DELUXE

EDI TI O N

Sinatra |

DUETS

When I sing, I believe. Im honest.

F rank S inatra

ow fitting it was that the last time Frank Sinatra sang

in a recording studio it would be in Studio A at the Capitol
Records Tower. In fact, Sinatra was the first artist to record in the
newly built Capitol studios in 1956. This was the now iconic building
where he had recorded so many of his classic concept albums such
as Come Fly With Me and Only The Lonely among others.
The idea of a duets project had been floating around Sinatraland for almost a decade before it
finally came to be. In the summer of 1986, Tina Sinatra, Robert Finkelstein (the Sinatra family
attorney), producer Richard Perry and Walter Yetinkoff (then head of CBS Records) had discussed
the idea of pairing Sinatra with various Columbia artists. Mickey Rudin, Sinatras longtime attorney,
suggested they also include Mo Ostin of Warner Brothers Records to expand the project to include
artists from the Warner label. Rudin wrote his client, Your partner in each of the duets should be
someone who would attract a new audience for your talents. Madonna, Bruce Springsteen and
Whitney Houston were mentioned as possible duet partners. Nothing ever materialized and Sinatra
& company soon forgot the idea.
The project would be revived several years later with an entirely different creative and artistic group.
Capitol Records jumped at the opportunity to bring one of their legendary artists back into the fold.

Sinatra |

DUETS

The ubiquitous Phil Ramone, dubbed the Pope of Pop, came aboard along with Hank Cattaneo,
Sinatras longtime production manager, to produce the album. So on an evening in June 1993, it was
back to Studio A, when Frank Sinatra finally began work on Duets.
The vocal sessions were all held at night because as Sinatra explained, I like recording late at night.
The later the better. My voice was not meant for daytime use.
Producer Hank Cattaneo recalled, The Duets project was quite a challengewe were all aware at
that time that getting Frank into the studio was not the easiest thing to do; it was in fact very
difficult. Though he was enthusiastic about the concept of doing a duets album, he didnt
understand the approach that we would take. Frank asked that I get involved with the project and I
co-produced the album with Phil Ramone. We finally got Frank into the studio and Capitol built an
isolation booth for him to sing in. The first night I went into the booth with him, but Frank was
very uncomfortable being isolated. I could see he was uncomfortable and it was not going to work
out, so I suggested we pass and try another time. Frank said, Fine, lets go have something to eat.

Sinatra |

DUETS

nine tunes recorded that night. The band never once asked to take a breakit was just a thrill for all
of us involved. After each set the orchestra stood up and applauded himit was a great success!
The first duet we mixed was The Lady Is A Tramp with Luther Vandross. Frank did ask me if Ella
Fitzgerald was approached to participate; he said it would be great to record with Ella. We tried but
unfortunately she was too ill by that time. Frank kept asking me on the road when he was going to
hear something. Luther had done such a fantastic job that I wanted Frank to hear the track. The next
time we were in Vegas, at the Desert Inn, I went up to his suite in mid-afternoon and played him a
cassette of the duet. I was watching him and Frank didnt show much response while he was
listening; he would just shake his head. When the tune ended he simply said, That was marvelous,
absolutely marvelous, and with that, tears started rolling down his eyes and mine too. To this day, I
still get chills thinking about that afternoon. Frank really enjoyed the success of the album; he
would call me and say, Can you believe this success at this time in my life. Its just wonderful!

The second night in the studio he was again not comfortable and we cut it short; so we went out to
dinner again at La Dolce Vita in Beverly Hills. After Frank left dinner, I suggested to Phil and
Capitol that we record Frank the way he had recorded in the past and make it like he was on stage. I
said lets do it like a performance as I knew this was our last shot.

Duets was an immediate hit and would sell over three million copies in the United States alone;
unprecedented for an artist of Sinatras age in a musical landscape that was dominated by rock and
rap. With its triple-platinum sales, a sequel, Duets II, was quickly planned. Combined, Duets I & II
sold millions of copies worldwide and became Sinatras two best selling albums at that time. A very
appropriate way for The Chairman Of The Board to conclude his recording career that had began
in the 1930sking of the hill, top of the heap.

Frank Sinatra was never happy being isolated in the studio and once said, Throughout the years on
the record dates Ive done Ive never been comfortable in a separate room away from the orchestra. I
cannot work that way when recording because I feel I need the support sound of the orchestra in the
room. I know Ive driven engineers crazy because they try to isolate me from the velocity of the band.

There certainly were other duets projects before but none of this magnitude. Sinatra himself had
decades earlier, in 1967, made one of his most successful singles with daughter Nancy on Somethin
Stupid. In the twenty years that have passed since Duets was released, artists of all genres would use
the Sinatra model as a template.

Cattaneo continued, I went to Franks house that afternoon and told him that we were going to try
it like a show. We got him into the studio, I got him his wireless microphone, a teleprompter, a pair
of monitors, and very quickly sat him right next to Bill Miller (Sinatras ever present pianist since
1951). It began real well, I called out Come Fly With Me and we just progressed on that note; we got

Upon winning a Grammy Award for Best Traditional Pop Vocal Performance for Duets II, Sinatra
commented, I share this marvelous honor with my duet partners, the fine musicians, and all the
technicians with whom we worked. I received my first Grammy in 1959 and I am delighted the
wonderful music weve championed through the years endures.

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DUETS

DUETS

In 2009, Bono wrote the following in a New York Times op-ed piece about working with Sinatra on
the Duets project:
...If you want to hear the least sentimental voice in the history of pop music finally crack, thoughshhhh
find the version of Franks ode to insomnia, One For My Baby (and One More For the Road), hidden
on Duets. Listen through to the end and you will hear the great man break as he truly sobs on the line,
Its a long, long, long road. I kid you not. Like Bob Dylans, Nina Simones, Pavarottis, Sinatras voice is
improved by age, by years spent fermenting in cracked and whiskeyed oak barrels. As a communicator,
hitting the notes is only part of the story, of course. Singers, more than other musicians, depend on what
they knowas opposed to what they dont want to know about the world. While there is a danger in
thisthe loss of navet, for instance, which holds its own certain powerinterpretive skills generally gain
in the course of a life well abused.

...Ive never been comfortable

in a separate room away from the
orchestra.

Want an example? Heres an example. Take two of the versions of Sinatra singing My Way. The first was
recorded in 1969in the later recording, Frank is 78. The Don Costa arrangement is the same, the words
and melody are exactly the same, but this time the song has become a heart-stopping, heartbreaking song
of defeat. The singers hubris is out the door. (This singer, i.e. me, is in a puddle.) The song has become
an apology. To what end? Duality, complexity. I was lucky to duet with a man who understood duality, who
had the talent to hear two opposing ideas in a single song, and the wisdom to know which side to reveal
at which moment. This is our moment. What do we hear?
What we have heardwithout exceptionfrom Frank Sinatra throughout all of his recordings is
honesty. And that, my friends, is all he had hoped for.

