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My father is adamant that Elvis was more popular than Bing, and won’t listen to evidence and mentioned how Elvis would go from high to low in songs, what’s probably the best example range wise from Bing in a song? I’m guessing something from the mid 30s, but I’m not sure. Could someone lend a hand?
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The baritone quality of both vocals be (sometimes) slip into a tenor, or both. Perhaps Bing's DOWN BY THE RIVER (Decca) /TEMPTATION (Brunswick)/ AT YOU COMMAND (Brunswick) & I SURRENDER,DEAR (Victor) /BLACK MOONLIGHT (Brunswick) & DEEP PURPLE (Decca) seem to find that vocal ability?/ Other titles like AFTER SUNDOWN (Brunswick), HERE LIES LOVE (Brunswick) ,HOW DEEP IS THE OCEAN (Brunswick),YOU'RE STILL IN MY HEART (Brunswick) & WITH SUMMER COMING ON reveal a vocal with a more playful baritone, with some power, at times./As far as comparisons between these very influential performers, perhaps it's best to have titles recorded by BOTH? / They are :
SILENT NIGHT
BLUE HAWAII
WHITE CHRISTMAS-the most debated-Elvis's was banned widely in 1957.
I"LL BE HOME FOR CHRISTMAS
HERE COMES SANTA CLAUS
YOU BELONG TO MY HEART
TRUE LOVE
THE WIFFENPOOF SONG ( Elvis as VIOLET)
HARBOR LIGHTS
BEYOND THE REEF
HAVE I TOLD YOU LATELY THAT I LOVE YOU
ADESTE FIDELES ( Elvis as O COME ALL YE FAITHFUL)
WINTER WONDERLAND
THE FIRST NOEL
DANNY BOY
AULD LANG SYNE
EL RANCHO GRANDE
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For vocal range, I would look at his 30s material - Bing was nearly operatic. I would listen to "A Faded Summer Love" and "I've Got To Pass Your House".
I think Bing's 1950s voice was the most pleasing to me as a crooner. His version of "You Are Too Beautiful" and "Love In A Home" are masterpieces.
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I completely agree with David about the nearly operatic quality of Bing's voice in the early 30s. I would also suggest the classic '33 version of 'Home On The Range'. It's a masterclass in controlled 'mezza-voce' singing, and the ease with which Bing handles the upper reaches of the melody suggests - to my ears at least - that his vocal range actually extended some way beyond what we hear on disc.
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jeremyrose wrote:
I completely agree with David about the nearly operatic quality of Bing's voice in the early 30s. I would also suggest the classic '33 version of 'Home On The Range'. It's a masterclass in controlled 'mezza-voce' singing, and the ease with which Bing handles the upper reaches of the melody suggests - to my ears at least - that his vocal range actually extended some way beyond what we hear on disc.
Home On The Range is good one. As is Black Moonlight, Temptation...so many great records he made in the 30s.
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I would ADD the following as titles rendered by BOTH Bing & Elvis :
ALOHA OE
WHAT A FRIEND WE HAVE IN JESUS
&
NEW VIENNA WOODS ( Elvis as TONIGHT"S ALL RIGHT FOR LOVE)
This title found Presley's version recorded BEFORE Bing's version ( on his 2nd LP with Rosemary. It is very doubtful that Bing ( & Rosemary) even knew that Elvis had recorded it (in 1960). This comparison ,something I missed myself, ( in my book-JUST REMEMBER THIS). That 'traveling two beat', distracted me! I should have paid more attention! / These vocal comparisons SHOULD compliment BOTH of these popular singers ,noting the gap in time. As taste is (always) involved , it should be as FACT that Crosby's strong & durable baritone is 2nd to NO ONE, despite aged recording technics.