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'How many songs will we be doing?' he asked Barnes, who told him the usual dozen. Barnes eventually tracked him down to a Scottish golf course club house. Crosby, meanwhile, was typically relaxed. Astaire arrived in London a week in advance expecting to be rehearsing with his singing partner. When Barnes had the idea of recording Astaire and Crosby together, there was a considerable mismatch of approaches to the sessions. 'What new lyric? Isn't that what I wrote?' Gershwin replied. Returning to the US, Astaire took an acetate of the recording to Ira Gershwin's home and, after playing the track, asked Ira what he thought of the new lyric. Barnes thought about it and suggested the couplet, 'The way you drove the car, when we were on a spree No matter where you are – no, no, they can't take that away from me.' Astaire was delighted, exclaiming, 'That's it! Wonderful! I'll record it.' OK, I'll do it right now!'ĭuring the same London sessions, Astaire was about to record the George and Ira Gershwin standard, 'They Can't Take That Away from Me' and said to Barnes, 'Let's do the alternate lyrics on the way out.' Barnes told him that there weren't any so Astaire told him to come up with something. But if I get someone like Lionel Blair to do it, they'll have an after-dinner story of 'How I did Fred Astaire's dancing for him'.' Astaire stared at him for a second and said, 'You son of a gun. But somebody's feet have got to be there. Barnes said, 'We'll clear a space and you can tap for a few seconds.' Astaire politely but firmly replied, 'No way am I dancing.' Barnes tried with a shoe shuffle but it didn't sound convincing. When he was working with Fred Astaire, the record company wanted to include a few seconds of him tap dancing. Particularly adept at working with big stars, with their egos and peccadillos, he was able to bring out the best in them by subtly, but firmly, navigating potential pitfalls. Barnes produced Crosby's final six albums, one of which included the reflective song, 'That's What Life Is All About' which he co-wrote with a contribution from Crosby. He asked Barnes, 'Do you know of Warren's work?', which unleashed a torrent of song titles and knowledgeable facts about the composer, immediately cementing the relationship. He was kept waiting before being shown into a room where Crosby apologised for the delay, explaining that he had been writing a foreword for a book on the songwriter, Harry Warren.

Barnes flew to California to meet Crosby at his sprawling Hillsborough residence. He enjoyed an enduring working relationship during Bing Crosby's final years, which came about because Crosby had liked the work he had done on two albums with the lyricist and singer Johnny Mercer.

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