Frank Sinatra Songs for Swingin’ Lovers! January 9, 10, 12

FrankSinatraSongsforSwingin’Lovers!Recorded:October17,1955January9,10,12,161956RecordLabel:CapitolRecordsArrangements:NelsonRiddleConductedbyNelsonRiddleProducer:VoyleGilmoreMixer:JohnPallidinoOriginalRelease:March1956

FrankSinatrawithNelsonRiddleworkingonorchestrationchartsduringrecordingsessionforSongsForSwingin’Lovers!

AdefinitiveclassicandhighlyrecognizedasoneofFrankSinatra’smostbelovedalbums,SongsForSwingin’Lovers!isanevidentdeparturefrompriorcollaborationsbetweenSinatraandorchestralarrangerandconductorNelsonRiddle.Priortothisreleasein1956,Sinatrareleased3CapitolalbumswithRiddle:SongsForYoungLovers(1953-1954),SwingEasy(1954),andInTheWeeSmallHours(1954-1955).GeorgeSiravoprimarilyarrangedSongsForYoungLovers,thoughNelsonRiddleco-arrangedandalsoconducted.SwingEasyinitsentiretywasarrangedandconductedbyNelsonRiddle,butwasdoneinthestyleofRedNorvowithasmallbackingcombogroupandFrankFlynnperformingtheclassicNorvovibraphoneparts.InTheWeeSmallHours,alsoentirelyarrangedbyNelsonRiddle,reflectsRiddle’sballadstylethatperfectlysignifiestheelegance,honesty,andheartfeltthemeofthealbum.WhichbringsustoSongsForSwingin’Lovers!,whichwasthefirstSinatraLPtohighlightRiddle’sup-tempoandswingingside.OneSinatraexpert,MatthewLutthans,noteshowRiddle’shigh,sustainedstringaccompanimentunderpins

theswinging,andoftendriving,bigbandsoundthatpropelseachlyricandsongforward.Sinatrahimselfalsopossessesamorepronouncedplayfulandunfetteredstyleonthisalbumthatlaterbecamehistrademark.ItisimportanttorecognizethatSinatra’salbumsallcenteronacertaintheme.SinatrabiographerJamesKaplannotesthat“FrankorganizedeachofhisCapitolalbumsaroundaspecificmoodormode:downbeatorupbeat,balladsorswingers.Theterm“conceptalbum”wouldn’tbecoineduntilmuchlater,butSinatrainventedtheidea,anditwasRiddlewhohelpedhimperfectit.Morethanever,withSongsforSwingin’Lovers!hewasfarmorethanjustasinger:Hewasanartistshapinghismedium.”AnevenwhenSinatrachosethetitleforthis1956album,itwasn’tjustamarketinggimmickbutanaccurateportrayalofhismusicaldramaticambition:Sinatrashowedtheworldhowasingercouldbeatonceromanticandrhythmicallyplayful.Andthisisnowheremoreapparentthanonthemilestoneperformanceof“I’veGotYouUnderMySkin.”Forexample,authorWillFriedwaldnoteshowSinatraissupersensitivetotheintimatenuancesofColePorter’slyricatonemoment,andthen,eightbarslater,beingswaggeringlyindifferent.WhenSinatraaddsanad-libline,mostfamously“itrepeats–howityellsinmyear,”Sinatraissimultaneouslykiddingthetextandunderscoringit.Thiswasnotbyaccident.Pureartistryisatwork.AndKaplannoteshoweventheexclamationpointinthealbumtitlewasafittingpunctuationforSinatra’slifeatthatmoment.Kaplannotes,“Sinatrawasclickingonallcylinders—makinggreatrecords,turninginmemorablemovieperformances,andearningseriousmoney.TIME’sAugust29,1955,coverstoryonhimhadestimatedhisincomeforthatyearat“somethingcloseto$1,000,000”—anastronomicalnumberinthemid-1950s.Theolddays—thebad,poordays—wereablipintherearviewmirror.Swingin’wastheoperativeword.”By1956,dancemusicwasbecomingalltherage,andSongsforSwingin’Lovers!wasconsidereditshippestkind:swinging,infectious,supremelylistenable.Rock’n’rollstartedtotakeshape,butitsappealwasinitiallyvisceralandprimitive.SinatraandRiddlehadvisceralandsophisticatedlockedupinawaythatwouldlast.Itwasn’tjust