CHARLES PIGNONE
August 2013

Op-Ed Guest Columnist article

written by BONO, Courtesy of The New York Times.

All Rights Reserved. Reprinted by Permission.

Sinatra |

DUETS

hen Frank Sinatra last walked down the halls of the

famed Capitol Tower in Hollywood and entered Studio A to
record a new album for the labelas he did this year to make the
remarkable and historic Duets albumthe year was 1961. I was born
that year, and like others of my generation, it probably took me a
little while to fully appreciate the singular, swingin brilliance of
Ol Blue Eyes, a man who remains indisputably the greatest singer
of the American popular song.
Even before my tastes matured, Sinatra had his impact on me. Growing up in New Jersey only a few
miles from where the man first took to the stage at a tiny roadhouse called the Rustic Cabin, I
remember staring at those evocative, almost haunting images on the covers of my parents prized
Sinatra albums, searching them perhaps for any clues about what it meant to be a man. And I can still
recall overhearing my father play My Way over and over again for inspiration in trying times. Still,
like a lot of those who came of age amid all the excitement of the rock n rolldominated era, I only
gradually came to truly understand why Frank Sinatra always has been, and no doubt always will be,
The Chairman of the Board. The reason, finally, is simple. True talentgenius in Sinatras case
always rises to the top.

Sinatra |

The vital and often revelatory Duets collection finds Sinatra teaming up memorably with an
amazing, wide-ranging group of global vocal all-stars from Barbra Streisand to Bono, Tony Bennett
to Luther Vandross, Aretha Franklin to Charles Aznavour in order to create a series of distinctly
contemporary versions of some of the standards to which the man is most closely tied. Taking on
the daunting honor of sharing the spotlight with the singers singer, these duet partnerswho also

solo singer, initially at Columbia, then more famously at Capitol starting in the fifties, and later
beginning in the sixties at his own label, Reprise. Helping to define the very concept of what a
singer could do, and what an album could be, Sinatra went on to make ambitious, brilliantly
realized song cycles and extraordinary concept albums that found him collaborating closely with

In many cases, these artists demonstrated newfound range and ability as they did so.
Listen, for example, to U2s Bono seductively crooning Cole Porters Ive Got You Under My Skin

swoon, a jazz singer, a leading man, a friend of presidents. For much of the twentieth century, he
has remained The Main Event. If Frank Sinatra is a saloon singer, as hes so fond of saying, then

along with Sinatra. The result comes across as absolutely startling yet undeniably rightlike
happening upon a swingin summit meeting of the two coolest guys on the planet. Having Sinatra
and Streisand work their interpretive magic in tandem on the Gershwins Ive Got a Crush on You
or Ol Blue Eyes and Tony Bennett gracefully sharing Kander and Ebbs Theme from New York,
New York together after all these years of mutual admiration certainly sounds like musical history
of the first order. The Queen of Soul, Aretha Franklin, has never sounded more regal nor more
joyful than she does giddily duetting with Sinatra on Becaud and Sigmans What Now My Love.
Another distinctly rollicking affair is Rodgers and Harts The Lady Is a Tramp, on which Luther
Vandross reveals a whole new playful, jazzy dimension to his awesome vocal gifts. As honored as
these duet partners were to be asked to sing with Sinatra, they paid an equally fitting tribute to the
Chairman in the form of their own wonderful performances here. Marrying the vivid, state-of-theart recording technology of today with such timelessly classic compositions and arrangements,
Duetsco-produced wonderfully by Phil Ramone and Hank Cattaneoprovides potent proof that
in 1993 Frank Sinatra remains very much at the top of his game.
Of course, it is a game for which Frank Sinatra largely invented the rules. The ground covered by
so many contemporary singers in all sorts of genresincluding many of the mans duet partners
hereis to a great extent ground that was first broken by Sinatra. Apprenticing as a vocalist
within the world of the big bands under the guidance of legendary figures like Harry James and

DUETS

Tommy Dorsey, Sinatra ventures out on his own to become arguably the first modern superstar

many of the best writers and arrangers in the world. Along the way, he somehow found the time
to become a major film actor, a television star, a record executive, as well as arguably the most
enduring and popular live performer of all time. Hes been a pop star who made the bobby-soxers

include Natalie Cole, Gloria Estefan, Liza Minnelli, Anita Baker, Carly Simon and Julio Iglesias, as
well as Kenny G who makes an instrumental contributionhappily rose to the auspicious occasion.

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DUETS

the whole world is his saloon.

Characteristically, the Chairman himself remains anxious to share the glory. Throughout my career
I have had the wonderful fortune to work with the very bestgiants, says Sinatra. At either a live
performance or on a recording, the talent of the musician, lyricist, arranger, and conductor as well
as the vocalist, make up a team. If one part of that recipe isnt just right, the result doesnt work. I
was a baby when I started in this business and without the guidance, friendship and talents of
brilliant people like Nelson Riddle, Billy May, Jimmy Van Heusen, Harold Arlen, Johnny Mercer,
the Gershwins, Cy Coleman, Don Costa, Jule Styne, Gordon Jenkins, Sammy Cahn; the musicians I
work with today, as well as my own determination, I would not have had a careerI wouldnt. I am
the luckiest bum in the world.
In truth, the lucky ones are the rest of us to whom Sinatra has given so much breathtaking music
over the years, and to whom he now presents Duets. Though he continues to tour tirelessly to soldout crowds around the world to this day, this is a man who clearly didnt need to record even one
more song in order to ensure his preeminent place in our musical history. Fortunately, however, the
Chairman was prevailed upon by the powers that be at Capitol as well as his producers here to return
again to the studio, and the happy result is Duets, his first new album in almost a decade and a
unique opportunity to hear a true musical master at work in an exciting and different context.

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DUETS

DUETS

We see more and more young faces in the audience and they react wonderfully to the lyrics and the

few approaches, what really worked was taking the simplest method, says Cattaneo. We treated the

music, says Sinatra. And they know the songsone or two notes and they smile in recognition as
well as appreciation. For the most part we do standards on the new album because those are the tunes
that I respect and grew up with. Hearing the final cuts of these great orchestrations and lyrics,
together with the talented duet partners on this album made me beam with pride and appreciation.

sessions like a live performance. Then Francis was in an environment he was very comfortable with,
and the band was too. And then things really cooked. We got nine great takes in one night.
According to Sinatra, I have always recorded in studios surrounded by the orchestra. It has been the

Each artist brought their own individual style to the cut and together we shared the absolute joy of
vocalizing and interpreting some of the greatest music ever written backed by the best musicians in
the business today.

way I feel most comfortable and could relate best to the joys of the music and the recording process.
For me, this offers the vocalist the ability to be much more involved musically than the isolation and
detachment of the vocal booth. Recording with an orchestra is more akin to a live performanceand

Though the recording came together relatively quickly, the success of the Duets project has been
years in the planning. Frank Sinatra has wanted to record an album of duets for some time. One year
ago, Charles Koppelman approached Eliot Weisman, Sinatras personal manager, to see if Sinatra had
any interest in returning to the recording studio. Weisman expanded on Koppelmans inquiry and
discussed the duets concept with Sinatra. For Koppelman, the prospect of Frank Sinatra returning
to the studio, especially at Capitol, would be a major recording event.
Phil Ramonethe famed producer well-known for his work behind the boards with Paul Simon,
Billy Joel, Barbra Streisand, and countless othersrecalls, During one of the Sinatra recording
sessions, Franks question to me at one point was, Why should I want to remake the same record
that I made twenty-five or thirty years ago? I said to him that its like watching Laurence Olivier in
Shakespeare after thirty years. My goal was to capture Frank Sinatra at this time in his life when his
readings are slightly different. Theres a different attitude there. I said, You have it and we need to
hear it. I know youve put that stamp there before, but its so important to know it now.

