Sinatra in Retrospective, Parts 1 and 2; Part 1
But this is not true in retrospect. Part one of a four part series. It's 58 minutes long with a 30 second promo following. Here's one Kato starts it one minute Sinatra and retrospective is a production of WXXI FM Rochester New York. Here is drink up all you dog is there anything you see. You know
during the meeting this is the first of four programs entitled Sinatra in retrospect. My name is Michael Lasser Frank Sinatra died on May 15th 1998 at the age of 82. It's tempting to say that a remarkable career has come to an end but in fact Sinatra stopped singing several years ago. And some would argue he should have stopped years before that the voice had become thin tight and unreliable. On the other hand you can also say his career certainly his achievement his extraordinary achievement will be there for us and those who come after us. Thanks to movies television and recordings. In his later years Sinatra continued to perform before huge audiences working back over the songs and arrangements to transform them from an amiable band singer to one of the supreme performers of popular music. He may very well be the single most important
singer in the history of popular song. Stay tuned for the first of four hours examining the career of Frank Sinatra. Sinatra style was formed by the early crooners he listened to as a youngster in Hoboken New Jersey. He listened to Bing Crosby Rudy Vallee and Russ Colombo and came to the conclusion that he too could do what they did. It obviously wasn't that simple. He was speaking with the easy confidence of the young. But he made it happen. In fact he made it happen more than once in a career where both public and private lives were played out for all to see. But this isn't a biography. It's about the singer and the singing. I won't be talking about who we married when or who his kids are or who we hung out with but over the next four programs I'll play dozens of recordings to look at the breadth and depth of his achievement. I may not play some of your personal favorites and there may be important things about Sinatra I never get to. But here's a chance to look at what the man they used to call the voice
has meant to music and to us the first impressions and earliest memories of Frank Sinatra are inseparable from World War 2. He was a great singer and almost certainly would have been a great star even if they'd been no war the wartime ballads were about loneliness parting in the dream of return they lent themselves especially to Sinatra's boyishly sexy voice his sweetly suggestive crooning. This is Sammy Fain in Irving K.. I'll be seeing you.
When Sinatra recorded I'll be seeing you in 1944. He'd already come a long way from the skinny Tao's Lee haired kid who sang with Harry James and then with Tommy Dorsey. He was still skinny. He still wore limbo ties. He still draped him self over a microphone. He was somehow sexy indeed tumescent at the same time. But by the mid 40s he learned a lot about singing. Much of it from Tommy Dorsey the Dorsey band was especially good at sustaining the mood of a romantic ballad. Thanks to Dorsey's warm trombone and Sinatra's mellow vocals big bands was still more important than solo singers in the early forties. But as Sinatra grew in importance Dorsey agreed to a recording in which one entire side of the 78 rpm record was devoted to a vocalist from 1940. This is Sinatra's first best selling record I'll never smile again. Followed by his first million records seller from 1943.
There are such things.
Oh yes. Live on was
live. Oh I'm just saying. Sure you are.
Certain to be the abuse of Dorsey's reluctant agreement to feature Sinatra on I'll never smile again was his recognition not only of Sinatra's talent but also of the growing importance of singers to a band success. By the time Sinatra released his second million seller he was on his way to becoming the most important singer of his generation and probably of the century he'd originally cut a recording of this song in one thousand thirty nine. When he was an unknown working for Harry James it flopped. But during a musicians strike in 1943 Columbia Records rereleased it with
Sinatra's name in bigger letters than James. The song was one of Sinatra's favorites all or nothing at all. I am here. Yes
we were in the ring. Was a an A and that makes me weak. Yeah I am your cold
beer in the game got cold. No way I was am I am I am I am. That was Arthur Altman and Jack Lawrence's all or nothing at all.
