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Frank Sinatra, A Man & His Dog: Rest in peace Bosley (2005-2020) (1 Viewer)

The Concert Sinatra (1963)

I've seen this one in record stores and assumed incorrectly that it was a live album.  The "concert" in the title refers to full concert orchestra that accompanied Sinatra.  Nelson Riddle handled the arranging and conducting.  The large ensemble isn't really equipped to swing so most of the songs are Broadway ballads composed by Richard Rodgers.  Some of the songs are almost operatic in their sound.

Another noteworthy thing is that it's one of the few Pop albums recorded to 35mm magnetic film.  This was an audiophile medium of the day with technical advantages over the 1/4 and 1/2 inch tape format used for most records of the era.  I have no idea if the version on Spotify has been remastered but 57 years further along, it's still a terrific sounding album.  Sinatra's voice has exceptional presence and there's clean separation between the instruments. 

It's tough to pick a favorite off of this album.  Everything about the record is top shelf.  I'll go with one of the two non-Rodgers songs Lost in the Stars written by Kurt Weill and Maxwell Anderson. Buttery is the best adjective I can think of to describe the recording.  The album cover shows Frank wearing his hat, suit and yellow sweater vest.  He's in a soundstage with the orchestra and again has something in his pocket.  Riddle gets second billing on the front cover and there's some technical mumbo jumbo at the bottom touting an "unparalleled achievement in the technology of Sound".  I don't disagree but c'mon.

Bosley has been wearing out Mrs. Eephus' sleep all week so I took one for the team last night.  I slept with him in the other bedroom so she could get an uninterrupted night's sleep before she sees Black Flag tonight.  Boz woke up once at 4AM so it wasn't too bad (probably better than whoever is in Black Flag these days).

 
Francis A. and Edward K. (1968)

Edward K. is Duke Ellington who's brought his big band in for the album.  Ellington only plays piano because Billy May handles the arrangements and conducting.  The song selection is similar to other Sinatra records of the late 60s with modern Pop mixed in with the standards.  In retrospect, that seems like an opportunity missed.  There's only one Ellington composition "I Like the Sunrise" and it's not a highlight.

There are other Sinatra albums with strong horn sections but what sets this one apart is that he's more generous than usual with the spotlight.  The musicians are given a lot more space to solo than than usual.  Ellington's band was older but it still had some tremendous players including Johnny Hodges, Paul Gonsalves and Cootie Williams.  The standout track for me was Indian Summer a slow burner with a lovely tenor solo by Hodges. I've heard Sinatra in better voice but on this song it adds to the 3 o'clock in the morning vibe.  Ellington adds his economical piano accompaniment.   The album cover is pictures of Sinatra and Ellington as little kids.  In an amazing foretelling of future album cover schtick, young Frank is holding a hat.  The diagonal Tampa Bay Buccaneers banner probably was cooler in 1968.

Boz and I saw a skateboarder almost get hit by a Range Rover while listening to the this album.  I guess I was the one listening to the album and Boz can't see much of anything.  The woman on the skateboard was coming fast down the hill but the woman in the SUV couldn't see.  The boarder went down to avoid the collision and fortunately no harm, no foul.  She might be sore after the adrenaline buzz wears off.

 
Eephus said:
Boz and I saw a skateboarder almost get hit by a Range Rover while listening to the this album.  I guess I was the one listening to the album and Boz can't see much of anything.  The woman on the skateboard was coming fast down the hill but the woman in the SUV couldn't see.  The boarder went down to avoid the collision and fortunately no harm, no foul.  She might be sore after the adrenaline buzz wears off.
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This is why I invested in a full leather suit during my racing days. 🏍️

 
Haven't seen it in ages, but when I went through my sinatra phase in my teens and early 20s, I recall The Man with the Golden Arm being a solid movie and Frankie playing it really well. 

 
El Floppo said:
Haven't seen it in ages, but when I went through my sinatra phase in my teens and early 20s, I recall The Man with the Golden Arm being a solid movie and Frankie playing it really well. 
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He's not a bad actor although his range is limited.  In light of the latter, he and his people did a good job of choosing roles where he could perform well.

