On A Sunday Afternoon xxxxxx 012 1st Song - I've Got The World On A String, Guest, Frank Sinatra

Summary

Episode Overview

Podcast: Harold's Old Time Radio
Episode Title: On A Sunday Afternoon xxxxxx 012 1st Song - I've Got The World On A String, Guest, Frank Sinatra
Air Date: January 18, 2026
Special Guest: Frank Sinatra
Feature: Music and conversation celebrating Harold Arlen, famed composer of classic American standards.

This episode of On A Sunday Afternoon revisits the golden era of radio by gathering iconic stars—Frank Sinatra among them—to bring to life the timeless music and remarkable stories of composer Harold Arlen. Host Eddie Gallaher guides a light, nostalgic conversation and features live and recorded performances of classic standards, with notable storytelling about the songs’ origins.

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Key Discussion Points & Insights

Opening & Show Introduction

• [02:03] Host Eddie Gallaher warmly welcomes listeners and sets the tone, promising music, stars, and a pleasant Sunday.
  • Quote: "This is our way of wishing you a very pleasant and happy Sunday afternoon." — Eddie Gallaher, [02:03]

Frank Sinatra Sings "I've Got The World On A String"

• [02:40] Frank Sinatra opens the show with a live rendition of "I've Got The World On A String," showcasing his charisma and vocal style.
• Memorable moment: The song exudes an upbeat, swinging feel, setting a joyful tone for the episode.

Frank Sinatra & Harold Arlen: The Creative Process

• [04:40] Discussion follows with Sinatra about the recording of "I've Got The World On A String."
  • Sinatra jokingly claims he recorded it "about 40 or 50 minutes ago."
    Quote: "I think it was about 40 or 50 minutes ago." — Frank Sinatra, [04:48]
• Insight: The arrangement and orchestra for Sinatra’s recording were both led by the notable Nelson Riddle, but the real credit goes to Harold Arlen, who composed the melody.
  • Quote:
    • "The arrangement was written by Nelson Riddle. And the orchestra was conducted by Nelson Riddle. But it all had to... it was made possible by the fact that Mr. Harold Arlen wrote the melody originally." — Frank Sinatra, [04:59]

Harold Arlen Joins the Conversation

• [05:24] Harold Arlen greets the audience and reminisces about his early days composing in a “cellar” at the famed Cotton Club in NYC.
  • Quote: "I started down in what they call a cellar, but it was a gilded one." — Harold Arlen, [05:40]
• He credits his roots at the Cotton Club, surrounded by jazz and blues legends.

Spotlight on “Blues in the Night”

• [05:58] The show shifts to "Blues in the Night," originally written for Warner Brothers.
  • Betty Johnson performs the song, bringing its soulful, bluesy narrative to life.
• Insight: Discussion on Arlen’s ability to capture a certain emotional authenticity in his blues numbers.

“Evelina” from Broadway's Bloomer Girl

• [09:09] Arlen discusses his Broadway efforts, specifically with "Bloomer Girl" and the song "Evelina."
  • He shares the inspiration came from the show's property itself, not an actual girl.
  • Quote: "No, it was inspired by a show that I fell in love with. The property I fell in love with and nursed along with Yip Harburgh." — Harold Arlen, [09:26]
• Stuart Foster sings "Evelina" with Russ Case conducting, highlighting Arlen’s melodic range beyond blues.

“Stormy Weather” — The Cotton Club Era

• [13:59] Host reflects that “Stormy Weather” may be his favorite Arlen tune.
• Arlen details the song’s birth during the Great Depression, the struggles in the recording industry, and his surprising role as vocalist for Leo Reisman's band.
  • Quotes:
    • "Well, this was written in 1932, and as fate would have it, at that time the recording business was really not in business." — Harold Arlen, [14:18]
    • "I was in between something or other." (regarding his vocal range) — Harold Arlen, [14:48]
• Nostalgic name-dropping of legendary Cotton Club acts—Duke Ellington, Cab Calloway, Lena Horne, and Ethel Waters, who would return from retirement to make "Stormy Weather" famous.
  • Quote: "I went up to her apartment and played the song for her. And this brought her out of retirement and brought her back to the public that loved her." — Harold Arlen, [15:52]

