Home  ›  In the Wee Small Hours of the Morning Cover Art

In the Wee Small Hours of the Morning Cover Art

Written By terça-feira, 26 de abril de 2022 Add Comment Edit

1955 studio album by Frank Sinatra

1955 studio album by Frank Sinatra

In the Wee Small Hours
Wee small hours album cover high definition.jpg
Studio album by

Frank Sinatra
Released April 25, 1955
Recorded February 8 – March 4, 1955 (except "Last Nighttime When We Were Young", March one, 1954)
Studio KHJ, Hollywood
Genre Vocal jazz, traditional pop
Length 48:41
Linguistic communication English language
Label Capitol
Producer Voyle Gilmore
Frank Sinatra chronology
Swing Like shooting fish in a barrel!
(1954) 		In the Wee Small Hours
(1955) 		Songs for Swingin' Lovers
(1956)

In the Wee Small Hours is the ninth studio album past American vocalist Frank Sinatra. It was released in Apr 1955 by Capitol and produced by Voyle Gilmore with arrangements by Nelson Riddle. All the songs on the album bargain with themes such as loneliness, introspection, lost love, failed relationships, depression, and night life. The cover artwork reflects these themes, portraying Sinatra on an eerie and deserted street at night awash in bluish-tinged street lights. In the Wee Small Hours has been called one of the first concept albums.[1] [2]

Sinatra had been developing the idea of an anthology with a consequent theme since 1946 with his first album, The Vocalization. He would successfully continue releasing "concept" albums with later releases such equally Songs for Swingin' Lovers!, No Ane Cares, and Only the Lone.[3]

In the Wee Modest Hours was issued as two 10-inch LP discs, and besides as one 12-inch record LP, making it one of the first of its kind in the pop field. It was also issued as 4 4–vocal 45-rpm EP discs sold in cardboard sleeves with the aforementioned embrace as the LPs, not in paper covers similar 45-rpm singles.

The album was a commercial success, reaching number 2 on the Billboard album chart, where information technology stayed for 18 weeks, becoming Sinatra'south highest charting album since Songs by Sinatra in 1947. The success of the anthology helped popularize the viability of the 12-inch LP in pop music, and the 10-inch format fell into obsolescence by the cease of the 1950s. In 1970 information technology was re-issued as a 10 track album under the name What Is This Thing Chosen Love? .

In 2003, Rolling Rock ranked information technology number 100 on their listing of The 500 Greatest Albums of All Time, dropping it to number 101 in the 2012 revision and to number 282 in the 2020 update.[4] [5] [6]

Background [edit]

By the early on 1950s, the singer saw his career in decline, his teen "bobby soxer" audition having lost interest in him as he entered his late 30s. In 1951, he went and so far as to try suicide, co-ordinate to one author.[7] Later that twelvemonth, a 2d season of The Frank Sinatra Show was aired on CBS, but failed to receive the same positive reception the commencement season had, with its host having lost his previous energy. Later, Sinatra was dropped from Columbia.

Against the wishes of his colleagues, on March xiv, 1953 vice president of A&R at Capitol Alan Livingston signed Sinatra to a seven-year deal.[8] The bargain proved to be a success; later that yr in Baronial, Sinatra appeared as Individual Angelo Maggio in the film From Hither to Eternity. The pic was successful and his performance was acclaimed, winning the University Award for Best Supporting Actor[9] and the Gilt Globe Award for All-time Supporting Histrion. With this new popularity he recorded 2 x" LP albums, Songs for Young Lovers and Swing Easy!, which both peaked at number iii on the Billboard album nautical chart, with the latter reaching number five on the UK Album Charts. His performance every bit the lead grapheme in The Homo with the Golden Arm earned him nominations for All-time Actor at the University Awards and the BAFTA awards.

Relationship troubles [edit]

Ava Gardner, Sinatra'south 2d wife, provided inspiration for the album

By the time he recorded In the Wee Small Hours, Sinatra witnessed the stop of several relationships. He and his first wife, Nancy Barbato, separated on Valentine'due south Day 1950. While still married, he began a relationship with Ava Gardner. After he and Barbato divorced in October 1951, he married Gardner ten days later. But they were both jealous of the other's extramarital affairs. The human relationship deteriorated during the recording of Songs for Young Lovers.[ten]

Despite considerable influence in getting him a role in From Hither to Eternity, Gardner left Sinatra two months subsequently the release of the film, divorcing in 1957. She said, "We don't accept the ability to live together like whatever normal married couple."[11] It is causeless that this anthology'due south group of "love gone bad" songs, and Sinatra's poignant renderings, were a directly outcome of Sinatra's declining relationship with Gardner, to the signal that these are called "Ava Songs".[12]

Riddle credited Sinatra'south loss of Gardner with his power to sing the type of songs contained in this album.[13] The failure of this relationship did not shatter Sinatra but instead caused him to sing more emotionally.[fourteen] In the midst of these personal disturbances, Sinatra began selecting songs for a new anthology. He would rehearse each i of them reiteratively at home with Nib Miller, his pianist.[xv]

Recording [edit]