From Here to Eternity, The Man with the Golden Arm, Some Came Running, Suddenly and The Manchurian Candidate are all solid non-musicals.  There are at least an equal number of musicals that are as good.  The three Rat Pack movies (Ocean's 11, Sergeant's 3 and Robin and the 7 Hoods) are all very entertaining.

 
Eephus said:
Francis A. and Edward K. (1968)

Edward K. is Duke Ellington who's brought his big band in for the album.  Ellington only plays piano because Billy May handles the arrangements and conducting.  The song selection is similar to other Sinatra records of the late 60s with modern Pop mixed in with the standards.  In retrospect, that seems like an opportunity missed.  There's only one Ellington composition "I Like the Sunrise" and it's not a highlight.

There are other Sinatra albums with strong horn sections but what sets this one apart is that he's more generous than usual with the spotlight.  The musicians are given a lot more space to solo than than usual.  Ellington's band was older but it still had some tremendous players including Johnny Hodges, Paul Gonsalves and Cootie Williams.  The standout track for me was Indian Summer a slow burner with a lovely tenor solo by Hodges. I've heard Sinatra in better voice but on this song it adds to the 3 o'clock in the morning vibe.  Ellington adds his economical piano accompaniment.   The album cover is pictures of Sinatra and Ellington as little kids.  In an amazing foretelling of future album cover schtick, young Frank is holding a hat.  The diagonal Tampa Bay Buccaneers banner probably was cooler in 1968.

Boz and I saw a skateboarder almost get hit by a Range Rover while listening to the this album.  I guess I was the one listening to the album and Boz can't see much of anything.  The woman on the skateboard was coming fast down the hill but the woman in the SUV couldn't see.  The boarder went down to avoid the collision and fortunately no harm, no foul.  She might be sore after the adrenaline buzz wears off.
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Yellow Days is my jam 

 
No One Cares (1959)

Here's a Sinatra offering that's more depressing than an Elliott Smith album.  I mean who names an album No One Cares?  Some of his other saloon songs seem cathartic to Sinatra, as if the act of drinking and singing about his lost love is a way of letting go.  That's not the case here; the listener is left wondering what Sinatra is going to do to himself after last call.  Gordon Jenkins is his arranger on this record.  His strings here sound a bit similar to the arrangements for September Of My Years.  They fit the songs of solitude and loss that make up this session.  Sinatra sounds great as usual.  It's remarkable how he's able to transform himself into the losers that narrate these songs.

It's a smooth sounding record with the silky string accompaniment and the singer's golden pipes but man it's dark.  I guess it fit the weather in SF today.  A couple of songs explicitly mention rain and all of them are gray.  The song Where Do You Go? exemplifies this album.  It's a short simple song with two verses and no chorus.  The lyrics consist entirely of a series of unanswered questions.  The album cover is Frank in a raincoat and hat again.  He's seated at the bar gazing at the bottom of his glass.  There are a bunch of men and women behind him but they're oblivious to the sad guy singing to his drink.  The artwork doesn't come close to capturing the existential dread that's inside the jacket.

Bosley had his followup vet appointment.  It was just labwork but I'm sure he didn't appreciate getting poked.  He was already grumpy from when we deserted him last night.  He seems to  back to his current normal now.  I'll take him on a late walk if the rain stops but I'll listen to something a bit cheerier.

 
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will forward mucho coin, via any innerwebz platform, to have you (or AppleJack) do a Dylan countdown.  

yeah.  i have cash to burn like that ... a kooky kid can dream, can't he?

in the interim, i will sink into this Francis Albert love letter, flush with the confidence that it will be handled with the artful aplomb and conviviality of your (via Rockaction) Dylan thread. 

i shan't Hipple. 

but i will allow that growing up with a first generation Italian father was nothing short of recognizing Frank as the Pope, if not God, himself ... Joe D was a veryclose second, but, man ... Frank was everything. 

my father and his brothers got to meet him, prior to the Ali-Frazier MSG epic (Frank actually served as the official fotog for Life magazine for the event) my dad's whole crew were treated to a brief couple minutes with "The Chairman" - handshakes and glad hands all around ... some broken Italian, a few barbs about Hoboken and Bobbysoxers, culminating in a toast.  my dad was always a pretty even keeled cat, even when scoring (or crapping out) big with one of his many wagers .... but when he spoke of that meeting he lit up like a kid on Christmas.  to see the center of your entire universe be so moved was such a sublime happening - years later, after his (Dad's) passing, i learned a bit more of his life ... stuff that was hidden from us kids - let's just say that my heart warms to know that he had that one moment that made him feel like nothing could ever be more perfect ... Frank gave him that. 

