia Records. Who
Cares by Fred Astaire with Benny Goodman and his Orchestra,
recorded in Hollywood, California, April the thirtieth, nineteen forty, and
Joel tells me in his email that Fred Astaire was
(43:20):
his favorite male vocalist. And now to round out the
Joel Eatman list, here on the Make Believe Ballroom.
Speaker 26 (43:45):
It's gonna rain in any minute. There is not a
storm time things on my floor. I guess I'll.
Speaker 2 (43:57):
Close the shop and go to Joe.
Speaker 24 (44:04):
I know he will be glad to see me without
a penny to the good. But I'm am not caring
much what happened.
Speaker 2 (44:24):
I did the best time.
Speaker 26 (44:30):
He's just good for nothing, Joe.
Speaker 2 (44:35):
But all love himself. Guess that die good for nothing?
Speaker 21 (44:44):
Joe ever tried to leave me flast.
Speaker 2 (44:51):
Oh, yes, I'm certain of that.
Speaker 27 (44:56):
Octane can't understand.
Speaker 26 (45:01):
Why I'm a pad that man, Lord, he tends me
like nobody cares.
Speaker 27 (45:13):
A a woman just like that.
Speaker 2 (45:20):
I wouldn't mine do what.
Speaker 24 (45:25):
I beat these three till my feet with.
Speaker 26 (45:34):
But when it's flows and I go home.
Speaker 24 (45:38):
To him instead of sympathy, he's just as mean as can.
Speaker 27 (45:50):
There's nothing I can do.
Speaker 2 (45:54):
Because I love him soul. I'd be good formhing to.
Speaker 26 (46:06):
With a good for nothing.
Speaker 27 (46:09):
Joe, sad, be good pa nothing do no.
Speaker 26 (46:32):
With a good porn nothing Joe, Go home.
Speaker 5 (46:43):
To Joe, Good for Nothing Joe by Charlie Barnett and
his Orchestra with a Lena Horn vocal recorded on Bluebird
Records in nineteen forty one. The song was a huge,
huge hit for Lena Horn in the early nineteen forties.
(47:04):
And thanks Joel Eatman for sharing your list of six
favorite recordings featuring big band orchestras with vocalists. You can
send me your own list by writing to me at
Jeff at MakeBelieve Ballroom Radio dot com. That's Jeff at
(47:25):
MakeBelieve Ballroom Radio dot com. You can also go to
Make Believe Ballroom Podcast dot com make Believe Ballroom Podcast
dot com and record a voicemail with your comments and requests.
Just go to the lower right hand corner of the
page and press the microphone icon and record away to
(47:47):
your heart's content. Radio is our main game here on
the Ballroom, and we certainly cherish all of our station
affiliates around the country. But a few years ago we
sided to also place many of our programs as podcasts
on all of the favorite podcast providing platforms, including Make
(48:10):
Believe Ballroom Podcast dot com. And that is how Joel
Eatman listens to the program. And there's a couple of
hundred shows on podcasts for your enjoyment at MakeBelieve Ballroom
Podcast dot com. Let's see what we have up next. Oh,
(48:31):
I wanted to mention this before I play this record.
Did you folks know that currently? I think you all
know currently in most states you can play the daily
Numbers game at any lottery dealer, any convenience store, you
go into supermarket, so many stores have lottery terminals. But
(48:55):
years ago the numbers game, which was illegal and there's
something you had to do through your favorite neighborhood. Bookie
was one of the most popular forms of gambling now.
The numbers used to be related to the last numbers
of the track handle for win, place and show at
(49:18):
different racetracks. So, for example, if the total win handle
was say one thousand and four dollars, the last number
was four, and that was the first number for the
three numbers you had to pick in the numbers game.
If place or the second place finishing total for the
(49:41):
day was say five hundred and eighty three dollars, the
second number was three, and the show the money for
the horses that came in third. The total daily handle,
say was two hundred and fifty seven dollars, the last
number was seven, So those three nine numbers, four, three,
and seven became the daily numbers. So a lot of
(50:05):
folks try to win the daily numbers to make a
few bucks back then, and there was actually a song
written at the daily numbers game, a.
Speaker 25 (50:17):
Tip on the number from the slud Fox. You canna
play it straight or in the box. On a Monday,
it's to eighty four to hit that day. You're gonna
play some more on a Tuesday, take eight twenty five.
If that comes.
Speaker 3 (50:36):
Out, good Grace is alive.
