Frank Sinatra Sings for Only the Lonely
Frank Sinatra Sings for Only the Lonely is an album by Frank Sinatra. The album consists of a collection of torch songs, following a formula similar to Sinatra's previous albums In the Wee Small Hours and Where Are You?. According to John Rockwell's book, Sinatra: An American Classic, when asked at a party in the mid-1970s if he had a favorite album among his recordings, without hesitation, Sinatra chose Only the Lonely; the album's front cover was painted by Nicholas Volpe. The painting features Sinatra as a Pagliacci-like clown. Sketched on the album's back cover is one of Sinatra's recurrent visual motifs: a lamppost. Sinatra had planned to record the album with arranger Gordon Jenkins, with whom he had worked on Where Are You?. Since Jenkins was unavailable at the time, Sinatra chose to work with his frequent collaborator, Nelson Riddle; the three tracks conducted by Riddle at the would-be first session were not used, the subsequent May 29 session was conducted by Felix Slatkin, after Riddle went on a pre-arranged tour with Nat King Cole.
At the time of the recording, Sinatra's divorce from Ava Gardner had been finalized, Nelson Riddle had suffered the deaths of his mother and daughter. Of these events, Riddle remarked: "If I can attach events like that to music...perhaps Only the Lonely was the result." Q Magazine placed Only the Lonely at #1 on the "15 Greatest Stoner Albums of All Time". The album peaked at #1 on Billboard′s pop album chart during a 120-week chart-run, was certified Gold on June 21, 1962, nearly four years after its release; as noted by biographer Peter J. Levinson, "Nelson chose several instrumental soloists to communicate the essence of the music on the album. Harry Edison showed the somber side of his playing on'Willow Weep for Me.' The late, great trombonist, Ray Sims, the unsung soloist with Les Brown and Harry James and brother of jazz tenor saxophonist stalwart'Zoot' Sims, delivered the finest recording work of his long career with a brace of meaningful solos. Bill Miller contributed several beautifully conceived piano solos."
Sinatra was nominated for five Grammy Awards at the inaugural Grammy Awards in 1959. Frank Sinatra Sings for Only the Lonely and Sinatra's other album released in 1958, Come Fly with Me, were nominated for the Album of the Year, Frank Sinatra Sings for Only the Lonely won the Grammy Award for Best Album Cover. "Only the Lonely" – 4:10 "Angel Eyes" – 3:46 "What's New?" – 5:13 "It's a Lonesome Old Town" – 4:18 "Willow Weep for Me" – 4:49 "Goodbye" – 5:45 "Blues in the Night" – 4:44 "Guess I'll Hang My Tears Out to Dry" – 4:00 "Ebb Tide" – 3:18 "Spring is Here" – 4:47 "Gone with the Wind" – 5:15 "One for My Baby" – 4:23 Bonus tracks included on the 1987 CD release: "Sleep Warm" – 2:45 "Where or When" – 2:25 Frank Sinatra – vocals Nelson Riddle – arranger, conductor Felix Slatkin – conductor Bill Miller – piano Gus Bivona – alto saxophone Dave Cavanaugh – producer On May 29, 1958, Sinatra unsuccessfully attempted to record Billy Strayhorn's ballad "Lush Life". A bootleg recording of Sinatra's attempt at "Lush life" exists.
The session material of "Lush Life" was included as part of the 60th anniversary deluxe edition of Only The Lonely, released in October 2018. Ingham, The Rough Guide to Frank Sinatra, Rough Guides Ltd, June 30, 2005. ISBN 1-84353-414-2 Summers and Robbyn Swan, Sinatra: The Life, Doubleday, 2005. ISBN 0-552-15331-1
Everybody Loves Somebody
"Everybody Loves Somebody" is a song written in 1947 by Sam Coslow, Irving Taylor and pianist Ken Lane. Although written 20 years earlier, by 1964 the song had been recorded by several artists--including Frank Sinatra--but without much success. Lane was playing piano for Dean Martin on his Dream with Dean LP sessions, with an hour or so of studio time left and one song short, Lane suggested that Martin take a run at his tune. Dean was agreeable, the small combo of piano, guitar and bass performed a quiet, laid-back version of the song. Martin re-recorded the song for his next album, this time with a full orchestra and chorus, his label, Reprise Records, was so enthusiastic about the hit potential of this version they titled the LP Everybody Loves Somebody to capitalize on it. Although still a major recording artist, Martin had not had a Top 40 hit since 1958. With the British Invasion ruling the U. S. charts, few had hopes that an Italian crooner, singing standards for 20 years would sway many teenagers.
