August 8, 2025 • 58 mins
This week's Make Believe Ballroom with Jeff Bressler brings you Classic Big Band Hits from the 30s and 40s - a one hit wonder, a lightly played Benny Goodman tune, how Marilyn helped Ella, listners emails, Lenny from Down the Block with his Record Pick of the Week and many more great songs and stories to cherish and enjoy on this week's program.
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Speaker 1 (00:12):
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring.
Speaker 2 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make Believe ball time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis said.
Speaker 1 (00:36):
Bombs, close your eyes and vis you lie in your solitude.
Speaker 2 (00:46):
Your favorite bands are on the stands and mister Miller,
but you're in the wood. Its make Believe ballom time.
We are a sweet romance is to make bottom. Come on,
Joe the Last das last.
Speaker 3 (01:05):
Hello World, I'm Jeff Bresler, turning on the lights of
the Make Believe Ballroom and welcoming you into my Crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Get ready as I
play for you some amazing big band jazz, swing, blues,
(01:26):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hi friends,
thanks for joining me in the Crystal Studio today and
here in the studio. While not live in the studio,
(01:47):
but via a seventy eight RPM disc, we say hello
to Freddy Slack and Ella May Morse.
Speaker 4 (02:05):
Movement movement from movement.
Speaker 5 (02:43):
I say, cheeks like a chair and fine, big twinkle
(03:15):
in his eye.
Speaker 6 (03:18):
He's got a grain you can strive.
Speaker 5 (03:21):
So I refer to old robb Roy eight if he's
a day, But does he act that way?
Speaker 7 (03:31):
You think that he was still awhike.
Speaker 5 (03:35):
He has a big nag, old robbery.
Speaker 7 (03:38):
He's up where the earliest line. It's his business starn
as his neighbor says.
Speaker 2 (03:49):
Par kids.
Speaker 7 (03:51):
He's got as a.
Speaker 2 (03:53):
Pile of glass.
Speaker 5 (03:55):
He's everybody's daddy.
Speaker 7 (03:59):
It climbs the glad.
Speaker 8 (04:00):
You're joined jodge.
Speaker 7 (04:03):
Mister, Oh rob Roy, Oh Rob Roy, what a boy?
Speaker 3 (05:03):
We just heard Old rob Roy Freddie Slack and his
Orchestra vocal by Elame Morse, recorded on the then fledgling
Capitol Record label in nineteen forty three. Now Elame Morse,
at the young age of just seventeen, recorded a huge hit.
(05:25):
It was her and Freddy Slack's first record for Columbia,
recorded a year before Old Rob Roy. But unfortunately Ella
May's success with the record you're about to hear well,
it was also her downfall. I'll explain after I spind
the desk.
Speaker 9 (05:49):
On the Please down your satin I'm in a coby
right in the rage. One day, Asy John law I
heard him singing a more peculiar cowboys song. It was
a ditty you learn in the city, or Comma die
(06:13):
gonna dip li get along, get hip little dogs, get along,
better be on your way, get along, get half little
dog hees. He drucked them on down the old fair way,
singing his cock cab. We'll get in the strangest way,
(06:37):
gonna die coma diap, singing his cowboy song. He's just
too much. He gotta knock out Western accents for.
Speaker 7 (06:50):
A wallong search.
Speaker 9 (06:52):
He was raised doing lope weed. He's what you call
swing half breeds. Hang in it, got gap, We'll get
in the streets way, Goma die gomma die I.
Speaker 10 (08:03):
Get along, loggie, better be on you wing you wave,
Get along, little log And.
Speaker 9 (08:14):
He dropped him on down the old fair way, singing
his cock cap booge in the strange just way, Comma
die comma die ye.
Speaker 5 (08:28):
Yip PieP singing his cowboys songs Yep Pip as he
was juggling along Yeppy, sing.
Speaker 2 (08:38):
With the whole up that Yep Pip.
Speaker 9 (08:42):
The cat is just too much for singing his cock
Up Bogi, The Strangest Way, Comma.
Speaker 3 (08:49):
Tie Cow Cow Boogie, Freddy Slack and his orchestra Ellame
Morris vocal we courted on the Capitol label in nineteen
forty two, now Elmy at fifteen years old. Going back
a few more years, light about her age to get
(09:12):
a job with Jimmy Dorsey in nineteen thirty eight. Now
el May, it has said, was a headache, a big
headache for Jimmy. She was immature, not very well prepared,
and extremely flighty. A lot of the band members remarked
that Elmy would disappear and be hard to find at times.
(09:36):
So in nineteen thirty nine, Jimmy replaced Elma with the
great Helen O'Connell, which was a great move for Jimmy Dorsey.
But Elm did the resurface again in nineteen forty two
when former Dorsey pianist Freddie Slack, who we just heard,
(09:57):
hired her to sing with his new Aucust. It was
with Freddy that Morse had her biggest hit, Cow Cow Boogie,
which I just played, which became a Capitol Record's first
gold single. Just as an aside, if you recall a
few weeks back, we discussed how Chattanooga Chuchu was given
(10:18):
the first quote unquote gold record by RCA Victor. At
the time, gold records were more of a vanity scheme
by record company pr shops to signify that a record
hit a million sold. But nevertheless, the record was such
(10:39):
a huge, big hit and Morse such a sensation that
she quickly eclipsed the whole Slack Orchestra in popularity, and
Freddy's name was rarely mentioned without Lamy being in the
same sentence. And I guess part of the reason for
the song's popularity actually relied on it being released at
(11:03):
the beginning of the American Federation of Musicians, their devastating
record band, which began in August of nineteen forty two,
and as a result of that, no other label could
follow up with their own version of the tune, and
that pretty much left Capital to reap the bonanza when
(11:25):
the public went crazy for it. The success of the
song did turn Capital into a major recording label, but
unfortunately for Ella May, she became forever identified with the
song that made her famous, often being billed as the
quote unquote cow Cow boogeye girl. While she still had
(11:49):
a following She was pretty much deemed a one hit wonder,
and she left the business in the late nineteen forties,
although she did have a few comebacks over the years
to follow. So little friends about Ella May Morse. Oh,
before I forget, I just wanted to mention that to
Ella May Morse, as I said, was quite undisciplined, flighty
(12:12):
and often would disappear. And I'm sure Freddy knew that
from working with Jimmy Dorsey. So it said that when
she went into the studio to record Cow Cow Boogie,
Freddie quickly started to play with the orchestra to keep
his fingers crossed and hope everything would go well well.
