I've been collecting old-time radio (OTR) shows in MP3 format for a while
now and old time radio has turned out to be a great hobby! I want other people to experience
what I have through these wonderful shows and also to pass our entertainment heritage on to future
generations, so I'm offering to make copies of the old-time radio shows in my collection
for anyone who is interested.
If you order 11
or fewer CDs, you will automatically receive 10% off of each CD. If you order a dozen or more, the discount automatically
jumps to 27%, AND I'll send the CDs in a nice carrying case at no extra charge! These make perfect gifts!
(When ordering, please don't be alarmed - your discount will not appear until the very end of the check-out process.)
Not only am I having a sale, but I just added 501 NEW EPISODES to my collection! I have added shows to almost every
category over the last couple of updates, so no matter which genre you prefer, there's something new for you! When
you click on any of the categories, the new shows will have a flashing icon saying "NEW" so that you can quickly
and easily see which CDs I've added recently. I've also made some IMPROVEMENTS TO THE WEBSITE to make ordering even
easier! It's now much easier to add a particular CD to your basket, and there is a "Proceed To Checkout"
button at the top of each category page for quicker checkout. If you need to edit the number of CDs in your basket,
just click on "View Basket" and you can edit your basket there. Even though the post office keeps raising their
rates, shipping is still the same as it has been for the last ten years: $3.00 inside the U.S. and Canada or $5.00 worldwide.
If you're new to MP3 format or if you want to sample
the quality of my collection, I'll be happy to send my 92-episode sampler CD to you at no cost. That
way, you can get a feel for the sound quality, selection and customer service I provide without any risk. If you're
pleased, I hope you'll return for more! Just click HERE and enter your name and mailing address so that I can get the shows right out to you.
All of my CDs are
professionally labeled, and I personally guarantee your satisfaction! If I could give these CDs away I would, but I have to pay a lot for supplies and equipment.
Below are the fees that cover my expenses:
1 - 11 CDs are $6.00 each 12 - or more CDs are $4.98 each
I ship orders of a dozen CDs or more in a nice CD holder and mail
them by Priority Mail at no extra charge! (Discounts will not appear until the very end of the check-out process.)
Shipping/handling is $3.00 per shipment
in the U.S. and Canada, or $5.00 per
shipment worldwide, regardless of the size of your order.
The number of full-length episodes per CD is in parentheses.
Episode logs are available by clicking
on the CD's title. If you would prefer to pay by check or money order, please either use the shopping cart on this
website or make a list of which old-time radio shows you'd like and send your payment to:
MacAndrew P. O. Box 793 Lake Forest,
CA 92609-0793 U. S. A.
When Ed Sullivan welcomed America to watch the premiere
of a new CBS tele vi sion show called “Toast of the Town,” at 9 p.m. on Sunday, June 20, 1948, World War II had
been over for only three years, the boys were back, babies were booming, and everything was bountiful— bubblegum, nylon
stockings, gasoline, jugglers, acrobats. In the spring of 1948, the country was in a contented, conservative mood following
the turmoil of a world war, even if the memory of Hiroshima had been replaced by a silent mushroom cloud that hovered over
the globe and instilled a chilly new interior turmoil— a “cold war.” Outwardly, peace and prosperity had
descended on America and created the appearance of a population eager to forget the past and have a good time. As John Updike
said in an interview with Jeffrey A. Trachtenberg of the Wall Street Journal in 2005, “The U.S. in the wake of World
War II was a naive, innocent country looking to be led.” Radio had united, and helped cheer up, the nation during the
war and, by the late 1940s, was in its middle- age prime, but several of its major programs had overstayed their welcome.
A new broadcasting menace, the “giveaway show,” knocked off the air such beloved veterans as Fred Allen and Edgar
Bergen. CBS president William Paley, desperate to rejuvenate his radio network, went on the march in what were called No-Talent
Host Tames the One-Eyed Beast “the Paley raids,” enticing Jack Benny, George Burns & Gracie Allen, Amos ’n’
Andy (Freeman Gosden and Charles Correll), and other loyal longtime NBC radio stars to defect to CBS. For Paley, it was insurance
against the slim chance that tele vi sion might succeed. Movies were still pop u lar, though their huge war time attendance
dipped after 1945, when moviegoing became less a diversion from war time angst. To help pull people into movies in their new
streamlined Oldsmobiles and Studebakers, the drive- in theater was invented; older movie houses played to small audiences.
It was time for some serious nest building and cocooning.