Martin resented rock n' roll, his attitude created conflict at home with his 14-year-old son Dean Paul Martin, who like many teenagers at the time worshipped pop groups like The Beatles. He told his son, "I'm gonna' knock your pallies off the charts," and on August 15, 1964 he did just that: "Everybody Loves Somebody" knocked The Beatles' "A Hard Day's Night" off the #1 slot on Billboard, going straight up to the top of both the Billboard Hot 100 and the "Pop-Standard Singles" chart, the latter for eight weeks, it replaced "That's Amore" as Martin's signature song, he sang it as the theme of his weekly television variety show from 1965-74. The song has become so identified with Martin that versions are invariably compared to his take; as an apt description of the power of the song in Martin's life, the words "Everybody Loves Somebody" appear on his grave marker in Los Angeles. The song was used in an episode of the continuation of Samurai Jack; the song was used in commercials for Western Union.
The Billboard Book of Top 40 Hits, 6th Edition, 1996 Lyrics of this song at MetroLyrics
A music genre is a conventional category that identifies some pieces of music as belonging to a shared tradition or set of conventions. It is to be distinguished from musical form and musical style, although in practice these terms are sometimes used interchangeably. Academics have argued that categorizing music by genre is inaccurate and outdated. Music can be divided into different genres in many different ways; the artistic nature of music means that these classifications are subjective and controversial, some genres may overlap. There are varying academic definitions of the term genre itself. In his book Form in Tonal Music, Douglass M. Green distinguishes between form, he lists madrigal, canzona and dance as examples of genres from the Renaissance period. To further clarify the meaning of genre, Green writes, "Beethoven's Op. 61 and Mendelssohn's Op. 64 are identical in genre – both are violin concertos – but different in form. However, Mozart's Rondo for Piano, K. 511, the Agnus Dei from his Mass, K. 317 are quite different in genre but happen to be similar in form."
Some, like Peter van der Merwe, treat the terms genre and style as the same, saying that genre should be defined as pieces of music that share a certain style or "basic musical language." Others, such as Allan F. Moore, state that genre and style are two separate terms, that secondary characteristics such as subject matter can differentiate between genres. A music genre or subgenre may be defined by the musical techniques, the style, the cultural context, the content and spirit of the themes. Geographical origin is sometimes used to identify a music genre, though a single geographical category will include a wide variety of subgenres. Timothy Laurie argues that since the early 1980s, "genre has graduated from being a subset of popular music studies to being an ubiquitous framework for constituting and evaluating musical research objects". Among the criteria used to classify musical genres are the trichotomy of art and traditional musics. Alternatively, music can be divided on three variables: arousal and depth.
Arousal reflects the energy level of the music. These three variables help explain why many people like similar songs from different traditionally segregated genres. Musicologists have sometimes classified music according to a trichotomic distinction such as Philip Tagg's "axiomatic triangle consisting of'folk','art' and'popular' musics", he explains that each of these three is distinguishable from the others according to certain criteria. The term art music refers to classical traditions, including both contemporary and historical classical music forms. Art music exists in many parts of the world, it emphasizes formal styles that invite technical and detailed deconstruction and criticism, demand focused attention from the listener. In Western practice, art music is considered a written musical tradition, preserved in some form of music notation rather than being transmitted orally, by rote, or in recordings, as popular and traditional music are. Most western art music has been written down using the standard forms of music notation that evolved in Europe, beginning well before the Renaissance and reaching its maturity in the Romantic period.
The identity of a "work" or "piece" of art music is defined by the notated version rather than by a particular performance, is associated with the composer rather than the performer. This is so in the case of western classical music. Art music may include certain forms of jazz, though some feel that jazz is a form of popular music. Sacred Christian music forms an important part of the classical music tradition and repertoire, but can be considered to have an identity of its own; the term popular music refers to any musical style accessible to the general public and disseminated by the mass media. Musicologist and popular music specialist Philip Tagg defined the notion in the light of sociocultural and economical aspects: Popular music, unlike art music, is conceived for mass distribution to large and socioculturally heterogeneous groups of listeners and distributed in non-written form, only possible in an industrial monetary economy where it becomes a commodity and in capitalist societies, subject to the laws of'free' enterprise... it should ideally sell as much as possible.
