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Sinatra and the band went home, and that's when Bowen really got to work.

We Might As Well Be Strangers

He spliced together the two parts of the record, mastered it, and then set two lathes running to start cutting acetates. An acetate isn't like a finished record: it starts to lose quality after it's been played a few times, but it's good for the first few radio spins, and the very act of sending out acetates rather than promotional singles would get the disc jockeys' attention. So every three minutes the lathes produced another pair of acetates, and Bowen and his promotions guy put them in envelopes and wrote on the names of the top jocks at the top stations in every major market - New York, Chicago, Boston, St Louis, Cleveland, Pittsburgh By the time the Jack Jones single arrived in the mail, Frank would already be all over the airwaves.

You couldn't do it today. Anybody showing up at the airport with last-minute packages and seeking out stewardesses to take them on simultaneous cross-country flights would quickly be tased into unconsciousness. The code words on the acetate - "Strangers In The Night" - betray its shadowy, conspiratorial intent. But was a different world. Unlike many pop hits of , it remains a famous record, in part because of its even more famous end.

Sinatra sang one take clean, listening to the dull outro with the orchestra playing on without him to give Bowen and the lads in the control room time enough for a radio-friendly fade-out. And then Frank did a second take:. Sinatra, he wrote, "stated his contempt for the song in the dooby-booby-doo tag he attached to the end of it. He thereby told us that he's a snob about material. But then he told us something he didn't intend to: that there was a streak of hypocrisy in him. If he didn't respect the song, he shouldn't have recorded it - not even for money, which he hardly needed at that point.

Share your voice

Oh, I don't know. According to Will Friedwald, this was Sinatra's second documented "dooby-dooby-doo" following an impromptu interjection on "Please Be Kind" with Count Basie for a TV special a year earlier - and there was certainly no "contempt" or "snobbery" in his attitude to that song. But it gave "Strangers In The Night" a memorable outro that the plonking soft-rock drums and sawing strings alone wouldn't have accomplished.

The "dooby-doo" is just a few seconds but in some ways it became the most famous part of the record, and, in an era of lazy fades, a very memorable end - so much so that, for the Sinatra compilation CD Nothing But The Best , they added an extra nine seconds of fade so that dooby-doo aficionados would get more dooby for their dues. It was an influential record.

Fred Silverman, the network's head of children's programming, didn't like the dog or the name, and was minded to pull the plug on the series. Then he chanced to hear Sinatra and that famous outro - and decided all the cartoon canine needed was a new name:. He was a fellow called Glen Campbell. At the time, he was a session guitarist with no particular interest in singing. Singin' was, like, secondary," he said. He was so fascinated by the vocal technique he couldn't take his eyes off Frank.

At the end of the session, Sinatra said to Jimmy Bowen, "Who's the faggot on guitar? So sue me. There was always a distinction between Sinatra's album art and his hit-parade fodder.

6 songs that seem romantic but aren't, and one that seems like it isn't but is.

At Reprise in the Sixties, Frank was a musical schizophrenic: for the albums, Sonny Burke produced and the great arrangers Riddle, Billy May, Gordon Jenkins, Neil Hefti, Quincy Jones arranged; for the singles, Jimmy Bowen produced and Ernie Freeman arranged - and, after "Strangers", everything was about coming up with the right piece of soft-rock schlock to make lightning strike all over again.

They had their moments - "That's Life" is a great single, with Sinatra full of bluesy defiance. But much of the rest falls into a category Will Friedwald calls the sort of songs Sinatra would have done "had he deigned to portray a singing villain in Batman ". And Bowen was amazed at the difference between Frank's level of engagement on a project "when Sinatra was in charge of Sinatra", compared to his slapdash attitude to the throwaway pop singles. Frank loathed the song, but made a great record of it.

All the other singers loved the number, but understood that it was Sinatra's now and forever. Of the thousands of other versions, I shall say nothing except to single out two favorites. Sinatra invited Pet along to the recording session.


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Miss Clark told me she thought the result, complete with "C'mon, baby" choral backing, was a "cute record", which I said was awfully generous of her. As it turns out, she made her own "cute record" of "Strangers In The Night", in which she manages, unlike most other singers, to impose her own personality on it. It comes out as a kind of peppier "Downtown".

Songs about the transition from lovers to strangers | Steve Hoffman Music Forums

As for my second pick, I have a fondness for Bette Midler's by-the-book disco version. When Jessica Martin and I did our Seventies disco remake of "Marshmallow World", I wanted it to sound like a disco version of a standard rather than a disco record in its own right. So I'm grateful to Miss Midler for helping nudge me in the right direction. What else? It quickly became a kind of cultural shorthand - an easy pointer you use in soundtracks, plays, novels, to skewer time and place precisely.

When the dates came we went up to our rooms and mother entertained. She wasn't the only one so intoxicated. There are no new directions or tweaks to their approach. They've been a touring juggernaut for years now, and you can imagine many of these songs exploding live. Here and there some new flourishes pop up. The delicately fingerpicked acoustic guitar figure in the beginning of "Coyotes" is also lovely, a bit of late-period Beatles. But the song is an unruffled and sweet pop-rock number that hits a feeling Modest Mouse never bothered with in their earliest days: It is sunny, optimistic, relaxed.

Not even "Float On", their massive hit and a teeth-gritted ode to positivity, had this easy sense of goodwill to it. This album brings me to the world I want to live in tenementfunster. Work Songs by Timo Andres. A visceral LP centered on the subject of death; deft layers of instrumentation that blurs the line between organic and electronic. Hecuba by Oracle Hysterical.


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A lustrous experimental rock album, elegantly composed, that tells the story of Euripedes' Hecuba. Encores 1 by Nils Frahm. Explore music. Pre-orders include a signed print of the cover image, which was taken by Gabriel during his train trip. You will be emailed a link to download a song upon pre-ordering, and will receive four additional songs one every days leading up to the release.