Ella May thought this was only a rehearsal because of
(12:33):
the quick way Freddy started things up, and she recorded
this song in only one take. So a little extra
tidbit on Ella May Morse, and now another tune, then
a listener's email.
Speaker 11 (13:02):
File.
Speaker 12 (13:46):
I doubled their you you sit over here. I doubled
their you to let me your ears, take off your
high hatch, handless yet friendly, don't be a scare cat,
say what your care cats take us there. I doubled
their youth to kiss me and them I doubled their
(14:11):
use to kiss me again and left that look in
your eyes means what I'm thinking of.
Speaker 6 (14:19):
I doubled their.
Speaker 8 (14:20):
Use to fall in love with me.
Speaker 11 (14:25):
I troubled their you.
Speaker 3 (15:34):
On Victor Records, we just heard I doubled Dare You
by Larry Clinton and his orchestra vocal by Bronx born
b Wayne, recorded in New York City, December seventeenth, nineteen
thirty seven. And I mentioned before that fine recording that
I would read an email that I received over the
(15:55):
past week, and this one is from Adam cremeetz k
r I ms tsos. I think I can have to
let out an sos to Adam to make sure I'm
pronouncing his name correctly. I hope it is pronounced Cremeetzos.
(16:16):
And Adam says he is out of Atlanta, Georgia. He writes,
Jeff thoroughly enjoy the music of the Make Believe Ballroom
each week. I liked over the last few shows the
Glenn Miller rarely played records you spun. Benny Goodman recorded
a song called camel Hop that I like. Can you
(16:38):
play that and count it as a rarely heard Goodman song?
And that is signed by Adam, and I could say
to you, Adam, I'll hump that record for you, The
camel Hop on its way Many Goodman and his orchestra
(19:35):
camil Hop, recorded on the Victor label in New York
City November the twelfth, nineteen thirty seven. And thanks Adam.
That was a great Goodman song and indeed a lightly
played Goodman tune. And Adam, that was an interesting name
for a song, camel Hop. And perhaps you have wondered
(19:57):
how that name came about. Was John Hammond. John Hammond,
Benny Goodman's brother in law and the great jazz and
swing impresario who suggested to Mary Lou Williams that she
composed some music for Benny Goodman. In nineteen thirty seven,
(20:18):
Benny had a radio show broadcast on Saturday nights that
was called The Camel Caravan. That show was sponsored by
Camel Cigarettes. So Mary Lou wrote this arrangement of camel
Hoop that we just heard for him to use as
a theme song on that radio program. The arrangement was
(20:41):
recorded several times on the radio and also in live
performances during nineteen thirty seven. And again, thanks Adam for
getting in touch with us. I'm Jeff at Makebully Ballroomradio
dot com. That's Jeff at Makebelie Ballroomradio dot com if
you would like to contact me. I just mentioned Mary
(21:04):
Lou Williams. Mary Lou she was an enormous talent that
encompassed playing the jazz piano, arranging and composing. She wrote
hundreds of compositions and arrangements and recorded more than a
hundred records. So let me play one now by Mary
Lou Williams, the.
Speaker 13 (22:17):
Quickly set at Christ Christmas, Christmas and the Christ Christmas,
(23:34):
the Best Christ.
Speaker 7 (23:54):
And the.
Speaker 3 (24:03):
Mary Lou Williams on piano accompanied by bass and drums.
The name of the song was clean Pickin, recorded on
Decca Records in New York City on March the eleventh,
nineteen thirty six, and it featured Booker Collins on the
bass and Ben Thigpen playing the drums. Let's play another record,
(24:27):
then I will talk to you about how a glamorous
sex symbol an actress made her mark on the world
of jazz.
Speaker 2 (24:42):
When the cuckoo in the clock goes.
Speaker 14 (25:36):
Cellimation, its a cuckoo and I'm a little cuckoo.
Speaker 15 (25:39):
In fact, we all slightly not that they were that
the word.
Speaker 12 (25:42):
He was baby talking her heading.
Speaker 2 (25:44):
The cuckoo in the clock went cuckoo.
Speaker 14 (25:46):
Every fifteen minutes, he crew cuckoo, cuckoo, cuckoo, be a
a p sent the fella to the gall and the
cuckoo in the clock went cuckoo.
Speaker 6 (25:56):
I believe they're starting to.
Speaker 8 (25:58):
Woo woo, woo woooo. They didn't know that everything they
said was overheard.
Speaker 16 (26:06):
They didn't hear the little verdict giving him the burden.
Speaker 17 (26:11):
So he said, with a sigh, who's your little peachy pie?
Speaker 11 (26:13):
And the cuckoo in the clock went cuckoo.
Speaker 17 (26:16):
Then he said, I.
Speaker 6 (26:17):
May be cuckoo, but not as cuckoo as you.
Speaker 18 (26:21):
So he closed the door and withdrew cuckoo, cuckoo, cuckoo.
Speaker 6 (26:29):
Listen to the cuckoo on the wall, cuckoo, cuckoo, cuckoo.
Speaker 18 (27:01):
Love us, grand love us, Grant Donald, Let me hold
your hand, Bob.
Speaker 17 (27:03):
The cuckoo in the clock says, who me you too? Hey?
Speaker 9 (27:12):
Take this.
Speaker 3 (27:17):
From Brunswick Records, We just heard Cuckoo in the Clock
by Kay Kaiser and his Orchestra vocal by Sully Mason,
recorded January the twenty seventh, nineteen thirty nine, and I
said prior to Kay and Sully that I would tell
you the story of how a glamorous sex symbol and
(27:39):
actress made her mark on the world of jazz. And
to set the stage for that story, I play for
you this record.
Speaker 19 (28:00):
Love hearing the starlet Our. All heaven is in your eyes,
while the winters atbbing underneath the stars, but the hearts
are throbbing like to get tar. Love hearing the starlet
(28:23):
Our night whispering Lulla fines. Let me dream forever underneath
the silvery sky.
Speaker 7 (28:38):
Will it be.
Speaker 6 (28:40):
Just as sweet again?
Speaker 19 (28:43):
The glamor, the glory that we know, will I find when.
Speaker 7 (28:51):
We meet again?
Speaker 19 (28:53):
The glamor, the glory is still a glory. But to night,
let us forget tomorrow he under the midnight bloom love
with blooming flower in the Starlet Hour, with love, Love,
(29:28):
Love in the hour, All love in the Starlet Hour,
while the wind is stopping underneath the stars, but dots
of throbbing like the struggle to get tar. Love Love
(29:49):
in the hour, Oh Love in the Starlet Hour. Let
me dream forever under you need the silvery.