Popular music is found on most commercial and public service radio stations, in most commercial music retailers and department stores, in movie and television soundtracks. It is noted on the Billboard charts and, in addition to singer-songwriters and composers, it involves music producers more than other genres do; the distinction between classical and popular music has sometimes been blurred in marginal areas such as minimalist music and light classics. Background music for films/movies draws on both traditions. In this respect, music is like fiction, which draws a distinction between literary fiction and popular fiction, not always precise. Country music known as country and western, hillbilly music, is a genre of popular music that originated in the southern United States in the early 1920s; the polka is a Czech dance and genre of dance music familiar throughout Europe and the Americas. Rock music is a broad genre of popular music that originated as "rock and roll" in the United States in the early 1950s, developed into a range of different styles in the 1960s and particular
The Complete Capitol Singles Collection
The Complete Capitol Singles Collection is a 1996 box set by the American singer Frank Sinatra. This four-disc set contains all the singles —A-sides and B-sides—that Sinatra recorded for Capitol Records between 1953 and 1960. Among them are duets with Bing Crosby, Keely Smith, June Hutton, the Nuggets, who provided vocal backing at a 1955 session where Sinatra made two forays into rock'n' roll; those songs, along with about 20 others, make their first appearance on compact disc with this set. The packaging includes many photographs, detailed session notes, a long essay by Will Friedwald, who explains that Sinatra followed a "singles aesthetic" that set these songs quite apart from the "concept" albums he was recording for Capitol. "Lean Baby" - 2:33 "I'm Walking Behind You" – 2:58 "I've Got the World on a String" – 2:14 "My One and Only Love" – 3:14 "Anytime, Anywhere" – 2:45 "From Here to Eternity" – 3:01 "I Love You" – 2:28 "South of the Border" – 2:52 "Take a Chance" – 2:40 "Young at Heart" – 2:53 "Don't Worry'bout Me" - 3:07 "I Could Have Told You" – 3:18 "Rain" – 3:27 "Three Coins in the Fountain" – 3:07 "The Gal That Got Away" – 3:12 "Half as Lovely" – 3:09 "It Worries Me" – 2:55 "When I Stop Loving You" – 2:56 "White Christmas" - 2:37 "The Christmas Waltz" – 3:03 "Someone to Watch Over Me" – 2:59 "You, My Love" – 2:56 "Melody of Love" - 3:02 "I'm Gonna Live Till I Die" - 1:54 "Why Should I Cry over You?"
– 2:41 "Don't Change Your Mind About Me" - 2:44 "Two Hearts, Two Kisses" - 2:23 "From the Bottom to the Top" - 2:22 "If I Had Three Wishes" – 2:56 "Learnin' the Blues" – 3:04 "Not as a Stranger" – 2:47 "How Could You Do a Thing Like That to Me" – 2:44 "Same Old Saturday Night" – 2:31 "Fairy Tale" – 2:59 "Love and Marriage" – 2:41 "The Impatient Years" – 3:14 " The Tender Trap" – 3:00 "Weep They Will" - 3:19 "You'll Get Yours" - 2:28 "Flowers Mean Forgiveness" - 3:07 " How Little We Know" – 2:44 "Five Hundred Guys" - 2:50 "Wait for Me" - 2:54 "You're Sensational" - 3:54 "Well, Did You Evah!" - 3:46 "Mind if I Make Love to You?" - 2:24 "Who Wants to Be a Millionaire?" - 2:07 "You Forgot All the Words" - 3:20 "Hey! Jealous Lover" – 2:24 "Your Love for Me" - 2:59 "Can I Steal a Little Love?" - 2:32 "So Long, My Love" – 2:50 "Crazy Love" - 2:54 "Something Wonderful Happens in Summer" – 3:16 "You're Cheatin' Yourself" – 2:38 "All the Way" – 2:55 "Chicago" - 2:12 "Witchcraft" – 2:54 "Tell Her You Love Her" - 3:01 "The Christmas Waltz" - 3:04 "Mistletoe and Holly" - 2:18 "Nothing In Common" - 2:31 "How Are Ya' Fixed for Love?"
