This is a one stop place to find news and stories about the greatest singer of all-time, Bing Crosby. From his days with Paul Whiteman to his final performances in 1977, we will examine this remarkable entertainer's life and times!
Sunday, December 26, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 7
Monday, December 20, 2021
BING AND HIS LAST CHRISTMAS SPECIAL
Here is an advertisement for Bing Crosby's last Christmas special. It was aired after Bing's death. Bing looked frail but the voice was still there!
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 6
Sunday, December 12, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 5
Tuesday, December 7, 2021
BING & BOB HOPE: CLASSIC HOLLYWOOD BFFs
In a scene from 1942’s Road to Morocco, Bing confesses his affection for his buddy Orville, played by Bob. “I guess in my own way, I sorta love you,” the crooner said just seconds before an amorous camel stretches through the shrubbery to plant a wet kiss on Bob’s cheek. “All right, but you don’t have to slobber all over me!” quipped Bob.
Before the word bromance or the rise of cinematic sequels, Bing and Bob starred in seven sweetly funny Road to … movies that made them two of Hollywood’s biggest stars. The films followed a formula: The pair would get into trouble, wisecracks would fly, Bing would sing, and Bob would talk directly to the audience. “They were the most lucrative franchise in movie history,” Gary Giddins, author of Bing Crosby: A Pocketful of Dreams and Bing Crosby: Swinging on a Star, shares with Closer.
The pair met in New York when Bob, a then up-and-coming comedian, was invited to emcee one of Bing’s shows in 1933. “They hit it off and used to take breaks together where they’d trade jokes,” says Giddins. “They tried the best bits out on stage and became a big hit with the audiences.”
It wasn’t until the filming of their last road comedy, 1962’s The Road to Hong Kong, that their friendship really blossomed. “They went to London to do the film and lived in the same house with their wives,” says Giddins. The costars began playing golf together. “Bob’s wife, Dolores, said that was when they first realized how much they really loved each other,” says Zoglin. “From that time on, they were very, very close.”
Bing and Bob had been discussing another movie, The Road to the Fountain of Youth, when Bing died of a sudden heart attack in 1977. “Bob was really broken up about it,” Zoglin says told us. Too emotional to appear on stage, he canceled his live performance that night for the first time in his career. “If friends could have been made for each other, I would have asked for one just like Bing,” Bob said. “I miss him.”
Monday, December 6, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 4
Tuesday, November 30, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 3
Friday, November 26, 2021
RHYTHM ON THE RANGE: A 1936 REVIEW
Tuesday, November 23, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 2
Monday, November 15, 2021
VIDEO: BING CROSBY - THE HOLLYWOOD YEARS episode 1
Saturday, November 13, 2021
BING'S DISCOGRAPHY: March 29, 1936
Here are some early Decca recordings Bing made...decades and decades ago!
Location: Los Angeles, Calif
Label: DECCA (US)
Bing Crosby (voc), Victor Young and his Orchestra (orc)
a. DLA322-A Would You? (Brown, Freed) - 3:09(Arthur Freed, Nacio Herb Brown)
b. DLA322-B Would You? (Brown, Freed) - 3:07(Arthur Freed, Nacio Herb Brown)
AVID (UK) CDAMSC 633 — BING CROSBY - YOU AND THE NIGHT AND THE MUSIC (1998)
c. DLA322-C test Would You? (Brown, Freed) - 3:07(Arthur Freed, Nacio Herb Brown)
d. DLA323-A Robins And Roses - 2:53(Edgar Leslie, Joe Burke)
e. DLA324-A I Got Plenty O' Nuttin' - 3:15(DuBose Heyward, George Gershwin, Ira Gershwin)
READER'S DIGEST CDRDCD 122 — THE BING CROSBY YEARS -Vol. 2 Relax and Remember 1936 -1939 (1989)
MCA (US) CDMCAD4 10887 — BING - HIS LEGENDARY YEARS 1931 - 1957 Disc 1 (1993)
CHARLY RECORDS (UK) CDCDCD 1200 — BING CROSBY - MOONLIGHT BECOMES YOU (1994)
UNIVERSAL INTERNATIONAL (Japan) CDUCCU 1155 — BING CROSBY SINGS GERSHWIN (2007)
