More of a singles collection than a proper album, The World We Knew illustrates how heavily Frank Sinatra courted the pop charts in the late '60s. Much of this has a rock-oriented pop production, complete with fuzz guitars, reverb, folky acoustic guitars, wailing harmonicas, drum kits, organs, and brass and string charts that punctuate the songs rather than provide the driving force. Many of the songs recall the music Nancy Sinatra was making at the time, a comparison brought into sharp relief by the father-daughter duet "Somethin' Stupid," yet the songs Sinatra tackles with a variety of arrangers - including Nancy's hitmaker Lee Hazlewood, Billy Strange, Ernie Freeman, Don Costa, and Gordon Jenkins - are more ambitious than most middle-of-the-road, adult-oriented soft rock of the late '60s…
Ultimate Sinatra is a 2015 compilation album by American singer Frank Sinatra released specifically to commemorate the 100-year anniversary of his birth. The collection consists of songs recorded from 1939 to 1979 during his sessions for Columbia Records, Capitol Records, and Reprise Records. A single-disc version also was released, consisting of 24 tracks from the box set plus an exclusive alternate studio take of "Just In Time." The Australian 2-CD edition adds a complete, previously unreleased recording of Sinatra's December 1961 concert at Sydney Stadium. The American release truncates the Sydney show.
As the repository of the earliest phase of Frank Sinatra's solo career, 1943-1952, Columbia Records is usually thought to be at a disadvantage against the more accomplished work the singer recorded for Capitol Records and his own Reprise imprint. But in two albums released on the same day in 2003, Sinatra Sings Cole Porter and Sinatra Sings Gershwin, Columbia's Legacy division expands on its studio recordings of Sinatra by borrowing airchecks from the collection of Charles L. Granata, and thereby improves its holdings. Sinatra would not seem at first blush to be the ideal interpreter of Porter, if only because his rough-and-tumble background is always visible beneath his careful intonation, while Porter's lyrics are redolent of wealth and comic condescension. But Sinatra sang "Night and Day" in his first solo session in 1942 and went on to perform Porter throughout his career, often achieving near-definitive readings. The ground on which they met was intellectual rather than social: Porter was at heart a wit, and Sinatra understood the jokes, while emphasizing what emotional content there was, giving it a greater sincerity than the songwriter might have intended. This collection effectively mixes a bunch of studio recordings with previously unreleased radio performances that find Sinatra ranging over many different Porter moods.
Filling in a gap in Frank Sinatra's history, Legacy's 2015 box A Voice on Air collects over 100 radio broadcasts recorded between 1935 and 1955. This is the first collection to chronicle this era – over 90 of its 100 tracks are previously unreleased – and it's pulled from a variety of sources, including the Sinatra estate's vaults, the Library of Congress, and the Paley Center for Media, each strand assisting in sterling re-creations of original broadcasts from Frank's bobbysocks days, World War II, and the nascent saloon singer of the '50s. Sinatra wound up singing some of these songs in the studio but not necessarily in these arrangements, a wrinkle that would be tantalizing enough but a good portion of A Voice on Air is devoted to songs he only sang on the air.
Sinatra: World On a String is a 2016 box set album of live performances by the American singer Frank Sinatra, recorded in Italy in 1953, Monaco in 1958, Sydney in 1961, Cairo in 1979, and the Dominican Republic in 1982. The performances are chronicled on four compact discs with a further DVD of a 1962 concert in Tokyo with short films and Italian chocolate adverts featuring Sinatra during his world tour of 1962. The album continues a series of live box sets of Sinatra concerts following Sinatra: Vegas (2006), Sinatra: New York (2009), and Sinatra: London (2014).
The long-awaited first collaboration between two icons, Count Basie and Frank Sinatra, did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the '60s where his band was more popular and better-known than it ever was, even in the big-band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career. Propelled by the irresistible drums of Sonny Payne, Sinatra careens up to and around the tunes, reacting jauntily to the beat and encouraging Payne to swing even harder, which was exactly the way to interact with the Basie rhythm machine – using his exquisite timing flawlessly.