- 2:26 "Same Old Song and Dance" – 2:54 "Monique" - 3:18 "Mr. Success" - 2:42 "Sleep Warm" – 2:43 "No One Ever Tells You" – 3:28 "To Love and Be Loved" – 2:58 "Time After Time" - 3:31 "French Foreign Legion" – 2:03 "All My Tomorrows" – 3:15 "High Hopes" – 2:43 "They Came to Cordura" - 3:02 "Talk to Me" – 3:04 "River, Stay'Way from My Door" – 2:39 "It's Over, It's Over, It's Over" – 2:42 "This Was My Love" – 3:28 "Nice'n' Easy" – 2:45 "You'll Always Be the One I Love" – 2:59 "Old McDonald Had a Farm" – 2:42 "My Blue Heaven" – 2:03 "Sentimental Baby" - 2:38 "Sentimental Journey" – 3:26 "American Beauty Rose" – 2:22 "The Moon Was Yellow" - 3:02 "I've Heard That Song Before" – 2:33 "Five Minutes More" – 2:36 "I'll Remember April" - 2:50 "I Love Paris" (
Songs by Sinatra
Songs by Sinatra, Volume 1 is the second studio album by Frank Sinatra. The tracks were conducted by Axel Stordahl and his orchestra, it is a collection of eight recordings from six different sessions. It was released as a set of four 78 rpm records similar to The Voice of Frank Sinatra and re-issued in 1950 as a 10" record. "I'm Sorry I Made You Cry" "How Deep is the Ocean?" "Over the Rainbow" – 3:16 "She's Funny That Way" "Embraceable You" "All the Things You Are" "That Old Black Magic" "I Concentrate on You" – 3:03 Frank Sinatra – Vocals Axel Stordahl – Arranger, Conductor MUSICIANS – Victor Arno, Robert Barene, Alex Beller, Eddie Bergman, William Bloom, Harry Blostein, Harry Bluestone, Werner Callies, Sam Cytron, Walter Edelstein, Peter Ellis, Sam Freed, David Frisina, David Jefferson, Gerald Joyce, George Kast, Sol Kindler, Morris King, Samuel Levine, Sam Middleman, Fred Olson, Anthony Perrotti, Nick Pisani, Gene Powers, Ted Rosen, Mischa Russell, Felix Slatkin, Marshall Sosson, Oreste Tomasso, Olcott Vail, Allan Harshman,William Hymanson, Paul Lowenkron, Alexander Neiman, Maurice Perlmutter, Paul Robyn, Leonard Selic, William Spear, Dave Sterkin, Gary White, Cy Bernard, Fred Goerner, Arthur Kafton, Nicholas Ochi-Albi, John Sewell, Julius Tannenbaum, May Cambern, Irma Clow, Heinie Beau, Fred Dornbach, Manny Gershman, Leonard Hartman, Herbie Haymer, Jules Kinsler, Harold Lawson, Don Logiudice, Harry Schuchman, Arthur Smith, Willie Smith, Fred Stulce, Don Anderson, Charles Griffard, Max Herman, Ray Linn, Leonard Mach, Billy May, Horace Nelson, Rubin "Zeke" Zarchey, Hoyt Bohannon, Dave Hallett, George Jenkins, Carl Loeffler, Pullman "Tommy" Pederson, Jack Schaeffer, Jimmy Skiles, Elmer Smithers, Paul Weigand, Joe Yukl, Fred Fox, Richard Perissi, James Stagliano, Mark McIntyre, Dave Barbour, Allan Reuss, John Ryan, Artie Shapiro, Phil Stephens, Ray Hagan
John Collins Fulton was an American composer and vocalist. At the age of 17, he started playing the trombone for small-town dances, he sang with the Mason-Dixon Orchestra. He played the trombone and sang with the George Olsen Orchestra, he was part of the trio that sang on the 1925 number one hit "Who?" The other vocalists were Fran Frey. In 1926, he joined the Paul Whiteman orchestra, he provided the vocals for many Whiteman recordings. He was part of a trio with Charles Gaylord and Austin Young on a recording of "Makin' Whoopee." They sang with The Rhythm Boys on their 1927 recording of "Changes" and accompany Bing Crosby and Bix Beiderbecke during their solos. He appeared in King of Jazz as a part of the orchestra singing "A Bench in the Park". With the orchestra, he popularized the song "Body and Soul" in 1930, he introduced the song "How Deep Is the Ocean?" in 1932. He wrote around 120 compositions, including "Wanted", "Until", "If You Are But a Dream", "My Greatest Mistake" – his first hit. Jack Fulton on IMDb
Early life of Frank Sinatra
Francis Albert "Frank" Sinatra was born in Hoboken, New Jersey, on December 12, 1915. He grew up in a tenement with his parents. Francis Albert Sinatra was born on December 12, 1915, in an upstairs tenement at 415 Monroe Street in Hoboken, New Jersey, the only child of Italian immigrants Natalina "Dolly" Garaventa and Antonino Martino "Marty" Sinatra; the couple had eloped on Valentine's Day, 1913, were married at the city hall in Jersey City, New Jersey. Sinatra weighed 13.5 pounds at birth and had to be delivered with the aid of forceps, which caused severe scarring to his left cheek and ear, perforated his ear drum, damage that remained for life. Due to his injuries at birth, his baptism was delayed for several months. A childhood operation on his mastoid bone left major scarring on his neck, during adolescence he suffered from cystic acne that scarred his face and neck; some children called him "Scarface". Sinatra was raised Roman Catholic; when Sinatra's mother, was a child, her pretty face earned her the nickname "Dolly".
