GENERAL ELECTRIC – INDICES

 

Go to INDEX 1 – Lists, alphabetically the songs or musical items in which Bing Crosby participated

 

Go to INDEX 2 Lists, alphabetically, the songs or musical items performed solely by guests during the programmes.

 

Go to INDEX 3Details, alphabetically, the people and places concerned in the programmes.

 

Go to INDEX 4It is appreciated that Bing sang the same song on more than one occasion during a series and this section has been designed as an additional aid to the identification of these alternative versions which already have been (or may later be), issued on record, tape or compact disc.  It is emphasised that this index only applies to items originating within the radio series to which it refers and no provision has been made for versions of the same songs which may have appeared on any other radio series with which Bing Crosby may have been associated. 

 

GENERAL ELECTRIC - INDEX 1

 

INDEX 1 – Lists, alphabetically the songs or musical items in which Bing Crosby participated

 

Adeste Fideles 12,52

After You’ve Gone 17

Ain’t We Got Fun 47

Allez Vous-En (Go Away) 43,50,58

All My Love 35,39

Among My Souvenirs 65

And He’d Say “Oo-La-La Wee 36

And The Angels Sing 31

Answer Me (Mutterlein) 62,67,74

April In Paris 29

April In Portugal 30,31

As Time Goes By 65

Auf Wiederseh’n, Sweetheart 1,3

Avalon Town 24

Away In A Manger 12,52

 

Barcelona  - See Belle Of Barcelona

Because You’re Mine 10,13,17

Begin The Beguine 37

Belle Of Barcelona,The 35,38

Beside A Babbling Brook 27

Betty Co-Ed 47

Between The Devil And The Deep Blue Sea 72

Breeze, The (That’s Bringing My Honey Back To Me) 18

Buckle Down, Winsocki 43

But Beautiful  63,74

Bye, Bye, Blues 22,25,72

 

C.O.D.  42

Call Of The South, The 57

Cela M’Est Egal 37,39

C’Est Si Bon 44

Changing Partners 48,61,62

Chicago Style 13,15,20,26

Christmas Message 12

Christmas Song, The 12,52

Cockeyed Optimist, A 69

Collegiate 47

 

Dear Hearts And Gentle People 69

Deck The Halls With Boughs Of Holly 12,52

‘Deed I Do 32,74

Dime And A Dollar, A 70

Dinah 7

Domino 34,36

Don’t Let The Stars Get In Your Eyes 17,18,20

Doodle Doo Doo 6,68

Down By The Old Mill Stream 72

Down By The Riverside 40,41,46,55

Do You Ever Think Of Me? 30,35

 

Easter Parade 26,69

Embrasse-Moi Bien 34,36,40,60

Everybody Loves My Baby 44,46,60

Exactly Like You 49

 

Feet Up! (Pat Him On The Po-Po) 1,3

First Nowell, The 12,52

 

 

From The Vine Came The Grape (From The Grape Came The Wine) 71

           

Glow Worm, The 7,15,19

Goodnight Ladies 75

Granada 35,39,45,48,54,59,65

Great Day! 55

Gypsy In My Soul 50,54,58

 

Hallelujah! 57

Harbour Lights 24

Hawaiian Paradise 31

Hawaiian Wedding Song 28

Heart And Soul 15,16,19,25

‘Heart Of My Heart’ (The Gang That Sang) 61

Hello, Young Lovers 33

Here Ends The Rainbow - See Hawaiian Wedding Song

Huckleberry Finn 27

Hush-A-Bye 30,32

 

I Can’t Believe That You’re In Love With Me 64

I Can’t Give You Anything But Love 71

Ida, Sweet As Apple Cider 31

If There’s Someone Lovelier Than You 54,56,58

If You Love Me (I Won’t Care) 66,68

I Get So Lonely (Oh! Baby Mine) 63,64,66

I Got Rhythm 49

I Love Paris 42,45

Imagination 66,

Indian Summer 43

I Never Knew (I Could Love Anybody) 16,36

In The Good Old Summertime 73,75

Istanbul (Not Constantinople) 53,58

I Still Suits Me 63

It Ain’t Gonna Rain No Mo’ 75

It’s A Long Way To Tipperary 75

It’s All Right With Me 53,56

It’s Easy To Remember 42,45,58

It’s Only A Paper Moon 25,73

I’ve Been Working On The Railroad 72

 

Jeepers Creepers 23

Jingle Bells 12,52

Jones Boy, The 61,65

June In January 21

Just For You 2

Just You, Just Me  6,8

 

Keep It A Secret 8,13,14,17,21,28

Keep It Gay 41,45,58

 

Lady Of Spain 18,21,34

La Seine 37,39,47

Lazy 27

Let’s Harmonise 67,68,72,75

Lily Of Laguna 74

Little Brown Jug 42

Live Oak Tree, The 7,8

Lost Chord, The 42

Lost In Loveliness 70

Love Is Just Around The Corner 53,59

 

Mademoiselle De Paris 33,36,38,41

Magic Window, The 40

Mandy Make Up Your Mind 25

Mary Jane 67

Meet Me Tonight In Dreamland 66

Merry-Go-Run-Around, The 9

Mexicali Rose 24

Mister Tap Toe 24,27

Mon Coeur Est Un Violon 37,39,46

Moonlight Bay 75

My Devotion 22,31

My Love, My Love 44,50,60

 

Night And Day 38

No Other Love 41,46,57,60

 

Oh! 48, 56

Oh! How I Laugh When I Think How I Cried About You 45,57

Oh! Tell Me Why 67,73,75

Ohio 26

O Little Town Of Bethlehem 12,52

One Little Candle (It’s Better To Light Just) 26

Only Forever 27

Open Up Your Heart 2,6,10,13,15,22

Oui, Oui, Marie 36

 

Papaya Mama 47,49

People Will Say We’re In Love 27

P.S. I Love You 43,49

Quiet Girl, A 28,29,33,39

Quizas, Quizas, Quizas 22

 

Rollin’ Bones 75

Rosalie 67

Row, Row, Row 44,51

Rudolph The Red-Nosed Reindeer 11,l2,52

 

Salomee (With Her Seven Veils) 30,32

Secret Love 54,56,59,63,75

September Song 65

Shine On Harvest Moon 43

Side By Side 17

Silent Night 12,52

Silver Bells 7,10,51

Singin’ In The Rain 62,68

Sleepy Time Gal 6,18,33

Sleighbell Serenade 11,12

Sleigh Ride 9,14,52

Small Fry 32

So In Love 73

Somebody Bad Stole De Wedding Bell 64,69

Somebody Loves Me 3,34

Some Enchanted Evening 33,38

Some Sunny Day 8,11

Something To Remember You By 16,48

Sometimes I’m Happy 56

Song From Moulin Rouge, The 43,51,55,59

South Rampart Street Parade 16

Stranger In Paradise 55,57

Summertime 35,39

Surrey With The Fringe On Top, The 59

Sweet Genevieve 42

‘S Wonderful 47

 

Takes Two To Tango 7,10,14

Tell Me Why 62

Tenderfoot 37,41

That’s Amore 42,48,54,64

That’s A-Plenty 8,21,60

That’s What A Rainy Day Is For 61,63

That’s Where My Money Goes 67

There’s A Long, Long Trail A-Winding 66

There’s A Small Hotel 70

There’s Music In You 28,29,34

These Foolish Things 29,50

They All Laughed 43,46

They Can’t Take That Away From Me 49

Think 48,51,55

Till I Waltz Again With You 21,23,28

Till The End Of The World 1,2

Tobermory Bay 70,72

Tonight You Belong To Me 68

Too-Ra-Loo-Ra-Loo-Ral 64

To See You Is To Love You 10,11

Trying 20,25

Two Shillelagh O’Sullivan 23

 

Under The Bamboo Tree 72

 

Valencia 35,37,44,49

Varsity Drag, The 47

Vaya Con Dios 40,44,47,54,69

Violets And Violins 41,60

 

Wait Till The Sun Shines, Nellie 30

Walkin’ My Baby Back Home 2

Walk Me By The River 46

Wanted 65,69,71

‘Way Down In Jungle Town 68,75

‘Way Down Yonder In New Orleans 26,29

We Just Couldn’t Say “Goodbye” 29,50

What A Little Moonlight Can Do 40,45

Where Is Your Heart? (See Song From Moulin Rouge)

White Christmas 9,12,51,52

Why Don’t You Believe Me? 18,20,22,28

Wild Horses 28,30,31,32

Wish You Were Here 3,7,8,13

With Every Breath I Take 73

Woman (Uh-Huh) 71

 

Y’all Come 48

You Are Too Beautiful 49,53,57

You Belong To Me 2,6,8,13

You’d Be So Nice To Come Home To 29,50

You Don’t Know What Lonesome Is (Till You Get To Herdin’ Cows) 20

You Go To My Head 36,38,61

You’ll Never Get Away 6

Young At Heart 62,64

You’re Just In Love 25,50

You Tell Me Your Dream 67

You Took Advantage Of Me 71

 

Zing A Little Zong 1,2

Zing! Went The Strings Of My Heart 56


 

GENERAL ELECTRIC - INDEX 2

 

Lists, alphabetically, the songs or musical items performed solely by guests during the programmes.

