Sinatra Reprise The Very Good Years Frank Sinatra Rar

Sinatra Reprise The Very Good Years Frank Sinatra Rar

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When Frank Sinatra left Tommy Dorsey's band and signed his first solo contract with Columbia Records in 1943, it should have been one of the biggest musical events of the year -- Sinatra had been wowing audiences since 1940 as a singer in Dorsey's band, and had developed a huge following, especially among younger women; in the space of just two years, he'd established himself as the only serious rival to the most popular singer of the period, Bing Crosby, and now he was to be working full-time as a solo act in his own right. The only problem was that Sinatra's contract was signed right in the middle of an extended recording ban -- in effect, a strike against the record companies -- by the Musicians Union; unthinkable as it might be today, with a few narrowly construed exceptions, there was virtually no commercial music recording going on in the United States for the second half of 1942, all of 1943, and much of 1944. One of those exceptions, which Sinatra also took advantage of, was that the ban only applied to instrumental musicians -- vocal-only recordings were permitted, and he did records with specially devised arrangements on which his only accompaniment was a vocal ensemble, which allowed him to get some very good (and very interesting) records out, even if they didn't necessarily represent the sound that he or his producers would have chosen. But another -- and very major -- exception that the union was willing to make was for the recording and release of V-Discs, recordings intended solely and exclusively for free distribution to soldiers, sailors, marines, airmen, and coast guardsmen serving in the war. It was through these sides, often derived from radio airchecks and rehearsals, that Sinatra got to see his work with an orchestral accompaniment released commercially (as well as preserved) during the two years of the recording ban. Additionally, contained on this set are numerous songs that -- because of that same recording ban -- Sinatra never did get around to recording commercially. And that's what's on this magnificent set of 53 songs on two CDs, the best and rarest of Sinatra's V-Disc sides, none of which are represented on the otherwise complete and comprehensive 12-CD The Columbia Years (1943-1952): The Complete Recordings. The emphasis, as was the case with most of Sinatra's commercial recordings of the period, is on ballads -- the exceptions are a few patriotic numbers such as "(There'll Be A) Hot Time in the Town of Berlin." But the singing -- the quiet power of that voice (actually, The Voice) and this intonation -- is so overpowering, and the content so distinctive, especially on Disc one (which covers the time of the recording ban), that this is essential listening. That is true not just for Sinatra fans but also for more generalized pop music buffs and those with memories or strong associations with the early 40s period represented -- Sinatra and company didn't skimp on the production or care that went into these recordings, and they're heart-stoppingly beautiful on that level as well. The production is superb, the clean-up job on these five-decade-old recordings having achieved gorgeous results, and the annotation by George Simon, Roy Hemming, and Will Friedwald is thorough and extremely detailed.

There is at least one problem with this proposal. I am almost certain that Sammy owned his own masters, and his estate could make this happen, but hasn't authosized many compilations. The Yes I Can box from Rhino is about the only exception so far. I read somewhere long ago that Frank Sinatra gave Dean Martin and Sammy their Reprise masters just before he sold Reprise to Warner Elektra Atlantic. I do enjoy your notes and prosal. I think it is a real shame that the only Wikipedia entry for the Now (1972) album cites a grossly unfair "review" from allmusic. I have very fond memories of the Now album. I was 13 when it was released and I bought it at my local record store. I35 years later I digitised the old album, and find it to be very enjoyable.

Selections:Overture and Night Waltz (Love Takes Time) (4:18), The Glamorous Life (4:51), Now / Soon / Later (7:51), You Must Meet My Wife (3:51), Every Day a Little Death (2:26), Night Waltz (Instrumental) (1:05), A Weekend in the Country (6:05), Send in the Clowns (4:15), It Would Have Been Wonderful (4:18), Finale: Send in the Clowns (reprise) / Night Waltz (4:30)

