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 | Where can I find Sinatra compact discs and albums? |
Some of the better mail order sources of Sinatra material, including imported (non US) releases include:
Rick Apt's Sinatra Collectibles
P.O. Box 620
Pomona, NJ 08240
(609) 804-9173 voice
(609) 804-9174 fax
http://www.blue-eyes.com
International Sinatra Society
P.O. Box 7176
Lakeland, FL 33807-7176
(941) 646-7650 voice
(941) 646-0293 fax
http://www.sinatraclub.com
Footlight RecordsFor those shopping on the Internet:
113 East 12th St
NY, NY 10003-5367
(212) 533-1572
http://www.footlight.com
 | Where can I buy Concert For The Americas video? |
Based upon information from the Sinatrafamily Web site, The Concert for the Americas videotape, packaged with Making Of An Album (LA Is My Lady) videotape is also available by calling 1-800-760-7979. It is listed as one of the Sinatrafamily Web sites FAQ.
Orange Productions, the company that syndicates Sid Mark's Sounds of Sinatra as well as the organization behind the Sidnatra Club, is also selling the videotape. For additional information, call Brian at 1-800-BLUE-EYES.
 | What are the non commercial recordings and other material? |
Bootleg recordings run the gamut from concerts taped on someone's personal Walkman to copies of studio sessions clandestinely released on CD or tape. Bootlegs are considered non-commercial recordings, typically without a corresponding commercial release.
Pirate records have been described as unauthorized copies of legitimate commercial recordings. With the widespread availability of compact discs, an increasing number of pirate compact discs have become available. Many of these releases, on obscure and imported labels, have used 78 and LP sources to issue recordings from the 1940's, the 1950's, and early 1960's. Quality obviously varies quite a bit. The most blatant form of pirate recordings occur when the packaging is copied as well as the audio material. In the age of compact discs, many of Sinatra's recordings from Dorsey and Columbia eras are frequently packaged in unauthorized releases.
To some collectors, bootleg recordings serve to expand the number of available performances upon which to appreciate the legacy of an artist like Frank Sinatra. Naturally, there are several issues involved, including the legal rights to the material, artist and performance royalties, and the quality of the material.
 | Does the Sinatra family have any opinions on non commercial recordings? |
"If you don't like unsolicited advice, please do not read the following:
It is the sincere hope of our whole family that you will receive this in the spirit with which we are posting it, but we are fully aware this may cost us some "friends."
We know it is not our business to tell anyone what to do or not to do, but if you truly love and respect Frank Sinatra, and wish to honor him, we suggest you choose not to purchase illegal products - and we hope you will complain to people who do.
By continuing to support off-road stuff, people are supporting those who hurt Frank and other entertainers and film makers by polluting the purity of their art with first drafts or rejected takes or a live concert that was on a bad night.
This practice has caused Frank great pain. This is NOT about money. This is about maintaining integrity in the body of his work.
If you are a "collector" who truly loves Frank, you will not wish to cause him more worry and stress by purchasing the unauthorized fruit of his hard work and dedication.
This is not a game about who has more stuff.
With all due respect, we suggest that you wait until products are released through proper channels - no matter how tempted you are and how enticing they may be.
We promise you that everything that should be released will be - with care and integrity - and in due time. We would welcome your suggestions regarding priority releases.
We need your help.
Thank you.
Nancy Sinatra"
 | A Fan replies to the Sinatra family opinion |
I suppose most, if not all of you, would agree that the 1965 'September Of My Years' with Gordon Jenkins on Reprise ranks among Frank Sinatra's most distinguished albums ever, joining "Sinatra & Strings" with Don Costa (1961) and "Moonlight Sinatra" with Nelson Riddle (1965) as the best recording project of Sinatra's first five years at his new label. The recent 2 CD set "Inside September" (Artisan CD 609-2), following similar issues on the other two prime albums and being the ninth release in the series, now covers what must be called another four legendary Sinatra recording sessions. As with the previous issues in the Artisan series, it is both fascinating and educating to listen to the undefeated Champion of Storytelling shaping his approach on the lyrics.
It's like you have been admiring the filigree composition of an Italian Renaissance palace building and now suddenly get invited to look over its architect's shoulders. How did the elements that form the building get together? Which of them came along somewhat naturally, and which of them were shaped, or even discovered, during the construction process? When it comes to seriously approaching the works of outstanding artists, in all fields of human culture, one has to get back to the sources.