 

Alexander’s Ragtime Band 4

Andalucia 66

And The Angels Sing 4

April In Paris 10,39

April In Portugal 44

Autumn Leaves 5,13,34

Avalon 24

 

Bad News 69

Baubles, Bangles And Beads 69

Beer Barrel Polka, The

Begin The Beguine

Between The Devil And The Deep Blue Sea  7,11

Black Satin 32

Blues In The Night 14

Blue Tango 25,30,33

Body And Soul 1,19    

Braziliera 58

Breeze And I, The 66

But Not For Me 7

 

Can’t Help LovinDat Man 63

Carolina In The Morning 4

Carry Me Back To Old Virginny 42

Comes A-Long A-Love 18

Cry My Heart 73

Cuanto Le Gusta 4

 

Dance Of Love, The 30

Dancing In The Dark 40,60

Dark Eyes 20,38

Deep In My Heart, Dear 63

Dime And A Dollar, A 68

Donkey Serenade, The 44

 

Early Autumn 6

Early Bird 22

Ebb Tide 42,46, 56

Eternally 51

Estralita 7

Eyes Of Texas, The 72

 

Funiculi Funicula 35

 

Gambler’s Guitar 40,46

Granada 71

 

Half As Much 5

Happy Christmas, Little Friend 50

Haven’t Got A Worry To My Name 14,25

He’s Just Crazy For Me 1

Hey, Joe 41,45

Hot Canary 16

How Ya Gonna Keep ‘Em Down On The Farm 36

How High The Moon 28          

Humoresque (Dvorak) 26,37

 

I Can’t Give You Anything But Love 13

I Do, I Do, I Do 15

If You Should Ever Leave 13

I Got Rhythm 4,22

I Hadn’t Anyone Till You 13

I’m Little But I’m Loud 32

Intermezzo 27

In Paris And In Love 70

In The Still Of The Night 59

Invitation 49

I Saw Mommy Kissing Santa Claus 32

It’s A Most Unusual Day 48

I’ve Got A Crush On You 47

 

Jealousy 17,35

Just One Of Those Things 21

 

Land Of The Sky Blue Water 67

Laura 6,18,68

Levee Song, The 72

Limelight, Theme from 51

Lonely Am I 42

Looking For A Boy 53

Love 20

Love Is Like A Violin 41

Lovely Weather For Ducks 16

Love Of Three Oranges 47,74

 

Man (Uh-Huh) 71

Manhattan Rag 4

Ma Petite Folie 33,34

March Of The Siamese Children 59,73

Memphis Blues 6

Moanin’ Low 51

My Favourite Song 11

My Kinda Love 54

My Truly, Truly Fair 33,34

 

Night And Day 53

Noah (Didn’t It Rain) 17

 

Ode To A Wild Shepherd Dog 24

Oh! Baby Mine (I Get So Lonely) 72

Oh! Lady Be Good 11

Organ Grinder’s Swing 62

Otchi Tchornya 20,38

 

Parade Of The Wooden Soldiers, The 48

Peter And The Wolf 62

Pretty Girl Milking A Cow, A 4

 

Regardez Mes Bateaux 9

Ricochet 55

Rock-A-Bye Your Baby To A Dixie Melody  64

 

Salomee (With Her Seven Veils) 24

So Long 61

Somebody Bad Stole De Wedding Bell 67

Someone’s In The Kitchen With Dinah 72

Someone To Watch Over Me 53

Somewhere Along The Way 5

Song Of India 41,57

Stars Began To Fall 4

Stranger In Paradise 56

Sweet Lorraine 21

 

Take A Chance 66

Taking A Chance On Love 60

Tea For Two 14,23,31,75

Temptation 45,50

Tenderly 29

Terry’s Theme 51

There’s A Ship Coming In 2

This Can’t Be Love 5

Tico Tico 15,36,70

Till We Meet Again 66

Tomorrow I’ll Dream And Remember 74

Toy Trumpet, The 52

Tropicana 43

Trying 11

Two Guitars 72

Two Oranges And A Lemon 44

 

Walkin’ My Baby Back Home 5

What Is This Thing Called Love? 49

What Would You Do? 27

When The Swallows Come Back To Capistrano 24     

Who Kissed Me, Last Night? 10,26

Wildcat 29

Wish You Were Here 4

Woman (Uh-Huh) 57

 

You And The Night And The Music 49

You Belong To Me 4

You Like? 2

You’ll Never Know 9,16

Young At Heart 65

You’re In Kentucky, Sure As You’re Born 43

You’ve Changed 58


GENERAL ELECTRIC - INDEX 3

 

Details, alphabetically, the people and places concerned in the programmes. 

 

Arden, Toni 70,73

 

Bell Sisters, The 2,30

Benny, Jack 19

Boswell, Connie 8

Botkin, Perry 8,25,37,41,57,67,72

Boyd, Jimmy 22,32

Burke, Johnny 28

 

Christopher Movement, The 26

Clooney, Rosemary 5,9,10,14,15,16,25,26,27,29,32,42,43,48,50,69,71,74,75

Cole, Buddy 3,6,7,8,10,11,15,16,17,18,19,25,30,33,34,35,36,41,42,49,67,68,70,75

Como, Perry 32,41

Crosby, Gary 12,40,41,45,46,55,57,67,68,72,75

Crosby, Lindsay 33,34,35,36,37,38,39,67,68,72,75

 

Denza, L 35

Durand, Paul 35

 

Elman, Ziggy 4,31,43,53,58

Evans, Tolchard 35

 

Fatool, Nick 8,25,57,67

Ferrer, José 71

Fitzgerald, Ella 11,13,51,53,60

Fort Ord 15

Fourcade, Christian 9

Four Aces, The 61,62

 

Garland, Judy 4

Gilbert, Joanne 20

“Going My Own Way” 12

Green, Marie 48

Guy, Bobby 31,52,57

 

Harris, Dave 57

Henke, Mel 57

Hollywood 1 to 14,16,30,32 & 40 to 75

Holt, Alan 37

Hope, Bob 15, 32

 

Kahn, Gus 35

Kanaipau, George 28,31

Kaper, Bronislau 49

Kennedy, Jimmy 41

King, Peggy 64

 

Lafarge, Guy 37

Laine, Frankie 32

Lawrence, Jack 41

Lee, Peggy 21,47,49

 

Macrae, Gordon 5

Mason, Jana 63

Matlock, Matty 8,25,57

“Me And Juliet” 41

Mitchell, Guy 33

Morgan, Jane 44

 

Nichols, Red 4,8,11,25,31,57

Norman Loulie Jean 1,2

 

O’Connell, Helen 2,56,59

 

Palm Springs 17 to 29, 31

Paris 33,34,35,36,37,38,39

Parish, Mitchell 35

Parsons, Geoffrey 37

Pebble Beach 15

Plaza Theatre 24

 

Rhythmaires, Jud Conlon’s 1 to 32,40,52

Roberts, Allan 37

Rodgers & Hammerstein 41

Ruskin, Joe 8

Russell, Connie 54,58

 

Shore, Dinah 6,7,24

Sinatra, Frank 32,65,66

Starr, Kay 17,18

Stevens, Phil 57,67

Stewart, James, 3,5,23

 

Turco, D 35

 

“Variety Music Cavalcade” 24

Vesley, Ted 8,25,57

Venuti, Joe 1,5,6,7,10,11,13 to 39

Vonn, Viola 23

 

Wallace, Raymond 35

Wyman, Jane 1

 

Young, Victor 40

 

GENERAL ELECTRIC - INDEX 4

 

It is appreciated that Bing sang the same song on more than one occasion during a series and this section has been designed as an additional aid to the identification of these alternative versions which already have been (or may later be), issued on record, tape or compact disc.  It is emphasised that this index only applies to items originating within the radio series to which it refers and no provision has been made for versions of the same songs which may have appeared on any other radio series with which Bing Crosby may have been associated.

