..:: audio-music dot info ::..


Main Page     The Desert Island     Copyright Notice
Aa Bb Cc Dd Ee Ff Gg Hh Ii Jj Kk Ll Mm Nn Oo Pp Qq Rr Ss Tt Uu Vv Ww Xx Yy Zz


Frank Sinatra: Duets

 A l b u m   D e t a i l s


Label: Capitol Records
Released: 1993
Time:
 45:44
Category: Easy Listening
Producer(s): See Artists ...
Rating: *****..... (5/10)
Media type: CD
Web address: www.franksinatra.com
Appears with:
Purchase date: 2000.04.17
Price in €: 7,99



 S o n g s ,   T r a c k s


[1] Lady Is a Tramp (Hart/Rodgers) - 3:25 [with Luther Vandross]
[2] What Now My Love (Becaud/Delanoe/Sigman) - 3:16 [with Aretha Franklin]
[3] I've Got a Crush on You (Gershwin/Gershwin) - 3:24 [with Barbra Streisand]
[4] Summer Wind (Bradtke/Mayer/Mercer) - 2:32 [with Julio Iglesias]
[5] Come Rain or Come Shine (Arlen/Mercer) - 4:04 [with Gloria Estefan]
[6] New York, New York (Ebb/Kander) - 3:30 [with Tony Bennett]
[7] They Can't Take That Away from Me (Gershwin/Gershwin) - 3:11 [with Nathalie Cole]
[8] You Make Me Feel So Young (Gordon/Myrow) - 3:06 [with Charles Aznavour]
[9] Guess I'll Hang My Tears out to Dry/In the (Cahn/Hillard/Mann/Styne) - 3:58 [with Carly Simon]
[10] I've Got the World on a String (Arlen/Koehler) - 2:19 [with Liza Minelli]
[11] Witchcraft (Coleman/Leigh) - 3:22 [with Anita Baker]
[12] I've Got You Under My Skin (Porter) - 3:33 [with Bono]
[13] All the Way/One for My Baby and One More... (Arlen/Cahn/Mercer/Van Heusen) - 6:04 [with Kenny G.]

 A r t i s t s ,   P e r s o n n e l


Frank Sinatra - Vocals

Liza Minnelli - Vocals
Barbra Streisand - Vocals
Anita Baker - Vocals
Natalie Cole - Vocals
Gloria Estefan - Vocals
Aretha Franklin - Vocals
Carly Simon - Vocals
Luther Vandross - Vocals
Kenny G. - Saxophone
Tony Bennett - Vocals
Bono - Vocals
Julio Iglesias - Vocals
Charles Aznavour - Vocals

Quincy Jones - Arranger
Neal Hefti - Arranger
Patrick Williams - Arranger, Conductor, Director
Billy Byers - Arranger
Don Costa - Arranger
Nelson Riddle - Arranger

