Chords for Piano Player for Dean Martin talks about Jimmy Stewart

Yep.
_ This has to do with the Dean Martin show _ and one of the _ most memorable as far as I'm concerned.
_ _ _ [N] And it has to do _ with _ _ _ _ _ _ Jimmy Stewart _ and Raquel Welch that happened to be guests on the show this particular week.
_ _ [C] _ Raquel Welch came in first, her call _ being like at 9 o'clock.
_ [N] And her first words out of her mouth were,
_ _ Where's my makeup man?
_ I've got to have a mirror with lightbulbs all the way around it to help with my makeup and all that.
And Bob Sidney, who was the choreographer, _ _ says, _ _ _ What are _ _ you_
She said no.
He couldn't believe what he was hearing.
And she went on and read and he just let her go and finally he said, Where my dear_
He said, Is there somebody else on this show besides you?
_ And she says, Oh yeah, who? _ _
She says, He says, _ _ Jimmy Stewart, that's who.
_ _ There's a brief minute silence there.
_ And _ Raquel says, Who's he?
_ _ Bob Sidney lost it.
_ He says, Who's he?
He just happens to be the biggest movie star in the business.
_ Who's he?
Are you Sirius, my dear?
And he raves and rants and she just has a _ blank look on her face.
Who's he?
Oh! _
So finally, after we set her, we came up.
Jimmy _ Stewart's call comes in, or answers, comes in at his prescribed time.
_ And the first words out of Bob Sidney's mouth were,
_ Jim, I don't know what we're going to do with you.
He said, You can't sing and you can't dance.
And Jimmy Stewart looks at him and he says, _ Well_
_ He says, I can _ play _ piano and sing ragtime cowboy joe if that's any help to you.
_ And Bob Sidney goes, Oh, _ wonderful, _ wonderful.
_ _ And in that short period of _ time, just like a split second, _
he had come up with this whole routine and he said,
_ _ [C] And so this is really what all that Jimmy Stewart had to do, which _ was [Dm] _ sing [C] _ _ [F] raggedy music to the cattle as [Em] he swings _ [G] back and forward in a saddle [C] on a horse to burn a ghetto.
That was it.
[G] Then the dancers would all pile in [F] on him and do the fancy routines.
And then he nod to him and _ he_
He always sings _ [F] raggedy music to the cattle [G] as he swings _ [Em] _ [G] forward in a saddle [C] on a horse to burn a ghetto.
Then they do it again.
_ So the last routine was this number. _
_ _ [G] _ _ _ [C] _ _ [D] _
_ _ _ [G] _ _ _ [C] _ _
_ [C] _ _ [Gm] _ _ _ _ [G] _
_ _ _ _ _ _ _ _
_ _ _ [C] _ _ [N] _ _
So we're putting it on its feet or what they call blocking day.
_ _ _ _ And Sidney comes over to me and he says, We are in trouble.
_ _ Just like that.
I said, What's wrong?
He said, Well, Greg Garrison doesn't want to pay the royalties _ for the can-can on that number.
And [C#] if we can't use the can-can, he says, the whole routine is ruined.
He says, That's the biggest part of the number right there.
Oh, and he cries and carries on.
I said, Bob, relax.
We'll do this with it. _ _ _ _ _ _
_ _ [D] _ _ _ [G] _ _ [Em] _
_ _ _ [G] _ _ [A#] _ _ [C] _
_ _ _ [C] _ _ _ _ _
_ _ _ [F] _ _ [C] So that week I made the royalties.
He said, Oh, you're so smart. _ _
We only had to [N] change _ two parts of the orchestration, which didn't take very long because we just, you know, I sketched it out the way they went with it.
_ And that week I made the royalties.
_ _ _ Okay. _ _