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Sinatra |

this is the format in which I am most comfortable. There is enormous personal interplay between
vocalist and musician that, for me, is necessary to achieve the proper interpretation of a song.
Sinatra walks into a room and the whole thing changeseverything changes, says Ramone of the
sessions. Theres a new level of excitement, a need to groove and play along with him. The first time
you open a mic and that voice comes down the line is amazing. I watch the faces of the musicians,
because they can hear the voice in the headphones, and they just change. No matter how prepared
you are, it changes you.
When the Chairman walked into Studio A at Capitol to record Duets, its entrance hallway was
lined with vintage photos of Sinatra and old friends like Nat King Cole and Dean Martin. He was
returning to the site of some of his greatest triumphs: In the Wee Small Hours of the Morning, Songs
for Swingin Lovers, Only the Lonely, and Come Dance with Me, to name just a few.

We all have so much admiration for this guy, says co-producer Hank Cattaneo, a distinguished
recording veteran whos toured with Sinatra as his production manager for nearly a decade. As far
as were concerned, Frank Sinatra is a national treasure.

In the 50s at Capitol, Nelson Riddle and I, as well as Billy May, Gordon Jenkins, and a host of
talented technicians and musicians, wanted to record groups of songs that set a mood, Sinatra
recalls. The people at Capitol supported this idea and it proved successful both musically and with
the public. We had as many as fifteen songs on an albumthere had to be a lot to create and complete
a moodwe recorded wonderful, soulful, tender albums; as well as hot, swinging ones.

For all the changes in technology of the last few decades, Sinatra recorded his vocals for the Duets
album in much the same way that he did at the Capitol Tower back in the fifties. After trying a

Enter the Capitol studio again. Sinatra encountered many familiar faces in the tremendous orchestra
some members of his fine touring band, many musicians who played on the original

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recordings of the Duets material, as well as the cream-of-the-crop of current session players, all
under the musical direction of Pat Williams, a distinguished and award-winning composer, arranger,

and a veteran session great (his first Sinatra recording was Nancy Sinatras These Boots Are
Made for Walking). Everyone was on the edge of their chairs. Berghofer recalls, A lot of the
things that these seasoned studio pros do are boring. This certainly wasnt. This was a dream band
that sounded fantastic. Mr. Sinatra commented on how good it sounded. And to me Frank Sinatra is

When I first walked into the studio again I was a little nervous, apprehensive, says Bill Miller,
Sinatras pianist since 1951, whos been called Mister Economy because of his Count Basie-like sense

just the best singer there is. Ive been a jazz musician all of my life, played with many wonderful jazz
players. And this man has the best timing and phrasing of any of em. And theyll all tell you that.

of tasteful restraint at the keyboards. We all were nervous, I think, until we really got down to
business. It took me about a half an hour to realize that it was like we were starting all over again. It
seemed that way to me.

It was a very emotional session, recalls Ron Anthony, Sinatras touring guitarist. He was really
digging in, giving it everything he had.

Producing Sinatra is the ultimate gig because you know hes a perfectionist and that the name of the
game is to get it as quickly as possible because thats the way he works, says Ramone. This is not a
nine-or ten-take guy. It just isnt. Youre talking one or two performances. What he did was not
dissimilar to what he did in the fifties. Theres orchestra preparation, then he walks in and he sings.
We had to roll two machines just in case. Theres no going back, there never is. Hes like a prize
fighter as hes warming up. He gets there early and gets to work. Hes the consummate pro. Theres
a lot of love on this project. A lot of people who care. From the engineers to the assistant to the
security guards, everybody was up and wanting this to happen. And it did. The tape doesnt lie. You
cant fake that moment. You can fake a lot of things. But you cant fake that moment.
Gregg Field, Sinatras young touring drummer in recent years, got quite a shock early on at Duets
sessions. We took our first pass at a song, he remembers, and Im completely expecting to do
another one, figuring out how Im going to change this and alter that. Then all of a sudden I hear
him say, Next tune. In this day and age, thats just unheard of. Everybodys so concerned with being
meticulous that the spontaneity gets lost. This was as spontaneous as you can get.

DUETS

The atmosphere was one of urgency, says Chuck Berghofer, Sinatras rhythm bassist on the road

and conductor. According to all parties involved, everybody in the room was acutely aware that this
was much more than just another session.

Historically a man of few takes, Sinatra proved once again that hes not the type to waste time in
the studio.

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Sinatra |

DUETS

The treat was at the end of each tune when all the musicians applauded, recalls Cattaneo. They
went absolutely wild, then sat right down for us so we could get back to work. And then Frank
would say, Lets go, next song. Next take.
That general mood of spontaneity and excitement definitely carried over to the duet partners. How
do you pick a duet partner for Frank Sinatra? says Ramone. I guess you could say that the line
forms on the left. I never heard of anyone not wanting to be on this record. Every artist had a very
strong viewpoint about wanting to be on this record, and that desire made it the easiest of all things
to do. It was amazing to see folks like Aretha Franklin, Natalie Cole and Luther Vandross walk into
the studio and be so excited. Everyone had a very specific love for him. Its very childlike. Its more
than charming. Its absolute adoration and respect.
To get to sing with Frank Sinatra is the biggest thrill in the world, says Tony Bennett, speaking no
doubt also for all the other duet partners.
Theres no doubt about it; the duet partners really rose to the occasion, says Cattaneo. Theyre
such a talented group of people. For them to sing with Francis was an experience. They enjoyed it
and we enjoyed it. And he marveled every time a track was laid down.

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DUETS

Phil Ramone believes there are many pleasant surprises in store for a lot of people on the Duets
album. The sound of peoples voices together who are not particularly known for singing in a
certain style is definitely happening on this record. he says. Those who love Luther or Gloria are
going to be surprised at the way they ascend to their own styles that are totally different from some
of their pop records. When you marry two things together, you musically become something else
than whats expected. Everybody weve worked with for this project brought something to this
record I dont think youre going to see anywhere else.
The classic songs featured on Duets are still the staples of a Frank Sinatra concert. For Sinatra, at the
heart of everything, there is always the song.
In live performances we are currently doing tunes that are asked for by audiences over and over,
says Sinatra, and we decided to include some of these numbers on the new album. Audiences, as
well as performers, enjoy this classic form of musicstandards by great lyricists and arrangers that
have withstood the test of time. I have great respect for a song and the creative processfrom the
writing to the arrangement to the performance. I like to paint, and in some ways the performance of
a songlive or recordedis similar: the completion of a beautiful piece of art.
Duets is indeed a beautiful piece of art, a masterpiece that reminds us of what makes Sinatra one of
a kind. In terms of audience, I think were going to cross a lot of lines with this record, says
Ramone. And thats the name of the game. I want this to be a big record, not for the sake of greed
but for the sake of information. I want my youngest son and his friends to know what Frank Sinatra
means, in the same way I had to introduce him to The Beatles. I want a generation of people to have
something in their house thats not going to come again.