After the war a popular taste shifted from the bands to the singers or as David UN put it the swing era became the Singh era. Sinatra helped make it happen when he left Dorsey in 43 to pursue a career as a soloist. He struggled for a year before the famous encounters between one skinny singer and tens of thousands of Pew Besson females at New York's Paramount Theater. So Sanaa. To help make the switch happen just as he was also its most important beneficiary. He understood that his singing could touch the loneliness of young men and women separated by war. He also saw that no band no matter how good could do just that. He was also lucky he decided to act just as the musicians union called a national strike for 13 months record used a vocal accompaniment for lowest back by voices Sinatra recorded the Harry Warren order you'll never know.
The the the. Just us you you you. You
speak your. Who pray you. If you are. The
hoop it was the food that was you'll never know. By the time Sinatra appeared at the Paramount he had a well-established reputation. He was a regular on the hit parade radio program and he'd signed with Columbia Records which was promoting him as one of the leading singers. Here are two of his earliest hits for Columbia. The first came from Rodgers and Hammerstein's first Broadway collaboration Oklahoma the second from his friends Jimmy Van Heusen and Johnny Burke. People will say we're in love. And Sunday Monday and always eat
soup. Please join us. You're
so you're still.
Were we on if your side is yours.
They were at the side hoe.
No you tell me if you're so cold.
People will say we're in love. And Sunday Monday and always. You're listening to the first of four special hours entitled Sinatra in retrospect. I'm Michael Lasser in the early and mid 40s lyricist Sammy Kahn became Sinatra's close friend and soon became known as his personal songwriter. When both of them were starting out. Condon composer Julie Stein who just started their own collaboration wrote a song for a movie called Youth on parade. Harry James and vocalist Helen Forrest had the big recording but Frank Sinatra introduced in the movie. This is I've heard that song before followed by
another standing con song made into a hit by Frank Sinatra. I fall in love too easily. It's to me it's wooden. It's funny because of what brought you through cause the lyrics said or
were just were about love. Through to him the issue and.
Fall in to who fall in two foot fall in love you to live for love to put this cause I've been stood forward
by to fly. I should say because the food.
Good morning. I've heard that song before and I fall in love too easily. Like Sami Khan composer Jimi then Husan was also associated closely with Sinatra and also became a close personal friend. The first time Sinatra sang of and Hughes and melody was in 1040 when he was still with Dorsey and then Hewson was collaborating with the fine lyricist Johnny Burke. This is polka dots and movie.
And suddenly I was like Stuart. I held my breath in my Quest QUEST.
That was Johnny Burke and Jimmy then Houston's polka dots and moonbeams. It's unusual to have more than one singer make a hit recording of a single song. It's much more likely to have one singers record dominate but several times in the 1040s somebody else would have a hit recording and so would Sinatra of the same song. It's a sign of how popular he was becoming. He and Hildegarde had hit recordings of I'll Be Seeing You. He and Dinah Shore sold large numbers of all walk alone and both he and Bing Crosby had separate million record sales on a song that belongs to Crosby almost but not quite entirely. This is Frank Sinatra's version of White Christmas.
Where to your birth your yours or your labor. We're there for Christmas.
Are you sure you eat your spirit. Where's your burger. Are
you sure. EVERY ONE OF THESE SONGS FROM I'll be seeing you the white Christmas has been a ballad. It figures the ballads with the male singers stock in trade and Sinatra
was drawn to them naturally and practically. But he also began to record some up tempo songs successfully. He's still feeling his way here trying to get past the mellow crooning style. Trying to learn to let go to swing. This is Saturday night is the loneliest night in the week. Yeah but my sweetie and I just choose Sunday because that's a cold day and
for the memories I see here you sure don't. Saturday
memory I usually see. I hear you. You live with your grandma once more. Aside from 1040 for Saturday night is the loneliest night in the week. The
next year Sinatra got involved in an unusual project a radical leftist and Communist Party member named Earl Robinson had written a number of songs for the cause in which he believed he was very much an idealist. His most recent song that combined praise for American democracy with a plea for tolerance. Sinatra who was often drawn to civil rights causes in the 40s and 50s starred in a film short built around his performance of a song as a lesson in tolerance to a group of boys. He made a successful recording and in the last decade of his life had begun singing it again in his final concert appearances. This is the house I live in.
First three home in the poll.
