Frank Sinatra

Many observers regard Frank Sinatra as the foremost musical personality of the twentieth century, with Elvis Presley and the Beatles as his sole serious competitors for that distinction. Across a six-decade professional span he displayed an exceptional capacity to sustain audience interest and advance his artistic aims amid shifting popular currents. He rose to prominence amid the swing movement of the 1930s and 1940s, helped shape the vocal-centered period of the 1940s and 1950s, and retained listeners once rock music emerged in the mid-1950s. His initial chart-topping single arrived in 1940, and he continued issuing million-selling discs as late as 1994. This enduring appeal reflected his skill at interpreting and championing American popular song in the forms it took during the 1920s, 1930s, and 1940s. He took compositions by leading theater writers of those decades—Jerome Kern, Irving Berlin, George Gershwin, Cole Porter, and Richard Rodgers—and reframed them for subsequent listeners, prompting renewed appreciation that secured their status as enduring standards. Whether on disc, in concert, or through motion pictures, radio, and television, he consistently presented these works so as to highlight their lasting resonance.

Born to a fireman, Sinatra left high school before graduation to enter the music field. In September 1935 he performed with the vocal ensemble the Hoboken Four on Major Bowes' Original Amateur Hour. The quartet captured the broadcast contest and joined Bowes on tour. Sinatra next worked as a singing waiter and master of ceremonies at the Rustic Cabin in Englewood, New Jersey. He was still employed there in spring 1939 when trumpeter Harry James, newly departed from Benny Goodman and forming his own orchestra, heard him on the radio. James engaged the vocalist, and the first recordings took place on 13 July 1939. Late that year Sinatra accepted an offer from the more prominent bandleader Tommy Dorsey, joining in January 1940. Over the ensuing two and a half years he appeared on sixteen Top Ten Dorsey recordings, one of which—the number-one “I’ll Never Smile Again,” later enshrined in the Grammy Hall of Fame—featured him prominently. During the same interval he performed on several Dorsey radio programs and appeared with the band in the films Las Vegas Nights (1941) and Ship Ahoy (1942).

In January 1942 Sinatra recorded a four-song session arranged and led by Axel Stordahl that included Cole Porter’s “Night and Day,” which entered the charts under his own name in March 1942 and marked his initial solo chart entry. Shortly afterward he notified Dorsey of his departure. The singer exited the Dorsey organization in September 1942. The recording strike initiated the previous month by the American Federation of Musicians temporarily halted new discs, yet he maintained visibility through a fifteen-minute radio series, Songs By Sinatra, that ran from October to year’s end, along with occasional live engagements. His decisive breakthrough occurred when he opened as supporting act to Benny Goodman at New York’s Paramount Theatre on New Year’s Eve. The engagement transformed him into a nationwide sensation and the first genuine teen idol, prompting young female fans to faint in the aisles. RCA Victor continued releasing accumulated Dorsey sides during the strike; among them “There Are Such Things” reached number one in January 1943 and “In the Blue of the Evening” followed suit in August, while “It’s Always You” reached the Top Five and “I’ll Be Seeing You” the Top Ten in 1944. Columbia, holder of the earlier Harry James masters, reissued the four-year-old “All or Nothing at All” under the billing Frank Sinatra with Harry James & His Orchestra, sending it to number one in September. The label then signed Sinatra as a solo artist and, exploiting a brief exemption from the ban, recorded him a cappella with only a vocal chorus. The sessions yielded four Top Ten hits in 1943, among them “People Will Say We’re in Love” from Richard Rodgers and Oscar Hammerstein II’s Oklahoma!, plus a fifth—“I Couldn’t Sleep a Wink Last Night”—early in 1944 before musicians-union objections halted the practice.