 

ADESTE FIDELES    (Nos.12 & 52)

 

As usual, Bing’s traditional Christmas opening hymn is sung first in Latin and then in English (with studio audience).  A difference appears in the spoken “link” between the two versions:

 

No. 12 “And now, everybody, here and everybody at home - in the family key....”

 

No. 52 “And now, everybody, here and at home - in the family key....”

 

ALLEZ-VOUS-EN    (Nos.43, 50 & 58)                   

 

All versions are identical:

 

No. 43 Intro:    “....Cole Porter’s “Can Can” - this one’s called, “Allez-Vous-En

 

No. 50 Intro:    “....from “Can Can” - song called, “Allez-Vous-En

 

No. 58 Intro:    “....musical, “Can Can” - this is called “Allez-Vous-En

 

ALL MY LOVE    (Nos.35 & 39)

 

Both versions are identical.  Some measure of proof can be obtained by the insertion of an extra word which is not apparent in either the commercial issue or the four versions for Chesterfield:

 

Nos.35 & 39    (2nd)    “....I can see as I recall my life,

                                          I’ve waited all of my life,

                                          To give you all my love”

 

ANSWER ME, MY LOVE (MUTTERLEIN)    (Nos.62, 67 & 74)

 

No. 62 A shorter version of one chorus only which does not include a repeat of the lines beginning, “If you’re happier without me, please listen to my......”

 

Nos.67 & 74 are both longer versions, including a repetition of the above-mentioned lines and both appear to be identical.

 

No. 67 Intro:    “....it’s called, “Answer Me, My Love”

 

No. 74 Intro:    “....Nat King Cole has made so popular - “Answer Me, My Love”

 

APRIL IN PORTUGAL    (Nos.30 & 31)

 

Both versions are identical, including the introduction of some twenty words, over the orchestral introduction viz:

 

Nos.30 & 31    “The song you’re about to hear is a, umh, foreign importation...Made popular in this country, by umh, Freddy Martin’s great record”

 

AUF WIEDERSEH’N, SWEETHEART    (Nos.1 & 3)

 

Nos. 1 & 3       Introductions and renditions are identical - No. 3 is a re-broadcast of No. 1.

 

AWAY IN A MANGER        (Nos.12 & 52) - Part medley.  See also Deck The Halls, The First Nowell and O Little Town Of Bethlehem.

 

No. 12             (1st)     “...The cattle are lowing, the poor baby wakes...”

 

No. 52             (1st)     “...The cattle are lowing, the baby awakes...”


BECAUSE YOU’RE MINE    (Nos.10, 13 & 17)

 

No. 17 A longer version which includes a repeat of the lines beginning, “And when we kiss, that isn’t thunder, dear....”

 

Nos.10 & 13 are both shorter versions which do not include this repetition  BUT

 

No. 10 (1st)     “I only live for the kiss that you alone can give me....”

 

No. 13 (1st)     “I only live for the kiss that you alone may give me....”

 

BELLE OF BARCELONA, THE     (Nos.35 & 38)

 

Duet with Lindsay Crosby.  Both versions are identical.

 

No. 35 Intro:    “....I’ll give you a leg up, boy!

 

No. 38 Intro:    “....Let’s have it, John! 

 

BUT BEAUTIFUL    (Nos.63 & 74) 

 

No. 74 is a longer version which is distinguished by a trumpet solo and a repeat of the lines beginning, “Love is tearful or it’s gay......”

 

No. 63 contains neither of these variations        

 

BYE, BYE, BLUES    (Nos.22, 25 & 72)

 

No. 72 Part medley - Trio with Gary and Lindsay Crosby and ukulele accompaniment.

 

No. 22 (1st)     “....Sun is shinin’, no more pinin’”

 

No. 25 (1st)     “....Sun is shinin’, no-o more pinin’”

 

CELA M’EST EGAL    (Nos.37 & 39)

 

Duet with Lindsay Crosby.  Both versions are identical.

 

No. 37 Intro:    “....tres gentil, M’sieu

 

No. 39 Intro:    “....let’s go, John”

 

CHANGING PARTNERS     (Nos.48, 61 & 62)

 

No. 48 is the only version to include a soprano obbligato by Marie Green.

 

Nos.61 & 62 appear to be identical:

 

No. 61 Intro:    “....I recorded not too long ago for Decca”

 

No. 62 Intro:    “....John Scott! - Shall we waltz

 

CHICAGO STYLE    (Nos.13, 15, 20 & 26)

 

All versions are with female partners and can be distinguished by Bing’s interjections (shown in brackets) during their respective lines:

 

No. 13 (Ella Fitzgerald)            (1st)     “.... shoes made in London ...” (Bing is not heard)

 

No. 15 (Rosemary Clooney)     (1st)     “.... shoes made in London (Mmmmh!) and....”

 

No. 26 (Rosemary Clooney)     (1st)     “.... shoes made in London (Bond Street!) and....”

 

No. 20 (Joanne Gilbert)            (1st)     “.... shoes made in London (One’s and two’s will kill you)”

 

CHRISTMAS SONG. THE    (Nos.12 & 52)          

 

No. 12 A longer version which includes a repeat of the lines beginning, “And so I’m offering this simple phrase....”

 

No. 52 Shorter version not including the above-mentioned repetition.

 

DECK THE HALLS WITH BOUGHS OF HOLLY  (Nos.12 & 52) - Part medley. 

See also, Away In A Manger, The First Nowell & O Little Town Of Bethlehem.

 

This first item of the medley exhibits no definable differences

 

No. 12 Intro:    “....and our considerably augmented vocal group”

 

No. 52 Intro:    “....the favourite Christmas songs of us all”

 

DEED I DO    (Nos.32 & 74)

 

No. 32 (1st)     Aah!  Do I want you, Oh! my......”

 

No. 74 (1st)     “Do I want you, Oh! my.......”

 

DOMINO    (Nos.34 & 36)

 

Both versions appear to be identical.

 

No. 34 Intro:    “...very flamboyant, they take off big, here...”

 

No. 36 Intro:    “...countless fiddles, violas and so forth...”

 

DON’T LET THE STARS GET IN YOUR EYES    (Nos.17, 18 & 20)

 

No. 20 (2nd)    “...Keep your heart for me, for someday I’ll return...”

 

Others  (2nd)    “....Oh!  Keep your heart for me, for someday I’ll return...”   AND

 

Nos.17 & 18 appear to be identical.

 

No. 17 Intro:    “....get a room at night (laughter), John!...

 

No. 18 Intro     “....in the hillbilly manner – ‘Don’t Let The Stars Get In Your Eyes’”

 

DOODLE DOO DOO    (Nos.6 & 68)                     

 

No. 6   Duet with Dinah Shore.

 

No. 68 Trio with Gary Crosby and Lindsay Crosby.

 

DOWN BY THE RIVERSIDE    (Nos.40, 41, 46 & 55)

 

No. 40 is the only solo rendition.

 

The remaining versions are all identical duets with Gary Crosby and all are indistinguishable from the commercial issue.

 

No. 41 Intro:    “....Crosby and Crosby - Your “Modern Minstrel Men”

 

No. 46 Intro:    “....Grand! Grand!”  (Gary Crosby)

 

No. 55 Intro:    “....Mr. Trotter, shall we roll along”

 

DO YOU EVER THINK OF ME?    (Nos.30 & 35)

 

Both versions are identical.

 

No. 30 Intro:    “....in a song called, “Do You Ever Think Of Me?”

 

No. 35 Intro:    “....this number - it’s formidable” (French pronunciation)

 

EASTER PARADE    (Nos.26 & 69)

 

Both versions are duets with Rosemary Clooney.