That's a marriage thing. The big thing in most news. Oh yes the wedding can get through. Load
it up people from the old. That was the house I live in Frank Sinatra's career took off in the early forties by 1942 had become downbeat magazine's top vocalist replacing Bing Crosby after four straight years. It's been said all the while behavior at the Paramount Theater in New York was largely the result of manipulation by an especially wily publicist. But of Sinatra's appeal hadn't been genuine. Nothing like it would have happened. He was never a handsome man. He was too skinny.
His face was too long but his eyes could be warm and direct and his mouth was sensuous though with a touch of irony in the set of the lips. He was seductive and boyish and just a little bit dangerous. This is day by day for his one to be her one. You're smiling. And
then. Man you're a man.
And who. Paul Weston Axel Stuart Hall and Sammy Khan's day by day. Jonathan Schwartz who ought to know once wrote about Sinatra in his beautiful singing his conversational at the center of this intimacy this honesty of performance of passions felt and transmitted. There stands a musician who millions have invested emotional fortunes for Sinatra and for us it began in the 1940s with songs
like Nancy. It's the new art of the week. Yes there leave me got to answer with a laugh and she takes the when her legs it's so. Some are good lessons from
your time. And really that's no answer you with a laugh and did you ever measure or give you say. Once you spit X you would thing. Good was saying just here. Oh good you resist. Sorry for you. She has no sister no or could
ever say with a laugh and you're too good to resist. Sorry for you know a sister knowing you could reply with a laugh.
The Jimmy Van Heusen and Phil Silvers Nancy Frank Sinatra knew how to caress a ballad so the lyrics sounded as if he meant every word. It was the quietest kind of lovemaking. There was nothing sweaty a laborious about it but the passion felt real. As a result Frank Sinatra became the hit maker on recordings on radio and in the movies. It felt permanent. Then in the early 50s he stumbled his voice failed him and his personal life came apart. He appeared finished until his Oscar winning performances Maggiolo him from here to eternity. Now the career began again. He was to become one of the most gifted most versatile and most powerful figures in the history of American show business. Join me for part two of Sinatra in retrospect Sinatra the swinger The Technical Director. I'm Michael Lasser.
The facts on the job legally. I got a phone the number one national broadcast of Sinatra and retrospective is made possible by the contributing listeners of WXXI public broadcasting for a complete playlist of this series. Please send a stamped self-addressed envelope to Sinatra in retrospective WXXI FM. Post Office Box 21
Rochester New York 1 4 6 0 1. You may also send your playlist request by email to radio at WXXI dot org. Sinatra and retrospective is a production of WXXI FM Rochester New York. The death of one old man on May 15th 1998 is also the death of the greatest singer of popular songs anywhere any time. I Michael Lasser join me for a special four part series Sinatra in retrospect. Was God spread and. I. Gave him. The day.
I was on two. This is not true in retrospect. Part two of the four part series. It is fifty eight long with the 30 second promo following tone it one minute.
Sinatra and retrospective is a production of WXXI FM Rochester New York. Treat. You. Dog. Anything you say. Welcome to the second of four programs untitled Sinatra in retrospect. I'm Michael Lasser. Frank Sinatra was the most important most influential most masterful singer in the history of our popular music. After the decade of the 40s when he turned from a pleasant band singer into a major figure in the movies on radio and in recordings the unstoppable Sinatra came to a dead stop in the early 50s were his dark years. Overwork a tired voice and a personal life in shambles combined with a rising new generation that found his style a little dated and a decline in the quality of songwriting. The hits didn't come as easily or as
often. Finally he walked out on the stage one night opened his mouth and nothing came out. The final indignity. Columbia Records dropped him. The Untouchable irresistible Sinatra was without a recording contract. Yet within only a few years he'd won an Oscar for From Here To Eternity had brought his voice back by working in a series of small second rate clubs around the country and had signed with Capitol Records. He was reborn and his second career was far richer than his first. For one thing he'd begun to learn how to swing in the early years he get occasional up tempo songs where he was a crooner singing fast rather than the singer swinging with the song in the band. It wasn't that the early up tempo work was bad. Actually it was very good but the later work was even better much better in point of fact. Listen to Julie Stein and Sammy Khan's five minutes more to hear a crooner singing fast and then listen to the new swinging Sinatra with the Gershwins they can't take that away from me.