when Dad got spiffed up for Saturday nights (the only day he spent at home with us, would come home for Sunday dinner, then gone again) there were two constants - impeccable grooming and Frank blaring in the foreground - vibrant memories i'll always have of two men who really did it their way 🇮🇹

 
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L.A. Is My Lady (1984)

Sinatra's final solo album was recorded with Quincy Jones when he was the hottest producer on the planet.  My preconception about the record based on the title track that it was an 80s crossover attempt but it's actually a pretty typical late-period Sinatra effort.  It's a mixture of new Pop material with some old standards.  Jones served as producer but is only credited with arranging one track.  The majority of charts were written by Sammy Nestico who arranged a number of Count Basie records.  There are more synthesizers than strings on the big band arrangements but it's done pretty tastefully.  It's aged a lot better than a lot of records from the mid-80s.

Quincy Jones must have been at the front of the line when God was handing out ears.  His productions always sound terrific and this one is no exception.  The sound jumps out of the speakers.  That said, it's not top shelf Sinatra..  He was nearing 70 and his voice is definitely weaker than on the other records I've listened to.  He labors to hit some of the high note and can't sustain notes like he once did.  The exquisite phrasing is still there but not even the master can help the lyrics that feature topical references to skateboards and Mr. T. 

The spotlight has to go to L.A. Is My Lady even though it's an anomaly on this album.  It's the most modern sounding side Sinatra I've heard with its snappy rhythms and middle of the road sound.  I wish they would have written a better song for the single.  It would have been nice if Frank had one last hit to cap off his career.  At least he had the presence of mind not to appear in the silly video along with an oddball cast of 80s celebrity cameos.  The album cover features Frank in a toupee and tux with a preposterous red pocket handkerchief.  The portrait is inset in a stylized image of an L.A. nightscape and some very 80s fonts.

We haven't heard back from the vet yet.  Last night, Boz pulled what we call the dirty protest.  Mrs. Eephus and our daughter were in the East Bay and I got my neighbor's extra symphony ticket so Boz was left alone for about two hours.  Mrs. Eephus got home first.  As she stepped in, Bosley came to the door and peed right in front of her.  She's ahead on the dirty protest chart;  I think he's only pulled that trick once on me because I'm the Alpha around here.

 
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otb_lifer said:
my father and his brothers got to meet him, prior to the Ali-Frazier MSG epic (Frank actually served as the official fotog for Life magazine for the event) my dad's whole crew were treated to a brief couple minutes with "The Chairman" - handshakes and glad hands all around ... some broken Italian, a few barbs about Hoboken and Bobbysoxers, culminating in a toast.  my dad was always a pretty even keeled cat, even when scoring (or crapping out) big with one of his many wagers .... but when he spoke of that meeting he lit up like a kid on Christmas.  to see the center of your entire universe be so moved was such a sublime happening - years later, after his (Dad's) passing, i learned a bit more of his life ... stuff that was hidden from us kids - let's just say that my heart warms to know that he had that one moment that made him feel like nothing could ever be more perfect ... Frank gave him that. 

when Dad got spiffed up for Saturday nights (the only day he spent at home with us, would come home for Sunday dinner, then gone again) there were two constants - impeccable grooming and Frank blaring in the foreground - vibrant memories i'll always have of two men who really did it their way 🇮🇹
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I'll say this quickly: I never got Frank. Not Frank, not the impact of pop culture, never felt cool listening to or hoisting one to a crooner. GIve me a big band and some smooth jazz, sure, I'm in the mood. Give me Frank and I shut down. But, to wit:

It's odd that these idols of our fathers -- these pop culture favorites -- can have such a fleeting effect. How they can go to unknowns in a heartbeat, their importance hardly remembered by generations of even progeny to come. "Who is Frank Sinatra?" asks the young Italian to his father, and his father, listening to something awful off of the lower end of the FM dial tells him that Frank had "class" or something, not something deeper that had a grip on our ethnic identities both when we wore them with pride but were simultaneously subjugated by them. How could these kids understand in a country capable of making Zoonation a huge spirited hit.? Yeah, fox and bunny play together now. Wasn't that the point of the American project? As Allan Bloom noted, once proud warring factions have all the diversity of a grab-bag menu at an all you can eat diversity parade.

