Although he has no love for rock & roll, he recorded some of the modern songs, but all with that special Sinatra flair.
Of course, crooners came from another era. It was the age of melody, when a team of songwriters wrote a song that two dozen singers and bands would record. Good songs were great because everyone was humming them or whistling or dancing or listening to them in the car or at the market. Sinatra fascinated everyone with the soft luster of her voice, the essence of freshness, always humming through those wee hours.
Those once small and small hours got noisy as bands began to rock around the clock. And the world has never been quite the same. Sinatra and her fellow crooners weren’t as relevant as they once were, when romance was still a slow dance in the moonlight. Sinatra was known to secretly hate rock & roll, but he kept it to himself. For quite a long time anyway, playing cool.
There was a point when he spoke about rock and roll that he seemed to express serious doubts about the value of new music. Maybe people are overly sensitive or read too much about it, but many are convinced that Sinatra, a decades-long champion of songwriter, is openly admitting here not only his genuine dissatisfaction with the state of the popular American song, but his disappointment in the face of the new songwriters of the day.
FRANK SINATRA: This music is the most brutal, ugly, degenerate and vicious form of expression that I have been unhappy to hear, and naturally I am referring to the essentials of rock ‘n’ roll…. It promotes almost totally negative and destructive reactions in young people. It smells of fake and fake. She’s sung, performed and written for the most part by moron morons and by means of her almost goofy reiterations and sneaky, obscene – in fact, dirty – lyrics – and, as I’ve said before, she manages to be the one. martial music from every offender to favorites on the face of the earth.
Looks like he didn’t like it very much.
According to his friends, he spoke of walking away completely when the Beatles took over, but he didn’t. He tried it out, and his voice, recording a rock and roll song at the start of the rock era of 1951, “Castle Rock” by Ervin Drake, J. Shirl and Al Sears. It has a real rock and roll feel, but with a lot of lush luster as played by Harry James and the orchestra.
Imagine replacing all the brass with electric guitars, and Harry James’ trumpet solo with an electric guitar solo. If you did that it would look a lot like real rock and roll. But with the song of Sinatra. Let’s face it. Man does not swing, he swings.
Other songs from the era that he cut included the Lennon & McCartney song that he said was his favorite, “Something.” What George Harrison wrote, of course. (Fairly close – same group.)
Frank was famous for changing the lyrics, which worked with those Sammy Cahn words and made Sammy laugh back then. With “Something”, except for its addition of a fiery “Jack”He is quite restrained.
With “Mrs. Robinson”, however, by Paul Simon, he obviously felt the lyrics were good, but needed more. Much more. Which I am sure delighted Simon, as did Sinatra’s hip disregard for the rhyming scheme or such old-fashioned concerns. He removed Dimaggio, whoever he was, from the song and added his own character to it.
In 1970 he made City of water, a whole cycle of trendy songs from the era, all written by Bob Gaudio and Jake Holmes, including the title track included.
Also included is a record that seems to have answered all questions about this fusion of generations, Sonny Bono’s romantically deadly “Bang, Bang” (My Baby Shot Me Down. Frank wears this one like an old ’30s costume. And he’s styling.