Speaker 7 (30:01):
Skuies to the tool of ullabies.
Speaker 17 (30:05):
Will it be.
Speaker 7 (30:08):
Just yes met again?
Speaker 19 (30:11):
The glamor, the glory that we know, will I find
when we meet again, the glamour, the glory that's still
lo glor. But tonight, let us forget tomorrow here under
(30:32):
the midnight gloom.
Speaker 6 (30:35):
Love of blooming.
Speaker 20 (30:36):
Flower in the starlet horbur with you, just with you,
Oh love of bloomin Flower from the Starlet Power with you.
Speaker 3 (30:54):
On the decalabel, we just heard Starlet Hour by Ella
Fitzgerald and her famous orchestra vocal by Ella, recorded in
New York City, January the twenty sixth, nineteen forty. So
please remember Ella Fitzgerald for a moment, as I let
you know that. And I don't think this comes as
(31:14):
a surprise that black musicians, singers, actors, dancers, bandleaders all
had a tough time during the insidious era of racial segregation,
but there were a few white musicians and entertainers who
staunchly supported their friends. Not worried about the cost of
(31:37):
their careers or reputations. They felt that writing or wrong
was more important now. Benny Goodman hired the great black
pianist Teddy Wilson to play in his trio back in
nineteen thirty five, which is widely regarded as one of
the first times a black musician appeared on stage with
(31:59):
a white band. Frank Sinatra in the nineteen fifties was
performing at the Sands in Las Vegasnt King Cole was
also performing in the hotel, and the Sinatra had noticed
that net King Cole always dined alone in his dressing room.
They were going to the hotel restaurant, so Frank asked
(32:22):
one of his black assistants why this was the case,
and he explained to Frank that colored people were not
allowed in the dining room at the Sands. Now this
got Sinatra very upset, and he couldn't accept this blatant discrimination,
so it said. He was so furious that he immediately
(32:43):
told the restaurant manager and the waiters that if this
happened again, he would ask for everyone to be fired. Well,
the next day, Sinatra invited net King Cole to dinner
with him at the Sands, and that night Cole became
the first black man to eat in the Sands garden room.
(33:05):
And that was a small but meaningful act that broke
the racial barrier that existed strongly in society at that time.
The great comedian Jack Benny, not once but twice in
Saint Louis, and another time in New York, heard that
(33:26):
his co star and close friend Eddie Rochester Anderson was
being denied a room in hotels where the entire of
Benny cast were staying when his radio show went out
on the road, and in both of those instances, Jack
Jack Benny threatened to move his business to other establishments.
(33:47):
In Saint Louis, they relented, but in New York, Jack
followed through on his edict and moved everyone to a
different hotel where Rochester could be also registered. So that
brings us back to Ella Fitzgerald. In nineteen fifty four.
Ella was hugely popular, mostly through her records, radio and
(34:11):
TV appearances, and performances in small jazz clubs, but due
to her race and probably also her lack of glamour,
most larger jazz venues would not hire her to perform
in their establishments. Well, a glamorous movie star knew every
(34:32):
song on every Ella Fitzgerald record and idolized her, and
in November of nineteen fifty four she got to see
Ella perform in Los Angeles. This movie star asked if
she could meet Ella backstage, and she did, and they
soon became good friends. So when this movie star learned
(34:56):
of Fitzgerald's inability to get a gig at the Macambo,
which was, some of you might know, a famous Los
Angeles nightclub, she decided to help. The Macambo denied Ella
the chance to perform because of her race, So the
starlet approached the owner of the Macambo with the proposition.
(35:21):
She said that if he booked Ella Fitzgerald, she the
glamorous movie star, promised to sit at the front of
the house each and every night, and to bring along
other celebrities. She made clear the amount of publicity that
this would would gain the Macambo, so the club owner
(35:42):
agreed and decided to hire Ella Fitzgerald for a couple
of weeks in March of nineteen fifty five, and during
Fitzgerald's run, the movie star kept her word to sit
up front, and Frank Sinatra and Judy Garland showed up
on opening night. However, although that was a boost, after
(36:07):
a couple of nights, it was no longer necessary because
Ella's show after that first night sold out, and the
owner even added a few weeks to her contract. This
successful engagement changed Fitzgerald's career trajectory forever, so a famous
(36:27):
star who became friends with Ella, loved her music, and
wanted to write a repugnant, discriminatory wrong. Further helped open
the doors for black entertainers to enjoy the same dignities
of their white counterparts. So you might be asking who
(36:48):
was this glamorous starlet. She was Norma Gene Mortensen, better
known as Marilyn Monroe.
Speaker 16 (37:02):
Across the alley from the alum Or lived a Pinto
pony and Anapa who who sang a sword of indiety,
who to the people passing by, the Pinto spends time
as wishing flies, and Denockaboo watched the laziest guys and
(37:23):
very rarely didn't dear for rest eyes on the people
passing by. One day they were walking along the railroad track.
They were swishing looking they never came back off. Across
(37:44):
the alley from the island move and the somber soundsires
to settle loo a flying sings and indeed hardy who to.
Speaker 2 (37:53):
The people passing by.
Speaker 16 (37:57):
Across the alley from the Almo lived the Pinto bony
and Namo who used to make friolis and gorne.
Speaker 2 (38:06):
Do for the people passing by. They thought that they
would make some easy bucks.
Speaker 16 (38:14):
By washing their frioli is in doors and LUs a
pair of very countyatious clerks to the people passing by.
Speaker 2 (38:23):
Then they took their cheap vacation.
Speaker 16 (38:27):
The shoes were polished by though they never heard the whistle.
They're clear out inside across the alley from the Alamo.
When the starlight means it's tender glow, the means go
to sleep.
Speaker 2 (38:46):
And then an't no no for the.
Speaker 16 (38:48):
People passing by one and they were walking along the
railroad track they were swishing.
Speaker 2 (39:00):
In June, they ever gain back cross the.
Speaker 16 (39:06):
Album The Alumo and this amazondesigned disable the five Things
in Indianadi to.
Speaker 2 (39:15):
The people passing by across the Alley from the Alum.
Speaker 3 (39:26):
On Deco Records. We just heard Across the Alley from
the Alamo by the Mills Brothers, the quartet's most popular
late nineteen forties release, reach number two on the National
Jukebox charts. Back in nineteen forty seven, I'm Jeff Bresler,
and you're listening to the Make Believe Ballroom. To reach
(39:47):
me with your requests, anniversaries, birthdays, or comments, please direct
those emails to Jeff at Make Believe Ballroomradio dot Com.
