Sinatra at the Sands

Release date
26 May 1998
Running length
22 tracks
Running time
74:18

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Tracklist

    Track     Duration Listeners
1 Come Fly With Me 3:14 266,734
2 I've Got A Crush On You 3:14 43,228
3 I've Got You Under My Skin 3:43 298,229
4 The Shadow Of Your Smile 2:31 7,714
5 Street Of Dreams 2:43 9,527
6 One for My Baby (And One More for the Road) 3:01 32,175
7 Fly Me to the Moon (in Other Words) 2:30 46,550
8 One O'clock Jump 0:53 1,700
9 The Tea Break 11:48 316
10 You Make Me Feel So Young 2:52 115,608
11 All Of Me 2:46 47,747
12 The September of My Years 2:57 9,229
13 Luck Be A Lady 5:21 97,068
14 Get Me To The Church On Time 2:22 3,741
15 It Was a Very Good Year 4:02 156,297
16 Don't Worry About Me 3:08 1,100
17 Makin' Whoopee! 4:24 2,439
18 Where Or When 3:22 19,121
19 Angel Eyes 2:55 27,348
20 My Kind of Town 3:03 138,913
21 A Few Last Words 2:30 343
22 My Kind of Town (reprise) 0:59 2,422

About this album

Sinatra At The Sands is a 1966 live album by Frank Sinatra, accompanied by Count Basie and His Orchestra, conducted and arranged by Quincy Jones, recorded live at the Copa Room of the Sands Hotel and Casino in Las Vegas.

It was Sinatra’s first live album to be commercially released and contains many definitive readings of the songs that are most readily associated with Sinatra. Sinatra and Basie had previously collaborated on 1962′s Sinatra-Basie and 1964′s It Might As Well Be Swing, with both albums released on Sinatra’s Reprise label.

Allmusic review:
In many ways, Sinatra At The Sands is the definitive portrait of Frank Sinatra in the ’60s. Recorded in April of 1966, At The Sands is the first commercially released live Frank Sinatra album, recorded at a relaxed Las Vegas club show. For these dates at the Sands, Sinatra worked with Count Basie and his orchestra, which was conducted by Quincy Jones. Like any of his concerts, the material was fairly predictable, with his standard show numbers punctuated by some nice surprises. Throughout the show, Sinatra is in fine voice, turning in a particularly affecting version of “Angel Eyes.” He is also in fine humor, constantly joking with the audience and the band, as well as delivering an entertaining, if rambling, monologue halfway through the album. Some of the humor has dated poorly, appearing insensitive, but that sentiment cannot be applied to the music. Basie and the orchestra are swinging and dynamic, inspiring a textured, dramatic, and thoroughly enjoyable performance from Sinatra.
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