Sunday, March 17, 2024

AUDIO ASPIRIN: EILEEN

Friday, March 15, 2024

BING'S DISCOGRAPHY: MARCH 15, 1957

Here is a quick recording session that Bing had 67 years ago!


Date: 3/15/57

Location: Los Angeles
Label: CAPITOL (US)
"Man On Fire" film title


Bing Crosby (voc), Nelson Riddle and his Orchestra (orc)
a. 16694-1 Man On Fire(Sammy Fain, Paul Francis Webster) - 2:54
EMI (UK) (EMI) CD7243 5 2281527 — LEGENDS OF THE 20th CENTURY - BING CROSBY (1999)
b. 16693-1 Seven Nights A Week(Jimmy Van Heusen, Sammy Cahn) - 2:31

Both titles on:
HARRY LILLIS (UK) CDHLYCD-001 — HARRY LILLIS - STEP TO THE REAR (limited circulation) (1993)
JASMINE (UK) CDJASCD 495 — NELSON RIDDLE - LET'S FACE THE MUSIC AND DANCE (2008)

March 15, Friday. Records “Man on Fire” and “Seven Nights a Week” for Capitol Records with an orchestra conducted by Nelson Riddle. Bing’s record of “Man on Fire” is heard by the producers of the Man on Fire movie and is brought in to be used in the opening titles of the film.



Sunday, March 3, 2024

A LETTER FROM BING: FEBRUARY 9, 1957

 Here is an interesting letter that Bing wrote to the manager from a Las Vegas hotel and casino...




Monday, February 19, 2024

BEAUTIFUL MEMORIES

Beautiful Memories is a 1976 vinyl album recorded by Bing Crosby for United Artists Records, and the last album of new material to be released during his lifetime. Eight of the songs were recorded at Devonshire Sound Studios, Magnolia Boulevard, North Hollywood on October 19 and 29, 1976.[1] The orchestral accompaniment was recorded in London on September 10 and 11, 1976 and Crosby dubbed his voice in Los Angeles. Of the other four songs on the LP, one had been recorded on February 26, 1975. The title song was dubbed by Crosby on November 5, 1976, also at United Western Studios, using the track recorded in London. Crosby was accompanied by Pete Moore and his Orchestra throughout the album and by The Johnny Evans Singers on certain tracks

The UK magazine The Gramophone reviewed the album saying: "Sadness inevitably surrounds “Beautiful Memories” by the late Bing Crosby, which must be one of the last LPs we will enjoy by this splendid gentleman with fifty years of consummate artistry to his credit, although we are advised of at least one more in the pipeline from Polydor. It is not his best album by any means, but Crosby never made a bad one to my knowledge, and there is much of value and interest in his versions of mostly recent pop ballads such as “A Little Love and Understanding,” “My Resistance Is Low,” “When a Child Is Born,” and “The Woman on Your Arm.” It is certainly a very adequate valedictory souvenir from a singer who has left beautiful memories for a multitude around the world.


Track listing:

SIDE ONE:
1. "Beautiful Memories" Roger Cook, Herbie Flowers 3:46
2. "A Little Love and Understanding" Gilbert Bécaud, Marcel Stellman 3:17
3. "My Resistance Is Low" Hoagy Carmichael, Harold Adamson 2:18
4. "Children" Cyril Ornadel, Hal Shaper 3:52
5. "Déjà Vu (As Tho’ You Never Went Away)" Pete Moore, Ken Barnes 3:12
6. "When a Child Is Born" Ciro Dammicco, Fred Jay 3:22


SIDE TWO:
7. "The More I See You" Harry Warren, Mack Gordon 2:26
8. "What I Did for Love" Marvin Hamlisch, Edward Kleban 3:22
9. "Yours Sincerely" Richard Rodgers, Lorenz Hart 2:43
10. "We've Only Just Begun" Roger Nichols, Paul Williams 3:55
11. "The Woman on Your Arm" Randy Edelman 3:53
12. "The Only Way to Go" Marvin Hamlisch, Tim Rice 2:56


Sunday, February 4, 2024

THE BELLS OF ST. MARYS AND THE POSTWAR AUDIENCE

The Bells Of St. Marys
was more than a typical 1940s feel good film. It marked one of the first films in harrowing post-war era. Harrowing is a word that barely scratches the surface of the emotional abyss that is war. The uncertainty, the fear, and the profound loss cast long shadows over the human experience. At the end of it, there is often yet another difficult journey: rebuilding. It can be tumultuous. 

