Side One:

Band No. 1: You Go To My Head
(Gillespie - Coots)

Band No. 2: Someone To Watch Over Me
(I. Gershwin - G. Gershwin)

Band No. 3: These Foolish Things (Remind Me Of You)
(Marvelle - Strackey - Link)

Band No. 4: Why Shouldn't I?
(Cole Porter)

(LP 389)

Side Two:

Band No. 1: I Don't Know Why (I Just Do)
(Turk - Ahlert)

Band No. 2: Try A Little Tenderness
(Woods - Campbell - Connelly)

Band No. 3: (I Don't Stand) A Ghost Of A Chance (With You)
(Crosby - Washington - Young)

Band No. 4: Paradise
(Clifford  - N.H. Brown)

(LP 390)

_________________________________________________


When the history of show business is written, the year 1943 will be outstanding because it was the year that saw the unprecedented rise to stardom of Frank Sinatra. There have been other occasions in the past when some personality captured the imagination and affection of the public, but none took on the proportions and the magnitude of the Sinatra boom.

In the short span that marked Sinatra's meteoric rise to fame, he was chosen by the majority of of radio and magazine polls as "America's No. 1 Singer." He took his place with the biggest names of Hollywood. And smashing every attendance record in the history of New York's Waldorf-Astoria was conclusive proof that Sinatra was no overnight phenomenon but a firmly entrenched great star whose appeal is universal. A condensation of his fan mail reveals that his popularity is as great with the adult as it is with the adolescent. It all started with an appearance on the Major Bowes Amateur Hour. Frank won a place with one of the touring units, and when it returned to New York, he set out on a round of auditions for New York radio stations.  Soon he was singing on 18 shows a week over four different stations. But this schedule took up too much time and he resigned to sing at the Rustic Cabin in New Jersey. One night Harry James, who was then organizing his orchestra, stopped in and heard him sing. He offered Frank the feature singing spot with the band. Frank accepted, and sang with the orchestra for several seasons. He then joined Tommy Dorsey's orchestra and in 1943 stepped out on his own.

The Sinatra story spells success in glittering letters, and there are as many theories as to how he reached his star as there are star-gazers. The fact remains that Sinatra has a way with a song that cuts through mere vocalizing and works witchery on the simplest ballad. The ease of his delivery is deceptive; it is an inimitable style compounded of instinctive timing, delicate shading and complete sincerity.

His appeal is not limited to the popular songs of the minute. He sings with equal effectiveness light classics, familiar carols and traditional ballads, and in on e of his motion pictures swung easily into La ci darem la mano from Mozart's Don Giovanni. The songs in this collection are in a slightly different mood. Because these songs are not new, because each of them has a particular meaning for everyone and because they are rich in honest sentiment, they present Sinatra at his incomparable best and show, more effectively than anything else, the intimate, personal quality of his singing that has made him great.

This Columbia Long Playing LP Microgroove Record is a modern high quality musical reproduction worthy of your special care: Always keep it away from heat and in this protective envelope. LP Microgroove Records can be played only on 33 1/3 RPM instruments, specially designed to play Columbia Long Playing Records.