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Frank Sinatra
Ol' Blue Eyes Is Back
Reprise Records
FS 2155
_________________________________________________________
From the original vinyl LP
Side One:
Will You Be My Music (3:52)
(Joe Raposo) Sergeant Music Co.,/Jonico Music, Inc. - ASCAP
You're So Right (For What's Wrong In My Life) (4:03)
(V. Pike/T. Randazzo/R. Joyce) Razzle Dazzle Music, Inc - BMI
Winners (Theme From Maurie) (2:50)
(Joe Raposo) Sergeant Music Co./Jonico Music, Inc. - ASCAP
Arrangement by Don Costa
Nobody Wins (5:10)
(Kris Kristofferson) (C) 1972 Resaca Music Pub. Co. - BMI
Arrangement by Don Costa
Send In The Clowns (From "A Little Night Music") (4:10)
(Stephen Sondheim) (P) 1973 Beautiful Music, Inc./Revelation Music Pub. Corp. - ASCAP
_________________________________________________________
Side Two:
Dream Away (From the MGM film, "The Man Who Loved Cat Dancing") (4:22)
(P. Williams/J. Williams) Almo Music Corp. - ASCAP/Hastings Music Corp. - BMI
Arrangement by Don Costa
Let Me Try Again (Laisse Moi le Temps) (3:31)
(Music by Caravelli, French Lyric by Michelle Jourdan, English Version by Paul Anka & Sammy Cahn)
Spanka Music Corp. - BMI/Flanka Music Corp. - ASCAP
Arrangement by Don Costa
There Used to Be a Ballpark (3:34)
(Joe Raposo) Sergeant Music Co./Jonico Music, Inc. - ASCAP
Noah (4:22)
(Joe Raposo) Sergeant Music Co/Jonico Music, Inc. - ASCAP
_________________________________________________________
The first questions you had were what he'd be like. Would he be fat, maybe, and would you hate him for blowing what was - a couple of years back - a pretty fair exit?
It was 106 degrees that day, June 21, 1973, and it was the hot test June day ever in L.A. And the longest of the year. Inside Goldwyn Studios, a scruffy demi-movielot that looks like it's hung around town only because nobody has come up with enough cash to level it and put up a good modern Zody's in its place, there remains good Sound Stage Seven. Thirty feet up inside before you hit anything, Industrial walls. Its best feature is the "Fire Hose" sign.
He is maybe a bit tanner.
He sings with is hands up top of the music stand, holding firm on the music stand, trying hard. In shirt sleeves, light blue, three buttons per cuff, little puffs at the shoulders.
He sings and it's the voice that brings it all back and you realize that not one - isn't it curious? - not one other voice so clear and clean in all the years has come along, not one other.
He is still, no contest the best this world knows.
And tonight ol' blue eyes is back.
In the row of metal folding chairs lined up before 10-foot high speakers sit guests, listening, Ed McMahon, who after one song says, "Let's have a drink on that one." Sinatra's secretary, Lillian, who leans in to advise that he'd got 30,000 letters begging: "At least make an album again."
Other guests: white-haired expensive men in black suede loafers with gold tiger-head buckles. They sit up-right, and appreciate the playback.
During playback, Sinatra concentrates, eyes shifting from chair to table top but not to any other eye, hearing only.
String men, violins and violas, who don't get called in to record as they once did, string men standing around the speakers now, listening, when a couple of years back they were out in the hall phoning their service.
And at the end of the playback, the white-haired expensive men stay sitting upright, applauding on their knees and saying, "Magnificent!"
A record exec whispers in anticipation, saying how he want to "go on the road with this album and compare him to ... to Lincoln."
But Sinatra is keeping it low key.
As if anticipating the questions and knowing there's no thunder roll of an answer to give if he's asked who he's doing this, he lays out the answer to everyone's most he's doing this, he lays out the answer to everyone's most tiresome question and says, "I just figured I'd do some work. No fun trying to hit a gold ball at eight at night."
