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Frank Sinatra - That's Life

Frank Sinatra - That's Life Lyrics and Youtube Music Videos

Album: That's Life
Released: 1966

That's Life Lyrics

That's Life, that's what people say
You're riding high in April,
Shot down in May
But I know I'm gonna change that tune,
When I'm back on top, back on top in June

I said, that's life, and as funny as it may seem
Some people get their kicks,
Stompin' on a dream
But I don't let it, let it get me down,
'Cause this fine old world it keeps spinnin' around

I've been a puppet, a pauper, a pirate,
A poet, a pawn and a king
I've been up and down and over and out
And I know one thing:
Each time I find myself flat on my face,
I pick myself up and get back in the race

That's life, I tell ya, I can't deny it,
I thought of quitting, baby
But my heart just ain't gonna buy it
And if I didn't think it was worth one single try,
I'd jump right on a big bird and then I'd fly

I've been a puppet, a pauper, a pirate,
A poet, a pawn and a king
I've been up and down and over and out
And I know one thing:
Each time I find myself layin' flat on my face,
I just pick myself up and get back in the race

That's life, that's life
And I can't deny it
Many times I thought of cuttin' out but my heart won't buy it
But if there's nothing shakin' come here this July
I'm gonna roll myself up in a big ball and die
My, my

Writer/s: GRAMMER, BILLY/BEAM, DENNIS/ROSE, BOB
Publisher: Sony/ATV Music Publishing LLC, Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

That's Life

The "scowl" in Sinatra's voice was a result of producer Jimmy Bowen telling Sinatra, after the recording session, to get out of his car and back in the studio to re-record the vocal. This made Frank VERY angry, which is evident in the song. That was the exact "feel" that Bowen wanted.

This very optimistic song was written by Dean Kay and Kelly Gordon. Kay became a successful music publisher, and Gordon made a mark as a producer. Sinatra had a lot of ups and downs in his personal and professional life, and this song was a great showcase for his spirit and resilience. The phrase "That's Life" is often used to convey disappointment, but here Sinatra sees all the good things that life brings.

This was one of two Sinatra songs - the other being "Strangers in the Night" - prominently featured in the '80s comedy License to Drive. Les (Corey Haim) takes his crush (Heather Graham) out for a wild night in his grandpa's Cadillac, which has a Sinatra cassette stuck in the tape player. This song plays when Les and his friends frantically chase a drunk who steals the car for a joyride (and sings along to Sinatra's tune).

Frank Sinatra - I'm Not Afraid

Frank Sinatra - I'm Not Afraid Lyrics and Youtube Music Videos

Album: Frank Sinatra's Greatest Hits, Vol. 2
Released: 1971

I'm Not Afraid Lyrics

I'm Not Afraid

One half of a Double A single along with Frank's duet with daughter Nancy Sinatra "Life's a Trippy Thing," this song flopped when it was released in 1971. However, the singer's son, Frank Sinatra Jr., told Mojo magazine that the Jacques Brel, Gérard Jouannest and Rod McKuen-penned tune is very much underrated. "This for me is a great song," he said. "The arranger was a man called Lenny Hayton. This never became a hit, unfortunately. It's a thoroughly sophisticated love song. It is not the usual mundane love song lyric. It's a very, very good piece of writing by a man who's been forgotten, named Rod McKuen. The music is by Jack Brel and Gérard Jouannest, but McEwan's lyrics."

Sinatra continued: "Years ago, the concert pianist Arthur Rubinstein said, 'Chopin's music speaks directly to the heart of the people.' Certain lyrics do exactly that and Sinatra, as an interpreter of those lyrics, did that same thing. McKuen was a poet. A beautiful sadness."