 

No. 26 (1st)     “....with all the frills upon it”

 

No. 69 (1st)     “....with all those frills upon it”

 

EMBRASSE-MOI BIEN    (Nos.34, 36, 40 & 60)

 

There are two distinct versions:

 

Nos. 34 & 36 are sung entirely in French and are identical:

 

No. 34 Intro:    “...John Scott, will you awaken the fiddle section”

 

No. 36 Intro:    “...elegant violin of Signor Venuti”

 

Nos.40 & 60 are sung in English (apart from the title) and are also identical:

 

No. 40 Intro:    “...John, shall we then”

 

No. 60 Intro:    “...I understand there’s a Decca platter out on this tune (Note: Spoken over the opening bars from the orchestra)

 

EVERYBODY LOVES MY BABY    (Nos.44, 46 & 60)

 

All vocal renditions appear to be identical.  However, the individual items can be distinguished, thus:

 

No. 60             Bing commences singing immediately after two “bell” notes from the piano.

 

Nos.44 & 46    Both commence with a short introduction played by the group.

 

No. 44 Intro:    “...called ‘Everybody Loves My Baby’ - Er Vum, Er Vum Er  (The underlined portion is included on at least two versions of the item which have been issued)

 

No. 46 Intro:    “Let ‘er roll, eh fellers?”

 

FEET UP (PAT HIM ON THE PO-PO)    (Nos.1 &3)

 

Both versions are identical.

 

No. 1   Intro:    “...we’ll have a go at this thing”

 

No. 3   Intro:    “...Let’s go, John!”

 

FIRST NOWELL, THE        (Nos.12 & 52) - Part Medley.  See also, Away In A Manger, Deck The Halls & O Little Town Of Bethlehem.

 

No. 12 (1st)     The-her first nowell...”  (very pronounced aspirant)

 

No. 52 (1st)     The-er first nowell...”

 

GLOW WORM, THE     (Nos.7, 15 & 19)

 

No. 19 (1st)     “You and your chick should get on to some sparkin

                          When you gotta glow, We-ell you gotta glow....”

 

Other versions - “When you gotta glow, You gotta glow” and Nos.7 & 15 are identical

 

No. 7   Intro:    “...these GE glow worms’re really clever” (laughter)     

 

No. 15 Intro:    “...hope you all realise that - John!”

 

GRANADA    (Nos.35, 39, 45, 48, 54, 59 & 65)

 

The song is heard an unprecedented seven times during the series and there are two distinct versions:

 

Nos.54, 59 & 65 are identical but in each case, Bing opens with the verse beginning, “Granada, I’m falling under your spell....”

 

No. 54 Intro:    “...has a verse and everything.  çndele, (‘Come on’) John, çndele (‘Come on’)

 

No. 59 Intro:    “...you’ll like the way John Scott has treated this number, musically”

 

No. 65 Intro     “...ladies and gentlemen - here’s “Granada”.

 

Nos.35, 39, 45 & 48 are identical but Bing opens with the first chorus beginning, “The dawn in the sky greets the day....”

 

No. 35 Intro:    “...is still discernible for those who come to visit and I recommend that you do”

 

No. 39 Intro:    “...for this purpose we’ve chosen “Granada”

 

No. 45 Intro:    “...same old vocalist, though” (laughter)

 

No. 48 Intro:    “...is discernible for those who come to visit”

 

As a measure of proof that these versions have not been “created” by deleting/adding the verse, there is another minor difference which separates them:

 

Nos.54, 59 & 65                      “...a thousand guitars play a soft haba-ne-er-er-a

 

Nos.35, 39, 45, 48 & 54          “...a thousand guitars play a soft haba-ne-er-a

 

GYPSY IN MY SOUL, THE    (Nos.50, 54 & 58)

 

All versions are identical, all are the opening number of the particular show in which they appear and all share the same introduction by Ken Carpenter, “...and now, Ladies and Gentlemen, here’s Bing!”

 

HEART AND SOUL    (Nos.15,16,19 & 25)

 

No. 15 (1st)     “...I begged to be adored, An’ I lost control, tumbled overboard...”

 

No. 16 (1st)     “...I begged to be adored, And I lost control and tumbled overboard...”

                       

The comparative lines in the remaining two versions are sung:

 

Nos.19 & 25    (1st)     “...I begged to be adored, lost control and tumbled overboard...” and there are no identifiable differences between these versions.

 

No. 19 Intro:    “...in the business collaborated on it - Hoagy Carmichael and Frank Loesser

 

No. 25 Intro:    “...writers collaborated on this ballad - Hoagy Carmichael and Frank Loesser

 

HUSH-A-BYE    (Nos.30 & 32)

 

Both versions are identical:

 

No. 30 Intro:    “...the vocal background - very pretty too”

 

No. 32 Intro:    “...this kind of a thing when they really take dead aim”

 

IF THERE IS SOMEONE LOVELIER THAN YOU    (Nos.54, 56 & 58)

 

All versions are identical:

 

No. 54 Intro:    “...I hope this doesn’t tax you, folks”

 

No. 56 Intro:    “...nice melody,  too ‘n’ it’s called, “If There Is Someone Lovelier Than You”

 

No. 58 Intro:    “...it’s a thing called, “If There Is Someone Lovelier Than You”

 

IF YOU LOVE ME (I WON’T CARE)    (Nos.66 & 68)

 

Both renditions are identical:

 

No. 66 Intro:    “...Miss Vera Lynn - English artist and it’s a good one, too”

 

No. 68 Intro:    “...I think you’ll like the way Mr. Trotter has treated it, musically”

 

I LOVE PARIS    (Nos.42 & 45)

 

Both renditions are identical:

 

No. 42 Has no introduction.

 

No. 45 Intro:    “...of the latest and most popular tribute to Paris”

 

I NEVER KNEW (I COULD LOVE ANYBODY LIKE I’M LOVING YOU)    (Nos.16 & 36)

 

Both versions are identical.

 

No. 16 Intro:    “...Buddy Cole and the rhythm section - Nick Fatool, Perry Botkin - Go!”

 

No. 36 Intro     “...must be supported by Buddy Cole and his magnificent work at the piano”

 

N.B. Both of these versions can be distinguished from the commercial issue by examination of the line:

 

Nos.13 & 36    (2nd)    “...Can’t sleep and I just can’t eat...”

 

Commercial      (2nd)    “...I can’t sleep and I can’t eat”

 

IN THE GOOD OLD SUMMERTIME    (Nos.73 & 75)

 

Both renditions are identical, both are the opening number of the particular show in which they appear and both share the same introduction by Ken Carpenter, “...and now, Ladies and Gentlemen, here’s Bing!”

 

ISTANBUL (NOT CONSTANTINOPLE)    (Nos.53 & 58)

 

Both versions are duets with different female partners:

 

No. 53 (with Ella Fitzgerald)     (1st)     “...Every girl in Constantinople...”

 

No. 58 (with Connie Russell)    (1st)     Oh!  Every girl in Constantinople...”

 

IT’S ALL RIGHT WITH ME    (Nos.53 & 56)

 

Both versions are identical:

 

No. 53 Intro:    “...Mr. Trotter has arranged this, rather cleverly”

 

No. 56 Intro:    “...start the song rolling, John - that is, if it’s all right with you!”

 

IT’S EASY TO REMEMBER    (Nos.42, 45 & 58)

 

No. 58 is a longer version, including a repeat of the lines beginning, “So, I must dream to have your hand caress me...”

 

Nos.42 & 45 are shorter versions not including the above-mentioned repetition:

 

No. 42 Intro:    “...recorded this for Decca, many, many moons ago but here’s the way it goes at least as far as I’m concerned - “Easy To Remember”, John”

 

No. 45 Intro:    “...folks, here’s “Easy To Remember”, a song that dates back to 1935 and the motion picture, Mississippi..”

 

As some measure of proof that the “shorter” versions have not been created by editing the longer version, there is a minor difference between the two, in the first chorus, viz;

 

Nos.42 & 45    (1st)     “....So I must dream to have your hand car-ess me...”

 

No. 58             (1st)     “...So I must dream to have your hand caress me...”

 

(A version of the song which appears to be identical to No. 58 appears on the issue, Broadway BR-111 - “Crosbyana” as, “It’s Easy To Remember Her”.  However, the introduction for No. 58, spoken over the opening bars from the orchestra, runs thus:  “...I go back quite a long way with this one, back, all the way to a picture called “Mississippi” which I made with Bill Fields and Joan Bennett”, whereas the introduction for the track on the album (spoken prior to the orchestral opening) is;  “Folks, here’s a tune that dates back to 1935 and to the motion picture “Mississippi” - song called “Easy To Remember”- (The origin of this item is uncertain and on the evidence available cannot be placed within the General Electric series.)

 

IT’S ONLY A PAPER MOON    (Nos.25 & 73)

 

No. 25 Duet with Rosemary Clooney.

