Frank Sinatra Spotlight!

A Frank Sinatra Spotlight!

By Kristin Battestella

Ring a ding ding! Let's takes some time during this festive season to honor what would have been The Chairman of the Board's 100th birthday. Collectors or completists and longtime listeners can always enjoy these sets, and budding fans can be gifted with some Sinatra education here. Now, on with the swing!

Capitol Collector Series – From “I've Got the World on a String” and “Young at Heart” to “High Hopes” and “Witchcraft,” this 1989 hour is brimming with fifties biggies be they brooding or brassy. Soft notes begin “I'm Walking Behind You” and the earlier, crooning sounds continue with “From Here to Eternity,” “Don't Worry 'bout Me,” and “Melody of Love” featuring bandleader Ray Anthony. “South of the Border” adds some swanky flavor alongside “Three Coins in the Fountain,” but despite its title, “Learnin' the Blues” remains a peppy hit. “Same Old Saturday Night,” “(Love Is) The Tender Trap,” and “Hey Jealous Lover” provide more catchy, and I think just about everyone can sing along to “Love and Marriage” of course thanks to Married...with Children. I must also confess, among other sports connections, my recently late and oldest cat was named after “Chicago.” A cute little dialogue leads into “(How Little It Matters) How Little We Know” while more romance anchors “Can I Steal a Little Love?” and “All the Way” before "Nice 'n' Easy" sends the session out on a breezy, finger snapping note. These twenty shorter tracks make for a great mix of more recognizable Sinatra staples, a few acclaimed film tunes, and songs that ironically carry a whiff of his Swoonatra, pre-Capital era – a fine blend for the veteran fan or would be listener.

Duets – No, this 45 minute later day revisit is not the purest in the titular sense. The stars here are at times practically singing along to Sinatra on the radio thanks to spliced vocals and an arranged production. Thus, I hate to say it, but not everybody can sing how Frank is asking them to do, and Julio Iglesias on “Summer Wind,” “You Make Me Feel So Young” with Charles Aznavour, and gasp Bono on “I've Got You Under My Skin” don't quite match. It's also odd to have men singing together in this uneven, tandem sense – perhaps all ladies would have been a better balance instead. Fortunately, the smooth works with Luther Vandross on “The Lady Is a Tramp,” “Come Rain or Come Shine” with Gloria Estefan, and for Natalie Cole on “They Can't Take That Away From Me.” The breezy ballad “What Now My Love” makes room for Frank's light and Aretha Franklin's big notes while the crooning pace is just right alongside Barbra Streisand in “I've Got a Crush on You.” Carly Simon accompanies more mellow in “Guess I'll Hang My Tears Out to Dry/In the Wee Small Hours of the Morning,” and Anita Baker provides sway for “Witchcraft.” “New York, New York” with Tony Bennett feels a little too strained to start, but I'll be damn if it isn't still rousing as is “I've Got the World on a String” with Liza Minnelli. “All the Way/One For My Baby (And One More For The Road)” featuring Kenny G is the longest track here – almost twice as long as most of the other 12 songs. Admittedly, it's an odd choice to go with an instrumental pairing, too. But is this a brooding, befitting last call finale? Heck yeah. Granted, for die hard fans, these versions won't be as good as the originals. However, this session proves that the classics can swing in any era and that today's titans respect such standards – something I'm not so sure the millennial pop artists heavy on spectacle but light on true vocal talent are able to do. Thankfully, there's something for everyone here to pick and choose for their playlist rotation.

Frank Sinatra's Greatest Hits: Volume 2 – This 1972 Reprise compilation gathers some late sixties and early seventies suave, and of course starts with “My Way” – a somber but stirring indication of this session's more mature tone alongside “A Man Alone,” “Cycles,” and “Bein' Green.” Naturally, there's an air of soft, sweeping romance in “Love's Been Good to Me” and “I'm Not Afraid” as well as in the catchy covers of “Going Out of My Head” and George Harrison's “Something.” One of the longer songs of the 11 tracks here, “What's Now is Now” from the Watertown concept album still sounds fresh and swanky good. Though also quite fine, “Star!” feels a little bit too ritzy heyday and out of place both between two more serious tunes and in the set's overall melancholy theme. “The September of My Years” is a slightly earlier song, but a nonetheless fitting ode to wrap this swift but smooth 37 minutes. Yes, the bigger name staples are on the previous 1968 Frank Sinatra's Greatest Hits. However, those grossly uninformed who think Ol' Blue Eyes is nothing more than his fifties hepcat hip may be quite pleasantly surprised by these reflective measures, and Volume 2 matches its predecessor as a slower companion collection. Be it the soundtrack to an empty nest dinner for two or just some toe tapping mellow relaxation, older and wiser audiences will delight here.