thatFrank’svoicehaddeepened;ithadalsotoughened,throughtime,heartbreak,cigarettes,andliquor.“Ididn’tcareforhisoriginalvoice,”Riddleoncesaid.“Ithoughtitwasfartoosyrupy.Iprefertoheartheratherangularpersoncomethrough….TomehisvoiceonlybecameinterestingduringthetimewhenIstartedtoworkwithhim….Hebecameafascinatinginterpreteroflyrics,andactuallyhecouldpracticallyhavetalkedthethingformeanditwouldhavebeenallright.”ButwhatmakesSongsForSwingin’Lovers!amongtheverybestinthelegendarySinatracanon?Asaconceptalbumwithanupbeatromanticfeelofbeingyoungandinlove,thesongselectionsflowbrilliantly

andeffortlesslyfromtracktotrack.SinatraandRiddleperfectlycapturethechildlikeandexuberantinnocencethemomenttheneedledropsontrackone,evenwiththeopeninghornsof“YouMakeMeFeelSoYoung.”Asonereviewerputit,theopeningtrack,"YouMakeMeFeelSoYoung,"amountsto"YoungAtHeart"inswing-time."YouMakeMeFeelSoYoung"modulatesfrommerecheerfulnesstoexaltedrapturesooverpoweringlyitcouldmakeastatuewanttofallinlove.”IfindSinatra’scapacityforemotionalexpressivenessunparalleledcomparedtootherartists.AllofwhatmakesFrank“TheVoice”andhavingthat“IT”factorcomesaliveonthisalbum,whetheritbehisauraofcool,intimateandtransparentphrasingability,orimpeccablebreathcontrol.MuchhasbeenstatedandimmortalizedregardingSinatra’sphrasingabilitytoconnectlyricswithemotions,sensitivity,anduniversalappeal,anditisclearlyevidentonthisalbum.CombinethatwithNelsonRiddle’sorchestralarrangementandthisalbumproducesamagicalcollaboration.Riddlehasawayofaddingtheperfectcrescendosintherightplacesandarranginginsuchawayastoaddtothepaceandtensionofeachsongwithoutgettinginthewayordrawingtoomuchattentionawayfromthelyrics.Alsoworthyofmentioning,SongsForSwingin’Lovers!marksthelastSinatraalbumtoberecordedatthehistoricCapitolMelroseStudio,whichhadplacedCapitolartistsinthebestsoniclight.Especiallyfromabout1953-1956,theengineeringcrewatCapitolMelroseAvenueStudiosproducedsomeofthebestpoprecordingsintheworld.Forashortfewyears,Capitolwaswellaheadofitstime,settingthestandardforclarity,warmth,andtonalbalancebothtechnicallyandmusically.Thus,theseearlyCapitolSinatrarecordingssoundasfreshandpresentedwithsuchrealismasanythingintheSinatracanon,andSongsForSwingin’LoverswasthelasttoberecordedatthefamedCapitolstudio.AsMatthewLutthanshighlights,“StudioA,thelargetheatre-stylestudioupstairsreallyshinesonSongsForSwingin’Lovers!,withSinatrapositionedintheaudienceseatingareaandthebanduponthestage.Thebrilliantlycapturedinstrumentalbalancesneverfeelcramped,andtheopeninstrumentalsoundwrapsbeautifullyaroundSinatra’voice.Itjustworksonalllevels.”

