Frank Sinatra – My Kind of Broadway

Our White Hot Shootout Winner for 2017


  • This killer copy has a Triple Plus (A+++) side one backed with a Double to Triple Plus (A++ to A+++) side two
  • Superb Tubey Magical mid-’60s Sinatra sound which was recorded in various sessions from 1961 to 1965
  • The sound on this original Reprise is richer, fuller and, importantly, SMOOTHER than most of the other pressings we played
  • Allmusic: “When Sinatra delivers, as he does on the show-stopper “Luck Be a Lady,” the results are pretty spectacular…”

More Frank Sinatra / More Count Basie

The knock on this album is that with nine different arrangers and tracks recorded in different years, consistency is not its strong suit.

But is that really fair? Allmusic complained about the performances and arrangements but we certainly wouldn’t call any track here second rate. Most of the album strikes us as Sinatra at his best.

Sinatra’s Standards

Sinatra set very high standards for his repertoire, his musicians, his arrangements and most of all, his performances. I find no evidence to support the contention that any of the above are lackluster or second-rate on My Kind of Broadway.

If you have any doubts, go to youtube, pull up the album and take a listen to some of the tracks. We can’t find a bad one and we would be surprised if you could either. There are lots of great ones in fact.

With the Count Basie Orchestra backing him on some tracks (Ev’rybody Has The Right To Be Wrong on side one and Nice Work If You Can Get It and They Can’t Take That Away From Me on side two just to mention a few we especially liked) the swinging Sinatra is heard in his prime and he sounds just great to us.

Without a Song has a killer big band arrangement and a great performance from Ol Blues Eyes hisself, so we’re a little dismayed by the critics’ dismissal of the album. We loved it.

Vintage Reverb

If you don’t like at least some reverb on your vocals, Sinatra’s albums are probably not for you. The standard recording approach for Male Vocals in the ’50s and ’60s was to add reverb to them. Sometimes it sounds right and sometimes it’s too much. For “too much” play some of Nat King Cole’s records from the era to hear what I mean. (Try “Those Lazy-Hazy-Crazy Days of Summer” from 1963 if you don’t know where to start.)

Like any processing of the sound in the studio — compression, limiting, reverb, EQ, etc. — it can be used with taste and discretion and make the recording better, or it can be overdone and ruin everything. For our part we think Sinatra’s recordings use reverb tastefully and correctly to enhance the sound.

And of course there sure aren’t going to be any versions of this music coming along any time soon without the added echo. If anything, they add EVEN MORE reverb to the incredibly bad sounding Sinatra compact discs they’ve been reissuing for the last fifteen or twenty years. Complete with noise-gating, compression and all the rest — nice! There is no way any Sinatra record ever sounded like one of these awful CDs but that has not inhibited those in charge of issuing them.


Side One

Ev’rybody Has The Right To Be Wrong
Golden Moment
Luck Be A Lady
Lost In The Stars
Hello, Dolly!

Side Two

I’ll Only Miss Her When I Think Of Her
They Can’t Take That Away From Me
Nice Work If You Can Get It
Have You Met Miss Jones
Without A Song