“One for My Baby (and One More for the Road)” & Sinatra’s Legacy

• [19:08] Gallaher asks about this classic, which debuted in Fred Astaire’s film "The Sky’s the Limit" (1943).
• Arlen explains the song wasn’t an immediate hit; it took years for audiences to truly embrace it.
  • Quote: "It took about three or four years before it found its own little life." — Harold Arlen, [19:33]
• Arlen distinguishes between hit-making and grassroots popularity, reflecting that sometimes a song only finds its moment through dedicated fan cliques.
• Sinatra jokes about “getting some of those songs out of my throat,” referencing label influence on his song choices.
  • Quote: "I'm still trying to get some of those songs out of my throat." — Frank Sinatra, [21:12]
• Sinatra delivers a moving, intimate performance of “One for My Baby.”
  • Memorable moment: Sinatra’s signature conversational singing style is on full display, full of pathos and late-night melancholy.

“Over the Rainbow” and the Wizard of Oz Story

• [24:33] Gallaher introduces Arlen’s Oscar-winning "Over the Rainbow" from The Wizard of Oz (1939).
• Arlen recounts being pigeonholed for blues but relishing the chance to write something different for “Oz.”
  • Quote: "I was forced to write these songs at the Cotton Club, and I didn't want to be typed. And everybody thought of me as a blues... And I was very happy when Arthur Freed asked me to do the Wizard of Oz, which was from Harlem to the Land of Oz." — Harold Arlen, [24:57]
• He shares a delightful story about composing "Over the Rainbow" in a car with his wife—pulling over to jot the melody.
  • Quote: "I trust her with the wheel and trust myself with the pencil. I had my pencil out on paper." — Harold Arlen, [26:01]
• The song was nearly cut from the film after three test screenings before finally being kept.
• Judy Garland’s original soundtrack recording of “Over the Rainbow” closes the show’s main content—her youthful, yearning voice underscoring the timeless quality of Arlen’s work.

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Notable Quotes

• Frank Sinatra [04:48]: "I think it was about 40 or 50 minutes ago."
• Harold Arlen [05:40]: "I started down in what they call a cellar, but it was a gilded one."
• Harold Arlen [14:18]: "As fate would have it, at that time the recording business was really not in business."
• Harold Arlen [15:52]: "I went up to her apartment and played the song for her. And this brought her out of retirement and brought her back to the public that loved her."
• Harold Arlen [19:33]: "It took about three or four years before it found its own little life."
• Frank Sinatra [21:12]: "I'm still trying to get some of those songs out of my throat."
• Harold Arlen [24:57]: "I was forced to write these songs at the Cotton Club, and I didn't want to be typed. And everybody thought of me as a blues..."
• Harold Arlen [26:01]: "I trust her with the wheel and trust myself with the pencil. I had my pencil out on paper."

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Timestamps for Important Segments

• [02:40] – Frank Sinatra sings “I’ve Got the World On a String”
• [04:40] – Discussion: Sinatra and Arlen on the song’s arrangement and composer
• [05:24] – Harold Arlen joins; shares his early days at the Cotton Club
• [06:19] – Betty Johnson sings “Blues in the Night”
• [11:04] – Stuart Foster sings “Evelina” from “Bloomer Girl”
• [14:18] – Arlen recounts the origins of “Stormy Weather” and the Cotton Club
• [16:29] – Russ Case Orchestra performs "Stormy Weather"
• [19:08] – Discussion of “One for My Baby” and its slow rise to fame
• [21:40] – Sinatra’s live rendition of “One for My Baby”
• [24:33] – Story of “Over the Rainbow”; Arlen’s creative process
• [26:59] – Judy Garland sings “Over the Rainbow”

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Tone & Style

The conversation is friendly, nostalgic, informal, and filled with good-natured humor. Gallaher’s hosting style is warm and conversational, drawing out personal anecdotes from Sinatra and Arlen. The episode flows as a relaxed Sunday gathering, blending musical performances and storytelling, making the legends feel accessible and their music timeless.

