Album Review: Frank Sinatra, Songs for Young Lovers and Swing Easy! (1954)

Songs for Young Lovers, 1954. Begins the trend of Frank wearing a hat and smoking on his album covers.

Swing Easy! 1954.

It’s Frank Sinatra’s Capitol recordings that most people think of when they imagine Sinatra. Albums like In the Wee Small Hours, Songs for Swingin’ Lovers!, Come Fly with Me, Come Dance with Me! and others cemented Sinatra’s reputation as a peerless interpreter of songs. Charles L. Granata wrote in his superb book Sessions with Sinatra: Frank Sinatra and the Art of Recording, “Virtually every song the singer recorded at Capitol is a model of perfection.” (p.91) I’m inclined to agree with Granata’s judgement. 

Frank Sinatra is one of the few popular musicians whose greatest fame came between roughly the ages of 40 to 50. Most people would say he did his best work during that decade, from 1955 to 1965. I can’t think of many other pop musicians one could say that about. Certainly there are artists who do great work between the ages of 40 or 50, but there are few whose work during that decade defines them as much as Sinatra’s does. 

In my review of Sinatra’s last Capitol album, 1962’s Point of No Return, I mentioned that the very first recordings Sinatra made for Capitol were arranged by Axel Stordahl, who had arranged almost all of Sinatra’s recordings for the Columbia label, from 1943-1952. Stordahl’s strength was arranging ballads, and since the great majority of the songs that Sinatra recorded for Columbia were ballads, the partnership worked out very well. As Sinatra’s Capitol years began, he was still loyal to Stordahl, and insisted that his first Capitol recordings should be arranged by him. Fortuitously, Capitol executive Alan Livingston got Sinatra to agree that if the records weren’t hits, he would try recording with Nelson Riddle. In April of 1953, Sinatra recorded “Lean Baby” and “I’m Walking Behind You,” his first songs for Capitol, arranged by Stordahl. (Heinie Beau actually arranged “Lean Baby,” in the style of Billy May.) At the end of April, Sinatra recorded with Nelson Riddle for the first time. The very first song they recorded together was “I’ve Got the World on a String,” which has become an iconic Sinatra performance. 

There was magic when Sinatra recorded with Riddle. Sinatra’s voice was slightly lower than it had been in the 1940’s, and Riddle’s up-tempo arrangements showed that he was ready to swing. Riddle’s arrangements highlighted Sinatra’s voice perfectly. 

However, Riddle was not the arranger for Sinatra’s first Capitol LP, Songs for Young Lovers. Thanks to Sinatra scholar Will Friedwald, we now know that George Siravo was the arranger. No one was actually credited with the arrangements on the original album, but since the front of the album read “Accompanied by Nelson Riddle,” everyone assumed that the arrangements were Riddle’s work. Siravo had arranged for Sinatra before-he was responsible for Sinatra’s most swinging sides that he cut for Columbia-these songs were released on the album Sing and Dance with Frank Sinatra in 1950. (The album was re-titled Swing and Dance with Frank Sinatra when it was released on CD.) 

Recorded over two days on November 5^th and 6^th 1953, Songs for Young Lovers included songs that were part of Sinatra’s live act. The decision was made that Sinatra’s Capitol albums and singles would largely be separate affairs. This choice meant that rather than just collect a hodge-podge of singles for an album, Sinatra was free to think about creating a mood and choose a unified set of songs to sustain that mood. This would lead directly to Sinatra’s classic concept albums like In the Wee Small Hours, and Songs for Swingin’ Lovers! Songs for Young Lovers was originally released as a 10-inch LP, meaning that it only held about twenty minutes of music. With the introduction of the 12-inch LP, Sinatra could create longer concept albums.

The songs on Songs for Young Lovers are:

“My Funny Valentine”-The beautiful Rodgers and Hart song is given an exquisite reading by Frank. The arrangement briefly turns into a waltz for a few measures. This song captures the intimacy of Sinatra’s voice very well.