February 1943 brought an engagement with the popular radio program Your Hit Parade, on which Sinatra remained through December 1944. Additional radio commitments included Broadway Bandbox from June to October and a resumption of Songs by Sinatra in the fall, the latter extending through December. In January the program expanded to a half-hour format as The Frank Sinatra Show and continued for eighteen months. April 1943 marked his first credited screen appearance, singing “Night and Day” in Reveille with Beverly. Higher and Higher followed in December, granting him a modest acting role as himself, and Step Lively, released July 1944, afforded a more substantial part. MGM responded by placing him under contract. The recording ban lifted in November 1944, allowing Sinatra to resume sessions; his initial post-ban release, a cover of Irving Berlin’s “White Christmas,” reached the Top Ten before year’s end. Of the eight Top Ten sides he placed in 1945, several originated with Jule Styne and Sammy Cahn—“Saturday Night (Is the Loneliest Night of the Week)” and “I Should Care”—while others included Johnny Mercer’s “Dream” and Rodgers & Hammerstein numbers “If I Loved You” and “You’ll Never Walk Alone” from Carousel. Sinatra required that Styne and Cahn compose the songs for his first MGM musical, Anchors Aweigh, and across his career he recorded more Cahn lyrics—written with various composers—than those of any other songwriter. The film, co-starring Gene Kelly, premiered July 1945 and became the year’s highest-grossing picture.

September brought a return to radio with a renewed Songs by Sinatra series that continued weekly through June 1947. Among eight Top Ten hits of 1946 were two number-one records—“Oh! What It Seemed to Be” and Styne and Cahn’s “Five Minutes More”—as well as “They Say It’s Wonderful” and “The Girl That I Marry” from Irving Berlin’s Annie Get Your Gun, Jerome Kern’s “All Through the Day,” and Kurt Weill’s “September Song.” The collection The Voice of Frank Sinatra topped the album charts. His sole screen appearance that year occurred in Till the Clouds Roll By, a Kern biography in which he performed “Ol’ Man River.”

Although Sinatra’s initial wave of popularity had peaked by 1947, he maintained steady activity across multiple media. Radio duties resumed with a second stint on Your Hit Parade beginning September 1947 and extending two seasons, followed by the fifteen-minute Light-Up Time series in 1949–1950. Five additional films appeared through decade’s end, encompassing major MGM musicals such as On the Town and lesser vehicles like The Kissing Bandit. Eight Top Ten singles emerged between 1947 and 1949, including the May 1947 number one “Mam’selle” and Rodgers & Hammerstein’s “Some Enchanted Evening” from South Pacific. Album-chart success arrived with 1947’s Songs by Sinatra and 1948’s Christmas Songs by Sinatra. By the opening of the 1950s his career trajectory had softened, yet he remained active. Fall 1950 introduced both a new radio program, Meet Frank Sinatra, on which he served as disc jockey through season’s end, and his first television venture, the musical-variety series The Frank Sinatra Show, which concluded April 1952. Film work had largely paused, though the March 1952 drama Meet Danny Wilson offered a serious acting test and featured performances of Harold Arlen and Johnny Mercer’s “That Old Black Magic,” George and Ira Gershwin’s “I’ve Got a Crush on You,” and Irving Berlin’s “How Deep Is the Ocean?”

At Columbia, friction grew with musical director Mitch Miller, whose novelty songs and contrived arrangements were generating hits for other artists. Sinatra resisted such material; nevertheless he secured four additional Top Ten entries in 1950–1951, among them an unexpected treatment of the folk standard “Goodnight Irene,” before parting company with the label. Thus, a decade after his solo launch, 1952 closed without recording, film, radio, or television commitments. Reversal followed swiftly. The first step involved signing a standard long-term contract with Capitol Records, co-founded ten years earlier by Johnny Mercer and populated with other veteran performers whose popularity had waned. June 1953 brought his first Top Ten single in eighteen months, “I’m Walking Behind You.” August saw a return to the screen in a nonsinging featured role in the World War II drama From Here to Eternity; the performance earned critical respect and the Academy Award for Best Supporting Actor, presented 25 March 1954. Fall 1953 initiated two new radio series: the detective drama Rocky Fortune, which ran October to March 1954, and the twice-weekly fifteen-minute music program The Frank Sinatra Show, which continued two seasons until July 1955.