Frank Sinatra - All Or Nothing At All

Frank Sinatra - All Or Nothing At All Lyrics and Youtube Music Videos

Album: All Or Nothing At All
Released: 1939

All Or Nothing At All Lyrics

All Or Nothing At All
Half a love, never appealed to me
If your heart, never could yield to me
Then I'd rather have nothing at all

All or nothing at all
If it's love, there is no in between
Why begin then cry, for something that might have been
No I'd rather have nothing at all

Oh please don't bring your lips so close to my cheek
Don't smile or I'll be lost beyond recall
The kiss in your eyes and the touch of your hand makes me weak
And my heart may go dizzy and fall

And if I fell under the spell of your call
I would be, caught in the undertow
And so you see, I've got to say no, no
All or nothing at all

All or nothing at all

Writer/s: ARTHUR ALTMAN, JACK LAWRENCE
Publisher: CARLIN AMERICA INC
Lyrics licensed and provided by LyricFind

All Or Nothing At All

A songwriter named Arthur Altman wrote the music for this in 1939. The song needed lyrics, so music publishing mogul Lou Levy asked his friend Jack Lawrence to help out. Lawrence had written many popular songs, including "Foolin' Myself" for Billie Holiday, "What Will I Tell My Heart?" for Bing Crosby, and "If I Didn't Care" for The Ink Spots. He agreed and added lyrics to the song. Altman made a few changes to the melody to accommodate the lyrics.

After this was written, Lou Levy found three prominent orchestras to record it. One of the orchestras was led by Freddy Martin, another by Jimmy Dorsey (with vocals by Bob Eberly), and the third by Harry James. James had recently discovered a 24-year-old vocalist from Hoboken, New Jersey, named Frank Sinatra, who sang this in his version. Despite strong renditions from big-name orchestras, all three singles disappeared without a hint of public interest. Even though this was a flop, Sinatra's career took off. He joined Tommy Dorsey, the most successful bandleader of the early '40s, and became the featured vocalist on 39 Top-20 singles. He was a heartthrob sensation, headliner and show business icon. He was the most talked-about performer in the music industry and signed a deal with Columbia Records, one of the biggest labels in the business.

In 1943, in order to obtain both more pay and benefits for its members, the American Federation Of Musicians instituted a "Record Ban" that prohibited professional musicians from all recording activities. At first, the record companies weren't worried. They thought the public wouldn't know, or (especially in current wartime conditions) care whether skilled musicians were performing on the records they purchased. The market was soon flooded with unaccompanied singing groups, amateur accordion players, kazoo bands, bagpipe recitals and harmonica combos. As is the case whenever the public is underestimated, the market was soon drowning in unsold recordings. At Columbia Records, panic prevailed. They had the hottest new singer in show business on their roster and could not record him. Lou Levy came up with the solution for both this particular problem and for the music business in general - since the musician's union was restricting only current recording, they could reissue previous failed recordings by current stars. They found Sinatra's 1939 recording of this song and changed the label credit from "The Harry James Orchestra with vocal by Frank Sinatra" to "Frank Sinatra" with "accompanied by Harry James Orchestra" in small print. This time, the song was a huge hit. It stayed near the top of the charts for half a year and was followed by another 116 Top 40 songs by Sinatra over the next four decades.

In a 1944 interview, Sinatra said: "That was the song, a few days after Harry James and myself recorded it, that gave us our walking papers out of the old Victor Hugo Cafe (a major entertainment venue of the 1930s) on the Sunset Strip in Hollywood. The manager came up and waved his hands for us to stop. He said Harry's trumpet playing was too loud for the joint and my singing was just plain lousy and fired Harry, me and the entire band on the spot. He said the two of us couldn't draw flies as an attraction, and I guess he was right - the room was as empty as a barn. It's a funny thing about that song. The recording we made of it five years ago is now one of the top spots among the best sellers. But it's the same old recording. It's also the song I auditioned with for Tommy Dorsey, who signed me on the strength of it. And now it's my first big record."

In 1954, and obscure singer named Joe Foley hit #28 with his version.

In 2000, Jack Lawrence accepted an invitation by the Sheet Music Magazine bimonthly to write an article on song verses. He realized that this and some of his other enduring songs didn't have verses, so he wrote new lyrics to correct the oversight.

This remains one of the most recorded American song standards. It has been recorded by vocalists Sarah Vaughan, Ella Fitzgerald and Perry Como, as well as Jazz musicians like John Coltrane, George Shearing, Count Basie and Chet Baker. Other artists to record it include Barry Manilow, Diana Krall, Little Jimmy Scott, Al Jarreau and Little Anthony And The Imperials. (Thanks to Carlin America publishing. For more, check out www.carlinamerica.com )

Charles Pignone, Vice President of Frank Sinatra Enterprises, told us that Sinatra often called this song his first hit and would return to it again and again, reworking it as a ballad and as an uptempo number with a Nelson Riddle arrangement for Strangers in the Night. "That was a song that he continued to sing up until he retired in 1995," Pignone recalled. "And that song came in and out of his concert repertoire through the years, and he always spoke of it very fondly."