DUETS

miraculous, utterly heartbreaking performanceone not unlike the inspired version that closes the
Duets album. Listening to Sinatra sing the song so sublimely that night, I couldnt help wondering
how one man could so completely bridge any generation gap. In retrospect, the answer to how he
did it should have been entirely obvious. He did it his way, of course. And now with Duets, Frank
Sinatra has done it his way, again.

DAVID WILD
Senior Writer / Rolling Stone

September 7, 1993

...this man has the best timing and

phrasing of any of em. And theyll all
tell you that.

Last year, my father and I finally got to see a Frank Sinatra show together. Ill never forget the
feeling when it came time in the show for the saloon selection for the evening, and Sinatra began to
sing one of my favorite songs of all time, Harold Arlen and Johnny Mercers One for My Baby
(And One More for the Road), performed in the classic Nelson Riddle arrangement. It was a

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DUETS

1. THE LADY IS A TRAMP

5. COME RAIN OR COME SHINE

Duet with Luther Vandross

Music by Richard Rodgers
Lyric by Lorenz Hart
Arranged by: Bill Byers

Luther Vandross appears courtesy of Epic Records

Duet with Gloria Estefan

Music by Harold Arlen
Lyric by Johnny Mercer
Arranged by Don Costa

Gloria Estefan appears courtesy of Epic Records

2. WHAT NOW MY LOVE

6. NEW YORK, NEW YORK

Duet with Aretha Franklin

Music by Gilbert Becaud
English Lyric by Carl Sigman
Original French Lyric by Pierre Delanoe
Arranged by Don Costa
Introduction Arranged by Patrick Williams

Aretha Franklin appears courtesy of Arista Records

3. IVE GOT A CRUSH ON YOU

Duet with Barbra Streisand

Produced by David Foster and Phil Ramone
Executive producer: Jay Landers
Music by George Gershwin
Lyric by Ira Gershwin
This Arrangement by Patrick Williams
Original Arrangement by Nelson Riddle

Barbra Streisand appears courtesy of Columbia Records

4. SUMMER WIND

Duet with Julio Iglesias

Produced by Phil Ramone
and Albert Hammond
Music by Henry Mayer
English Lyric by Johnny Mercer
Original German Lyric by Hans Bradtke
Arranged by Nelson Riddle

Duet with Tony Bennett

Music by John Kander
Lyric by Fred Ebb
Arranged by Don Costa

Tony Bennett appears courtesy of Columbia Records

7. THEY CANT TAKE THAT

AWAY FROM ME
Duet with Natalie Cole

Produced by Phil Ramone and Andre Fischer

Music by George Gershwin
Lyric by Ira Gershwin
This Arrangement by Patrick Williams
Original Arrangement by Neal Hefti
Natalie Cole appears courtesy of Elektra Entertainment

8. YOU MAKE ME FEEL SO YOUNG

Duet with Charles Aznavour

Music by Josef Myrow
Lyric by Mack Gordon
Arranged by Quincy Jones

9. GUESS ILL HANG MY TEARS

13. ALL THE WAY / ONE FOR MY BABY

OUT TO DRY / IN THE WEE

SMALL HOURS OF THE MORNING
Duet with Carly Simon
Guess Ill Hang My Tears Out To Dry
Music by Jule Styne
Lyric by Sammy Cahn
Arranged by Nelson Riddle
...Wee Small Hours... Music by David Mann
Lyric by Bob Hilliard

Carly Simon appears courtesy of Arista Records

10. IVE GOT THE WORLD

ON A STRING
Duet with Liza Minnelli
Music by Harold Arlen
Lyric by Ted Koehler
Arranged by Nelson Riddle

Liza Minnelli appears courtesy of Columbia Records

11. WITCHCRAFT

Duet with Anita Baker

Anitas vocals produced by Tommy LiPuma
Music by Cy Coleman
Lyric by Carolyn Leigh
Arranged by Nelson Riddle
Introduction Arranged by Patrick Williams

Anita Baker appears courtesy of Elektra Entertainment

12. IVE GOT YOU UNDER MY SKIN

Duet with Bono

Music and Lyric by Cole Porter
Arranged by Nelson Riddle

DUETS

(AND ONE MORE FOR THE ROAD)

Duet with Kenny G
All The Way Music by James Van Heusen
Lyric by Sammy Cahn
This Arrangement by Patrick Williams
Original Arrangement by Nelson Riddle
One For My Baby Music by Harold Arlen
Lyric by Johnny Mercer
Arranged by Nelson Riddle
Kenny G appears courtesy of Arista Records

BONUS TRACKS

14. MY WAY

Duet with Luciano Pavarotti

Music by Jacques Revaux & Claude Franois
English Lyric by Paul Anka
Original French Lyric by Claude Franois
& Gilles Thibault
Arranged by Don Costa

Luciano Pavarotti appears courtesy of

Decca Record Company Limited

15. ONE FOR MY BABY

(AND ONE MORE FOR THE ROAD)*

Duet with Tom Scott
Music by Harold Arlen
Lyric by Johnny Mercer
Arranged by Nelson Riddle
Tom Scott appears courtesy of GRP Records

*previously unreleased

Bono appears courtesy of Universal Island Records Limited

Julio Iglesias appears courtesy of Sony Music

Entertainment (Holland) B.V.