Conte Candoli - Trumpet
Bob Cooper - Saxophone, Woodwind
Jeff Hamilton - Drums
Tom Scott - Saxophone, Woodwind
Lanny Morgan - Saxophone, Woodwind
Charles Davis - Trumpet
Jerry Williams - Percussion
Murray Adler - Violin
Carlos Alvarez - Engineer
Rick Baptist - Trumpet
Steve Becknell - French Horn
Chuck Berghofer - Bass, Rhythm Bass
George Bohannon - Trombone
Mari Botnick - Violin
Oscar Brashear - Trumpet
Denyse Buffum - Viola
Kenneth Burward-Hoy - Harp, Viola
Bette Byers - Violin
Gene Cipriano - Saxophone, Woodwind
Assa Drori - Violin
Arni Egilsson - Bass
Rick Gerding - Viola
Harris Goldman - Violin
Joseph Goodman - Violin
Gary Grant - Trumpet
Diana Halprin - Violin
Jerry Hey - Trumpet
Patricia Johnson - Violin
Thomas "Snake" Johnson - Trombone
Karen Jones - Violin
Anne Karam - Cello
Miran Kojian - Violin
Armen Ksajikian - Cello
Brian Leonard - Violin
Charles Loper - Trombone
Warren Luening - Trumpet
Joy Lyle - Violin
Earl Madison - Cello
Rene Mandel - Violin
Michael Markman - Violin
Gordon Marron Strings - Violin
Lew McCreary - Trombone
Dick Mitchell - Saxophone, Woodwind
Ralph Morrison - Violin
Cynthia Morrow - Viola
Carole Mukogawa - Viola
Dick Nash - Trombone
Buell Neidlinger - Bass
Irma Neumann - Violin
Jack Nimitz - Saxophone, Woodwind
Brian O'Connor - French Horn
Don Palmer - Violin
Joe Porcaro - Percussion
Phil Ramone - Piano
Dorothy Remsen - Harp
Emil Richards - Percussion
George Roberts - Trombone
Jay Rosen - Violin
Nancy Stein-Ross - Cello
Robin Ross - Viola
Bob Sanov - Violin
Kwihee Shambanari - Violin
Harry Shirinian - Viola
Margaret Storer - Bass
Gloria Strassner - Cello
Frank Szabo - Trumpet
Jim Thatcher - French Horn
Paul Viapiano - Guitar
Jennifer Woodward - Violin
Ken Yerke - Violin
Ron Anthony - Guitar
Dixie Blackstone - Violin
Gregg Field - Drums
Dick Hyde - Trombone
Gayle Levant - Harp
Dave Stone - Bass
Patricia Aiken - Violin
Ann Atkinson - Bass
Alan DeVaritch - Viola
Michael Ferril - Violin
Ann Koons - Violin
Michael Matthews - Cello
Bob O'Donnell, Jr. - Trumpet
Rafael Rismik - Violin
Jim Ross - Viola
Christina Soule - Cello
Haim Strum - Violin
Gerry Vinci - Violin
Harold Wolf - Violin
Joe Goodman - Violin
Michael Melvoin - Piano, Keyboards
Tommy Johnson - Trombone
Bill Miller - Piano
Charlie Davis - Trumpet

David Foster - Producer
Andre Fischer - Producer
Hank Cattaneo - Producer
Phil Ramone - Producer
Tommy LiPuma - Producer
Albert Hammond - Producer
Charles Koppelman - Executive Producer, Executive Producer
Jay Landers - Executive Producer, Executive Producer
Don Rubin - Executive Producer, Executive Producer
Eliot Weisman - Executive Producer, Executive Producer
Susanne Edgren - Production Coordination
Jill Dell'Abate - Production Coordination
Chie Masumoto - Production Coordination

Bruce Nazarian - Engineer
Charles Paakkari - Engineer
Dave Reitzas - Engineer
John Richards - Engineer
Eric Schilling - Engineer
Al Schmitt - Engineer, Mixing
Doug Sax - Mastering
Paul Cartledge - Engineer
Paul Barrett - Engineer
Niko Bolas - Engineer
Bill Bookheim - Engineer
Don Hahn - Engineer
Roy Hendrickson - Engineer
Ted Jensen - Mastering
Steven King - Engineer
Daren Klein - Engineer
Larry Walsh - Engineer
Ron Taylor - Engineer
Steve Harrison - Engineer
Maco Saboia - Engineer
Dave Marquette - Assistant Engineer
Brian Soucy - Assistant Engineer
Carl Glanville - Assistant Engineer, Mixing Assistant
Robert Hart - Assistant Engineer
Ian Craigie - Assistant Engineer
Peter Doell - Assistant Engineer
Ben Keys - Assistant Engineer
Sebastian Krys - Assistant Engineer
Neal Perry - Assistant Engineer
Rick Southern - Assistant Engineer
Tom Young - Assistant Engineer
Greg Mull - Assistant Engineer
Bryan Carrigan - Assistant Engineer
Andy Blakelock - Assistant Engineer
Willie Mannion - Assistant Engineer
Angel Vidal - Assistant Engineer
Mike Mazzetti - Assistant Engineer
Jay Sylvester - Assistant Engineer
David Wild - Liner Notes
Tommy Steele - Art Direction
Andy Engel - Illustrations
Jodi Cohen - Design
Julie Borchard - Coordination