“The Girl Next Door”-from Meet Me in St. Louis, where it was originally sung as “The Boy Next Door” by Judy Garland. Sinatra perfectly expresses the romantic yearning of the lyric, as he longs for the girl he hasn’t met, “though I live at 5135 Kensington Avenue and she lives at 5133.” I’ve always loved that lyric, not many songs can seamlessly work in a street address. 

“A Foggy Day”-A Gershwin song that is one of my favorite Sinatra tunes. Listen for the way he sings “shining” five times in a row-a sign of Frank trusting his rhythmic instincts more and more.

“Like Someone in Love”-This is the one Nelson Riddle arrangement on the album. It’s a lovely ballad, and Frank makes his vocal sound dreamy and abstracted, as though he really is “bumping into things.”

“I Get a Kick Out of You”-From the pen of Cole Porter comes one of Sinatra’s classic performances. The arrangement is a superb jazzy affair, with the guitar playing a prominent part. This version includes the original lyrics: “Some they may go for cocaine/I’m sure that if I took even one sniff/It would bore me terrifically too.” In later live performances and recordings by Sinatra, this verse was often changed to “Some like the perfume from Spain/I’m sure that if I took even one sniff/It would bore me terrifically too,” or to “Some like the bop-type refrain/I’m sure that if I heard even one riff/It would bore me terrifically too.” I love the way Frank hangs on to the f in “terrifically.” One of my favorite Sinatra songs. When I was a teenager listening to KLBB radio in the mid to late 1990’s, they would never play this version of the song-I assumed because of the cocaine lyric.

“Little Girl Blue”-Honestly, this is my least favorite song on the album. It’s Rodgers and Hart, so that speaks well for its pedigree. I just don’t care for the lyrics that much-I’m especially perplexed by the line “Sit there and count your fingers.” I’ve never heard that expression before. 

“They Can’t Take That Away from Me”-A fun and jazzy reading of the Gershwin classic. Listen for Frank mimicking the saxophone after he sings “The way you hold your knife.” 

“Violets for Your Furs”-A highlight of the album. Frank’s vocal is sexy and intimate, especially when he sings “And it was spring for a while, remember?” It’s as though he’s whispering in your ear. You can also hear Sinatra’s precise diction, as he sings “vi-o-lets,” with each syllable crystal clear. 

Songs for Young Lovers was released in January, 1954. It peaked at number 3 on the charts.The follow up to Songs for Young Lovers was Swing Easy!, with arrangements by Nelson Riddle. The eight songs were recorded on April 7^th and 19^th 1954. Swing Easy! was released in August, 1954 and also peaked at number 3. 

The tracks on Swing Easy! are:

“Just One of Those Things”-Another Cole Porter classic. Sinatra once said that he thought this was the saddest song ever. For a man who made a career out of singing what he called “saloon songs,” that seems surprising. I’ve wondered if he was thinking about his relationship with Ava Gardner when he said that, as their tempestuous time together certainly fits the song’s subject matter. Riddle’s arrangement fits Frank perfectly. Once again, you can hear Frank stretch an f on “fabulous flights.” And then there’s the wonderful moment when, singing the song the second time through, he goes for broke and sings “So goodbye goodbye bye bye goodbye baby and amen” instead of just “So goodbye, dear, and amen.” And he makes it work so well.

“I’m Gonna Sit Right Down (And Write Myself a Letter)”-This song has been recorded by many people, with Fats Waller’s version being the most well-known. Riddle’s arrangement features the vibraphone, and you can hear Sinatra’s total ease with up-tempo songs.

“Sunday”-Kind of an odd song, about a guy who is only happy when he’s going out with his girlfriend on Sundays. Why don’t they go out on Friday or Saturday? One of the lyrics is: “Friday makes me feel just like I’m gonna die.” Not a sentiment that’s often heard in popular music.

“Wrap Your Troubles in Dreams (And Dream Your Troubles Away)”-Frank sounds quite ebullient on this tune. I’m a big fan of the version that Dean Martin recorded for his 1958 album Sleep Warm-which Sinatra conducted the orchestra on. 

