"songs for swingin' lovers" - street light price

You might forget that guy had a great day.
After Beverly's holiday, no one in American music likes romantic masochism more than Frank Sinatra.
The album cover tells part of the story.
"In the early morning," under the blue street light, it drew Sinatra --
The green gloom of a deserted 3a. m. city street.
Or "Frank Sinatra sings only for loneliness," a fancy painting depicts him as a tear --Rotten.
Or "no one cares", when all the people around him have a good time, he sits in the bar staring at his drink.
The music tells the rest of the story.
From the soft, dreamy voice, the signature '40s Columbia Record of the young Sinatra, the sensitive surround of Axel Stordahl, working in the Franck Sinatra Congress, from 1953 to 1962 (
When he leaves for his brand, repeat)
Turn the youth of brokenhearted into the love of hurt
Deeper people
Sound, old, so there is more loss. At their best --
The song "in the early hours of the morning" is his sad and deeply unfamiliar version of rabbit belligan's "I can't start (
Where the light of belreagan, easy-come-easy-
The splendor of Go loser is traded for destroyed gravity)
Most importantly, in the cabin for sale, a recording so painful that sometimes I can hardly let myself listen ---
Sinatra's performance surpassed the gorgeous self.
Sympathy, close to gorgeous tragedy.
But let's not forget to swing, Sinatra's release from the romantic blues album, and the arrangement of Nelson Riedel or Billy May, showing the image of an optimistic winner.
Records like "Fly with Me (
Or "Swing with Me" and "Dance with Me! ")
"A Rocking Thing!
"Nice 'n' Easy", and most importantly, "Songs for Swing lovers!
"In sharp contrast to the magnificent mopery continuous suite in Sinatra.
While Sinatra's albums in Columbia's 40 s and those released during Congress's downturn are all about dreamy sounds, these are all about rhythm.
They are very interesting and confident.
Sinatra pushes to see that he can break the song down into rhythmic punctuation while keeping the melody flowing.
Despite everything-
Lost the pain of Ava Gardner when Columbia A & R chief Mitch Miller tried to destroy his career by bringing him bad novelty music, before he won an Oscar for "From Here to Eternity", his career was almost over ---
Sinatra sings like a man who has never been anywhere but is on top of the world.
Then the top-of-the-
Even in the sad songs he sings, such as the summer wind, the world will be full of confidence. " (
That's why when he returns to the delivery of his early dreams in his undervalued and almost unknown 1967 albums, Francis Albert Sinatra and Antonio Carlos Jobin," maybe the best song he ever sang. )
This is the horror of "My Way (
Sarah Warwell explained this in a wonderful article about Sinatra written before his death)
It hasn't arrived yet, but in rhythm-for-melody, Sinatra changed the passive for aggression.
You can say that these records imply the seeds of Sinatra's future arrogance, and in a sense the joy he sings is almost taken for granted.
But they are also treated with contempt and grace.
Sinatra's uneasiness is a sign of a person who does not like laziness, so he is always looking for new ways of entertainment.
He is known for not liking a song more than twice, and his wording is infinitely innovative.
Listen to the way he plays the lyrics.
Can anyone else get away with what he did to "the stars fall in Alabama?
From "a rocking thing! ")
He changed the chorus to "the broken Bam of the stars-ma!
Last night, "Sinatra and the sextet: Live in Paris" was a 1962 date.
Starting with "Goody, Goody", he ran in front of the band and applied these words together: "soyoumetone whoyou heels, "It's like he's from the side of his mouth until he takes the hammer off the title-"GOODY! GOODY! " --
Turn a novel number into one (
No other words)
Swing celebration of romantic revenge.
The performance in Paris highlights the main tension in Sinatra's voice, the tension between the constant notes and the long melody lines, and what seems to be tossed --
Almost speaking. (
Pete Welding, who provided notes for the Capitol CD release, wrote that Sinatra's ever-changing style and approach was almost split-minded. )
There is no doubt that Sinatra has established a style and attitude for the singer who follows him.
However, it is almost impossible to talk about his influence from the perspective of vocal skills, because his style is not parallel.
As Miles Davis or John Cortland did in covering the criteria, Sinatra's melody is his guide to creating endless variations. He plays hide-and-
Search with the band, speed up and let them dare to keep up or wander without warning and invite them to lend a helping hand.
In his "Moonlight in Vermont" (
Life in Paris)
Sinatra stretched out the word "evening" and slid it down first, and then, when it appeared again, held the first syllable until his voice interrupted, he lowered himself to the rest of the word.
