The following is a sortable table of all songs by Frank Sinatra:. The column Song lists the song title.; The column Year lists the year in which the song was recorded. (Note: Such words as a, an, and the are not recognized as first words of titles). Frank Sinatra - Desafinado (Slightly Out Of Tune) Lyrics. Frank Sinatra Miscellaneous Desafinado (Slightly Out Of Tune) When I try to sing you say I'm off key Why can't you see how much this hurts. That means, I try to find the earliest work they did, and then follow their development as an artist, by considering works in roughly the order in which they produced them. So, for Frank Sinatra, you have to go back to the late 30's, when he was starting out as a singer with the Tommy Dorsey band. Jun 02, 2009 Paula Abdul also uses Auto-Tune on her new song, “Here for the Music,” which she performed (i.e. Lip-synched) on “American Idol” May 6. It was evident just how artificial Abdul’s vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt’s “Just. By the late '60s, everyone was covering Beatles songs - even Frank Sinatra. Frank described this 'Abbey Road' track as 1 of the best love songs ever. Frank Sinatra: This is a wonderful song about one of the beautiful cities in our world, this is a very famous song all over the world. Frank Sinatra: This song was introduced to me by great Liza Minnelli, it was written by Fred Ebb and John Kander, orchestrated by the late Don Costa. (Live At Meadowlands).
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The following sentence might come as a huge shock to teens and Millennials, so stop tweeting for a second, kids, and get prepared for a totally outlandish statement. Here it is: Once upon a time, pop singers were actual singers.
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Yes, I know. That’s hard to comprehend since the pop charts are now dominated by artists who use Auto-Tune, the software plug-in that corrects the pitch of those who can’t really cut it in the vocal department and turns their vocals into robo-voices. While everyone under 30 recovers from that revelation, here’s what I mean by “actual singers.”
Back in the day, pop artists like Frank Sinatra and the Beatles used to be able to record albums in just a few days. Country musicians like Patsy Cline and George Jones trudged through grueling tours in out-of-the-way rural locales yet still missed nary a note. R&B musicians like the Supremes and the Four Tops navigated their way through complex choreography but still belted out songs out like their lives depended on it.
And while today, we still have singers with massively impressive pipes, a whole lotta them could never have rocked it for real like the Motown gang. Vst crack websites. These days, artists are able to get by on looks, publicity and aid from Auto-Tune.
You can hear the robotic, processed sound of the plug-in on recent hit records like “Blame It” by Jamie Foxx and T-Pain, “Just Dance” by Lady Gaga and “Right Now (Na Na Na)” by Akon. It’s also heard on tracks by Kanye West, Britney Spears and Lil Wayne. When West attempted to sing “Love Lockdown” without the plug-in on “Saturday Night Live,” the results were none too impressive and got ridiculed online. You can hear 10 examples of “Auto-Tune Abuse in Pop Music” on Hometracked, a blog geared toward home recording enthusiasts.
Paula Abdul also uses Auto-Tune on her new song, “Here for the Music,” which she performed (i.e. lip-synched) on “American Idol” May 6. It was evident just how artificial Abdul’s vocals were when she was followed by Gwen Stefani, who gave a warts-and-all live vocal on No Doubt’s “Just a Girl.”
Country and rock singers are said to use Auto-Tune to protect themselves from hitting bum notes in concert. Pop singers use it when they have a hard time singing while executing complicated dance moves (raising the question as to why they’re letting their dancing take precedence over their music). Auto-Tune has become so ubiquitous that indie rockers Death Cab for Cutie wore blue ribbons at this year’s Grammy Awards ceremony to protest its overuse.
Building the ‘perfect’ beast
The prevalence of Auto-Tune comes from two longstanding pop music traditions — the desire to alter the human voice and the quest for perfection at the expense of real talent and emotion.
The first of these can lead to inspiring moments, as the New Yorker’s Sasha Frere-Jones noted in an essay last year. Pioneering voice tweakers include producer Quincy Jones, who punched up Lesley Gore’s vocals with double tracking on “It’s My Party,” and George Martin, who gave us a childlike sped-up John Lennon on “Lucy in the Sky with Diamonds.” Later on, Peter Frampton wowed audiences with his talk box guitar effect and a decade later, vocals were being put through harmonizers to get jarring outer space effects.
Of course, to pull off any of those effects, you had still had to be able to sing. With Auto-Tune you don’t.
Then there’s the quest for perfection. By the 1970s, producers were able to edit or splice together vocal takes from various tracks and eventually they started to use hardware that corrected vocal pitch to create “perfect” performances. When the sound editing program Pro Tools became the industry norm in the 1990s, kludged-together vocal tracks became the norm.
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But too much meticulousness in pop music strips away passion. And the very reason we listen to music, noted the late rock critic Lester Bangs, is to hear “passion expressed.” Auto-Tune makes people sound like robots. And if there’s no feeling, why listen at all?
Some people apparently aren’t listening anymore. Sales of major label CDs are down. But more authentic sounding music still has fans. Paste magazine recently reported that indie music is selling more, and the one area of commercial music that’s remained popular is “American Idol,” where you can’t fake it (unless you’re Paula Abdul).
