(Jazz/Classic Pop) [LP] [24/96] Frank Sinatra, That's Life - 1966, FLAC (tracks)
![(Jazz/Classic Pop) [LP] [24/96] Frank Sinatra, That's Life - 1966, FLAC (tracks)](/upload/000/u2/00/f4/96-frank-sinatra-that-s-life-196.jpg "(Jazz/Classic Pop) [LP] [24/96] Frank Sinatra, That's Life - 1966, FLAC (tracks)")
Треклист:
Frank Sinatra, That's Life
Жанр: Jazz/Classic Pop
Год выпуска: 1966
Лейбл: Reprise Records, FS-1020
Страна-производитель: USA
Аудио кодек: FLAC
Тип рипа: tracks
Формат записи: 24/96
Формат раздачи: 24/96
Продолжительность: 12:50 + 13:10
Треклист:
1. "That's Life" (Kelly Gordon, Dean Kay ) – 3:10
2. "I Will Wait for You" (Jacques Demy, Norman Gimbel, Michel Legrand) – 2:19
3. "Somewhere My Love (Lara's Theme)" (From Doctor Zhivago) (Maurice Jarre, Paul Francis Webster) – 2:19
4. "Sand and Sea" (Gilbert Becaud, Mack David, Maurice Vidalin) – 2:29
5. "What Now My Love" (Gilbert Becaud, Pierre Leroyer, Carl Sigman) – 2:32
6. "Winchester Cathedral" (Geoff Stephens) – 2:38
7. "Give Her Love" (Jim Harbert) – 2:14
8. "Tell Her (You Love Her Each Day)" (Samuel Ward, Charles Watkins) – 2:42
9. "The Impossible Dream (The Quest)" (Joe Darion, Mitch Leigh) – 2:34
10. "You're Gonna Hear from Me" (Andre Previn, Dory Previn) – 2:51
Жанр: Jazz/Classic Pop
Год выпуска: 1966
Лейбл: Reprise Records, FS-1020
Страна-производитель: USA
Аудио кодек: FLAC
Тип рипа: tracks
Формат записи: 24/96
Формат раздачи: 24/96
Продолжительность: 12:50 + 13:10
Треклист:
1. "That's Life" (Kelly Gordon, Dean Kay ) – 3:10
2. "I Will Wait for You" (Jacques Demy, Norman Gimbel, Michel Legrand) – 2:19
3. "Somewhere My Love (Lara's Theme)" (From Doctor Zhivago) (Maurice Jarre, Paul Francis Webster) – 2:19
4. "Sand and Sea" (Gilbert Becaud, Mack David, Maurice Vidalin) – 2:29
5. "What Now My Love" (Gilbert Becaud, Pierre Leroyer, Carl Sigman) – 2:32
6. "Winchester Cathedral" (Geoff Stephens) – 2:38
7. "Give Her Love" (Jim Harbert) – 2:14
8. "Tell Her (You Love Her Each Day)" (Samuel Ward, Charles Watkins) – 2:42
9. "The Impossible Dream (The Quest)" (Joe Darion, Mitch Leigh) – 2:34
10. "You're Gonna Hear from Me" (Andre Previn, Dory Previn) – 2:51
Disc annotation
Mr. Sinatra has been up to bat a goodly share of times.
He’s copped the “Most Valuable” Cup lots. He's performed more songs than your average home phonograph. Recorded more. Starred at more record sessions
than most medium size record companies ever get around to sponsoring.
Most everything Mr. Sinatra does piops into the "More" column.
Mr. More.
He's been up to bat and bat and bat and bat. He's recorded enough albums so you get confused now about what songs are in which. And about how many “Swingin’ " Ps can be got out. lt gets difficult to tell his works apart. Like wars, they’re best remembered not by the issues, not by the countries, but by the havoc they create and the ingenuity of their arms makers.
Havoc with brand new arms came again with “That’s Life.” At the session, Mr. Sinatra knew what he was doing. He went in to record ONE SONG. Period. They had
enough time left over at that recording session to play three slow games of Scrabble. Nobody in his right puttees goes in to record ONE SONG. You go in with three or four, in case of Accident, Slop, or Lassitude.
But not Sinatra.
lt’s like you limit yourself to $500 to lose in Vegas over the weekend. Then you put up the whole $500 on the first roll. You are in or you are out.
They were in. “They" being Mr. Sinatra and a soft spoken and kindly arranger named Ernie Freeman, who grows gently greyer daily in the chew-you-up-quick tal ent digester they call Hollywood recording studios. But still, the arranger who has been slowly creating a new sound for Sinatra: “That‘s Life,” “Softly As I Leave You," “Somewhere in Your Heart," “Anytime at All," “Tell Her," “Strangers in the Night." & Co.
“They” also being Mr. Sinatra and a young producer named Jimmy Bowen, who with West Texas ease (you expect Bowen to say “shucks” any minute; but you don't shucks around a Sinatra session, any more than you drink lemonade, and chew Double Bubble) puts together the new Sinatra sound: six guitars, most of them_AC,an AC organ, and a turned on Raylettes-sounding» vocal group to fill in three little spots in the arrangement with peeping “That's Life"s.
"They" also being Mr. Sinatra and the authors of the song, Dean Kay and a young hopeful singer named Kelly Gordon who brought in the song on a demo disk, hoping to get himself signed up as a singer. And now his song was being sung by that fellow in the back.