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Summary

For listeners old and new, this episode provides a vibrant window into American songcraft’s golden age, painting a living portrait of Harold Arlen via star performances, lighthearted banter, and the stories behind some of the 20th century’s most enduring tunes. With Frank Sinatra’s wit and warmth adding to the charm, and classic renditions by guest singers filling the air, On a Sunday Afternoon upholds the spirit of classic radio variety at its finest.

Transcript

[A]

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[C]

Summertime is summertime no matter where you are there's just one tune and just one moon and just one witchy star so if you are someone to love you. No matter where you are.

[B]

Hello, everybody. This is Eddie Gallaher welcoming you on a Sunday afternoon. We have lots of music and lots of your favorite stars to entertain you. So no matter where you may be, this is our way of wishing you a very pleasant and happy Sunday afternoon. Here to start our show is Frank Sinatra.

[C]

I've got the world on a string Sitting on a rainbow Got the string around my finger what a world, what a life I'm in love song that I sing I can make the rain go Anytime I move my finger Lucky me, can't you see I'm in love Life is a beautiful thing as long as I hold a string I'd be a silly so and so if I should ever let it go.

[B]

I got.

[C]

The world on a string Sitting on a rainbow Got the string around my finger what a world, what a life I'm in love. Life is a beautiful thing.

[D]

As long.

[C]

As I hold a string I'd be a silly so and so if I should ever let it go.

[E]

I got.

[C]

The world on a string Sitting on a rainbow Got the string around my finger what a world man, this is.

[E]

A lie.

[C]

Hey now I'm so in love.

[B]

Yes, that was Frank Sinatra and his fine rendition of Got the World on the String. Frank is our guest today on a Sunday afternoon. Frank, by the way, you made A record of that tune, didn't you? I sure did.

[D]

I think it was about 40 or 50 minutes ago.

[B]

We got out in a hurry. We got ready for the show. Frank, one thing about the record that I've heard a lot of people comment about is the fact that there's a wonderful musical background. Who does that work for you?

[C]

The arrangement was written by Nelson Riddle.

[D]

And the orchestra was conducted by Nelson Riddle. But it all had to. It was made possible by the fact that Mr. Harold Allen wrote the melody originally.

[B]

And what a composer he is. Frank, wouldn't you list him as one of our top people?

[D]

I wouldn't.

[B]

I do. That takes care of it. And of course, Frank, Harold Arlen is our guest here today, along with the studio. And of course, we'll be hearing you sing some of his songs. We'll be playing a lot of Harold Arlen tunes this afternoon. That's good.

[D]

I like that.

[B]

Do you? I really do. And of course, Frank will have you back to in just a moment. And now we want you to meet the composer in person, Harold Arlen.

[D]

Well, hello, everybody.

[B]

That's a great greeting from a songwriter, isn't it, huh? Harold, you feel all right on this Sunday afternoon?

[D]

I feel wonderful.

[B]

Well, you should with the songs that you've turned out. You write a lot of blues songs, don't you?

[D]

Well, I started down in what they call a cellar, but it was a gilded one.

[B]

Where was this cellar?

[D]

In New York, 142nd in Lenox. In the early 30s. It was called the Cotton Club.

[B]

Oh, yes. And what songs used to write for those shows. And we're going to play a lot of those this afternoon. The tune I want to talk about right now is called Blues in the Night. This was a movie song, wasn't it, Harold?

[D]

That's true. Warner Brothers Pictures.

[B]

And oh, what a song it is. And, Harold, you've noticed that Betty Johnson's standing by her microphone right now.

[D]

Yeah, she do make the picture look nice.

[B]

Yeah. And she's going to sing your song, blues in the Night.

[E]

My mama done told me When I was in pigtails My mama done told me A man's gonna sweet y' all and give you the big eye but when that sweet talkin's done A man is a too face A worrisome thing Will lead you to sing the blues in the night now the rains are falling Hear the train are calling Woo. My mama done told me Hear that lonesome whistle Blowing across the dress of Woo My mama done told me oh, hooey. The hooey O Clickety clacks the echoing.

