The Unforgettable Legacy Of Frank Sinatra And Nelson Riddle
Frank Sinatra is rightful known today as an entertainment icon, but many forget that there was a time when he was just another washed up teen idol trying to reinvent himself artistically and revive his career. After his teen idol stardom ended, Sinatra went through a rough period that he described as 'all Monday's' when his personal life was in shambles, his professional prospects non-existent and his financial status in ruin.
Not only was Sinatra's career in shambles, but the A&R people at Columbia Records had no clue what to do about it. The low point of their efforts was an attempt to reinvent the greatest popular singer in history as a 'novelty act' by pairing him with producer Mitch Miller. The most wretched by-product for their brief working relationship was a song called 'Mama Will Bark', on which Sinatra shared the mic with a busty singer named Dagmar while some clown barked like a dog and howled in the background. After these dismal recordings failed to jumpstart his career Sinatra was dropped by Columbia records in 1952.
In 1953, June Hutton and Jo Stafford brought him to the attention of Capitol Records A&R man Dave Dexter, Jr. This led to a deal with the label, which began an era that many 'Sinatra-philes' consider his best work. Frank worked with Axel Stordahl (June Hutton's husband, with whom he had worked at Columbia) and these sessions produced some decent recordings, including "I'm Walking Behind You" and "Lean Baby", but nothing incredibly significant. Dexter wanted Frank to try something different, and with Stordahl leaving to accept a job with Eddie Fisher in New York, he agreed reluctantly to a pairing with Nelson Riddle.
To say that the pairing 'clicked' from the start is a severe understatement. The first Sinatra/Riddle session produced 'I've Got The World On A String'. Riddle's arrangement gave the Ted Kohler/Harold Arlen chestnut a new life and complimented Sinatra's more mature vocal styling perfectly. It wasn't a huge hit at the time, reaching only #14 on the charts, but has since become a classic. Sinatra himself loved the song and would continue to perform it live for the rest of his life--frequently using it to open his performances.
Put into a modern context, Frank Sinatra's career is even more remarkable. It's difficult to envision one of today's popular acts among the adolescent set like the Jonas Brothers being able to even transition into a career where they're taken serious as an adult artist. Sinatra far exceeded that goal, leaving an imprint on popular music that may never be equaled. His ascendancy to his status as 'Chairman of the Board' and one of the most important artists of the 20th Century all began with his union with Nelson Riddle. - 18424
Not only was Sinatra's career in shambles, but the A&R people at Columbia Records had no clue what to do about it. The low point of their efforts was an attempt to reinvent the greatest popular singer in history as a 'novelty act' by pairing him with producer Mitch Miller. The most wretched by-product for their brief working relationship was a song called 'Mama Will Bark', on which Sinatra shared the mic with a busty singer named Dagmar while some clown barked like a dog and howled in the background. After these dismal recordings failed to jumpstart his career Sinatra was dropped by Columbia records in 1952.
In 1953, June Hutton and Jo Stafford brought him to the attention of Capitol Records A&R man Dave Dexter, Jr. This led to a deal with the label, which began an era that many 'Sinatra-philes' consider his best work. Frank worked with Axel Stordahl (June Hutton's husband, with whom he had worked at Columbia) and these sessions produced some decent recordings, including "I'm Walking Behind You" and "Lean Baby", but nothing incredibly significant. Dexter wanted Frank to try something different, and with Stordahl leaving to accept a job with Eddie Fisher in New York, he agreed reluctantly to a pairing with Nelson Riddle.
To say that the pairing 'clicked' from the start is a severe understatement. The first Sinatra/Riddle session produced 'I've Got The World On A String'. Riddle's arrangement gave the Ted Kohler/Harold Arlen chestnut a new life and complimented Sinatra's more mature vocal styling perfectly. It wasn't a huge hit at the time, reaching only #14 on the charts, but has since become a classic. Sinatra himself loved the song and would continue to perform it live for the rest of his life--frequently using it to open his performances.
Put into a modern context, Frank Sinatra's career is even more remarkable. It's difficult to envision one of today's popular acts among the adolescent set like the Jonas Brothers being able to even transition into a career where they're taken serious as an adult artist. Sinatra far exceeded that goal, leaving an imprint on popular music that may never be equaled. His ascendancy to his status as 'Chairman of the Board' and one of the most important artists of the 20th Century all began with his union with Nelson Riddle. - 18424
About the Author:
David Glisan is a journalist covering MMA and boxing. He is also the heavy metal editor for The Savage Science, a website covering both MMA and music, and is a noted authority on both heavy metal and jazz. He contributes to many MMA news websites and provides UFC news for the broadcast and online sports media. He's also a published expert on boxing, pro wrestling and falconry.
posted by X - Men at
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