I love to. Write. She gave me just one hand and says. It was late. And let me let me and you. Again minute small minute small of your. Dreams. That's you can sleep late. Give
me minutes let me let me hand you. James. Well you can see. Me and it's that small. Let me.
Let me. In. That will keep me. And. List. Away.
Thing. Take that away from me. May never. Never meet. Bob or old to love along the way. Keep the man. The way you knife. And stun to. The way you change my life. They can't take that away from. You. They cared. For. You.
Five minutes more and they can't take that away from me. Sinatra's re-emergence at Capital came about in part because he began working with three remarkable arrangers Nelson Riddle Gordon Jenkins and Billie Mae. Each had a style of his own but all three understood Sinatra and he in turn admired and trusted them. Nelson Riddle's arrangements brought forth a new stronger more sophisticated Sinatra. No more romantic langar an ardent whispering from the skinny kid in the bow tie. This singing was full voiced and free. It was jubilant as if Sinatra had been released from the burdens he carried for the last four or five years. The first important number together was I've got the world on a string. Got the world. On a string. Sitting in the rain got the skewering over on my thing.
What a. Lot of. Laughs. When. I sing I can make the rainbow. Anytime I move my thing. Lucky me cat she is in love. Life is a beautiful thing. I hope. I. Never let it go. I got the world. On a rainbow got the string around my thing. I'm in love. Life is a beautiful thing.
This Thing. I. Should have. Let it. Go. To. Bring. On a rainbow. Got this thing around. What it was. Harold Arlen and Ted Cole is I've got the world on a string. Sinatra and riddle now turned to some of the arrangements Sinatra been using with small groups in nightclubs. Riddle flush them out for the big studio band and they became part of the beginning of what was happening at Capitol Records. Sinatra used the songs to work himself back into good
voice. Now that he was singing well again he used them to re-assert for himself his restoration in return. This is one of those arrangements. The new Sinatra sings all of me. Oh all of me. Love me. And I'm no good without you. I wanna. Take my. Dog. Good God left me with that. How can I. Get along without you. The Pauper. Ones was my oh.
So why not why not to me. Come on. Get all over me. See I'm just a mess. With Words you. Take my lips. How I want. Yet. He said these are. Not. How can I. Ever. Make it with. You. You got the power. So. Why not.
Well. That was Mark's and Simon's all of me. Something new now appeared to enhance the working relationship between Sinatra and riddle. Something made possible by the emergence of the long playing record in the late 40s. The concept album emerged because an LP could put 30 to 60 minutes of music on a single disc. Somebody got the idea of doing albums the magically either by content or style. Sinatra was one of the first to record a concept album with Nelson Riddle's arrangements. Sinatra turned his attention to a series of love ballads in a swinging up tempo way. The style was hip and carefree. This was an adult Sinatra who knew the playing around with love doesn't mean you don't also take it seriously. More than anything these recordings convey a sense of
confidence and jubilation from the concept album songs to swing in lovers. This is too marvelous for words. Youre just. Like. You. And I. Stand by. For us. It's sold. To. One. Bowl. I'll never find the words. That say in Illinois. I mean they just want too much. And just to. Be. A. Good. Time.
Bob wrote. A love song. From the. New York. Long. Shot. In the end Webster's Dictionary.
That was Richard Whiting and Johnny Mercer's too marvelous for words. The titles of the albums for the new swinging Sinatra make the point swing easy a swinging affair and the best of them songs for swinging lovers. The next song is from that album and provides a good example of what Sinatra and Riddle were doing. Part of what made it work was the familiarity of the songs riddle was arranging and Sinatra singing to take their full measure of surprise and then delight. You needed to be able to hear in the back of your mind what they used to sound like. This song was usually Song of the perky dance tempo. But now it's become hip a joyfully insistent invitation. What could make anybody happier than discovering what we have in common. A series of questions now contains its own answers. Sinatra's tempo is actually slower than Kate Smith's But for purposes of comparison compare Kate Smith foursquare in straightforward and swinging Frank Sinatra the
song is How about you.
