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Frank Sinatra -That's Life
Transcript of Frank Sinatra -That's Life
(the teen idol) "His fourth and final Timex special was broadcast in March 1960 and secured massive viewing figures. Titled It’s Nice to Go Travelling, the show is more commonly known as Welcome Home Elvis. Elvis Presley’s appearance after his army discharge was somewhat ironic; Sinatra had been scathing about him in the mid fifties, saying: “His kind of music is deplorable, a rancid smelling aphrodisiac. It fosters almost totally negative and destructive reactions in young people.” Presley had responded: “… [Sinatra] is a great success and a fine actor, but I think he shouldn’t have said it… [rock and roll] is a trend, just the same as he faced when he started years ago.” Later, in efforts to maintain his commercial viability, Sinatra recorded Presley’s hit “Love Me Tender” as well as works by Paul Simon (“Mrs. Robinson”), The Beatles (“Something,” “Yesterday”), and Joni Mitchell (“Both Sides Now”)." "In 1953 Sinatra’s musical style took a dramatic turn. He signed with Capitol Records and, throughout the next nine years, issued a series of recordings widely regarded as his finest body of work. He is credited (though perhaps not accurately so) with inventing the “concept album”—an LP collection of songs built around a single theme or mood. His new approach also demanded new arrangements, and the in-house arrangers at Capitol were among the best. He worked with veteran big-band musician Billy May on outstanding up-tempo albums." Sinatra “Duets” Album "As a marketing concept, Frank Sinatra's comeback album Duets was a complete success. A collection of Sinatra standards produced by Phil Ramone, the record wasn't a duets album in the conventional sense -- Sinatra never recorded in the studio with his partners. Instead, the other singers recorded their tracks separately, sometimes in different studios, and the two tracks were pasted together to create the illusion of a duet. In the case of several duet partners, including Bono and Barbara Streisand, this means they rely on camp as a way of making their performances interesting. Sinatra, meanwhile, is oblivious to the entire vocal grandstanding, simply because he recorded his tracks well in advance of their contributions. The result is a mess. Not only do the vocalists never mesh, but the orchestrations are ham-fisted and overblown, relying more on bombast than showmanship." “The Voice of Frank Sinatra” Album http://www.blue-eyes.com/blog/biography-of-frank-sinatra/ The Columbia Records Years The Capitol Records Years Relationship with Nelson Riddle Founding of Reprise Records Records versions of pop songs
written in the 1960s & 70s Sinatra and Quincy Jones "Hoping to find musical freedom, Johnny Mercer, the writer of “Moon River,” helped launch Capitol Records in 1942. Nineteen years later, Frank Sinatra, in search of musical freedom of his own, left Capitol and formed the Reprise label. In 1963 Reprise was sold to Warner Brothers, and, although the label continued to record Sinatra, it soon forswore 1950s swing-a-ding-dingness. Sinatra founded Reprise Records in 1960 and was allowed to record there simultaneously with his Capitol contract, which expired in 1962. During the early 1960s, Sinatra recorded at a furious pace, releasing some 14 albums of new material during the years 1961–63." http://www.jazz.com/music/2007/12/3/frank-sinatra-come-fly-with-me "In the mid 1960s, Jones worked with Frank Sinatra and Count Basie for their album on Sinatra's Reprise label, entitled It Might As Well Be Swing. He conducted the band on such songs as I Believe in You." Jones achieved another milestone in 1964, when he became the first African-American record executive in America when he was appointed Vice President of Mercury Records. Jones continued his association with Sinatra, and in 1966 he conducted and arranged “Come Fly with Me" from the album Sinatra at the Sands. Jones also arranged and produced albums for Ray Charles, Sarah Vaughn, Ella Fitzgerald, and Sammy Davis Jr. during the decade was well." http://www.allmusic.com/album/duets-mw0000106718 http://www.allmusic.com/artist/gershwin-mn0000197918 http://www.britannica.com/EBchecked/topic/708625/Warner-Reprise-Records http://www.britannica.com/EBchecked/topic/545620/Frank-Sinatra/224112/The-Columbia-years "A strike by the American Federation of Musicians against the major record companies curtailed Sinatra’s recording output during most of 1943–44. His solo recording career for Columbia Records began in earnest in November 1944, when he compensated for lost time by recording dozens of sides within a three-month period. some of the first recordings while he was there would come to be known to fans as the “Columbia era (1943–52). His chief arranger during these years was Axel Stordahl, who also left Dorsey in late 1942 to work exclusively with Sinatra. Stordahl’s spare string arrangements on beautiful recordings such as “You Go to My Head” (1945), “These Foolish Things” (1945), and “That Old Feeling” (1947) defined the sound of Sinatra’s Columbia years." On January 27 in 1943, after a month at the Paramount, in New York at Times Square, Benny Goodman and his band were replaced by Johnny Long and his orchestra for an unprecedented second record-breaking month playing behind Frank Sinatra. This was Frank's first solo appearance...it established him as the first singing teen idol. . Outside the Paramount, the lines started at 11 o'clock at night for a show at 11 o'clock in the morning. They'd be there all night. And when they saw him they'd go wild. I saw fans run under the horses of mounted policemen. I saw them turn over a car." These girls became known as "bobby soxers." The dictionary defines the term as "usually teenage girls, fans of singer Frank Sinatra, the first singing teen idol." http://www.examiner.com/article/frank-sinatra-the-first-singing-teen-idol http://www.britannica.com/EBchecked/topic/545620/Frank-Sinatra/224114/The-Capitol-years "During Sinatra’s Capitol Record Years his collaboration with arranger Nelson Riddle was truly a legendary musical partnership. Riddle, a former big-band trombonist who had arranged for artists such as Nat King Cole and Ella Mae Morse, scored some of Sinatra’s first Capitol sessions in 1953, initiating a collaboration that would extend over two decades and hundreds of recordings. Riddle was, in Sinatra’s words, “the greatest arranger in the world,” and critics agreed. With an instinctive sense for the proper musical setting, Riddle employed everything from quartets to 50-piece orchestras for ballad arrangements that were often characterized by a dominant solo instrument (particularly a mournful trombone), and by Riddle’s “private melodies,” which served as counterpoint to Sinatra’s highly personal approach. For swing tunes, Riddle developed his trademark “heartbeat rhythm,” a steady, driving beat, slightly slower than most swing charts, and meant to emulate “the pulse rate of the human heart after a brisk walk,” in Riddle’s words. Virtually all of the albums the Sinatra-Riddle team made for Capitol—such as In the Wee Small Hours (1955), Songs for Swingin’ Lovers! (1956), and Only the Lonely (1958)—are masterpieces." http://www.britannica.com/EBchecked/topic/545620/Frank-Sinatra/224114/The-Capitol-years http://www.biography.com/people/frank-sinatra-9484810