Gordon Jenkins asks, "Where did the baritone go?"
And the baritone goes to his microphone, his music stand, his chair behind with the jacket over it, and sings again:
Know I said that I was leaving
but I just couldn't say good bye
It was only self-deceiving
to walk away from someone who means
everything in life to you.
Despite his trying to keep the evening offhand, despite the jokes, he really, it's clear, really wants this one. As he sings, it's easy for you to feel thankful, you can understand the words, for one thing. It's easy to feel pompous, too. Husbands there in the string section who'll later drive home and have to explain to their sleepy wives how it had been to be three hours in the same room with ... with Roosevelt, maybe.
A man of no little confidence.
He is, to his audience, as he sings, a real and enduring value, a firm handhold in a very slippery, very anonymous world.
Ol' blue eyes is back as the singer who'll still close his eyes when he's getting into it.
The song is ending, the violin's last string echoing through the stage.
Sinatra puts up his hand, so no one squeaks. Egg shell city. And this, from a man of no little confidence, is to be The Take.
The engineer walks in and gets the evening's understatement award: "Gee, I hope we got that on tape."
Which comment relaxes all.
Another Sinatra song is recorded, for a world that still needs them.
Sinatra walks again into the center of it all.
"I figure," he says, "we got a record."
- Stan Cornyn
_________________________________________________________
PRODUCED BY DON COSTA
Orchestra Conducted by Gordon Jenkins
All other songs arranged by Gordon Jenkins
Manufactured for Bristol Productions
Recording Engineer: Don MacDougall
at Samuel Goldwyn Studio, Hollywood.
Remix Engineer: Ed Greene
at MGM Studios, Hollywood.
Art Direction and Photography: Ed Thrasher
Design: David Bhang
_________________________________________________________
Reprise Records, a Division of Warner Bros. Records Inc. 4000 Warner Blvd., Burbank, CA 91505
44 East 50th Street, New York, New York 10022 - Made in U.S.A. (C) 1973 Warner Bros. Records, Inc.
_________________________________________________________
Frank Sinatra
Ol' Blue Eyes Is Back
Reprise Records
FS 2155
_________________________________________________________
From the original vinyl LP
Side One:
Will You Be My Music (3:52)
(Joe Raposo) Sergeant Music Co.,/Jonico Music, Inc. - ASCAP
You're So Right (For What's Wrong In My Life) (4:03)
(V. Pike/T. Randazzo/R. Joyce) Razzle Dazzle Music, Inc - BMI
Winners (Theme From Maurie) (2:50)
(Joe Raposo) Sergeant Music Co./Jonico Music, Inc. - ASCAP
Arrangement by Don Costa
Nobody Wins (5:10)
(Kris Kristofferson) (C) 1972 Resaca Music Pub. Co. - BMI
Arrangement by Don Costa
Send In The Clowns (From "A Little Night Music") (4:10)
(Stephen Sondheim) (P) 1973 Beautiful Music, Inc./Revelation Music Pub. Corp. - ASCAP
_________________________________________________________
Side Two:
Dream Away (From the MGM film, "The Man Who Loved Cat Dancing") (4:22)
(P. Williams/J. Williams) Almo Music Corp. - ASCAP/Hastings Music Corp. - BMI
Arrangement by Don Costa
Let Me Try Again (Laisse Moi le Temps) (3:31)
(Music by Caravelli, French Lyric by Michelle Jourdan, English Version by Paul Anka & Sammy Cahn)
Spanka Music Corp. - BMI/Flanka Music Corp. - ASCAP
Arrangement by Don Costa
There Used to Be a Ballpark (3:34)
(Joe Raposo) Sergeant Music Co./Jonico Music, Inc. - ASCAP
Noah (4:22)
(Joe Raposo) Sergeant Music Co/Jonico Music, Inc. - ASCAP
_________________________________________________________
The first questions you had were what he'd be like. Would he be fat, maybe, and would you hate him for blowing what was - a couple of years back - a pretty fair exit?