Concurrently Sinatra began collaborating with arranger-conductor Nelson Riddle, a partnership that yielded immediate chart impact. February 1954 produced the single “Young at Heart,” which approached number one and became a lasting standard, later supplying the title for a 1955 film starring Sinatra. The ten-inch LP Songs for Young Lovers, the first of his thematic albums, paired Riddle’s contemporary settings of Cole Porter, Gershwin, and Rodgers and Hart material with interpretations that underscored the wit and elegance of the lyrics; it reached the Top Five. July delivered another Top Ten single with Styne and Cahn’s “Three Coins in the Fountain,” while September’s Swing Easy! matched its predecessor’s album-chart success. By mid-decade Sinatra had reestablished himself as a leading vocalist and actor, achieving greater prominence than during the height of the mid-1940s. 1955 brought the number-one single “Learnin’ the Blues” and the twelve-inch LP In the Wee Small Hours, a ballad collection subsequently inducted into the Grammy Hall of Fame.

A 15 September 1955 television production of Our Town featured the newly written Cahn–Van Heusen song “Love and Marriage,” which rose to the Top Five. Early 1956 returned him to the Top Ten with Cahn and Van Heusen’s “(Love Is) The Tender Trap,” theme of the film The Tender Trap. His album concepts alternated between ballad collections such as In the Wee Small Hours and rhythm-oriented sets such as Swing Easy. By late winter 1956 another dance album was due; Songs for Swingin’ Lovers!, issued March, stopped just short of number one and earned gold certification. Although rock & roll and Elvis Presley increasingly dominated singles charts, Sinatra’s October release “Hey! Jealous Lover” (by Cahn, Kay Twomey, and Bee Walker) secured another Top Five hit in 1957. On the LP side he dominated: the Capitol compilation This Is Sinatra! reached the Top Ten and went gold.

1957 opened with the February release of Close to You, a ballad album featuring string-quartet accompaniment that reached the Top Five. May brought A Swingin’ Affair!, which ascended to number one, followed in September by the Top Five ballad set Where Are You? Additional chart presence arrived via the Pal Joey soundtrack (drawn from a Rodgers & Hart musical) and the seasonal collection A Jolly Christmas From Frank Sinatra, eventually certified platinum. The film The Joker Is Wild yielded the Cahn–Van Heusen song “All the Way,” another Top Five single. October marked a return to prime-time television with yet another series titled The Frank Sinatra Show; it lasted only one season, after which he limited television work largely to specials.

February 1958 produced the Top Ten single “Witchcraft,” his last such entry for eight years. The same month Capitol issued the travel-themed rhythm album Come Fly with Me, which reached number one. September’s ballad collection Frank Sinatra Sings for Only the Lonely also topped the charts and earned gold status. Between them the compilation This Is Sinatra, Vol. 2, entered the Top Ten. 1959 followed a comparable pattern: Come Dance with Me! appeared in January, reached the Top Ten, and achieved gold certification while capturing Grammy Awards for Album of the Year and vocal performance. Spring brought the Top Ten compilation Look to Your Heart, and summer delivered the near-chart-topping ballad album No One Cares.

Although Sinatra sang less frequently in his later 1950s films, March 1960 saw a screen adaptation of Cole Porter’s Can-Can whose soundtrack album reached the Top Ten. Anticipating the expiration of his Capitol contract, he reduced studio activity for the label. A full year elapsed before the next album, Nice ’n’ Easy, a mid-tempo collection that departed from his earlier fast-slow alternation. Pent-up demand produced extended weeks at number one and gold certification. While still fulfilling his Capitol obligation, he commenced recording for his newly founded Reprise Records in December 1960. Retail outlets consequently received five new Sinatra albums during 1961: Capitol’s Sinatra’s Swingin’ Session!!! in January, Reprise’s debut Ring-a-Ding Ding! in April, simultaneous July releases of Reprise’s Sinatra Swings and Capitol’s Come Swing with Me!, and October’s Reprise collection I Remember Tommy… of Dorsey-era material. March also brought Capitol’s compilation All the Way. All six projects reached the Top Ten. Reprise’s first single, the Cahn–Van Heusen song “The Second Time Around” written for Bing Crosby, earned Sinatra the Grammy for Record of the Year.