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DUETS

MUSICAL DIRECTOR AND CONDUCTOR: Patrick Williams

Heart Music; New York Jill DellAbate for DellAbate Productions

Clara Cattaneo, Stefan Cattaneo, Buddy Childers, Anna Cruz at Travel 57, Debbi Datz-Pyle, David at
Design FX, Martin Derek, Alan Ellsworth, Brian Erlich, Frank Filipetti, Michael Frondelli, Lana Gates,
The Germano Family, Jim Giddens, Lolly Grodner, Jay Healy, Lisa Jurkowski, Doug Katsaros, Bunny
Koppleman, Gerri Kyhill, LSC Limosine, Ron Maida, Joe Malin, Paul Malin, Mazzola, Mike Medavoy,
Brian Monahan, Chip Mullaney, Andy Musci, Altel Systems, Larry Musci, Charlie Paakkari, Joe Pavone,
Lee Ann Paynter, Michael Powell, Karen Ramone, Sue Raney, Joseph B. Richardson, Bill Rogers, Jayne
Rubin, Paula Salvatore, Maggie Sikkens, Frank Sinatra Jr., Delbi Smart, Mike Smith, Joseph Soldo, Larry
Solters, Ted Spruill, Billy Stritch, Sylvia at Mark Allen Travel, Stephanie Tavares, Denny Thomas, Scott
Turner, Lisa Vega, Susan Zekofsky, Patti Zimmitti

RECORDED AT Capitol Studios (Hollywood), Conway Studios (L.A.), Crescent Moon Studios (Miami),

SPECIAL THANKS TO ALASTAIR SIBBALD AND THE CRL TEAM: Adam Philip, Derek Warner, Fawad

RECORDED AND MIXED BY Al Schmitt

ADDITIONAL ENGINEERS: Carlos Alvarez, Paul Barrett, Niko Bolas, Bill Bookheim, Paul Cartledge,

Don Hahn, Steve Harrison, Roy Hendrickson, Steve King, Darren Klein, Bruce Nazarian, Charlie Paakkari,
Dave Reitzas, John Richards, Marco Saboia, Eric Schilling, Gerard Smereck, Ron Taylor, Larry Walsh
PRODUCTION COORDINATORS: Los Angeles Susanne Marie Edgren and Chie Masumoto for Humble

The Hit Factory (N.Y.C.), Impressao Digital Studios (Rio de Janeiro), Joe & Co. (Music Ltd., London),
Signet Sound (L.A.), Soundtrack Studios (Boston), S.T.S. (Dublin), Todd-AO Studios (Studio City), Vanguard
Studios (Detroit), Westlake Studios (L.A.)
ASSISTANT ENGINEERS: Andy Blakelock, Bryan Carrigan, Ian Craigie, Peter Doell, Carl Glanville, Robert

Hart, Ben Keys, Sebastian Krys, Willie Mannion, David Marquette, Mike Mazzetti, Greg Mull, Neil Perry,
Gustavo Pinto, Andy Smith, Brian Soucy, Rick Southern, Jay Sylvester, Angel Vidal, Tom Young
MIXED AT Hit Factory N.Y.C. | MIX ASSISTANT: Carl Glanville

MASTERED BY Ted Jensen at Sterling Sound, N.Y.C., using Sony Classical 20-bit technology, and Doug Sax

at The Mastering Lab, L.A.

TECHNICAL ASSISTANTS: Jeff Minnich, Hanson Hsu, Mark Onks, Bob Schwall, Richie Boisits
ASSISTANT TO MR. RAMONE: Claudia Koal | MR. SINATRAS PIANIST: Bill Miller
ORCHESTRA MANAGER: Eddie Karam | MUSIC PREPARATION: Terry Woodson and Daniel Perito
ADDITIONAL MUSIC PERFORMED BY Charles Pollard
MR. SINATRA WOULD LIKE TO THANK: Barbara Sinatra, Sinatra Enterprises, Scoop Marketing
MUSICIANS FOR ALL SONGS EXCEPT IVE GOT A CRUSH ON YOU

SAXOPHONES/WOODWINDS: Tom Scott, Lanny Morgan, Dick Mitchell, Gene Cipriano, Jack Nimitz,

Bob Cooper

TRUMPETS: Frank Szabo, Bob ODonnell Jr., Charlie Davis, Conte Candoli, Oscar Brashear, Rick Baptist,

Warren Luening, Jerry Hey, Gary Grant

TROMBONES: Dick Nash, George Bohanon, Dick Hyde, George Roberts, Tommy Johnson, Lew McCreary,

Charlie Loper

FRENCH HORNS: Jim Thatcher, Brian OConnor, Steven Becknell

PIANO: Bill Miller
ADDITIONAL KEYBOARD: Michael Melvoin (Ive Got A Crush On You)
RHYTHM BASS: Chuck Berghofer
GUITAR: Ron Anthony
DRUMS: Gregg Field
PERCUSSION: Emil Richards, Jerry Williams, Joe Porcaro

MUSICIANS FOR IVE GOT A CRUSH ON YOU

VIOLINS: Gerry Vinci, Ralph Morrison, Ann Koons, Rene Mandel, Patricia Aiken, Patricia Johnson,

ALL THE MUSICIANS WHO GAVE OF THEIR TALENT, TIME AND EFFORT
IN THE MAKING OF THIS ALBUM.
SPECIAL THANKS: Terri Santisi, Tommy Mottola, Clive Davis, Bob Krasnow, Alan Grubman, Don Ienner,

Dave Glew, Gary Gersh, Jay Landers, Marty Erlichman, Paul McGuinness, Emilio Estefan, Shep Gordon,
Sherwin Bash, Dan Cleary, Dick Alen, Arlene Rothberg, Dennis Turner, Levon Sayon, David Simon, Don
Friedman, Joe Brenner, James Goodkind, Rebel Roy Steiner
THE PRODUCERS WOULD LIKE TO THANK: Audio Affects, Curt Anderson, Brian Avnet, Tom Bhler,

Alan and Marilyn Bergman, Susan Boyd, Brian Brown, Steve Burdick, Vinnie Carbone, Betty Carpenter,

20

Nackvi and Richard Clemow, for their enthusiastic support during the recording and mixing sessions

Rhythm Bass: Chuck Berghofer; Guitar: Ron Anthony; Drums: Gregg Field
Piano: Michael Melvoin; Bass: Dave Stone; Guitar: Paul Viapiano; Drums: Jeff Hamilton

DUETS

Harold Wolf, Harris Goldman, Michael Ferril, Jennifer Woodward, Irma Neumann, Karen Jones, Ken
Yerke, Diane Halprin, Bette Byers, Joe Goodman, Bob Sanov, Don Palmer, Jay Rosen, Michael Markman,
Assa Drori, Dixie Blackstone, Miran Kojian, Haim Strum, Rafael Rismik, Mari Botnick, Kwi-hee Shamban,
Joy Lyle, Gordon Marron, Brian Leonard, Murray Adler
HARP: Dorothy Remsen, Gayle Levant
VIOLAS: Ken Burward-Hoy, Carole Mukogawa, Denyse Buffum, Rick Gerding, Robin Ross, Jim Ross,

Harry Shirinian Cynthia Morrow, Alan DeVaritch

CELLI: Gloria Strassner, Anne Karam, Earl Madison, Michael Mathews, Armen Ksadjikian, Nancy Stein-

Ross, Christina Soule

BASSES: Arni Egilsson, Ann Atkinson, Buell Neidlinger, Margaret Storer

21

Sinatra |

DUETS

II

ven now he watches the dawn. He has broken more

dawns than most mortals. Those hours belong to him. Look at the
colors! he will say, even now, pointing a bleary friend toward the
horizon. What kind of blue would you call that? he will ask, full
of wonder. He is a poet and this is what a poet does. He sleeps only
when he is ready, knowing he will preside over dawns for as long as
dawns will break. That is his legacy.
The nights are also his, always were. He teaches at night. He is there for anyone who wants to learn
life. Onceand only because somebody askedhe said, I think my real ambition is to pass on to
others what I know. You know it took me a long, long time to learn what I now know, and I dont
want that to die with me. Id like to pass that on to younger people. What he knows he has sung,
and what he has sung is wisdom, the hard and timeless stuff that gets you through the night, that
which no book contains. (For instance, it is only through his work that men understand women
and women understand men, if but for the duration of one song at a time.) He remains young in
order to teach us old lessons, lessons-learned-rough. He fights on the side of youth, availing
himself to each new generation, there when we need him, there when we are ready for him. He is
always ready for us. For seven decades of singing, of learning, of teaching, he has been ready for us.
We are his legacy.