Frank Sinatra - The House I Live In

Frank Sinatra - The House I Live In Youtube Music Videos and Lyrics

Album: Romance
Released: 1945

The House I Live In Lyrics

What is America to me
A name, a map, or a flag I see
A certain word, democracy
What is America to me

The House I Live In
A plot of Earth, a street
The grocer and the butcher
And the people that I meet

The children in the playground
The faces that I see
All races and religions
That's America to me

The place I work in
The worker by my side
The little town the city
Where my people lived and died

The howdy and the handshake
The air a feeling free
And the right to speak your mind out
That's America to me

The things I see about me
The big things and the small
The little corner newsstand
Or the house a mile tall

The wedding and the churchyard
The laughter and the tears
The dream that's been a growing
For a hundred and fifty years

The town I live in
The street, the house, the room
The pavement of the city
Or the garden all in bloom

The church the school the clubhouse
The million lights I see
But especially the people
That's America to me

Writer/s: ALLAN, LEWIS / ROBINSON, EARL
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

The House I Live In

This became a patriotic anthem in America during World War II. The lyrics describe the wonderful things about the country, with images of the era like the grocer, the butcher, and the churchyard. The "house" is a metaphor for the country.

The song was written in 1943 with lyrics by Abel Meeropol and music by Earl Robinson. Meeropol, who wrote it under the pen name Lewis Allan, had very liberal views and mixed feelings about America. He loved the constitutional rights and freedoms that America was based on, but he hated the way people of other races, religions, and political views were often treated. His lyrics do not reflect the way he thought America was but what it had the potential to be. With the country under attack, he wanted to express why it was worth fighting for.

Meeropol was dogged by the government for his liberal (some would say communist) views. He took a particular interest in the case of Julius and Ethel Rosenberg, who were accused of passing nuclear secrets to the Soviet Union and executed in 1953. Meeropol felt they were wrongly accused, and he and his wife adopted their two sons when they were put to death. The sons, Michael and Robert, took Meeropol's last name (it was easier to be a Meeropol than a Rosenberg at the time) and have spent their adult lives trying to clear their birth parents' names.

Meeropol wrote a lot of songs, including "Strange Fruit," which was about the horrors of lynchings and became Billie Holiday's signature song. Many songs he wrote were parodies of America, with commentary on racism and political oppression. He wrote several versions of this, including one for children and one that expanded the "house" to mean the whole world, not just America. He also wrote a scathing version about things he felt were bad in the US. The idyllic images were replaced with lines like "The cruelty and murder that brings our country shame."

Earl Robinson, who wrote the music, also had very liberal views. During the McCarthy era, he was hounded for being a communist and blacklisted from Hollywood, making it hard for him to find work. Before his death in 1991, he wrote presidential campaign songs for FDR (1944), Henry Wallace (1948), and Jesse Jackson (1984).

This has been recorded by a slew of artists, including Mahalia Jackson, Paul Robeson, Sonny Rollins, and Josh White. Sinatra's version is the most famous, as it was used in a short film he starred in with the same name in 1945. When Meeropol saw the film, he became enraged when he learned they deleted the second stanza of his song, which he felt was crucial to the meaning. He had to be removed from the theater. With its message of racial harmony, the second stanza was deemed too controversial for the film.

Sinatra loved this song and performed it many times, even as his political views moved from left to right as he got older. As an Italian-American, Sinatra experienced bigotry growing up, but he also loved the United States. He sang this at an inaugural he produced for John F. Kennedy, and again in the Nixon White House, and performed it for Ronald Reagan at the re-dedication of the Statue Of Liberty in 1986.

Charles Pignone, Vice President of Frank Sinatra Enterprises, also remembers watching him perform this in the '90s during the First Gulf War. "He would sing that every decade of his career," Pignone said in a Songfacts interview. "And that was another song that just stayed with him throughout his life." He added: "I remember sometimes he would tear up after 'The House I Live In."

