Podcast Summary: Harold's Old Time Radio – "Ragtime To Rock And Roll [BBC] 74xxxx 12 Thanks For The Memory 1936-1937"

Release Date: July 22, 2025

Introduction to the Big Band Era

In the twelfth installment of the "Ragtime to Rock and Roll" series, host Kenneth Moore delves into the vibrant big band era of the late 1930s. This period, often hailed as the heyday of popular music, saw the rise of legendary bandleaders such as Benny Goodman, Artie Shaw, Tommy and Jimmy Dorsey, and Count Basie. These orchestras not only dominated dance halls but also became household names worldwide through their signature tunes and hit records.

Bob Hope sets the stage by tracing the evolution of music consumption:

"In 1936 marks the point where they began congregating in a new spot, the local dance hall. Second half of the 1930s was the great age of the touring dance orchestra, the big band era, as it's since come to be known." (01:28)

Accidental Hits and Signature Tunes

The era was marked by several accidental hits that unexpectedly propelled bands to fame. One notable example is "Big Noise from Winnetka" by Bob Crosby. Kenneth Moore recounts the serendipitous creation of this track:

"It was a complete accident... Bobby Haggart started that silly whistle, which no one has ever been able to copy since, because he had a cleavage right here in his front teeth." (02:19)

Such spontaneous creations often led to massive commercial success, as highlighted by Bob Crosby:

"Nothing but a bass and drum and a silly whistle... probably 10 or 14 million copies." (04:09)

Count Basie's "One O'Clock Jump" is another quintessential example of a signature tune that became synonymous with a band's identity, solidifying their place in the annals of jazz history.

Challenges in Jazz and Dance Music

Despite the widespread popularity, not all bands found sustained success. Authentic jazz orchestras often struggled to garner the same public support as their dance band counterparts. The lines between jazz and dance music were increasingly blurred, making it difficult even for musicians to categorize their own styles.

Jimmy Rushing of the Count Basie Orchestra shares his experiences:

"We had a lot of trouble in the band as far as trying to please the people... because our band was mostly on the blues kick." (04:38)

This ambiguity sometimes led to challenges in maintaining a consistent fan base, as audiences were divided between traditional jazz aficionados and the more mainstream dance music listeners.

British Society Bands vs. American Counterparts

The British music scene during this era exhibited unique dynamics compared to the American scene. British bands, often referred to as "society bands," catered to the elite, performing at private functions for high society. This contrasted with the American bands that regularly toured and engaged with a broader audience.

Kenneth Moore shares an intriguing anecdote about Roy Fox, a Californian expatriate who became a prominent figure in Britain's big band landscape:

"One night I was asked to go out the Ace of Spades... I knew that this is a boy I would like to have." (13:53)

This intersection of British high society and big band music highlights the social contrasts present within the British entertainment industry.

Personal Anecdotes and Band Dynamics

Moore provides personal insights into the workings of a successful band, emphasizing the importance of fostering talent and avoiding rapid success. Reflecting on his own experiences, he recalls lessons learned from band leaders who prioritized longevity over fleeting fame:

"You never appreciate anything if you get it in a hurry." (07:22)

Additionally, the narrative touches upon the experiences of other musicians like Buddy Rich and Nat Gonella, offering a glimpse into the day-to-day lives and challenges faced by those within the big band sphere.

Integration of Music into Musicals

The late 1930s were a transformative period for musical theatre, with composers like Richard Rodgers pushing the boundaries of traditional Broadway shows. Moore discusses the groundbreaking musical "On Your Toes", which seamlessly integrated ballet into its narrative:

"The ballet became an integral part of the play itself. Balanchine did the choreography and Zorina danced in it." (26:06)

This innovation marked a significant evolution in musical storytelling, blending different artistic disciplines to create a more cohesive and dynamic performance.