Not Now Music CDNOT2CD740 — BING CROSBY SINGS THE GREAT AMERICAN SONGBOOK (2019)
f. DLA324-B I Got Plenty O' Nuttin' - 3:14(DuBose Heyward, George Gershwin, Ira Gershwin)
g. DLA325-A It Ain't Necessarily So - 3:06(Ira Gershwin, George Gershwin, DuBose Heyward)
UNIVERSAL INTERNATIONAL (Japan) CDUCCU 1155 — BING CROSBY SINGS GERSHWIN (2007)
h. DLA325-D It Ain't Necessarily So - 3:08(Ira Gershwin, George Gershwin, DuBose Heyward)
i. DLA326-Parody Robins And Roses - 1:29(Edgar Leslie, Joe Burke)
BROADWAY INTERMISSION (US) CDBRCD 134 — JUST FOR FUN (2000)
FOR COLLECTORS ONLY LP 12"FCO100B — BING CROSBY - FOR COLLECTORS ONLY
CURTAIN CALLS LP 12"CURTAIN CALLS 1002 — BOTH SIDES OF BING CROSBY (1974)
All titles on: JONZO (UK) CDJZCD-18 — THE CHRONOLOGICAL BING CROSBY VOLUME 18 (1999)
Saturday, October 30, 2021
BING ON FILM: A CONNECTICUT YANKEE IN KING ARTHUR'S COURT - PART TWO
The love story between Bing and Rhonda Fleming is well acted, and they had great chemistry. The film sort of drags on in the middle. I hate to say it but as I rewatched the movie now for this review, I found myself bored at parts, but when Bing and Rhonda Fleming (who was known as the Queen of Technicolor) are on the screen there was film magic. Rhonda Fleming gets to sing one of the songs written by Burke and Van Heusen called “When Is Sometime”. The song never became a hit, but it was quite pretty. Bing sings a song in the beginning as a blacksmith in 1905 called “If You Stub Your Toe on The Moon”. The song is forgotten today, but if you get a chance listen to the song in the movie or Bing’s Decca recording of it because it is really a great song. In 1949, Frank Sinatra recorded it for Columbia Records, and Tony Martin recorded it for RCA, but Bing’s version was the best. The main love song in the film was “Once And For Always” which I think holds up more than this movie does. Bing made a solo record of it, and also as a duet with Rhonda Fleming. It is one of the most beautiful love songs Bing sang in the movies in my opinion. The one other song in the film was “Busy Doing Nothing”. Bing sang it with William Bendix and Cedric Hardwicke, both who are non-singers, so the song was not given much of a chance to be remembered. Even though the great Victor Young conducted the music on the film, it seems like one other song was needed for the film.
Would I put this 1949 Bing effort among my favorite Bing films? I would say no, however despite any negativity I have about the film, it is still a worthwhile Bing film. Bing and the cast rise to the challenge of a silly script to put in some great performances. The high points of the film is always Bing’s singing and acting, but in this film look out for highpoints like the amazing beauty of Rhonda Fleming as well as the unstated comedic talent of William Bendix. The film is fun and enjoyable, and I am so glad Paramount spent the extra money to make it in technicolor. The movie is worth it alone to see Bing’s blue eyes and Rhonda Fleming’s red flowing hair...
Thursday, October 14, 2021
BING ON FILM: A CONNECTICUT YANKEE IN KING ARTHUR'S COURT - PART ONE
Bing’s version of the film had intended to use the Rodgers & Hart score from the Broadway version, but at the time MGM owned the rights to the songs. MGM was planning to make a biography on the life of Richard Rodgers & Lorenz Hart (The movie would be 1948’s “Words And Music”), so for Bing’s movie a new film score would have to be written. Bing’s chief movie songwriters at the time, Johnny Burke and Jimmy Van Heusen, wrote the new songs for the film. Tay Garnett would direct the film, and he was not known for making musicals. Before “A Connecticut Yankee”, Garnett had directed a lot of successful films like “Seven Sinners” (1940) starring John Wayne, and “The Postman Always Rings Twice” (1946) starring John Garfield. To me, he was an odd choice to direct a lighthearted Bing film, but he was a contracted director at Paramount from 1947 to 1954. The screenplay was written by Edmund Beloin. Beloin was a writer on Jack Benny’s radio program from 1936 to 1943, and he also wrote the screenplay for Bing’s “The Road To Rio” (1947).