23

Sinatra |

DUETS

II

Further proof, new evidence, these duets, more duets: songs and alliances, worlds not colliding so
much as embracing, there but for the grace of Sinatra. Because he is not presumptuous, he wondered
at first why anyone would want to sing his songs with him. Because humanity is presumptuous, we
know well that we have all sung with him. (Somewhere, at this moment, it is happening again.) Last
summer, in Dodger Stadium, with the world watching, three tenorsthe gods of all tenorssang

DUETS

II

If Part One was event and spectacle, Part Two is document and chronicle. The pairings bode
sentiment, importance, nice surprise: Francis, lets fly! beckons old friend Antonio Carlos Jobim,
down from the mountain, back at the lunar launchpad for Fly Me to the Moon. (Exactly twentyfive years ago, Neil Armstrong carried the tune aboard Apollo XI, blaring Sinatra in space. Said the
singer shortly thereafter: I watched three men fly to the moon and imagine their surprise when they

My Way their way, directly to one man, the man, who sat down-front, his way, listening, eyes
glistening. Afterward, they blew him kisses. He stood and the world roared.

found out I was there two nights ahead of them!) There are other unions and reunions, swinging
fierce or murmuring lowfine and disparate company kept with Willie Nelson, Stevie Wonder,
Gladys Knight, Linda Ronstadt, Lorrie Morgan, Jimmy Buffett. With elegant Lena Horne, fragile

Rock and roll people love Frank Sinatra, said Bono, on another night, because Frank Sinatra has
got what we wantswagger and attitude. This was Grammy night at Radio City, a palace only one

winter love is hereafter made eternal (Embraceable You). With Chrissie Hynde, the dice are blown
with formidable sass (Luck Be a Lady). In Chicago, father meets son, miraculously, for sweet home

man can render intimate as a saloon. (Such is the power of swagger.) Bono, a duet partner of the
previous season, shared further that which was under his skin, explaining to contemporaries the
importance of being Frank (This singer who makes other men poets, boxing clever with every word,
talking like America...). Bono presented the rare Legend Award to the Legend himself, who really
wanted no other honor that night but to sing. You mean I dont have to sing? he said backstage.
Cant I do just one for them? Here was Zeus, fresh from Olympus, offering to sing for his supper,
as always preferring to give than to get. Humbled, he simply spoke: I hope we do this again from
time to time, he told all present out front. That I get to see you and get to know some of you is
important to me, very important. Also he said, Im not leaving you yet.

posterity (My Kind of Town). Steve and Eydie, Lawrence and Gorme, pave a stunning, skitting
path fit only for one seasoned traveler, whom they know as few others do (Where or When). Latin
boy-wonders Jon Secada and Luis Miguel get lessons in manhood, in separate helpings, by dint of the
Hoboken boy-wonder emeritus (The Best Is Yet to Come and Come Fly with Me). And then
there is Neil Diamond sharing the heroic drama of American dreams, never sung more poignantly or
with greater resonance than right here, right now (The House I Live In).

He has never left, not really, not for long. And now the end is nowhere near. Born December 12, 1915,
Francis Albert Sinatra has work to do. Because a Chairmans work is never done. He must be Frank
because no one else can be, will be. Forever he has played solitaire, in public, onstage, in studios.
Nowadays he hosts duets, these duets, and his guests approach timidly at first, but are at once
welcomed warmly. Still, they jitter: Phil, hes never heard of me, said Luther Vandross last time
around, incredulous upon getting the call. Of course he has, said Phil Ramone, Duets producer.
He listens, he knows. It is said that Tony Bennett giggled before his turn at bat, and Aretha
Franklin swooned. This time, Patti LaBelle asked for a glass of wine to calm herself, assured that FS
would approve. Thus, history mixes the second time around, and new and different flavors emerge.

24

Sinatra |

In from the desert, in from the road, he is back in the studio, back in the music, down deep inside,
deeper than ever, flexing the reed, telling the truth, wiser than ever. The reed feels alright tonight,
he will say. Then: Shoot! he will say, whereupon his friends, the musicians, begin at once, as in
immediately. You do not wait for him and he does wait for you and that is how business is done. You
got it? he says afterward, not a question really, for he is famously a man of few takes, especially
when one take will suffice to make history. Further, he does not go back to fix a note here, a phrase
there: it is, as they say, all or nothing at all. For him, a song is not a sum of parts, but a living whole.
And a life must be full, like his own, not fragmented, never isolated. Whats next? he will then say,
not a question really.
For every rule he makes, he breaks ten, even now. Back in Hollywood, back at Capitol, Studios A
and B, where it happened then, and it happens again now, right now, he stands firm, smack in the

25

Sinatra |

DUETS

II

middle of his players, so that he feels them just as they feel him, begetting raucous energy unheard
in this segregated age of pristine production. He does not hide behind a glass booth, for he is not
supposed to be contained. He is to be experienced, up close. He sets his own tempo, tapping trigger
finger against thigh, in full view of his conductor, Pat Williams, who conducts and cooks
accordingly. In this fashion, the night moves briskly and life lessons are recorded, as put forth by the
prizefighter who holds all the secrets. How was that? he will say, knowing exactly what he has
wrought, not waiting for an answer. Ol blue orbs twinkling, heart soaring in kind, he pronounces,
If you dont like that, you dont like ice cream!
Then: Next! And another generation gets smarter.

BILL ZEHME
Senior Writer / Esquire
October 5, 1994

Sinatra walks into a room and

the whole thing changes...

