Nancy Sinatra - Nancy In London (1966) plus Bonus Tracks

(U.S 1961 - Present)

Nancy in London is the third studio album by Nancy Sinatra, released on Reprise Records in 1966. Arranged and conducted by Billy Strange, the album was produced by Lee Hazlewood. It peaked at number 122 on the Billboard 200 chart.

The change of locale for Nancy Sinatra's third album didn't change her approach much: it's dominated by humdrum covers of contemporary pop and rock hits and pop standards, with some Lee Hazlewood country songs thrown in, though his compositions "Friday Child" and "Summer Wine" (the second of which is a Sinatra/Hazlewood duet) are strong, moody highlights.

Nancy Sinatra’s critical reputation has suffered from a strong streak of rock snobbery. The first two editions of Rolling Stone Album Guide simply skipped her. The third gave her albums a dismissive two stars, then the fourth skipped her again. In The Heart & Soul of Rock & Soul: The 1001 Greatest Singles, Dave Marsh included Lee Hazlewood’s production of Rebel Rouser, then dissed his “silly duet” with Nancy on These Boots Are Made For Walking. OK, Dave, but a “duet” is a song with two singers. Lee does not sing on it. Maybe you should actually listen to it. In Rat Pack Confidential, Shawn Levy was gratuitously nasty mentioning ‘terrible songs,’ but was more interested in her shorts, boots and go-go dancers.

But the tide is changing, and things get better … in 2015 Rolling Stone placed Nancy & Lee ninth in their list of Twenty Greatest Duos of All Time. David Hepworth placed Summer Wine on his list of “Greatest B sides of all time” in 2018. He’s right.

Basically, she suffered because she was popular music aristocracy right from the start, and her elaborate musical arrangements indicated a silver spoon beginning.

Nancy In London

While Hazlewood produced the album, Billy Strange arranged it at Pye Studios at Marble Arch in London. Due to British Musician’s Union rules, Strange wasn’t allowed to conduct, so Johnny Harris took over. Eddie Brackett was their long-time engineer.

So why were they in London? They were there to record the James Bond theme You Only Live Twice with John Barry conducting the 80 piece London Philharmonic. That carried over to the album where she describes her youthful Wrecking Crew American backing musicians, and contrasts them:

NANCY: "Recording in London was definitely a different experience than recording in America. First of all, because the guys in America were my age and younger. On BOOTS you know, we had Jimmy Gordon on the drums, he was like a baby; and Chuck Berghofer on bass. Donnie Owens and Al Casey on acoustic guitars, and we had kind of a young trombone section, you know. It was just a youthful kind of a look. When you walked into the studio in London there were guys with grey beards and white hair and it was a little scary, a little intimidating to be recording in London with these wonderful, experienced London Philharmonic-type musicians. And me with my little bitty voice".

Recording in Britain had become a well-trodden route in the wake of The Beatles, led by The Everly Brothers Two Yanks in England. Brenda Lee did an album in 1964. Del Shannon did Home And Away with Andrew Loog Oldham in 1967 although it wasn’t released for decades. Tommy Roe recorded in the UK. Bobby Vee recorded The New Sound From England but did it with Snuff Garrett in America. Usually the point was using British producers and session men, and most often going for British songwriters – both Brenda Lee and Bobby Vee had a go at She Loves You. But Nancy was in London with Lee Hazlewood and Billy Strange and some of the songs such as Hutchinson Jail were country. There are no British songwriters on there either, though when it was issued on CD in 1996 John Barry’s "You Only Live Twice" was a bonus cut. You have to wonder what the point of doing it in London was.

For the third time, we have covers … "On Broadway", "Wishin’ and Hopin’ ", and "The More I See You". Lee Hazlewood was possibly restricting the flow of his own compositions (or was diffident) and she had not yet found another songwriter to provide her with new original material. It would be a long time before Mac Davis took on that role.

"On Broadway" was written by Barry Mann and Cynthia Weil, and in its best and most famous version recorded for The Drifters, adapted and produced by Leiber & Stoller. (US #9, R&B #7) in 1963. In my memory it was a major UK hit and I pride myself on spotting it and Up On The Roof on release, but not so according to the chart books. It’s such a marvelous song, that a cover four years on was a reasonable idea. A powerful vocal and instrumental backing. Who booked her backing singers? A perennial issue. These guys are not up to The Drifters.

"The End" is a cover of the 1958 Earl Grant song, not The Doors psychotic Oedipal drama. That would have been a fascinating combination. Nancy’s version has had a later life in adverts. It’s very late 50s pop, yet has such a huge orchestra and massive chorus over her semi-spoken early verses.