So Frank was Italian. What's the meaning, bobysox? And where has he gone, other than some sort of ethnic fusion on American Idol and the like. 

 
rockaction said:
It's odd that these idols of our fathers -- these pop culture favorites -- can have such a fleeting effect.
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Nothing truly lasts but I think Frank's legacy has fared better than those of his peers.  Sinatra is better known today than Crosby, Nat Cole, Dean Martin or Perry Como.  I think his public persona and (alleged) Mafia ties help in this regard.  These act as tent poles for his reputation to modern audiences while pure singers like Como have drifted into anonymity except at Christmastime.

 
Eephus said:
Nothing truly lasts but I think Frank's legacy has fared better than those of his peers.  Sinatra is better known today than Crosby, Nat Cole, Dean Martin or Perry Como.  I think his public persona and (alleged) Mafia ties help in this regard.  These act as tent poles for his reputation to modern audiences while pure singers like Como have drifted into anonymity except at Christmastime.
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Tony Bennett has fared well too, imo. 

His later collaboration albums & MTV stuff helped. I dug em. 👍

Edit: not sure if Bennett is a true Frank peer tho

 
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Eephus said:
Nothing truly lasts but I think Frank's legacy has fared better than those of his peers.  Sinatra is better known today than Crosby, Nat Cole, Dean Martin or Perry Como.  I think his public persona and (alleged) Mafia ties help in this regard.  These act as tent poles for his reputation to modern audiences while pure singers like Como have drifted into anonymity except at Christmastime.
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That's my Mom's XMas Christmas album. She said Como had a television show and he was low-key. We always play the Como XMas album at our house.

 
rockaction said:
I'll say this quickly: I never got Frank. Not Frank, not the impact of pop culture, never felt cool listening to or hoisting one to a crooner. GIve me a big band and some smooth jazz, sure, I'm in the mood. Give me Frank and I shut down. But, to wit:

It's odd that these idols of our fathers -- these pop culture favorites -- can have such a fleeting effect. How they can go to unknowns in a heartbeat, their importance hardly remembered by generations of even progeny to come. "Who is Frank Sinatra?" asks the young Italian to his father, and his father, listening to something awful off of the lower end of the FM dial tells him that Frank had "class" or something, not something deeper that had a grip on our ethnic identities both when we wore them with pride but were simultaneously subjugated by them. How could these kids understand in a country capable of making Zoonation a huge spirited hit.? Yeah, fox and bunny play together now. Wasn't that the point of the American project? As Allan Bloom noted, once proud warring factions have all the diversity of a grab-bag menu at an all you can eat diversity parade.

So Frank was Italian. What's the meaning, bobysox? And where has he gone, other than some sort of ethnic fusion on American Idol and the like. 
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i hear tell he was hung like a horse 🎈

 
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one more for the road may be my favorite song by ole blue eyes take that to the bank brochachos

 
Eephus said:
Started his 1966 live album Sinatra at the Sands

Ring a ding ding
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i think its his best album because its live and hes got basie behind him pretty damned great if you ask this old bromigo take that to the bank 

 
Dr. Octopus said:
I love the story he tells about how Dean Martin in an effort to cut back on his drinking vowed to no longer drink after dinner - "of course he now eats dinner at 3:00 am".
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His twelve minute Tea Break monologue has some funny bits but the Amos and Andy voice he uses when he talks about Basie hasn't aged well.

 
Sinatra At the Sands (1966)

This was Sinatra's first live album, recorded in the Copa Room of the Las Vegas Sands (now the Venetian) in February 1966 before Strangers in the Night but released while the hit was on the charts.  That's a long sentence so I'll make it a short paragraph.

Sinatra is in top form, backed by the Count Basie Orchestra with arrangements from Quincy Jones. In the tradition of night club singers, Sinatra plays to the band as much as the crowd.  His verbal asides during songs occasionally break up the flow but that's what you get with a live recording.  Those shows must have been incredible back in the day.  Sinatra was still a huge star, especially to his older audience, and to see him perform in a 400 seat Vegas showroom would have been special.