Monday, October 11, 2021
NEW CD: BING CROSBY - GUEST STAR TIME
Sepia Records have done it again with another great CD issue from Bing Crosby's radio days...This 2-CD set features 66 of Bing Crosby's guest appearances on other people's radio shows and covers a time period of almost 20 years. Of particular historical significance are four tracks from the Allied Expeditionary Forces broadcast in London with Glenn Miller and his American Band of the AEF in 1944.
On Treasure Island
I’m Hummin’, I’m Whistlin’, I’m Singin’
Love in Bloom
Straight from the Shoulder
This Can’t Be Love
I Have Eyes
Don’t Let That Moon Get Away
I’ve Got a Pocketful of Dreams
My Melancholy Baby
The Birth of the Blues
My Old Kentucky Home
Be Careful, It’s My Heart
Moonlight Becomes You
As Time Goes By
It Ain’t Necessarily So
You’ll Never Know
Basin Street Blues / Shine / The Birth of the Blues
Way Down Yonder in New Orleans
Swing Low, Sweet Chariot
If You Please
She’s from Missouri
Sunday, Monday or Always
Pennies from Heaven
I’ll Get By
With a Song in My Heart
Long Ago (and Far Away)
Swinging on a Star
San Fernando Valley
Going My Way
You’re a Grand Old Flag
De Camptown Races
Home on the Range
When You Were Sweet Sixteen / The Band Played On
God Bless America
You Belong to My Heart
Red River Valley
The Bells of St. Mary’s
Buttons and Bows
A Little Bird Told Me
Road to Morocco
Get Yourself a Phonograph
I Kiss Your Hand, Madame
The Kiss in Your Eyes
Ida, Sweet as Apple Cider
St. Louis Blues
Wait Till the Sun Shines, Nellie
The Waiter and the Porter and the Upstairs Maid
America the Beautiful
To See You Is to Love You
Way Back Home
BING CROSBY ESTATE SELL ESTATE RIGHTS
He and his family want to hear that voice more during the other 11 months, a desire that led to a deal being announced Monday to sell an equal stake in the rights to Bing Crosby’s estate to Primary Wave Music.
It’s another example of how the sale of catalog rights has become a booming business, with most involving rock artists who write their own music — Bob Dylan, Paul Simon, Neil Young and Stevie Nicks are examples. The Crosby deal is the most prominent involving a pre-rock artist who primarily interpreted songs written by others.
The deal is estimated in excess of $50 million.
A younger generation knows Crosby best through "White Christmas" and the duet with David Bowie on "The Little Drummer Boy" made for a television special shortly before his death. Fewer people alive remember Crosby’s days as a major recording artist and movie star.
"There were things that became absolutely top hits in the ‘30s and ’40s, for a sustained period of time, and they just went away," Harry Crosby said. "People associate dad with Christmas, but in the ’40s and ’50s, they didn’t associate him with Christmas. They associated dad with tons of things, and that’s what I want to bring back."
Some of his hit songs include "Pennies From Heaven," "It’s Been a Long, Long Time," "Don’t Fence Me In" and "Accentuate the Positive."
Crosby won an Academy Award for best actor for playing a priest in the 1945 film "Going My Way" and made seven "road" movies with his friend, comic Bob Hope. His association with golf is also remembered, as he created the first pro-am tournament and was reportedly a member of 75 golf clubs.
Crosby’s family, which includes his widow and two of Harry’s siblings, have been interested in a documentary series to tell Bing’s story.
Primary Wave’s first priority is to increase Crosby’s digital footprint, to boost his profile on Spotify and get his music added to playlists for a generation unfamiliar with it, said Larry Mestel, the company’s founder and CEO.
"We want to be in business and partner with the greatest of the greats, regardless of the genre, regardless of the era," Mestel said. Primary Wave also works with the estates of Count Basie and Ray Charles.
The challenge lies in infiltrating a new youth culture with the work of a mature artist, he said. Unlike many of the rock-era artists involved in such deals, Crosby obviously isn’t around to perform or promote his work.
