Chick Bullock was one of many of Bing's s contemporaries. A very good vocalist. He also produced a lot of recordings, always hoping to achieve at least some of the success that Bing was producing in the early 1930s.. This 'I'm Playing With Fire" is very good. It has previously escaped me. I would highly recommend finding Chick's early 30's versions of 'Stardust' & "There's A Cabin In The PINES-not Sky! Thank you/

My interest in Pola Negri ,noted in my book 'Just Remember This', was tied to the song PARADISE. It was obvious that Pola's  sultry 1932 filmed version ,in "A Woman's Command", did command attention. Her relationship with Russ Columbo more than likely led Russ to officially record the song. Around the same time, Bing also recorded it. More so, it's an interesting comparison ,as both  recorded versions sound so much the same! A fine battle of the crooners/This RING story.in my research ,is also interesting. For sure Popa lived to (about 90), passing away in 1987.According to an excellent book, " You Call It Madness", by Lenny Kaye, Pola DID get an 'opal ring', as a gift from  Rudolph Valentino (many years earlier, before he passed away), & gifted it to Russ Columbo. She obviously did not pass away for over another 50 years, although ANOTHER woman,, actress Dorothy Dell involved with Russ, did.(Dorothy, due to an accident, passed away in July,1934,Russ,due to an accident, a few months later).While in 1934, before his death,Russ was involved with yet another actress,Carole Lombard. Around this time,Carole was also a co-star with Bing, in WE'RE NOT DRESSING). Carole would outlive Russ until 1942, due to an air crash, while selling war bonds.By that time Carole had become married to Clark Gable./According to Kaye, that 'opal ring', became part of the estate, of the young crooner who was only 26.(Bing was at his funeral). /Where is that ring now? It does have a story. I would be interested in any more info./Thank you/

Gary Giddins was already an established 'jazz' writer, before getting deeply into Bing. His fresh and crisp writing, in 2 books (so far) about Bing ,are very well researched, and easy to follow. I look forward to his 3rd volume. I do have however, ONE issue./ In his first volume A POCKET FULL OF DREAMS, on page 183, he notes that Rhythm Boy (Bing) was NOT in the studio (Sept.19,1928) to be part of the  vocals in Paul Whiteman recording CHRISTMAS MELODIES.(Giddins reports the Rhythm Boys were in Toledo). Before this time, ALL previous discographers ,including the likes of ( Edward J. Mello & Tom McBride) report the Rhythm Boys vocals ON the recording. Some specifically claim his vocal on NOEL. Had the recording been done in the morning, before leaving New York City? Or the date cancelled? Or the recording date itself wrong? It should also be noted that since Giddins, others ,like (DAHR),still claim the Rhythm Boys on this 1928 recording. My own ears cannot be sure-although ,even without Bing, it's still an excellent recording. With Bing, it's a bit more.

I agree. Bing's 1946 Decca recording revival of the 1920s classic, more so re-defined it with (his) own style. While intending to promote his contemporary film of the same name, it's this Decca recording that lingers. 

I will TRY ONE-The timeline of Bing Crosby's decades of recordings find tech standards clashing from the 1920s to the 1970s. lot of recording fodder, rated good or not, is easily forgotten. As rated by critics, in his time, the SONG that was MOST noted was STAR DUST, A lot of recordings were made of it, by a lot of people. I think even Gary Giddins favors a version by Nat King Cole, Bing himself recorded it twice, in 1931 & 1939.For my ears, Bing's1939 version is at least ok. Pleasant enough, yet for the song, Bing had already defined it in 1931.Like so many other standards of the day, Bing's superb vocal is largely buried or ignored. So, in ranking A well-known song, then an artist, the song belongs to Bing. /

Harlan Lattimore! Yes, a fine black crooner, who was a band singer with the Afro-American Don Redman Orchestra, a fixture in 'Connies Inn', a popular 1930s Harlem night spot, rivaling another gangster led entity, the 'Cotton Club'. Harlan also produced a group of solo performances, away from Redman. Including the white led bands of Ed Lloyd, Víctor Young, Owen Fallon. Hé sounds just like Bing, or perhaps Bing sounds just like him? Of the 25 titles I have of his, perhaps his versions of "With Summer Coming On" & "Some Day Wel''ll Meet Again " clinch it? /A few more Harlan notes: /1. Don Redman was no stranger to Bing (on "Lawd You Made the Night Too Long"). Was Bing Aware of Harlan? /2. Harlan Lattimore did record after 1936.I have a post war recording "I Love You, I Do ", with the Henry Glover Orchestra, that I had originally thought to have been recorded before 1950.I have since found out that the (King-4359) ditty was recorded in 1950.