Finally, everyone was home together again, and TV was there to welcome them. The first hit show that kept people at home was
“Texaco Star Theater,” whose star was a used- up radio comic and battered ex–slapstick vaudevillian named
Milton Berle. Berle debuted on TV only 12 days before Sullivan’s TV debut and shortly after the emergence of TV’s
other early major megastar, Arthur Godfrey, a radio- bred personality as relaxed as the brassy Berle was in- your- face. Neither
a brash Berle nor a folksy Godfrey, Ed Sullivan somehow managed to squeeze himself into a niche between these two reigning
TV giants of 1948. Berle, though he didn’t know it yet, was about to become old news. As fresh as he was on TV in 1948,
he wore out his comic welcome in a few years, whereas Godfrey, with his homespun, guy- next- door style, was the wave of TV’s
future. Together, Berle and Godfrey ruled those primitive video airwaves. Godfrey had an all- time high of four CBS shows
on the air at once: one telecast every morning (“Arthur Godfrey and His Friends”) and one seen weekly (“Arthur
Godfrey’s Talent Scouts”), and both
programs were also simulcast on radio. Godfrey wore a radio headset on screen, as if treating TV as a branch of radio; he could wing an entire show, often arriving at the studio
five minutes before airtime. An unidentified Milwaukee broadcaster said, “The only thing a person could turn on in his
house without getting Godfrey was the faucet.”
On November 2, 1920, the first commercially recognized
radio broadcast was heard on station KDKA in Pittsburgh, Pennsylvania. Radio became a family experience. Friends and neighbors
joined the family and gathered around the radio to listen to the news, comedy shows, and music. The world became a little
smaller. Radio, like music, is an entertainment form that is directed to the ear, not the eye. Radio uses sound to stimulate
the imagination. The mind’s eye is exercised, and the listener is forced to imagine what is happening, what the performers
look like, and where the action is taking place. Think about how radio affects the imagination. For example, in 1938 when
Orson Welles presented a Halloween eve program of H. G. Wells’s 1898 book War of the Worlds (about a Martian invasion
of Earth), millions of listeners panicked. They thought
the invasion was really happening. The Golden Age of Radio lasted only about thirty years, from 1925 to around 1956, when
television captured Americans’ attention with visual programming. The first known radio broadcast in America was made
from an experimental station in Brant Rock, Massachusetts, on December 24, 1906. It was a Christmas Eve program of phonograph
records; a speech; and a violin solo. There is no record of how many people may have heard it. Radio’s potential would not be realized for another ten years, except by
the military in World War I. In 1916 David Sarnoff believed in the possibility of having a radio receiver in every home. Sarnoff
would later become the head of RCA (Radio Corporation of America) and NBC (the National Broadcasting Company).
Dr. Frank Conrad, a Westinghouse assistant chief engineer,
transmitted the first true wireless radio program in 1916, over station 8XK, from Wilkinsburg, Pennsylvania. The program consisted
of talks and some recorded music. When Conrad ran out of phonograph records, the Hamilton Music Store agreed to supply him
with more records if he announced that they came from its store in Wilkinsburg. This became the first commercial on radio.
By 1920 the Joseph Horne Department Store in Pittsburgh advertised in the local paper that the music broadcast by Dr. Conrad
could be heard on the wireless sets they were selling. Westinghouse, realizing the potential, began to manufacture and sell
radio receivers. On November 2, 1920, Westinghouse station KDKA–Pittsburgh went on the air with the presidential
returns. President Warren G. Harding’s inaugural ceremonies later followed. KDKA in 1921 set many firsts: the first
commercially licensed station; the first remote church broadcast; the first broadcast by a national figure, Herbert Hoover; the first regular baseball scores; the
first stock market reports; and the first World Series broadcast. In 1920 Westinghouse, General Electric, AT&T (American
Telephone and Telegraph Corporation), and RCA opened radio stations. By the end of 1920, there were thirty broadcasting licenses
issued, and by 1923 there were nearly six hundred. AT&T was the most aggressive, with station WEAF in New York. It developed
many early technical changes and many broadcasting techniques, including sponsored continuous broadcasts. AT&T sold ten-minute
blocks of time for one hundred dollars each. On December 6, 1923, WEAF–New York; WCAP–Washington, D.C.; and WJAR–
Providence, Rhode Island, were connected by wire and became the first radio network in the United States.