In the wake of World War II, as the world struggled to rebuild and heal, Leo McCarey's The Bells of St. Mary's in 1945 not only became the highest-grossing movie of its time but also offered solace and hope to a weary audience. This film captures the essence of wartime struggle, not through the lens of battlefields and violence, but by delving deep into the hearts and minds of its characters. The film's main characters, Sister Benedict (played by Ingrid Bergman) and Father O'Malley (portrayed by Bing Crosby) are determined to achieve their shared goal of saving a school in financial crisis in spite of their differences and despite a myriad of constraints they face.



The Bells of St. Mary's is a feel-good tear-jerker sequel to McCarey's 1944 film Going My Way, which was the highest-grossing film of the year and won seven Academy Awards, including Best Picture. In The Bells of St. Mary's, Bing Crosby reprises his role as Father O'Malley, a charismatic priest assigned to a struggling Catholic school, St. Mary's. There, he clashes with the school's traditional principal, Sister Mary Benedict. Father O'Malley's unconventional approach to leadership conflicts with Sister Benedict's strict way of instilling discipline in the students. For example, when Father O'Malley finds two students fighting, he praises the one who threw the best punches, declaring him the winner. This move doesn't sit well with Sister Benedict, who had advised students against retaliation. Father O'Malley argues that boys should be prepared for the world, which they may have to face war in one day. Considering that this is immediately after World War II, it makes sense, even to the conservative Sister Benedict, who secretly trains the bullied boy on self-defense and encourages him to face bullies head-on.

78 years after its release, The Bells of St. Mary's retains its relevance. In an era marked by division and turmoil, the film's message of unity, understanding, and compassion is as vital as ever. It serves as a timeless lesson that, even in the face of adversity, individuals from diverse backgrounds as exemplified by Father O'Malley and Sister Benedict can come together to create positive change. The enduring popularity of the film attests to its ability to transcend time and inspire new generations...




Friday, January 19, 2024

BING RUMOR: BING AND PSYCHEDELIC FILMS

BING RUMOR: There is a rumor that Bing was involved in psychedelic films in the 1940s!

In the 1940s, British psychologist Cecil Stokes created Auroratone films, deeply psychedelic short movies meant to be shown at psychiatric institutions to help treat patients suffering from mental disorders, particularly war veterans. In 1942, Stokes was granted US patent #2292172 for the Process and Apparatus for Producing Musical Rhythm in Color. This was the year before Albert Hoffman discovered the hallucinogenic properties of LSD and two decades before psychedelic light shows appeared at rock and avant-garde music performances.

According to Wikipedia, "the patterns were produced by using crystallizing chemicals and polarized light, which were then synchronized to a variety of recorded musical tracks… Bing Crosby was involved with these films due to his being a shareholder in the [Auroratone] foundation and his interest in the rehabilitation of veterans."

SOURCE


Friday, January 5, 2024

BING AND HIS LATER CAREER

Over 120 years ago on May 3rd of 1903, Harry Lillis “Bing” Crosby Jr. was born in Tacoma, Washington. He would go on to have a prolific career in recording, radio, film, television, and even recording technology. Despite his stature, he wanted to slow down his hectic life, and after the death of his first wife in 1952, he slowly went into semi-retirement. When he got married again, he took it as an opportunity start a new family.

Because of this, Crosby gradually let himself slow down, however this was all to change. Following the Christmas of 1973, Bing started having serious health issues. By New Year’s Eve, Crosby was rushed to a hospital, and it turned out he had a tumor in his lung. Thankfully it wasn’t cancerous, and it was able to be removed, albeit two fifths of his left lung had to be removed. Speculation started on whether he would be able to sing again, but after his recovery he came back fiercely.


After the operation and recovery period, Bing came back with a vengeance. He signed a deal to do a few albums for United Artists, along with recording two TV specials. In 1975 alone he would record 5 albums and an audiobook along with many TV appearances in the United Kingdom to promote his upcoming albums.

Later that year, the realization he had been in show business for 50 years led Bing to get back on the concert stage throughout 1976, something he hadn’t done since the early 1930s. He did numerous shows throughout the United States and the United Kingdom. In 1976 alone Crosby took the stage thirty-five times. Performances from the London Palladium were turned into an album, although he recorded two other albums along with his yearly Christmas special and other various TV appearances.


1977 seemed like a great year for Bing. Concept albums, worldwide tours, and more TV shows were on the horizon. The first show was a televised version of his usual concert to complete the 50th anniversary celebration. After the show had completed, triumph went to tragedy as he fell twenty-five feet off of the stage when taking bows. Thankfully he didn’t suffer any major injury, only breaking a disc in his back. This had put a lot of plans for 1977 on the fence.