Reprise: The Very Good Years – At 67 minutes, this 1991 single CD consolidation of the more extensive 4 disc The Reprise Collection is still relatively chronological and pretty all encompassing with expected Sinatra staples such as “Fly Me to the Moon,” “Strangers in the Night,” and “Love and Marriage,” plus live renditions of “I've Got You Under My Skin” and “The Lady Is a Tramp.” More swanky hits include “I Get a Kick Out of You,” “Luck Be a Lady,” and that ritzy Chicago ode “My Kind of Town.” “The Last Dance” brings a whiff of earlier wartime suave while “Night and Day” and “The Way You Look Tonight” provide some cheek to cheek alongside “Summer Wind” and “All or Nothing at All.” “The Best Is Yet to Come” adds more breezy while we sing – or at least try to sing along with “That's Life” and “My Way.” There are only a few slow, softer tunes here such as “It Was a Very Good Year,” “Send in the Clowns,” and “Nancy (With the Laughing Face).” Great songs though they are, their melancholy tone may feel out of place compared to the otherwise hip majority present. That always swinging indicative written on the sleeve is indeed compiled here with much of what we've come to know and love from the fifties and sixties Frank heights. Naturally, this hour goes out with a showstopping “New York, New York,” and somehow all is made right with the world because the Yankees won, teehee. This session is both a fix with all the essentials and provides some uniqueness thanks to that live sprinkle – making for a great starter set to get you going down the rabbit hole for more.

Classic Rock Documentaries!

Classic Rock Documentaries!

By Kristin Battestella

Are you displeased with modern tunes? Then let's relive the sounds of decades yore with these classic groups and music heavyweights! 
 

Classic Albums: Fleetwood Mac – Rumours – This 1997 hour from the Eagle Rock and VH1 series focuses on the behind the scenes turmoil, relationships, and technicalities invigorating Mick Fleetwood, Stevie Nicks, Lindsey Buckingham, and John and Christine McVie in making the famed 1977 Rumours album – the second from the group’s revitalized incarnation. The genesis and creation of hits such as “Go Your Own Way,” “Dreams,” “Gold Dust Woman,” “Don’t Stop,” and more are dissected from the initial writing to changes in the recording sessions and album finalization. While the before and after samplings of the tunes and the conversations on the ups and downs are interesting, the tone sometimes wavers between being overly tender or laid on heavy in some spots. Perhaps the band members aren’t exactly orators in discussing their musical thought processes either, and their accents may confuse some viewers, too. However, classic rock fans will enjoy the nostalgic behind the scenes, and music students interested in the mechanical aspects or songwriters relating to the emotional translations involved can definitely learn plenty here. This is a fun, informative, introduction to the saga that is Fleetwood Mac, and perhaps most importantly, it gives you an itch for a complete Rumours listen.

Fleetwood Mac: The Dance – After a hiatus, Christine McVie returned to the lineup for this 1997 concert video chock full with “The Chain,” “Dreams,” “Gold Dust Woman,” “Gypsy,” “Rhiannon,” “Don’t Stop,” “Go Your Own Way,” and many more. It’s nice to hear lesser-performed compositions – those that depend on McVie’s appearance such as “Everywhere,” “You Make Lovin’ Fun,” and “Over My Head” as well as then-newer tunes like “Temporary One” and “Bleed to Love Her.” Stevie Nicks sounds slightly different of course, but McVie sounds the same, everyone looks good, and its great to hear the entire incarnation together with a fun moment for John McVie on “Say You Love Me.” The subtitles are also helpful with the sometimes cryptic, poet lyrics, and Nicks, McVie, and Lindsey Buckingham give some information on several songs. Though well edited, entertaining, and swiftly filmed, this concert isn’t a big spectacle production like more recent shows. Technical music audiences may even find this under produced despite the subdued nineties norm and intimate, small session feeling – which is as it should be with essentials like “Landslide” and the intense “Silver Springs.” However, Buckingham provides the rock outs and guitar genius with “I’m So Afraid,” “Big Love,” “Go Insane,” and “My Little Demon,” and Mick Fleetwood makes his usual crazy extreme drumming faces, too. Granted, this 90-minute performance has some confused vision – is this a comeback tour of past hits or a new release of special material with some classics for good measure? The companion CD has a different track listing and I could do without the USC Marching Band finale, but “Songbird” is a lovely coda for the piece. Fans of the band can certainly delight, and younger audiences newly discovering Fleetwood Mac can take the next step with this complete lineup and unique performance.