The album was designed every bit a concept album. Albums from the time period tended to be little more than collections of singles, but Sinatra developed a distinction betwixt songs intended equally singles for radio airplay and for jukeboxes, and those songs he intended to package together in an album. His sessions intended for album release tend to be more serious, artistically.[xvi]

In the Wee Small-scale Hours was recorded before stereophonic applied science, only the fidelity of this monophonic album feels "warm" to modernistic ears.[17] The album was recorded in 5 sessions at KHJ Studios, Hollywood. These sessions took place on February 8, sixteen, and 17, and April 1 and 4, and would offset at eight:00 P.K., continuing to past midnight. The sessions were recorded in Studio C, located downstairs, which was a smaller studio designed to record small ensembles.[18] The first 4 songs recorded specifically for this album ("Tin can't Nosotros Be Friends", "Dancing on the Ceiling", "Glad to Be Unhappy", "I'll Be Around") were not recorded with whatsoever brass or strings, but were sparsely arranged. Although the arrangements were Riddle'south, in that location was no need for a conductor, then pianist Bill Miller managed from his instrument.[19]

Ready against his and then-current human relationship troubles, Sinatra set out to record "malaise-ridden" songs involving lost dear.[10] Sinatra was very tense during the recording of the anthology, reportedly breaking downward and crying after the master accept of "When Your Lover Has Gone".[11] Rita Kirwan of Music magazine witnessed one of the sessions, and her business relationship goes thus:

Sinatra takes a gulp of the lukewarm java remaining in the cup most recently handed to him, and so he lifts the inevitable lid from his caput a trivial, and plops it correct dorsum, about as if he wanted to save the pressure level from the hat band. The studio empties fast; just music stands and chairs remain. Sinatra flops onto one of the chairs, crosses his legs, and hums a fragment of one of the songs he'south been recording. He waves to the dark janitor at present straightening upwards the studio, and says: "Jeez, what crazy working hours we got. We both should've been plumbers, huh?"[11]

Nelson Riddle commented on Sinatra's work ethic and its upshot on Riddle's arrangements and the studio orchestra:

Yous accept to be right on mettle all the time. The man, himself, somehow draws everything out of you, and he has the same effect on the boys in the band. They know he ways business, then they pull everything out."[20]

Sinatra was meticulous about the quality of the sessions for In the Wee Small Hours. Guitarist George Van Eps recalls that Sinatra stopped a session after but singing a few notes considering he felt his voice did not have "the right sound" at the fourth dimension. The session was rescheduled for the following nighttime, and Van Eps felt it "was perfect."[21] Sinatra likewise carefully sequenced the songs, with input from Miller and Riddle, for the LP he personally referred to as "the Ava album."[fifteen] [19]

Sinatra's vocalism was maturing at this point, and he had matured musically regarding intonation and vocal shading. He had too get more comfortable with improvising rhythmically within the confines of Riddle'southward arrangements.[22] Slight technical imperfections by Sinatra have been institute in this recording, but the overall emotional effect compensates completely, so that the listener attributes any shortcomings to the sincere human being expressions of the singer.[17]

Songs [edit]

With the exception of the title runway, the songs are from the Great American Songbook.[17] "Can't We Be Friends?" opens with a fix of chords on minimalist guitar.[17] Sinatra'due south interpretation runs from placid to profligate.[xix] "Dancing on the Ceiling" is among the songs recorded with just a modest grouping. It is a rarity among Riddle arrangements; he rarely created scores for minor jazz ensembles.[23]

"Deep in a Dream" is identified by critic Will Friedwald as an case of Sinatra's ability to translate songs in that the song could hands be delivered equally "discrete" or "hysterical", but Sinatra finds the perfect balance.[24] The vocal was considered for inclusion in Trilogy: Past Present Future but did not make the final cut.[25] "Glad to Be Unhappy" was a forgotten song until Sinatra brought information technology into popular consciousness.[26] In this anthology it receives small-group jazz treatment.[23]

"I Go Along Without You Very Well" is an "exquisitely ironic" slice written past Hoagy Carmichael with lyrics based on a verse form past Jane Chocolate-brown Thompson. Although Sinatra's relationship with Gardner ended badly, author James Kaplan suggests this song set up the album's mood of "capitulation, not retaliation".[19] "I See Your Face Earlier Me" was Nelson Riddle'due south favorite and was the kickoff vocal he bundled: he created a setting for it while at Ridgefield High Schoolhouse.[27] The organization for "I'll Exist Around" is a musical pun in that the celesta plays a circular riff.[23] "I'll Never Be the Same" uses a "wind chinkle" motif, which came from Riddle'southward appreciation of French impressionist music. He uses this aforementioned mini-theme briefly in "Information technology Never Entered My Mind" and in "Gone With the Wind" from the 1958 album Frank Sinatra Sings for Merely the Lonely.[28] "Ill Wind" features extended jazz solos by Harry Edison and Skeets Herfurt.[24]