It is most obvious with the fine arts: Let's say Michelangelo - or Rodin. Sketches made by Michelangelo in preparation for his most famous paintings, or models made by Rodin in preparation for his most famous sculptures, have since been examined by generations of scholars, in order to get a better understanding of the artist's immortal work of art - and of course, whenever possible, the drafts and models are carefully preserved by and exhibited at the museums world-wide, together with the final product. Is the view of the Sistine Chapel less breathtaking because you've seen Michelangelo's sketches before at the Vatican Museum? Does any exhibition of "workshop artifacts" at the Musee d'Orsay keep you from cherishing the views of Rodin's sculptures as an absolute highlight of any Paris tour d'horizon? Certainly not: If anything, you will be looking more closely, and from a much more sophisticated point of view, maybe noticing details you wouldn't have been aware of otherwise. That's why all the draftings have been, should be and will continue to be, displayed.
The same thing applies to the great literates and their works, say, Goethe and Schiller, or Hemingway. All surviving original manuscripts are carefully preserved, and scholars world-wide use them to publish critical editions of the writings, documenting shifts and turns of the author in fixing the final text, and by doing so, sharpening our perception of what ideas and schemes have influenced the writers. Does such research do any harm to our appreciation of their library? Certainly not: It only enhances our understanding of the material. That's why all those critical editions continue to be published.
The great composers: Let's say Mozart and Beethoven, or Gershwin. The rare autographs, corrected manuscripts of various famous compositions that have luckily survived, are carefully preserved since they fundamentally add to any scholar's approach, from corrected single notes to completely rewritten passages. Would such background information on 'Requiem', or the famous "Ninth", or "Rhapsody In Blue" ever diminish our appreciation of these timeless musical classics? Certainly not: They simply draw our attention to specific passages, and help to define their special place in the context of musical history. That's why all the surviving documents continue to be analysed.
As the 20th century spins to a close, when it comes to discussing who will probably be forever representing its artistic essence, there is a new element to be considered in the musical field, the artistry of recording. In the field of popular music connected to the 'American Songbook', Frank Sinatra is most likely to be topping any list (at least of male singers) of 20th century recording artists, through his numerous timeless recordings deriving from a 50 years plus studio career, in which he displayed his unique talent of 'telling a story', of bringing even slight song lyrics directly across to the listener by making them sound honest. It is the art of interpretation: Sinatra's instrument is his voice, his phrasing and nuancing of the lyrics. In other words: In the field of 20th century's popular music, Sinatra's (and a few other artists') recordings in a sense become the 'audible' equivalent of what Michelangelo's and his contemporary painters' works are for 16th century's revolutionary 'visible' culture, or Goethe's writings for 19th century's (at least in Europe) 'readable' intellectual essence.
Now, as there are preserved 'audible' documents of Sinatra recording sessions, documents of an outstanding artist shaping one of his timeless masterpieces, can the audition of these sessions, of so-called "out-takes" and alternates preceding the final masters, possibly harm our appreciation of Sinatra's artistry? Certainly not: They can only add to our understanding of what made Sinatra great. That's why these recordings have to be, and will be made available.
Yet from a very prominent source in the Sinatra world, it has recently been stated that through releasing material that wasn't meant for official publication, including the Artisan series of recording sessions, the "integrity" of Sinatra's musical artistry gets harmed. The above should have made it clear that such harm can't possibly be done by any "workshop" release. But how about the official releases - do they preserve that "integrity?"
In many cases recently, the very opposite is the case - and the "Inside September" release provides a perfect example: Sinatra's recording session for "It Gets Lonely Early".
On the Reprise album, the song starts with Sinatra, following a seemingly perfect orchestral intro as arranged by Gordon Jenkins, easing into the refrain lyrics: "Whennn you're alone / allll your children grown / aaannnd like starlings / flownnn awayyyyy". Now from the sessions release, we learn that the album version is take 14, and that in the previous takes, after the orchestral introduction, Sinatra was supposed to sing the verse before going for the above refrain ("Is it two o'clock, or ten o'clock, it doesn't matter much...") We hear how Sinatra keeps struggling with the verse; having finally delivered a complete take including the verse (take 12) but still not being satisfied, he decides to skip the verse completely, and then delivers a perfect recording, as heard on the Reprise album release. We also notice that the bells featured in Jenkins' intro were originally scheduled to refer to the first lines of the verse, and remain present in the released version. By knowing all this, is our appreciation of the "final product" affected by any means ? Of course it isn't: Jenkins' clock-like bells continue to symbolize time passing by.
