Bing Crosby

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  • Biography
  • Back Stories
  • First Person
  • The Great Songs
  • Career Highlights

There’s no more important subset of American popular singers than the crooner, whose smooth, mellow sound is “easy listening” in the best sense of the phrase. Crooners require no effort on the part of the listener, who can just sit back and spend some quality time with a good voice, some nice tunes, and terrific arrangements. Bing Crosby was the king of the crooners. His sleepy-eyed, “buh-buh-buh-boo,” pipe-in-mouth, hat-down-low style of singing lasted for almost fifty years and we never grew tired of it. Bing was always professional, always busy, filling up every spare moment with either singing or swinging―a golf club, that is.

Crosby was a transitional figure but also his own man and most of all, a great talent.

Whereas Jolson wore his emotions on his sleeve, his style stripped bare and without nuance, the next great singer, Bing Crosby, kept his personality in check. He gave us nothing to make us cry, nothing to make us laugh―but he could draw a big smile, a pang of nostalgia, a wistfulness. Crosby dealt in emotions lite, keeping the audience entertained, singing as if he were singing just for you, and all without offering a clue as to who he was or what he thought. We bought it all. He asked little of us and we asked little of him.

Even Bing’s friends and family couldn’t tell what was going on behind his façade. Dogs wag their tails when happy, snarl when they’re mad. Cats flick their tails when they’re annoyed. Bing had his own set of signals and we were forced to look for them in order to discover the person underneath the performance.

For Maxine Andrews, it was his hat: “He could be very moody, and when he came into the recording studio we could always tell what mood he was in by looking at his hat. If his hat was square on his head, you didn't kid around with him. But if it was back a little bit, sort of jaunty, then you could have a ball.”

His own wife, Kathryn, searched for clues in his dress: “People who didn't know thought Bing had difficulty expressing affection. Not at all. As I was to learn much later, the secret was in that top button on the pajamas. If it was fastened, it was going to be a quiet read-in-bed and lights-out-at-10 p.m.-after-chaste-prayers [night]. If it was unbuttoned, however, watch out.”

Hats and pajamas as the windows to a man’s soul? Some claimed he was self-absorbed but perhaps he was just introspective. That’s why Johnny Burke was the perfect lyricist for Crosby, his work full of down-home homilies, the joys of living simply and simply living, the notion that money can’t buy happiness.

Though Crosby was one of the richest men in Hollywood, and certainly enjoyed his wealth, he was never pretentious. As Wilfred Hyde-White reported, “Sinatra would turn up with three or four Karmen Ghias. The doors would open and bodyguards would march down. But Bing would turn up in a little car, stop at the gate for his dressing-room key, and then park it himself! The difference was rather marvelous.”

His image, relaxed and easy-going, was carefully controlled. James Cagney noted, “Here he had been to all appearances perfectly loose and relaxed, but not at all. He was giving everything he had in every note he sang, and the apparent effortlessness was a part of his very hard work.”

We all know about the great friendship between Bob Hope and Bing Crosby. They mock-feuded, appeared on each other’s radio and television broadcasts, enjoyed a long relationship on film in the “road” movies, and popped up in cameos in each other’s film and stage vehicles. They honestly enjoyed each other’s company. They clicked. And yet, there’s no record of Bing and Bob ever getting together for a vacation, let alone a meal, in all their years together.

Perhaps he was the only one to truly know himself, but that’s true of most of us. Still, it doesn’t diminish one of the greatest singers of the 20th century. A man who brought us out of the acoustic age and into the electronic. Jolson could take or leave a microphone, his actions meant everything. Crosby embraced the microphone and used it to draw us into the music. He refined Jolson’s emotional peaks and smoothed out the edges on Jolson’s need for approval. He led the way to Frank Sinatra, a complex man who let us into his id. Crosby was a transitional figure but also his own man and most of all, a great talent. (KB)

First attempt

Crosby sang this Nacio Herb Brown song in the film, Going Hollywood. He remembered it as “my first attempt at presenting a song dramatically.” It became a huge hit and allowed him to expand his repertoire.Temptation

Resumé material

This song was a favorite with B.G. De Sylva, so he hired Mercer to work at Paramount and later, De Sylva, Glen Wallichs, and Mercer started Capitol Records.Bob White (Watcha Gonna Swing Tonight?)

A very clever fellow

“Johnny Mercer is a very clever fellow. We wrote some nice songs like ‘You Must Have Been a Beautiful Baby’–-he gave me that title. I wrote that from the title. And he wrote 'Jeepers Creepers' to the music."You Must Have Been a Beautiful Baby

Rather be a mule?