Radio content in the Golden Age of Radio had its origins
in audio theatre. Audio theatre began in the 1880s and 1890s with audio recordings of musical acts and other vaudeville. These
were sent to people by means of telephone and, later, through phonograph cylinders and discs. Visual elements, such as effects
and sight gags, were adapted to have sound equivalents. In addition, visual objects and scenery were converted to have audio
On Christmas Eve, 1906,
Reginald Fessenden was said to have sent the first radio program broadcast, consisting of some violin playing and passages
from the Bible. While Fessenden's role as an inventor and early experimenter is not in dispute, several contemporary radio
researchers have questioned whether the Christmas Eve broadcast took place, or whether the date was in fact several weeks
earlier. The event was never reported in any sources of Fessenden's time, and was mainly disseminated after his death,
in a book authored by his wife Helen. (See for example, Halper and Sterling, "Seeking the Truth About Fessenden"
and also James O'Neal's essay It was not until after the Titanic catastrophe in 1912 that radio for mass communication
came into vogue, inspired first by the work of amateur (or "ham") radio operators. Radio was especially important
during World War I, since it was vital for air and naval operations. In fact, World War I sped the development of radio by
transitioning radio communications from the Morse code of the wireless telegraph to the vocal communication of the wireless
telephone through advancements in vacuum tube technology and the introduction of the transceiver.
After the war, numerous radio stations were born and set the
standard for later radio programs. The first radio news program was broadcast on August 31, 1920 on the station 8MK in Detroit,
Michigan; owned by the Detroit News, the station covered local election results. This was followed in 1920 with the first
commercial radio station in the United States, KDKA, being established in Pittsburgh, Pennsylvania. The first regular entertainment
programs were broadcast in 1922, and on March 10, Variety carried the front page headline: "Radio Sweeping Country: 1,000,000
Sets in Use." A highlight of this time was the first Rose Bowl being broadcast on January 1, 1923 on the Los Angeles
The first North Carolina radio station—as well
as the first commercial station in the Southeast—WBT, started broadcasting in Charlotte in 1922. The second station
licensed in the state was WLAC at North Carolina State College. Students and faculty of the communications department founded
that station, which first broadcast on October 16, 1922. WLAC went off the air one year later because of financial hardship.
The first popular radios cost sixty dollars, without headsets or speakers. Sixty dollars in 1920 was a lot of money. In today’s
currency, it would equal about six hundred dollars. In 1922 radio crystal sets were in general use. Listeners had to use earphones,
and only one person could listen at a time. Static was a big problem. In 1922 Gimbel Brothers’ department store broadcast
an hour-long musical program, and the American Tobacco Company came on the air with the Lucky Strike Radio Show. By late 1925,
radio was really beginning to prosper because of the financial support of the many advertisers anxious to get more recognition
for their products. Newspaper publishers throughout the country feared the success of radio. Many papers refused to carry
lists of radio programs, because radio was taking away a large number of their advertisers. Time reduced their fears, and
radio even increased their business. NBC became the first nationwide radio network on November 15, 1926. It was headquartered
in New York, with WEAF, and connected nineteen scattered stations, using more than thirty-five hundred miles of telephone
wire. The first coast-to-coast broadcast occurred
in January 1927. It was the Rose Bowl football game, broadcast over NBC.
CBS started in 1927. It was originally called the United
Independent Broadcasters, Inc. which merged with the Columbia Phonograph Company and aired on September 18, 1927, as
the Columbia Phonograph Broadcasting Company. The name was changed in 1929 to the Columbia Broadcasting System. It began with
28 stations, and it grew in ten years to 114 stations.
The early years of radio were experimental. Programming was based on what station managers thought people wanted
to hear. Before radio existed, audiences liked sports events, dance bands, and vaudeville. It was therefore thought that they
would like the same type of entertainment over the radio. As time went on, radio listeners had an assortment of types of programs
to choose from. Radio appealed to almost every musical taste, from grand opera to novelty music. From the 1930s on, radio
began offering more of a variety of programming. The Metropolitan Opera in New York began airing productions every Saturday afternoon. The Longines Symphonette offered
chiefly classical music. The National Barn Dance and Grand Ole Opry dominated country music. Radio’s comedy shows were
mainly of two types: those with plots and those without. Those with plots were called situation comedies. They included the
widely popular serial Amos ’n’ Andy. Comedy-variety shows had no plots but instead consisted of skits, music,
and joke telling. Most of the radio comedians were veterans of vaudeville. Some dramatic programs were showcases, or groups
of short stories. They presented plays that had been written for the stage or plots of Hollywood films. The showcase programs
included The Lux Radio Theatre, Hallmark Playhouse, and Hollywood Star Playhouse. Radio also offered mystery, crime, and suspense—everything
from everyday detectives to the most bizarre encounters with the supernatural. Westerns, which later became popular
on television, varied from the singing-cowboy shows of Gene Autry and Roy Rogers to the more dramatic Gunsmoke and Have Gun,
Will Travel. Commonly called the “soaps” or soapers, because soap manufacturers sponsored many of them, serial
dramas appealed mostly to women and were broadcast during the day. Soap operas started in Chicago, and most were fifteen-minute
shows broadcast five days a week. Radio offered a number of quiz programs, but these gave very little money as prizes.