The next song "Step Aside"  is country and western. It’s credited to Tommy Jennings, brother of Waylon Jennings. It was recorded by Lee Hazlewood’s first discovery, Sanford Clark in 1966 as the B-side to a re-recording of his first hit, "The Fool" written by Hazlewood. The guitarists on the Sanford Clark session were Al Casey, who played on the original 1956 version, and Waylon Jennings. If this hadn’t been recorded in London, no doubt Al Casey would have played on Nancy’s version too. Waylon went on to record the song himself, in a very Johnny Cash’ stripped down style. I assume Lee sourced the song, and he must have decided to push the song in two directions. Nancy’s version is more elaborate than either Sanford Clark or Waylon Jennings, and while the piano and country bass line sound country, the horns are not a country item.

"I Can’t Grow Peaches On A Cherry Tree" is folky. It had been a recent American hit by Just Us, a duo which consisted of Chip Taylor and Al Gorgioni. (US #34, Adult Contemporary #3 in 1966). It gave its title to their album. It’s credited to E. Levitt-C. Monde. Chip Taylor was a major songwriter himself. Good song. As expected, Nancy’s version has the orchestral arrangement, but retains its folky lilting melody.

Nancy makes an excellent job of Burt Bacharach and Hal David’s "Wishin’ and Hopin’ " and it suits her voice, but my first choice would be Ani di Franco and my second Dusty Springfield for this song. Dionne Warwick had been the first to record it in 1963. Nancy Sinatra has some of the clipped delivery which Ani di Franco used in her later bare, stripped back version for My Best Friend’s Wedding in 1995. This Nancy take on the song is big and dramatic and she goes for rapid after the solo. Dusty Springfield did it in 1964, and scored a US #6 hit, but it was held back in the UK because Dusty was already #3 with "I Just Don’t Know What To With Myself". So The Merseybeats covered her version and went to #13. She remained identified with the song in the UK, performing it on TV with The Merseybeats at the time. A good cover of a well-known song is usually a good idea on an album, but what did they expect to gain from doing it?

The best track of all is Lee Hazewood's "Summer Wine" … the last track on side one … which wasn’t released as a single until it became the B-side of "Sugar Town" (see left).

"This Little Bird" was a John D. Loudermilk song which had been covered in 1965 by The Nashville Teens (UK #38), then by Marianne Faithfull (UK #6 in May, US #32 in July), so there was a British hit connection, and her second Marianne Faithfull cover after "As Tears Go By" on her Boots LP. Nancy’s version was issued as a single in Japan two years later and was a #15 Japanese hit in January 1969.

"Shades" is the second Lee Hazlewood track to appear on the LP, and as soon as you hear the orchestra at the start and then the loping pace and the deep voice, you know it. Fabulous. "Shades" was also recorded by Lee Hazlewood solo (arranged by Billy Strange) in August 1966, and was slated to appear on his aborted 1967 album for MGM, Something Special. It was shifted to his LHI album in 1967, Lee Hazlewood Presents the 98% American Mom & Apple Pie 1929 Crash Band, and every track on that was a solo version of a Nancy Sinatra hit, except for Houston.

"The More I See You" was another major hit to be covered. It was an older song than I thought … 1945. Like many, I met it it with Chris Montez’s 1966 UK #3 hit. Montez had recorded "Call Me" which Nancy had covered on her previous album. It was on the same MoR album "The More I See You". For me, Chris Montez is Let’s Dance and I never liked his shift to this sort of material. Nancy does it with vibes and horns and soars above it. I never liked the song though.

"Hutchinson Jail" is Lee Hazlewood, with the cowboy in the cold, cold, cold jail after being accused of shooting a man. Nancy sings “I got a man in Wichita and a man in Saginaw” and I thought she meant she’d shot some people there too, but then she adds “They both ain’t heard from me in some time.” Then I realised by “got a man” she meant “a male friend or partner.” It was transparent when Lee had sung “I got a wife in Wichita and a girl in Saginaw.” Lee had recorded it in 1966 solo with simpler backing. He’d told her Boots wasn’t a girls song. This definitely isn’t, but then folk tradition is to ignore the gender of a narrator within a song. Bows on the bass. There is a town of Hutchinson in Kansas, not too far from Wichita.