When preparing the Reprise "suitcase", it was decided to add the verse from take 12 to the previously published recording of take 13: The result is an artificial product, the sounds of which come closer to what was originally scheduled, but at the same time somehow ignore the artist's "original" feelings at the session. In terms of sticking to the "integrity" of the artist's work, it would have been better to issue the complete take 12 in its entirety, maybe as a bonus track, rather than adding the verse of take 12, intercut-like, to a recording sung and approved by Sinatra *knowingly* excluding the verse, and without the aim to make such an intercut. Needless to say that the 'suitcase' liner notes on "It Get's Lonely Early" completely ignore these specifics.
This may sound very academic, but it proves that defining the "integrity" of studio work isn't as simple as official policy would like to make us believe. Not to speak of the making of Duets, or the live samplers dubbed to be original concerts: With these, the contrast between commercial fact and website fiction becomes a Grand Canyon - while Frank Sinatra himself, for six decades, stuck to his motto *never* to cheat his audience.
Of course, the decisions by the 'officials' have to be respected - respecting them, of course, says nothing about them being wise or false. In my opinion, the people in charge should acknowledge Frank's position as a musical legend, the historical importance of the material he recorded, and therefore, instead of blocking and blacklisting session releases, should participate in issuing these essential documents. If indeed it isn't about money (and that's what the official statements are saying), I can't see how Sinatra session releases could do any harm to keeping the flame of the singer's artistry burning.
However, if it *is* about money, why not just say so. It is perfectly legitimate for any company to seek profits. It is also perfectly legitimate to act against illegally copied product, e.g. against black pressings of recordings that have been officially released. The majority of the blacklisted items, however, contain material that is not available anywhere else. So what to do if you run the official, legitimately profit-orientated Sinatra marketing company? You can have your lawyers post legal threats and accuse the customers, including those thousands who have been buying Sinatra products for a lifetime, of willingly hurting the artist as a person. Of course, you could also say to yourself, these are potential customers, how can I win them over for official product ? Assemble your marketing and distribution specialists and have them analyse the market - very obviously, there is a market for concert recordings as well as session material. Next, check your archives. Invite the Sinatra experts and have yourself being advised of other material that would be worth a release. Make a list of possible products - and issue them in suitable packages. And if all turns out well, you might even save a lawyer's annual wages.
A hundred years from today, in order to study the singer's technique and appreciate his musical impact, popular music scholars will be examining session releases, rather than counting all the Greatest Hits samplers. They will be thankful for those who took care of the material and preserved it on record. And as it seems, they will be wondering why people once chose to ignore its value and condemn those who cared about it.
And maybe they will have some of the blacklists on display at the curiosity section of the next Sinatra exhibition.
True artistry always endures. The Sinatra songbook will be no exception.
Bernhard Vogel
Erlangen / Germany
 | Where can I find information about the line of Sinatra food products and sauces? |
Their web site is: http://www.tkifoods.com/home.htm. From the "Contact" page, you can send an e-mail, or get their phone number.
They do NOT sell the products here, but will be happy to direct you to a local seller.
 | Where can I find a film and discography of Frank Sinatra? |
John Ridgway's The Sinatrafile Part 2, second edition, discography is available from The International Sinatra Society. This books is huge, over 600 pages and lists all Sinatra's commercial recordings up to June 6, 1988. Virtually all of Sinatra's CDs, LPs, EPs, and 45s that were released through 1990 are documented.
Ed O'Brien and Scott Sayers: Sinatra: The Man and His Music is a more accessible volume documenting Sinatra's commercial, film, and V Disk recordings right up to the 1991 Silent Night recording. While weighing in at only 300 pages, there is a wealth of information in this volume. The exhibits, rare photos (including Sinatra and Dorsey in the fifties), and complete film recordings are unique and worth the cost of the book.
Ed O'Brien has recently published Sinatra 101, features a synopsis of Sinatra's 101 best songs. Included with each song, ranging from the Dorsey era right up to the recording sessions of Duets I and II, each an interesting note concerning the recording, other versions and recordings and where the recording can be found.