Freddie Mercury: The Great Pretender – This full-length 2012 retrospective focuses on the lead singer of Queen and his more unusual successes, missteps, and solo projects apart from rock groupdom including early ballet concerts, musical performances, and operatic tours in his final years. From the decadence of the seventies club scene, career heights, and questionable associates to frank discussion on criticism of Mercury, his generally closeted media approach, and reaction to his untimely AIDS related death; new interviews from friends, fellow musicians, and industry alums help paint an intriguing picture. Rare archive footage, music videos, and interview segments both shed light on Mercury’s shyness regarding his private life and contribute to the alluring dichotomy of his flamboyant stage persona. It’s interesting to hear his own thoughts on living it up in comparison to his admitted difficulty in trusting people or talking with others, “The more I open up, the more I get hurt.” How could Freddie Mercury think he was boring and be terrified of being alone? The accents may be tough to understand for some, but live renditions of songs such as “Bohemian Rhapsody,” “Somebody to Love,” and “Barcelona” are simply delightful along with unreleased demos; home recordings; samples featuring Michael Jackson, Luciano Pavarotti, and Montserrat Caballe; and more lesser seen or heard solo compositions from Mercury’s Mr. Bad Guy album. Longtime rock fans or budding Queen enthusiasts seeking an astute peek at Mercury’s musical legacy will love this.

In Dreams: The Roy Orbison Story – Take a lesson 21^st century whippersnappers! I’ve finally been able to see this complete hour and a half 1999 special focusing on the man to whom even The Bee Gees, Bono, and Bruce Springsteen bow. It’s simply glorious to see vintage footage and interviews and hear the late too soon Orbison speak of early Sun Records anecdotes, his childhood musical inspirations, devastating family tragedies, and his final resurgent success. And let’s not forget all those awesome, quintessential tunes such as “Pretty Woman,” “Only the Lonely”, “Running Scared,” my favorite “Crying,” and more concert scenery amid conversations with contemporaries like Johnny Cash, George Harrison, Chet Atkins, Tom Petty, and next generation stars like Elvis Costello and Chris Isaak. If one wants to learn how music should sound, one must digest as much Orbison as possible. It’s that simple, and this set is a great place to begin. I could go on and on and on – some of the first CDs I ever had were Orbison albums – but I’ll stop now. I mean, Barry Gibb calls Orbison “The Voice of God.” Yeah, that about says it.

A Very Special Christmas

A Very Special Christmas is Uneven, but with Some Solid Holiday Gems.

By Kristin Battestella

What better way to get one’s charity on then with the festive 1987 compilation A Very Special Christmas? Though dated and uneven thanks to some instant eighties efforts, this multi platinum release has served the Special Olympics well with its offering of a little bit of holiday for everyone. 

The Pointer Sisters ring in A Very Special Christmas with the catchy Santa Claus Is Coming to Town. Some of the grooving style and new harmony rhythms are decidedly eighties dated, sure. However, the old-fashioned verses are all here, and it’s nice to have some length instead of today’s quick and kiddie renditions. We still hear this version on the radio, too - unlike this lesser heard Winter Wonderland rendition by The Eurhythmics. Although the opening eighties beats and Annie Lennox’s effortless vocal delivery carry a fitting ethereal quality, the unusual synthesizers and high tech arrangement are too fast. The music feels jarring as it contrasts Annie’s slower notes, breezy lyrics, and perfect tone. This isn’t un-listenable, but Annie Lennox and no music would have been plenty festive enough. It would have been nice to have a bigger carol that only she can deliver, but Whitney Houston keeps the big notes coming with Do You Hear What I Hear?, the first spiritually themed track on A Very Special Christmas. The tune begins slowly with more hip and pop styled echoes, but Whitney answers each refrain as the backing choir sets the mood with high notes and big gospel feeling.