This regained popularity among Americans in the aftermath of the September 11 attacks. A lot of people found it comforting at a difficult time.

In 2002, comedian Bill Cosby opened some of his shows with this playing while a light shined on an empty chair. The song had meaning for Cosby not only because of September 11, but also because of his son, who was murdered in 1997 at age 27 when he pulled over to fix a flat tire.

Sinatra appeared in a 10-minute short for RKO, also titled The House I Live In, where he lectured a group of boys on racial and religious tolerance. Written by Albert Maltz, produced by Frank Ross and directed by Mervyn LeRoy, the film won a special Honorary Academy Award in 1946.

Here's Sinatra's introduction to this song, live at Madison Square Garden in 1974: "It's a song about this great, big, wonderful, imperfect country. I say imperfect because if it were perfect it wouldn't be any fun trying to fix it, trying to make it work better, trying to make sure that everybody gets a fair shake and then some. My country is personal to me because my father, who wasn't born here, rest his soul, he made sure that I was born here. And he used to tell me when I was a kid that America was a land of dreams and a dreamland, well I don't know if our country fulfilled all of his dreams while he was alive, but tonight with all of us together for this hour, it sure fulfills my dreams. And to all of you in the country and all of you watching tonight, here's a song about a place we call home, probably the greatest nation ever put on this earth."

Frank Sinatra - I've Got You Under My Skin

Frank Sinatra - I've Got You Under My Skin Youtube Music Videos and Lyrics

Album: Songs for Swingin' Lovers
Released: 1956

I've Got You Under My Skin Lyrics

I've Got You Under My Skin
I've got you deep in the heart of me
So deep in my heart that you're really a part of me
I've got you under my skin

I'd tried so not to give in
I said to myself this affair never will go so well
But why should I try to resist when baby I know so well
I've got you under my skin

I'd sacrifice anything come what might
For the sake of having you near
In spite of a warning voice that comes in the night
And repeats, repeats in my ear
Don't you know little fool
You never can win
Use your mentality, wake up to reality
But each time that I do just the thought of you
Makes me stop before I begin
'Cause I've got you under my skin

I would sacrifice anything come what might
For the sake of having you near
In spite of the warning voice that comes in the night
And repeats how it yells in my ear
Don't you know, little fool
You never can win
Why not use your mentality
Step up, wake up to reality
But each time I do just the thought of you
Makes me stop just before I begin
'Cause I've got you under my skin
Yes, I've got you under my skin

Writer/s: PORTER, COLE
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

I've Got You Under My Skin Song Chart

Cole Porter wrote this classic pop standard in 1936, and it debuted when actress Virginia Bruce sang it in the MGM musical Born to Dance, starring Eleanor Powell and James Stewart, that same year. The song was nominated for an Academy Award for Best Original Song but lost to "The Way You Look Tonight," from the Astaire/Rogers film Swing Time.

Frank Sinatra began performing this song on his weekly radio show in 1946 but added his signature swagger when he recorded a big-band arrangement by Nelson Riddle for the album Songs for Swingin' Lovers ten years later.

Sinatra re-recorded this for the 1963 album of his favorite numbers, Sinatra's Sinatra. The trombone solo, originally played by Milt Bernhart in the '56 version, was performed by Dick Nash. He recorded it yet again in 1993 with U2 frontman Bono for the album Duets.

This became a fixture in Sinatra's set-list and can be heard on his 1966 live album, Sinatra at the Sands, where he is backed by Count Basie's orchestra.

While this was one of Sinatra's signature songs, he certainly was not the only one to record it. Among many others, it was covered by Peggy Lee, Ella Fitzgerald, Eartha Kitt, Sammy Davis Jr., Carly Simon, Michael Buble, Michael Bolton, and Deana Martin. The Four Seasons scored a Top-10 hit with the song in 1966, and Neneh Cherry's hip-hop version earned her the #25 spot on the UK chart.

Chad L. Coleman sang this on the TV series The Walking Dead in the 2013 episode "Infected."