By 1962 the market was saturated. Capitol issued its final new Sinatra album, Point of No Return, plus a compilation, while Reprise released three new LPs; only Reprise’s Sinatra & Strings reached the Top Ten. 1963 proved stronger: all three Reprise titles—Sinatra-Basie, The Concert Sinatra, and the gold-selling Sinatra’s Sinatra—entered the Top Ten. The Beatles’ arrival in 1964 began to affect album charts as Presley had earlier affected singles charts, yet Sinatra still placed several mid-1960s albums in the Top Ten, albeit less regularly. Days of Wine and Roses, Moon River, and Other Academy Award Winners charted in May 1964, as did Sinatra ’65 in August 1965. That same month, approaching age fifty, he mounted a commercial resurgence with the ballad collection September of My Years, thematically centered on time’s passage. After “It Was a Very Good Year” was extracted as a single and entered the Top 40, the LP climbed to the Top Five and achieved gold status. It received the 1965 Grammy for Album of the Year, and Sinatra also won for best vocal performance on the single.

November 1965 brought a retrospective television special, A Man and His Music, accompanied by a double-LP that reached the Top Ten and went gold, winning the 1966 Grammy for Album of the Year. July 1966 returned Sinatra to the top of the singles chart for the first time in eleven years with the million-selling “Strangers in the Night,” which garnered Grammys for Record of the Year and best vocal performance. A companion album duplicated the single’s title, topped the LP charts, and attained platinum status. Before year’s end he released two further Top Ten gold albums: Sinatra at the Sands and That’s Life, the latter anchored by its Top Five title track. April 1967 restored him to number one on the singles chart with the million-selling duet “Somethin’ Stupid” performed with daughter Nancy. Late-1960s rock trends challenged even Sinatra, yet the August 1968 compilation Frank Sinatra’s Greatest Hits! achieved million-seller status, while fall’s Cycles, featuring contemporary material by Joni Mitchell and Jimmy Webb, went gold.

March 1969 introduced “My Way,” whose lyric Paul Anka tailored specifically for him; the song quickly became a signature piece. The single reached the Top 40, and the album of the same name entered the Top Ten and earned gold certification. Spring 1971, at age fifty-five, brought a retirement announcement. Retirement proved brief; fall 1973 marked his return via the gold-selling album and television special both titled Ol’ Blue Eyes Is Back. In this final phase he curtailed recording, film, and television activity in favor of live performance, especially in Las Vegas but also in concert halls, arenas, and stadiums worldwide. Six years passed without a new studio album before March 1980’s three-LP set Trilogy: Past, Present, Future. The gold-certified collection’s most enduring track proved to be “Theme From New York, New York,” the title song of the 1977 film, which Sinatra’s recording belatedly elevated to standard status.

By the early 1990s the compact-disc era had prompted extensive box-set reissues. The 1990 holiday season saw Capitol and Reprise marking Sinatra’s seventy-fifth birthday with competing collections: the three-disc The Capitol Years and the four-disc The Reprise Collection. Both went gold, as did Reprise’s single-disc highlights package Sinatra Reprise—The Very Good Years. Meanwhile the singer, still touring, had issued no new recordings since the 1984 LP L.A. Is My Lady. 1993 brought a return to Capitol and the album Duets, on which he revisited earlier hits alongside guest vocalists ranging from Tony Bennett to Bono of U2, none of whom recorded in the same studio. The project became his biggest seller, exceeding three million copies, and was followed in 1994 by Duets II, which captured the 1995 Grammy for Traditional Pop Performance.

Sinatra permanently ceased performing in his eightieth year, 1995, and succumbed to a heart attack fewer than three years later. The sheer scale of his recording success across five decades, amid repeated shifts in popular taste, remains remarkable. His stature as a vocalist and his prolific output produced an enormous discography whose principal divisions encompass the Columbia years (1943–1952), the Capitol years (1953–1962), and the Reprise years (1960–1981), augmented by airchecks, film and television soundtracks, and countless miscellaneous recordings. As a screen star and multifaceted celebrity, Sinatra became so potent a twentieth-century icon that his genuine musical gifts—his capacity to interpret and safeguard America’s greatest songs for subsequent generations—can be overlooked; yet those gifts remain the true foundation of his renown, and his recordings demonstrate their enduring power.