As an adult, she stood less than five feet tall and weighed 90 pounds. Sinatra biographer James Kaplan describes her as having a "politician's temperament—restless, unreflective", she was the daughter of a lithographer. Born in Genoa in northern Italy, she was brought to the United States. Dolly was influential in local Democratic Party circles, she used her knowledge of Italian dialects and fluent English to translate for immigrants during court proceedings those pertaining to requests for citizenship. This earned her the respect of local politicians, she was the first immigrant woman to hold that position in her local third ward, reliably delivered as many as six hundred votes for Democratic candidates. In 1919, she chained herself to city hall in support of the Women's suffrage movement, she worked as a midwife, earning $50 for each delivery, a fair amount of money at the time. These activities kept Dolly away from home during much of her son's childhood. Sinatra biographer Kitty Kelley claims that Dolly ran an illegal abortion service that catered to Italian Catholic girls, was so well known for this doctors referred their patients to her, for whom she would travel as far afield as Jersey City and Union City.
Sinatra's father, Antonino – a small, blue-eyed, ruddy-complexioned man – was from Lercara Friddi, near Palermo, Sicily. His parents had been vineyard cultivators, he arrived at Ellis Island with his mother and sisters in 1903, when they joined his father, Francesco Sinatra, who had immigrated to the US in 1900. Francesco worked for 17 years at the American Pencil company, which "wrecked his lungs" according to granddaughter Nancy. Antonino was a bantamweight boxer. Though a boxer, who would talk "loud and rough", he had a reserved demeanor, he retired from boxing in 1926, after having broken both wrists, found work on the docks as a boilermaker, but was soon laid off due to problems with asthma. He served with the Hoboken Fire Department for 24 years. Kaplan claims. In 1920, Prohibition of alcohol became law in the US. Dolly and Marty ran a tavern during those years, allowed to operate by local officials who refused to enforce the law. Kaplan notes the possibility that the Sinatras procured their liquor from members of the American Mafia.
They purchased the bar, which they named Marty O'Brien's, with money they borrowed from Dolly's parents. When they were busy with the tavern, Sinatra was watched by relatives and sometimes a Jewish neighbor named Mrs. Goldberg, who taught him Yiddish; when Sinatra was six, his uncle Babe, Dolly's brother, was arrested for driving a getaway car after a Railway Express truck driver was murdered. Though Dolly attended his trial daily and attempted to evoke sympathy, her brother was convicted and sentenced to prison for 15 years. Other family members had minor clashes with the law. Sinatra recalled spending time at the bar, working on his homework and singing a song on top of the player piano for spare change. During the Great Depression, Dolly provided money to her son for outings with friends, for him to buy expensive clothes, he earned pocket money by singing on street corners. Neighbors described him as the "best-dressed kid in the neighborhood" and the "richest kid on the block", aided by the fact that he was an only child, had his own bedroom.
According to Kaplan, Dolly doted on her son, but she abused him when he angered her, hitting him with small bat she kept at Marty O'Brien's. Excessively thin and small as a child and young man, Sinatra's skinny frame became a staple of his own jokes and those of the Rat Pack members during stage shows, one self-effacing joke being: "A little kid, skinny. So skinny my eyes were single file. Between those two and my belly button my old man thought I was a clarinet". Sinatra developed an interest in music big band jazz, from a young age, became addicted to listening to the radio, "entranced by the new musical and comedy routines and captivated by the huge audiences they commanded", according to biographer Chris Rojek, he began singing at a young age, sitting on top of the piano at his parent's bar in Hoboken, "Marty's O'Brien's. Dolly was not enthusiastic at the idea of her son becoming a singer, but she realized when Sinatra was as young as 11 he had something