But while song publishing is at the heart of many such deals, Mestel said Primary Wave takes a broader look at ways to get an artist’s name out there and, of course, make money off his likeness or work. He sees enormous potential in Crosby’s film properties.
"The way I view dad is not just through the prism of music and film," Crosby said. "He was a pioneer in all the different mediums and all the things that came out of that — technology and music and golf, sportsmanship and hunting. There are a lot of different things that describe the human being."
The times that he hears "White Christmas" while out in public brings a smile to Crosby.
"I miss him a lot," he said. "It’s a time of reflection. It’s not painful, it’s inspiring. It’s reassuring that with all of the things he did and as hard as he worked, that he’s being recognized again and again."
Wednesday, September 29, 2021
BING AND A LUX GIRL
Here is a nice magazine adverstisement from 1950 when Bing was starring in Paramount's Riding High. He shares the magazine ad with his co-star in the film Coleen Gray...
Sunday, September 12, 2021
PHOTOS OF THE DAY: BING AND DONALD O'CONNOR
Bing's career crossed paths with dancer Donald O'Connor's path from time to time through the decades. The made two movies together: Sing You Sinners (1937) and Anything Goes (1956). They also recorded a couple of duets at Decca and appeared on radio together. Here are some nice photos of them together...
Friday, September 3, 2021
COMING SOON: THE EMPEROR WALTZ ON BLU-RAY
Blu-ray Extras Include:
-NEW Audio Commentary by Film Historian Joseph McBride, author of Billy Wilder: Dancing on the Edge
-Billy Wilder and Volker Schlöndorff Discuss THE EMPEROR WALTZ
Monday, August 30, 2021
AUDIO ASPIRIN: THAT SLY OLD GENTLEMEN
Monday, August 9, 2021
BING WITH A BEAT
The album was issued on CD by BMG Music and Bluebird Records in 2004. Variety liked the album, saying, "Bob Scobey's Frisco Jazz Band has put Bing Crosby in one of his happiest and swingiest vocal frames. The evergreens are ever-bright when Crosby and Scobey match wits."
Record producer, Ken Barnes, wrote, "After his high-powered outing with Buddy Bregman, Bing probably felt a desire to get back to the roots of his singing style and this pleasantly swinging album with Bob Scobey's Frisco Jazz Band was probably the best artistic therapy for him at this point in his career. Bing always responded enthusiastically to a Dixie-style backing and with songs like 'Some Sunny Day', 'Whispering' and 'Mama Loves Papa' he is in top-notch form. Scobey plays some tasty trumpet and there are telling solos from others in the band - notably Ralph Sutton on piano. The cleanly crisp arrangements are by Matty Matlock and the album is almost a total joy from beginning to end. The only mild disappointment is a rather lack-lustre version of 'Mack the Knife' which should have been a standout.
The writer Will Friedwald, in his book Jazz Singing: America's Great Voices from Bessie Smith to Bebop and Beyond, commented, "Communicating the obvious joy the music arises in him, Crosby fairly oozes with charming insouciance above and beyond even the call of Crosby, expressed in semi-spoken asides and lyric alterations."
Sunday, July 25, 2021
BING ON FILM: ANYTHING GOES - PART TWO
At lot of movie studios when they are making a movie version of a Broadway show try to keep the musical score intact. However, Paramount Studios had a habit of chopping up a Broadway score and adding different songs to their movie versions. They did this to Cole Porter in 1936 for that version of Anything Goes, and supposedly it caused a rift between Cole and Bing Crosby. They kept a lot of Cole Porter’s songs in the film, but they also cut a few and added songs that were written by Sammy Cahn and Jimmy Van Heusen. Cahn and Van Heusen were good songwriters, but they were no Cole Porter. While we got to hear and to watch the cast perform great Cole Porter standards like “Anything Goes” (sung by Mitzi Gaynor), “You’re The Top” (sung by Bing, Mitzi, Donald O’Connor, and Zizi Jeanmarie), and “All Through The Night (sung by Bing), we also witnessed the hokey songs written by Cahn and Van Heusen for the film like: “You Can Bounce Right Back”, “You Gotta Give The People Hoke”, and “A Second Hand Turban”. At times it felt like there were two musical scores in the film. I am okay if Paramount wanted to punch up the score with different songs, but the Cole Porter songbook was vast, and they could have used dozens of other Porter songs. They even brought in a third songwriting team in Leo Robin and Frederick Hollander, and that duo wrote two other songs for the film that were not used called “Am I Awake” and “Hopelessly In Love”. Nothing against those other song writers but it was a slap in the face to Cole Porter.