CapitolStudios,MelroseAvenue

TheRecordingSessionsOnlyonetrackwasrecordedonOctober17,1955(LoveisHereToStay),whiletherestofthealbumwasrecordedJanuary9,10,12,and16,1956.SettingthesceneforrecordingsessionsinJanuary,biographerJamesKaplanaddssomedetailedbackgroundinformation.ThemusiciansassembledonthestageinStudioAweretrulyastarrygroup,anamalgamofsomeofthefinestclassicalstringplayersandjazzinstrumentalistsaround:Frankdemandednoless.ThegroupincludedEleanorandFelixSlatkin(acellistandSinatra’sconcertmaster,respectively),basstrombonistGeorgeRoberts,andminimalisttrumpeterSweetsEdison.TheorchestraincludedtrumpeterZekeZarchy(anotherDorseyalumnus),thegreatDukeEllingtonvalvetrombonistJuanTizol(whowasalsothecomposerof“Caravan”and“Perdido”),andaltosaxophonistHarryKlee(whodoubledonfluteandcanbeheardswingingbeautifullyontheoutroof“FeelSoYoung”).Sinatra’smusicalrighthand,pianistBillMiller,wasalsoonhand.Andthentherewasthesad-eyedtrombonistwithajuttinglowerlip,MiltBernhart,whowouldplayacriticalroleinthemostfamoussongFrankSinatraeverrecorded,“I’veGotYouUnderMySkin.”KaplannoteshowFrankcarriedtheexcitementandsuccessoftheprevioustwoyearswithNelsonRiddleintoKHJRadioStudiosonMelroseAvenueonthatMondaynight,January9,1956inLosAngeles.SinatrausuallystrolledintoStudioA,upstairsatKHJ,atabout8P.M.,andalwayswithanentourage:InthisperiodthegroupwouldhaveconsistedofJimmyVanHeusen(oneofwhosesongswouldberecordedonthenightofJanuary9);friend,musicpublisher,manager,andsometimebodyguardHankSanicola;DonMcGuire,whowasdirectingFrankduringthedayintheWesternJohnnyConcho;aprizefighterortwo;sundrymembersoftheHolmbyHillsRatPack,suchasHumphreyBogartandLaurenBacall,JudyGarland,andRodeoDriverestaurateurMikeRomanoff;andtheblondeorbrunetteofthemoment.Theatmospheretendedtocracklewithexcitement.TrombonistMiltBernhartrecalled:“TherewasalwaysacrowdatthoseSinatrasessionsonMelrose.Theyshouldhavechargedadmission!Becausethestudiohadbeenaradiotheater,ithadanauditorium.Andtheplacewaspackedtotheback.Youweren’tjustplayingarecorddate;youwereplayingaperformance.Theytookagreatchanceonthepeopleapplauding,becausetheycouldgetcaughtupinthething,andruinatake…but

believeme-theyweresittingontheedge.Anditwasan“in”crowd:moviestars,discjockeys.Itwasbig,big….Itwashardtogetin;youhadtobeinvited.Butthey’dfillthedamnplace!”Whileotherswerebubblingwithexcitement,NelsonRiddlehadanuneasyanticipationofthisrecordingsession:“AtaSinatrasessiontheairwasusuallyloadedwithelectricity.Thethoughtsthatracedthroughmyheadwerehardlyonestocalmthenerves.Onthecontrary—questionssuchas:“Willhelikethearrangement?”and“Isthetempo

comfortableforhim?”weresoonanswered.Ifhedidn’tmakeanyreferencetothearrangement,chancesareitwasacceptable.Andasfarasthetempowasconcerned,heoftensetthatwithacrispsnapofhisfingersoracharacteristicrhythmichunchingofhisshoulders.”ThetempothatfirstJanuarynight[Mondaythe9th]wasupbeat,inkeepingwiththealbum’spreplannedscheme.Theoneslower-pacednumberFrankrecordedthatnight,AndyRazafandEubieBlake’s“MemoriesofYou,”didn’tmakeitontothealbum.TheotherthreesongsonthesetwereSammyFain,IrvingKahal,andPierreNorman’s“YouBroughtaNewKindofLovetoMe,”JohnnyMercerandVanHeusen’s“IThoughtAboutYou,”andMackGordonandJosefMyrow’s“YouMakeMeFeelSoYoung,”asongthathaddebuted,withoutmuchofasplash,inthe1946musicalfilmThreeLittleGirlsinBlue.RiddleandSinatrawereabouttoturnitintoanunforgettableclassic.

"YouMakeMeFeelSoYoung"modulatesfrommerecheerfulnesstoexaltedrapturesooverpoweringlyitcouldmakeastatuewanttofallinlove.”AndSinatra’smoreplayfulinterpretationwasdefinitelynoticedbythoseinthesession.TheconductorLeonardSlatkin—whoseparentswerepartofRiddle’sorchestraonthealbum—said,“Imaginethatyou’redeliveringasentenceinaparticularcadence,aparticularrhythm,wherethestrongsyllablescomeonstrongbeats