[B]

Back.

[E]

In the night the evening breeze will start the trees to grind and the moon will hide its light when you get the blues in the night. Take my words the mockingbird will sing the saddest kind of so he knows things are wrong and he's right. From Natchez to Mobile From Memphis to St. Joe Wherever the four winds blow I have been in some big towns and heard me some big talks but there is one thing I know A man is a two face A worrisome thing we did to see the blues in the night. In the night.

[B]

Betty Johnson with a Harold Arlen tune called Balloons in the Night. Of course, the composer is taking on a tour of his songs, and of course, they're all just great in my book. Of course. The thing about Harold Rollin is he said he started in a cellar many years ago. You're probably working in a penthouse these days, aren't you, Harold?

[D]

No, I'm not.

[B]

You aren't?

[D]

No.

[B]

I think with all the hits you've.

[D]

Had, you would be. Of course, you've written the Awfully Dusty New York, you know.

[B]

Yeah. You've written for movies and for the Cotton Club shows, and you've also written for Broadway productions. And the one we're getting around to now is a little thing called Bloomer Girl. And the song is called Evelina. Was this inspired by some girl, perhaps, Harold?

[D]

No, it was inspired by a show that I fell in love with. The property I fell in love with and nursed along with Yip Harburgh. And it took us about a year of fooling.

[B]

Get that Amex Gold car ready. I'm way too tired to cook tonight.

[A]

You read my mind. With the gold card, we can get up to $120 a year in statement credits. Are you feeling the Cheesecake Factory? Five guys. Either of those sound good?

[B]

Yes.

[A]

Which one? Both pay with the gold card to receive up to $10 a month in statement credits of participating partners. Uncover more ways to reward [e-mail] explored gold enrollment.

[D]

Required terms apply with it nicely and comfortably. And as luck would have it, it was a big hit. It's still one of my favorite shows, Harold.

[B]

Evelina isn't a name that you hear very often, do you think? At least it's not a common name.

[D]

No, it isn't.

[B]

I wonder, did anybody inspire this name.

[D]

Or did you know the character in the play was called the girl was called Evelina.

[B]

Have you written any girl songs?

[D]

Well, now you're really Putting me to the test? No, not that I can think of.

[B]

I think this one will do, don't you?

[D]

But I could, I could, say, be credited with Margie. But if Benny Davis is listening, he.

[B]

Was on our show last week. Wait till he hears this. And wait till you hear this swell arrangement we have with this fine tune from Boomer Girl. Stuart Foster to sing. Russ Case directs the orchestra with Evelina.

[C]

Evelina, won't you ever take a shine to that moon? Evelina, ain't you bothered by the bubblings? Tell me, tell me how long.

[E]

You'Re.

[C]

Gonna keep delaying the day don't you reckon it's wrong rifling with April this way? Evelina, won't you pay a little mind to me soon? Wake up, wake up the earth is fair, the fruit is fine but what's the use of smelling water melon Clinging to another fella's vine? Oh, Evelina, won't you roll off that vine? Wake up, wake up the earth is fair, the fruit is fine but what's the use of smelling water melon? Flinging to another bell is for. Won't you roll off that vine and be more.

[B]

Stu, come over here just a minute, will you? I want to ask you a question. Do you know a girl named Evelina? No, I've never met a girl named Evelina. You sang that song like you did. I won't ask her what or what her name is. I'd like to meet one, though. Well, you can at least meet the composer of Evelina, as we're meeting this afternoon, and a very wonderful guy named Harold Arlen. I. I suppose if I was to pick my favorite Harold Arlen tune, it would have to be Stormy Weather.

[D]

Oh, gosh.

[B]

What?

[D]

I know a colonel who claims that that's his favorite, too. Colonel Elias the Mint Julia Boy from down south. Is that right? Mm.

[B]

Too bad he's not here to give us a little refreshment, huh? But at any rate, Harold, regarding Stormy Weather, this comes out of the Cotton Club era, and what an era that was. I thought maybe you'd tell us something about that.