Bruce Springsteen, of course, has a much cooler seasonal touch with the live recording of Merry Christmas Baby. The E Street Band jams and Bruce opens with some fun before getting to this effortless, infectious, pop ode. Perhaps it’s a touch dated, yet this rendition remains hip in all the right ways. This doesn’t seem like the longest track on A Very Special Christmas, and one can listen to this tune year round without thinking twice. Yes, there’s something about Santa in there somewhere, but couples can dance under the mistletoe with this one for sure. We probably also think of the Pretenders as bigger, edgy rockers, but Chrissy Hinds surprisingly delivers the melancholy merriment of Have Yourself a Merry Little Christmas. Her voice may be slightly flat or off key at times, but this is an excellent quirk matching the sad lyrics here. Ironically, the pace is more upbeat than most renditions, but there’s still time to hold all the bittersweet notes. Also one of the longer tracks on A Very Special Christmas, but this one is without any of those of the time bells and whistles and thus remains downhearted and yet so refreshing. I Saw Mommy Kissing Santa Claus, however, is an erroneous country rock cowbell ditty from John Cougar Mellencamp. It’s fast, happy, and just too weird to rock out to this misunderstood kid’s tune. Wouldn’t a jamming adult such as the Cougar realize what was really going down under the mistletoe?

Unfortunately, lovely as it is, Sting’s rendition of Gabriel’s Message also seems out of place on A Very Special Christmas. It’s a wonderfully moody and medieval chant of solstice miracles and Christ’s birth, but it’s the shortest track here and certifiably squashed in the set listing before Christmas in Hollis. Run-D.M.C.’s head nodding rap single recounts a great story of Santa, family cooking, and good times indeed. Perhaps this is also out of place vintage hip hop among the other decidedly poptastic selections, but it’s all in such cool, festive fun that we don’t mind. U2 also delivers dang fine with Christmas Baby Please Come Home thanks to Bono’s strong, happening vocal. He’s a little bit angry yet edgy enough and perfectly unhappy in his titular plea. My only complaint is this is too short at just over two minutes.  

Also just as big as the original with lots of current airplay, Madonna’s Santa Baby recalls Eartha Kitt’s reissue with perfect bubble gum and kitschy. It’s not quite her usual delivery style, but it fits her then Material Girl persona and the ring a bling bling needed for this Tiffany’s ode. By contrast, The Little Drummer Boy’s low key child perspective isn’t easy to pull off, yet Bob Seger has the soulful rock range required. The rhythmic beats set the mood with increasing intensity while entering instruments finish the rousing carol. Run Rudolph Run doesn’t need to do much to be cool, and Bryan Adams harkens to the Chuck Berry original for this hip, grooving, easy to sing along with titular rift. We feel like we’ve hear this song a lot even if we haven’t necessarily heard Adams’ rendition that often. This version is live, too, with clapping and toe tapping fun to be had.

Surprisingly, Bon Jovi’s Back Door Santa misses with its holiday in full on stadium fashion. It’s tough to understand the naughty lyrics, and clearly more about the guitar set rather than any kind of seasonal sentiment. Since A Very Special Christmas is a decidedly more secular and popular album, it’s also unusual to end the session with two carols. Alison Moyet might not be as famous as the others here, but her The Coventry Carol is likewise all about some dated synthesized echoing. It’s mellow, poetic, and medieval, but also difficult to enjoy the spirituality of it thanks to the strange arrangement. Fortunately, we can count on Stevie Nicks putting the album to bed in style with Silent Night. Her superbly low vocals, backing melodies, and spiritual spins add to this already most inspiring carol. Nicks varies the traditional design just enough for more lift up while she takes her solemn time. The ad libbed confessional refrains are distinctly gospel but also hip at the same time, sending A Very Special Christmas out with a positive spiritual message.

Though readily available on CD or download along with the rest of the A Very Special Christmas charity releases, there are different reissues that swap Back Door Santa for Bon Jovi’s later I Wish Every Day Could Be Like Christmas, a much more pleasant, easy listening, but stirring tune. I’m surprised this series doesn’t go for these types of global and peace loving songs for it’s listings such as Peace on Earth or Happy Xmas (War is Over). Some of the succeeding albums often repeat the same tunes and tracks, and it really seems like there is little rhyme or reason to this debut compilation’s theme or the uneven, nay, all over the place track order. However, this mix of instant of the time singers, pop, rap, and rockers understandably capitalizes on every fan demographic and their need to buy their favorite’s potentially elusive or rare and obscure holiday single. This album ideology is in the best interest of benefitting the Special Olympics certainly, but I’m not sure such a charity model works with today’s individual download opportunities or invisible resale values. A Very Special Christmas is a little eighties preppy with a Members Only style at times, but it delivers some holiday standards and timeless gems – which is perfect for the contemporary listener’s picking and choosing playlist. Older, sophisticated audiences can collect their favorites for a nostalgic party or keep the office merry, mature, and generous with A Very Special Christmas.