Sound engineer John Palladino remembers the sessions for Songs for Swingin' Lovers as being particularly challenging because of the awkward setup of Capitol's Studio A - a small area made even smaller when it was crammed with musicians - and Sinatra's demands for perfection. Trombonist Milt Berhart learned this all too well on this song when he played full force, take after take, never quite hitting the crooner's mark.

"That was a dirty trick to play on Milt," Palladino told Sound on Sound. "He'd get in there early and practice the stuff, and then he had to play at full volume. We could have said to Frank, 'Why don't we intercut take one or two with Milt's solo?', but that never occurred to me. And besides that, Frank really didn't like editing. He was fastidious about capturing complete takes, and so I did very little editing on his recordings."

Sinatra held himself to the same standard of perfectionism as he did his musicians. Palladino remembers him running through this song with the musicians for 22 takes.

"Some of those takes could have been false starts where they got through a few notes and then stopped," he said. "I doubt there were more than four or five complete takes. Frank knew his own voice pretty well, and when he wasn't singing well, he'd walk out of a session. I've got to give him credit for that. In fact, I've got no criticism of Frank at all. His criticisms of the musicians' playing were really top-notch, because they locked in with what he was doing. He knew what he was doing, and he knew what he wanted the band to do."

Sinatra sang a ballad version of this song to honor the late Cole Porter during a two-hour tribute at the University of California on February 12, 1967.

Frank Sinatra - Cycles

Frank Sinatra - Cycles Lyrics and Youtube Music Videos

Album: Cycles
Released: 1968

Cycles Lyrics

So I'm down and so I'm out
But so are many others
So I feel like tryin' to hide
My head 'neath these covers

Life is like the seasons
After winter comes the spring
So I'll keep this smile awhile
And see what tomorrow brings

I've been told and I believe
That life is meant for livin'
And even when my chips are low
There's still some left for givin'

I've been many places
Maybe not as far as you
So I think I'll stay awhile
And see if some dreams come true

There isn't much that I have learned
Through all my foolish years
Except that life keeps runnin' in Cycles
First there's laughter, then those tears

But I'll keep my head up high
Although I'm kinda tired
My gal just up and left last week
Friday I got fired

You know it's almost funny
But things can't get worse than now
So I'll keep on tryin' to sing
But please, just don't ask me how

Writer/s: CALDWELL, GAYLE
Publisher: Universal Music Publishing Group
Lyrics licensed and provided by LyricFind

Cycles Song Chart

Written by Gayle Caldwell, this is the title track for Sinatra's 1968 album of folk-rock songs. The album was released through his own label, Reprise Records, with arranger and composer Don Costa at the helm as producer and Sinatra's longtime pianist Bill Miller as conductor.

Guitarist Ralph Casale, a top New York session musician for an array of artists throughout the '60s (including Simon & Garfunkel and The Four Seasons), worked with Sinatra on the Cycles album, but he was careful not to look into those ol' blue eyes. He remembered in a Songfacts interview : "Sinatra used the best people and allowed them to do what they do best. His humility impressed me. The songs on this date were 'Cycles' and 'My Way Of Life,' arranged by Don Costa. I remember being careful not to stare at Sinatra since I was directly in front of him. I didn't want him to feel uncomfortable and affect the date in a negative way. I'm glad I had that insight because a few years later Glen Campbell did an interview on television and talked about playing guitar on a Sinatra date. Before Glen got hit recordings as a singer he played guitar on sessions. He said that he was in awe and kept staring at Sinatra while they were doing the recording. Glen said that Sinatra approached him and asked him to stop staring."

Sinatra performed this on his 1968 TV special Francis Albert Sinatra Does His Thing. The show included musical guests Diahann Carroll and The 5th Dimension.