The after-school hours and Saturday mornings were devoted
to children’s programming. These shows were mostly adventures, featuring such heroes as Jungle Jim, Captain Midnight,
Buck Rogers, Flash Gordon, Superman, Tarzan, and Dick Tracy. There were also programs in a lighter vein, such as Gasoline
Alley, Joe Palooka, L’il Abner, and for instance, was a weekly talent contest. It was the predecessor of such popular
television shows as American Idol and Star Search. The Answer Man gave responses to listeners’ questions on all subjects.
And Vox Pop, Latin for “voice of the people,” was an interview show. It originated in Houston, Texas, as a man-in-the-street
program and was later transferred to New York, becoming one of the most popular shows on the air. Radio in the 1920s was a
way for many people to escape from their everyday cares. They could listen to a variety of programs. People could find out
what was happening in the world almost as soon as it happened, and much faster than waiting for the newspaper to print it.
Listeners could hear favorite performers or dramas. Radio became the popular form of entertainment of the 1920s for most Americans.
During the Golden Age of Radio, radio featured genres
and formats popular in other forms of American entertainment—adventure, comedy, drama, horror, mystery, musical variety,
romance, thrillers—along with classical music concerts, big band remotes, farm reports, news and commentary, panel discussions,
quiz shows (beginning with Professor Quiz), sidewalk interviews (on Vox Pop), broadcasts, talent shows and weather forecasts. Rehearsal for the World War II radio show You Can't
Do Business with Hitler with John Flynn and Virginia Moore. This series of programs, broadcast at least once weekly by more
than 790 radio stations in America, was written and produced by the radio section of the Office of War Information (OWI).
In the late 1920s, the sponsored musical feature
was the most popular program format. Commercial messages were regarded as intrusive, so these shows usually displayed the
sponsor's name in the title, as evidenced by such programs as The A&P Gypsies, Acousticon Hour, Champion Spark Plug
Hour, The Clicquot Club Eskimos, The Flit Soldiers, The Fox Fur Trappers, The Goodrich Zippers, The Ingram Shavers, The Ipana
Troubadors, The Planters Pickers, The Silvertown Cord Orchestra (featuring the Silver Masked Tenor), The Sylvania Foresters
and The Yeast Foamers. During the 1930s and 1940s, the leading orchestras were heard often through big band remotes, and NBC's
Monitor continued such remotes well in the 1950s by broadcasting live music from New York City jazz clubs to rural America.
These OTR MP3 recordings are intended for personal use
only. No license for duplication or public performance is intended or implied. After much research, we have concluded that
the material contained or described on this site is either the property of The Radio Lady or is within the public domain.
Certain old-time radio programs may be unavailable due to copyright decisions/litigation. The Radio Lady will not knowingly
sell or distribute old time radio programs that fall into this classification. If you believe that an error has been made
and that you have a legal claim to any item(s) offered on this site, please provide The Radio Lady with the appropriate documentation
and the item(s) will be removed immediately. You may reach us via the CONTACT page.
Not found what your looking for ? use the search box!
We would love to hear from you, do you have a story about fashion
of the 1920's the 30's 40's 50's 60's 70's 80's and 90's? or some of the clothes you like
and have worn, were you a hippy in the 60's perhaps you were a punk, do you collect postcards have a love of cars or motobikes?
may be you have a story about a relative in the 1st world war/second world war perhaps the Vietnam war or any other war during
the 20th century, perhaps a story of a famous person from the 20th century that you met or knew, any images from the 20th
century with text to accompany it, would be most welcome, have we got something wrong? if so let us know, ALL your emails
will be replied to a.s.a.p. contact us HERE.
Just a few words to say
thank you, for all the images and text you have kindly sent in, it is very much appreciated, having said that, if an image
or some text is copyrighted, and you wish for it to be removed we will remove it A.S.A.P.
Copyright 2013 by Pastreunited.com. all rights reserved.