The title rail came nearly by happenstance. Composers Bob Hilliard and David Mann were in New York Metropolis to visit a publisher. They spotted Sinatra and Riddle and decided to bear witness them their new composition "In the Wee Minor Hours of the Morn." Sinatra liked the song and wanted to utilise it immediately.[29] Sinatra recorded "It Never Entered My Listen" in 1947 for Columbia. It was part of the Rodgers and Hart Broadway testify Higher and Higher. Ironically, this song, which was a long-time resident in Sinatra'due south repertoire, was cut from the film version, Sinatra'southward cinematic debut.[xxx] [31]

Recorded about a yr before all other selections,[32] "Terminal Night When We Were Young" was difficult, according to Riddle, considering about thirty takes were used. The recording uses a "depression-primal" coda, emphasizing strings and horns, and a brief guitar solo. Sinatra was involved in the product and felt that the guitar solo needed to exist slowed considerably. He held Riddle and the musicians in high esteem, and so he talked with guitarist George Van Eps about the change, and so discussed it separately with Riddle. Van Eps commented, "Frank was loaded with things like that."[33] The finale is a "cataclysmic climax."[17] Sinatra recorded the song with an arrangement by Gordon Jenkins for the album September of My Years (1965).[32] Last Night was written for the motion-picture show Metropolitan (1935) just was cut from the final version, appearing merely every bit an instrumental during the credits.[32] The song includes advanced harmonic progressions and a juxtaposition of chromaticism and octave leaps.[32]

In add-on to "Ill Current of air", "Mood Indigo" by Duke Ellington is the purest jazz vocal on the album.[24] A motif developed by Riddle became the descending riff in Sinatra's hit "Witchcraft".[34] Sinatra would include a blues-based selection such as this on each of his "downbeat" albums.[35]

"This Love of Mine" was recorded by Sinatra in 1941 when he was with the Tommy Dorsey orchestra. In this 1955 version Sinatra gives a more mature reading to the lyrics.[36] Riddle brings a rich arrangement to the harmonically simple song, which assists the mood presented in the album.[36] "What Is This Thing Called Love" is noted by Charles Granata for its "most expressive vocal shading".[29] Sinatra'southward voice approaches the bass range at times, and the interpretation is noted for the lyrical liberties Sinatra takes with Porter'southward lyrics.[xix] The vocal was recorded in 21 takes.[19] "When Your Lover Has Gone" had a cracking effect on Lester Young. Young asked record store clerk Bob Sherrick to "Permit me hear something by my man, Frank." In the Wee Small Hours had been recently released, and Sherrick played this song for Young. Immature left the record shop muttering to himself that he had to record it himself on his next session.[37]

Artwork [edit]

The embrace fine art is designed to set the mood for the music.[10] The cover shows Sinatra on an eerie and deserted street brimful in blue-tinged street lights, reflecting the album's themes of introspection, lost love, failed relationships, low, and night life.[1] [2] It is significant that Sinatra is depicted lone, every bit loneliness during the "Wee Minor Hours" is a theme of the album.[38] Rather than at a rakish angle, Sinatra's snap-brim lid is pushed back, suggesting resignation and openness.[39] The artwork is reminiscent of film noir or a hardboiled fiction cover.[40]

Themes [edit]

Themes of loss and love's bittersweet relationship to loss pervade the anthology.[41] However the ending tone is non 1 of despair, but of promise and survival equally made possible by cathartic reflection.[14] Perhaps given every bit kindly advice by a person of feel,[17] Jonathan Schwartz believes the album refrains from being "mushy" but instead presents the cloth in a stately manner.[27] Sinatra'south side by side album, Songs for Swingin' Lovers, seems to follow upward on this hope by depicting an individual who is "gratuitous to bask women once again".[41] These ii albums well represent the "heartbroken/hedonistic duality" of Sinatra's persona in the mid-1950s.[42]

Releases [edit]

Sinatra intended the album to be his offset 12-inch LP,[43] only it was initially released as a 2-volume set, each fix containing eight songs, every bit a set up of 2 x-inch LPs (Capitol H-581 PT1 and PT2) and equally a set of two 45rpm EP sets, each of 2 discs.[27] The album was released in Apr 1955. Taken equally a whole, the collection is Sinatra's commencement truly full-length anthology.[44] Capitol tape executives were concerned that an entire album of "night" material would disaffect the record-buying public.[27] It peaked at number 2 on the Billboard 200, where it remained for xviii weeks, the longest time Sinatra had held a spot in the meridian-10 at the time, and also his highest charting anthology since Songs by Sinatra. On September 6, 2002, information technology was certified Aureate by the RIAA, pregnant it had shifted over 500,000 units.

