The copy we are selling is similar to the one pictured above.
Side One: Mint Minus Minus (often quieter than this grade)
Side Two: Mint Minus Minus (often quieter than this grade)
- The Concert Sinatra finally returns to the site with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish on this original Reprise LP
- Sinatra’s voice on this exceptionally good pressing always sounds natural even at its loudest - there is no strain or hardness, and that makes it a very special copy indeed
- The 73 musicians you see stretched out across the soundstage at Samuel Goldwyn Studios behind Sinatra will give you some idea of the size and scope of the sound - with 24 mics feeding 8 tracks onto 35MM recording film, this was the sonic equivalent of Gone With the Wind
- "It’s not exactly the swinging Sinatra of myth and legend, but it does make for a stunning musical experience; the Chairman is in great voice, and he scales the explosive orchestral peaks of Riddle’s arrangements with the confidence of a mountain climber on methedrine. His versions of “Ol’ Man River” and “Soliloquy” are big improvements over his Columbia-era attempts, and “You’ll Never Walk Alone,” “My Heart Stood Still,” and “Lost in the Stars” are positively breathtaking."
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Folks, when we say that clean, good-sounding Sinatra records are hard to come by, we are not kidding. It took us five years to find enough copies of this title to do a proper shootout. In that time an awful lot of bad LPs passed through our hands: the monos (never heard a good one), the reissues (ditto), imports, and, most commonly, original stereo pressings in beat-to-death condition. People loved Sinatra and played his records until the grooves were gone.
This album ranks right up there with the best of the Reprise era musically; recorded in 1963, Sinatra was still in his prime.
For audiophiles, the amount of effort that went into the recording, effort that actually paid off, is what will impress the most about The Concert Sinatra. Fortunately for those of us who are still playing records forty-odd years on, this special project took place before the advent of the transistor, which means that all the Tubey Magic of the singer and his all-encompassing orchestra was captured on the “tape”.
Ah, but how much of that sound made it to the record itself, that’s always the rub with records isn’t it?
In this case, plenty. There may be a touch of smear (you can most easily hear it in the strings) but the sound is so RICH and Tubey Magical that you will barely be aware it. Your attention should instead be focused on the superb feel the man has for this music.
One thing to pay special attention to, especially if you have other copies of the album, is Sinatra’s voice which sounds natural from first note to last, even at its loudest. There is no strain or hardness. That, among many other things, is what separates the best copies from the also-rans (and, of course, all the reissues, which tend to have gritty, harsh vocals which quickly get unbearably edgy in the louder parts).
What the Best Sides of The Concert Sinatra Have to Offer Is Not Hard to Hear
- The biggest, most immediate staging in the largest acoustic space
- The most Tubey Magic, without which you have almost nothing. CDs give you clean and clear. Only the best vintage vinyl pressings offer the kind of Tubey Magic that was on the tapes in 1963
- Tight, note-like, rich, full-bodied bass, with the correct amount of weight down low
- Natural tonality in the midrange -- with all the instruments having the correct timbre
- Transparency and resolution, critical to hearing into the three-dimensional studio space
No doubt there's more but we hope that should do for now. Playing the record is the only way to hear all of the qualities we discuss above, and playing the best pressings against a pile of other copies under rigorously controlled conditions is the only way to find a pressing that sounds as good as this one does.
What We're Listening For on The Concert Sinatra
- Energy for starters. What could be more important than the life of the music?
- Then: presence and immediacy. The vocals aren't "back there" somewhere, lost in the mix. They're front and center where any recording engineer worth his salt would put them.
- The Big Sound comes next -- wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information -- fast, clear, sharp attacks, not the smear and thickness so common to these LPs.
- Tight punchy bass -- which ties in with good transient information, also the issue of frequency extension further down.
- Next: transparency -- the quality that allows you to hear deep into the soundfield, showing you the space and air around all the instruments.
- Extend the top and bottom and voila, you have The Real Thing -- an honest to goodness Hot Stamper.
Mint Minus Minus is about as quiet as any vintage pressing will play, and since only the right vintage pressings have any hope of sounding good on this album, that will most often be the playing condition of the copies we sell. (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.)
Those of you looking for quiet vinyl will have to settle for the sound of other pressings and Heavy Vinyl reissues, purchased elsewhere of course as we have no interest in selling records that don't have the vintage analog magic of these wonderful recordings.
If you want to make the trade-off between bad sound and quiet surfaces with whatever Heavy Vinyl pressing might be available, well, that's certainly your prerogative, but we can't imagine losing what's good about this music -- the size, the energy, the presence, the clarity, the weight -- just to hear it with less background noise.
- I Have Dreamed
- My Heart Stood Still
- Lost in the Stars
- Ol’ Man River
- You’ll Never Walk Alone
- This Nearly Was Mine
The Concert Sinatra is one of Frank Sinatra’s best records of the early ’60s, an album that successfully rearranges a selection of show tunes, primarily those composed by Richard Rodgers, for the concert stage… Sinatra is given the opportunity to demonstrate his full emotional range, from the melodrama of “Ol’ Man River” to the tender romanticisim of “Bewitched,” which helps make The Concert Sinatra one of his most fulfilling albums of the era.
This misleadingly titled 1963 collaboration with Nelson Riddle is not a live album, but rather a collection of eight numbers (half of them Rodgers and Hammerstein compositions) from popular stage musicals. It’s not exactly the swinging Sinatra of myth and legend, but it does make for a stunning musical experience; the Chairman is in great voice, and he scales the explosive orchestral peaks of Riddle’s arrangements with the confidence of a mountain climber on methedrine. His versions of “Ol’ Man River” and “Soliloquy” are big improvements over his Columbia-era attempts, and “You’ll Never Walk Alone,” “My Heart Stood Still,” and “Lost in the Stars” are positively breathtaking. — Dan Epstein