That's Jeff at Make Believe Ballroom Radio dot Com. Just
a moment on tape from Tampa, Florida. Lenny from Down
the Block with his record pick of the week. But first.
Speaker 8 (41:00):
I said to say anything, thanks.
Speaker 15 (41:39):
Happen, I don't.
Speaker 6 (42:06):
Come.
Speaker 8 (42:22):
I don't haven't had any that had.
Speaker 2 (42:26):
Us, you know. The day that.
Speaker 3 (42:45):
Thing from Decca Records, Doggin around Count Basie and his Orchestra,
(43:12):
recorded in New York City June the sixth, nineteen thirty eight,
and now not recorded in New York City but in Tampa,
Florida from his palatial condominium complex. The Budding Pickleballs stand
out the record rack and tour the retired producer emeritus
(43:36):
of the Make Believe Ballroom Lenny from Down the Block
with his record pick of the week.
Speaker 14 (43:43):
Hi gang, Lenny from down the Block. Here with my
record pick of the week. In nineteen fourteen, a young
man was working as a soda jerk in Washington, DC's
Poodle Dog Cafe. In addition to making ice cream Sundays,
this teenage was also composing me music. He composed songs
by ears since he was unable to read or write
(44:05):
musical notation at the time. The composition we are about
to play was titled The Soda Fountain Rags, sometimes also
referred to as the Poodle Dog Rag. Give credit for
this nineteen thirty eight transcription to the Soda Jerk himself
one Duke Ellington.
Speaker 18 (45:01):
B B.
Speaker 6 (45:18):
B B.
Speaker 18 (45:25):
B B.
Speaker 3 (45:38):
Bupper Soda Fountain Rag. Thanks Lenny, and I look forward
(46:13):
to your pick once again next week. I'm Jeff Wrestler,
and you are listening to the one, the only, the
original Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.
And folks, if you missed any portion of today's show
or would like to hear past programs in the series,
(46:36):
please go to Make Believe Ballroom Podcast dot com. It's
MakeBelieve Ballroom podcast dot com, where you can find currently
well right around two hundred episodes of past shows in
the series.
Speaker 17 (47:04):
Now, ladies and gentlemen, we have a little novelty here
for you this evening. We'll have a little argument between
the saxophones and the trumpet. Of course, these cats just
told me they're gonna get away, and uh, the little
trumpet just said it's gonna do the same. Ain't that right,
little trumpet? S? Yeah, that h that little devil and
(47:26):
uh but before we uh riff, we're gonna chirp up
few for you this time, so we'll get the tips together. Boys,
while way more lightly slightly and poor lightly, shine up.
Speaker 16 (47:40):
Down my china down where the lights are long.
Speaker 19 (47:46):
Oh my gentle.
Speaker 17 (47:48):
Bow, drift them to it, shine out, shown down, Hold.
Speaker 9 (47:54):
You rapping you shout up down?
Speaker 17 (47:58):
How about my child?
Speaker 2 (48:00):
The doctor's tax, the phones?
Speaker 17 (48:01):
What's the matter with it? Let go look at this
cat's getting away and looked like the after me. Look
at y'all.
Speaker 2 (48:22):
But I'm ready.
Speaker 17 (48:22):
I'm ready, so help now, I'm ready.
Speaker 3 (48:24):
Nobody from Columbia, I think was also issued on OK Records.
(50:10):
We just heard Chinatown, My Chinatown by Louis Armstrong and
his orchestra vocal by Louis and a commentary also by Louis,
recorded in Chicago, November third, nineteen thirty one. Chinatown, My
Chinatown written by William Jerome and Gene Schwartz way back
in nineteen o six. But it really wasn't until right
(50:31):
around nineteen thirty to the early forties that Chinatown really
became a jazz standard. And in that time there were
twenty five different recordings of the song. Seven were recorded
in nineteen thirty five alone. In addition to Louis Fletcher Henderson,
(50:53):
Louis Prima and Lionel Hampton also had a very successful
version of that song and now has his tradition. It's
time for me to take a peek at the big
bull of a clock on the wall here in the
Crystal studio, to do a quick time check to see
how many more records I could play before we have
(51:15):
to say goodbye. And in looking at the clock, we
are exactly fifty one minutes into the show, and we
have fifty eight minutes of time, which, as I put
pencil to paper, leaves us with seven minutes time for
two more tunes. Let's see mentioned Jimmy Dorsey having La
(51:35):
Mae Morris as a vocalist in thirty eight, So why
not play a Jimmy Dorsey record?
Speaker 2 (52:42):
How would you like to love me?
Speaker 17 (52:44):
How'd you like it?
Speaker 6 (52:45):
How'd you like to kiss me?
Speaker 2 (52:46):
How'd you like it?
Speaker 6 (52:47):
Couse you can't of care?
Speaker 2 (52:48):
Could you learned about your hair? My word?
Speaker 12 (52:53):
How'd you like to love me on the level?
Speaker 6 (52:56):
How'd you like to miss me?
Speaker 2 (52:57):
Like the devil?
Speaker 18 (52:58):
Would you be okay to keep me on your mind
all day.
Speaker 13 (53:03):
I told my doctor, my lawyer to see what.
Speaker 2 (53:07):
They they The moment they saw you were they take
go pay. So how'd you like to love me? And
no other? How'd you like to drop it? Meet my mother?
Speaker 16 (53:20):
How'd you like to rush?
Speaker 12 (53:21):
And hanging right alongside by?
Speaker 6 (53:25):
How'd you like it as for me?
Speaker 2 (53:27):
I'd like it by?
Speaker 3 (54:51):
How'd you like to love Me? By Jimmy Dorsey and
His Orchestra. Vocal by Don Madison, recorded January the twenty fifth,
nineteen thirty eight on the Deco label. Time for one More.
Speaker 6 (55:03):
Oh, You're a sweet.
Speaker 15 (56:17):
If there ever was one, if there ever was one.
Speaker 6 (56:23):
Is you.
Speaker 15 (56:28):
My life without you was an incomplete dream. You are
every sweet dream come true.
Speaker 18 (56:43):
My search was such a blind one, and I was
all in me. I never thought I'd find one quite
so perfect for me, because you are sweet if they're ever,
(57:07):
if there ever woned you?
Speaker 3 (57:42):
Vocalian Records. You're a Sweetheart by Dolly Dawn and Her
Dawn Patrol vocal by Dolly, recorded in New York City,
November the seventeenth, nineteen thirty seven. Time to go, folks,
until next week.
Speaker 2 (57:57):
This has been Jeff Bresler
It's make Believe ballroom time. Put all your cares away.