Back in back, Mr. Sinatra was not infallible. On all takes but the last “My My" take, Sinatra coda’d with “Oh, yeahl" which fell jivey on the ear. That got straightened out.
Mr. Sinatra went on to produce ONE SONG. A totally persuasive, percussive, permissive, unpassive thing. ONE SONG that had been recorded before, but unimportantly, and never by Mr. Sinatra. It may also be recorded again, but that will also be an unimportance. Mr. Sinatra sang his ONE SONG with importance.
Other than that, things were nicely normal for the latest war. Mr. Sinatra later learned he'd created an instant show stopper. Three days after the song created havoc in maybe a million Motorolas, Mr. Sinatra's attention was ‘drawn to the fact that he had done it once again: he switched his Vegas show so that “That's Life" ls now the closer. Mr. Sinatra could close with “Plucky Charlie Lindberg” and wrap up an audience good. When he does it with “That's Life," it’s a reasonable size war.
Other than that, not much else is happening.
— Stan Cornyn
ARRANGED AND CONDUCTED BY
ERNIE FREEMAN
PRODUCED BY JIMMY BOWEN
Engineers: Eddie Brackett and Lee Herschberg
Cover Illustration: Bill George/Art Direction: Ed Thrasher
He’s copped the “Most Valuable” Cup lots. He's performed more songs than your average home phonograph. Recorded more. Starred at more record sessions
than most medium size record companies ever get around to sponsoring.
Most everything Mr. Sinatra does piops into the "More" column.
Mr. More.
He's been up to bat and bat and bat and bat. He's recorded enough albums so you get confused now about what songs are in which. And about how many “Swingin’ " Ps can be got out. lt gets difficult to tell his works apart. Like wars, they’re best remembered not by the issues, not by the countries, but by the havoc they create and the ingenuity of their arms makers.
Havoc with brand new arms came again with “That’s Life.” At the session, Mr. Sinatra knew what he was doing. He went in to record ONE SONG. Period. They had
enough time left over at that recording session to play three slow games of Scrabble. Nobody in his right puttees goes in to record ONE SONG. You go in with three or four, in case of Accident, Slop, or Lassitude.
But not Sinatra.
lt’s like you limit yourself to $500 to lose in Vegas over the weekend. Then you put up the whole $500 on the first roll. You are in or you are out.
They were in. “They" being Mr. Sinatra and a soft spoken and kindly arranger named Ernie Freeman, who grows gently greyer daily in the chew-you-up-quick tal ent digester they call Hollywood recording studios. But still, the arranger who has been slowly creating a new sound for Sinatra: “That‘s Life,” “Softly As I Leave You," “Somewhere in Your Heart," “Anytime at All," “Tell Her," “Strangers in the Night." & Co.
“They” also being Mr. Sinatra and a young producer named Jimmy Bowen, who with West Texas ease (you expect Bowen to say “shucks” any minute; but you don't shucks around a Sinatra session, any more than you drink lemonade, and chew Double Bubble) puts together the new Sinatra sound: six guitars, most of them_AC,an AC organ, and a turned on Raylettes-sounding» vocal group to fill in three little spots in the arrangement with peeping “That's Life"s.
"They" also being Mr. Sinatra and the authors of the song, Dean Kay and a young hopeful singer named Kelly Gordon who brought in the song on a demo disk, hoping to get himself signed up as a singer. And now his song was being sung by that fellow in the back.
Back in back, Mr. Sinatra was not infallible. On all takes but the last “My My" take, Sinatra coda’d with “Oh, yeahl" which fell jivey on the ear. That got straightened out.
Mr. Sinatra went on to produce ONE SONG. A totally persuasive, percussive, permissive, unpassive thing. ONE SONG that had been recorded before, but unimportantly, and never by Mr. Sinatra. It may also be recorded again, but that will also be an unimportance. Mr. Sinatra sang his ONE SONG with importance.
Other than that, things were nicely normal for the latest war. Mr. Sinatra later learned he'd created an instant show stopper. Three days after the song created havoc in maybe a million Motorolas, Mr. Sinatra's attention was ‘drawn to the fact that he had done it once again: he switched his Vegas show so that “That's Life" ls now the closer. Mr. Sinatra could close with “Plucky Charlie Lindberg” and wrap up an audience good. When he does it with “That's Life," it’s a reasonable size war.
Other than that, not much else is happening.
— Stan Cornyn
ARRANGED AND CONDUCTED BY
ERNIE FREEMAN
PRODUCED BY JIMMY BOWEN
Engineers: Eddie Brackett and Lee Herschberg
Cover Illustration: Bill George/Art Direction: Ed Thrasher
Тех. данные
Источник оцифровки: автором раздачи
Код класса состояния винила: VG+
Устройство воспроизведения: Электроника Б1-01, Ortofon VMS 20e MK II
Предварительный усилитель: Эстония уп-010 improved
АЦП: emu 0404 usb
Программа-оцифровщик: Sound Forge Pro v10
Обработка: Ручное удаление щелчков, легкий декликинг в паузах
Код класса состояния винила: VG+
Устройство воспроизведения: Электроника Б1-01, Ortofon VMS 20e MK II
Предварительный усилитель: Эстония уп-010 improved
АЦП: emu 0404 usb
Программа-оцифровщик: Sound Forge Pro v10
Обработка: Ручное удаление щелчков, легкий декликинг в паузах
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