Notable Performances and Songs

Throughout the episode, several iconic songs and performances are highlighted:

• "I Can't Get Started" by Benny Goodman and later popularized by Bunny Bennegan:

  "I've got a house, a show place Still I can't get no place with you Cause you're so supreme." (10:15)

• "Thanks for the Memory" performed by Bob Hope and Shelley Ross, which won an Oscar for Best New Song:

  "Thanks for the memory of sentimental verse... Thanks for the memories of tinkling Temple bell." (44:39)

• "Lydia, the Tattooed Lady" showcased in the Marx Brothers' film, demonstrating the blend of comedy and music:

  "Lydia, oh Lydia, say have you met Lydia? She has eyes that folks adore so." (36:38)

These songs not only captivated audiences but also played significant roles in shaping the musical landscape of the time.

The Influence of The Marx Brothers

The episode extensively covers the Marx Brothers' unique contribution to integrating music into their comedic films. Alan Jones and Tony Martin's interactions with the brothers illustrate the challenges and triumphs of performing in such a dynamic environment.

Moore narrates the story of "Thanks for the Memory", detailing how producer Irving Thalberg advocated for its inclusion despite initial reservations:

"He said, 'the Marx Brothers know their comedy and you should know your music, so we'll put it back in.'" (29:57)

This decision led to the song's immense success, becoming a staple in popular music.

Legacy of Composers: Jerome Kern and George Gershwin

The episode pays homage to composers who left indelible marks on the era’s music. Jerome Kern's "Just the Way You Look Tonight" from the 1936 movie Swing Time earned him an Oscar, illustrating his profound impact:

"There is nothing for me but to love you Just the way you look tonight." (45:00)

In contrast, George Gershwin's untimely death at 39 prevented him from receiving the accolades he deserved, leaving fans to wonder what might have been:

"George Gershwin is dead. But I don't have to believe it if I don't want to." (47:24)

Rise of Iconic Singers: Deanna Durbin and Others

The narrative also highlights the emergence of standout vocalists like Deanna Durbin and Sophie Tucker. Durbin, known as the "girl next door" with exceptional vocal training, became a beloved figure in both Britain and America:

"Deanna Durbin. Everybody's idea of what the girl next door would be like if the girl next door had been trained vocally since she was still in her pram." (50:51)

Similarly, Sophie Tucker's rendition of "The Lady is a Tramp" remained the definitive version for years, showcasing the era's rich vocal talent.

Final Reflections and Teaser for Next Episode

As the episode draws to a close, Moore reflects on the intertwining of music, society, and global events leading up to World War II. The Munich Crisis's looming threat subtly influenced the themes and sentiments expressed in the music of the time.

Looking ahead, the next episode titled "Over the Rainbow" promises to explore the evolving landscape of popular music in both Britain and America, continuing the journey from ragtime rhythms to the burgeoning sounds of rock and roll.

Key Takeaways:

• The big band era was a pivotal time in music history, characterized by touring orchestras, signature tunes, and the blurring of jazz and dance music.
• Accidental hits like "Big Noise from Winnetka" exemplify the era's spontaneous creativity.
• The British music scene featured society bands catering to elite private functions, contrasting with the more widespread American bands.
• Musical theatre innovations, such as those in "On Your Toes," demonstrated the integration of diverse artistic forms.
• Iconic songs and performances from this period have left lasting legacies in the world of music and cinema.

Notable Quotes:

• "Nothing but a bass and drum and a silly whistle... probably 10 or 14 million copies." — Bob Crosby (04:09)
• "You never appreciate anything if you get it in a hurry." — Kenneth Moore (07:22)
• "Thanks for the memory... we who could laugh over big things Were parted by only a slight." — Kenneth Moore on "Thanks for the Memory" (44:39)
• "George Gershwin is dead. But I don't have to believe it if I don't want to." — John O' Hara (47:24)

This summary captures the essence of the "Ragtime to Rock And Roll" episode, highlighting key discussions, notable quotes, and the rich tapestry of the late 1930s music scene. Whether you're a long-time listener or new to Harold's Old Time Radio, this episode offers a comprehensive overview of a transformative period in music history.