 

No. 73 Solo version.

 

JINGLE BELLS    (Nos.12 & 52)

 

No. 12 Duet with Gary Crosby and the Rhythmaires.

 

No. 52 Solo version with Rhythmaires only.

 

JONES BOY, THE    (Nos.61 & 65)

 

No. 61 A longer version, including a repeat of the lines beginning, “He hops, he jumps, so merrily over the water pumps...”

 

No. 65 A shorter version which does not include a repeat of the above-mentioned lines.

 

A minor difference is apparent in the first chorus, providing some indication that the shorter version has not been “created” by tape editing:

 

No. 61 (1st)     Yeeess, (long vowel sound), he happens to be in love...”

 

No. 65 (1st)     Yes, (short vowel), he happens to be in love...”

 

JUST YOU, JUST ME    (Nos.6 & 8)

 

No. 6   (1st)     “Just you, just me...”

 

No. 8   (1st)     Aaah, just you, just me...”

 

KEEP IT A SECRET    (Nos.8, 13, 14, 17, 21 & 28)

 

No. 28 Part medley of one chorus only.  All other versions are two choruses and can be distinguished, as follows:

 

No. 8   (2nd)    “...Pay no attention, just let it be...” - All other versions (2nd) “...Pay no attention and just let it be... 

 

BUT:   No. 14 (1st)     “...with somebody new, keep it a secret...” - All other versions (1st) “with somebody new, Just keep it a secret...” 

 

BUT:    No. 21 (2nd)    “...then foolish pride’s gonna drive us apart...” - All other versions (2nd)”...then foolish pride would drive us apart...”

 

The remaining versions (Nos.13 & 17) can be distinguished by examination of the following line:

 

No. 13 (1st)     “...Why should you tell me and break my poor heart...”

 

No. 17 (1st)     “...Why should you tell me ‘n’ break my poor heart...”

 

KEEP IT GAY    (Nos.41, 45 & 58)

 

Nos.41 and 45 are identical, both are the opening number of the particular show in which they appear and there are no introductions apart from Ken Carpenter’s, “and now, Ladies and Gentlemen - Here’s Bing!”  However, on these versions, Bing commences singing after three notes on the piano. Whereas, No. 58 does have a formal introduction (by Bing):

 

No. 58 Intro:    “...a big show called, “Me And Juliet” and there is a ten second orchestral opening before Bing commences singing.  There are no definable differences between the rendition heard on No. 58 and those on Nos.41 & 45.

 

LA SEINE     (Nos.37, 39 & 47)

 

All versions are identical

 

No. 37 Intro: “...which will be sung in its intended tongue

 

No. 39 Intro: “...here is the, er - River Seine”

 

No. 47 Intro: “...hope this is not too precious for you”

 

LADY OF SPAIN    (Nos.18, 21 & 34)

 

No. 21 (1st & 2nd)      “...all that my eyes are revealing

 

Other versions (1st & 2nd)       “...all that my eyes are revea-ealing 

 

Nos.18 & 34 appear to be identical (See Programme No. 18 - Note (a))

 

No. 18 Intro:    “...a thing called, “Lady Of Spain” - John Scott!”

 

No. 34 Intro:    “Jean (French pronunciation) - Arriba, arriba!”

 

LET’S HARMONISE    (Nos.67, 68, 72 & 75)       

 

The song is used prior to and reprised after, medley’s with Gary and Lindsay Crosby.  All versions are identical.  If a “give away” were needed in can be found in the “ad-lib” which appears on every occasion:

 

Bing:     Gary, grab the tenor.

Gary:    “Very big on the tenor” (followed by a distinctive chuckle from Bing and (“canned”?) laughter)

 

LIVE OAK TREE, THE    (No. 7 & 8)

 

Both versions are identical:

 

No. 7   Intro:    “...Technicolor picture, “Just For You” called “The Live Oak Tree””

 

No. 8   Intro:    “...it’s a pastoral “pretty” called, er, “The Live Oak Tree””

 

LOVE IS JUST AROUND THE CORNER    (Nos.53 & 59)        

 

Both renditions are identical.  They are also the opening number of the particular programme in which they appear and both are introduced by Ken Carpenter’s, “...Here’s Bing!”  The only minor difference in presentation is as follows:

 

No. 53 Bing commences singing immediately after, “Here’s Bing!”

 

No. 59 There is a seven second orchestral opening before Bing commences singing.

 

MADEMOISELLE DE PARIS    (Nos.33, 36, 38 & 41)

 

No. 33             (1st)     “...You’ll bet girls get a kick from her...”

 

No. 36             (1st)     “...Well, you’ll bet that girls get a kick from her...”

 

Nos.38 & 41    (1st)     “...You’ll bet that girls get a kick from her...”   and these two are identical:

 

No. 38 Intro:    “Mr. Trotter – S’il vous plait!”

 

No. 41 Intro:    “….It’s called ‘Mademoiselle De Paris”

 

MISTER TAP TOE    (Nos.24 & 27)

 

Examine the lines which appear at the end of the first chorus:

 

(1st)     (Bing) “Tell me what you’re gonna do” (Rhythmaires) “Whatever are you gonna do”

            (Bing with Rhythmaires) - “Mister Tap Toe - Mister Happy Tappy Toe - Mister Tap...”

 

No. 24 Bing seems to “lose it” on the underlined syllable and produces a glottal sound which resembles no known word.

 

No. 27 The word “Toe” is very clearly enunciated.

 

MON COEUR EST UN VIOLON    (Nos.37, 39 & 46)

 

No. 46             (1st)     “...Comme refrain de folie (pronounced foe-lee)”

 

Nos.37 &39     (1st)     “...Comme refrain de folie-er (pronounced foe-lee-yer)

 

And Nos.37 & 39 are identical:

 

No. 37 Intro:    “...be about as Parisien as Goose Crick, Texas

 

No. 39 Intro:    “...or some other Paris pal is subbing for me. Hm?”

 

MY DEVOTION           (Nos.22 & 31)

 

No. 22 (1st)     “...It will be constantly burning and your love...”

 

No. 31 (1st)     “...It’ll be constantly burning and your love…

 

MY LOVE, MY LOVE    (Nos.44, 50 & 60)

 

All versions are identical (apart from minor differences in audience response during the orchestral coda):

 

No. 44 Intro:    “...popular ballad called, “My Love, My Love” - John!”

 

No. 60 Intro:    “...with a beautiful ballad called, “My Love, My Love”

 

No. 50 has no introduction.

 

NO OTHER LOVE    (Nos.41, 46, 57 & 60)

 

Nos.41 and 60 are both longer versions, distinguished by a piano solo (Buddy Cole?) and a repeat of the lines beginning, “...hurry home, come home to me...” - Both renditions are identical:

 

No. 60 Intro:    “...Rodgers and Hammerstein’s, “No Other Love””

 

No. 41 has no introduction.

 

Nos.46 and 57 are both shorter versions which do not include the above-mentioned piano solo or word repetition.  Both renditions are identical.

 

No. 46 Intro:    “...from “Me And Juliet” - “No Other Love””

 

No. 57 Intro:    “...here’s a song called, “No Other Love””

 

OH!    (Nos.48 & 56) 

 

Both renditions are identical:

 

No. 48 Intro:    “...song from the Twenties, by the way” - Mr. Trotter!”

 

No. 56 Intro:    “...I’d kinda like to sing “Oh!”

 

OH! BABY MINE (I GET SO LONELY)    (Nos.63, 64 & 66)

 

All renditions are identical.  Nos.63 and 66 are the opening number in the particular show in which they appear and both share the customary introduction from Ken Carpenter , “...and now, Ladies and Gentlemen.  Here’s Bing!”

 

No. 64 Intro:    “...recently recorded with the Guy Lombardo Orchestra - John Scott - Will you?”

 

OH! HOW I LAUGH WHEN I THINK HOW I CRIED ABOUT YOU    (Nos.45 & 57)

 

Both renditions are identical:

 

No. 45 Intro:    “...here is, “Oh! How I Laugh When I Think How I Cried About You - Ba-lue

 

No,57  Intro:    “...little lament called, “Oh! How I Laugh When I Think How I Cried Over You -Ba-lue

 

OH! TELL ME WHY    (Nos.67, 73 & 75)

 

No. 67 is a part medley with Gary and Lindsay Crosby.

 

Nos.73 & 75 are identical and the version which was issued commercially. 