“Taking a Chance on Love”-Frank sounds even looser on this standard. As he sings “Mmmm, I’m in the groove again,” you could think he’s talking about his career rather than romance. Listen for: another elongated f, the second time he sings “Brother rabbit of course you’d better kiss that foot goodbye.” 

“Jeepers Creepers”-Sinatra makes the most of this silly tune, and Riddle gives it a gassy arrangement, with nice trumpet and trombone solos. 

“Get Happy”-The most swinging cut on the album, taken at a very brisk clip. Although it’s from 1930, the song will forever be identified with Judy Garland, who sang it in the 1950 movie Summer Stock. The instrumental break is great, but much too short. 

“All of Me”-Sinatra had previous recorded this song at Columbia, but now he invests it with a swinging swagger that is a new addition to his sound. 

Songs for Young Lovers and Swing Easy! are now combined on one CD, and while Sinatra and Riddle would climb to greater artistic heights on their next records together, these two albums remain an excellent example of Sinatra’s Capitol era sound.

Frank Sinatra's 100th Birthday

Frank Sinatra, 1950's.

The greatest singer ever, in action during the 1950's.

One hundred years ago today, Frank Sinatra was born. Sinatra would go on to become one of the major entertainers of the 20^th century. His performing career spanned 60 years, from his days singing on the “Major Bowes Amateur Hour” radio show to headlining at majors concert hall in the United States and around the world. (Sinatra would sometimes use the phrase “Major Bowes Amateur Hour Loser” as a put-down.) Similar to Bing Crosby, Sinatra’s popularity stretched across several different mediums as Sinatra became a star on radio, television, and film. Also like Crosby, Sinatra won an Academy Award for his acting. Crosby once memorably said of Sinatra, “A fellow like that only comes around once in a lifetime. Why did it have to be mine?”

Sinatra’s recording career went through several different phases. His first recordings were made with the big band of Harry James. Sinatra left James’ band to join trombonist Tommy Dorsey’s band from 1940 to 1942, and they made many hit singles together. When Sinatra left Dorsey’s band, it was a risky move, trading the sure thing for the chance to have more artistic freedom over his work. Even in Sinatra’s early records you can hear something in his voice that set him apart from the other male big band vocalists of his era. While others tried to do their own version of Crosby’s crooning style, Sinatra, though obviously influenced by Crosby, didn’t try to imitate Bing. Sinatra was always his own man, and his singing style, full of sensual romantic yearning, set bobby soxer’s hearts aflame. The girls who were screaming for Frank at the Paramount Theater in the 1940’s understood that he was making love to them through his songs. Sinatra might not have been conventionally handsome, but he had very striking features, including a winning smile, piercing blue eyes, and at this time, a head full of dark, wavy hair. He also had a strong personal magnetism and loads of charisma. 

Sinatra’s solo recording career began at Columbia Records in 1943. (I reviewed Sinatra’s complete Columbia recordings here.) Singing lush, beautiful ballads, he became one of the most successful vocalists of the 1940’s. As the decade ended, however, his career seemed to be on the wane. The break-up of his first marriage, his scandalous and disastrous affair with Ava Gardner, and some vocal problems made some think that Sinatra was past his prime. Without a film or recording contract, Sinatra’s future did not look bright.

But the brightest time was still to come. In 1953, Sinatra signed with Capitol Records, recorded with the arranger Nelson Riddle for the first time, and played the role of Maggio in From Here to Eternity. He won an Oscar for Best Supporting Actor as Maggio, and his records started selling again. One of the great comebacks in show business history was now complete. In Nelson Riddle, Sinatra had found his perfect arranger. It’s my own personal contention that Riddle’s arrangements for Sinatra are one of the prime reasons why Sinatra is the greatest male vocalist. No one else had arrangements that good that fit their voices as perfectly as Riddle’s fit Sinatra’s. It also helped that Sinatra’s voice sounded better than ever in the 1950’s. In the 1940’s, Sinatra’s voice had been achingly pure and perfect. Now in the 1950’s his voice was slightly lower, with a more assured and confident air. The music was also changing too. Whereas ballads had made up 75% of Sinatra’s repertoire in the 1940’s, now swinging songs alternated with those ballads. Sinatra showed off his jazzy side with albums like “Swing Easy!,” “Songs for Swingin’ Lovers,” and “A Swingin’ Affair!” Sinatra showed that not only was he the best ballad singer, he was also the best swing singer around as well. Sinatra’s phrasing was always superb, and he was able to sustain long phrases, giving the songs more emotional depth.