andtheweaksyllablescomeonweakones.WhenyoulistentoSinatra’ssongs,evenonesthatarehighlyrhythmicallycharged,you’llfindthatoftenhe’lldelaythatstrongsyllable.Itmaynotoccurrightonthedownbeat.Itwillbejustthatfractionlate,givingalittlemorepunchtotheworditself.I’msurehethoughtaboutit.I’msurethatthiswasnotjustimprovisatoryonhispart.”Sinatraknewhowtoplaywithsyncopationwiththebestofthem.“Syncopationinmusicisimportant,ofcourse,particularlyifit’sarhythmsong,”Sinatrasaid.“Itcan’tbe‘one-two-three-four/one-two-three-four,’becauseitbecomesstodgy.So,syncopationentersthescene,andit’s‘one-two,’thenmaybealittledelay,andthen‘three,’andthenanotherlongerdelay,andthen‘four.’Itallhastodowithdelivery.”AndSinatra’sdeliverywasnowatitszenith.ListentoSinatra’sversionof“YouMakeMeFeelSoYoung”andyouhearagreatsingerinjoyouscommandofeverycomponentofhisart—voice,tempo,lyricalunderstanding,expression.Itwasandis(imaginetheseatsintheradiotheater,packedwithraptlisteners)simplyamagnificentperformance.Itisalsoaperfectunionofsinger,arrangement,andmusicians.

OneoftheGreatestRecordingsisBornItishardtoimagineoneofSinatra’smosticonicperformancesofall-timeandthealbum’sclimacticperformance,“I’veGotYouUnderMySkin,”wasmostlyanafterthought,writtenandpiecedtogetherinRiddle’sbackseatinminutes.Butsothestorygoes.AccordingtoFrankSinatra,Jr.,hisfatherfinishedthesecondrecordingsessionoftheweekintheearlyhoursofWednesday,January11,1956,andplannedtogotohishouseinPalmSpringsfirstthingonThursday.ThefinalSongsforSwingin’Lovers!sessionwassetforMondaythe16th,andFrankwantedtorestupovertheweekend.Instead,producerVoyleGilmorecalledhimatoneA.M.onWednesdayandsaidthat,becausethealbumlookedtobeabigseller,Capitolvice-presidentAlanLivingstonhadmadeanexecutivedecisiontoputthreemoresongsontothe12-inchLP.ThiswouldnecessitateanextrarecordingsessiononThursdaythe12th.Frankwasnotpleased.HephonedRiddleathome,wakinghimup,andtoldhimthathehadtoarrangethreemoresongs,immediately.“Sinatragavehimthreesongsrealfast.Eitherhehadthemalreadywrittendownorhepulledthemoutofahat,”FrankJr.said.Hewenton:“Nelsongotoutofbedandstartedwriting.Byseveno’clockthenextmorninghegottwosongstothecopyist.Hethenhadafewhours’sleepandstartedwritingagainataboutoneo’clockintheafternoon.Nelsonknewthat“you-know-who”wasn’tgoingtobeaveryhappypersonthatnightbecausehedidnotwanttobeworking….With[Riddle’swife]Doreenatthewheeloftheirstationwagon,Nelsonwasinthebackseatfinishingthearrangementwhileholdingaflashlight.”Kaplancontinues,“WhentheRiddlesarrivedatCapitolMelroseKHJStudiosontheeveningofJanuary12th,VernYocum,thecopyist,hadseveralofhisassociatesthere.Sinatrarecordedthefirsttwotunes—“ItHappenedinMonterey”and“Swingin’DowntheLane”—withNelsonandtheorchestrawhilethecopyistswerewritingdownthelastarrangement.Frankthenshiftedgearsand,withachorus,recordedasingle[notonthealbum]called“FlowersMeanForgiveness.”Thenhereturnedtothealbum,withColePorter’s“I’veGotYouUnderMySkin.”Sinatra’susualmethodwithRiddlewhenplanningoutarrangementswastosketchoutideasverbally—“makeitsoundlikePuccini”;“givemesomeBrahmsinbareight”—whileNelsontookrapidnotes.Allthisusuallyhappenedwellinadvanceofrecording.Inthiscase,withoneday’snotice,FranktoldRiddle,about“I’veGotYouUnderMySkin”:“Iwantalongcrescendo.”“I’veGotYouUnderMySkin”wasthelastsongSinatrarecordedonthenightofJanuary12,whichmeansthatbythetimethetapestartedrolling,theclockmayhavetickedoverintotheearlyhoursofFridaythe13th.First,though,thebandranthroughthenumberoncewhileFrankstoodinthecontrolboothwithRiddle,producerVoyleGilmore,andrecordingengineerJohnPalladino.Sinatrawaslisteningcarefully,makingsuretherecordingbalanceswerecorrectandthearrangementsoundedright.Riddle’sheartwasinhisthroat.Thoughhehaddashedoffthechartundermaximumpressure,heknewFrankexpectednothinglessthangreatness.“There’sonlyonepersoninthisworldI’mafraidof,”RiddleonceconfidedtoGeorgeRoberts.“Notphysically—but