The producers speak
A lot of producers like to use Auto-Tune because it saves time, says producer Craig Street, who has worked with Norah Jones, k. d. lang and Cassandra Wilson. “If you have a smaller budget what you’re doing is trying to cram a lot of work into a small period of time,” Street says. “So you may not have as much time to do a vocal.”
Craig Anderton, a producer and music writer, observes that Auto-Tune “gets no respect because when it’s done correctly, you can’t hear that it’s working.
“If someone uses it tastefully just to correct a few notes here and there, you don’t even know that it’s been used so it doesn’t get any props for doing a good job,” Anderton notes. “But if someone misuses it, it’s very obvious — the sound quality of the voice changes and people say ‘Oh, it’s that Auto-Tune — it’s a terrible thing that’s contributing to the decline and fall of Western music as we know it.”
Did Frank Sinatra Smoke
One producer who dislikes Auto-Tune is Jon Tiven, who cut his musical teeth in the punk rock era with his band the Yankees, and went on to produce soul singers Wilson Pickett and Don Covey as well as Pixies founder Frank Black. Tiven thinks Auto-Tune has led to the destruction of great singing.
“I don’t know how many levels you want to drop the bar for what it takes to become a successful musical person,” Tiven says. “You could sacrifice on some levels, but it would seem to me one of the first things you would really be hard pressed to sacrifice is if the person could sing in tune or not.”
Street says the like or dislike of Auto-Tune largely comes down to aesthetics, and likens people’s feelings about listening to unnatural sounds with the way some people feel about unnatural body modifications, such as breast implants.
And that makes sense. After all, today we have models and actors whose faces and bodies were never intended by nature, reality TV that’s not real, and sports “heroes” whose strength comes from pills not practice. It’s totally understandable that the commercial pop world would embrace an unnatural aesthetic. Whether audiences will someday want pop singers who are first and foremost singers remains to be seen.
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By 1969, Frank Sinatra had done his best work as a singer and actor. His groundbreaking albums on Columbia, Capitol, and Reprise (his own label) had gone out at various points over the previous 25 years. And Sinatra’s incredible run as an actor wouldn’t continue into the ’70s.
However, Sinatra still had a lot left in the tank. Anyone who’s seen his 1974 MSG performance (part of his “comeback”) can attest to the crackling energy in the building that night. But at the same time, it was clear the Chairman of the Board was on the downswing of his career.
After all, the ’60s had belonged to The Beatles. By ’69, the Fab Four’s incredible run of No. 1 hits had made mincemeat of chart and sales records set by performers who’d come before. In 1970, Sinatra acknowledged the band’s greatness as songwriters by covering a tune from Abbey Road (1969).
That song, which was the only George Harrison track the Beatles ever released as a single, was “Something.” But Sinatra didn’t just sing it; he said it was “one of the best love songs” ever written.
Sinatra raved about ‘Something’ and frequently sang it in concert.
When you think about the singing career of Sinatra (who wasn’t a songwriter), it’s hard not to think of the Great American Songbook classics he crooned over the years.
Whether singing pieces by George Gershwin (“Someone to Watch Over Me”), Cole Porter (“I Get a Kick Out of You”), or Rodgers & Hart (“Lady Is a Tramp”), he took incredible songs and interpreted them with the best. So it’s saying a lot when Sinatra heaped praise upon George’s song.
In the clip from a live show above, Sinatra notes how he feels about “Something.” “It’s one of the best love songs I believe to be written in 50 or 100 years,” he says.
Sinatra wasn’t alone in thinking that, of course. John Lennon thought it was the best track on Abbey Road, while Paul McCartney considered it George’s finest work as a songwriter. Eventually, it would become the second-most-covered Beatles song after Paul’s “Yesterday.”
George wrote ‘Something’ with someone like Ray Charles in mind.
While most songwriters would be elated if Sinatra recorded one of their songs, George didn’t get excited. “At the time I wasn’t particularly thrilled that Frank Sinatra did ‘Something,'” he said in Anthology. “I wasn’t really into Frank – he was the generation before me.”
Still, looking back decades later, George acknowledged he was “more thrilled now” than he was in 1970. When he originally wrote the song, George had someone like Ray Charles singing it in his mind. Charles did record the song not long after Abbey Road was released.
Interestingly, the heavy-on-strings arrangement Charles used for the song probably didn’t fit what George had in mind, either. In Anthology, he mentioned the covers of “Something” that caught his attention. “I was more interested when Smokey Robinson did it and when James Brown did it.”
By the ’90s, George had come to take every cover as a salute, and he appreciated them all. “I’m very pleased now, whoever’s done it,” he said. “I realize that the sign of a good song is when it has lots of cover versions.” Considering how many people covered “Something,” that’s a good thing.
Did Frank Sinatra Use Auto Tune 8
Also see: The George Harrison Song The Beatles Thought Wasn’t Good Enough for ‘Sgt. Pepper’