Frank Sinatra - Luck Be A Lady

Frank Sinatra - Luck Be A Lady Lyrics and Youtube Music Videos

Album: Sinatra '65: The Singer Today
Released: 1965

Luck Be A Lady Lyrics

They call you lady luck
But there is room for doubt
At times you have a very un-lady-like way
Of running out

Your on this date with me
The pickin's have been lush
And yet before the evening is over
You might give me the brush

You might forget your manners
You might refuse to stay
And so the best that I can do is pray

Luck Be A Lady tonight
Luck be a lady tonight
Luck if you've been a lady to begin with
Luck be a lady tonight

Luck let a gentleman see
Just how nice a dame you can be
I know the way you've treated other guys you've been with
Luck be a lady with me

A lady never leaves her escort
It isn't fair, it isn't nice
A lady doesn't wander all over the room
And blow on some other guys dice

Lets keep this party polite
Never get out of my sight
Stick with me baby, I'm the guy that you came in with
Luck be a lady tonight

A lady never flirts with strangers
She'd have a heart, she'd be nice
A lady doesn't wander all over the room
And blow on some other guys dice

Lets keep this party polite
Never get out of my sight
Stick with me baby, I'm the guy that you came in with
Luck be a lady tonight

Writer/s: MYROW, JOSEF / GORDON, MACK
Publisher: Warner/Chappell Music, Inc.
Lyrics licensed and provided by LyricFind

Luck Be A Lady Song Chart

Written by Frank Loesser in 1950 for the musical Guys and Dolls, this song was first performed onstage by Robert Alda as gambler Sky Masterson. Though Frank Sinatra would seem to be the obvious choice to play the lead role in the 1955 film version, he was assigned to Nathan Detroit, while Brando snagged the part of Masterson.

"Frank always lamented that he didn't have the Marlon Brando role, which he should have had because the songs were more adaptable to Frank. Brando couldn't really sing," Charles Pignone, Senior Vice President of Frank Sinatra Enterprises, explained in a Songfacts interview.

In fact, Sinatra was instrumental in adapting the song: "When you hear 'Luck Be A Lady' and how it's done specifically in the play, Frank was the one that told Billy May how to arrange it and changed the tempo a bit so it would be different. Of course, it fits Frank like a glove," Pignone added.

Sinatra included the song in his concert repertoire and was gracious when referring to the role he lost to Brando. He would introduce the number by saying Brando was "not a great singer, but probably the greatest actor ever."

Sinatra recorded this as a duet with Chrissie Hynde for his 1994 album, Duets II.

This was prominently featured in the 1993 comedy Mrs. Doubtfire as Robin Williams first dons his disguise as a woman.

Sky Masterson had his money and his love life staked on a bet during "Luck Be a Lady," accompanied by an elaborate production number set in a sewer. But the musical's choreographer, Michael Kidd, had to convince director George S. Kaufman first. He recalled (as quoted in Susan Loesser's A Most Remarkable Fella):

"Now George was a very acerbic character. He examined everything with a dry sense of humor. He didn't particularly like musicals. When you did a song he would look at his watch. He said, 'Mike, I don't understand. How are you going to do a dance here? Do you mean to tell me we're going to have a scene where these tough gamblers will be standing around the stage while a bunch of dancers get up and do a dance?'

I said, 'I'll incorporate all the members of the cast into the crap game. I'll have Nathan taking a cut of every pot, I'll have Big Julie rolling. I'll have all the different characters participate.' George said, 'Well, I can't see it. It beats me.'

So I worked out the dance and came to show it to everybody, knowing that George was dead set against it. We did the number and George sat there with no sign of emotion. When it was over he turned to me and said, 'Mike, I hardly have to tell you you've done something very remarkable here. Okay, let's go on.' That was the biggest accolade you could get from George."

Loesser clashed with Sinatra during the making of the Guys and Dolls movie as Sinatra insisted on singing Nathan Detroit's numbers in his smooth signature style rather than adopt the gritty, tough-as-nails swagger Loesser had envisioned. According to Loesser's daughter, Susan, the songwriter refused to see the film and he and Sinatra never spoke again.