The two best musical numbers in the film was the love song “It’s Delovely” which was performed by Donald O’Connor and Mitzi Gaynor. Their singing is charming and the dance number was definitely the best number in the film and probably one of the best numbers that Paramount filmed in the 1950s. The other number that I liked was the closing number “Blow Gabriel Blow” which was performed by Bing and the whole cast. Some people online had an issue with a man singing the song since Ethel Merman introduced and sang the song on Broadway, but it was a great huge Hollywood finale, and Bing did it justice. The song was a big send off to Bing who had helped to get Paramount out of near bankruptcy in the 1930s when he signed with the studio. I liked the number myself.
The critics were mixed though when the film premiered in New York on March 21, 1956… The Variety reviewer said: "It’s a bright offering for Easter release, geared to play an engaging tune at the wickets. Male topliners Bing Crosby and Donald O’Connor go together as
though born to give the zip to what scripter Sidney Sheldon has concocted hereunder the stage title. While there are Cole Porter songs and the legit handle is still carried, that’s about all that remains of what went on behind the footlights, and there’s scant resemblance to Paramount's 1936 film version, in which Crosby also starred with Ethel Merman".
A H Weiler, writing for The New York Times, thought that, "For all its activity, Anything Goes is, in the main, standard musical comedy. Some of the principals are decidedly decorative and talented. The script, however, is transparent and fragile."
There are a couple of fun goofs in the film if you watch close enough and have seen the movie as many times as I have. During the "Ya Gotta Give The People Hoke" number Bing Crosby and Donald O'Connor go into a prop room, pick up a prop, go on stage, do a "bit" and go back to the prop room. About midway through, Bing comes out on stage wearing a Fireman's hat. There is a pile of brownish debris and several piles of white material that were not there a second before, indicating that one or more "bits" had been cut after filming. Also, during the "You're The Top" number Bing and Mitzi Gaynor are on the lifeboat deck on one side of a partition while Donald O'Connor and Zizi Jeanmaire are on the other side. All are singing yet, though the deck is open to the sky, no one hears the others. Also, there are no partitions on a lifeboat deck.
So even with the goofs and my complaining about the film, I think Anything Goes is a pretty good movie. The film was successful for Paramount, and it marked the end of Bing Crosby’s association with the studio. I do recommend this movie to any Bing Crosby fan, and the film overall is a good musical. It is a good musical by Paramount’s standards but maybe not by MGM standards. Just look at Bing’s first post Paramount musical – High Society for MGM later that year. That is how a musical should be made! Again you may not be blown away by 1956’s Anything Goes, but you will enjoy the film...
MY RATING: 7 out of 10
Saturday, July 10, 2021
A QUICK LOOK AT BING's RUN AT CAPITOL
Here is another great article from our guest blogger ModernBingFan0377...
An overlooked aspect of Bing’s career is his short lived run at Capitol in 1956 and ‘57. 1956 marked the end of Bing’s exclusivity to Decca and would set the ball rolling for some of the best and worst years of recordings Bing had. In the first year or so, it seemed like he might’ve been going to Capitol Records. With the release of the High Society soundtrack on Capitol, it marked one of the first times he had recorded for a company other than Decca since 1934.
The High Society soundtrack brought with it many good songs, and some staples as well. The Porter-penned soundtrack featured songs written for Bing like “I Love You Samantha,” “Little One,” “Now You Has Jazz,” and most importantly “True Love.” Bing’s duet with soon to be Princess of Monaco Grace Kelly would prove to be Bing’s last million seller, which it achieved in less than a year of its release. Another song recorded for High Society was “Well, Did You Evah” which featured the first commercially available duet between Bing and Frank Sinatra. “True Love” and “Well, Did You Evah” were invariably tied together by them being on the same single throughout most of its issuing, with “True Love” on the A-Side, effectively giving Francis Albert and the Princess of Monaco million sellers as well.