I recently published a songography, Songs By Sinatra, that lists Sinatra's recordings in alphabetical order. More information is avaible on this Web site.
 | Where can I read more about Frank Sinatra? |
Unfortunately, it can still be found in most bookstores. Even the recent number of excellent titles, the paperback edition of "His Way" is often the only book on Sinatra regularly carried in some of the smaller bookstores. Thank goodness for the Internet, the larger superstores, and some of the quality independents!
Better treatments of the subject abound in varying states of detail. Only books which deal extensively with Sinatra are mentioned.
For inprint books, Amazon.com has a substantial listing of Sinatra CDs (along with books and videos). Besides, if you make a purchase from Amazon by using this link, it helps to keep this site running!.
For out-of-print books, try online dealers, like Bibliofind or Powell's
| Author | Title | Year | Publisher |
| Ackelson, Richard W. | Frank Sinatra: A Complete Recording History Of Techniques, Songs, Composers, Lyricists, Arrangers, Sessions, And First-issue Albums, 1939-1984 | 1992 | McFarland |
| Adler, Bill | Sinatra, The Man And The Myth: An Unauthorized Biography | 1987 | New American Library |
| Britt, Stan | Frank Sinatra: A Celebration | 1995 | MacMillan Pub |
| Clarke, Donald | All Or Nothing At All: A Life Of Frank Sinatra | 1997 | Fromm Intl |
| Coleman, Ray | Sinatra: A Portrait of the Artist | 1995 | Turner Pub |
| Collis, John | The Complete Guide To The Music Of Frank Sinatra | 1997 | Omnibus |
| Dellar, Fred | Frank Sinatra: His Life and Times | 1995 | Omnibus |
| Doctor, Gary L. | The Sinatra Scrapbook | 1991 | Carol Publ Group |
| Douglas-Home, Robin | Sinatra | 1962 | Grosset & Dunlap |
| Dwiggins, Don | Frankie: The Life And Loves Of Frank Sinatra | 1961 | Paperback Library |
| Frank, Alan | Sinatra | 1979 | Book Sales |
| Friedwald, Will | Sinatra! The Song Is You: A Singer's Art | 1995 | Scribner |
| Marino, Vito R. and Anthony C. Furfero | The Official Price Guide to Frank Sinatra Records and CDs | 1993 | House of Collectibles |
| Gehman, Richard | Sinatra And His Rat Pack | 1961 | Belmont |
| Goddard, Peter | Frank Sinatra: The Man, The Myth And The Music | 1973 | Greywood |
| Goldstein, Norm | Frank Sinatra, Ol' Blue Eyes | 1982 | Holt, Rinehart, and Winston |
| Hamill, Pete | Why Sinatra Matters | 1998 | Little, Brown |
| Hawes, Esme | The Life And Times Of Frank Sinatra | 1997 | Chelsea House |
| Hodge, Jessica | Frank Sinatra | 1994 | JG Press |
| Holder, Deborah | Completely Frank: The Life Of Frank Sinatra | 1995 | |
| Howlett, John | Frank Sinatra | 1979 | Simon & Schuster |
| Irwin, Lew | Sinatra: The Pictorial Biography | 1995 | Courage Books |
| Jewell, Derek | Frank Sinatra: A Celebration | 1985 | Little, Brown |
| Kahn, E J | The Voice: The Story Of An American Phenomenon | 1947 | Harper & Bros |
| Kelley, Kitty | His Way: The Unauthorized Biography Of Frank Sinatra | 1986 | Bantam |
| Lahr, John | Sinatra: The Artist And The Man | 1997 | Random House |
| Lonstein, Albert I | Revised Compleat Sinatra : Discography, Filmography, Television Appearances, Motion Picture Appearances, Concert Appearances, Stage Appearances/Sup | 1980 | Lonstein Pubns |