The first single from Nancy in London was Lee Hazlewood’s "Friday’s Child" (US #36 . It had been the title track of Hazlewood’s solo LP for Reprise in 1965, before working with Nancy. It had not set the world on fire. There’s Nancy singing on her own, a 30 piece orchestra, nice crisp chanting chorus. Britain had some good backing vocalists and these sound like rock backing vocalists rather than the Anita Kerr-style choir used on her American recordings. The most memorable thing is the blues lead guitar solo running all over the song. So if it was recorded in London, it’s not Hazlewood’s regular studio team. So who is the lead guitarist? The blues obsession guitar sounds British to me but Billy Strange was there arranging and conducting and is a guitarist with such a wide range that I suspect it’s him. The drums also sound great, just dragging the beat a tad. It doesn’t sound “British session man” to me, but it might be. [extract from Peter Viney's Blog] https://peterviney.com/peter-viney-music-rock-the-band-record-cover/nancy-sinatra/

You Only Live Twice

For the 1967 Bond film, 'You Only Live Twice', Nancy Sinatra was the first non-British vocalist to sing a theme song for the James Bond film series. The music, as with other scores for Bond films of that era, was composed by John Barry. The song’s lyrics were written by Leslie Bricusse.

Both the Sinatra theme song, and full soundtrack album, scored well on the music charts of that day. The soundtrack for “You Only Live Twice” rose to No. 27 on the Billboard 200 album chart in 1967.

NANCY: "Recording 'You Only Live Twice' was a scary experience. There were about 80 symphony musicians and John Barycusse (composer/conductor) and Leslie Bricusse, one of the world's finest lyricists and Chubby Broccoli and his wife and all of the big execs from the Bond movies sitting in the booth. I was just terrified. You could've peeled me up off the floor, I was just a mess. John Barry came out to me after I sort of squeaked through a couple of takes and he said "would you rather I track the band and you come back and do the vocal?" And I said "Oh John, please! Yes!"

I remember saying to him during one of the takes when I was trying so hard to overcome my nerves, "Are you sure you don't want to call Shirley Bassey? I think she's in the parking lot." I went in and did the vocal the following day. Now, when I listen to it I amaze myself, actually, that I got through it. I could sing it a lot better now."

This post consists of MP3's (320kps) ripped from my vinyl (another market find) and includes full album artwork for vinyl and CD releases.  Label scans and all photos featured above are inclusive.

I have included some bonus tracks which were also recorded at the time of this LP release, including her movie single "You Only Live Twice", all of which were included in the CD release.

Tracklist

01 On Broadway 2:43

02 The End 2:22

03 Step Aside 2:33

04 I Can't Grow Peaches On A Cherry Tree 2:38

05 Summer Wine 3:40

06 Wishin' And Hopin' 2:49

07 This Little Bird 2:07

08 Shades 2:15

09 The More I See You 2:28

10 Hutchinson Jail 2:47

11 Friday's Child 3:00

12 100 Years (Bonus Track)   2:30

13 You Only Live Twice (Bonus Track)  2:55

14 Tony Rome (Bonus Track)  2:23

15 Life is a Trippy Thing (Bonus Track)  2:41

Nancy In London Link (93Mb)

Nancy Sinatra - Boots (1966) plus Bonus Tracks

 (U.S 1961 - Present)

The inspiration for this post came from a 1969 newspaper article that I found tucked away in a Nancy Sinatra LP that I recently bought at my local flee market called 'Nancy In London'. The article was published in the Weekend-Magazine  section of The Herald, on Saturday 15th Feb, 1969. 

The article was entitled "Nancy Owes It All To A Divorce" and was written by Leonard Mosley of the London Daily Express.  It finds Nancy reflecting on her recent divorce from Tommy Sands and how the hit single "These Boots Are Made For Walkin" became her song.   Below is an extract from that article:

Nancy Owes It All To A Divorce
It was 1966, Nancy Sinatra was recovering from a divorce, in a relationship with film director Jack Haley Jr. and she was looking for a song that would give her a real break. One night, she drove over to spend the evening with her mother. Her father, Frank Sinatra (recently divorced) turned up that night also. Despite the divorce, Frank was a regular visitor to his ex-wife's home and knew there was always a door open for him there.

Frank & Nancy Sinatra

Nancy and her mother had only to take one look at his face to know he was lonely and unhappy, and they knew the reason why. They read the gossip columns too. They knew his latest romance with a dancer had just fallen through. He had come home in search of food, drink and comfort.

It so happened that one of the other visitors to Mrs Sinatra's home that night was a young man called Lee Hazelwood , who played the guitar, composed his own songs, and did a night club act. He had also arranged a number tunes for Nancy and they were old friends.

Frank Sinatra was restless. "Play us something" he said to Hazelwood.

"I'd like to" he replied . "I open next month in Las Vegas and I'm working on a new song. I'll try it out on you".

