“Bing had the bravura, but except in his early days it wasn’t obvious. Starting his career in the 1920s, he was the man on the spot when the microphones got good enough to be canoodled with, as if they had hair to be stroked. Released from the necessity to project, he could concentrate on shaping a sung note so that it sounded like speech. Other singers were slower to catch on, and some of them never caught on at all. In any film musical starring Dick Powell you can hear – and what is almost worse, see – what happened to a singer when, even if miming to playback, he continued to project as if he weren’t being amplified. He looked as if his vocal chords hurt like piles. Bing went in the other direction, as if the microphone could hear him think. In this endeavour, he was lucky with the natural attributes of his voice. Often characterized as a pleasant light baritone, it had a tenor top to it, conferring the precious gift of allowing him to relax into the upper register. A singer can have a note-perfect two and a half octave range and no flexibility at all. What counts is the capacity to negotiate the tricky intervals, and Bing could do an instantaneous octave jump that left the second note ringing as clear and open as the first.” - Clive James
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