You can hear the quintet suddenly grab himself to support the note behind him.
"Song for lovers!
"Not only can I listen to Sinatra's album at any time from 1956 (
I can't say anything about the "sad" album, which I keep for meditation).
For me, this album is the perfect combination of Sinatra's characters, dreamers and swing-ers.
One caveat is to get anyone buying Sinatra on the 80-year "good price" vinyl collection at the Capitol.
Like the Beach Boy product in the same series, The Capitol has deleted up to four clips per album.
The CD re-releases the entire album and adds extra tracks on a regular basis.
For vinyl fans, EMI re-released the album intact after 80 s in the UK.
They all came back from a special trip in London with me. Essential Sure.
Along with the Beatles and Dylan's 60-year work, Sinatra's Capitol album represents the greatest continuous achievement of any pop record artist.
Sinatra sang 15 songs, "Songs for Swing lovers," except for "we will be together again", "even sad songs won't be sad for too long.
The perfect arrangement for Nelson Riddle is part of it: the corners provide brightness and impact without becoming arrogant, the strings are used with caution and kept in the background and won't even get schmaltz's
"What happened in Monterrey" can summarize the practice of the album.
Sinatra is singing how he lost a woman in Mexico "and giving away the keys to heaven.
Riddle's arrangement freed him from the reverie.
If Sinatra, broken hearts and so on don't start to swing and break the lyrics into something similar to a percussion instrument, the brass will stand out and be cursed: "Stars/steel guitar/lips red/broken/someone's heart like wine/I'm worried it's mine.
"This is a pattern he also follows," It's amazing for words, "where he flipped through a list of words ---
"Glorious/charming/And that old spare affectionate "--
In a dictionary of hipsters
Sinatra turned the songs created by other artists as a shabby Valentine's Day gift into an irresistible invitation as if he had approached some lovely people on the dance floor.
If you 've ever heard of Maurice Chevalier in "You brought me a new love ---
"Coul 'seeng lak yooo "(
Or even if you 've just heard brother Marx copy Chevrolet in monkey business)
All Sinatra does is near the scones.
Not just switching lyrics (
"I am a slave, I am very fashionable ")
This is charming arrogance in the wording.
With a soft horn providing the right accent, Sinatra, in higher lightthan-
The usual registration, swing melody.
The downward trajectory of some lines (
"They sing much sweeter than they sing ")
It is almost acceptable to accept the quality of a cunning punch line.
However, dreams and wisdom-
Performance will never be less romantic.
Sinatra, dressed in a soft hat, cufflinks and untied tie, sang the song as a courtier.
There are some patched examples throughout the album --with lyrics.
Sinatra sang "A lot of shoes/a bunch of Rice" on "whoin 'whoopee". " (A gang of rice)
When the album Swings like the Old Devil Moon, it swings so hard.
Like a jazz hand reaching out to get a joint, "I hide You Under My Skin" is so pleasant in the combination of love and addiction that it's cool
But for me, the album's masterpiece is "I miss you. " A little-
Famous songs by Jimmy Van hueson and Johnny Mercer, if Edward Hooper is a composer and not a painter, that's the kind of standard you might expect.
The singer separated from the woman he loved, sat in the night car, peeping from the shade of the small town in the moonlight that slid past his window.
Nevertheless, each painting takes language as a backup and presents the richness of the painting canvas.
This is an ordinary night illusion, igniting a low and stable flame on a singer who desires to belong somewhere ---
In the arms of the woman he was about to leave, or in the house with bright windows that he could see from the train.
This is an unspeakable passage of Sinatra at the end of F.
Scott fitzgerrard's "The Great Gatsby," narrator Nick Caraway tells about his Christmas trip back to the Midwest during college: "When we enter winter nights and real snow our snow, began to stretch around us, flashing through the windows, and the dim lights of the small station in Wisconsin moved, suddenly a sharp wild stand appeared in the air.
As we walked back through the cold ruins of dinner, we took a deep breath and could not be said to realize our identity with this country, before we melted again, we had
"This is a perfect description of how Sinatra transformed the image of a romantic singer into an American ideal.
If it allows these elegant and refined feelings to fly elsewhere, no heart breaks are welcome?
Sinatra is his own Gatsby, an ordinary American child who enters himself.
Create a world of luxury, fashion and wealth.
But Gatsby had no desire, spring was still on his steps, and the swing was not far from his voice.