| Marino, Vito R. and Anthony C. Furfero | The Official Price Guide to Frank Sinatra Records and CDs | 1993 | House of Collectibles |
| Martin, Peter | Sinatra, The Early Years: An Exhaustive Collection Of Photographs | 1980 | P Martin |
| Martin, Peter | The Life And Times Of Frank Sinatra | 1986 | |
| Mustazza, Leonard | Ol' Blue Eyes: A Frank Sinatra Encyclopedia | 1998 | Greenwood Press |
| Mustazza, Leonard | Sinatra: An Annotated Bibliography | 1999 | Greenwood Press |
| Mustazza, Leonard (ed) | Frank Sinatra and Popular Culture | 1999 | Greenwood Press |
| O'Brien, Ed and Robert Wilson | Sinatra 101: The 101 Best Recordings And The Stories Behind Them | 1996 | Boulevard |
| O'Brien,Ed and Scott P. Sayers, Jr | Sinatra: The Man and His Music | 1992 | Texas State Directory |
| Peters, Richard | The Frank Sinatra Scrapbook His Life And Times In Words And Pictures | 1982 | St. Martin's Press |
| Petkov, Steven and Leonard Mustazza (Eds) | The Frank Sinatra Reader | 1995 | Oxford Univ Pr |
| Pickard, Roy | Frank Sinatra At The Movies | 1994 | Hale |
| Rednour, Tom | Songs By Sinatra | 1998 | Privately Published* |
| Ridgway, John | The Sinatrafile, 2nd Ed | 1991 | Ridgway Press |
| Ringgold, Gene and Clifford McCarthy | Films of Frank Sinatra (revised ed) | 1989 | Citadel |
| Rockwell, John | Sinatra: An American Classic | 1984 | Random House |
| Romero, Jerry | Sinatra's Women | 1976 | Manor |
| Scaduto, Anthony | Frank Sinatra | 1976 | |
| Sciacca, Tony | Sinatra | 1976 | Pinnacle |
| Shaw, Arnold | Sinatra: Twentieth Century Romantic | 1968 | Holt, Rinehart, and Winston |
| Shaw, Arnold | Sinatra: The Entertainer | 1984 | Delilah |
| Sinatra, Nancy | Frank Sinatra, My Father | 1985 | Doubleday |
| Sinatra, Nancy | Frank Sinatra: An American Legend | 1995 | General Publ Group |
| Sinatra, Nancy | Frank Sinatra: An American Legend (Ltd Ed w/5 CDs) | 1995 | General Publ Group |
| Taraborelli, Randy | Sinatra: Behind The Legend | 1997 | Carol Publ Group |
| Turner, John Frayn | Frank Sinatra: A Personal Portrait | 1983 | Hippocrene Books |
| Vare, Ethlie Ann (Editor) | Legend: Frank Sinatra and the American Dream | 1995 | Boulevard |
| Wilson, Earl | Sinatra: An Unauthorized Biography | 1976 | MacMillan Pub |
| Yarwood, Guy | Sinatra In His Own Words | 1982 | Delilah/Putnam |
| Zehme, Bill | The Way You Wear Your Hat: Frank Sinatra And The Lost Art Of Livin' | 1997 | Harper Collins |
| The Original Frank Sinatra Scrap Book. | 1984 | Golden State Music |
* For information on my book, please see the book section of this web site.
For those seeking additional information on Sinatra recordings, many of the boxed CD sets of Sinatra recordings have extensive liner notes, in some cases, like the Columbia Complete Recordings, The Dorsey/Sinatra sessions, and the Capitol Concepts sets, almost book length articles describing Sinatra's recordings. Yes, in many cases, Will Friedwald has written many of the articles.
 | Are there any articles written about Sinatra? |
Several of these early articles are reproduced on this web site. Click on the highlighted title to read it!