In 1992, the characterization reissued the CD with all sixteen tracks.[45] In 1998 the album was remastered using 20-bit engineering science[46] [47] under Larry Walsh's supervision at Capitol Recording Studios.[48] Since 1998, recognizing Sinatra's enduring worldwide popularity, In the Wee Small Hours has been reissued several times on vinyl, compact disc, and digital download.[49] [50] [51]

Reception [edit]

Pop reception [edit]

The album was popular on its release. In the United states of america the album was listed at number two at its height and appeared on the charts for eighteen weeks.[ten] In August 1962 it re-entered the Billboard album charts.[52]

Critical reception [edit]

Professional person ratings
Review scores
Source Rating
AllMusic [53]
Rolling Stone [54]
Encyclopedia of Pop Music [55]

Since its release, In the Wee Small Hours has been regarded every bit one of Sinatra'south all-time, oftentimes ranked with Songs for Swingin' Lovers! (1956) and Frank Sinatra Sings for Only the Lonely (1958). It is besides considered by many to exist one of the best vocal jazz releases of all time. It received immediate critical acclaim on its release.[56] Acclaimed Music, a website which aggregates musical accolades, names ...Hours the 3rd virtually acclaimed album of the 1950s (...Swingin' Lovers! being one place backside it), with Kind of Blueish by Miles Davis and Elvis Presley'southward self titled début album in front. It also names the album the 322nd almost acclaimed album of all time.

In 2000 information technology was voted number 359 in Colin Larkin's All Time Pinnacle 1000 Albums.[57]

Stephen Thomas Erlewine commented in AllMusic that the anthology had an accurate melancholy mood, and is "i of Sinatra's most jazz-oriented performances".[58] Another critic called the anthology "...mayhap the definitive musical evocation of loneliness".[11]

Writing for The New Yorker, Andy Friedman credits In the Wee Small Hours with changing the purpose of an LP from a mere collection of singles into an art form capable of loftier literature.[59]

Jazz historian Scott Yanow described the album as "Sinatra often mourning lost honey and sounding a bit desolate simply ultimately hopeful."[60]

Accolades [edit]

Publication Accolade Year Rank
Amazon.com 10 Best Albums past Decade (50s)[61] 1999 3
Gear The 100 Greatest Albums of the Century[61] 1999
Blender The 100 Greatest American Albums of All Time[61] 2002 54
Rolling Rock The 500 Greatest Albums of All Fourth dimension[5] [62] [63] 2003 100
2012 101
2020 282
1001 Albums You Must Hear Before You Die 1001 Albums You lot Must Hear Before You Dice[8] 2005
Time The All-Fourth dimension 100 Albums[64] 2006
Mojo 100 Records That Changed the World[65] 2007 eleven
Platendraaier Superlative 30 Albums of the 50s[66] 2016 7

Legacy [edit]

The album marks a turning bespeak for Sinatra, the offset of Sinatra'due south "mature" singing way, carrying with it both depth of emotive expression and willingness to experiment rhythmically.[44] Sinatra's relationship with Gardner had previously largely been unaccepted by the general public. John Rockwell believes it was this album, because of the genuine emotional palette on display, that changed the perception of the "validity" of the ill-fated romance.[15]

Charles Granata opines that this album of ballads best defines Sinatra and the era in which it was recorded.[29] Based largely on Sinatra'southward reputation, this album helped change the "tough guy" prototype, assuasive for a larger range of acceptable emotional responses from men, which might previously have been perceived equally for wimps.[67] Direct earlier Sinatra's funeral service, songs from "the Ava album" were played past a trio led past Pecker Miller.[68]

The championship track, "In the Wee Small Hours of the Morning", has been recorded by a number of artists following Sinatra's version, including Johnny Hartman, Astrud Gilberto, Lou Rawls, Carly Simon, Art Blakey, Count Basie and His Orchestra, Andy Williams, Wes Montgomery, Scarlet Braff, Jamie Cullum, John Mayer, Susan Wong, Curtis Stigers (on his 2009 album Lost in Dreams) and many others.

In his autobiography, B.B. King speaks about how he was a "Sinatra nut" and how he went to bed every dark listening to "In the Wee Minor Hours."[69] In Marvin Gaye's biography Divided Soul, the album is cited equally a favorite and an inspiration for his posthumously released "carol" album Vulnerable forth with Billie Holiday'southward Lady in Satin. Claus Ogerman considered In the Wee Small-scale Hours to be "the pinnacle of everything in pop music."[70]

Cover artwork [edit]

In the Wee Small Hours' encompass artwork has been subject to many interpretations and homages over the years.

Andy Williams' 1959 album Lonely Street features Williams posing for the comprehend art of his anthology in a similar fashion every bit Sinatra did for In the Wee Small Hours; the release also features a recording of Williams performing "In the Wee Small-scale Hours of the Morning time".[71] Tom Waits has named In the Wee Pocket-size Hours 1 of his favourite albums.[72] His 2nd album, The Middle of Saturday Night, released in 1974, features a cover artwork painted past Lynn Lascaro that is based on In the Wee Minor Hours'.[73] When Harry Nilsson's 1973 anthology A Footling Bear on of Schmilsson in the Night was reissued in 1988, its title was updated to A Touch More Schmilsson in the Night and a new encompass artwork was painted by Steve Russell, based on In the Wee Minor Hours'.[74] [75]

The New Flop Turks' 1993 split seven" vinyl with Sinister Half dozen features a black and white photo manipulation of In the Wee Small Hours' original album artwork.[74] Subsonics' 1993 album Practiced Violence features a new interpretation of In the Wee Pocket-size Hours' embrace fine art, painted by band members Buffi Aguero and Ronald Skutt, but with Sinatra holding a syringe instead of a cigarette.[74]

