
A Tale Of Three Reviews
The first review lived in my head. It was based on a few listens to this CD and a conversation with My Baby. It told of how, yeah, Sinatra’s fine, but come on, folks…he didn’t even write these songs, Dean Martin’s voice was better, and all these songs really do is evoke a mood, like you should be watching some When Harry Met Sally knock-off romantic comedy, especially the in-love montage where the guy trips and falls in Central Park or they’re window shopping at Christmas and they’re so so ridiculously happy, and you know they are because Sinatra is playing over their silent antics. The real reason Sinatra is Sinatra, the review said, is not the music as much as it is the rock star persona. He had wealth, women, and both legitimate and illegitimate power, setting the archetype for the late 20th-century rock star before we even knew what rock and roll would be. The songs were the dredges of big band music, sucking all the life out of the already quick-to-be-shlocky genre and pandering to the lowest common denominator with cavity-causing string riffs. “And what’s with these liner notes?” the review concluded. “Why is this egghead drowning me in superlatives, trying to convince me that Sinatra had some kind of artistic rigor and aesthetic supremacy my ears tell me is missing?”
The second review was published almost three years ago. It starts a lot like the first review, complete with the Dean Martin comparison and attribution of Sinatra’s stardom to his aura instead of his singing. The review then went on to talk about how some of the songs on that album were pretty good…or at least that many of them had good parts.
Which brings us to the third review…this review. It starts with the first review, then merges into the second review. It doesn’t back away from anything in the first two reviews, it’s just that I’ve already said everything in those two reviews. Except, really? These are the 20 best songs you could get from eight years in the prime of this icon’s career? Gee, overrated much? But anyway, beyond the infectious melody and the Lawrence-Welk-with-good-looks schmaltz, what’s left to discuss?
Well, let’s talk songwriters. Specifically, let’s talk about the Jimmy Van Heusen/Sammy Cahn songwriting team. How in the world are these guys responsible for the two worst songs on this disc as well as two of its three best? “Love And Marriage” plods with its obvious nods to the overzealous, righteous censors and arbiters of Hollywood values of the day as well as its just plain phrasal plodding. “High Hopes” suffers from the saccharine treatment as well…I think the song is a carcinogen. Its only redeeming quality is that it’s not “Love And Marriage.” Meanwhile, “(Love Is) The Tender Trap” survives its pro-marriage cornball lyrics with a grooving sax line that seems to imply you don’t have to give up the single life when you get married (wink wink) and the catchy-as-hell “Come Fly With Me” is only not a mixer because its lyrics are just too cute.
That’s it…that’s all I’ve got that’s new. Maybe in three years I’ll go through the same struggle with Sinatra. Or maybe by then I’ll have some more insight into the multiple personality mystery that is Jimmy VanHeusen. Either way, it’s probably safe for me to now say that, while I still think he’s drastically overrated, I like Sinatra, though this album (the 50’s) helps his case a lot, just by being far superior to the last Sinatra CD I reviewed (the 60’s and 70’s).
Rating:

Mixers: “(Love Is) The Tender Trap,” “Witchcraft”
Keepers: “I’ve Got The World On A String,” “Learning’ The Blues,” “You Make Me Feel So Young,” “The Lady Is A Tramp,” “Come Fly With Me”
Filed Between: The Simpsons – Songs In The Key Of Springfield and the Singles soundtrack