He tuned up his guitar, ran through a few chords, and then he began to sing his new song. Nancy recalled "He had only written one verse so far, but neither Dad nor I needed to hear any more to know this was an absolute winner. There was only one thing amiss. The wrong person was singing it.

It's my song!
It was "Boots", the song destined to go to the top of the charts in practically every country in the world and take Nancy Sinatra with it.

She asked Hazelwood to play it again and again., then rushed over and flung her arms around him. "It's a magnificent tune " she said. But Lee, it isn't for you. You can't possibly sing that song".

Hazelwood looked at her in astonishment, "I don't know what you mean" he said.

Lee Hazelwood & Nancy Sinatra

"You can't possibly put it over", said Nancy. "All those words about boots - these boots are going to walk right over you - that sort of thing. It's going to make people uncomfortable and make people hate you when they hear them. "Can't you see, it isn't a man's song. A man will just make it sound nasty. But a girl singing it - that's different".

Hazelwood said: "You mean, you want the song?"

Frank Sinatra broke in "Look Lee, Imagine Nancy on the stage. She's wearing a mini skirt. She's got a pair of boots on - they're just about becoming all the rage for gals. And she starts singing that song.

"Boots!" It'll be the greatest thing since Kipling. She'll have every woman in the audience with her as she sings it, and she'll have every mac chuckling and sympathising. Nancy's right. It's her song, not yours. It's for a gal. Give her the song, baby".

"No" said Hazelwood. "It's my song. I'm going to sing it next month at Vegas". It took them until dawn to persuade him.

"And do you know?" said Nancy. "When we went down to the Reprise Studios a few days later with the song and more verses and Lee's arrangement, and when we played it over to the board, they didn't froth. The might have been listening to 'Who's Afraid of the Big Bad Wolf?' for all the enthusiasm they showed.

Lee had written another song for me which he called 'Good Time Girl' which was to on the flip side. But when they heard it they said: "You're crazy. This is the song we should be boosting. Let's put in on top and make 'Boots' the flip. That's all it's worth"    "Gawd, were they slow!"

But thanks to her father it was "Boots" which was picked as the main side. Nancy said "When I sat back after the recording stint and listened to the number, I knew. I knew. I knew. This was the breakthrough. This was the turning point in my life. This was the hit I needed".

A Life Of Luxury
It is from "Boots" and the numbers which followed that Nancy Sinatra has built up a fortune big enough to keep her in luxury for the rest of her life.

It has also put her in business as a rival to her father. A few months ago she formed her own company, called appropriately 'Boots Incorporated', which is going into the record, television, and film business.

From now on she will no longer rely upon Frank Sinatra's Reprise Company to make her records, though the company will still distribute them. She employs her own own arrangers, has formed her own orchestra, and has her own producer.

One of her future projects is a film to be made from a J.B Priestley novel whose rights she has bought. It will be a musical with both live and animated figures and she will sing in it.

"But the main idea of Boots Inc." she said , "is to put me out out of work rather than give new jobs. It will employ other singers and get them launched."

Nancy On TV Stage Performing Boots

"The general idea is to turn it into a money-making enterprise through other people as well as me, so that when I feel like it I can drop out for a time, have a baby, or go abroad somewhere with Jack where he's making a film."

She curled up in a chair and look content. I said: "Don't stop singing entirely." She shook her head. "Jack wouldn't let me. He likes me to work.

"We both want kids, but he isn't the kind who wants me to be running around the house all the time barefoot and pregnant. And hell, since when has motherhood stopped a girl from singing?"

She turned to her manager, who had just come into the room.

"That reminds me," she said. "Isn't it about time we called up Lee Hazelwood and sked him if he's got any more new songs?" She grinned, "Preferably one he's just written especially for himself."

[extract from newspaper article: 'Nancy owes it all to a divorce', The Herald, Feb 15, 1969. p25. Written by Leonard Mosley of the London Daily Express]

This post consists of MP3 (320kps) ripped from CD and includes full album artwork and label scans for both vinyl and CD formats. Because the feature article on the left (what a rare find hey !) relates to Nancy's 'Boot's album', I choose to post that album rather than the 'Nancy in London' album in which the article was found. I might post that album in the near future if there is interest.

 

Note that the album Boots features no less than 3 Lennon & McCartney tracks and single compositions by Dylan and the Rolling Stones. Of course the hit single These Boots Are Made For Walkin' (written by Lee Hazelwood) is the highlight track but Nancy still does a great job on all other album tracks. So get ya boots out of the closet folks and start grooving to these wonderful sounds of the 60's.

