There you find something special, something you can't find on most copies. Both run about 3:38 mins. So for openers, in general this newer version is a good notch superior to the original - mono at least. The original has a very nice balance and mix. On opposite ends lays the realistic sounding hi-hat.
The trumpets have lost that harshness previously noted and vocals show great realistic timbre. The hi-hat's opening and closing rhythmic pattern is well captured -- again surprising considering the usual faith awaiting side-end cuts. This is a guy who has a cab waiting for him outside. Indeed just like fellow friend, musician, songwriter, inventor Les Paul; Putnam was active in several closely related audio branches and responsable for pushing the boundaries of recording arts while setting studios standards still in use today. Sinatra himself seems oddly detached from the proceedings. You're Nobody 'til Somebody Loves You Recorded with Billy May, Sinatra Swings was Frank Sinatra's first straight swing album for Reprise Records.
Together, Dorsey and Sinatra would produce over eighty recordings between 1940 and 1942; an amazing feat by any standard! No overdubs nor Auto-Tune in those times; Sinatra would effortlessly blend in with the strings and brass just like Mom's apple pie served with cheddar cheese. The music is not so much about the details in the recording, but rather in trying to recreate a solid, palpable, real Frank Sinatra singing live in your listening room. The flesh tones are close but seem more like a re-touched picture like those 1940-50s 'garage' calendars. The trumpets eschew finesse coming out loud, poor and 'shouty'. Walking bass is shy and overpowered by the trumpets. Performer: Buddy Johnson And His Band; Mack Sisters Writer: Johnson Blues Dance; Vocal Chorus.
The piano on the left is excellent, so are the occasional transparent vibes sharing the same channel. My, this is a serious sonic downgrade from Swingin' Session, a similarly themed album recorded only a year before. The track is nicely balanced but the lower and central mids tend to dominate the bandwidth leading towards a descending tonal balance. Double bass a touch harder to follow. The balance has more weight.
The copies that are even a bit noisier get listed on the site are seriously reduced prices or traded back in to the local record stores we shop at. Also available Frank Sinatra — 6. Falling in Love With Love 1:52 2. And if you play the record at ear-splitting levels you will hear even more of that sound. By contrast the MoFi does not sport a glossy add-on nor the aforementioned logo.
Some compression tends to bring listener fatigue. The original's relatively rigid pressing weighs approximately 150 gram, typical of the 1960s standard while the MoFi weighs in at 180 gram. As a result the Reprise people have gone to the costly bother of recalling Sinatra's record from California distributors, pressing new disks with a revised title, Sinatra Swings, and printing new jackets. Even though the tone was similar, there were some differences from -- the ballads have strings, there are saxophones on the record, and the material is more lighthearted on Sinatra Swings, much like the songs on. Immediately apparent was the substantial improvement in level and rendering of the top octave providing more detail on the drum cymbals as well as a naturally richer, crisper, more complete timbre on brass in general and trumpets in particular. Frank's voice is upfront and a bit strong in level; we can even detect the 'tremolo' plated reverb tail at the end of each strophe.
A typical Sinatra recording session would entail hiring a reputable orchestra with arranger Riddle or May conducting and choosing the best of three 'live in the studio' takes. Unlike most of his younger rivals he refuses to pump phony emotion into a simple ballad or follow the disgusting custom of singing old favorites at a slowpoke pace until all vitality oozes out of them. That said the reissue is not undone yet. Technical Notes: Heavy groove wear causes swishing and distortion throughout. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way. For example the vibraphone shines while I barely noticed it on the original, a sure sign it seemed 'buried' in mono. It is the least compressed of the album up to now and sweeter sounding also.
The record label won the suit, and the singer had to change the name of his Reprise album to Sinatra Swings. His band is jumpin', and on the best pressings -- such as this one -- the sound conveys the energy with virtually none of the grit and hardness you hear on so many of Sinatra's other albums Sinatra at the Sands comes immediately to mind, but there are far too many others. Having done this for so long, we understand and appreciate that rich, full, solid, Tubey Magical sound is key to the presentation of this primarily vocal music. Not sure this helps at all. A month later, fed up with feathering other people's nests, Frank recorded a similar batch of songs with a similar title, Swing along with Me, for his own record company, Reprise Records, and rushed it out ahead of Capitol. The back cover has him swinging a golf iron thus playing words with the album's title which on the original remains identical to the front while oddly the MoFi uses the later alternate title of Sinatra Swings as printed also on their side cover and label.
If you exclusively play modern repressings of older recordings this one is now 57 years old , I can say without fear of contradiction that you have never heard this kind of sound on vinyl. Even though the tone was similar, there were some differences from Come Swing with Me -- the ballads have strings, there are saxophones on the record, and the material is more lighthearted on Sinatra Swings, much like the songs on Come Fly with Me. Cocky or tender, Sinatra hits the bull's-eye with instinctive good taste. Sinatra's voice comes through more natural and transparent; muted brass possesses enticing cut-through contours like in real life. The lack of compression makes for non-fatiguing listening. © 1996-2019, Dusty Groove, Inc. Don't Be That Way 2:45 9.