It was. Them. I like New York in June. You.
Like you. I love the fireside. When a storyline is due. Like tape its chips. Like. Motive. How about you not about good books. Can't get my fish. James look get me it was in the movie show when all the lights will. Not. But I like it. How. Would. You. Like News.
I like your swing tune. Q. I asked. Good. Luck. Look. Who's in the movie. Right. Yeah. Like yeah yeah.
Burton Lane and Ralph Reed's How about you. Sometimes comparisons are odious. Sometimes they provide the clarity that make the point for the album a swinging affair recorded in November 1956. Sinatra recorded one of Cole Porter's best known songs and exotic erotic ballad known to just about everybody. Not one you'd expect to receive with those heart beat arrangement. Riddle said he tried to have the Temple imitate the beat of a heart during a brisk walk. Night and day doesn't feel right for that kind of treatment or if a senator's hip swinging it shouldn't work but it does begin to make the comparison. Listen to Fred Astaire's original recording from 1932. It's splendidly ardent and romantic. And then listen to Frank Sinatra.
Ed and they. You are the. Only. You. Need to move home. Run the sun weather and it. Yet. Oh my. Darling where you. Get. Them. To night and. I saw. That this longing for you. Follow. Him the wrong. Thing. Traffic's boom. In the silence of my long life I think of you to watch us that night.
There's. Such a home. News. Man. It's hard man. Won't. Let. My light make. Up. Day and. Night.
The Mole. Was. Cold I think. In a. Sole. Goal. Lol. I think. The.
Sun. Gets told. To. Make. The. That was Cole Porter's night and day. We were listening to the second of four special hours entitled Sinatra in retrospect. I'm Michael Lasser.
There was virtually no song Sinatra was unwilling to swing as long as Billy May or riddle or Sinatra himself thought it would work. So in addition to some outright swinging this is sense of irreverent hijackings to the proceedings. What could be more unlikely than a swinging rendition of on the road to Mandalay. By They all moved main Godor look in east to me. Has a bum a brother set. And I know. She thinks of me. Father when he is in the plum tree and the. Temple. Bells are they saying Come you back. BRITISH SOLDIER. Come you back. To Mandalay Bay come you back. To
Mandan laying. Back. To. And. Playing. At the old. Hotel Oh they. Can't hear heavy battles John gang. From Rangoon. On the way. Either. Way. And the dog comes up. With a nk.
It's the best like the worst. Man there ain't no ten commandments than a cat can reign as a first cause those crazy bells are call in. And it's that. That would be by the. Name of gold I lookin lazy I'd. See. Lookin lazy. At the sea. Jummy you. Back. To. Cats Here here. At the junction from. The road. Where. I. Play. And the. Dog.
Comes up. That was on the road to Mandalay by now Billie Mae had arrived to Columbia and went to work on the first of a series of different concept albums with Sinatra. The tempos of the songs varied from slow ballads to driving up tempo numbers. The songs were connected primarily by theme rather than style. The LP was the first of a series of invitation albums come fly with me it was called to be followed by Come dance with me from the first of these albums. This is the title song. Come with me. Let's fly. Let's fly. Away. If you can you risk some exotic foods there's a.
Come Fly With Me. Let's fly. Let's fly away. Fly. With me let's. Float. Down. To my. Hand. There's a one man band then do tune. His flute. For you. Come fly with. Let's turn. The blues inside gets you. Where there is. We. Just. Saw a head. Once I guess you call. It so. I am too sick to. Care. Whether. Such. A look. At.
Death. Just say a word and we'll. Beat the birds down through our. Pain. It's perfect. Say. It with. Me. It's. Like no way. One side gets you there. The area is red. Hot. We. Just saw at. Once I get you up there. The. Whole thing.