All the bands are here to bring.
Speaker 2 (00:22):
Good cheer your way.
Speaker 1 (00:25):
It's make Believe ball time and free to everyone.
Speaker 2 (00:33):
It's no time to friend your Dalis said.
Speaker 1 (00:36):
Bombs, close your eyes and vis you lie in your solitude.
Speaker 2 (00:46):
Your favorite bands are on the stands and mister Miller,
but you're in the wood. Its make Believe ballom time.
We are a sweet romance is to make bottom. Come on,
Joe the Last das last.
Speaker 3 (01:05):
Hello World, I'm Jeff Bresler, turning on the lights of
the Make Believe Ballroom and welcoming you into my Crystal
studio for another program of classic big band hits from
the nineteen thirties and nineteen forties. Get ready as I
play for you some amazing big band jazz, swing, blues,
(01:26):
and boogie woogie favorites. Folks, you're listening to the Make
Believe Ballroom, broadcasting almost continuously since nineteen thirty five. Hi friends,
thanks for joining me in the Crystal Studio today and
here in the studio. While not live in the studio,
(01:47):
but via a seventy eight RPM disc, we say hello
to Freddy Slack and Ella May Morse.
Speaker 4 (02:05):
Movement movement from movement.
Speaker 5 (02:43):
I say, cheeks like a chair and fine, big twinkle
(03:15):
in his eye.
Speaker 6 (03:18):
He's got a grain you can strive.
Speaker 5 (03:21):
So I refer to old robb Roy eight if he's
a day, But does he act that way?
Speaker 7 (03:31):
You think that he was still awhike.
Speaker 5 (03:35):
He has a big nag, old robbery.
Speaker 7 (03:38):
He's up where the earliest line. It's his business starn
as his neighbor says.
Speaker 2 (03:49):
Par kids.
Speaker 7 (03:51):
He's got as a.
Speaker 2 (03:53):
Pile of glass.
Speaker 5 (03:55):
He's everybody's daddy.
Speaker 7 (03:59):
It climbs the glad.
Speaker 8 (04:00):
You're joined jodge.
Speaker 7 (04:03):
Mister, Oh rob Roy, Oh Rob Roy, what a boy?
Speaker 3 (05:03):
We just heard Old rob Roy Freddie Slack and his
Orchestra vocal by Elame Morse, recorded on the then fledgling
Capitol Record label in nineteen forty three. Now Elame Morse,
at the young age of just seventeen, recorded a huge hit.
(05:25):
It was her and Freddy Slack's first record for Columbia,
recorded a year before Old Rob Roy. But unfortunately Ella
May's success with the record you're about to hear well,
it was also her downfall. I'll explain after I spind
the desk.
Speaker 9 (05:49):
On the Please down your satin I'm in a coby
right in the rage. One day, Asy John law I
heard him singing a more peculiar cowboys song. It was
a ditty you learn in the city, or Comma die
(06:13):
gonna dip li get along, get hip little dogs, get along,
better be on your way, get along, get half little
dog hees. He drucked them on down the old fair way,
singing his cock cab. We'll get in the strangest way,
(06:37):
gonna die coma diap, singing his cowboy song. He's just
too much. He gotta knock out Western accents for.
Speaker 7 (06:50):
A wallong search.
Speaker 9 (06:52):
He was raised doing lope weed. He's what you call
swing half breeds. Hang in it, got gap, We'll get
in the streets way, Goma die gomma die I.
Speaker 10 (08:03):
Get along, loggie, better be on you wing you wave,
Get along, little log And.
Speaker 9 (08:14):
He dropped him on down the old fair way, singing
his cock cap booge in the strange just way, Comma
die comma die ye.
Speaker 5 (08:28):
Yip PieP singing his cowboys songs Yep Pip as he
was juggling along Yeppy, sing.
Speaker 2 (08:38):
With the whole up that Yep Pip.
Speaker 9 (08:42):
The cat is just too much for singing his cock
Up Bogi, The Strangest Way, Comma.
Speaker 3 (08:49):
Tie Cow Cow Boogie, Freddy Slack and his orchestra Ellame
Morris vocal we courted on the Capitol label in nineteen
forty two, now Elmy at fifteen years old. Going back
a few more years, light about her age to get
(09:12):
a job with Jimmy Dorsey in nineteen thirty eight. Now
el May, it has said, was a headache, a big
headache for Jimmy. She was immature, not very well prepared,
and extremely flighty. A lot of the band members remarked
that Elmy would disappear and be hard to find at times.
(09:36):
So in nineteen thirty nine, Jimmy replaced Elma with the
great Helen O'Connell, which was a great move for Jimmy Dorsey.
But Elm did the resurface again in nineteen forty two
when former Dorsey pianist Freddie Slack, who we just heard,
(09:57):
hired her to sing with his new Aucust. It was
with Freddy that Morse had her biggest hit, Cow Cow Boogie,
which I just played, which became a Capitol Record's first
gold single. Just as an aside, if you recall a
few weeks back, we discussed how Chattanooga Chuchu was given
(10:18):
the first quote unquote gold record by RCA Victor. At
the time, gold records were more of a vanity scheme
by record company pr shops to signify that a record
hit a million sold. But nevertheless, the record was such
(10:39):
a huge, big hit and Morse such a sensation that
she quickly eclipsed the whole Slack Orchestra in popularity, and
Freddy's name was rarely mentioned without Lamy being in the
same sentence. And I guess part of the reason for
the song's popularity actually relied on it being released at
(11:03):
the beginning of the American Federation of Musicians, their devastating
record band, which began in August of nineteen forty two,
and as a result of that, no other label could
follow up with their own version of the tune, and
that pretty much left Capital to reap the bonanza when
(11:25):
the public went crazy for it. The success of the
song did turn Capital into a major recording label, but
unfortunately for Ella May, she became forever identified with the
song that made her famous, often being billed as the
quote unquote cow Cow boogeye girl. While she still had
(11:49):
a following She was pretty much deemed a one hit wonder,
and she left the business in the late nineteen forties,
although she did have a few comebacks over the years
to follow. So little friends about Ella May Morse. Oh,
before I forget, I just wanted to mention that to
Ella May Morse, as I said, was quite undisciplined, flighty
(12:12):
and often would disappear. And I'm sure Freddy knew that
from working with Jimmy Dorsey. So it said that when
she went into the studio to record Cow Cow Boogie,
Freddie quickly started to play with the orchestra to keep
his fingers crossed and hope everything would go well well.