Sinatra’s status as a pop icon would be cemented in the late 1950’s and early 1960’s as he palled around Las Vegas with Dean Martin and Sammy Davis, Jr., and became friends with President John F. Kennedy. Sinatra started his own record label, Reprise, in 1961, and encouraged many of his famous friends, like Dean and Sammy, to record for his label. Reprise only lasted two years as a true independent record company, as it was sold to Warner Brothers in 1963, but it was a bold and audacious move. Sinatra’s records for Reprise during the 1960’s were still excellent, although they don’t seem to have the cultural cache of Sinatra’s Capitol albums. 

Turning 50 was a big event for Sinatra, and he marked it by recording the terrific album “September of My Years,” and by taping the TV special “A Man and His Music.” (Sinatra also released a double album career retrospective called “A Man and His Music.”) It was during the taping of “A Man and His Music” that journalist Gay Talese followed Sinatra around and wrote his classic profile for Esquire magazine, “Frank Sinatra Has a Cold.” (You can read the full essay here; it’s still one of the best pieces written about Sinatra.)

For the rest of his life Sinatra continued to pack concert halls and stadiums full of people anxious to see him in person. The last two records he made “Duets” and “Duets II” were both Top Ten albums and both sold more than one million copies. 

Sinatra is still a towering figure in American pop culture, and even though he passed away in 1998, his name is synonymous with great music. I think he would be very happy at how he’s remembered by his many fans and admirers around the world.

CD Review: Frank Sinatra, "Point of No Return" (1962)

The classic album cover for "Point of No Return," 1962.

After writing last week about Frank Sinatra’s Complete Columbia Recordings, nearly all of which were arranged by Axel Stordahl, I thought a fitting follow-up would be a review of the only album Stordahl arranged for Sinatra after Sinatra left Columbia, the 1962 Capitol album “Point of No Return.” 

“Point of No Return” was a fitting title, as the album was Sinatra’s last for Capitol Records. Sinatra had signed with Capitol in 1953, and the recordings he made for the label launched his musical comeback and remain some of the best pop vocal recordings ever made. When people today think of Frank Sinatra and his classic songs, chances are they’re thinking of Sinatra during the time he recorded for Capitol. Every album Sinatra recorded for Capitol was excellent, and he had found a perfect musical partner in the arranger Nelson Riddle, who worked on the majority of Sinatra’s Capitol recordings. Sinatra also made great albums with arrangers Gordon Jenkins and Billy May during his Capitol tenure. Albums like “In the Wee Small Hours,” “Songs for Swingin’ Lovers!” “A Swingin’ Affair,” “Come Fly with Me,” “Frank Sinatra Sings for Only the Lonely,” “Come Dance with Me!” and “Nice ‘n’ Easy” were not only well-received artistic triumphs, they were also big selling albums that made a lot of money for both Sinatra and Capitol. Sinatra’s tenure at Capitol marked the beginning of an amazing stretch from 1954 to 1967 when he landed 29 albums in the Top Ten of the Billboard charts. Why then did Sinatra want to leave Capitol to start his own record company? Sinatra wanted more artistic control, with the eventual goal of having his own subsidiary label within the Capitol family. When the president of Capitol told Sinatra he couldn’t have his own label, Sinatra became determined to leave Capitol. During this period, Sinatra considered buying the jazz label Verve Records from Norman Granz, but Granz sold the company to MGM instead. 