Selections:Overture (Orchestra, Quintet) (3:44), "Night Waltz" (Orchestra, Quintet) (2:59), "Now" (Eric Flynn) (3:05), "Later" (Bonaventura Bottone) (2:28), "Soon" (Janis Kelly, Eric Flynn, Bonaventura Bottone) (3:52), "The Glamourous Life" (Megan Kelly, Sian Phillips, Elisabeth Welch, Quintet) (3:47), "Remember" (Quintet) (2:50), "You Must Meet My Wife" (Eric Flynn and Sian Phillips) (4:13), "Liaisons" (Elisabeth Welch) (5:41), "In Praise of Women" (Jason Howard) (3:19), "Every Day a Little Death" (Susan Hampshire and Janis Kelly) (2:22), "A Weekend in the Country" (Company) (6:13), "Night Waltz I (The Sun Won't Set)" (Quintet) (3:22), "Night Waltz II (Liebeslieders)" (Quintet) (2:20), "It Would Have Been Wonderful" Eric Flynn and Jason Howard) (4:06), "Perpetual Anticipation" (Ladies Trio) (1:20), "Send in the Clowns" (Sian Phillips) (4:37), "The Miller's Son" (Maria Friedman), "Send in the Clowns" (reprise) (Sian Phillips and Eric Flynn) (3:42), "Last Waltz" (Orchestra) (1:32)

Selections:Obertura / Vals Nocturn (Overture / Night Waltz) - Quintet; Mai / Ara / Ja (Soon / Later / Soon) - Fredrik, Henrik, Anne; Te Tant Glamour Aquest Mon (The Glamorous Life) - Fredrika, Desirée, Madam Armfeldt, Quintet; Recordes? (Remember) - Quintet; Us Heu De Trobar (You Must Meet My Wife) - Desirée and Fredrik; Liaisons - Madam Armfeldt; Elogi A Les Dones (In Praise of Women) - Count Carl-Magnus; Cada Dia Un Glop De Mort (Every Day a Little Death) - Countess Charlotte and Anne; Do Dies A La Finca (A Weekend in the Country) - Company; Vals Nocturn I (Night Waltz I) - Quintet; Vals Nocturn II - El Sol No Es Pon (Night Waltz II - The Sun Won't Set) - Quintet: Seria Tot Molt Millor (It Would Have Been Wonderful) - Fredrik and Carl-Magnus; Sentir Desig A Totes Hores (Perpetual Anticipation) - Quintet; Que Baixi El Telo (Send in the Clowns) - Desirée; El Noi De Camp (The Miller's Son) - Petra; Ja (reprise) - Nordstrom / Us Heu De Trobar (reprise) - Erlanson / Dos Dies A La Finca (reprise) - Quintet / Cada Dia Un Glop De Mort (reprise) - Quintet ; Que Baixi El Telo (reprise) - Desirée and Fredrik ; Darrer Vals (Last Waltz) - Orchestra; Final - Salutacions - Orchestra

Selections:Disc One: Overture / Night Waltz (5:02), Prologue: "The night smiles..." (1:55), Now (3:55), Later (3:19), Soon (3:56), The Glamorous Life (3:52), Remember (4:49), You Must Meet My Wife (3:54), "A virgin" (:33), Liaisons (4:54), In Praise of Women (4:39), Every Day a Little Death (2:47), "The tour's over for a while..." (:34), A Weekend in the Country (7:28)Disc Two: The Sun Won't Set (3:13), Night Waltz II (1:46), It Would Have Been Wonderful (3:54), Perpetual Anticipation (1:08), Send in the Clowns (6:02), The Miller's Son (4:19), Soon (reprise) / You Must Meet My Wife (reprise) (2:47), "A wooden ring" (1:56), A Weekend in the Country (reprise) / Every Day a Little Death (reprise) (2:26), Send in the Clowns (reprise) (4:00), Last Waltz (2:02)

Harps and Angels [Nonesuch, 2008]Post-hippie, Newman's cynicism was tonic. Post-post-hippie, it curdled. Now, freshened by frailty and outrage, it's restorative again. Describing a near-death experience in the title song, he injects a kindness he's rarely risked into absurdist jokes that are as mean as ever, and that moment of compassion adds depth to the three political songs in the middle, two of which target a privileged class that explicitly includes the artiste. The other rearranges 2007's caustic YouTube special "A Few Words in Defense of Our Country": "The end of an empire/Messy at best/This empire's ending/Like all the rest." Did he write those lines in five minutes, fussing for a little longer over "messy," or wait years for them to come? Lyrically, every one of these 10 songs in 34 minutes raises that question, reinforced by the quietest and most casual singing of Newman's mush-mouthed career. Musically, however, he's a fine jeweler, a busy beaver and an old pro. Never have his arrangements exploited his soundtrack chops so subtly, changeably or precisely. You say you want the failure of the American Dream? Try a marching band put through its paces by a dyspeptic Kurt Weill. King Leopold of Belgium? How about a little "Zip-a-Dee-Doo-Dah"? Arrhythmia? Easy. A 2b1af7f3a8