- Sinatra ’65 finally returns to the site with Big, Bold, Shootout Winning Triple Plus (A+++) sound or very close to it from first note to last
- This original Green and Blue label Reprise pressing boasts clean, clear, full-bodied, lively and musical ANALOG sound from first note to last
- Forget whatever dead-as-a-doornail Heavy Vinyl they’re making – the Tubey Magic, size and energy of this very special vintage pressing simply cannot be beat
- “. . . this is a big, bold and beautiful Sinatra album. Sinatra is at his zenith. [His] voice is in super top form on every selection in this album.”
Is the title a play on Capitol’s gazillion selling Beatles ’65? Only Frank really knows.
This original Green and Blue Reprise stereo pressing has the sound we look for — big, rich and tubey.
What the Best Sides of Sinatra ’65 Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1965
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange — with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there’s more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We’re Listening For on Sinatra ’65
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren’t “back there” somewhere, lost in the mix. They’re front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass — which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Tell Her (You Love Her Each Day)
Anytime at All
Main Theme From “The Cardinal” (Stay With Me)
I Like to Lead When I Dance
You Brought a New Kind of Love to Me
My Kind of Town
When Somebody Loves You
Somewhere in Your Heart
I’ve Never Been in Love Before
When I’m Not Near the Girl I Love
Luck Be a Lady
Frank Sinatra led a double-life as a recording artist in the 1960s. One side of him pursued his vision as the nation’s greatest interpreter of American standards (“adult music,” he called it), while another side of him was obsessed with making records that cracked the Nation’s Top 40 playlist (“kiddie pop”).
This album reflects that attitude, with pop tunes produced and arranged by the proven hit-making team of Jimmy Bowen and Ernie Freeman, and standards arranged by Nelson Riddle, Don Costa, and Billy May. In fact, “Sinatra ’65” is very much like “Softly As I Leave” released the year before, a mix of pop tunes and standards, only better.
Two of the songs—“My Kind of Town,” arranged by Nelson Riddle, and “Luck Be A Lady,” arranged by Billy May, went on to join the short list of Sinatra’s greatest and most recognizable signature songs for Reprise Records. Three of the four songs produced and arranged by Jimmy Bowen and Ernie Freeman joined the list of Sinatra pop tunes that reached the Top 40, a list that includes “Strangers in the Night” and “Somethin’ Stupid.”
All in all, the album makes for an entertaining listening experience, but there’s no mistaking the Bowen-Freeman tunes with their heavy emphasis on beat, countrypolitan cadenzas, and doo-wah choir. According to the liner notes, Riddle, May and Costa employed four-or-five piece rhythm sections, while Bowen-Freeman stacked the deck with ten-or-twelve piece rhythms sections. “That’s the basic difference,” says Bowen, “the big, heavy, thumping rhythm section.” Why the heavy rhythm? “That’s where the feeling comes from,” says Bowen. “Feeling is the most important thing in any record.”
Bowen refers to the tunes he recorded with Sinatra as country music. “Every time you do something with a country song or a country flavor you have a better chance of reaching more people than with any other kind of song.” And there you have it, an album of four Bowen-Freeman countrypolitan tunes designed for the masses, and seven standards that defy time and fickle trends, five arranged by Nelson Riddle, and one each by Don Costa and Billy May.
Ricardo Mio, Amazon
Amazon 5 Star Rave Review
I have owned this album on vinyl since 1972, when I first discovered the music of Frank Sinatra (and it was the first Sinatra LP I purchased, out of my own allowance, as I was just 13 years old at the time). I am here to tell you that this is a big, bold and beautiful Sinatra album. Sinatra is at his zenith.
[His] voice is in super top form on every selection in this album. “Tell Her (You Love Her Each Day)” and “When Somebody Loves You” were recorded in Hollywood on April 14, 1965 and these selections were arranged by Ernie Freeman. They have a fresh, new (in 1965) driving beat and chorus behind Sinatra and although some fans don’t particularly care for the Ernie Freeman treatment, I personally love it. It showed that Sinatra could indeed swing with the times by putting his golden voice to a new sound, while remaining distinctively Sinatra.
More traditionally arranged numbers on the album include “Main Theme from The Cardinal” where Sinatra has a chance to magnificently stretch his chords to serious depths and “I’ve Never Been In Love Before” containing all the strings and sentimental verse we associate with Sinatra. The album ends with a powerful, Vegas-like Sinatra of “Luck Be A Lady”. One can almost see Frank smiling while he shoots the dice.