Some articles were anthologized in two books:
*The Frank Sinatra Reader (Steven Petkov and Leonard Mustazza) and
**Legend: Frank Sinatra and the American Dream (Ethlie Ann Vare)
| Magazine | Title | Date |
| Newsweek | He Can't Read A Note, But He's Dethroning Bing...** | 3/23/43 |
| Metronome | Frankly Speaking (Leonard Feather) | 5/43 |
| Life | Rise To Stardom (G Fraser) | 5/3/43 |
| The American | Sweet Dreams And Dynamite (Jack Long)** | 9/43 |
| Life | Sinatra Sings For The Waves | 11/1/43 |
| Motion Picture-Hollywood Magazine | Here's To Sinatra (Bing Crosby) | 12/43 |
| Newsweek | The Voice** | 12/20/43 |
| Liberty | The Voice (Earl Wilson) | 2/12/44 |
| Calling All Girls | Frankie Sets Your Fashions | 9/44 |
| Modern Screen | Sinatra Life Story, Part I (Jean Kinkead) | 9/44 |
| Modern Screen | Sinatra Life Story, Part II (Jean Kinkead) | 10/44 |
| Modern Screen | Trio Con Brio (Kirtley Baskette) | 10/44 |
| The New Republic | The Voice And The Kids (Bruce Blivens)** | 11/6/44 |
| Screen Romance | Dining Alla Sinatra (Nancy Wood) | 2/45 |
| Band Leaders | I Can't Forget (Frank Sinatra) | 5/45 |
| Yank, The Army Weekly | Frankie Visits Rome | 7/6/45 |
| Q. T. | The Voice Comes Back | 10/45 |
| Life | Intolerance Feature | 11/12/45 |
| Modern Screen | Sad Sack (George Benjamin) | 1/46 |
| Modern Screen | Nancy With The Laughing Face (Ida Zeitlin) | 6/46 |
| Saturday Evening Post | Star-Spangled Octopus: How MCA Acquired Frank Sinatra (David Wittels)** | 8/24/46 |
| The New Yorker | Phenomenon: The Voice With The Gold Accessories (E J Kahn, Jr)** | 10/26/46 |
| The New Yorker | Phenomenon: The Fave, The Fans, and the Fiends (E J Kahn, Jr)** | 11/2/46 |
| The New Yorker | Phenomenon: Just A Kid from Hoboken (E J Kahn, Jr) | 11/9/46 |
| Look | What Will Sinatra Do Next? (E J Kahn, Jr) | 8/5/47 |
| Metronome | What's Wrong With Music (George Simon) | 2/48 |
| Modern Television & Radio | Is Sinatra Finished? (Barry Ulanov) | 2/48 |
| Metronome | Sincerity's A Thing Called Frank (George Simon) | 12/53 |
| Metronome | Sinatra Looks At TV | 11/50 |
| Time | The Kid From Hoboken | 8/29/55 |
| Cosmopolitan | Sinatra, A Womans Point of View | 5/56 |
| Cosmopolitan | The Nine Lives Of Frank Sinatra (Adela Rogers St John)** | 5/56 |
| Look | The Life of FS, Talents & Tantrums | 5/14/57 |
| Playboy | The Word on Frank Sinatra (R G Reisner) | 11/58 |
| Redbook | Sinatra, Why They Hate Me | 8/59 |
| Hi-Fi | Analysis of An Idol | 4/60 |
| Good Housekeeping | The Enigma of FS | 7/60 |
| New York Herald Tribune | Watching Sinatra TapeA Show (Peter Levinson)** | 1/61 |
| Rouge | The Thin One And Hefti (Arnold Shaw) | 10/62 |
| Playboy | Sinatra Speaks His Mind | 2/63 |
| Life | The New Sinatra Sound FS Jr. | 8/23/63 |
| Life | Sinatra Opens Up | 4/23/65 |
| Newsweek | Sinatra - Where The Action Is | 9/6/65 |
| Look | Sinatra at 50 | 12/14/65 |
| Esquire | Frank Sinatra Has A Cold | 4/66 |
| McCalls | Frank & Nancy | 7/68 |
| Stereo Review | The Sinatra Syndrome | 2/8/69 |
| Hi Fidelity | FS - Confessions & Contradictions | |
| Look | Frank & Mia Sinatra | 10/31/67 |
| Ladies Home Journal | Mia Farrow's Swingin' Life | 5/67 |
| Life | Sinatra Says Goodbye & Amen | 6/25/71 |
| Stereo Review | Sinatra - That Certain Style (G. Lees) | 8/28/71 |
| Hi Fidelity | Puppet, Pirate, Pawn & A King (Arnold Shaw) | 8/71 |
| Stereo Review | A Great Vocal Artist Retires | 11/71 |
| Ladies Home Journal | Sinatra - An America Classic (Roz Russell)** | 1971 |
| McCalls | My Father, Frank Sinatra | 12/73 |