Sinatra was able to work out a deal with Capitol in early 1960 where he would record four more albums for the label, and thus fulfill his contract. The four albums would turn out to be “Nice ‘n’ Easy,” “Sinatra’s Swingin’ Session!!!” “Come Swing with Me,” and “Point of No Return.” What makes Sinatra’s discography confusing during this period is that he began recording for his new label, Reprise, in December of 1960, while he still had two albums left to record for Capitol. By the time “Point of No Return” was issued in March of 1962, four Sinatra albums had already been released on Reprise. In fact, during the period from January, 1961 to March, 1962, 7 full albums of new material by Frank Sinatra were released! This meant that Sinatra began to compete with his own albums, as new Reprise and Capitol albums came out just weeks apart. In fact, in July of 1961, both Capitol and Reprise released Sinatra albums featuring the arrangements of Billy May. The albums were very similarly titled, as the Capitol release was “Come Swing with Me!” and the Reprise release was “Swing Along with Me.” Capitol sued Reprise, claiming that the title of their album was too similar. Capitol won, forcing the Reprise album to be re-christened “Sinatra Swings.” I’m not sure why Capitol allowed Sinatra to issue records on Reprise before he completed his Capitol contract, since it could have been detrimental to the sales of both albums. I also don’t understand why Sinatra didn’t wait until his contract with Capitol was completely fulfilled before he started recording for his own label, but my guess is that Sinatra wasn’t patient enough to wait that long. Commercially, the deluge of new Sinatra product didn’t seem to matter, as 5 of the 7 albums landed in the Top Ten. 

“Point of No Return” is not a classic Sinatra album. It’s still very good, but it doesn’t reach the heights of his best work for Capitol. One reason for that could simply be Sinatra’s annoyance at having to record the album at all. While Sinatra’s other Capitol albums were usually recorded over three or four nights, “Point of No Return” was recorded over just two nights, September 11^th and 12^th, 1961. And while Sinatra was known to be a meticulous perfectionist in the studio, he was not so discriminating on “Point of No Return.” Sinatra rushed through six songs each night, sometimes refusing to do a second take, even when producer Dave Cavanaugh asked for it. The first time through would have to be good enough for Capitol. But despite Sinatra’s cavalier attitude towards the sessions, the results are still quite good, as it was pretty impossible to make a lackluster Frank Sinatra album in 1961. Musically, the album harkens back to Sinatra’s Columbia years, as it’s filled with romantic ballads. However, the songs and arrangements aren’t as downbeat at they are on other albums of “saloon songs” like “In the Wee Small Hours,” “Only the Lonely,” and “No One Cares.” 

The album cover of “Point of No Return” is a classic. In keeping with many of his Capitol albums, the cover is a drawing of Sinatra. As usual he’s wearing a hat and smoking a cigarette, stopping by a statue in a park at twilight. He’s looking to his left, gazing somewhere off in the distance. 

“Point of No Return” was the last time that Sinatra worked with Axel Stordahl, who sadly passed away from cancer at the age of 50 in August 1963, less than two years after these sessions. Because of this, “Point of No Return” serves as a valedictory not only for the Capitol years, but also Sinatra’s Columbia years, as he leaves his musical past behind to chart a new course. 

Here are some thoughts about the songs on “Point of No Return”:

“When the World Was Young”-Has an interesting song structure, an almost-spoken verse, chorus, then another almost-spoken verse, then another chorus. Sinatra’s singing is exquisite, as is Stordahl’s lush, romantic arrangement. 

“I’ll Remember April”-This is the only time that Sinatra recorded this popular standard. The arrangement is by Heinie Beau, who “ghosted” two of the arrangements for Stordahl, who ran out of time to finish all of the songs. (Beau did the same favor for Billy May on the “Come Swing with Me!” album.) The arrangement is lovely, breathing new life into this song. The strings on this song remind me of Gordon Jenkins’s work.

“September Song”-Sinatra would later re-record this song for 1965’s “September of My Years,” with Gordon Jenkins arranging. It would be easy to make this song too sentimental, but Stordahl and Sinatra avoid that pitfall. 