It was 106 degrees that day, June 21, 1973, and it was the hot test June day ever in L.A. And the longest of the year. Inside Goldwyn Studios, a scruffy demi-movielot that looks like it's hung around town only because nobody has come up with enough cash to level it and put up a good modern Zody's in its place, there remains good Sound Stage Seven. Thirty feet up inside before you hit anything, Industrial walls. Its best feature is the "Fire Hose" sign.
He is maybe a bit tanner.
He sings with is hands up top of the music stand, holding firm on the music stand, trying hard. In shirt sleeves, light blue, three buttons per cuff, little puffs at the shoulders.
He sings and it's the voice that brings it all back and you realize that not one - isn't it curious? - not one other voice so clear and clean in all the years has come along, not one other.
He is still, no contest the best this world knows.
And tonight ol' blue eyes is back.
In the row of metal folding chairs lined up before 10-foot high speakers sit guests, listening, Ed McMahon, who after one song says, "Let's have a drink on that one." Sinatra's secretary, Lillian, who leans in to advise that he'd got 30,000 letters begging: "At least make an album again."
Other guests: white-haired expensive men in black suede loafers with gold tiger-head buckles. They sit up-right, and appreciate the playback.
During playback, Sinatra concentrates, eyes shifting from chair to table top but not to any other eye, hearing only.
String men, violins and violas, who don't get called in to record as they once did, string men standing around the speakers now, listening, when a couple of years back they were out in the hall phoning their service.
And at the end of the playback, the white-haired expensive men stay sitting upright, applauding on their knees and saying, "Magnificent!"
A record exec whispers in anticipation, saying how he want to "go on the road with this album and compare him to ... to Lincoln."
But Sinatra is keeping it low key.
As if anticipating the questions and knowing there's no thunder roll of an answer to give if he's asked who he's doing this, he lays out the answer to everyone's most he's doing this, he lays out the answer to everyone's most tiresome question and says, "I just figured I'd do some work. No fun trying to hit a gold ball at eight at night."
Gordon Jenkins asks, "Where did the baritone go?"
And the baritone goes to his microphone, his music stand, his chair behind with the jacket over it, and sings again:
Know I said that I was leaving
but I just couldn't say good bye
It was only self-deceiving
to walk away from someone who means
everything in life to you.
Despite his trying to keep the evening offhand, despite the jokes, he really, it's clear, really wants this one. As he sings, it's easy for you to feel thankful, you can understand the words, for one thing. It's easy to feel pompous, too. Husbands there in the string section who'll later drive home and have to explain to their sleepy wives how it had been to be three hours in the same room with ... with Roosevelt, maybe.
A man of no little confidence.
He is, to his audience, as he sings, a real and enduring value, a firm handhold in a very slippery, very anonymous world.
Ol' blue eyes is back as the singer who'll still close his eyes when he's getting into it.
The song is ending, the violin's last string echoing through the stage.
Sinatra puts up his hand, so no one squeaks. Egg shell city. And this, from a man of no little confidence, is to be The Take.
The engineer walks in and gets the evening's understatement award: "Gee, I hope we got that on tape."
Which comment relaxes all.
Another Sinatra song is recorded, for a world that still needs them.
Sinatra walks again into the center of it all.
"I figure," he says, "we got a record."
- Stan Cornyn
_________________________________________________________
PRODUCED BY DON COSTA
Orchestra Conducted by Gordon Jenkins
All other songs arranged by Gordon Jenkins
Manufactured for Bristol Productions
Recording Engineer: Don MacDougall
at Samuel Goldwyn Studio, Hollywood.
Remix Engineer: Ed Greene
at MGM Studios, Hollywood.
Art Direction and Photography: Ed Thrasher
Design: David Bhang
_________________________________________________________
Reprise Records, a Division of Warner Bros. Records Inc. 4000 Warner Blvd., Burbank, CA 91505
44 East 50th Street, New York, New York 10022 - Made in U.S.A. (C) 1973 Warner Bros. Records, Inc.
_________________________________________________________
