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 3 – Details, alphabetically, the people and places concerned in the programmes.
Go
to 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.
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
April In
As Time Goes By 65
Auf Wiederseh’n,
Sweetheart 1,3
Away In A Manger 12,52
Because You’re Mine 10,13,17
Begin The Beguine 37
Belle Of
Beside A Babbling Brook 27
Betty Co-Ed 47
Between The Devil And The
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
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
Down In
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
Great Day! 55
Gypsy In My Soul 50,54,58
Hallelujah! 57
Harbour Lights 24
Hawaiian
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
Imagination 66,
Indian Summer 43
I Never Knew (I Could Love Anybody) 16,36
In The Good Old Summertime 73,75
I Still Suits Me 63
It Ain’t Gonna Rain
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
La
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
Mister Tap Toe 24,27
Mon Coeur Est Un Violon 37,39,46
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
O Little Town Of
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
Roll Dem 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
Sleigh Bell Serenade 11,12
Sleigh Ride 9,14,52
Small Fry 32
So In Love 73
Somebody Bad Stole De Wedding
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
Stranger In
Summertime 35,39
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
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
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 Yonder In
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
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
April In
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
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 Lovin’ Dat Man 63
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
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
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
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
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
Stars Began To Fall 4
Stranger In
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
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
Details, alphabetically, the people
and places concerned in the programmes.
Arden, Toni 70,73
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
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
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”
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
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
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
No. 15 (Rosemary Clooney) (1st)
“.... shoes made in London (Mmmmh!) and....”
No. 26 (Rosemary Clooney) (1st)
“.... shoes made in
No. 20 (Joanne Gilbert)
(1st) “.... shoes made in
CHRISTMAS SONG. THE (No.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.
C.O.D (aka "Send Me COD My Broken Heart") (No.42)
An alternative version recorded for the GE show but not used has subsequently surfaced and differs as follows:
well you can keep them too (1st)
No. 42 – well
is sung (orchestral introduction)
(alternate version) – well is missing (2 note piano
introduction)
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...”
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...”
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
No. 68 Trio with Gary Crosby and Lindsay
Crosby.
DOWN BY THE
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)
There is one slight variation and 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?”
In Nos. 44 and 46, in the first use of the phrase "Ev'rybody loves my baby", the second note ry is sung lower. In No. 60, second note ry is sung higher.
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
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...” In addition there is a difference between Nos.19 & 25
No. 15, No. 16,
No. 19 – night (no mordent)
No. 25 – ni-ight (mordent)
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
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!”
Both versions are duets with different female
partners:
No. 53 (with Ella Fitzgerald)
(1st) “...Every girl in
No. 58 (with Connie Russell) (1st)
“Oh! Every girl in
IT’S
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,
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
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...”
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.
keep it gay (final)
Nos. 41, 45 – keep is sung on same note as following two (3 piano note
introduction)
No. 58 – keep
is sung on a higher note than following two (orchestral introduction)
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
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: “
LIVE OAK
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
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,
No. 39
Intro: “...or some other
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!”
An alternative version recorded for the GE show but not used has subsequently surfaced and differs as follows:
Oh, oh, oh, oh, how my super-sentimental
wonderful sweetie can love (into orchestral break)
No. 56 – oh sung 4 times
alternate version – oh sung 3 times
OH! BABY MINE (I
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
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’”
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)
Round
yon virgin mother and child (1st)
No. 12 – pause between virgin mother
No. 52 – no pause between virgin mother
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
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
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”
SLEIGH BELL SERENADE (11 & 12)
Both versions are identical.
No. 11 Intro: “...John Scott - tinkle, tinkle!”
No. 12 Intro: “Here is ‘Sleigh Bell 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
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
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
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
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
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
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
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
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)
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
‘
No. 72 Intro: “...’
TO
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...”
All renditions are identical.
No. 35 Intro: “...reflects the bright, happy
atmosphere of the that district”
No. 37 Intro: “...John, shall we head for
‘
No. 44 Intro: “...Here then, we’re off to
‘
No. 49 Intro: “...Here now, friends, is the
flashy ‘
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
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
Part medley with Gary and Lindsay
Crosby. Both versions are identical and share the
same introduction.
‘WAY DOWN YONDER IN
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
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
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.
No. 7 Intro: “...a hit song from a hit
show”
Nos.2 & 8 Share the same introduction: “..the Broadway production, ‘Wish You Were Here’”
wish you were here
(final)
No. 3 – were
is sung quickly
No. 7, No. 8 – were is sung slowly
YOU
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
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
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
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 (
1953
January 14 Guest appearance on Bob Hope radio show is broadcast on
NBC. Terry
Moore also guests. Bing sings "To See Yoy Is to Love You" and the song is included in Sepia
CD 1369 "Guest Star Time (1935-1953)".
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
February 17 Bing speaks for the Metropolitan Opera in a 15-minute
programme aired on radio station WJZ in
March 23 Bing makes a guest appearance on
Stanza got an
added shot via Bing Crosby’s guest stint. Crooner’s patter was brief and
breezy and the duo got off a brisk treatment of “You’ll Never Get Away.”
Crosby’s Decca etching of “HushA-Bye” got a spin and a-solid plug. It
was a cheerful and tuneful stanza and the beginning of another winning series
for chevvy.
(Variety, March 25, 1953)
June 4 Bing makes a contribution to the
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