26

DUETS

Sinatra |

II

1. FOR ONCE IN MY LIFE

5. MOONLIGHT IN VERMONT

9. WHERE OR WHEN

13. MY KIND OF TOWN

Duet with Gladys Knight

and Stevie Wonder
Piano, Harmonica and Vocal Intro Ad Lib
by Stevie Wonder
Music by Orlando Murden
Lyric by Ronald Miller
Arranged by Don Costa

Gladys Knight appears courtesy of MCA Records

Stevie Wonder appears courtesy of Motown Records

2. COME FLY WITH ME

Duet with Luis Miguel

Vocal Produced by Jose Quintana
and Kiko Cibrian
Music by James Van Heusen
Lyric by Sammy Cahn
Arranged by Billy May

Luis Miguel appears courtesy of Warner Music Mexico

3. BEWITCHED

Duet with Patti LaBelle

Music by Richard Rodgers
Lyric by Lorenz Hart
This Arrangement by Patrick Williams
Original Arrangement by Nelson Riddle

Patti LaBelle appears courtesy of MCA Records

4. THE BEST IS YET TO COME

Duet with Jon Secada

Music by Cy Coleman
Lyric by Carolyn Leigh
Arranged by Quincy Jones

Jon Secada appears courtesy of Capitol Records, LLC

Duet with Linda Ronstadt

Music by Karl Suessdorf
Lyric by John Blackburn
This Arrangement by Patrick Williams
Original Arrangement by Billy May

Linda Ronstadt appears courtesy of Elektra Records

6. FLY ME TO THE MOON

Duet with Antonio Carlos Jobim

Intro performed by Antonio Carlos Jobim,
Paolo Jobim, Juanito Marquez, Edwin Bonilla,
Jorge Casas and Ed Calle
Background Vocals: Rita Quintero,
Jorge Noriega
Music & Lyric by Bart Howard
Arranged by Quincy Jones and Patrick Williams

Antonio Carlos Jobim appears courtesy of EMI Brazil

7. LUCK BE A LADY

Duet with Chrissie Hynde

Trumpet Solo: Arturo Sandoval
Music & Lyric by Frank Loesser
Arranged by Billy May

Chrissie Hynde appears courtesy of Sire Records

Arturo Sandoval appears courtesy of GRP Records

8. A FOGGY DAY

Duet with Willie Nelson

Music by George Gershwin
Lyric by Ira Gershwin
Arranged by Johnny Mandel

Willie Nelson appears courtesy of Capitol Records, LLC

Duet with Steve Lawrence

and Eydie Gorme
Piano: Terry Trotter
Additional Keyboards: Clay Ostwald
Music by Richard Rodgers
Lyric by Lorenz Hart
Arranged by Bill Byers

10. EMBRACEABLE YOU

Duet with Lena Horne

Music by George Gershwin
Lyric by Ira Gershwin
Arranged by Nelson Riddle

Duet with Frank Sinatra,

Music by James Van Heusen
Lyric by Sammy Cahn
Arranged by Nelson Riddle

(THATS AMERICA TO ME)

Duet with Neil Diamond
Music by Earl Robinson
Lyric by Lewis Allen
Arranged by Don Costa
Vocal Arrangement by Tom Hensley
and Alan Lindgren

BONUS TRACKS

Jimmy Buffett appears courtesy of MCA Records

Jr.

Neil Diamond appears courtesy of Columbia Records

Lena Horne appears courtesy of Blue Note Records

12. HOW DO YOU KEEP THE MUSIC

II

14. THE HOUSE I LIVE IN

11. MACK THE KNIFE

Duet with Jimmy Buffett
Music by Kurt Weill
English Lyric by Marc Blitzstein
Original German Lyric by Bertolt Brecht
Arranged by Frank Foster and Patrick Williams

DUETS

15. MY WAY

Duet with Willie Nelson

Music by Jacques Revaux & Claude Franois
English Lyric by Paul Anka
Original French Lyric by Claude Franois
& Gilles Thibault
Arranged by Don Costa

Willie Nelson appears courtesy of Capitol Records, LLC

PLAYING? /MY FUNNY VALENTINE
Duet with Lorrie Morgan
16. EMBRACEABLE YOU*
How Do You Keep The Music Playing?

Duet with Tanya Tucker

Music by Michel Legrand

Lyric by Alan & Marilyn Bergman
My Funny Valentine
Music by Richard Rodgers
Lyric by Lorenz Hart
This Arrangement by Patrick Williams
Original Arrangement by Nelson Riddle

Lorrie Morgan appears courtesy of BNA Records

Music by George Gershwin

Lyric by Ira Gershwin
Arranged by Nelson Riddle
Tanya Tucker appears courtesy of Capitol Records, LLC

17. FLY ME TO THE MOON

Duet with George Strait

Music & Lyric by Bart Howard
Arranged by Quincy Jones and Patrick Williams

George Strait appears courtesy of MCA Records

28

*previously unreleased

29

Sinatra |

DUETS

MUSICAL DIRECTOR AND CONDUCTOR: Patrick Williams

ENGINEERING (LOS ANGELES): Al Schmitt
ENGINEERING (NEW YORK): Ed Rak
MIXED BY Eric Schilling
ADDITIONAL ENGINEERS: John Aquilino, Bernie Becker, Paul Cartledge, Bill Cavanaugh, Michael

Couzzi, T-Bone Demmar, Charles Dye, Geraldo Fernandes de Souza, Jr., Carl Glanville, Larry Greenhill,
Don Hahn, R.R. Harlan, Jay Healy, George Massenburg, Paul McKenna, Csabe Petocz, Charlie Paakkari,
John Patterson, Scott Perry, Dave Reitzas, Eric Schilling, Rick Southern, Ted Stein, Ron Taylor, Larry
Walsh, Frank Wolf, Tom Young
PRODUCTION COORDINATORS: New York Jill DellAbate; Los Angeles Susanne Marie Edgren and

Chie Masumoto for Humbleheart Music

RECORDED AT Capitol Studios (Hollywood), Clinton Recording Studio (NYC), Crescent Moon Studios

(Miami), The Hit Factory (NYC), Right Track Studios (NYC), The Shire (Bedford, NY), Pedernales Studios
(Austin), The Site Recording (San Rafael, CA), Masterfonics (Nashville), Polygram Studios (Mexico City),
Joe & Co. (London), Howard Schwartz Recording, Inc. ( NYC), Impressao Digital Studios (Rio de Janeiro),
Westlake Studios (L.A.), Arch Angel (L.A.), Wonderland Studios (L.A.), Sun Song Studio (Las Vegas)
ASSISTANT ENGINEERS: Marcelo Anez, Craig Brock, Scott Canto, Bryan Carrigan, Jim Caruana, Sean

DUETS

DUETS & DUETS II ORIGINAL CREDITS

PRODUCED BY: Phil Ramone
CO-PRODUCED BY: Hank Cattaneo
EXECUTIVE PRODUCERS: Charles Koppelman, Don Rubin and Eliot Weisman
COVER PAINTINGS: LeRoy Neiman | ART DIRECTION: Tommy Steele
DESIGN: DZN: N Ung and J Cohen | ILLUSTRATIONS AND SINATRA SCRIPT DESIGN: Andy Engel

Duets originally released in 1993 on Capitol as 07777-89611-2-3

Duets II originally released in 1994 on Capitol as 72438-28103-2-2
Duets II: All tracks p 1994 Capitol Records, LLC, except track 15 p 2005 Capitol Records, LLC

MIXED AT Crescent Moon Studios (Miami)

REISSUE PRODUCER: Charles Pignone | A&R SUPERVISION: Frank Collura | MASTERING: Larry Walsh

MASTERED BY Ted Jensen at Sterling Sound, N.Y.C.