 C o m m e n t s ,   N o t e s


As a marketing concept, Frank Sinatra's comeback album Duets was a complete success. A collection of Sinatra standards produced by Phil Ramone, the record wasn't a duets album in the conventional sense - Sinatra never recorded in the studio with his partners. Instead, the other singers recorded their tracks seperately, sometimes in different studios, and the two tracks were pasted together to create the illusion of a duet. Certainly, this recording method prevented any spontaneous interaction between the singers, and it also limited the emotional impact of the songs. Since neither vocalist could construct an effective single performance, sustaining a mood throughout the course of the song, each singer sounds restrained. In the case of several duet partners, including Bono and Barbara Streisand, this means they rely on camp as a way of making their performance interesting. Sinatra, meanwhile, is oblivious to all of the vocal grandstanding on the part of his duet partners, simply because he recorded his track well in advance of their contributions. The result is a mess. Not only do the vocalists never mesh, the orchestrations are ham-fisted and overblown, relying more on bombast than showmanship. Furthermore, Sinatra's performance is uneven; occasionally, his voice is remarkable, but just as often, it is thin and worn. Nevertheless, Duets was a gigantic hit, selling over two million copies and becoming Sinatra's single most commercially successful record. None of its commercial success had anything to do with the album's artistic merit - the album is easily the worst Sinatra released during his lengthy career. Instead, Duets rose to number two on the pop charts because of its masterful marketing strategy. The album was promoted as a piece of nostaligia, primarily to baby boomers but also to Generation X as a piece of kitsch. Both approaches ignore the emotional core of Sinatra's music, which is evident on only one track - "One for My Baby," which was essentially a solo performance introduced by an instrumental from saxophonist Kenny G. Perhaps if Duets remained true to the essence of Sinatra's music, it would have been more effective, but as it stands, the album is only admirable as a piece of product, not a piece of music.

Stephen Thomas Erlewine - All Music Guide



Nachdem er zehn Jahre kein Studioalbum mehr aufgenommen hatte, kehrte der unverwüstliche Weltstar Frank Sinatra 1993 in die Capitol Studios zurück. Mit einem Staraufgebot, wie es das für ein Studioalbum wohl noch nie gegeben hatte, sang er Duette seiner Klassiker. Zu den Gesangspartnern des damals 77-Jährigen gehörten andere Weltstars wie Charles Aznavour, Natalie Cole, Aretha Franklin, Julio Iglesias, Barbra Streisand, Bono und Luther Vandross. Die Songauswahl umfasst natürlich ausschließlich hochkarätige Klassiker, die direkt mit dem Namen Sinatra verbunden sind: "I've Got A Crush On You", "I've Got You Under My Skin", "New York, New York" oder "The Lady Is A Tramp". Aber nicht nur "Old Blue Eyes" hatte Spaß an diesem "Recording Event Of The Decade", auch seine weltberühmten Mitsänger waren sich der Ehre bewusst. Aznavour: "Ich hätte mir nie träumen lassen, einmal mit Sinatra zu singen!" Gloria Estefan: "Es war für mich die größte Ehre". Iglesias: "Für so eine Gelegenheit muss man dankbar sein!" Duets - eine wunderbares Album, das in jede Plattensammlung gehört, genauso wie Duets II.

Julia Edenhofer - Amazon.de



Unverkennbar croont und swingt Sinatra vor 51 köpfigem Orchester 13 Duette. Mit Gloria Estefan (Come Rain Or Shine) und der scattenden Natalie Cole klappt's, grandios gar mit Charles Aznavour (You Make Me Feel So Young). Positiv verblüfft auch die Paarung mit U2s Bono (I've Got You Under My Skin). In What Now My Love muß sich Aretha Franklin zügeln; New York, New York (Tony Bennett) offenbart schmerzlich stimmlichen Verfall, verhüllt vom gnädigen Hall. Nach Sinatras Maßstäben: zwei Ohren. Aber: Sinatra bleibt Sinatra.