In the Wee Small Hours' album cover appears in the 2001 Cameron Crowe film Vanilla Sky during the final scene when Tom Prowl's grapheme David Aames jumps off a building and sees his life flashing by.[76] Kurt Elling's 2007 album Nightmoves' cover fine art features Elling posing for a photograph with the same pose every bit Sinatra did on In the Wee Small Hours; the release also features a recording of Elling performing "In the Wee Small Hours of the Morn".[77] Ogham Waite and The Amphibian Jazz Band'south 2011 live album Live at the Gilman Firm features a cover art painted by Darrell Tutchton that is based on In the Wee Small-scale Hours'.[74]

Canadian-American melogaze band Vision Eternel also based the cover artwork of their 2020 concept extended play For Farewell Of Nostalgia on In the Wee Minor Hours', this one features an illustration by American painter Michael Koelsch.[78] Willie Nelson'south 2021 release That'southward Life has a cover art painted by Paul Mann that is over again based on In the Wee Pocket-size Hours.[79]

Rails listing [edit]

Side one[eighty]
No. Title Writer(s) Length
1. "In the Wee Small Hours of the Morning" Bob Hilliard and David Mann 3:00
2. "Mood Indigo" Barney Bigard, Duke Ellington and Irving Mills three:30
iii. "Glad to Be Unhappy" Richard Rodgers and Lorenz Hart 2:35
four. "I Get Forth Without You Very Well" Hoagy Carmichael iii:42
5. "Deep in a Dream" Eddie DeLange and Jimmy Van Heusen 2:49
half dozen. "I Run into Your Confront Before Me" Howard Dietz and Arthur Schwartz 3:24
vii. "Can't We Be Friends?" Paul James and Kay Swift 2:48
8. "When Your Lover Has Gone" Einar Aaron Swan 3:x
Side ii[fourscore]
No. Championship Author(south) Length
9. "What Is This Thing Called Dearest?" Cole Porter ii:35
10. "Last Night When Nosotros Were Immature" Harold Arlen and Yip Harburg 3:17
xi. "I'll Exist Effectually" Alec Wilder 2:59
12. "Ill Air current" Harold Arlen and Ted Koehler iii:46
13. "It Never Entered My Mind" Richard Rodgers and Lorenz Hart ii:42
14. "Dancing on the Ceiling" Richard Rodgers and Lorenz Hart 2:57
15. "I'll Never Be the Same" Gus Kahn, Matty Malneck and Frank Signorelli 3:05
16. "This Love of Mine" Sol Parker, Henry W. Sanicola, Jr. and Frank Sinatra three:33
2007 Re-release Bonus Tracks[81]
No. Title Writing Length
17. "Three Coins in the Fountain" Jule Styne and Sammy Cahn iii:08
eighteen. "Immature at Heart" Johnny Richards and Carolyn Leigh 2:55

Complete personnel [edit]

  • Frank Sinatra – vocals
  • Nelson Riddle – arranger, conductor[82]
  • Voyle Gilmore – producer[82]
  • John Palladino – audio engineer[83]

Tracks 1, 4, 8, 16:

(February 17, 1955 - Capitol recording session KHJ Studios eight–11:30 p.m.)

Felix Slatkin, Paul Shure, Harry Bluestone, Mischa Russell, Emo Neufeld, Marshall Sosson, Alex Beller, Victor Bay, Walter Edelstein, Henry Colina, Nathan Ross, David Frisina (vln); Alvin Dinkin, Paul Robyn, David Sterkin, Stanley Harris (vla); Eleanor Slatkin, Kurt Reher, Edgar Lustgarten, Ray Kramer (vie); Kathryn Julye (harp); Bill Miller (p), George Van Eps (thou); Mike Rubin, Morty Corb (b); Lou Vocalist (d).

Tracks 2, 6, ix, 12:

(Feb xvi, 1955 - Capitol recording session KHJ Studios 8–eleven:thirty p.m.)

Harry Edison (tpt); Mahlon Clark, Skeets Herfurt, Champ Webb, Babe Russin, Ted Nash (sax/wwd); Felix Slatkin, Paul Shure, Harry Bluestone, Mischa Russell (vln); Alvin Dinkin, Eleanor Slatkin (via); Kathryn Julye (harp); Bill Miller (p); Paul Smith (cel); George Van Eps (thou); Phil Stephens (b); Alvin Stoller (d).

Tracks 3, 7, 11, 14

(February eight, 1955 - Capitol recording session KHJ Studios 8:30 p.m. – 12 chiliad.) Frank Sinatra with Rhythm Section Conducted by Bill Miler

Beak Miller (p); Paul Smith (cel); George Van Eps (k); Phil Stephens (b); Alvin Stoller (d). Nelson Riddle (arr).