“A Million Dreams Ago”-A nice change of pace, a more up-tempo song, with some good sax work. A fitting song for the end of his relationship with Stordahl and Capitol, as Sinatra sings, “Goodbye, good luck old friend/I’ll smile and just pretend/there was no end/a million dreams ago.” 

“I’ll See You Again”-Listen to the way Frank draws out the word “sweet” over several measures in the phrase “This sweet memory.” His voice was so amazing. 

“There Will Never be Another You”-I think this is the best song on the album. Great singing and playing, amazing to think it was done in just one take. Sinatra’s phrasing is terrific. 

“Somewhere Along the Way”-Lovely and lush. If Sinatra is annoyed with having to record these songs, you sure can’t tell on this song. 

“It’s a Blue World”-This is the second song on the album that Heinie Beau arranged for Stordahl. It’s a more spritely song than others on the record, and a nice change of pace.

“These Foolish Things”-Sinatra seems to be on autopilot here, as his vocal seems kind of listless. It’s kind of an odd song, as it really is just a list of things-check out Bryan Ferry’s 1973 version for the full lyrics. This isn’t a great arrangement either-the 1945 Columbia version that Sinatra and Stordahl did is much better. This is one of the songs that definitely would have been improved with multiple takes. Also, as Sinatra historians Will Friedwald and Charles Granata point out, the last word of the song, “you,” is edited in, as Sinatra’s voice changes between “remind me of” and “you.” Honestly, it was difficult for me to catch it, but a close listen with headphones confirmed it.

“As Time Goes By”-This just doesn’t do anything for me. Sinatra seems listless here too. Another song that would have improved with a few more takes. 

“I’ll be Seeing You”-Sinatra had recorded this with Sy Oliver in a swinging arrangement for the “I Remember Tommy” album just a few months earlier. This version with Stordahl is done as a ballad. I like Sinatra’s phrasing on the Oliver arrangement more.

“Memories of You”-A fitting closing track. Lovely vocal from Frank and a nice arrangement to close out the album and the Sinatra/Stordahl partnership.

That’s the end of the album, but for the CD release Capitol added the four tracks that Stordahl arranged for Sinatra’s first Capitol session in April 1953. Capitol executives wanted Sinatra to record with other arrangers, but Sinatra insisted that Stordahl be given the opportunity to arrange his first session. After this one Capitol session with Stordahl, Sinatra then worked with Nelson Riddle, and didn’t work with Stordahl again until the 1961 sessions for “Point of No Return.” Thus the CD contains all of Sinatra’s work at Capitol with Stordahl.

“Day In-Day Out”-Sinatra’s first attempt at cutting this song for Capitol. He recorded the song with three different arrangers, as he re-cut it in 1954 with Nelson Riddle, and in 1958 with Billy May. Nice tick-tock strings at the start. This is very similar to Sinatra’s Columbia work-same yearning, sexy tempo and delivery. Excellent version.

“Don’t Make a Beggar of Me”-Decent, but not an outstanding song.

“Lean Baby”-A very silly song, but evidence of the new direction Sinatra was heading on Capitol. Billy May co-wrote the song, and the arrangement pays homage to his trademark saxophone sound. The lyrics are silly as Sinatra sings of his girl: “My lean baby/she’s so slim/a broomstick’s wider/but not as trim.” In 1953 you could still make jokes about how skinny Frank Sinatra was, as his weight was the punchline for every joke told about him in the 1940’s. This is another Heinie Beau arrangement, as Stordahl doesn’t seem to have been able to do swing arrangements. Sinatra sounds more energetic and more swinging than he ever did on Columbia. Matching his vocal with the saxes was a great idea for the beginning of the song. 

“I’m Walking Behind You”-Pure snoozeville, a slow song about some poor dope who’s still stuck on this broad who’s getting hitched to some other fella. This was a number 1 hit for Eddie Fisher, and a number 7 hit for Sinatra. “Lean Baby” was the B-side, and reached #25.