Frank Sinatra And Nelson Riddle: How It Happened
Frank Sinatra is now known as the greatest popular singer in history and canonized as 'The Chairman of the Board'. That wasn't always the case, however. It's easy to forget that there was a period of time when he was just another aging teen idol trying to stay relevant in the music business. He also had personal problems that are famous--particularly his tempestuous romance with actress Ava Gardner--as well as damaged vocal chords. There was a point after his 'bobbysoxer' success that he was in bad shape financially and professionally.
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, several singers who here friends of Sinatra, most notably Jo Stafford and June Hutton brought him to the attention of Capitol Records A&R man Dave Dexter, Jr. This led to a contract, and begun a nine year association with Capitol that most critics consider the finest era of Sinatra's work. Initially, 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. Riddle was an experienced big band conductor, known best at that point for his work with Nat King Cole. Dexter had envisioned this pairing ever since he had signed Sinatra, but its doubtful that even he could have foreseen the magic that was to result.
To say that the first Sinatra/Riddle session was a success is an understatement, and "I've Got The World On The String" is somewhat of a 'shot heard round the world' for Sinatra's career and popular music in general. The Ted Kohler/Harold Arlen song is given new vibrancy with Riddle's buoyant arrangement and Sinatra's new found vocal maturity. The song was a modest commercial success at the time, reaching #14 on the single charts, but became a classic. It was also a favorite of Sinatra himself, and he continued to perform the song live, frequently as a show opener, for the rest of his life.
When the phoenix-like rebirth of Frank Sinatra's career is put into a modern context, it becomes even more remarkable. Today one can scarcely imagine a 'teenybopper' idol--say, Jordan Knight from 'New Kids on the Block' or one of the Jonas Brothers-being able to sustain a serious musical career at all after their initial stardom among the adolescent set. Frank Sinatra not only revived his career, but left an imprint on America popular music--and its culture--that is unlikely to ever be equaled. "I've Got The World On A String" can easily be considered the 'big bang' in the creation of Frank Sinatra's world that we all inhabit. It is a celebration of the good life, of which the music of Frank Sinatra will always remain an intrinsic part. - 18423
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, several singers who here friends of Sinatra, most notably Jo Stafford and June Hutton brought him to the attention of Capitol Records A&R man Dave Dexter, Jr. This led to a contract, and begun a nine year association with Capitol that most critics consider the finest era of Sinatra's work. Initially, 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. Riddle was an experienced big band conductor, known best at that point for his work with Nat King Cole. Dexter had envisioned this pairing ever since he had signed Sinatra, but its doubtful that even he could have foreseen the magic that was to result.
To say that the first Sinatra/Riddle session was a success is an understatement, and "I've Got The World On The String" is somewhat of a 'shot heard round the world' for Sinatra's career and popular music in general. The Ted Kohler/Harold Arlen song is given new vibrancy with Riddle's buoyant arrangement and Sinatra's new found vocal maturity. The song was a modest commercial success at the time, reaching #14 on the single charts, but became a classic. It was also a favorite of Sinatra himself, and he continued to perform the song live, frequently as a show opener, for the rest of his life.
When the phoenix-like rebirth of Frank Sinatra's career is put into a modern context, it becomes even more remarkable. Today one can scarcely imagine a 'teenybopper' idol--say, Jordan Knight from 'New Kids on the Block' or one of the Jonas Brothers-being able to sustain a serious musical career at all after their initial stardom among the adolescent set. Frank Sinatra not only revived his career, but left an imprint on America popular music--and its culture--that is unlikely to ever be equaled. "I've Got The World On A String" can easily be considered the 'big bang' in the creation of Frank Sinatra's world that we all inhabit. It is a celebration of the good life, of which the music of Frank Sinatra will always remain an intrinsic part. - 18423
About the Author:
David Glisan is a journalist covering MMA and boxing. He is also the music 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 mainstream sports broadcasts and websites. He's also a published expert on show biz history and judo.
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