Tracks 5, 13, 15:

(March four, 1955 - Capitol recording session KHJ Studios)

John Cave, Vincent DeRosa, Joseph Eger, Richard Perissi (fr-h); Arthur Gleghorn, Louella Howard, Jules Kinsler, George Poole (fl); Felix Slatkin, Paul Shure, Harry Bluestone, Mischa Russell, Marshall Sosson, Nathan Ross, Victor Bay, Alex Beller (vln); Eleanor Slatkin, Cy Bernard, Edgar Lustgarten, Armand Kaproff, Ray Kramer, Joseph Saxon, Kurt Reher, James Arkatov (vlc); Kathryn Julye (harp); Bill Miller (p); George Van Eps (thou); Phil Stephens (b); Lou Singer (d).

Track 10:

(March 1, 1954 - Capitol recording session KHJ Studios 8 p.thou. – 12 m)

Joe Howard, Tommy Pederson (tbn); John Graas, John Cavern (fr-h); Harry Klee, James Williamson, Champ Webb, Mahlon Clark, Mort Friedman, Bart Caldarell (sax/wwd); Alex Beller, Victor Bay, Walter Edelstein, Nathan Ross, Felix Slatkin, Paul Shure, Mischa Russell, Harry Bluestone, Eudice Shapiro, Paul Nero, George Kast (vln); Paul Robyn, Maxine Johnson, Stanley Harris (via); Cy Bernard, Eleanor Slatkin, Edgar Lustgarten (vlc); Kathryn Julye, Ann Mason Stockton (harp); Bill Miller (p); Bobby Gibbons (thou); Joe Comfort, Eddie Gilbert (b); Frank Carlson (d).

See besides [edit]

  • Album era
  • Listing of songs introduced by Frank Sinatra

References [edit]