| Rolling Stone | Frank, Then & Now (Ralph Gleason) | 6/74 |
| Ladies Home Journal | Love Song To My Grandaughter | 9/74 |
| McCalls | Understanding Sinatra | 10/74 |
| Saga | Close Look at a 20th Century Phen | 11/74 |
| Ladies Home Journal | Grandpa Frank Sinatra | 12/75 |
| Ladies Home Journal | The New Mrs. Sinatra | 10/76 |
| TV Guide | FS: An Exclusive Interview | 4/16/77 |
| NY Daily News | Inside Sinatra (Interview by Kay Gardella) | 1978 |
| Wall St. Journal | Will He Record Again? (D McClintock) | 12/15/78 |
| NY Times | Sinatra - A Grace Undimmed (J Rockwell) | 4/13/80 |
| Stereo Review | Sinatra, Past, Present, Future (H Pleasants) | 1978 |
| New York | Sinatra - the Legend Lives (P Hamill) | 4/28/80 |
| NY Daily News | The Legend, The Man | 6/8/80 |
| Rolling Stone | The Majestic Artistry of FS | 9/18/80 |
| NY Times | Sinatra's power base (published on the eve of Regan's inaugural) | 1/81 |
| NY Times Mag | Outlasting Rock (S. Zion) | 1981 |
| NY Times | Frank Sinatra - Closer To Rock (S Holden) | 12/31/81 |
| NY Daily News | The Unknown Sinatra (Kay Gardella) | 1/17/82 |
| Philadelphia | The Selling of Sinatra | 9/83 |
| Stereo Review | Sinatra - The One & Only | 2/84 |
| Family Circle | My Dad, Frank Sinatra | 11/5/85 |
| The New Republic | When Old Blue Eyes Was "Red" (Jon Weiner)** | 3/31/86 |
| Chicago Tribune | Sinatra Talks (H Reich) | 8/26/90 |
| Newsweek | The Wonder of Sinatra | 12/90 |
| NY Times | A Perfect Singer Since He Began (H Connick) | 12/90 |
| NY Daily News | He Sang It Our Way (D Hinkley) | 12/9/90 |
| NY Times | Pop's Patriarch Makes Music (S Holden) | 10/31/93 |
| Time | And One More For The Road (J Cocks) | 11/8/93 |
| NY Daily News | Fading Blue Eyes (P Hamill) | 11/21/93 |
| NY Daily News | Sinatra Belt Out Home Run (M Lupica) | 11/21/93 |
| Vanity Fair | Sinatra's Double Play (D McClintock) | 12/93 |
| GQ | One More For The Road (J Schwartz) | 12/93 |
| Ladies Home Journal | Tina, Her Father's Daughter | 12/93 |
| Time | One More For The Road | 3/21/94 |
| LH Journal | Early Sinatra | 1994 |
| Esquire | Frank Sinatra's Last Audition (J Schwartz) | 5/95 |
| Village Voice | Jazz Supplement featuring Sinatra | 6/20/95 |
| British GQ | In The Name of the Father | 9/95 |
| Weekly Standard | Sinatra @80 Ring A Ding Don't (A. Fergson) | 12/11/95 |
| Daily Variety | Frank Sinatra at 80 | 12/12/95 |
| Atlantic City | Jersey Legends: Frank Sinatra | 12/95 |
| Downbeat | Sinatra and Jazz (W Friedwald) | 3/96 |
| Fi | Frank Sinatra:Generational Man | 4/96 |
Sinatra's death brought out many tribute articles and special issues. Those will be listed at a later date.
Essays on Sinatra appear in the following collections of essays using a format of:
Title of collection followed by the (Sinatra article).
| The Great American Popular Singers, by Henry Pleasants | Fireside, 1974 |
| Riding on a Blue Note (The Once and Future Sinatra), by Gary Giddins | Oxford, 1981 |
| Rhythm-A-Ning (Frank Sinatra An Appreciation and For Collectors), by Gary Giddins | Oxford, 1986 |
| Singers and the Song (The Sinatra Effect), by Gene Lees | Oxford, 1987 |
| Outcasts (The Man and His Mishegoss), by Francis Davis | Oxford, 1990 |
| Essays In Disguise (The Voice), by Wilfrid Sheed | Knopf, 1990 |
| Professors, Politics and Pop (When Ol Blue Eyes Was Red), by Jon Wiener | Verso Press, 1991 |
| Discovering Great Singers of Classic Pop, by Roy Hemming and David Hajdu | Newmarket Press, 1991 |
| Fame And Obscurity (Frank Sinatra Has a Cold), By Gay Talese | Ivy Books, 1993 |
