While discussing the nuances of choosing vocals mikes in this R / E / P forum thread, producer J.J. Blair mentioned his use of the U47 on Cash.

I will choose a U47 typically for a male singer who has any texture in his voice, if it's not "airy." If I use my C12 or Manley Gold on those singers, I can't add compression without bringing out that throat texture in an unflattering way.

I'll name drop here, simply because you know these voices: I used a U47 on Johnny Cash, because it captures perfectly that granite resonance in his voice. On Rod Stewart, who has texture, but lets a lot of air pass through his throat, I used the C12 to capture that air. His texture was more crackle, where John was gravel.

While discussing recording Bob Dylan in this Mix Online interview, producer Bob Johnston also mentions using a U47 on Cash anecdotally.

I always used three microphones on Dylan, 'cause his head spun around so much. I used a big [Neumann] U47 on him, same as I used on Johnny Cash later.

It was also mentioned by Johnston in this May 2010 Sound on Sound "Classic Tracks" interview about the recording of Bob Dylan's "Sad Eyed Lady of the Lowlands".

"What I used on his vocals — and what I used on Johnny Cash, Patti Paige [sic], Marty Robbins and many others — was a [Neumann] U47 microphone with a power pack,” Johnston explains. "It was the old one and nothing was better."

Mentioned in this February 12, 2015 article from the Vintage King website.

2015 was a remarkable year for Vintage King clients involved in the music industry, as we had over 30 artists, producers and engineers we work with nominated for Grammy awards. While we all know how secretive sonic creators can be about their work process, we asked a few of our favorite studio workhorses to divulge the secrets of their Grammy-nominated vocal chains.

While Chris Stapleton may be a new face for many music fans, producer Dave Cobb (Sturgill Simpson/Jason Isbell) and engineer Vance Powell (Jack White / JEFF the Brotherhood) are no strangers to creating amazing records. When deciding what gear to use during the recording of Stapleton's Grammy-nominated album, Traveller, Cobb asked Powell to select what would be used in the vocal chain.

The end results saw Vance opting to use a vintage U47 and running them through vintage Neve 1073 and an Esoteric Audio Research 660 for compression/limiting. The vocals were all cut live with the rest of the band playing in the same room at RCA Victor Studios. The only exceptions were two albums tracks that were recorded outside the front of The Castle studio, thus the sound of passing cars and crickets.

"That's Jeff Bass playing guitar on 'Lose Yourself'. I mixed that — I was there from the beginning. We were on the set for the movie [8 Mile] when Marshall did his vocal. He would come in on his lunch break, which was usually 15 minutes long. The vocal that ended up being the final vocal was the first take. He tried to sing it a few other times, but just couldn't beat it because he had some kind of other energy. He was making them wait — he came in and said, 'Okay I gotta do this real quick.' He did it real fast and laid some doubles on it like he usually did. You can hear it's in one of those vox boxes in a trailer — the floor is kind of hollow. But the emotion he put into that particular performance was awesome — we were all like, 'Oh my God!' That guy is super talented, brilliant.

(...) The vocal chain was always an Avalon preamp, Neve 33609 compressor and a Sony C800G tube mic. Earlier with Marshall I used the Neve 1073 preamp and a [Neumann] U47."

— Steve King, sound engineer and writer for the 8 Mile soundtrack

Mentioned in a comment on this Instagram post by Benmont Tench.

jonregen @benmonttench Tell Ryan I bought John Porter’s U47 that he recorded Love Is Hell on!

Visible in this ca. 1960 photo of Presley. The article "A Brief History of the U-47" from the George Neumann archives, transcribed in this 2010 page from voice actor Thom Wilkins' website, also mentions Presley's use of the mic.

In the past, superstars such as Elvis Presley, Buddy Holly, Frank Sinatra, the Beatles, Miles Davis and David Bowie used the U 47 repeatedly during the course of their careers. This mic remains a top favorite even today, and is used in numerous contemporary productions.

In the new YouTube Series JUSTIN BIEBER: SEASONS S1 • E2. You can see Justin in the booth working on his new album with the Neumann U47, it can be seen at 4:00 in this video.

Visible in this photo of Wonder.

Visible in this ca. 1987 photo of Jackson.

"Jónsi’s layered vocals are a Sigur Rós trademark, and they’re not arrived at easily. He typically sings through a Neumann U47..."

You can see the U47 around 0:18 min mark in the attached video.

In this behind the scenes video of the making of guillotine, Jon Bellion starts singing his ideas for the first verse of the song into this microphone around 8:11.

Used on the bass for "Sex on Fire", stated by Only by the Night producer Jacques King in this December 2008 Sound on Sound interview.

"With regards to 'Sex On Fire', the bass was recorded with a DI and a Neumann U47 on the SVT cabinet, close but not right up to the speaker. The microphone on the bass is usually at its upper range of ability, and because the U47 is a tube microphone you get a little bit of tube squash, with the harmonics nearly going into distortion. A lot of times in rock & roll, the bass is really clean and you have to fuzz it up. Both the DI and the 47 went through a Neve 1081 preamp and then an [Teletronix] LA2A compressor, plus an old Dbx 160 on the DI. I also used a very old subharmonic synthesizer, the Dbx Disco Boombox, on the DI. Jared plays a lot of melodic stuff very high up the neck of his bass, and to be able to keep the weight of the track I synthesized some additional low end."