Frank Sinatra - The Best Is Yet To Come

Frank Sinatra - The Best Is Yet To Come Lyrics and Youtube Music Videos

Album: It Might As Well Be Swing
Released: 1964

The Best Is Yet To Come Lyrics

Out of the tree of life I just picked me a plum
You came along and everything's startin' to hum
Still, it's a real good bet, The Best Is Yet To Come
Best is yet to come and babe, won't that be fine?
You think you've seen the sun, but you ain't seen it shine
Wait till the warm-up's underway
Wait till our lips have met
And wait till you see that sunshine day
You ain't seen nothin' yet
The best is yet to come and babe, won't it be fine?
Best is yet to come, come the day you're mine
Come the day you're mine
I'm gonna teach you to fly
We've only tasted the wine
We're gonna drain the cup dry
Wait till your charms are right for these arms to surround
You think you've flown before, but baby, you ain't left the ground
Wait till you're locked in my embrace
Wait till I draw you near
Wait till you see that sunshine place
Ain't nothin' like it here
The best is yet to come and babe, won't it be fine?
The best is yet to come, come the day you're mine
Come the day you're mine
And you're gonna be mine

Writer/s: LEIGH, CAROLYN / COLEMAN, CY
Publisher: Sony/ATV Music Publishing LLC, DOWNTOWN MUSIC PUBLISHING LLC
Lyrics licensed and provided by LyricFind

The Best Is Yet To Come Song Chart

Though popularized by Frank Sinatra in 1964, this Cy Coleman and Carolyn Leigh-penned song was written for Tony Bennett, who introduced it on his 1962 album, I Left My Heart in San Francisco. Sinatra's version was a collaboration with Count Basie's Orchestra and was arranged by Quincy Jones.

This was the last song Frank Sinatra would perform in public. That performance took place on February 25, 1995, the last day of the Frank Sinatra Desert Classic Golf Tournament. Three years later, he would die of a heart attack, and the phrase "The Best Is Yet To Come" would be etched into his gravestone.

Michael Buble covered this for his 2007 album, Call Me Irresponsible.

James Darren, who recorded this for his 1999 album, This One's From the Heart, sang it with Avery Brooks that same year on Star Trek: Deep Space Nine in the episode "Badda-Bing Badda Bang."

Tony Bennett's version was the wake-up song for the Apollo 10 crew on May 22, 1969.

Frank Sinatra - My Kind of Town

Frank Sinatra - My Kind of Town Lyrics and Youtube Music Videos

Album: Sinatra '65: The Singer Today
Released: 1964

My Kind of Town Lyrics

The Wrigley Building, Chicago is
The Chicago Cubbies, Chicago is
One town that won't let you down
It's My Kind of Town

Writer/s: CAHN, SAMMY/VAN HEUSEN, JAMES
Publisher: Warner/Chappell Music, Inc., IMAGEM U.S. LLC
Lyrics licensed and provided by LyricFind

My Kind of Town Song Chart

Sometimes called "My Kind of Town (Chicago Is)," this song by Jimmy Van Heusen and Sammy Cahn is an homage to the Windy City. It was written for the 1964 musical Robin and the 7 Hoods, starring Frank Sinatra, Dean Martin, and Sammy Davis Jr. (with Bing Crosby and Peter Falk filling in for the rest of the Rat Pack).

This was nominated for an Academy Award for Best Original Song but lost to "Chim Chim Cher-ee" from Mary Poppins.

Sinatra recorded this several times with a Nelson Riddle arrangement. It's featured on Sinatra '65: The Singer Today, on the live albums Sinatra at the Sands (1966) and The Main Event (1974), and on Duets II (1994), where he performed it with Frank Sinatra Jr.

Sinatra performed this during his last public performance at the Frank Sinatra Desert Classic golf tournament in Palm Springs (February 25, 1995). "Here's one that everybody knows," he said over the intro.

Filming Robin and the 7 Hoods in Chicago proved to be a nightmare for Sinatra, but neither the movie nor the town was to blame.

First, he received word that President John F. Kennedy, whom he also called a friend, had been assassinated. Devastated, he told the film crew, "Let's shoot this thing, 'cause I don't want to come back here anymore." (Frank Sinatra: An American Legend by Nancy Sinatra) Two weeks later, he suffered another blow when his teenage son, Frank Jr., was kidnapped from a hotel in Lake Tahoe. After his son's safe return a few days later, the singer retreated to his Palm Springs home to recover from the shock of it all.

Depending on which version you're listening to, the final lyrics reference "The Union Stock Yards, Chicago is" or "The Chicago Cubbies, Chicago is." The Union Stock Yards were the hub of the meatpacking business in the US for decades until the declining industry forced them to close their doors in 1971, also leading to a tweak in this song's lyrics.