REISSUE ART DIRECTION: Vartan | REISSUE DESIGN: Andy Engel

TECHNICAL ASSISTANTS: Jeff Minnich, Tom Ketterer, Michael Guerra, Denny Thomas, Jim Giddens,

PRODUCTION MANAGER: Ute Friesleben | PRODUCT MANAGER: Liuba Shapiro

MR. SINATRAS PIANIST: Bill Miller

ORCHESTRA MANAGER: Joe Soldo, Los Angeles; Joe Malin, New York
MUSIC PREPARATION: Terry Woodson and Clyde Hoggan
ADDITIONAL MUSIC PERFORMED BY Charles Pollard
MR. SINATRA WOULD LIKE TO THANK: Barbara Sinatra, Robert Marx, Sinatra Enterprises,

Scoop Marketing, Premier Artists Services

MUSICIANS: Rhythm Bass: Chuck Berghofer, Guitar: Ron Anthony, Drums: Gregg Field
SPECIAL THANKS: Peter Asher, Joe Brenner, San Cole, Gail Colson, Armstead Edwards, Emilio Estefan,

Don Friedman, Sandy Gallin, Gary Gersh, Alan Grubman, Mark Janicello, Paolo Jobim, Joel Katz, Blossette
Kitson-Elliott, Peter Lopez, Bruce Lundvall, J.P. Mello, Jim Morey, Jimmy Newman, Mark Rothbaum, Terri
Santisi, Sherman Sneed, Johanan Vigoda, Erv Woolsey and Alliance Entertainment Corp.

II

THE PRODUCERS WOULD LIKE TO THANK: Altel Systems, Donna Allen, Stephanie Andrews, Jerry
Bassen, Joe Biancho, Steve Burdick, Brian Brown, Vinnie Carbone, Clara Cattaneo, Stefan Cattaneo, Jill
DellAbate, Design FX, Rory Dodd, Susanne Marie Edgren, Joy Francis, Michael Frondelli, The Germano
Family, Louise Glover, Vine Joubert, Lisa Jurkowski, Doug Katsaros, Melissa Katz, Claudia Koal, Bunny
Koppleman, Gerri Kyhill, Mark Levinson, Roger Loria, Sid Mark, Rob Mathes, Chie Masumoto, Larry
Musci, Oakdale Post Audio (Las Vegas), Charlie Paakkari, Pete Papageorges, Lee Ann Paynter, Billy
Pechenik, Sue Raney, Tony Renaud, John Richardson, Ani Rodriquez-Alzare, Karen Ramone, Jayne Rubin,
Paula Salvatore, Karen Schwedler, Maggi Sikkens, Larry Solters, Sally Stevens, Stephanie Tavares, Jonna
Terrasi, Dorothy Uhlemann, Lisa Vega, Roy Weisman, Dick Williams, Susan Zekofsky

Chanbers, Peter Doell, Robert Freidrich, Carl Glanville, Troy Halderson, David Hall, Sebastian Drys, Mike
Mazzetti, Francisco Miranda, Todd Mobley, Jennifer Monnar, Marcelo Moura, Scott Perry, Mary Ralson,
Damian Rodriguez, Kevin Scott, Andy Smith, Bill Smith, Chris Wiggins

Dave Allen, Scott Lechner, Roger Deller, Matt Ianiello, John Hechtman, Bucky Meadows

30

Sinatra |

II

REISSUE CREDITS

PHOTOS : c Capitol Photo Archives except page 17 by Harry Langdon

SPECIAL THANKS TO: Hank Cattaneo, Robert Finkelstein,Tina Sinatra, Bill Zehme, Max Hole, Kevin

Gore, Andrew Kronfeld, Andrew Daw, Steffan Hughes, Bruce Resnikoff, John Ray, Jane Ventom
and Barry Korkin

Dedicated to Phil Ramone.

c
g 2013 CAPITOL RECORDS, LLC. B0019451-02

The Sinatra trademark, Frank Sinatra Enterprises logo and Sinatra Signature logo
are trademarks of Frank Sinatra Enterprises LLC and are used by Universal Music Enterprises,
a division of UMG Recordings, Inc. under a license from Frank Sinatra Enterprises LLC.

31

...I am delighted the wonderful

music weve championed through the
years endures.

DUETS
1.
2.
3.
4.
5.
6.
7.
8.
9.

THE LADY IS A TRAMP Duet with Luther Vandross

WHAT NOW MY LOVE Duet with Aretha Franklin
IVE GOT A CRUSH ON YOU Duet with Barbra Streisand
SUMMER WIND Duet with Julio Iglesias
COME RAIN OR COME SHINE Duet with Gloria Estefan
NEW YORK, NEW YORK Duet with Tony Bennett
THEY CANT TAKE THAT AWAY FROM ME Duet with Natalie Cole
YOU MAKE ME FEEL SO YOUNG Duet with Charles Aznavour
GUESS ILL HANG MY TEARS OUT TO DRY / IN THE WEE SMALL HOURS OF THE MORNING
Duet with Carly

Simon

13.

IVE GOT THE WORLD ON A STRING Duet with Liza Minnelli

WITCHCRAFT Duet with Anita Baker
IVE GOT YOU UNDER MY SKIN Duet with Bono
ALL THE WAY / ONE FOR MY BABY (AND ONE MORE FOR THE ROAD) Duet with Kenny

BONUS TRACKS

14.

MY WAY Duet with Luciano

15.

ONE FOR MY BABY (AND ONE MORE FOR THE ROAD)* Duet with Tom

10.
11.
12.

Pavarotti
Scott

DUETS II

FOR ONCE IN MY LIFE Duet with Gladys Knight and Stevie Wonder
COME FLY WITH ME Duet with Luis Miguel
3.
BEWITCHED Duet with Patti LaBelle
4. THE BEST IS YET TO COME Duet with Jon Secada
5.
MOONLIGHT IN VERMONT Duet with Linda Ronstadt
6.
FLY ME TO THE MOON Duet with Antonio Carlos Jobim
7.
LUCK BE A LADY Duet with Chrissie Hynde
8.
A FOGGY DAY Duet with Willie Nelson
9.
WHERE OR WHEN Duet with Steve Lawrence and Eydie Gorme
10. EMBRACEABLE YOU Duet with Lena Horne
11. MACK THE KNIFE Duet with Jimmy Buffett
12. HOW DO YOU KEEP THE MUSIC PLAYING? / MY FUNNY VALENTINE Duet with Lorrie
13. MY KIND OF TOWN Duet with Frank Sinatra, Jr.
14. THE HOUSE I LIVE IN (THATS AMERICA TO ME) Duet with Neil Diamond
1.

2.

BONUS TRACKS

15.
17.

MY WAY Duet with Willie Nelson

EMBRACEABLE YOU* Duet with Tanya Tucker
FLY ME TO THE MOON Duet with George Strait

*previously unreleased

16.

Morgan

c
franksinatra.com

universalmusicenterprises.com

pc 2013 Capitol Records, LLC, 1750 N. Vine Street, Hollywood, CA 90028 U.S.A. Distributed by Universal Music Distribution. All Rights Reserved. B0019451-02