Good. Thing he. Came to. Paris where to care. Whether. The sun shone. Say. You just say the words and we'll. Be. Good. To walk. Gold paint. Is perfect. For a flogging. They. Say. Come flat with me let's find that. Hot. Tub. Let's slow down. The business. That was Jimmy Van Heusen and Sammy Khan's Come Fly With Me. The up tempo numbers on the Come Fly With Me album created a remarkable relationship between singer and orchestra the band did not to go away politely in the
background. May's orchestration didn't compliment or guide or showcase an opera the way Riddle's did. It felt like a competition. It pushed Sinatra hard. No holding back here no distance or time for reflectiveness the brasses brassy is it could be the tempos furiously fast. He was Sinatra fighting for his musical life and finishing in triumph. This is the Isle of Capri. It was on a I can't breathe that I find the walnut. I can still see the moon around. When we met. She was as sweet as Rose. At the dawning. Somehow fate. Though I sailed with. Them.
Still my heart song I kept. Summertime. New me. Blue attack news Sky. High 78 in the. Sun. And. Sparrows sweet word of love she whispered softly. Best not to linger. Then as I kissed her hand I could see. She wore a lovely. Manner of thing. It was good bye.
Summertime was nearly over. 90 and the sky up. High said Lady Holme. Can't. Find work. She whispered. Not. Paying And then at. Night. She wore a plain. Green. Was good. It was good on me. Of kept for the. Billy Mays arrangement of the Isle of Capri. So Sinatra was recording successful albums during the decade he spent at Capitol. But he was also releasing singles and they were becoming hits even during the early years of rock n roll. Frank Sinatra's recordings were hitting the charts in one thousand fifty seven.
Nelson Riddle's arrangement and Sinatra's insinuatingly happy singing made this recording into a Sinatra standard. This is witchcraft. Thing is in life. That's a come hither. That strips my conscience back. With scrub. Land. I've got no defense for it. To him tens for it. What. Good would common sense already do. As it's quick scrub. Hedwig's.
Yes. ROSE. One Sure. Can paint. Nicer. With. This with. That. Time.
Doesn't need me. My heart says yes and. Proceed with what you're leaving me to. Hit such an ancient pit. But one of those. Cars. Are. No nicer. Than you. Cy Coleman and Carolyn Lees witchcraft Sinatra was happy at Capital in part because he had so much artistic control over what he was doing. Though he was untrained Musically he understood music. He understood songs he knew intuitively what was right for him his arranges took his insights and his
suggestions seriously. But he wanted his own recording company where he would be truly in charge in 1961 he left Capitol to found Reprise Records the label he still records for his problem now is finding songs that suited his taste and style. Rock n roll was everywhere. It was as if only adolescents listen to music anymore. Occasionally he made the mistake of trying to adapt a contemporary sound to his own style on one or two of those occasions. It came close to working. This is. That's life. Come on. Come on. That's why. That's what all the people say. You're riding high on a road. Shot done in a.
Moment say you sat. Back on top back on top of. The set. And this one here. It may seem some people get a kick. Start. Then all. Three. Told me to let it get me. Cause this. Planet. Can. Keep skin and. Heart then 0. 0 0. 0. 0 0 0 0. 0. 0 and. Told the king hoppin up and down an old. Man. And I know one thing. Each time I might find my self. Oh my me my self. And get.
That's why. I can't. OK. I'll hold the. Baby. Away but just a little thing. Will say Oh. I just run up Big Bird. Told. OK. I. Can. Go in and. And. So. I say to myself. Man it's cold cold.
Cold. This should come next election. Gone are the old. Big goals. The end. Good good. That was that's life. In addition to the albums in the singles Sinatra was also making movies and introducing songs in those movies. The songs he did on screen weren't exactly typical of the hip swinging Sinatra but they were light and likable more frivolous and sometimes very successful. In the movie a hole in the head the script called for a duet to ease tension between a father played by Sinatra and his young son played by Eddie Hodges. The
movie was a hit and Sinatra soon recorded a studio version for release as a single. Hodges wasn't part of the recording but it became a hit anyway. This is high hopes. With. The book. And. With that that. Was. Thank you Rob. And. Get luck.