  1. ^ a b Annotated liner notes, Pete Welding. In the Wee Small Hours. Capitol Records, 1998 CD release.
  2. ^ a b Cullen, Jim (2001). Restless in the Promised Land: Catholics and the American Dream : Portraits of a Spiritual Quest from the Time of the Puritans to the Present. Rowman & Littlefield. pp. 98–. ISBN978-1-58051-093-vi . Retrieved 16 November 2018.
  3. ^ Rojek, Chris (2004). Frank Sinatra. Polity. pp. 43–. ISBN978-0-7456-3090-eight . Retrieved 16 November 2018.
  4. ^ "Rolling Stone – the 500 Greatest Albums of All Time (2003)".
  5. ^ a b "500 Greatest Albums: In the Wee Small Hours". Rolling Stone. Archived from the original on May 27, 2012. Retrieved 15 June 2011.
  6. ^ Rollingstone
  7. ^ Kaplan, James (2010). Frank: The Vocalism (1 ed.). Doubleday. ISBN9780385518048.
  8. ^ a b Dimery, Robert; Lydon, Michael (2010). 1001 albums y'all must hear before you die (Revised and updated ed.). Universe. p. 22. ISBN978-0-7893-2074-2.
  9. ^ "Archived re-create". Archived from the original on 2012-07-nineteen. Retrieved 2012-04-22 . {{cite web}}: CS1 maint: archived copy as title (link)
  10. ^ a b c d Evans, Mike (2015). Vinyl: The Art of Making Records. New York: Sterling. pp. 62–63. ISBN978-1-4549-1781-vi.
  11. ^ a b c d Johnny Black; Marking Brend (2008). Classic Rails Back to Dorsum: Albums. Thunder Bay Printing. pp. 8–12. ISBN978-ane-59223-872-9.
  12. ^ Taraborrelli, J. Randy (2015). Sinatra - Behind the Fable. New York: Thou Central Publishing. p. 205. ISBN978-1-4555-3057-ane.
  13. ^ Summers, Anthony (2005). Sinata: The Life. New York: Alfred A. Knopf. p. 195. ISBN0-375-41400-2.
  14. ^ a b Gigliotti, Gilbert L. (2002). A Storied Singer: Frank Sinatra every bit Literary Conceit. Westport, CT: Greenwood Printing. p. 30. ISBN0-313-30973-half-dozen.
  15. ^ a b c Brady, John (2015). Frank & Ava: In Love and War. New York: St. Martin's Press. pp. 162–165. ISBN978-1-250-07091-3.
  16. ^ Gigliotti, Gilbert 50. (2002). A Storied Singer: Frank Sinatra equally Literary Conceit. Westport, CT: Greenwood Printing. p. 51. ISBN0-313-30973-6.
  17. ^ a b c d due east f Ingham, Chris (2005). The Rough Guide to Frank Sinatra. New York: Rough Guides, Ltd. pp. 164–165. ISBNone-84353-414-ii.
  18. ^ Granata, Charles L. (1999). Sessions With Sinatra. Chicago: A Cappella Books. p. 110. ISBN1-55652-356-4.
  19. ^ a b c d due east f Kaplan, James (2015). Sinatra: The Chairman. New York: Doubleday. pp. 40–43. ISBN978-0-385-53539-7.
  20. ^ Pignone, Charles (2015). Sinatra 100. Thames & Hudson. p. 92. ISBN978-0-500-51782-half-dozen.
  21. ^ Granata, Charles L. (1999). Sessions With Sinatra. Chicago: A Cappella Books. p. 105. ISBN1-55652-356-4.
  22. ^ Granata, Charles (1998). "Frank Sinatra and the Art of Recording". In Mustazza, Leonard (ed.). Frank Sinatra and Popular Civilisation. Westport, CT: Praeger. p. 141. ISBN0-275-96495-7.
  23. ^ a b c Friedwald, Will (1995). Sinatra! The Song Is You: a vocaliser's art. New York: Scribner. p. 240. ISBN0-684-19368-X.
  24. ^ a b c Friedwald, Will (1995). Sinatra! The Song Is You: a singer'due south art. New York: Scribner. p. 239. ISBN0-684-19368-10.
  25. ^ Friedwald, Will (1995). Sinatra! The Song Is You: a singer's art. New York: Scribner. p. 310. ISBN0-684-19368-10.
  26. ^ Friedwald, Volition (1995). Sinatra! The Vocal Is Y'all: a vocalizer's art. New York: Scribner. p. 157. ISBN0-684-19368-Ten.
  27. ^ a b c d Schwartz, Jonathan (1995). "Sinatra: In the Wee Small Hours". In Petkov, Steven; Mustazza, Leonard (eds.). The Frank Sinatra Reader. New York: Oxford University Printing. pp. 249–250. ISBN0-nineteen-509531-6.
  28. ^ Friedwald, Will (1995). Sinatra! The Song Is Yous: a singer's art. New York: Scribner. p. 223. ISBN0-684-19368-X.
  29. ^ a b c Granata, Charles 50. (1999). Sessions With Sinatra. Chicago: A Cappella Books. pp. 91–92. ISBN1-55652-356-iv.
  30. ^ Friedwald, Volition (1995). Sinatra! The Song Is Yous: a singer's fine art. New York: Scribner. pp. 155–156. ISBN0-684-19368-Ten.
  31. ^ Friedwald, Will (1995). Sinatra! The Song Is Yous: a vocalist'due south art. New York: Scribner. pp. 474–475. ISBN0-684-19368-X.
  32. ^ a b c d Ingham, Chris (2005). The Rough Guide to Frank Sinatra. New York: Rough Guides, Ltd. pp. 244–245. ISBNi-84353-414-2.
  33. ^ Granata, Charles L. (1999). Sessions With Sinatra. Chicago: A Cappella Books. p. 99. ISBN1-55652-356-4.
  34. ^ Friedwald, Will (1995). Sinatra! The Song Is You: a vocalist'southward art. New York: Scribner. p. 250. ISBN0-684-19368-X.
  35. ^ Friedwald, Will (1995). Sinatra! The Vocal Is You: a singer's art. New York: Scribner. pp. 338–339. ISBN0-684-19368-X.
  36. ^ a b Ingham, Chris (2005). The Rough Guide to Frank Sinatra. New York: Crude Guides, Ltd. p. 231. ISBNi-84353-414-2.
  37. ^ Friedwald, Will (1998). "Sinatra and Jazz". In Mustazza, Leonard (ed.). Frank Sinatra and Popular Civilisation. Westport, CT: Praeger. p. 174. ISBN0-275-96495-7.
  38. ^ Gigliotti, Gilbert L. (2002). A Storied Vocalizer: Frank Sinatra as Literary Conceit. Westport, CT: Greenwood Press. p. 7. ISBN0-313-30973-vi.
  39. ^ Ingham, Chris (2005). The Rough Guide to Frank Sinatra. New York: Rough Guides. p. 304. ISBN1-84353-414-2.