Ella May thought this was only a rehearsal because of
(12:33):
the quick way Freddy started things up, and she recorded
this song in only one take. So a little extra
tidbit on Ella May Morse, and now another tune, then
a listener's email.
Speaker 11 (13:02):
File.
Speaker 12 (13:46):
I doubled their you you sit over here. I doubled
their you to let me your ears, take off your
high hatch, handless yet friendly, don't be a scare cat,
say what your care cats take us there. I doubled
their youth to kiss me and them I doubled their
(14:11):
use to kiss me again and left that look in
your eyes means what I'm thinking of.
Speaker 6 (14:19):
I doubled their.
Speaker 8 (14:20):
Use to fall in love with me.
Speaker 11 (14:25):
I troubled their you.
Speaker 3 (15:34):
On Victor Records, we just heard I doubled Dare You
by Larry Clinton and his orchestra vocal by Bronx born
b Wayne, recorded in New York City, December seventeenth, nineteen
thirty seven. And I mentioned before that fine recording that
I would read an email that I received over the
(15:55):
past week, and this one is from Adam cremeetz k
r I ms tsos. I think I can have to
let out an sos to Adam to make sure I'm
pronouncing his name correctly. I hope it is pronounced Cremeetzos.
(16:16):
And Adam says he is out of Atlanta, Georgia. He writes,
Jeff thoroughly enjoy the music of the Make Believe Ballroom
each week. I liked over the last few shows the
Glenn Miller rarely played records you spun. Benny Goodman recorded
a song called camel Hop that I like. Can you
(16:38):
play that and count it as a rarely heard Goodman song?
And that is signed by Adam, and I could say
to you, Adam, I'll hump that record for you, The
camel Hop on its way Many Goodman and his orchestra
(19:35):
camil Hop, recorded on the Victor label in New York
City November the twelfth, nineteen thirty seven. And thanks Adam.
That was a great Goodman song and indeed a lightly
played Goodman tune. And Adam, that was an interesting name
for a song, camel Hop. And perhaps you have wondered
(19:57):
how that name came about. Was John Hammond. John Hammond,
Benny Goodman's brother in law and the great jazz and
swing impresario who suggested to Mary Lou Williams that she
composed some music for Benny Goodman. In nineteen thirty seven,
(20:18):
Benny had a radio show broadcast on Saturday nights that
was called The Camel Caravan. That show was sponsored by
Camel Cigarettes. So Mary Lou wrote this arrangement of camel
Hoop that we just heard for him to use as
a theme song on that radio program. The arrangement was
(20:41):
recorded several times on the radio and also in live
performances during nineteen thirty seven. And again, thanks Adam for
getting in touch with us. I'm Jeff at Makebully Ballroomradio
dot com. That's Jeff at Makebelie Ballroomradio dot com if
you would like to contact me. I just mentioned Mary
(21:04):
Lou Williams. Mary Lou she was an enormous talent that
encompassed playing the jazz piano, arranging and composing. She wrote
hundreds of compositions and arrangements and recorded more than a
hundred records. So let me play one now by Mary
Lou Williams, the.
Speaker 13 (22:17):
Quickly set at Christ Christmas, Christmas and the Christ Christmas,
(23:34):
the Best Christ.
Speaker 7 (23:54):
And the.
Speaker 3 (24:03):
Mary Lou Williams on piano accompanied by bass and drums.
The name of the song was clean Pickin, recorded on
Decca Records in New York City on March the eleventh,
nineteen thirty six, and it featured Booker Collins on the
bass and Ben Thigpen playing the drums. Let's play another record,
(24:27):
then I will talk to you about how a glamorous
sex symbol an actress made her mark on the world
of jazz.
Speaker 2 (24:42):
When the cuckoo in the clock goes.
Speaker 14 (25:36):
Cellimation, its a cuckoo and I'm a little cuckoo.
Speaker 15 (25:39):
In fact, we all slightly not that they were that
the word.
Speaker 12 (25:42):
He was baby talking her heading.
Speaker 2 (25:44):
The cuckoo in the clock went cuckoo.
Speaker 14 (25:46):
Every fifteen minutes, he crew cuckoo, cuckoo, cuckoo, be a
a p sent the fella to the gall and the
cuckoo in the clock went cuckoo.
Speaker 6 (25:56):
I believe they're starting to.
Speaker 8 (25:58):
Woo woo, woo woooo. They didn't know that everything they
said was overheard.
Speaker 16 (26:06):
They didn't hear the little verdict giving him the burden.
Speaker 17 (26:11):
So he said, with a sigh, who's your little peachy pie?
Speaker 11 (26:13):
And the cuckoo in the clock went cuckoo.
Speaker 17 (26:16):
Then he said, I.
Speaker 6 (26:17):
May be cuckoo, but not as cuckoo as you.
Speaker 18 (26:21):
So he closed the door and withdrew cuckoo, cuckoo, cuckoo.
Speaker 6 (26:29):
Listen to the cuckoo on the wall, cuckoo, cuckoo, cuckoo.
Speaker 18 (27:01):
Love us, grand love us, Grant Donald, Let me hold
your hand, Bob.
Speaker 17 (27:03):
The cuckoo in the clock says, who me you too? Hey?
Speaker 9 (27:12):
Take this.
Speaker 3 (27:17):
From Brunswick Records, We just heard Cuckoo in the Clock
by Kay Kaiser and his Orchestra vocal by Sully Mason,
recorded January the twenty seventh, nineteen thirty nine, and I
said prior to Kay and Sully that I would tell
you the story of how a glamorous sex symbol and
(27:39):
actress made her mark on the world of jazz. And
to set the stage for that story, I play for
you this record.
Speaker 19 (28:00):
Love hearing the starlet Our. All heaven is in your eyes,
while the winters atbbing underneath the stars, but the hearts
are throbbing like to get tar. Love hearing the starlet
(28:23):
Our night whispering Lulla fines. Let me dream forever underneath
the silvery sky.
Speaker 7 (28:38):
Will it be.
Speaker 6 (28:40):
Just as sweet again?
Speaker 19 (28:43):
The glamor, the glory that we know, will I find when.
Speaker 7 (28:51):
We meet again?
Speaker 19 (28:53):
The glamor, the glory is still a glory. But to night,
let us forget tomorrow he under the midnight bloom love
with blooming flower in the Starlet Hour, with love, Love,
(29:28):
Love in the hour, All love in the Starlet Hour,
while the wind is stopping underneath the stars, but dots
of throbbing like the struggle to get tar. Love Love
(29:49):
in the hour, Oh Love in the Starlet Hour. Let
me dream forever under you need the silvery.
Speaker 7 (30:01):
Skuies to the tool of ullabies.