The live recording is excellent for an album over half a century old, especially when compared to live rock records of the same vintage.  The producer doesn't overdo it with the crowd noise.  I still haven't heard enough Sinatra to tell whether any of these are the definitive versions of the songs but it's a terrific album that captures what a riveting performer Sinatra was.  Relieved of the burden of trying for a Pop hit, Sinatra sticks to the standards here.  There are a couple of great ballads including a wonderful reading of "One For My Baby" but I have to spotlight a song with Basie's band in full swing.  Get Me to the Church On Time from My Fair Lady doesn't seem like a song that Sinatra would normally sing but he takes it and absolutely owns it.  The album cover shows tuxedoed Sinatra and Basie sharing the spotlight in very smoky room.  The credits take up the left 1/3rd of the front cover.  They're in a colorful hand-drawn font that reminded me of the main titles for Dr. Strangelove.

We heard back from the vet about Bosley.  Based on the initial round of tests we weren't expecting good news.  She confirmed kidney disease and put him on a renal diet that includes some canned food.  Boz has never gotten canned dog food on a regular basis so he snarfed it right up.  One of the things the vet said to look for was loss of appetite so I guess he's OK on that front.

 
Frank Sinatra Sings for Only the Lonely  (1958)

This one's another weeper with torch songs recorded after Sinatra's divorce from Ava Gardner.  He told an interviewer in the mid-70s that this one was the favorite of all his albums.  I somehow doubt L.A. Is My Lady displaced it later. 

There are a number of similar downbeat Sinatra albums that Only the Lonely compares to but I'll go with No One Cares since it's fresh in my memory.  The albums were released less than a year apart which probably says something about his state of mind at the time.  He also released Come Dance With Me during this period so it wasn't a total downer.  The obvious difference between the two are the different arrangers used on the record.  Only the Lonely employs Nelson Riddle vs. Gordon Jenkins on No One Cares.  Maybe I'm projecting but I think this record seems a little more hopeful; the accompaniment is brighter with more horns along with the strings.  On a couple of tunes, Riddle makes very effective use of a solo trombone, the saddest instrument in the orchestra, as a counterpoint to Sinatra's vocals. The songs are sad and full of regret but there is very little anger or expressions of apology in the lyrics. 

I'm spotlighting Angel Eyes but could have gone with a half dozen others on this fine album.  Angel Eyes features an exceptionally dramatic arrangement from Riddle that accentuates the minor keyed verse.  The ending gave me goosebumps.  The album cover is one of Sinatra's best known.  It's done with pastels on a dark background and pictures Sinatra as a sad clown.  Your mileage may vary with clown portraits in general but I really like how the harlequin pattern on the left side balances the image.

Boz has been very listless the past few days.  Our walks which have never been quick (at least through the Dylan thread) have gotten even slower.  I hope he holds out long enough until our son comes home on leave in a couple of months.

 
Eephus said:
I still haven't heard enough Sinatra to tell whether any of these are the definitive versions of the songs but it's a terrific album that captures what a riveting performer Sinatra was.
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Speaking for my own tastes, Fly Me To The Moon here,  is his definitive; but I can't confirm that I've  heard all versions.

Edit: Or this - close. imo.

EDIT 2: Eh - I'm wishy washy - I strongly prefer the 1st - from the Sands

 
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Man of Constant Sorrow said:
Speaking for my own tastes, Fly Me To The Moon here,  is his definitive; but I can't confirm that I've  heard all versions.

Edit: Or this - close. imo.

EDIT 2: Eh - I'm wishy washy - I strongly prefer the 1st - from the Sands
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Those are very similar arrangements, both by Quincy Jones.

The Sands concert has some Sinatra standards that Jones reworked  for Basie's big band.  The live version of I've Got a Crush on You sounds similar to the 1960 studio version with horns substituting for string but significantly different from the 1947 original.  Sinatra's voice sounds almost feminine on the original and the single trumpet is sweet.

 
Eephus said:
Your mileage may vary with clown portraits in general but I really like how the harlequin pattern on the left side balances the image.

Boz has been very listless the past few days.  Our walks which have never been quick (at least through the Dylan thread) have gotten even slower.  I hope he holds out long enough until our son comes home on leave in a couple of months.
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Never knew what a harlequin pattern was until now. Dial it up!

