Frank Sinatra and Nelson Riddle: A Musical Match Made In Heaven
Frank Sinatra is rightful known today as an entertainment icon, but many forget that there was a time when he was just another washed up teen idol trying to reinvent himself artistically and revive his career. After his teen idol stardom ended, Sinatra went through a rough period that he described as 'all Monday's' when his personal life was in shambles, his professional prospects non-existent and his financial status in ruin.
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.
His luck was soon to improve, however, as a number of his colleagues including former Tommy Dorsey vocalists June Hutton and Jo Stafford got him in the door at Capitol Records. This began a nine year relationship that produced some of the finest work of Sinatra's career. Initially, Frank worked with June Hutton's husband, Axel Stordahl. These sessions produced some decent music including "I'm Walking Behind You" but wouldn't last long. Frank wanted to go in a different direction, which became a necessity when Stordahl left to take a gig with Eddie Fisher in New York. After a lengthy search for a replacement, Sinatra reluctantly agreed to work with an experienced big band conductor named Nelson Riddle. The Capitol Records executives were excited about the matchup, but Sinatra had to be convinced.
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. - 18758
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.
His luck was soon to improve, however, as a number of his colleagues including former Tommy Dorsey vocalists June Hutton and Jo Stafford got him in the door at Capitol Records. This began a nine year relationship that produced some of the finest work of Sinatra's career. Initially, Frank worked with June Hutton's husband, Axel Stordahl. These sessions produced some decent music including "I'm Walking Behind You" but wouldn't last long. Frank wanted to go in a different direction, which became a necessity when Stordahl left to take a gig with Eddie Fisher in New York. After a lengthy search for a replacement, Sinatra reluctantly agreed to work with an experienced big band conductor named Nelson Riddle. The Capitol Records executives were excited about the matchup, but Sinatra had to be convinced.
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. - 18758
About the Author:
David Glisan is a freelance writer covering fighting sports including 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 the mainstream sports broadcast media. He's also a published expert on boxing, pro wrestling and judo.
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