Speaker 17 (30:05):
Will it be.
Speaker 7 (30:08):
Just yes met again?
Speaker 19 (30:11):
The glamor, the glory that we know, will I find
when we meet again, the glamour, the glory that's still
lo glor. But tonight, let us forget tomorrow here under
(30:32):
the midnight gloom.
Speaker 6 (30:35):
Love of blooming.
Speaker 20 (30:36):
Flower in the starlet horbur with you, just with you,
Oh love of bloomin Flower from the Starlet Power with you.
Speaker 3 (30:54):
On the decalabel, we just heard Starlet Hour by Ella
Fitzgerald and her famous orchestra vocal by Ella, recorded in
New York City, January the twenty sixth, nineteen forty. So
please remember Ella Fitzgerald for a moment, as I let
you know that. And I don't think this comes as
(31:14):
a surprise that black musicians, singers, actors, dancers, bandleaders all
had a tough time during the insidious era of racial segregation,
but there were a few white musicians and entertainers who
staunchly supported their friends. Not worried about the cost of
(31:37):
their careers or reputations. They felt that writing or wrong
was more important now. Benny Goodman hired the great black
pianist Teddy Wilson to play in his trio back in
nineteen thirty five, which is widely regarded as one of
the first times a black musician appeared on stage with
(31:59):
a white band. Frank Sinatra in the nineteen fifties was
performing at the Sands in Las Vegasnt King Cole was
also performing in the hotel, and the Sinatra had noticed
that net King Cole always dined alone in his dressing room.
They were going to the hotel restaurant, so Frank asked
(32:22):
one of his black assistants why this was the case,
and he explained to Frank that colored people were not
allowed in the dining room at the Sands. Now this
got Sinatra very upset, and he couldn't accept this blatant discrimination,
so it said. He was so furious that he immediately
(32:43):
told the restaurant manager and the waiters that if this
happened again, he would ask for everyone to be fired. Well,
the next day, Sinatra invited net King Cole to dinner
with him at the Sands, and that night Cole became
the first black man to eat in the Sands garden room.
(33:05):
And that was a small but meaningful act that broke
the racial barrier that existed strongly in society at that time.
The great comedian Jack Benny, not once but twice in
Saint Louis, and another time in New York, heard that
(33:26):
his co star and close friend Eddie Rochester Anderson was
being denied a room in hotels where the entire of
Benny cast were staying when his radio show went out
on the road, and in both of those instances, Jack
Jack Benny threatened to move his business to other establishments.
(33:47):
In Saint Louis, they relented, but in New York, Jack
followed through on his edict and moved everyone to a
different hotel where Rochester could be also registered. So that
brings us back to Ella Fitzgerald. In nineteen fifty four.
Ella was hugely popular, mostly through her records, radio and
(34:11):
TV appearances, and performances in small jazz clubs, but due
to her race and probably also her lack of glamour,
most larger jazz venues would not hire her to perform
in their establishments. Well, a glamorous movie star knew every
(34:32):
song on every Ella Fitzgerald record and idolized her, and
in November of nineteen fifty four she got to see
Ella perform in Los Angeles. This movie star asked if
she could meet Ella backstage, and she did, and they
soon became good friends. So when this movie star learned
(34:56):
of Fitzgerald's inability to get a gig at the Macambo,
which was, some of you might know, a famous Los
Angeles nightclub, she decided to help. The Macambo denied Ella
the chance to perform because of her race, So the
starlet approached the owner of the Macambo with the proposition.
(35:21):
She said that if he booked Ella Fitzgerald, she the
glamorous movie star, promised to sit at the front of
the house each and every night, and to bring along
other celebrities. She made clear the amount of publicity that
this would would gain the Macambo, so the club owner
(35:42):
agreed and decided to hire Ella Fitzgerald for a couple
of weeks in March of nineteen fifty five, and during
Fitzgerald's run, the movie star kept her word to sit
up front, and Frank Sinatra and Judy Garland showed up
on opening night. However, although that was a boost, after
(36:07):
a couple of nights, it was no longer necessary because
Ella's show after that first night sold out, and the
owner even added a few weeks to her contract. This
successful engagement changed Fitzgerald's career trajectory forever, so a famous
(36:27):
star who became friends with Ella, loved her music, and
wanted to write a repugnant, discriminatory wrong. Further helped open
the doors for black entertainers to enjoy the same dignities
of their white counterparts. So you might be asking who
(36:48):
was this glamorous starlet. She was Norma Gene Mortensen, better
known as Marilyn Monroe.
Speaker 16 (37:02):
Across the alley from the alum Or lived a Pinto
pony and Anapa who who sang a sword of indiety,
who to the people passing by, the Pinto spends time
as wishing flies, and Denockaboo watched the laziest guys and
(37:23):
very rarely didn't dear for rest eyes on the people
passing by. One day they were walking along the railroad track.
They were swishing looking they never came back off. Across
(37:44):
the alley from the island move and the somber soundsires
to settle loo a flying sings and indeed hardy who to.
Speaker 2 (37:53):
The people passing by.
Speaker 16 (37:57):
Across the alley from the Almo lived the Pinto bony
and Namo who used to make friolis and gorne.
Speaker 2 (38:06):
Do for the people passing by. They thought that they
would make some easy bucks.
Speaker 16 (38:14):
By washing their frioli is in doors and LUs a
pair of very countyatious clerks to the people passing by.
Speaker 2 (38:23):
Then they took their cheap vacation.
Speaker 16 (38:27):
The shoes were polished by though they never heard the whistle.
They're clear out inside across the alley from the Alamo.
When the starlight means it's tender glow, the means go
to sleep.
Speaker 2 (38:46):
And then an't no no for the.
Speaker 16 (38:48):
People passing by one and they were walking along the
railroad track they were swishing.
Speaker 2 (39:00):
In June, they ever gain back cross the.
Speaker 16 (39:06):
Album The Alumo and this amazondesigned disable the five Things
in Indianadi to.
Speaker 2 (39:15):
The people passing by across the Alley from the Alum.
Speaker 3 (39:26):
On Deco Records. We just heard Across the Alley from
the Alamo by the Mills Brothers, the quartet's most popular
late nineteen forties release, reach number two on the National
Jukebox charts. Back in nineteen forty seven, I'm Jeff Bresler,
and you're listening to the Make Believe Ballroom. To reach
(39:47):
me with your requests, anniversaries, birthdays, or comments, please direct
those emails to Jeff at Make Believe Ballroomradio dot Com.
