But it's not meant to be that specific.









Thirty years later, in the mid-Seventies, just after his wife Ada died, Drake got a call. Jenkins had a kind of kitschy pretentiousness that eventually found its most fantastically disastrous expression in the Still and all, he knew folkiness was not what "A Very Good Year" was meant to be about. Unlike "It Was A Very Good Year", the romance didn't stop at 35.Still, when he was 46, it was a very good year. Time zone: doesn't have any curse words, but many oversensitive radio stations played a "clean" version with the word "kitten" edited out, surely the first time that word was censured. "William Shatner covered this on his 1968 spoken-word album, In 1966, nine months after Sinatra charted with his rendition, Della Reese made #99 with her version, which flipped the gender and changed the lyrics appropriately ("Small town boys and soft summer nights," "blue-blooded boys of independent means").Years later, Ervin Drake became friends with Sinatra and finally got to discuss the song with him. D C We'd hide from the lights on the village green. Robert Charlebois recorded a French version, and Ray Charles recorded the song as a duet with Willie Nelson.

It's the story of a man on his way up, and Drake has only a few syllables to sketch very precise worlds.

(He has that in one place above. On the other hand, when he gets to the hey-nonny-non interlude, he whistles it, so perhaps it's more of a sea shanty.

I used to think the idea was nothing more than Sinatra contrarianism: At a time when most celebs cling ever more fiercely to lost youth, he embraced premature old age. It's the story of a man on his way up, and Drake has only a few syllables to sketch very precise worlds. The distinguishing feature of, say, "Lemon Tree" (another Kingston number) is the lack of narrative shape, of dramatic arc. But it's actually "elegiac."

"To be honest, Homer's fake ID and staying up listening to Queen may approximate more closely to most youthful experience than Frank's poignant reflections on perfumed hair coming undone.
"It Was a Very Good Year" peaked at #1 on the U.S. Even William Shatner's spoken declamation isn't as fun as it might be.
As for the hey-nonny-nonnies, they seem gone for good. So it's entirely possible he and his arranger Gordon Jenkins were completely sincere in their intimations of mortality. He sings it not as two quavers and a crotchet, as Sinatra does and as the stresses would fall in spoken English, but as an evened-out triplet, as if he's declaiming some Elizabethan ballad. Just about everything short of his morning mouthwash gargles has been excavated, digitally remastered and released on CD.

All of Mark's behind-the-scenes music columns are fascinating but the Sinatra pieces especially so. Drake decided to put the title on the second unrhymed line, and reprise it immediately at the start of the long third line - also most unusual. Burton Lane took to the piano bash out the tune and Sammy Cahn sang the inevitable special lyrics ("Hello, Jerry!") It's about the memory of loves as different as great wines, as intoxicating and as impermanent, save for the lingering savor of a sweet taste just beyond your tongue. Which makes a kind of sense.

He took Drake's little hey-nonny-nonny interlude - the bit the Kingston boys had whistled - and turned it into a great throbbing wail of strings and oboes. Yet it never wears.Nonetheless, it wouldn't be half the album it is had not Frank chanced to be driving home through the California desert to his home in Rancho Mirage. And the music underneath goes into that Gordon Jenkins oboe obligato, setting up another bittersweet elegiac autumn-of-my-years recollections of a life lived to the full. A year or so later, Drake ran into Sinatra and asked him why he'd dumped the hey-nonny-no in favor of Jenkins' big orchestral wail.

.

Then on to the city girls "who lived up the stair/With all that perfumed hair/And it came undone..." There's a whole scenario in there.

Well, yes.

And, just in case it didn't sound "folky" enough, Ervin Drake punctuated each verse with a little tweedly-dee faux-simple interlude to which the folkies could sing:That was too much even for the Kingston Trio.

Most celebrities don't mark 50th birthdays. I think not.My second favorite post-Frank interpretation is by Homer Simpson.

Not for Drake's music.

After all, chick-wise, if you had half Frank's memories, would you be as mournful and elegaic as Gordon Jenkins' oboe? Here's what I wrote in So what matters are the songs: some are by famous men - Cole Porter, Rodgers & Hart; others are by obscure figures like E A Swan or Joseph Myrow, whose names live on in one outstanding 32-bar contribution that Sinatra noticed and chose to keep alive; some of these songs are numbers written for Frank that he made into standards; others are from forgotten shows and films from a generation earlier that survived because of his championing of them. In his drearily unmusical biography of Sinatra, Anthony Summers cites the theory of the journalist St Clair Pugh that the third verse of "Very Good Year" was a conscious reference to Frank's affair a decade earlier with Gloria Vanderbilt:Oh, for heaven's sake.

Let us know what you think of the Last.fm website. 5 Webb talks about his classic songs "By the Time I Get to Phoenix," "Wichita Lineman" and "MacArthur Park. For a moment I got him confused with his older brother Milton Drake (co-writer of our Song of the Week #72, "Java Jive").




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