[D]

Well, this was written in 1932, and as fate would have it, at that time the recording business was really not in business. They were closing their doors and all the record shops were closing. And I had made a recording with Leo Reisman at that time. I used to do vocals.

[B]

You were a singer?

[D]

I was a singer.

[B]

Are you pretty good?

[D]

Well, they. He liked me well enough that I made about 10 recordings with him, and this was one of them.

[B]

Were you A tenor or baritone?

[D]

I was in between something or other.

[B]

What was your range?

[D]

My range? Middle seed, high C, above Louis Armstrong.

[B]

That's a pretty good range. Well, about the record with Leo Riceman. Then what happened?

[D]

Well, someone was shrewd, knew something that we didn't know or came out by sheer chance before it was dated to come out. Even before the Cotton Club show opened and it was a hit overnight. I don't believe I've heard any song since that time, Cannonball, as quickly as that song did.

[B]

Harold, those must have been fabulous days. It tell me that when the Cotton Club. Where was it? 142nd Street.

[D]

142Nd in Lenox.

[B]

The big thing was to take a cab down there at night. There must have been some wonderful stars performing down there, too, weren't they?

[D]

Well, Duke Ellington, Cab Calloway, Bill Robinson. Lena Horn was Sue Brett. They'll do Mother Waters, the Nicholas Brothers, Ada Ward.

[B]

I've heard enough. I wish the Cotton Club was back. And, of course, Ethel Waters was the gal that made this song famous for her.

[D]

Ethel was in retirement at that, during that period. And I went up to her apartment and played the song for her. And this brought her out of retirement and brought her back to the public that loved her.

[B]

And I think, at least to you, Harold, we owe a debt of thanks for that because she is a great performer. By the way, Russ Case has made a fine arrangement of your song. I know you've heard it many times, but I'm certainly sure it's no better than this. Here's Russ with the band and Stormy Weather.

[E]

Sam. Ra.

[B]

And that brings us around to another Harold Arlen song that's a favorite of a lot of people. It was from an old Fred astaire movie in 1943 called One for My Baby. What was the name of that movie, Harold?

[D]

Oh, it was the Sky's the Limit.

[B]

Oh, yes. And he does this dance when he loses.

[D]

He did it in many bars through the town. I don't think many people recall that scene.

[B]

He broke a lot of glasses, I remember.

[D]

Yes, he did.

[B]

Was this song popular when it first came out to Harold?

[D]

No, it wasn't. I think it took about three or four years before it found its own little life. Peculiar Life, Harold.

[B]

Think there's any reason for that?

[D]

Well, I've had many songs that happen just that way. It just happens to be one of those things that the publisher can't get on immediately or has any special love for. And along comes someone who has a special love with these little cliques I call them around the country, these lovers of good songs in the minority group, huh? That's right. And somehow or other they set sail. And as the years go on and any song that has merit or has lasting value certainly hangs on well and has been proven in my experience that if I had to think real hard, I could name five or six songs just like that.

[B]

Harold, I was going to say, don't you think that Frank Sinatra comes under the title of A Little Click because he's made a lot of songs and recorded a lot of wonderful ones and sung ones that are not too well known, but they're great songs.

[D]

Well, no, you're speaking of a great artist. I'm speaking of. Of boys in these little nightclubs who start. And lovers of songs, these kids who buy records. I would say that Frank is limited at times because of being a very special and very distinctive artist. After a piece, he has to do some songs that the recording companies make pushed down his throat. While he may love that song, he never gets to do it. At least that's my opinion. What do you say, Frank?

[B]

I'm still trying to get some of.

[D]

Those songs out of my throat.

[B]

Well, I don't know, Frank. We don't want to go through a parade of your hits because they've been.

[D]

Been.

[B]

Oh, you could count them all in four or five seconds, you know. Well, of course, this is modesty of the. The nth degree.

[D]

Of course.

[B]

We were talking about this song, One for My Baby. You've been singing that for quite a number of years, haven't you, Frank?

[D]

Yes, I have. And if you guys will step aside, I'd like to knock it over once more at this moment.

[B]

Shall we?