  40. ^ Friedwald, Volition (1995). Sinatra! The Song Is You: a singer's fine art. New York: Scribner. p. 238. ISBN0-684-19368-X.
  41. ^ a b Gigliotti, Gilbert 50. (2002). A Storied Singer: Frank Sinatra as Literary Conceit. Westport, CT: Greenwood Press. p. 31. ISBN0-313-30973-6.
  42. ^ Ingham, Chris (2005). The Rough Guide to Frank Sinatra. New York: Rough Guides, Ltd. pp. 53–54. ISBN1-84353-414-2.
  43. ^ Friedwald, Will (1995). Sinatra! The Vocal Is You lot: a singer'southward art. New York: Scribner. p. 241. ISBN0-684-19368-X.
  44. ^ a b Gilmore, Mikal (1995). "The Wonder of Sinatra". In Petkov, Steven; Mustazza, Leonard (eds.). The Frank Sinatra Reader. New York: Oxford University Press. p. 259. ISBN0-19-509531-half-dozen.
  45. ^ "Total 1992 CD Reissue on AllMusic". allmusic.com. Retrieved 2014-08-04 .
  46. ^ "Full 1998 CD Remaster on MusicBrainz, 16 tracks". musicbrainz.org. 2013-06-09. Retrieved 2014-08-04 .
  47. ^ "Full 1998 CD Remaster on AllMusic". allmusic.com. Retrieved 2014-08-04 .
  48. ^ Fran, Sinatra. In the Wee Small Hours (Media notes). Capitol Records. p. 3.
  49. ^ "Release grouping on MusicBrainz". musicbrainz.org. 2009-05-24. Retrieved 2014-08-04 .
  50. ^ "Master Release on AllMusic". allmusic.com. Retrieved 2014-08-04 .
  51. ^ "Release overview on Discogs". discogs.com. Retrieved 2014-08-04 .
  52. ^ "Height LP'south". Billboard. September xv, 1962. p. two.
  53. ^ In the Wee Minor Hours at AllMusic
  54. ^ Rolling Stone review
  55. ^ Larkin, Colin (2007). Encyclopedia of Popular Music (quaternary ed.). Oxford University Press. ISBN978-0195313734.
  56. ^ Levinson, Peter J. (2005). September in the Rain: The Life of Nelson Riddle. Taylor Trade Publications. p. 120. ISBN9781589791633.
  57. ^ Colin Larkin (2000). All Fourth dimension Height 1000 Albums (third ed.). Virgin Books. p. 140. ISBN0-7535-0493-half-dozen.
  58. ^ Stephen Thomas Erlewine. "In the Wee Modest Hours". AllMusic. Retrieved 15 June 2011.
  59. ^ Friedman, Andy (Dec 12, 2015). "Always Lone: A Visual Commemoration Of Sinatra". The New Yorker . Retrieved November 29, 2016.
  60. ^ Yanow, Scott (2021-01-17). "10 Essential Frank Sinatra Albums". ClassicRockHistory.com . Retrieved 2021-01-20 .
  61. ^ a b c http://acclaimedmusic.net/ + http://world wide web.acclaimedmusic.internet/Current/A1785.htm
  62. ^ "Rolling Stone – the 500 Greatest Albums of All Time (2003)".
  63. ^ Rollingstone
  64. ^ "All-time 100 Albums". Time. 2 Nov 2006. Archived from the original on February 5, 2007.
  65. ^ http://www.acclaimedmusic.cyberspace/Current/A1785.htm + http://pub37.bravenet.com/forum/static/evidence.php?usernum=3172289350&frmid=0&msgid=714055 Mojo's 100 records that changed the world list
  66. ^ "Top xxx albums van de jaren 50 - Platendraaier". Archived from the original on 2017-02-04.
  67. ^ Holden, Stephen (December eleven, 2015). "Frank Sinatra: A Hundred Years On, the Phonation Resonates Still". The New York Times . Retrieved November 29, 2016.
  68. ^ Brady, John (2015). Frank & Ava: In Love and War. New York: St. Martin's Press. p. 242. ISBN978-i-250-07091-iii.
  69. ^ Male monarch, B.B. and Daniel Ritz. Blue All Effectually Me, 1999.
  70. ^ Friedwald, Will (1995). Sinatra! The Song Is You: a singer's fine art. New York: Scribner. p. 429. ISBN0-684-19368-X.
  71. ^ "Lonely Street/The Village of St. Bernadette – Andy Williams". allmusic.com. Rovi Corporation. Retrieved half-dozen September 2011.
  72. ^ Tom Waits (22 March 2005). "Tom Waits on his cherished albums of all time | Music | The Observer". London: Guardian. Retrieved 2012-01-11 .
  73. ^ Fine art Director: Cal Schenkel Cover Art: Napoleon aka Lyn Lascaro 339) The Centre of Sabbatum Night : Rolling Stone
  74. ^ a b c d "Frank Sinatra: In the Wee Pocket-size Hours Album Cover Parodies". amIright. Archived from the original on July xix, 2017. Retrieved April 3, 2021.
  75. ^ "A Little Touch Of Schmilsson In The Night". The Official Harry Nilsson Site. 1973-06-01. Retrieved 2021-04-03 .
  76. ^ Pooley, Jack (2020-11-19). "Vanilla Sky Ending: Every Frame Explained". WhatCulture.com . Retrieved 2021-02-24 .
  77. ^ Nightmoves - Kurt Elling | Songs, Reviews, Credits | AllMusic , retrieved 2021-04-03
  78. ^ Koczan, JJ (September sixteen, 2020). "Half dozen Dumb Questions with Vision Eternel". The Obelisk. Archived from the original on September 16, 2020. Retrieved September xvi, 2020.
  79. ^ Iahn, Buddy (Dec 11, 2020). "Willie Nelson releasing 2nd Frank Sinatra covers anthology". Legacy Recordings. The Music Universe. Retrieved Dec eleven, 2020.
  80. ^ a b "Frank Sinatra - In The Wee Small Hours (Vinyl, LP) at Discogs". Discogs . Retrieved 15 June 2011.
  81. ^ Sinatra, Frank. Three Original Hit Albums CD, Disc 3. Non Now Music Express, 2007.
  82. ^ a b "In the Wee Pocket-sized Hours - Frank Sinatra". AllMusic. Retrieved 2012-01-11 .
  83. ^ Peeples, Stephen K. (July 11, 2010). "John Palladino: Take mikes, will tape (Role 1 of 2)". The Santa Clarita Signal.

singerwotgue.blogspot.com

Source: https://en.wikipedia.org/wiki/In_the_Wee_Small_Hours

0 Response to "In the Wee Small Hours of the Morning Cover Art"

Postar um comentário

Assinar: Postar comentários (Atom)

Iklan Atas Artikel

Iklan Tengah Artikel 1

Iklan Tengah Artikel 2

Iklan Bawah Artikel