It should be also noted that in the 1931 (US), records were not permitted to be broadcast on commercial radio. Recording artists did all they could to promote recordings over live radio broadcasts, live personal appearances on radio or, if lucky enough, in film. There was also a lot less people purchasing records, as the great depression, hit the country & world very hard. Many found an investment in a radio, indeed a better, if any, investment for entertainment. While some other contemporaries of Bing did manage to hang on, there were NO other (1931) COMMERCIAL entertainers that even came close to Bing Crosby's combined SOLO success in recordings, radio & film. /I would also venture, without the depression, most of those great VICTOR & Brunswick masters would have been million sellers! I more so suspect & speculate that SOME of those original VICTOR & Brunswick master, counting the small original sales & linking them to re-issues, since (1931), did sell over a million.1931 recorded titles include "Wrap Your Troubles in Dreams". "Just One More Chance", Star Dust" & especially "Where The Blue Of The Night".

Harold Arlen's own recording pre-ceded the ETHEL WATERS (1933 Cotton Club) BRUNSWICK recording of STORMY WEATHER. It was Ethel's own classic recording, noted by her own stage triumph that forever clinched it. Around the same time, Ivie Anderson (Ethel's own Cottn Club understudy), recorded a fab film short of the song. Years later in 1941, Lena Horne , produced a great recording on Victor. Later, in 1943 , Lena's filmed production defined it as something special. Frank Sinatra also a fan of Ethel, also recorded STORMY WEATHER. Taste's may vary, yet it's still ETHEL WATERS original 1933 recording that is still hard to beat! Too bad Bing did not record it then-or if he did it on radio in 1933, I have yet to find it! (Also note that ETHEL WATERS was a huge influence on popular music in the 1920s & 30s.More so, among her many followers, was Bing himself/

Ian /I can't agree.This (later) Crosby vocal,while ok,had lost it's punch.On (especially) YESTERDAY WHEN I WAS YOUNG,noting stereo & a well done arraingement,Bing at least appreciated great material & did it well enough.Some years ago,my (late) friend Pete Cakanic (who used to contribute to BINGANG) ,noted THIS song as ONE of Bing's best.So your ears are at least in good company!For me, Charles Aznavor had defined it./ Another thing about Pete-When he challaged me about Bing's original song  I WISH I WAS ALLADIN,I dug it up an my car's (home made ) cassette player,& startled him! He seemed to indicate it was his favorite song! IFor my ears, it's Bing at his very best! Pete got this one right!Tastes vary,yet the real time between these song titles indicates a huge vocal change.I wish the Alladin vocal for Yesterday-not possible,but that's ok.

Georgia On My Mind?Hoagy Carmichael's (1930) vocal is just ok.Yet Louis Armstrong's contempary version was-it's a winner!Whatever Louis's vocal was-that's something else.Ray Charles's (1960s) revival was sung well,as well as a best seller.Bing's versions,sorry-I cannot agree that he did it at  right time.He should have recorded it in the early 1930s.Ella? Yeah,she's good,but that's ok,as it is better than Bing's .You can like Bing,but he should not have even attempted it.However,for my ears,Georgia On My Mind BELONGS to ETHEL WATERS,Her (1938) Bluebird recording of the Carmichael written song is melodious & sweet,in her masterful vocal.

I was not aware of Margaret Whiting's contemporary 1956 version of TRUE LOVE.Like most of her records, she's a pro,an already OLD pro.In 1957,Elvis Presley also recorded this fine (Cole Porter) penned song.It's also done well,as well putting his own (then new) vocal style.Perhaps adding a slight bit of drama in a still mello mood? This would turn out to be the only Cole Porter tune that Presley would ever record,& speculation had it that Porter himself did not like him.Elvis was (then) a young upstart anyway.It's also kind of sad .Yet Porter already HAD already made it years before,and getting older,as it's problems.It's not hard to figure that Bing & Frank Sinatra HAD defined MOST of Cole's songs.You CAN consider the 'Hight Society' LP the last of Porter's GREAT soundtracks-& Bing (with Grace Kelly) on TRUE LOVE,the HIT,the original model for later versions,including Elvis's re-working.

Something kind of interesting-A recent showing of the  ( pre-code) 1932 film on TV  "Bird Of Paradise',found the beutiful Dolores del Rio truly dominating the film,A VERY  short, but interesting rendering  of Bings  ' Where The Blue Of The Night;, from an actor I have identiied as Bert Roach ( although it could be Skeets Gallagher-who actually appeared in a real  Crosby film) .A bit later in the film, Joel McCrea hums short  a bit of "Where The Blue Of The Night" as well.It's no great thing, but adds to the fun of the movie,when Dolores is not seen! It is also a good look  of just how popular Bing was  with his (then) 1932  contemporaries .