Podcast Summary: Harold’s Old Time Radio

Episode: NBC WEAF Lets Dance 1935-12-23 – Benny Goodman and his Orchestra, Congress Hotel, Chicago
Date: November 30, 2025
Host: Harolds Old Time Radio

Episode Overview

This episode transports listeners to the heyday of live radio broadcasts, spotlighting the infectious swing of Benny Goodman and his Orchestra during a festive 1935 performance from the Joseph Urban Room at Chicago’s Congress Hotel. Designed to get America moving—quite literally—the “Let’s Dance” program delivers a vibrant snapshot of dance music’s golden era, featuring lively instrumental numbers, iconic standards, charismatic bandleader banter, and the vocal talents of Helen Ward and Joe Harris.

Key Discussion Points & Highlights

1. Opening and Setting the Scene

• Benny Goodman introduces the broadcast with a signature invitation:

  "Let's dance. And that's no idle invitation, ladies and gentlemen..."
  (Benny Goodman, 00:31)

• The band is established as both serious musicians and entertainers, ensuring music-lovers a dynamic evening of danceable tunes.

2. Festive Swing: "Jingle Bells"

• Goodman’s band opens with a rousing original arrangement of “Jingle Bells,” infusing the holiday classic with big-band energy.
  (Performance begins at 00:31)

3. Dreamy Vocals: "Where Am I?"

• Vocalist Sam (possibly Joe Harris, though intro is ambiguous) delivers a yearning ballad with lyrics like:

  “Where am I? Am I in heaven or am I really with you?... Can moonlight be so enchanting? Can kisses be so divine?”
  (Sam, 05:38)

• The mood shifts to romance, transporting listeners to an almost dreamlike state on the dancefloor.

4. Featuring Helen Ward

• Benny introduces the singer with a charming aside:

  “And that was Helen Ward singing, appearing more bewilderingly lovely than bewildered.”
  (Benny Goodman, 07:32)

• Ward’s vocal performance is highlighted on a classic Irving Berlin tune, bringing warmth and emotional depth to the otherwise swinging set.

5. “The Music Goes ‘Round and Around” — Guest Joe Harris

• A standout comedic musical interlude:

  “And now, here is the guest... Joe Harris presenting that immortal opus, the Music Goes around and Around.”
  (Benny Goodman, 10:31)

• Includes playful back-and-forth as Benny and Sam humorously describe playing through the valves:

  “Oh, blow through here. Well, the music goes around and around and it comes up here.”
  (Benny Goodman, 12:04)
  “I push the first valve down and...”
  (Sam, 12:15)

• A memorable moment bringing levity and interaction with the listening audience.

6. Getting Happy & Basin Street Blues

• Benny insists on a cheerful mood:

  “And it is necessary to say, get happy.”
  (Benny Goodman, 13:42)

• Launches into “Basin Street Blues,” painting a vivid picture of the famous New Orleans locale:

  "Won't you come along with me down the Mississippi we'll take a boat to..."
  (Benny Goodman, 17:02)
  “That’s when the dark and the light folks meet…”
  (Sam, 17:40)

• The arrangement highlights the interplay between vocals and instrumental riffs, capturing jazz’s essence.

7. Playfulness in “I’ve Got a Feeling You’re Fooling”

• Benny introduces another romantic number, performed with Helen Ward:

  “Benny Goodman presents Helen Ward again. Singing ‘I’ve got a feeling you’re fooling.’”
  (Benny Goodman, 19:48)

• Lyrics convey flirtatious doubt and old-fashioned charm:

  “Got to not feeling it make me believe I think you’re laughing right up your sleeve. Fooling with me.”
  (Sam, 20:16)

8. Atmospheric Imagery in “Eyes Like Pools of Water”

• The lyricist conjures luminous images of lovers’ eyes and lips:

  “Eyes like pools of water with the moon reflected in the water. Eyes blue as the sky... Lips like honey drips...”
  (Sam, 24:24)

9. Classic Instrumental: "Limehouse Blues"

• Benny references nostalgia, acknowledging listeners’ memories:

  “And if your memory goes back far enough, you’ll recognize this tune, the Limehouse Blues. It’s still got a lot of dancing in it.”
  (Benny Goodman, 25:57)

10. Finale: “Someday Sweetheart” and Sign-Off

• The finale is brisk and “danceable,” as Benny puts it, winding down with “Someday Sweetheart.”

  “We have presented the variegated and very danceable rhythms of Benny Goodman and his orchestra from the Joseph Urban Room of the Congress Hotel in downtown Chicago. Vocalists heard tonight were Helen Ward and Joe Harris. This is the National Broadcasting Company.”
  (Benny Goodman, 31:14)

Notable Quotes

• Benny Goodman’s playful invitations and introductions:
  • “Let’s dance. And that’s no idle invitation, ladies and gentlemen...” (00:31)
  • “And now Benny Goodman playing...” (00:31)
  • “...appearing more bewilderingly lovely than bewildered.” (07:32)
  • “The National Broadcasting Company is presenting the music of Benny Goodman and his orchestra…” (13:42)
  • “And they loved it. They love. You could never enjoy being blue until you hear Benny Goodman plays a Basin street blues.” (17:02)
• Romantic imagery from vocal performances:
  • “Where am I? Am I in heaven or am I really with you?” (Sam, 05:38)
  • “Eyes like pools of water with the moon reflected in the water...” (Sam, 24:24)
• Memorable moments:
  • The playful back-and-forth and musical humor in “The Music Goes 'Round and Around.” (12:04-12:50)
  • The sentimental signoff, acknowledging both the band and singers. (31:14)

Segment Timestamps

• 00:31 – Show introduction and “Jingle Bells”
• 05:38 – “Where Am I?” – dreamy vocal
• 07:32 – Helen Ward sings an Irving Berlin tune
• 10:31 – Guest Joe Harris: “The Music Goes ‘Round and Around”
• 13:42 – “Get Happy” and jazz numbers continue
• 17:02 – “Basin Street Blues”
• 19:48 – Helen Ward: “I’ve Got a Feeling You’re Fooling”
• 24:24 – “Eyes Like Pools of Water”
• 25:57 – “Limehouse Blues”
• 28:07 – “Someday Sweetheart”
• 31:14 – Show sign-off and credits

Conclusion

This “Let’s Dance” broadcast preserves the vivacity and camaraderie of the big-band radio era, delivering instrumental brilliance, engaging banter from Benny Goodman, evocative vocals, and classic standards. The episode is a lovingly restored window into a time when an entire nation might clear living room floors and “let’s dance” together, guided by the radio’s warm glow and unmistakable swing.