Der Bingle inadvertently inspired this song during a dinner party that included Johnny Burke and Jimmy Van Heusen. One of Bing’s children acted up and he berated the boy, comparing him to a mule. Burke fashioned that idea into a song the next day and the phrase “...or would you rather be a mule?” was born.Swinging on a Star

In New York for the holidays

One of the top 25 holiday songs of all time, “White Christmas” was written in New York City by Irving Berlin who was inspired by thinking back to his years in Hollywood and how he would long to be in New York for the holidays. He wrote the song in one day, plus a few more hours for polishing the melody and lyric. Introduced by Crosby in the film Holiday Inn, the song continues to be a remarkable success, boasting over 500 recordings that have sold over 30 million copies. More than 21 million of those were Crosby’s version.White Christmas

Approaching ragtime

Though it is considered a ragtime song, “Alexander’s Ragtime Band” bears little relationship to traditional ragtime. After the huge success of Scott Joplin’s “Maple Leaf Rag” in 1899, the first white songwriter to capitalize on the new rhythms and counterpoint was Joseph E. Howard, in the song “Hello, Ma Baby,” which he wrote that very same year. In 1902, Hughie Cannon wrote the ragtime tune “Bill Bailey, Won’t You Please Come Home.” It took Berlin longer to absorb the rag influences but when he finally did he was generally accepted as the first white songwriter to incorporate ragtime. Songs like “Play Some Ragtime” (1910), “Stop That Rag,” and “Yiddle on Your Fiddle” helped establish his reputation.Alexander’s Ragtime Band

Old joke, not a funny one

Hoagy Carmichael: As I was driving down the highway, coming into Palm Springs, to join Johnny [Mercer] to write this score, I happened to think of an old old joke, not a very funny joke. But it was about a jackass. And it seemed that the king of the jungle, the lion, sent an emissary to the jackass to say, “Jackass, are you coming to the king’s big party?” And the jackass, sitting with a pipe in his mouth and his legs crossed, said, “Tell the king in the cool, cool, cool of the evening, I’ll be there.” Well, I told this joke to Johnny Mercer and in two days we had the song.In the Cool, Cool, Cool of the Evening

As if it dialed a phone number

Johnny Mercer to the BBC: When I was working with Benny Goodman back in ’39, I had a publicity guy who told me he had been to hear Father Divine, and that was the subject of his sermon, “Accentuate the positive and eliminate the negative.” Well, that amused me so, and it sounds so Southern and so funny that I wrote it down on a piece of paper. And this was, what, five years later? And Harold Arlen and I were riding home from the studio after a conference about getting a song for the sailors. … And Harold was singing me this little tune he had sung me before. Now, that’s a strange thing about your subconscious, because here’s a song that’s kind of lying dormant in my subconscious for five years, and the minute he sang that tune, it jumped into my mind as if it dialed a phone number. Because it doesn’t really fit. The accent is all different. I just think there’s some kind of fate connected with it.Ac-cent-tchu-ate the Positive

Suddenly, the room was as quiet as a grave.

"Suddenly, the room was as quiet as a grave. Out in the middle of the floor was one of this trio, singing. The crowd was quiet, very quiet, and when he finished the place went into ecstasy. They applauded like mad and this young man walked right off the floor with no expression whatsoever on his face. No triumph! No elation! No conquest!"Rudee Vallee

Bing’s death is almost more than I can take.

"Bing’s death is almost more than I can take. He was the father of my career, the idol of my youth and a dear friend of my maturity. His passing leaves a gaping hole in our music and in the lives of everybody who ever loved him. And that's just about everybody. Thank God we have his films and his records providing us with his warmth and talent forever."Frank Sinatra

I don’t think there’s anybody better in the studio than Bing.

"I don’t think there's anybody better in the studio than Bing. He and Sinatra are two of the finest people I've ever worked with from that standpoint. When Bing comes into the studio, he's there to perform and nothing else. He's a pure professional and is that much of a pro that he doesn't tolerate anyone else who isn't. Bing is probably one of the fastest studies I've ever seen. He's got great ears. He has something approaching total recall, in that it doesn't take him long to get the feeling of a piece and learn it.”Sonny Burke

He was always great with us.

"Even if he came in and he was, for whatever reason, in a sour mood, he was always great with us. We always had a wonderful time. Bing was the perfection artist to work with--at least with us. We worked with so many artists that left you wanting. Bing never did."Maxine Andrews