Speaker 25 (50:38):
On Wednesday, play full eighty six. If that fall, I'll
get you know you've fixed On a Thursday, you played
three twenty eight. You better get on it before it's
too late. Just write these numbers in your books and
play them every day a newspaper and take a look
(51:03):
and see what's out today. On a Friday, it's sixty one.
If that comes out, your funny just be gone. On Saturday,
play three sixty nine. Gates still all one jumping? I
ain't lying.
Speaker 3 (51:20):
Well what you know that now? I don't know? I know, man,
what's you know?
Speaker 25 (51:24):
It's oh everything is really groovy, really goovy.
Speaker 3 (51:28):
Well look at pops, how about that number of to
day man?
Speaker 25 (51:32):
You're playing today?
Speaker 3 (51:33):
Well, I don't think I'm able to play.
Speaker 25 (51:35):
You know, you really kind of heavy on them, kind
of heavy.
Speaker 3 (51:37):
I know. I've been uplaining my skull. You know. Look
at you got a couple of gas meters. You can
lay on.
Speaker 25 (51:45):
A gas meter?
Speaker 3 (51:46):
Gas meter.
Speaker 25 (51:47):
I gotta douce some flippers, I lay on lips. What
I tell you, man, I need a couple of gas meterings. Well,
look ain, I just got my check this morning.
Speaker 3 (51:58):
You know, Oh my, is that all root? That's that's
all right?
Speaker 25 (52:03):
Look ahead, Dyland man, I'm talking about that fine welfare
checking one.
Speaker 3 (52:07):
Now look at him.
Speaker 25 (52:07):
I'm gonna get down on the heaven today.
Speaker 3 (52:09):
You better catch that time right away, you know, Lady.
Speaker 25 (52:42):
Thanday thing. Then on a Friday, it's sixty one. If
that comes out, just have your fun on the Saturday.
Play three six nine, Get the Augumn Fall nine lines.
Speaker 5 (53:13):
A tip on the numbers that was an ode to
the numbers game. Slim Gaillard and his Flat Foot Flugie
Boys on Okay Records Vocals by the dynamic duo of
Sam Gaillard and Slam Stewart, recorded March the eleventh, nineteen
(53:35):
forty one. And I think we have time for one
more email request from our friend Michael Fusco. He writes, high, Jeff,
can you play The Night We Met in Hanamu by
Larry Clinton and his orchestra with vocalist Peggy Man. Thanks Jeff,
(53:57):
signed Michael Fusco for you, Michael.
Speaker 8 (55:28):
More, Dipping down into the Sea, The Night you gave your.
Speaker 2 (55:36):
Love to me, The Night we met an Honomo the Stores.
It's like Norly Lennon song in space.
Speaker 6 (55:51):
They shed their light on our embraes.
Speaker 2 (55:55):
The Night we Met in honam.
Speaker 7 (56:01):
The palm trees is for gentless way the wind breathe.
Speaker 2 (56:12):
It's so to grown.
Speaker 8 (56:17):
For the moon and studer of forgetting, and I am.
Speaker 2 (56:25):
Left alone with reading. The night we met in Hanamu.
Speaker 13 (56:34):
Fairway to the palm tree.
Speaker 2 (56:38):
Sway where.
Speaker 13 (56:45):
To the winds gral.
Speaker 2 (56:49):
Saw the moon along the distonto the s.
Speaker 9 (56:57):
And you are far always from me, and where we
met at.
Speaker 5 (57:03):
Home the night we met in Hanamu on Bluebird Records,
recorded in nineteen forty one, and thank you Michael Fusco
for that request. Folks, we are out of time. I'm
(57:24):
going out with the abe Lyman version of the I
Sing recorded in nineteen thirty two from the Gershwin written
musical of the same name we discussed earlier. To reach me,
I'm Jeff at Make Believe Ballroom Radio dot com. That's
Jeff at Make Believe Ballroom Radio dot Com. Until next week,
(57:47):
this has been Jeff Bresler Maybe.
Speaker 17 (57:52):
Shining Star inspiration, Wordybu Mighty Nations of the Uh Chang
Popular Podcasts
Stuff You Should Know
If you've ever wanted to know about champagne, satanism, the Stonewall Uprising, chaos theory, LSD, El Nino, true crime and Rosa Parks, then look no further. Josh and Chuck have you covered.
Dateline NBC
Current and classic episodes, featuring compelling true-crime mysteries, powerful documentaries and in-depth investigations. Follow now to get the latest episodes of Dateline NBC completely free, or subscribe to Dateline Premium for ad-free listening and exclusive bonus content: DatelinePremium.com
The Joe Rogan Experience
The official podcast of comedian Joe Rogan.