Best to you and your son and Boz. 

 
Eephus said:
Sinatra At the Sands (1966)

This was Sinatra's first live album, recorded in the Copa Room of the Las Vegas Sands (now the Venetian) in February 1966 before Strangers in the Night but released while the hit was on the charts.  That's a long sentence so I'll make it a short paragraph.

Sinatra is in top form, backed by the Count Basie Orchestra with arrangements from Quincy Jones. In the tradition of night club singers, Sinatra plays to the band as much as the crowd.  His verbal asides during songs occasionally break up the flow but that's what you get with a live recording.  Those shows must have been incredible back in the day.  Sinatra was still a huge star, especially to his older audience, and to see him perform in a 400 seat Vegas showroom would have been special.
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No one wore their emotions in song more clearly than Frank Sinatra. He sang as he felt at that exact moment. He sounds very happy here, upbeat and content.

He was dating Mia Farrow (who turned twenty-one in February of 1966). Maybe that had something to do with it. 

 
Some Nice Things We Missed  (1974)

This is why we can't have nice things.  It's a big step down from the last two masterpieces.  The other late period Sinatra albums I've heard mix old standards with attempts at Pop crossover.  This one too goes heavy on the latter with covers of songs by Neil Diamond, Stevie Wonder, Bread and Jim Croce.  I don't think Frank could make a totally bad record but this comes mighty close.  Sinatra was 59 when he recorded this, the same age I am now.  His voice remains strong but that's not the problem here.  At best he's not as committed to the songs as he's been in the past and at worst he sings like he lost a bet.  The arrangements (mostly by Don Costa) don't flatter the material either.

He generally fares better on the ballads except for "If" (the Bread hit) which is awful.  The up tempo numbers try to graft a hard swinging surface onto a 70s light Pop superstructure and too often stray into Fred Travalena/Joe Piscopo territory.  It's always tough to pick just one song to represent a Sinatra album.  The obvious path with Some Nice Things We Missed would be to go for one of the well known songs like "Sweet Caroline", "You Are the Sunshine of My Life" or "Bad Bad Leroy Brown".  If you want to punish yourself with these, the album link is at the top.  Instead I'm going with a little known novelty number called Satisfy Me One More Time.  In his long career, Sinatra sung hundreds of songs about love and attraction but rarely about sex---the social standards of the 40s and 50s wouldn't have permitted it.  It would have been cool for a young Sinatra to sing about carnality rather than the june/bloom/swoon metaphors he was permitted with but this song is what we're left with instead.  The song is about the act itself but with lyrics that are light-hearted and almost juvenile.  The lyricist Floyd Huddleston gets bonus points for working in a reference to Cold Duck which is almost as 1974 as a Harvey Wallbanger.

We took Bosley to the beach yesterday.  Like most dogs, he used to love visiting there.  He'd run endlessly with his short legs splaying out and a crazed look on his face.  Sadly those days have passed and he just wandered around the water's edge occasionally stumblingl on the uneven surface.  He seemed to enjoy it though and nobody was swept out to sea so there's that.  It was a bittersweet day with an unspoken understanding that this was probably Bosley's last trip to the beach. 

 
I got all sentimental about the dog and forgot to talk about the Some Things I've Missed album cover.  It's a head shot of Frank looking very casual in a floppy short-brimmed yellow hat.  He's photographed at an angle because he was a bit chunky at the time.  I don't know what's going on with his sideburns but his teeth look terrific. 

The text clearly shows the relative importance of the artist and the album title.  Sinatra's signature stretches the entire width of the 12" while Some Things I've Missed is at the top in tiny print.

 
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Eephus said:
I got all sentimental about the dog and forgot to talk about the Some Things I've Missed album cover.  It's a head shot of Frank looking very casual in a floppy short-brimmed yellow hat.  He's photographed at an angle because he was a bit chunky at the time.  I don't know what's going on with his sideburns but his teeth look terrific. 

The text clearly shows the relative importance of the artist and the album title.  Sinatra's signature stretches the entire width of the 12" while Some Things I've Missed is at the top in tiny print.
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Those album covers are a great topic all their own.

And to quote Rodney D.,  "when you buy a hat like this I bet you get a free bowl of soup".

 
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