afraidofnonetheless.It’sFrank,becauseyoucan’ttellwhathe’sgoingtodo.Oneminutehe’llbefine,buthecanchangeveryfast.”Whentherun-throughwasfinished,though,thebattle-scarredstudiomusiciansstoodasoneandgaveRiddleawarmovation,“probablybecausesomebodyknewthathewroteitinahurry,”BillMillerrecalled.ButFrankknewitwasawfullygood.ThoughhewasusuallyOne-TakeCharlieonmoviesets,intherecordingstudiohewouldspendasmuchtimeasnecessarytogetasongright.TrombonistMiltBernhartrecalled,“itwasunusualthathewouldhavetogopastfourorfivetakes.Accordingly,IleftthebeststuffIplayedonthefirstfivetakes.”But,BernhartrememberedthatSinatraknewthatsomethingspecialwashappening.Bernhartcontinues,“Frankkeptsaying,‘Let’sdoanother.’ThiswasunusualforSinatra!Iwasaboutreadytocollapse—Iwasrunningoutofgas!Then,towardthetenthtakeorso,someoneintheboothsaid,‘Wedidn’tgetenoughbass…couldwegetthetrombonenearertoamicrophone?’Imean,whathadtheybeendoing?Therewasamicrophonethereforthebrass,uponaveryhighriser.‘Canyougetuptothatone?’theyasked.AndIsaid,“Well,no—I’mnotthattall.”Sotheywentlookingforabox,andIdon’tknowwherehefoundone,butnoneotherthanFrankSinatrawentandgotabox,andbroughtitoverformetostandon!Eleventakes,twelve,thirteen—someofthemwouldhavebeenfalsestarts,onlysecondslong,butsomewentlonger,untilFrankraisedahand,shakinghishead,stoppingthemusicandtellingthebandandthecontrolboothwhathadtochange.Then,take22.”“Miltperspiredalottostartwith,”recallsguitaristBobBain,whoplayedonthesession.Nowthetrombonistwassoakedthrough.“Helookedatmeandsaid,‘Idon’thaveanotheroneleft.’”

SinatrasingingthroughhisNeumannU47microphone.Kaplannotesthatbythistime,“Frankwasinhighgear,readytopushforwardintothe22ndtake.Take22.“I’veGotYouUnderMySkin”startsatalope,in2/4time,withabaritonesaxorbassclarinetplayingthenow-famousrepeatingfigure—bum-ba-dum-BOMba-dum-BOMba-dum-BOM—inthebackground.Despitethelatenessofthehourandthenumberoftakes,despitethenumberofunfilteredCamelshehassmokedthatday,Sinatra,underthatCavanaghfedora,issingingaseasilyandbell-clearlyintotheNeumannU47

microphoneasifhehadjuststeppedoutoftheshowerandtakenitintohismindtodoalittleColePorter.Perhaps,nowandthen,asheloseshimselfinthegreatsongandthe

soundofthegreatbandaroundhim,hecloseshiseyes.Theheavenlystringsandthebrightbrassinterplayeffortlesslybehindthefirstandsecondchoruses,andthen,asFrankcaressesthelastlinesofthebridge—ButeachtimethatIdo,justthethoughtofyouMakesmestopbeforeIbegin,’CauseI’vegotyouundermyskin….—Robertsandthestringsliftthelongcrescendohigherandhigherandhigheruntilitseemstheycangonohigher.AndthenMiltBernhart,drawingonreserveshedidn’tknowhepossessed,goeswildonhisslidetrombone,simplyblowinghislungsout.ItistoSinatra’simmensecreditthathispowerfulfinalchorus,drivingthesonghome,isasstronginitsownrightasBernhart’shistoricsolo.Itwasawrap,andaninstantclassicwasbornforagestocome.“NotableAlbumReleases:

