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Track List
01) Fanfare & Introduction
02) When You're Smiling / The Lady Is a Tramp
03) (I Left My Heart in) San Francisco
04) I'm Gonna Sit Right Down and Write Myself a
05) Volare (Nel Blu Dipinto di Blu) / An Evening
06) Goody Goody
07) Chicago
08) When Your Lover Has Gone
09) Monologue
10) You're Nobody 'til Somebody Loves You
11) Out of This World
12) What Kind of Fool Am I
13) She's Funny That Way / Hey There
14) Impressions of Singers / All the Way
15) “A Toast” / Movie Routine
16) I Can't Give You Anything but Love / Too Mar
17) Impressions of Actors
18) The Birth of the Blues
19) Me and My Shadow
20) Sam's Song / The Birth of Blues (reprise)
01) Fanfare & Introduction
02) When You're Smiling / The Lady Is a Tramp
03) (I Left My Heart in) San Francisco
04) I'm Gonna Sit Right Down and Write Myself a
05) Volare (Nel Blu Dipinto di Blu) / An Evening
06) Goody Goody
07) Chicago
08) When Your Lover Has Gone
09) Monologue
10) You're Nobody 'til Somebody Loves You
11) Out of This World
12) What Kind of Fool Am I
13) She's Funny That Way / Hey There
14) Impressions of Singers / All the Way
15) “A Toast” / Movie Routine
16) I Can't Give You Anything but Love / Too Mar
17) Impressions of Actors
18) The Birth of the Blues
19) Me and My Shadow
20) Sam's Song / The Birth of Blues (reprise)
0:58
4:07
3:19
1:50
2:26
1:35
2:15
2:39
1:34
2:29
3:52
3:18
3:49
5:49
6:38
18:26
3:29
2:29
3:05
4:34
Data Complete
40%
Total Rating
40%Total Rating
(0 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
1999
Lounge
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Jazz
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Medium
Album
0 copies
Album Description
Available in:
After kicking around for years on bootlegs and unofficial releases (notably Jazz Hour's two-CD version, At Villa Venice, Chicago Live 1962), this tape of a live performance from a notorious set of nightclub shows by Frank Sinatra, Dean Martin, and Sammy Davis, Jr., has been edited down to one 78-and-a-half-minute CD for release on producer Tina Sinatra's Artanis Entertainment Group. In the wake of the deaths of the three principals in the 1990s, much has been made of their comic, boozy Rat Pack of the late '50s and early '60s, and this is the definitive aural document of it. Martin opens with a series of song parodies and hits, followed by a relatively straight Sinatra set and a Davis performance that is interrupted after a couple of songs by his partners. The three then launch into a 45-minute musical comedy act including jokes, insults, impressions, and more songs. None of it sounds as spontaneous as these shows supposedly were (odds are Sammy Cahn wrote all the parody lyrics), nor all that funny, actually. Maybe it all sounds better if you're drunk, but if these guys weren't so famous, they'd be awful boors. The attraction to this aspect of each artist' s persona has always been campy, a sort of "so bad it's good" appeal. It's understandable that Tina Sinatra would want to capitalize on it and to enable the Sinatra family to profit from a recording that they own. But it is to be hoped that subsequent Artanis releases will take another tack.
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After kicking around for years on bootlegs and unofficial releases (notably Jazz Hour's two-CD version, At Villa Venice, Chicago Live 1962), this tape of a live performance from a notorious set of nightclub shows by Frank Sinatra, Dean Martin, and Sammy Davis, Jr., has been edited down to one 78-and-a-half-minute CD for release on producer Tina Sinatra's Artanis Entertainment Group. In the wake of the deaths of the three principals in the 1990s, much has been made of their comic, boozy Rat Pack of the late '50s and early '60s, and this is the definitive aural document of it. Martin opens with a series of song parodies and hits, followed by a relatively straight Sinatra set and a Davis performance that is interrupted after a couple of songs by his partners. The three then launch into a 45-minute musical comedy act including jokes, insults, impressions, and more songs. None of it sounds as spontaneous as these shows supposedly were (odds are Sammy Cahn wrote all the parody lyrics), nor all that funny, actually. Maybe it all sounds better if you're drunk, but if these guys weren't so famous, they'd be awful boors. The attraction to this aspect of each artist' s persona has always been campy, a sort of "so bad it's good" appeal. It's understandable that Tina Sinatra would want to capitalize on it and to enable the Sinatra family to profit from a recording that they own. But it is to be hoped that subsequent Artanis releases will take another tack.
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