This would be the last time Bing would visit Capitol, and possibly even the last time Bing visited the Capitol Records studios for recording, until 1963 for the Great Country Hits album. Bing would go on to sell the stock of the Project Records label, and eventually some masters, to Capitol. His legacy at Capitol is not very big, but it does exist, and it started in the ‘50s, and we should remember that.
Thursday, June 24, 2021
BING ON FILM: ANYTHING GOES - PART ONE
For this latest review, I figured I would review 1956’s Anything Goes. Bing Crosby’s co-star in the film Zizi Jeanmarie passed away last year at the age of 96, so I figured it would be fitting to watch something she was a part of. This 1956 film would be the last film Bing would make for Paramount Studios after being with them for 24 years! It remains the second longest contract for any star with any studio, only exceeded by Robert Taylor with MGM. The musical Anything Goes was a superb Cole Porter Broadway show when it opened in the 1930s. Since its 1934 debut at the Neil Simon Theatre (at the time known as the Alvin) on Broadway, the musical has been revived several times in the United States and Britain and has been filmed twice. The musical had a tryout in Boston, before opening on Broadway at the Alvin Theatre on November 21, 1934. It ran for 420 performances, becoming the fourth longest-running musical of the 1930s, despite the impact of the Great Depression on Broadway patrons' disposable income.
The movie was first filmed in 1936 with Bing Crosby and Ethel Merman, but it bared little resemblance to the Broadway show or this 1956 remake other than Bing in the film and a few Cole Porter tunes. The plot of this 1956 remake is also quite different than the Broadway show. The only that stayed the same was that most of the story takes place on a luxury liner. So the movie opens up with a veteran Broadway star (played by Bing) meeting an up and coming television star (played by Donald O’ Connor) at a party, and they decide it would be fun to star together in a Broadway show, with each guy thinking they are helping the other one’s career out. Donald O’Connor tells Bing that he doesn’t care who their leading lady is, but in reality, he does. Bing Crosby goes to see a blonde American who has been performing in Europe (Mitzi Gaynor), and he signs her to a contract. Meanwhile, Donald O’Connor takes it upon himself to sign a French ballet star (Jeanmarie). So, they now have two actresses signed for one role. For the rest of the film Bing and Donald try to figure out how to solve their problem. Donald falls in love with Mitzi, and Bing falls in love with the French ballet star. Then there is the typical movie twist where they lose the girl, and then Bing and Donald manage to get the girls back, revamp the plot of their show so they have two leading ladies, and live happily ever after.
Bing Crosby and Donald O’ Connor were great together, and they went back together to the 1930s when Donald played Bing’s younger brother in 1938’s Sing You Sinners. They had tried to reteam for 1954’s White Christmas, but O’Connor broke his ankle before filming could begin and was replaced with Danny Kaye. Mitzi Gaynor is also great with both Bing and Donald. It was weird though seeing Mitzi Gaynor and Donald O’ Connor as love interests since they played brother and sister in the earlier film There’s No Business Like Show Business! Phil Harris was also in the cast as Mitzi Gaynor’s gambling father. He was the reason why the two were on the run in Europe to begin with. Phil was great in his role, but it was kind of small. Being one of Bing’s few close friends in the real world, and since he had such a great relationship with Bing, I wish they would have performed a number together. The problem I have with the film is Zizi Jeanmarie as Bing’s love interest. I just did not feel any chemistry between the two. Zizi was a gifted ballet dancer, and she was mesmerizing in the 1953 Paramount film Hans Christian Anderson, but other than her musical numbers, she did not add much to Anything Goes. She was hugely popular in her home country of France and was married to the choreographer of the movie, Roland Petit. Whether she got him his job on the film or visa versa, I don't know. However, she was totally wrong as Bing's love interest. She was a fine dancer, but the Cole Porter song "I Get A Kick Out Of You" was wasted on her limited vocal ability. Bing Crosby, in his Paramount contract, had co-star approval so maybe he wanted to try to reach out to a different audience, but I think the pairing of Bing and Zizi hurt the movie...