However, by August he was feeling well enough to go on the road again. He did his last American concert on the day Elvis Presley died, and went to Norway to do a show for the Red Cross. In September, Bing recorded a concept album, a Christmas TV special with David Bowie, and started another two week stay at the London Palladium. Going into October, the London Palladium performances continued, and he would do one last show on October 10. The next day he would do a photoshoot for his latest album and make his final recordings. Three days later, after winning a game of golf, Bing died from a heart attack at the age of 74, leaving a massive legacy behind him. All of the accomplishments in his last few years alive would be impressive alone, but when you add on the quality of them, it really shows what he could do at this time of his life....





Sunday, December 31, 2023

HAPPY NEW YEAR!

 Here's to 2024 and all the Bingfans out there!




Friday, December 22, 2023

PHOTOS OF THE DAY: BING AND HIS CHRISTMAS SPECIALS

 No one in the modern world meant more to Christmas than Bing Crosby. Here are som candid shots from his Christmas specials through the years...




with Frank Sinatra










Monday, December 18, 2023

HOLIDAY INN: A 1942 REVIEW

 Here is the original review of the classic Holiday Inn. This appeared in the NY Times on August 5, 1942...


That man Irving Berlin has been whistling to himself again. Not content with turning out the most rousing Broadway show in years, he has scribbled no fewer than thirteen tunes for "Holiday Inn," the light-heartedly patriotic musical which opened last night at the Paramount in conjunction with a gala stage show for the benefit of the Navy Relief Society.

 Mr. Berlin may not know a great deal about notes, as he confesses, but he does know a lot about music. If there are no tunes in "Holiday Inn" that quite match those of his army show, Mr. Berlin still has created several of the most effortless melodies of the season—the sort that folks begin humming in the middle of a conversation for days afterward. At present Paramount prices Mr. Berlin's tunes are being sold dirt cheap.As it happily happens, the film has caught the same effortless moods of the music. Mark Sandrich, director and producer, has taken the inevitable melange of plot and production numbers and so deftly pulled them together that one hardly knows where the story ends and a song begins—a neat trick if you can do it. That it comes off, of course, is largely due to the casual performances of Bing Crosby, who can sell a blackface song like "Abraham" or turn an ordinary line into sly humor without seeming to try, and Fred Astaire, who still owns perhaps the most sophisticated pair of toes in Christendom. 


Mr. Astaire has rarely danced with more alert, carefree abandon than among the exploding torpedoes and red devils of "Say It With Firecrackers." And in Marjorie Reynolds, a very fetching blonde young lady, Mr. Astaire has a new partner who can hold her own at all speeds.Mainly "Holiday Inn" is a series of musical episodes, each of which takes an American holiday for cue. But they have been strung ever so neatly on the amorous rivalries of Mr. Astaire, who wins all the battles except the last, and Mr. Crosby, a musical lazybones who retires to a New England farm which he converts into a night club for holidays only—thus leaving him 300-odd days a year for pure loafing.


And while the pair desperately conspire against each other for the hand of Miss Reynolds, Mr. Berlin's music sets the moods from the romantic "Be Careful, It's My Heart," to nostalgic "Easter Parade," tender "White Christmas" and rollicking "Let's Start the New Year Right."Along the way the author and director have bobbed up with some engaging tricks such as the befuddled Thanksgiving turkey hopping from one Thursday to another or the Washington's Birthday Minuet, in which a bland Mr. Crosby continually breaks up Mr. Astaire's precise and dainty footwork with hot licks in the accompaniment. It is all very easy and graceful; it never tries too hard to dazzle; even in the rousing and topical Fourth of July number it never commits a breach of taste by violently waving the flag. Instead it has skipped back over the year in an affectionate and light-hearted spirit. In a month without a holiday, "Holiday Inn" offers a reason for celebration not printed in red ink on the calendar.

HOLIDAY INN, screen play by Claude Binyon; adaptation by Elmer Rice; based on an original idea by Irving Berlin; produced and directed by Mark Sandrich for Paramount; music and lyrics by Irving Berlin. At the Paramount.Jim Hardy . . . . . Bing CrosbyTed Hanover . . . . . Fred AstaireLinda Mason . . . . . Marjorie ReynoldsLillie Dixon . . . . . Virginia DaleDanny Reid . . . . . Walter AbelMamie . . . . . Louise BeaversCigarette Girl . . . . . Judith GibsonHat Check Girl . . . . . Katharine BoothGirls and Dancers . . . . . Barbara Slater, Aline Brandes, Louise La Planche, Laurie Douglas, Lynda Grey, Lora Lee