by Ralph BurnsĮdith Piaf - Orchestre dir. (unknown), Jimmy Dorsey and His Orchestra - Vocal Chorus by Bob Eberly Jan Clayton and John Raitt with Carousel Orchestra under direction of Joseph Littau Steve and Eydie (Eydie Gormé, Steve Lawrence) Teresa Brambilla, Tony Martin with Henri René's Orchestra and ChorusĪl Martino - Orchestra under the direction of Monty Kelly Judy Garland with Georgie Stoll and His Orchestra Robert Goulet - Arranged and conducted by Frank Hunter Horace Heidt and His Brigadiers - Vocal Chorus Larry Cotton (unknown), Ray Noble and His Orchestra - Vocal Chorus by Roy Lanson Robert Maxwell, Vic Damone with Orchestra conducted by Richard Hayman John Foster con orchestra e coro diretta da Gino MescoliĮdward Winter, Kay Oslin, Rita O'Connor, Julane Stites and Neil Jones Yves Montand, Jo Stafford with Orchestra conducted by Harold Mooney (unknown), Alfred Drake, Doretta Morrow, Richard Kiley & Henry Calvinĭoris Day, Robert Goulet - Orchestra and Chorus under direction of Franz Allers (unknown), Nat "King" Cole with Orchestra and Chorus conducted by Les Baxter Robert Goulet - Arranged and conducted by Glenn Osser
#Robert goulet on a clear day full#
#Song on a clear day full#įrank Sinatra roared back with one of his most swinging tunes just as the British Invasion was hitting full stride and taking over the airwaves.Paul Whiteman and His Orchestra - Vocal Refrain by Mildred Bailey Verse On a clear day, rise and look around you And you'll see who - just who you are On a clear day, how it will astound you That the glow of your being outshines every star You feel part of. The Alan Jay Lerner/Burton Lane-penned "On a Clear Day (You Can See Forever)" comes from the 1963 Broadway musical of the same name. Nelson Riddle provides the horn-driven Sinatra version for the singer's 1966 Strangers in the Night LP and it is doubtful if any garage-rocking mop tops came anywhere close to rocking as hard as Sinatra's recording does. Listen to the power in the man's voice rising up over the soaring horns, strings, organ, and rhythm section - all barely contained in an impossibly restrained tempo. Just as the singer wraps up the first go-round of the song (at about the two-minute mark), Riddle gives the arrangement a little breath before hitting us in the gut with one of the most stirring horn-section breaks.
Everything in this arrangement works, slipping in in just the right slot - the piano figures in between the horn bleats, for example - and the band plays so far behind the beat that it is downright funky. Gay Talese wrote a famous profile of Sinatra for Esquire, "Frank Sinatra Has a Cold," in 1962. It examines the singer at a crossroads in his career and life, a giant star faced with the 50-year mark and yet another round of pop-music upstarts on his heels. At one point, this conflict comes to life as Sinatra has some sort of showdown with a younger hipster, Harlan Ellison, then a screen writer and soon-to-be-famous author. Of course, the older, but still larger-than-life singer emerges as the hero, even as he looks like a bully. As Talese summarizes, "And three minutes after it was over, Frank Sinatra had probably forgotten about it for the rest of his life - as Ellison will probably remember it for the rest of his life: he had, as hundreds of others before him, at an unexpected moment between darkness and dawn, a scene with Sinatra." It is this kind of intense and unflagging authority that is heard on "On a Clear Day (You Can See Forever)." If anything, the wizened singer has only gotten more commanding as he has aged. The recording might swing easily, but the moments of quiet and confident intensity are set aside for moments of sock-it-to-me punch combinations. Full track listing and details of the 7 vinyl record Robert Goulet - On A Clear Day You Can See Forever / Come Back To Me, My Love - Columbia - USA (1965). Lane, the song's composer, was an esteemed Broadway and Tin Pan Alley songwriter who collaborated with such legends as Ira Gershwin and Frank Loesser, as well as Lerner. In addition to lyricist, Lerner was also a playwright and he wrote the book for On a Clear Day You Can See Forever. In the 1970 film adaptation, Barbra Streisand sings the song. Hers is a far more bombastic and showy arrangement, starting with a dreamy string swell and working itself into an early lather. The nicotine-voiced Robert Goulet recorded the song in 1965 for On Broadway.
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