Listed by composition date

Wait Til’ the Sun Shines, Nellie
Alexander’s Ragtime Band
Sierra Sue
MacNamara's Band
In The Land Of Beginning Again
Mister Gallagher and Mister Shean
Ol’ Man River
The Moon Got in My Eyes
Let’s Do It
Great Day
A Bench in the Park
Happy Feet
Three Little Words
I Surrender Dear
Just One More Chance
Out of Nowhere
Here Lies Love
Lawd, You Made the Night Too Long
Where the Blue of the Night Meets the Gold of the Day
Learn to Croon
Shadow Waltz
Little Dutch Mill
Love in Bloom
Don't Fence Me In
June in January
Red Sails in the Sunset
I'm an Old Cowhand
Pennies from Heaven
Bob White (Watcha Gonna Swing Tonight?)
It's the Natural Thing to Do
Sweet Leilani
Too Marvelous for Words
I'll Be Seeing You
I've Got a Pocketful of Dreams
Small Fry
You Must Have Been a Beautiful Baby
Devil May Care
Mister Meadowlark
On Behalf of the Visiting Firemen
Only Forever
Deep in the Heart of Texas
Moonlight Becomes You
The Road to Morocco
White Christmas
A Hot Time in the Old Town of Berlin
I'll Be Home for Christmas
Pistol Packin’ Mama
San Fernando Valley
Sunday, Monday or Always
Ac-cent-tchu-ate the Positive
I Love You
Swinging on a Star
I Can't Begin to Tell You
It's Been a Long, Long Time
Put It There, Pal
South America, Take It Away
Now Is the Hour (Maori Farewell Song)
In the Cool, Cool, Cool of the Evening
Sam's Song
Goin’ Fishin’
Watermelon Weather
Zing a Little Zong
Count Your Blessings Instead of Sheep
True Love
Fancy Meeting You Here
The Second Time Around
That Travelin’ Two Beat
Take it Away
Born in Tacoma, Washington May 3
Family buys phonograph
Neighbor, Valentine Hobart, dubs him “Bingo” after “The Bingville Bugle” newspaper comic
First public performance singing at the Parish Hall
Bing works backstage when Al Jolson appears in Spokane
Sings in high school jazz band
Attends Gonzaga College; Works backstage at another Jolson appearance, begins thinking about show business
Starts junior year as a pre-law major
Meets Al Rinker when he joins band The Musicaladers; Drops out of College in order to make money performing
Moves to Los Angeles with Al Rinker; They land jobs with a tab show, The Syncopation Idea
Crosby and Rinker watch Paul Whiteman’s band arrive by train to Los Angeles; Crosby and Rinker sign with the Paramount-Publix vaudeville circuit as “Crosby and Rinker – Two Boys and a Piano – Singing Songs Their Own Way”; Hired by Paul Whiteman for $125 a week but first must finish vaudeville bookings; Record first record, “I’ve Got the Girl” with Don Clark’s Biltmore Hotel Orchestra on the Columbia label. They are not credited; Join Whiteman in Chicago on December 6 and begin performing with the orchestra; Bing sees Louis Armstrong in Chicago at the Sunset Café; Crosby and Rinker’s second record, “Wistful and Blue,” produced by Whiteman for the Victor Talking Machine Company
Open to good reviews at the Paramount Theatre in New York. After three performances, since they cannot be heard throughout the theatre, they sing in the lobby for crowds waiting to get into next show; record “Muddy Waters” with Bing’s first (uncredited) solo; Makes Broadway debut in show “Lucky” along with the Whiteman orchestra beginning March 22nd (until May 21); Harry Barris joins the duo and they become “The Rhythm Boys” in June with their first record, “Mississippi Mud”
Radio debut with Whiteman troupe on NBC’s Victory Hour; Bing records first vocal solo (still uncredited) with Whiteman band on “Ol’ Man River”; Beginning August 1, Rhythm Boys go on tour without Whiteman band
Rhythm Boys rejoin Whiteman Band for Old Gold radio show; On March 14, Bing records “My Kinda Love” and “Till We Meet Again” and is credited for first time!; Bing meets Dixie Lee in Los Angeles while waiting for shooting to commence on King of Jazz; Bing takes up golf with a passion; Bing makes screen test for MGM
Rhythm Boys great success at Cocoanut Grove nightclub in LA; Bing marries Dixie Lee on September 29; “Them There Eyes” last recording by The Rhythm Boys
Records demo with George Gershwin for Fox film Delicious; Signs with Mack Sennett for four two-reel comedies; Records “I Surrender Dear,” first recording under new, solo Brunswick Records contract; Signs with CBS for first solo radio program; Begins long engagement at the Paramount Theatre in New York, co-stars include The Mills Brothers, Kate Smith, the Boswell Sisters, Cab Calloway, and Lillian Roth
Signs with Paramount Pictures and begins filming, The Big Broadcast; Meets Bob Hope at New York’s Friars Club
Appears at Loew’s Journal Square Theatre in Jersey City, New Jersey, Frank Sinatra catches one of the shows and decides that’s for him; Gary Evan Crosby born (named after Gary Cooper)
Begins 21-year relationship with Decca Records; Twins Philip and Dennis are born
New radio show, Kraft Music Hall premieres with Bing starring
Lindsay is born; Bing records for the first time with his brother Bob
The Road to Singapore commences filming with Bing, Bob Hope, and Dorothy Lamour
Holiday Inn released; “White Christmas” in score
Records “White Christmas”
Wins Oscar for Going My Way
Records “White Christmas” for the second time. This version will be the most popular recording in history
“Now Is the Hour” hits number one, the last number one for Crosby
“White Christmas” celebrates its 5 millionth pressing by Decca
Dixie Lee Crosby dies on November 5
First television special aired
Marries Kathryn Grandstaff
Harry Lillis Crosby III born
Mary Francis Crosby born
Nathaniel Patrick born
Signs with Sinatra’s Reprise Records
Records last American recording,“Don’t Get Around Much Anymore”; Records tracks in London on October 11, last recordings; dies of a massive heart attack after 18 holes of golf in Madrid, Spain
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Alexander’s Ragtime Band
Ethel Merman, Al Jolson, Eddie Cantor, Sophie Tucker et al
In The Land Of Beginning Again (Bing Crosby)
Bing Crosby sings
Let’s Do It
Frank Sinatra
The 3 part PBS Series
Own the DVD