[C]

It's quarter to three. There's no one in the place except you and me. So set him up, Joe. I got a little story you ought to know. We're drinking, my friend, to the end of a brief episode. Make it one for my baby and one more for the road. I got the routine so drop another nickel in the machine. I'm feeling so bad. Wish you'd make the music pretty and sad. Could I tell you a lot? But you've got to be true to your co. So make it one for my baby. One more for the road. You would never know it. But, buddy, I'm a kind And I got a lot of things to say. And when I'm gloomy, you simply gotta listen to me Till it's all talked away. Well, that's how it goes. And, Joe, I know you're getting Pretty angry.

[B]

Thanks.

[C]

Just to close, so thanks for the cheer I hope you didn't mind my bending your ear this torch that I found Must be drowned or it soon might explode so make it one for my baby and one more for the.

[D]

Road.

[C]

That long, long.

[B]

That's Sinatra with that Harold Arlen tune, One for my baby and one more for the road. We're getting around now to a song that won for Harold Arlen an Academy Award. And to my way of thinking, it certainly deserved it. It was in a show called the wizard of Oz in 1939. Picature show. A picture. Thank you very much, Harold.

[D]

Very good.

[B]

And in this particular picture, Harold was a matter of fact. He was afraid of being typed. He was writing so many blues songs. Isn't that right, Harold?

[D]

Well, I was forced to write these songs at the Cotton Club, and I didn't want to be typed. And everybody thought of me as a blues. And I was very happy when Arthur Freed asked me to do the wizard of Oz, which was from Harlem to the Land of Oz. And quite a jump.

[B]

It was quite a jump. And, of course, I think you made it very gracefully. Well, since this is such a great song won the coveted Oscar, Harold, there must be a delightful story connected with it. Perhaps you tell us about it.

[D]

Well, it's a burdensome story. It happens to be another one of the things that a writer comes across it. I toil over this one because I had finished the score with Harburg and we needed a ballad. And they're not easy to write, especially for this spot for Dorothy in Kansas before she went to the Land of Oz. And I knew exactly what I wanted, but didn't have it. So I remember the day very clear to me. I asked my wife to take let's go to see a picture of Grandma's Chinese out in Hollywood. And I said, you drive.

[B]

You trust your wife at the wheel, huh?

[D]

I trust her with the wheel and trust myself with the pencil. I had my pencil out on paper.

[B]

Everybody drive carefully today.

[D]

And along the way, this flew in the car. I know it sounds a little hopped up and cornballish, but it happens to be true. And I put this. This melody down and that was it.

[B]

Did you stop the car?

[D]

We stopped the car. Pull over the. That's before Hydra Matic used the emergency brakes.

[B]

No jerks were there, huh?

[D]

Well, I'm through, at any rate.

[B]

And you wrote it down. And that's how you.

[D]

That was it.

[B]

And then, of course, it came into the picture and Judy was only 16 or 17 years old when she.

[D]

That's right. But I'll tell you another interesting thing. It was out of three previews.

[B]

In other words, you put it out of three.

[D]

Over the Rainbow. It was out of three previews.

[B]

Then finally it came around. Huh?

[D]

It came around.

[B]

Let's recall it for you now. A Soundtrack Memory. Here comes Judy Garland to sing over the Rainbow.

[E]

Somewhere over the rainbow Way up high There's a that I heard of once in a lullaby Somewhere over the rainbow the skies are blue and the dreams that you dare to dream really do come true Someday I'll wish upon a star and wake up where the clouds are far behind me where troubles melt like lemon drops Away above the chimney tops that's where you find.

[C]

Me.

[E]

Somewhere over the rainbow the birds fly Birds fly over the rainbow why then, oh, Savior Blue birds fly Birds fly over the rainbow why then, O why can.

[C]

I.

[E]

If happy little bluebirds fly beyond the rainbow why O, why can't.

[B]

And that was Judy Garland with the soundtrack memory, the great Harold Arlen song Over the Rainbow. There'll be lots more good music next Sunday, and I hope that you'll be here to join us.

[E]

Sam.

[D]

On a Sunday afternoon when the presentation of the United States Armed Forces Radio Service.

[E]

Sam. Sa.