 

O LITTLE TOWN OF BETHLEHEM    (Nos.12 & 52) - Part medley.  See also: Away In A Manger, Deck The Halls and The First Nowell.

 

No. 12 (1st)     “Yet in the dark streets shineth....”

 

No. 52 (1st)     “Yet in thy dark streets shineth....”

 

OPEN UP YOUR HEART    (Nos.2, 6, 10, 13, 15 & 22)

 

No. 15 Parodied version with Bob Hope and Rosemary Clooney

 

No. 22 Duet with Jimmy Boyd

 

No. 10 (1st)     “Open up your heart and let the love....” - Only version to display a word variation.  On the remaining versions, Bing commences, “Why don’t you open up your heart and let the love....”

 

No. 13 Shorter version which does not include the chorus beginning, “Baby, I’ve been mighty lonesome - Baby, I’ve been mighty blue...”

 

Nos.2 & 6 are identical:

 

No. 2   Intro:    “So, I’ll start things off with a nice little tune, written by Country Washbourne which I recently recorded for the Decca people, called, ‘Open Up Your Heart And Let Me In’ - John Scott - Shall we?”

 

No. 6   Intro:    “Say, here’s  a new, umh, new tune.  It’s rather a nice little tune written by Country Washbourne which I recently recorded for the Decca people, called ‘Open Up Your Heart And Let Me In’”

 

(To avoid any confusion it has been felt necessary to quote the above introductions, in full. A version of the song which is different to any of those mentioned above, appears on the issue, Broadway BR-111 “Crosbyana”.  The introduction for this item has strong similarities and runs thus, “Thank you, folks and thank you, Ken.  Just to start things off, this evening, here’s a nice little tune, written by Country Washbourne - It’s called ‘Open Up Your Heart And Let Me In’”.  The origin of this item is uncertain and on the evidence available, cannot be placed within the GE series)

 

PA-PAYA MAMA    (Nos.47 & 49)

 

Both renditions are identical.  They are also both the opening number in the particular show in which they appear and share the same brief introduction from Ken Carpenter, “... Here’s Bing!”

 

P.S. I LOVE YOU    (Nos.43 & 49)

 

No. 43             A longer version including a repeat of the lines commencing, “Write to the Brown’s just as soon as....” and is also distinguished by a trumpet solo.

 

No. 49 A shorter version which does not include the repeated lines or trumpet solo.

 

QUIET GIRL, A    (Nos.28, 29, 33 & 39)

 

All versions are identical.

 

No. 28 Intro:    “Here is the ballad from the piece”

 

No. 29 Intro:    “Here’s one of the lovely numbers from this piece”

 

Nos.33 & 39 share the same introduction: “The song is called, ‘Quiet Girl’”

 

ROW, ROW, ROW    (Nos.44 & 51)

 

Both versions are identical.  No. 51 is a re-broadcast of No. 44 and the only introduction for both is Ken Carpenter’s, “Here’s Bing!”

 

RUDOLPH THE RED-NOSED REINDEER    (Nos.11, 12 & 52)

 

No. 11 Duet with Ella Fitzgerald

 

No. 12 (1st)     “...but do you recall, the outstanding reindeer of all”

 

No. 52 (1st)     Ah! but do you recall, ‘bout the most famous reindeer of all”

 

SALOMEE WITH HER SEVEN VEILS    (Nos.30 & 32)

 

Both versions are identical.

 

No. 30 Intro:    “...our interpretation of Salome and how she danced”

 

No. 32 Intro:    “...it tells about Salome and how she danced”

 

SECRET LOVE    (Nos.54, 56, 59, 63 & 75)

 

All renditions are identical to each other and to the version mastered for commercial release. Possibly, some measure of proof may be derived from the fact that, on every occasion, Bing alters the lyric, slightly, to “Soon, I told a friendly star...”, instead of the correct - “So, I told a friendly star...”

 

No. 54 Intro:    “...very pretty thing entitled, ‘Secret Love’”

 

No. 56 Intro:    “...written by Paul Webster and Sammy Fain”

 

No. 59 Intro:    “...and we’re h’away!”

 

No. 63 Intro:    “...beautiful song, called ‘Secret Love’”

 

No. 75 Intro:    “...”’Secret Love’, ‘n’ here it is”

 

SILENT NIGHT    (Nos.12 & 52)

 

Both versions are without introductions and have no definable differences.

 

SILVER BELLS    (Nos.7, 10 & 51)

 

All versions are duets with a female partner.  In case of any confusion, the easiest means of identification occurs at the opening of the song.

 

No. 7   With Dinah Shore - The duet commences without the orchestra, “Silver Bells, Silver...”

 

No. 10 With Rosemary Clooney - There is an introduction consisting of 12 notes on a ‘toy’ piano

 

No. 51 With Ella Fitzgerald - There is a five second string introduction by the orchestra

 

SINGIN’ IN THE RAIN    (Nos.62 & 68)

 

Both renditions are identical.  They are also both the opening number in the particular show in which they appear and share the same brief introduction from Ken Carpenter, “... Here’s Bing!”

 

SLEEPY TIME GAL    (Nos.6, 18 & 33)

 

No. 6 is the only version to include the closing remark also evidenced on the commercial issue, “She’s awake now, this chick!”  This remark has been edited (?) from the remaining versions which otherwise are identical to the above and each other.

 

No. 18 Intro:    “...here’s one called, umh, ‘Sleepy Time Gal’”

 

No. 33 Intro:    “...and we’ve got Mr. Buddy Cole at the piano”

 

SLEIGHBELL SERENADE    (11 & 12)

 

Both versions are identical.

 

No. 11 Intro: “...John Scott - tinkle, tinkle!”

 

No. 12 Intro: “Here is ‘Sleighbell Serenade’”

 

SLEIGH RIDE    (Nos.9, 14 & 52)

 

At the close of the song, Bing indulges in “horse” talk, thus:

 

No. 9   Hoah, Boy! Hoah, Boy! Horsey Die Doh! Hee Up There! Aya, Boy!”

 

No. 14 “Hi Boy! Get Along There, Boy! Hey Up! Hey Up! (Whistle) (Whistle)”

 

No. 52 Hoah, Boy! Hey You, Boy! Git Along There! Hey, Boy! Get Up There! Git!”

 

SOMEBODY BAD STOLE DE WEDDING BELL    (Nos.64 & 69)

 

Both renditions are identical.  They are also both the opening number in the particular show in which they appear and share the same brief introduction from Ken Carpenter, “... Here’s Bing!”

 

SOMEBODY LOVES ME    (Nos.3 & 34)

 

Both renditions are identical to each other and the version which was mastered for commercial release.  Introductions are very similar and the only difference occurs, early.

 

No. 3   Intro:    “I like to do old favourites...”

 

No. 34 Intro:    “I like the old favourites...”

 

SOME ENCHANTED EVENING    (Nos.33 & 38)

 

Both renditions are identical.

 

No. 33 Has no introduction

 

No. 38 Intro:    “...for one of their loveliest and most enduring songs”

 

SOME SUNNY DAY    (Nos.8 & 11)

 

No. 8   (2nd)    “...Flyin’ away to my little bunch of happiness...”

 

No. 11 (2nd)    “...Flyin’ away to see my little bunch of happiness...”

 

SOMETHING TO REMEMBER YOU BY    (Nos.16 & 48)        

 

No. 16 (2nd)    “...It will see me through, like a charm, till...”

 

No. 48 (2nd)    “...It’ll see me through, like a charm, till...”

 

SONG FROM “MOULIN ROUGE”, THE  (WHERE IS YOUR HEART?)    (Nos.43, 51, 55 & 59)

 

No. 51 is a shorter version not including a repeat of the lines beginning, “It’s a sad thing to realise...”  The remaining three are all longer versions, including a repeat of the above-mentioned lines and are identical.

 

No. 43 Intro:    “...our guest this evening, Madame Toulouse Lautrec, Hm?”

 

No. 55 Intro:    “...the Number Two song from 1953, that is, ‘The Song From Moulin Rouge’”

 

No. 59 Intro:    “...without a band, I’m - I’m really a stage weight!” (Laughter)

 

STRANGER IN PARADISE    (Nos.55 & 57)

 

Both renditions are identical to each other and to the version that was mastered for commercial release.

 

No. 55 Intro:    “...you’re sweet”

 

No. 57 Intro:    “... beautiful ballad, - ‘Stranger In Paradise’”

 

SUMMERTIME    (Nos.35 & 39)

 

Both versions appear to be identical.