InitialReleaseCoverRevisedReleaseCover

D1PressingD349:00RainbowLabelPressing

MFSL1983Pressing2016–CurrentPressingSongsForSwingin’Lovers!wasoriginallyreleasedasa15-songmonoLP(graylabelpressing).Analterationwassoonmadetothecoverartworkverysoonafterthereleaseandthenby1962,neweditionswerereleasedwithadditionalprocessinginmono,fakestereo,andDuophonicversions,aswellasalbumreissuescutto12songs.Hereinliestheproblemformanyfuturereleasesofthealbum,asmanyweresourcedfromtheseheavilyreprocessedtapes.Asrumored,thecoverchangedinabout1year(soby1957),asCapitolexecutivesthoughtthealbumlooksfriendlierwiththerevisedFranklookingTOWARDthecouple.TheoriginalcoverhasFranklookingAWAYfromthecouplewithatitledhat.AsfarasUSpressingsareconcerned,soundqualityandoveralltonalbalanceisalloverthemap.Asageneralrule,moreproblemsexistsinthelater60stoearly80sreissuesascomparedtomid50sgraylabelandlate50srainbowlabelpressings.Moreofthereverb,EQ,andfakestereo/DuophonicmasteringproblemsbecomereadilyapparentintheseCaptiolreissues(suchastheCapitolyellowlabelabridgedpressingfromthe1970s)aswellaswiththeMobileFidelity1983releaseintheSinatraBoxSet.Incomparingmintcopiesofallreleases,theoriginalCaptiol“D”pressingstomyearssoundsuperior.ThereisSinatra“presence”andunparalleledsmoothnessthatjustsoundsright.Granted,itcanbeabitrolledoffontopandcansoundtoowarmand“pillowysoft”forsome,especiallywiththemoderndayfocusontransparencyanddynamics.ButnowheredoesSinatra’svoicesoundsopalpableandconnectedtothelistenerthanthoseoriginalGraylabelpressings.Thechallengebecomesfindingtheminexcellentconditionwithlimitedgroovewear.Whichbringsustothe9:00RainbowLabelpressings(notethe9:00Capitollogoonthephotoabove),forexampletheD13orD34pressing.Thesestillhavethatmidrangemagicandpalpability,butthereseemstobeabitmoretightnessandfocusinthesoundwhichsomemayprefer–moredefinedifyouwill.ButthereisalittlemoredistancetoSinatra’svoice–pushedfurtherbackintotheorchestraandasmidgelessprominent.Thereseemstobeahintofreverbaddedtothispressing,butitisveryminorandisstillafantasticlisten.However,evenmorereverbisaddedtothe12:00RainbowLabelpressings,circa

1961/1962,andSinatra’svoicetendstosoundevenmoredistantandrazor-likeandlesswarm,whichIwouldtendtoavoidinfavoroftheaforementioned“D”pressings.The1983MFSLreissueusedtheselater60sreverbtapes,whichmakesitaninferiorchoice.Itsimplydoesn’tsoundrighttomyearsandhasatechnicallyincorrectpresentationaswell.Thetreblealsohasabittoomuchbiteandisalittlebrighttomyears,personally.Sowhat’sthebigdealaboutreverb,youmayask?AsMatthewLuthansnotes,“adding reverb affects more than just how much reverb you perceive. It can affect overall tone, blend, and dynamics. Maybe adding 2% reverb isn't a big deal as far as the reverb goes, but if that 2% reverb causes the tone and blend to be 1% worse and the dynamics to be a little less impressive, suddenly you have a release that, through subtle manipulation on one front that subtly affected other fronts, is maybe 4 or 5% worse overall. You probably won't even notice it on its own terms, but if you actually compare carefully you may find that you just don't enjoy one version of the album as much as another, and it may be because of all those nearly-imperceptible alterations that add up to have an affect on the overall enjoyment of the album.” In 2016-present (or so), Capitol released an anniversary edition of the LP. This is an excellent option, especially if one favors clarity, transparence and dynamics over warmth, presence, and tonal balance. There is definitely a more apparent crispness to the sound with greater presence of the cymbals and more bite to the cymbals. It was likely sourced from the digital 2014 Mobile Fidelity Hybrid disc, and thus you lose some of the richness, fullness, body and warmth of the original analog tapes in the early pressings. For those who prefer full range treble and clarity without the sentimental warm glow of the original, you will likely prefer this updated release. Conclusion:ThisRiddle-Sinatracollaborationisonefortheages.This album is as good as it gets for any music loverandplenty of great vinyl options exist for different tastes. Though my favorite is the original gray label “D” pressing, I would be perfectly happy with other releases. In fact, it wouldn’t be a bad idea to own a copy of each. Note: I pooled the majority of the information for this review from multiple sources. I am especially grateful and give special thanks to Matthew Lutthans, James Kaplan’s “I’ve Got You Under My Skin: Full Story,” and Will Friedwald’s “Sinatra! The Song Is You: A Singer’s Art” for their invaluable contributions on this album. Much of the background information has not been altered from their work to maintain historical context and accuracy.