Word: sinatras
(lookup in dictionary)
(lookup stats)
Dates: during 1960-1969
Sort By: most recent first
(reverse)
...dance but twitched spasmodically on their way to the bar--once three or four of them went out into the street in the comforting warmth of the Florida night and danced deliberately. "You want to hear some good music--not all this crap," the girl barked, turning on Frank Sinatra, greeted by the others as if he were a Bob Dylan piercing the night like a prophet. "Cheri," "Spanish Eyes," a strikingly syncopated version of "Three Coins." Strange to tell it was the most beautiful music session I have experienced in a long time. The music became a ferocious whole...
...mean, they don't have something to say, like a message. Its not meaningful in an immediate sense the way something like "For What Its Worth" is. I'm moved by the lyrics the same way the lyrics to early Frank Sinatra, or a song like "Somethin Stupid" are moving. There is a specific situation, a load of information concerning the lives and motivations of the individuals who are being discussed--usually in the first person--in the songs. In Sinatra, the situations are very realistic--a man writing a letter to his wife who has left him, or something...
...possibilities in a little song written 15 years earlier by Martin's pianist, Ken Lane. He released it as a single, and Everybody Loves Somebody carried Martin to the top of the bestseller charts for the first time in two years. In 1966, at a Frank Sinatra recording session, Bowen came up with a Bert Kaempfert melody from the soundtrack of the movie A Man Could Get Killed. With lyrics added, the song made one of Sinatra's biggest successes of recent years, Strangers in the Night...
Expanding into Shoes. For Bowen, the key to streamlining performers like Martin and Sinatra is to "change the sound around them, not change their sound." Equally crucial is Bowen's knack for spotting catchy material. "I'm not setting any trends, and I'm sure not trying to follow any," he says. "I look for songs that are simple enough to be hummable after you hear them one time...
Despite temptations to slick up his style for commercial appeal, King has made it a point of honor to remain an uncompromising blues boy. "I'm me," he says. "Blues is what I do best. If Frank Sinatra can be tops in his field, Nat Cole in his, Bach and Beethoven in theirs, why can't I be great, and known for it, in blues?" Today the answer seems...