 

No. 35 Intro:    “...songs like ‘Summertime’”

 

No. 39 Intro;    “...from ‘Porgy And Bess’ - ‘Summertime’”

 

TAKES TWO TO TANGO    (Nos.7, 10 & 14)

 

All are duets with a female partner.  An immediate variation can be found in the first word of the song, “Takes two to tango...”

 

No. 7   (with Dinah Shore)                    “Takes” is sung by Dinah Shore, alone

 

No. 10 (with Rosemary Clooney)         “Takes” is sung by Bing, alone 

 

No. 14 (with Rosemary Clooney)         “Takes” is sung by Bing and Rosemary Clooney, together

 

TENDERFOOT    (Nos.37 & 41)

 

No. 37 is the version that was mastered for commercial release.

 

No. 41 is a much abbreviated version of one chorus.  Confirmation that this is not an edited version of No. 37 can be obtained, almost immediately, by examination of the following line:

 

No. 37 (1st)     “Teach him not to be afraid or that’ll be the end of him” (Whistle from Bing)

 

On No. 41 the whistle is substituted with a few notes on guitar by Perry Botkin.

 

THAT’S AMORE    (Nos.42, 48, 54 & 64)

 

All renditions are duets with a female partner.

 

Nos.42 & 48 are with Rosemary Clooney.  These are identical.

 

No. 42 Intro:    “...clamp it on ma watch chain”

 

No. 48 Intro:    “...let her go, Rosie!”   BUT

 

Nos.42 & 48    (Rosemary Clooney)     (2nd)    “...when the stars make you drool just like pasta fazool...”

 

No. 54             (Connie Haines)            (2nd)     “...when the stars make you drool joos a-like pasta fazool...”

 

No. 64             (Peggy King)                 (2nd)      “...when the stars make-a you drool just a-like pasta fazool...”

                       

THAT’S A-PLENTY    (Nos.8, 21 & 60)

 

All are duets with a female partner.  Should confusion arise, note the following variations:

 

No. 8   (w Connie Boswell)      (1st)     “Well now, you beat it out brother, there’s no other...”

            (Refer also to Note (c) for this programme)

 

No. 21 (w Peggy Lee)              (1st)     “A-beat it out brother, there’s no other...”

 

No. 60 (w Ella Fitzgerald)         (1st)     “Well, you beat it out brother, there’s no other...”

 

THAT’S WHAT A RAINY DAY IS FOR    (Nos.61 & 63)

 

Both renditions are identical.

 

No. 61 Intro:    “...John Scott - quickly!”

 

No. 63 Intro:    “...Get it going here, will yuh, boy”

 

THERE’S MUSIC IN YOU    (Nos.28, 29 & 34)

 

All renditions appear to be identical.

 

No. 28 Intro:    “...This is called, ‘There’s Music In You’”

 

No. 29 Intro:    “...from a motion picture called, ‘Main Street To Broadway’”

 

No. 34 Intro:    “...John, shall we then”

 

THESE FOOLISH THINGS    (Nos.29 & 50)

 

Part medley with Rosemary Clooney.  There are no definable differences.

 

No. 29 Intro:    “...That’s us...I guess - John!”

 

No. 50 Intro     “...medley of three is called, ‘These Foolish Things’”

 

THEY ALL LAUGHED    (Nos.43 & 46)

 

Both renditions are identical.  They are also both the opening number in the particular show in which they appear and share the same brief introduction from Ken Carpenter, “... Here’s Bing!”

 

THINK    (Nos.48, 51 & 55)

 

All renditions appear to be identical.

 

No. 48 Intro:    “...not a bad idea, ‘n’ it’s a good song too”

 

No. 51 Intro:    “...Think!  Do it now”

 

No. 55 Intro:    (Ken Carpenter) “...accompanied by John Scott Trotter and his Orchestra”

 

TILL I WALTZ AGAIN WITH YOU    (Nos.21, 23 & 28)

 

No. 28 (Part medley)  A shorter version not containing a repetition of the lines beginning, “Tho’ it may break your heart and mine....”

 

Nos.21 & 23 are both longer versions which include a repeat of the above-mentioned lines but to distinguish, examine the following line:

 

No. 21 (2nd)    “Till I waltz again with you....”

 

No. 23 (2nd)    “Till I waltz a-again with you”

 

TILL THE END OF THE WORLD    (Nos.1 & 2)

 

Both renditions are identical.

 

No. 1   Intro:    “...we got Red Nichols and the boys - You going to Mobile, a little boys? You ready?”

 

No. 2   Intro:    “...we got Red Nichols and the boys.  You ready?”

 

(It is patently obvious that the underlined portion of the introduction for No. 1 has been edited out, in order to create the introduction for No. 2)

 

TOBERMORY BAY    (Nos.70 & 72)

 

Both renditions are identical and if further proof were needed it can be found in a (near) ‘fluff’ by Bing when he almost puts “sunshine” before “golden” in the line, “Their loyal hearts are truer gold, believe me, than all the sss-golden sunshine on the bay”

 

No. 70 Intro:    “...drift lazily into ‘Tobermory Bay’, huh?”

 

No. 72 Intro:    “...’Tobermory Bay’ in Scotland

 

TO SEE YOU IS TO LOVE YOU    (Nos.10 & 11)

 

The best means of identification is from variations in Buddy Cole’s piano accompaniment. One of the earliest and most salient is as follows:

 

No. 10 (1st)     “...watch their little tricks (two notes) listen to their talk...”

 

No. 11 (1st)     “...watch their little tricks (a run of 8 or more notes) listen to their talk...”

 

TRYING    (Nos.20 & 25)

 

No. 20 (1st)     “...I’ll be tryin’ to impress you...”

 

No. 25 (1st)     “...And I’ll be tryin’ to impress you...”

 

VALENCIA    (Nos.35, 37, 44 & 49)

 

All renditions are identical.

 

No. 35 Intro:    “...reflects the bright, happy atmosphere of the that district”

 

No. 37 Intro:    “...John, shall we head for ‘Valencia’, por favor

 

No. 44 Intro:    “...Here then, we’re off to ‘Valencia’”

 

No. 49 Intro:    “...Here now, friends, is the flashy ‘Valencia’”

 

VAYA CON DIOS    (Nos.40, 44, 47, 54 & 69)

 

There are two distinct versions.  Nos.40, 44 & 47 are all longer versions which include a repetition of the lines beginning, “Now the dawn is breaking...” and all are identical.

 

Nos. 54 & 69 are shorter versions which do not include the above repeated lines and both are identical.

 

No. 40 Intro: “...here’s the very popular, ‘Vaya Con Dios’”

 

No. 44 Has no introduction BUT applause from previous number slightly overlaps the opening bars from the orchestra

 

No. 47 Intro:    “...made so very popular - ‘Vaya Con Dios’”

 

No. 54 Intro:    “...Number One song of the old year and here it is”

 

No. 69 Has no introduction.

 

VIOLETS AND VIOLINS    (Nos.41 & 60)

 

Both renditions are identical.

 

No. 41 Intro:    “...John - ‘Mon Coeur Est Un Violon’”

 

No. 60 Intro;    “...lovely French song, ‘Violets And Violins’”

 

WANTED    (Nos.65, 69 & 71)

 

All renditions are identical.

 

No. 65 Intro:    “...have a shot at it, here”

 

No. 69 Intro:    “...’Wanted’, that’s the name of it”

 

No. 71 Intro:    “...song called, simply, ‘Wanted’”

 

WAY DOWN IN JUNGLE TOWN    (Nos.68 & 75)

 

Part medley with Gary and Lindsay Crosby.  Both versions are identical and share the same introduction.

 

WAY DOWN YONDER IN NEW ORLEANS     (Nos.26 & 29)

 

Both renditions are identical.

 

No. 26 Intro:    “...selection which is, ‘Way Down Yonder In New Orleans’”

 

No. 29 Intro:    “...selection which is, that old favourite, ‘Way Down Yonder In New Orleans’”

 

WE JUST COULDN’T SAY “GOODBYE”   (Nos.29 & 50)

 

Both part medley with Rosemary Clooney.

 

No. 29 (1st)     “...so, I went back an’ I kissed her...”

 

No. 50 (1st)     “...so, I went back an’ kissed her...”

