He was the youngest of seven children: five boys, Larry (1895-1975), Everett (born 1896), Ted (born 1900), Harry (1903-1977, popularly known as Bing Crosby) and Bob; and two girls, Catherine (born 1905) and Mary Rose (born 1907). His parents were English-American bookkeeper Harry Lowe Crosby (1871-1950) and Irish-American Catherine Harrigan (1873-1964), (affectionately known as Kate), the daughter of a builder from County Mayo in Ireland. His paternal ancestors Thomas Prence and Patience Brewster were born in England and immigrated to the U.S. in the 17th century; Brewster's family came over on the Mayflower.
Bob Crosby started singing with Anson Weeks (1931-34) and the Dorsey Brothers (1934-35). He led his first band in 1935, when the former members of Ben Pollack's band elected him as titular leader. His most famous band, the Bob-Cats, was a Dixieland jazz group with members from the Bob Crosby Orchestra. Both the Bob Crosby Orchestra and the smaller Bob-Cats group specialized in Dixieland jazz, presaging the traditional jazz revival of the 1940s. Crosby's singing voice was remarkably similar to that of his brother Bing, but without its range.
The Bob Crosby Orchestra and the Bob Cats included (at various times) Yank Lawson, Billy Butterfield, Muggsy Spanier, Matty Matlock, Irving Fazola, Ward Silloway, Warren Smith, Eddie Miller, Joe Sullivan, Bob Zurke, Jess Stacy, Nappy Lamare, Bob Haggart, Walt Yoder, Jack Sperling, and Ray Bauduc.
Hits included "Summertime" (theme song), "In a Little Gypsy Tea Room," "Whispers in The Dark," "South Rampart Street Parade," "March of the Bob Cats," "Day In, Day Out," "You Must Have Been a Beautiful Baby," "Dolores" and "New San Antonio Rose" (last three with Bing Crosby). A remarkable bass and drums duet between Haggart and Bauduc, "Big Noise From Winnetka," became a hit in 1938-39.
Day In Day Out
Bob Crosby Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The same old hoodoo follows me about
The same old pounding in my heart whenever I think of you
And, darling, I think of you
Day in and day out
Day out, day in
I needn't tell you how my days begin
One possibility in view
That possibility of maybe seeing you
Come rain, come shine
I meet you and to me the day is fine
Then I kiss your lips
And the pounding becomes
The ocean's roar
A thousand drums
Can't you see it's love
Can there be any doubt
When there it is
Day in, day out
The lyrics of "Day In Day Out" by Bob Crosby and His Orchestra convey the singer's deep longing for and obsession with their love interest. The repeated references to a "hoodoo" suggest a sense of bad luck or negative energy that follows the singer wherever they go, which is intensified by the pounding in their heart whenever they think of their beloved. The singer is unable to escape their thoughts and feelings, as they think of their love interest "day in and day out".
The second verse adds more detail to the singer's obsession, as they explain that they wake up each day with a "tingle" and a "possibility" of seeing their love interest. This sense of anticipation reveals just how deeply the singer is affected by their infatuation. Despite the ups and downs of the weather or the circumstances of the day, the singer finds joy in simply being near their love interest. The romantic imagery of kissing lips is described with the pounding becoming "the ocean's roar" and "a thousand drums", which shows just how visceral the singer's feelings are.
Overall, the lyrics of "Day In Day Out" capture the all-consuming nature of infatuation and the thrill of being in love, despite any obstacles that may arise.
Line by Line Meaning
Day in, day out
Every day, without exception
The same old hoodoo follows me about
The same problem or curse keeps affecting me
The same old pounding in my heart whenever I think of you
My heart races every time I think about you
And, darling, I think of you
You are always on my mind, my dear
Day in and day out
Every single day, all the time
Day out, day in
In the reverse order, every day
I needn't tell you how my days begin
You already know how my days start
When I awake, I awaken with a tingle
I wake up with a feeling of excitement
One possibility in view
The possibility of seeing you
That possibility of maybe seeing you
The chance of seeing you
Come rain, come shine
Regardless of the weather or circumstances
I meet you and to me the day is fine
My day becomes perfect when I see you
Then I kiss your lips
My love for you overwhelms me and I have to kiss you
And the pounding becomes
My heart starts beating faster
The ocean's roar
As loud as the sound of the ocean
A thousand drums
As loud as a thousand drums
Can't you see it's love
There is no denying that this is love
Can there be any doubt
Is there any uncertainty?
When there it is
It is clearly love
Day in, day out
Every day, without fail
Lyrics © BMG Rights Management, Warner Chappell Music, Inc.
Written by: Johnny Mercer, Rube Bloom
Lyrics Licensed & Provided by LyricFind
@scotnick59
Miss Ward gives this one an extra touch and it's great
@jamescowley1710
sounds so good! wish this music would come back in year 2021!!!
@jourwalis-8875
It will definitely not. We have to rely on these old recordings! And the fantastic work of "the 78 prof" and others.
@theworthychurch7400
How do you Determine what record is a hit or not? I imagine you dont rely on just Billboard/Cashbox/Hit Parade/etc.
@tylerbaldwin9513
Well Billboard and Cashbox didn't exist yet in 1939. Besides the three you mentioned, i'm pretty sure he uses the book "Pop Memories 1890-1940" by Joel Whitburn, with some of his own knowledge from being a radio station host if I remember correctly.
@johnnyjackson3923
Possibly records sold also
@CPorter
Billboard had existed by 1939 for over 4 decades, not Cashbox though. Billboard had been tracking charts of records success on and off since about 1935, even though to "top 40" or "top 100" lists wouldn't develop until much later. In the 1890s - 1910s, Talking Machine World definitely tracked record sales for specific songs, Same for Variety for the first 20 or so odd years when public radio started. Downbeat, Metronome, Life, and various other high ranking magazines had their own charts by the end of the 30s, along with their own critics reviewing records and other things.
The only controversial issue with Pop Memories is that to accurately list something requires making a whole new charting standard created for it, since almost none of these charts had the same amount of songs listed. Some had top 10 selling per month, while some had top 25 per week. Genres, vocals, types of orchestra or group, and other things have to go together to create this new one. Appearing in Whitburn's book's first issues as a "Country, Pop and Blues top 100" system. Many forget that he later revised this new method to be less complicated and questionable in later issues, instead just writing off Whitburn's lists as "naive fantasy".