But. You. Feel and remember that right. Once they're gone it was an awesome problem. The law.
Must have. Worked. That was Van Heusen in Khan's high hopes well into the 60s Sinatra and his pals were on top of the showbiz world. A bunch of guys on the stage of a huge hotel in Las Vegas trying to be as hip as they knew how. It was all terribly adolescent. More than a little self-indulgent and probably harmless. They couldn't possibly have been as hip as they thought they were. But through those years before the voice began to betray him Sinatra continued to turn out recordings that swung convincingly and cockily from the movie Robin in the hoods. This is my kind of town preceded by an earlier version of another song about the same town Chicago.
In. Chicago. Chicago. I will show you. Around. Your bottom. Lip. Stick. To. The. Song. State Street that. Great street. I just want to say. They. Do say. They. Rot away. I have the time the time of their life. I saw the man he danced with his wife.
That's your bottom dollar. Thank. God. They never. Wrote. A. Song. That's when. Cold. Cold. Sick. OK.
And the. Old. God told me you're. My kind of. People. People love her. Great. Fun. I roam. Chicago A. Car let me hold. Her. It makes me jump up and down. My. Tongue and their tongue.
Their. Tongue when. It comes. To. My. Hand. Or. That. Hand. Phone. Yet. The. Things. That. We. Read. Up. The end. When. Yer.
Third Fred Fisher Chicago and then Houston and cons my kind of town. In the 1950s and 60s Frank Sinatra reached his peak as a singer. He'd been through difficult times and come out the other side not chastened so much as shaped once he restored his career and once he had the kind of Rangers he needed he was able to burst out in songs that were driving free and jubilant. The image of the swinger was one thing the true swinging as he sang was something else. There was a delight in the songs in the brassy accompany mint and in his own singing that makes Sinatra a joy to hear. And yet he was always first and foremost a ballad singer. But that's for next time. When we look at Sinatra the balladeer For now though he's the technical director and I'm Michael Lasser. You've been listening to Sinatra in retrospect. Part
two. Thing. In the life. Me saying. Me but I gotta run. The facts son. I gotta find. The number one. Angel.
National broadcast of Sinatra and retrospective is made possible by the contributing listeners of WXXI public broadcasting for a complete playlist of this series. Please send a stamped self-addressed envelope to Sinatra in retrospective WXXI Af-Am post office box 21 Rochester New York 1 4 6 0 1. You may also send your playlist request by email to radio at WXXI dot org. Sinatra and retrospective is a production of WXXI FM Rochester New York. The death of one old man on May 15th 1998 is also the death of the
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- The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia (Athens, Georgia)
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- This four-part series chronicles the music of Frank Sinatra. Between the songs, Michael Lasser provides historical context and biographical notes on Sinatra's life and music. Part one and two delves into Sinatra's early works and big-band music.
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Narrator: Lasser, Michael
Performer: Sinatra, Frank, 1915-1998
Producing Organization: WXXI-FM
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University of Georgia
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- Chicago: “Sinatra in Retrospective, Parts 1 and 2; Part 1,” 1998, The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, WXXI Public Broadcasting, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC, accessed August 1, 2021, http://americanarchive.org/catalog/cpb-aacip-189-14nk9brh.
- MLA: “Sinatra in Retrospective, Parts 1 and 2; Part 1.” 1998. The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, WXXI Public Broadcasting, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Web. August 1, 2021. <http://americanarchive.org/catalog/cpb-aacip-189-14nk9brh>.
- APA: Sinatra in Retrospective, Parts 1 and 2; Part 1. Boston, MA: The Walter J. Brown Media Archives & Peabody Awards Collection at the University of Georgia, WXXI Public Broadcasting, American Archive of Public Broadcasting (GBH and the Library of Congress), Boston, MA and Washington, DC. Retrieved from http://americanarchive.org/catalog/cpb-aacip-189-14nk9brh