Sunday, June 6, 2021
AUDIO ASPIRIN: DRIFTING AND DREAMING
Friday, May 21, 2021
BING'S DISCOGRAPHY: May 26, 1941
Date: 26 May 1941
Location: Los Angeles, Calif
Label: DECCA (US)
a. DLA2411-A The Waiter And The Porter And The Upstairs Maid - 3:09(Johnny Mercer)
Bing Crosby, Mary Martin, Jack Teagarden (voc), Jack Teagarden and his Orchestra (orc)
EMI -AXIS (Australia) CDCDAX-701592 — THE STARS IN SONG (1990)
MCA (Japan) CDMVCM24004 — BING CROSBY - A MUSICAL AUTOBIOGRAPHY Disc 2 (1925-1942) (1993)
ASV - LIVING ERA (UK) CDCD AJA 5147 — BING CROSBY & FRIENDS (1994)
VOCALION (UK) CDCDUS 3000 — BING CROSBY AND FRIENDS (1999)
MEMOIR (UK) CDCDMOIR548 — BING CROSBY AND COMPANY (2000)
AVID (UK) CDAMBX 147 (AMSC 826) — BING CROSBY A MUSICAL AUTOBIOGRAPHY Disc 2 (2005)
RETROSPECTIVE CDRTS 4184 — BING CROSBY & BUDDIES - Gone Fishin' - His 53 Finest - CD1 (2011)
SOUNDS OF YESTERYEAR CD— BING CROSBY - IMMERSED IN MR. MERCER'S VERSE (2019)
b. DLA2412-A The Birth Of The Blues - 3:12(Buddy DeSylva, Lew Brown, Ray Henderson)
Bing Crosby (voc), Jack Teagarden and his Orchestra (orc)
JASMINE (UK) CDJASCD 121/2 — BING CROSBY - GOING HOLLYWOOD - Volume 3 1940 - 1944 CD1 (2001)
CASTLE PULSE CDPBXCD 471/2 — BING CROSBY - THE CENTENARY COLLECTION (disc 2) (2003)
RAJON CDCDR0046 — THE GREAT BING CROSBY VOLUME 2 (disc 2) (2003)
UNIVERSAL INTERNATIONAL (Japan) CDUCCC 3032 — BING CROSBY WITH JAZZ FRIENDS (2004)
Both titles on: PAST (Pavilion Records Ltd) (UK) CDCD 9784 — BING CROSBY - THE MOVIE HITS (1991)
MCA/DECCA/GRP (US) CDGRP 16032 / also GRD 603 — BING CROSBY AND SOME JAZZ FRIENDS (1991)
EMPRESS (UK) CDRAJCD 802 — BING CROSBY - ONLY FOREVER (1993)
EPM MUSIQUE CD983002 — BING CROSBY GREATEST HITS 1934 - 1943 (disc 1) (1994)
PROPER RECORDS (UK) CDP1235 — BING CROSBY: IT'S EASY TO REMEMBER (Vocal Innovators and the Jazz Connection) (2001)
JONZO (UK) CDJZCD-30 — THE CHRONOLOGICAL BING CROSBY VOLUME 30 (2003)
Monday, May 3, 2021
PHOTOS OF THE DAY: THE YOUNG BING CROSBY
To celebrate Bing's 118th birthday, I dug up some photos of the young Bing Crosby. They are hard to find, but they are ranging from the age of a little boy to college. They are amazing memories of Bing...
Thursday, April 29, 2021
REMEMBERING BRUCE KOGAN (1947-2021)
A central passion of Bruce’s life was his advocacy for LGBTQ crime victims. Bruce never stopped being an advocate for those victims, and pressing the issue of their justice. Among his work on this issue, Bruce never stopped fighting for justice for Winthrop “Winkie” Bean, writing the play “Call Me Winkie,” which has been performed multiple times here in WNY. We commit now and every day to continuing that advocacy in Bruce’s name.
Our hearts and thoughts are heavy, are they are with Bruce, his family, friends and all who loved and knew him. There are no words that will ever properly thank Bruce Kogan for dedicating his life to making the world a better place, for more people than will ever be known. Thank you, Bruce. Happy trails.