That's Jeff at Make Believe Ballroom Radio dot Com. Just
a moment on tape from Tampa, Florida. Lenny from Down
the Block with his record pick of the week. But first.
Speaker 8 (41:00):
I said to say anything, thanks.
Speaker 15 (41:39):
Happen, I don't.
Speaker 6 (42:06):
Come.
Speaker 8 (42:22):
I don't haven't had any that had.
Speaker 2 (42:26):
Us, you know. The day that.
Speaker 3 (42:45):
Thing from Decca Records, Doggin around Count Basie and his Orchestra,
(43:12):
recorded in New York City June the sixth, nineteen thirty eight,
and now not recorded in New York City but in Tampa,
Florida from his palatial condominium complex. The Budding Pickleballs stand
out the record rack and tour the retired producer emeritus
(43:36):
of the Make Believe Ballroom Lenny from Down the Block
with his record pick of the week.
Speaker 14 (43:43):
Hi gang, Lenny from down the Block. Here with my
record pick of the week. In nineteen fourteen, a young
man was working as a soda jerk in Washington, DC's
Poodle Dog Cafe. In addition to making ice cream Sundays,
this teenage was also composing me music. He composed songs
by ears since he was unable to read or write
(44:05):
musical notation at the time. The composition we are about
to play was titled The Soda Fountain Rags, sometimes also
referred to as the Poodle Dog Rag. Give credit for
this nineteen thirty eight transcription to the Soda Jerk himself
one Duke Ellington.
Speaker 18 (45:01):
B B.
Speaker 6 (45:18):
B B.
Speaker 18 (45:25):
B B.
Speaker 3 (45:38):
Bupper Soda Fountain Rag. Thanks Lenny, and I look forward
(46:13):
to your pick once again next week. I'm Jeff Wrestler,
and you are listening to the one, the only, the
original Make Believe Ballroom broadcasting almost continuously since nineteen thirty five.
And folks, if you missed any portion of today's show
or would like to hear past programs in the series,
(46:36):
please go to Make Believe Ballroom Podcast dot com. It's
MakeBelieve Ballroom podcast dot com, where you can find currently
well right around two hundred episodes of past shows in
the series.
Speaker 17 (47:04):
Now, ladies and gentlemen, we have a little novelty here
for you this evening. We'll have a little argument between
the saxophones and the trumpet. Of course, these cats just
told me they're gonna get away, and uh, the little
trumpet just said it's gonna do the same. Ain't that right,
little trumpet? S? Yeah, that h that little devil and
(47:26):
uh but before we uh riff, we're gonna chirp up
few for you this time, so we'll get the tips together. Boys,
while way more lightly slightly and poor lightly, shine up.
Speaker 16 (47:40):
Down my china down where the lights are long.
Speaker 19 (47:46):
Oh my gentle.
Speaker 17 (47:48):
Bow, drift them to it, shine out, shown down, Hold.
Speaker 9 (47:54):
You rapping you shout up down?
Speaker 17 (47:58):
How about my child?
Speaker 2 (48:00):
The doctor's tax, the phones?
Speaker 17 (48:01):
What's the matter with it? Let go look at this
cat's getting away and looked like the after me. Look
at y'all.
Speaker 2 (48:22):
But I'm ready.
Speaker 17 (48:22):
I'm ready, so help now, I'm ready.
Speaker 3 (48:24):
Nobody from Columbia, I think was also issued on OK Records.
(50:10):
We just heard Chinatown, My Chinatown by Louis Armstrong and
his orchestra vocal by Louis and a commentary also by Louis,
recorded in Chicago, November third, nineteen thirty one. Chinatown, My
Chinatown written by William Jerome and Gene Schwartz way back
in nineteen o six. But it really wasn't until right
(50:31):
around nineteen thirty to the early forties that Chinatown really
became a jazz standard. And in that time there were
twenty five different recordings of the song. Seven were recorded
in nineteen thirty five alone. In addition to Louis Fletcher Henderson,
(50:53):
Louis Prima and Lionel Hampton also had a very successful
version of that song and now has his tradition. It's
time for me to take a peek at the big
bull of a clock on the wall here in the
Crystal studio, to do a quick time check to see
how many more records I could play before we have
(51:15):
to say goodbye. And in looking at the clock, we
are exactly fifty one minutes into the show, and we
have fifty eight minutes of time, which, as I put
pencil to paper, leaves us with seven minutes time for
two more tunes. Let's see mentioned Jimmy Dorsey having La
(51:35):
Mae Morris as a vocalist in thirty eight, So why
not play a Jimmy Dorsey record?
Speaker 2 (52:42):
How would you like to love me?
Speaker 17 (52:44):
How'd you like it?
Speaker 6 (52:45):
How'd you like to kiss me?
Speaker 2 (52:46):
How'd you like it?
Speaker 6 (52:47):
Couse you can't of care?
Speaker 2 (52:48):
Could you learned about your hair? My word?
Speaker 12 (52:53):
How'd you like to love me on the level?
Speaker 6 (52:56):
How'd you like to miss me?
Speaker 2 (52:57):
Like the devil?
Speaker 18 (52:58):
Would you be okay to keep me on your mind
all day.
Speaker 13 (53:03):
I told my doctor, my lawyer to see what.
Speaker 2 (53:07):
They they The moment they saw you were they take
go pay. So how'd you like to love me? And
no other? How'd you like to drop it? Meet my mother?
Speaker 16 (53:20):
How'd you like to rush?
Speaker 12 (53:21):
And hanging right alongside by?
Speaker 6 (53:25):
How'd you like it as for me?
Speaker 2 (53:27):
I'd like it by?
Speaker 3 (54:51):
How'd you like to love Me? By Jimmy Dorsey and
His Orchestra. Vocal by Don Madison, recorded January the twenty fifth,
nineteen thirty eight on the Deco label. Time for one More.
Speaker 6 (55:03):
Oh, You're a sweet.
Speaker 15 (56:17):
If there ever was one, if there ever was one.
Speaker 6 (56:23):
Is you.
Speaker 15 (56:28):
My life without you was an incomplete dream. You are
every sweet dream come true.
Speaker 18 (56:43):
My search was such a blind one, and I was
all in me. I never thought I'd find one quite
so perfect for me, because you are sweet if they're ever,
(57:07):
if there ever woned you?
Speaker 3 (57:42):
Vocalian Records. You're a Sweetheart by Dolly Dawn and Her
Dawn Patrol vocal by Dolly, recorded in New York City,
November the seventeenth, nineteen thirty seven. Time to go, folks,
until next week.
Speaker 2 (57:57):
This has been Jeff Bresler
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