 

WHAT A LITTLE MOONLIGHT CAN DO    (Nos.40 & 45)

 

Both renditions are identical to each other and to the version that was mastered for commercial release.

 

No. 40 Intro:    “...It has been so planned, yes!”           

 

No. 45 Intro:    “...O.K. John, Let’s go!”

 

WHERE IS YOUR HEART?    (see “Song From ‘Moulin Rouge’, The”)

 

WHITE CHRISTMAS    (Nos.9, 12, 51 & 52)

 

No. 51 Duet with Ella Fitzgerald

 

Nos.9 & 12  Are both, renditions with the Rhythmaires and applause can be heard (as under-lined ) over the opening lines of the song, viz.,  “I’m dreaming of a White Christmas, just like the ones I used to know”. The pattern and the duration of the applause are exactly the same and the version heard on No. 12 is a re-broadcast of that heard on No. 9.

 

No. 9   Has no introduction.

 

No. 12 Intro: “...God Bless You and Merry Christmas”

 

No. 52 Is also with the Rhythmaires and the (spontaneous?) applause is not heard but even without this there is another slight difference:

 

Nos.9 & 12      (1st)     “...just like the ones I-I used to know...”

 

No. 52             (1st)     “...just like the ones I used to know...”

 

WHY DON’T YOU BELIEVE ME?    (Nos.18, 20, 22 & 28)

 

No. 28 Part medley - A shorter version not including a repeat of the lines which begin, “How else can I tell you... The remainder are all longer versions including a repetition of the afore-mentioned lines.

 

No. 22 (1st)     “...Mm, It just isn’t fair...” - This vocal artifice is not apparent on the other renditions BUT

 

No. 18 (3rd)    “...Why don’t (short vowel sound) you believe me...”

 

No. 20 (3rd)    “...Why don’t (long vowel sound) you believe me...”

 

WILD HORSES    (Nos.28, 30, 31 & 32)

 

There are two separate versions: Nos.28 & 31 are identical and Nos.30 & 32 are identical.

 

Nos.28 & 31    (2nd)    Oh! Even a dragon to keep you from me”,

                                    “You can make fools out of other good guessers” (The Rhythmaires)

                                    Oh! Put me in blinkers, I’d know where you’d be...”

 

Nos.30 & 32    The underlined exclamations are not apparent.

 

No. 28 Intro:    “...catch ‘em ‘fore they get to the South Forty”

 

No. 31 Intro:    “...Let’s go, John”

 

No. 30 Intro:    “...Le’s go, John”

 

No. 32 Intro:    “...Wild Horses!”

 

WISH YOU WERE HERE    (Nos.3, 7, 8 & 13)

 

No. 13 Part medley. A shorter version not including a repeat of the lines which begin, “They’re not shining the stars as bright...”  -   All other versions are longer, including a repeat of the afore-mentioned lines and appear to be identical.

 

No. 7   Intro:    “...a hit song from a hit show”

 

Nos.2 & 8  Share the same introduction: “..the Broadway production, ‘Wish You Were Here’”

 

YOU ARE TOO BEAUTIFUL    (Nos.49, 53 & 57)

 

All renditions are identical to each other and to the version that was mastered for commercial release.

 

No. 49 Intro:    “...I might try that”

 

No. 53 Intro:    “...Rodgers and Hart’s, ‘You Are Too Beautiful’”

 

No. 57 Intro:    “...the old ones - which makes three!”

 

YOU BELONG TO ME    (Nos.2, 6, 8 &13)

 

No. 6   (1st)     “...But just remember when a dream appears...” - Only version to contain this word difference.  Other versions, “...just remember when a dream appears...”

 

No. 13 Part medley.  A shorter version, not including a repeat of the lines which begin, “Fly the ocean in a silver plane...”

 

Nos.2 & 8  Are longer versions and have no identifiable differences and no spoken introductions

 

YOU’D BE SO NICE TO COME HOME TO    (Nos.29 & 50)

 

Both part medley with Rosemary Clooney.

 

No. 29 is distinguished by two ‘asides’ by Bing which occur after each of the first two lines. These do not appear in No. 50.

 

No. 29 (1st)     (Bing)   “You’d be so nice to come home to (‘member)”           

                        (R.C.) “You’d be so nice by the fire” (“I knew you knew it”)

 

YOU GO TO MY HEAD    (Nos.36, 38 & 61)

 

All renditions are identical.

 

No. 36 Intro:    “...it’s called ‘You Go To My Head’”

 

No. 38 Intro:    “...another great favourite - ‘You Go To My Head’”

 

No. 61 Intro:    “Mr. Trotter, would you support in this rendition?

 

YOUNG AT HEART    (Nos.62 & 64)

 

Both versions are identical.  Some proof can be furnished with the repeat of a ‘fluff’ by Bing, in the first chorus, when he sings, “...You can go to extremes with impossible dreams...” the correct line being, “You can go to extremes with impossible schemes...”

 

No. 62 Intro:    “...just file the umbrella, will you please?”

 

No. 64 Intro:    “...So, John, will you?”

 

YOU’RE JUST IN LOVE         (25 & 50)

 

Both are duets with Rosemary Clooney and can be separated by two asides by Bing.

 

No. 50 (1st - Rosemary Clooney)        “You don’t need analysing (“Oh! No!”)

                                                              It is not so surprising...” (“Tell me more”)

 

These interjections do not appear on No. 25

 

ZING A LITTLE ZONG    (Nos.1 & 2)

 

No. 1   Duet with Jane Wyman

 

No. 2   With the Bell Sisters


SUNDRY GUEST APPEARANCES 1952 - 1954

 

Bing’s switch to General Electric had, as outlined in the previous section, coincided with a major decline in radio audiences due to the competition from television.  His guest appearances sometimes tended to be spoken contributions rather than those where he was required to sing as will be seen from the following list.

 

1952

October 19 Bing is featured in 'Guest Star' a transcribed radio show (#291) and is heard singing ‘A-Round The Corner’, ‘The Noodlin’ Rag’, ‘I’ll Walk Alone’ and ‘I Can’t Give You Anything But Love’.

November 10 (9:30 - 9:45 a.m.) Bob Hope's new morning radio show premieres on NBC.  Bing is thought to have made a brief appearance.

 

1953

January 14 Guest appearance on Bob Hope radio show is broadcast on NBC.  Terry Moore also guests.

February 12 Bing acts as host for the Family Theatre radio production ‘Foreign Exchange’.

February 14 Bing makes a short, spoken contribution to the ‘Amos ‘N’ Andy’ radio show which celebrates their 25th. Anniversary.

February 15 Guests on the Jack Benny radio show sponsored by Lucky Strike Cigarettes on CBS with regulars Bob Crosby, Don Wilson and Rochester.  The show comes from the American Legion Hall in Palm Springs. Bing sings ‘Way Back Home’ with Bob Crosby and solos ‘Open Up Your Heart’. (The complete programme was issued as part of Radiospirits 40062 (6-CD set) “On The Road Again”)

February 17 Bing speaks for the Metropolitan Opera in a 15-minute programme aired on radio station WJZ in New York.

March 23 Bing makes a guest appearance on Dinah Shore’s radio show on NBC.  The show had been recorded in advance.

June 4 Bing makes a contribution to the BBC radio programme 'Star Spangled Salute'.  He sings 'Dear Hearts and Gentle People' accompanied by John Scott Trotter on the piano. His contribution had been recorded on May 14th. in Paris.

September 25 Narrates ‘This Game of Baseball’, a 60 minute recorded programme broadcast on CBS Radio.

October 25 Bing makes a radio tribute to Fred Ahlert, former ASCAP president and composer of ‘Where the Blue of the Night’. The tribute is broadcast on NBC.

 

1954

April 28 Bing appears in the Family Theatre radio production ‘The Losers’, also featuring Dan O’Herlihy.

February 14 Bing is host on “My Most Unforgettable Child”, a programme for UNICEF.  Others featured are Kirk Douglas, Greer Garson, Shirley Booth and Audrey Hepburn.

November 21 ‘The Thanksgiving Hour’, a radio programme broadcast over the Mutual Network, features a story called 'Miss Clara' and Bing takes part together with Ethel Barrymore, Pat O'Brien and Perry Como.

November 21 The weekly CBS radio show, ‘The Hallmark Hall of Fame’, broadcasts a memorial tribute to the late Lionel Barrymore (the show’s former host) and Bing makes a short contribution.

 

Go to the Final Radio Years

 

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