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In The Wee Small Hours
Reissued, Remastered
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In The Wee Small Hours
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Price | New from | Used from |
MP3 Music, April 25, 1955
"Please retry" | $9.49 | — |
Audio CD, Original recording reissued, Original recording remastered, May 26, 1998
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| $11.86 | $3.09 |
Vinyl, Import, March 26, 2013
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| $19.99 | $22.85 |
Audio, Cassette
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From the brand
Track Listings
1 | In the Wee Small Hours of the Morning |
2 | Mood Indigo |
3 | Glad to Be Unhappy |
4 | I Get Along Without You Very Well |
5 | Deep in a Dream |
6 | I See Your Face Before Me |
7 | Can't We Be Friends? |
8 | When Your Lover Has Gone |
9 | What Is This Thing Called Love |
10 | Last Night When We Were Young |
11 | I'll Be Around |
12 | Ill Wind |
13 | It Never Entered My Mind |
14 | Dancing on the Ceiling |
15 | I'll Never Be the Same |
16 | This Love of Mine |
Editorial Reviews
Product Description
For the 1st time, both Capitol and Reprise Records, home of the best Sinatra sounds recorded, are joining together to offer Sinatra's original concept records using 20-bit digital re-mastering. This release is one of the 16 titles scheduled to be reissued between the 2 companies (8 each). Tracks include "When Your Lover Has Gone," "In the Wee Small Hours of the Morning," "Last Night When We Were Young," "This Love of Mine" and much more.
Amazon.com
The first of many artistic milestones in the long and illustrious collaboration of Frank Sinatra and arranger Nelson Riddle that began at Capitol Records, In the Wee Small Hours is a first in other notable ways, as well: it was the pair's first 12-inch LP; their first album devoted entirely to ballads; the first "concept album," a program of songs designed to be heard in a particular sequence that sustains a mood and suggests a story; the introduction of Sinatra's definitive "saloon singer" persona; and the first flowering of Sinatra's mature artistic sensibility. Oh, and it's a masterpiece, too. The cover portrait suggests the mood of late-night desolation almost as effectively as the music, with Sinatra in the corner, smoking a solitary cigarette on deserted street illuminated only by the a foggy, blue-green glow of lamplight. Loneliness, thy name is Frank! They say that memories of Ava Gardner caused him to break down after finishing this aching version of "When Your Lover Has Gone." Riddle's clarinet theme for "What Is this Thing Called Love?" is as haunting as Cole Porter's melody itself. And if there's a more devastating evocation of solitude than "It Never Entered My Mind"... well it must be on Only the Lonely. With songs like "I'll Be Around" and "Dancing on the Ceiling" to suggest at least the hope of hope, Wee Small Hours may flirt with despair, but never succumbs to it. It's the kind of comforting company that misery likes best. --Jim Emerson
Product details
- Is Discontinued By Manufacturer : No
- Language : English
- Product Dimensions : 4.92 x 5.55 x 0.47 inches; 3.03 ounces
- Manufacturer : Universal Music Group
- Item model number : 1807853
- Original Release Date : 1998
- Date First Available : October 21, 2006
- Label : Universal Music Group
- ASIN : B000006OHD
- Number of discs : 1
- Best Sellers Rank: #5,550 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- #8 in Cabaret Vocalists
- #8 in Traditional Jazz & Ragtime (CDs & Vinyl)
- #19 in Vocal Jazz (CDs & Vinyl)
- Customer Reviews:
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Top reviews
Top reviews from the United States
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Nelson Riddle's orchestral arrangements on this album are amazing, and the orchestral mix is perfect. Riddle's orchestrations and the melancholy vibe throughout really transport you to another era.
The vinyl pressing of this Capital reissue is very good. There is very little surface noise. The record is perfectly flat and the grooves are perfectly centered around the spindle hole. The record is in mono, as it was made in 1955, just a year or two before the stereophonic era began. While I much prefer stereo to mono, I find that my ears adjust to the mono very quickly; then I forget it's not stereo and I just enjoy it. The sound quality is phenomenal for a recording from the 1950s--warm and airy with good soundstage and good separation between Frank's voice and the various sections of Nelson Riddle's orchestra.
This recording is available on CD, too, and if both had the same sound quality I would choose the CD for the greater convenience of digital. But for this record, I strongly recommend the vinyl LP over the CD. The CD sounds good compared to other CDs of recordings from this period. But the CD isn't as warm-sounding and doesn't have as much dynamic range as the LP. Plus, as Trent Reznor says and it's especially apt here, this record is a physical object that exists with you in the real world, not just a bunch of 0s and 1s that can streamed over the internet or stored on your phone and listened to with less intense attention while you check your emails and stock prices and weather. Nope. The vinyl demands your full attention, and rewards you with a real experience.
A great record, highly recommended--especially on vinyl.
Practically each of the Capitol sessions--including those orchestrated by Jenkins, May, Stordahl--deserves consideration, and it's no exaggeration to claim each as a masterwork. Perhaps "Only the Lonely" is the consummate example of the potential of the long-playing album as a complete, thematically-linked whole--a collection of popular songs arranged so as to form a single wondrous "tone poem." And given the fragmentation of the "album" by the new age of digital technology, it's a recording that, much like Duke Ellington's greatest suites, is unlikely to be repeated--a high-water mark in American popular music. Nevertheless, the Sinatra-Riddle magic is no less in evidence on the individual selections comprising "In the Wee Small Hours." There's no end of sweet and sentimental, basically bland treatments of "I'll Never Be the Same," but Sinatra's meditative reading and Riddle's inspired counter-motifs (reminiscent of the evocative score to Chris Marker's film about time and change "La Jetee") ensures a performance of "I'll Never Be the Same" that is anything but the same. And if Sinatra-Riddle can perform miracles with mundane material, imagine the results when the song is representative of a composer's very best.
Harold Arlen's "Last Night When We Were Young" is a single-sentence meditation on the passage of time, moving from measured contemplation to agitated anguish if not despair. Most singers will think twice, however, before performing a lyric that reaches its musical climaxes on upper-register notes bearing the short-vowel, throat-closing sounds of the words "think" and "clung." At best, they might perform the tune at a slightly brisker tempo and choose to emphasize the vowel-friendly words. Not Old Blue. He slows it to a meterless tempo and requires only a single pass to realize the full impact of the lyric's internal drama, drawing out the eternity of "aaaages ago" before delivering the bracing, extended "thiiiink" (the discovery that the past has slipped away) and following it with a "cluuunng" so powerful it suggests less the subject's desperation than his victory over time.
They tell me songs and performances such as this were once considered pop music. Perhaps when Shakespeare was the entertainer of his day.
The vinyl pressing sounds great, the vocals sound close and real, and the instrumentation is clear without having to blast the volume.
Recommend.
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