© Audio



Stereoplay "Ol' Blue Eyes" is back: Bei seiner Deutschlandtournee im vergangenen Sommer wirkte der King des US-Showbusiness bisweilen kurzatmig, ja er vergaß ganze Liedzeilen. Man hätte nicht vermutet, daß Frank Sinatra noch einmal ein Studio betritt, Songs aufnimmt. Nun, mit "Duets", ist das Unglaubliche doch wahr geworden: Der 77jährige mißt sich mit Entertainern, Soul-Sängern und Rock-Rüpeln - und macht dabei seinem Titel "The Voice" alle Ehre. Den Anstoß zu der Session, die in amerikanischen Blättern als "The Recording Event Of The Decade" angekündigt wurde, gab der Pop-Produzent Phil Ramone. Er konnte den Oldtimer, der 1993 noch jeden zweiten Abend auf der Bühne stand, durch geduldige Überzeugungsarbeit bewegen, seine Erfolgssongs noch einmal zu recyclen. In Hollywoods Capitol-Studio, wo Sinatra bereits 1953 residiert hatte, lief er mit einem mächtig swingenden Orchester unter der Leitung von Patrick Williams erneut zu großer Form auf. Soul-Crooner Luther Vandross assistiert beim Entrèe mit "The Lady Is A Tramp". Aretha Franklin ("What Now My Love") und Barbra Streisand ("I've Cot A Crush On You") fügen sich mit ihren doch so unterschiedlichen Stimmen perfekt in den Fluß der Musik. Eine weniger gute Figur machen Schnulzier Julio Iglesias ("Summer Wind") und die Latino-Lady Gloria Estefan ("Come Rain Or Come Shine"). Dafür geriet "New York New York", Sinatras Hymne an die Stadt der Städte, mit Tony Bennetts Beistand zu einem wahren Song-Skyscraper. Weitere Gäste sind Chanson-Altmeister Charles Aznavour, Säusel-Saxophonist Kenny G. Carly Simon, Anita Baker, Natalie Cole und Liza Minnelli. U2-Sänger Bono müpft in "I've Got You Under My Skin" auf. "Don't you know, you old fool, you never can win", stichelt der Ire. Frankieboy kontert charmant: "Use your mentality, wake up to reality".

© Stereoplay



"Duets" is a moving experience, if a little surreal. A horde of outsize talent ­ from Barbra and Aretha to Bono and Luther ­ gangs up on the genius who more or less invented 20th-century popular singing. Predictably, expert players madly dazzle while Frank shadowboxes his former glory. The recent rage for tributes, duets and high-concept packagings ­ sometimes nice lovefests, frequently triumphs of marketing over musical inspiration ­ reaches a zenith with Sinatra's first studio session in a decade. When he finds a pal, the action's nifty ­ Tony Bennett and Liza Minnelli urge Frank over the respective hurdles of "New York, New York" and "I've Got the World on a String." And the bizarre sound of Bono scat-crooning (and making like Bowie) on "I've Got You Under My Skin" is, um, arresting. Too often, however, such guests as Gloria Estefan, Anita Baker, Julio Iglesias and others overcompensate for sharing a mike with God by going nuts. With Kenny G sweetly accompanying, Frank's real moment is "All the Way/One for My Baby (and One More for the Road)": This is the emotion behind the Voice that once made galaxies swing.

Safer but stronger, Tony Bennett's "Steppin' Out" finds him reviving Gershwin, Cole Porter, Jerome Kern and Irving Berlin songs that Fred Astaire introduced. Classy, of course, is the operative concept; so, too, is the delightful exuberance that makes Bennett as much a treasure as any of these jewels.(RS 672/73)

Copyright © 1968-1999 Rolling Stone Network.



Frank Sinatra and Tony Bennett can still carry a tune. Sinatra's Duets is an ambitious project that finds the Chairman pushing his pipes to the hilt (and sounding pretty good for 77) with some likely and unlikely singing partners. Duets is best when Frank is paired with a chick-er, a female counterpart: Aretha Franklin is featured on "What Now My Love"; Anita Baker joins him on "Witchcraft"; and a timeless and lush "I've Got A Crush On You" teams him with Barbra Streisand. Phil Ramone packs on the big band gloss with as much taste as is possible for these Vegas-style showstoppers-after all, this is Sinatra. Fans of kitsch will enjoy the crooning duel with Bono on Cole Porter's "I've Got You Under My Skin," Bono's morose growls contrasting with Sinatra's confidence. The closer, "One For My Baby," finds Frank alone at his melancholy best with Kenny G adding unobtrusive accents behind him. Bennett's Steppin' Out reworks songs made popular by Fred Astaire in his movies. Backed by the loose, sophisticated Ralph Sharon Trio, Bennett gives the set limitless warmth and class, his voice more suited to the romance and humor of these songs than were Astaire's self-confessed reedy vocals. The simplicity of the arrangements brings forth the high quality of each song, as Bennett (who sounds amazing at 67) seems to be discovering the depth and nuance of the songs as he sings them. Steppin `is as good, if not better than, his Grammy-winning tribute to Sinatra, Perfectly Frank, which also featured Sharon's trio. A master at the top of his game again.

© 1978-1999 College Media Inc.
 

 L y r i c s


Currently no Lyrics available!

 M P 3   S a m p l e s


Currently no Samples available!