1) Frank Sinatra 'In The Wee Small Hours'

It is rather fitting that a book’s s title which suggests one to do exactly what is states opens with an album’s title which does the same. Frank Sinatra’s ‘In The Wee Small Hours’ is intended to be listened to alone and late at night. If the album cover wasn’t proof enough alone, then what's contained within will certainly resolve the matter. Just prior to the album being made, Sinatra famously separated from Ava Gardner and it was this which apparently provided the overarching theme for the album; sixteen ballads all based around the theme of lost love.

In a decade in when the single was king, albums merely served as a randomly compiled collection of an artist’s hits to date. Frank Sinatra’s ‘In The Wee Small Hours’ was noticeable for two reasons. Firstly, it was released as a double 10”, unusual for the time; and secondly, this album marked the consolidation of Sinatra’s (and indeed everyone’s attempt) to perfect the concept album as an art form.

The knowledge I possess of Frank Sinatra revolves purely around the never ending ‘best of’ collections which have been constantly trawled out by the record companies over the years. These predominately consist of the up-tempo swing numbers which everyone is familiar with. Thankfully, I have been introduced to a completely different side of Sinatra, that of a desperate and depressed man whose heart has been broken.

There are two main reasons why this album works so well in what it intends to do. The first of which is Nelson Riddle (the arranger) who perfectly creates a melancholy mood from start to finish with sparse orchestral rhythm sections formed by guitar, celesta, and flourishes of strings, and completed with Bill Miller’s delicate piano playing. It is this mood of loneliness and desolation which creates the perfect conditions for Sinatra to take centre stage with what forms the second reason this albums success; Frank's flawless vocals. Sinatra injects the perfect level of sincerity and emotion into the songs without ever becoming over indulgent or over-the-top.

The opening track, the only one specifically written for the album, is a stunning opener, as is the cover of Ellington’s ‘Mood Indigo’. Other highlights from this album are the cover of Cole Porter’s ‘What Is This Thing Called Love?’ and ‘I Get Along Without You Very Well’. The only negative thing about this album is that at sixteen tracks long consisting solely of ballads around one theme, it does run the risk of fading into the background at times. Yet in a way, given the whole theme of the album this could well be an intended by-product of the album. However, it's certainly not everyday I am prepared to engage in fifty minutes of stories from a heartbroken man. Overall though, the positives definitely outweigh the negatives. This surely has to be a contender for greatest break-up album of all time.

Stand-out tracks: 'In The Wee Small Hours Of The Morning', 'Mood Indigo', 'What Is This Thing Called Love?'

Rating: 7/10