Track Listing

01 As Tears Go By  2:50

02 Day Tripper  3:01

03 I Move Around  2:47

04 It Ain't Me Babe  2:00

05 These Boots Are Made For Walkin'  2:42

06 In My Room  2:37

07 Lies  2:45

08 So Long, Babe  3:04

09 Flowers On The Wall  2:37

10 If He'd Love Me  2:45

11 Run For Your Life  2:39

CD Bonus Tracks

12 The City Never Sleeps  2:50

13 Leave My Dog Alone  2:09

14 In Our Time  2:36

15 These Boots Are Made For Walkin' (Mono Single Version)  2:43

Boots Link (109Mb)  New Link 29/03/2023

Nancy Sinatra - Movin' With Nancy (1967) plus Bonus Tracks

(U.S 1961 - Present)
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Nancy Sinatra, daughter of Frank Sinatra, is one of the most fluid superstars of the last fifty years. As a singer, movie starlet, multimedia trendsetter, proto-feminist muse, and fashionista, Sinatra has maintained an undeniable presence in contemporary culture. Through a series of mythic collaborations with Lee Hazlewood, Mel Tillis, Elvis Presley, Bobby Darin, Morrissey, and her famous father, she popularized the form of the male-female duet in American rock and roll. Her susurrating vocal style, sourced and echoed a hundred times over by the likes of Kim Gordon, Britta Phillips, and Lana Del Rey, divined the best elements of European chansons, jazz-blues, and confectionery standards with a loping, almost sardonic drawl that belies her New Jersey birthright. Heard in baroque masterpieces like “How Does that Grab You, Darlin’?” and “Summer Wine,” this vocal persona (whose apocryphal description as a “fourteen-year-old who screws truck drivers” is attributed to Hazlewood) caused the producer to refer to her by the affectionate moniker “Nasty.” Her bleached bouffant and leather boots introduced a particularly Californian “go-go” aesthetic from Europe, immortalized in the Movin’ with Nancy TV specials and her omnipresent classic “These Boots Are Made for Walkin’.”
Nancy Sinatra’s career mirrors that of countless female artists who have come before and after her; namely, the fact that its prescience and influence have often been diminished (by both men and other women) because of her gender, and that its great successes are sometimes yoked unfairly to the men who surrounded her.

 Although it certainly can’t hurt when your father owns the record company, Nancy Sinatra wouldn’t have sold millions of records in the 1960s if she wasn’t putting out great pop music. In fact, had Sinatra not met songwriter/producer Lee Hazlewood, she might’ve been dropped, even by Reprise. Nepotism only goes so far (just ask her brother) and Sinatra’s early attempts at the pop charts went nowhere. Hazlewood had her sing in a lower key and tailored her material for a straight-talkin’ sassy “hip” image that was closely associated with go-go boots, eyeliner and miniskirts. Together they had a long string of chart-topping hit records, most sung by Nancy, but still some were duets they recorded together.

1967’s NBC TV special 'Movin’ With Nancy' was produced at the height of Sinatra’s career and featured guest appearances from her father, his pals Dean Martin and Sammy Davis Jr., as well as an onscreen appearance by Hazlewood. Written by Tom Mankiewicz (who’d go on to the James Bond films and the Superman franchise of the 70s) and directed by Jack Haley Jr. (son of the “Tin Man” actor, one-time husband to Liza Minnelli and future producer of That’s Entertainment!), as far as variety specials went, Movin’ With Nancy was considered quite “different” for its time. For one thing, it’s not shot in a studio, but mostly outdoors, on various locations like a travelogue. The set pieces simply drift from one to the next and each is like a music video. Haley won an Emmy for his directing.

The show was sponsored in its entirety by the Royal Crown Cola company (“It’s the mad, mad, mad, mad cola!” as you will be reminded over and over and over again) and their commercials are in the video below, so we get to see Movin’ With Nancy exactly the way it aired on December 11, 1967. Of special note is the premiere of that classic oddball psych number “Some Velvet Morning,” which made about as much sense then as it does today. If that doesn’t send a special thrill up your leg, I don’t know what would. Also, at the very end of her bit with Sammy? That innocent peck on the cheek was apparently the very first (non-scripted) interracial kiss on network television. This proved to be controversial, but was done spontaneously as Davis was actually saying goodbye to Sinatra in that shot and leaving the set for another job. There wasn’t a second take [extract from dangerousminds]

Album Review
To anyone who likes the Lee Hazlewood stuff, this is another highly recommendable Nancy Sinatra album to put in your collection. Six of these songs are his… and the other six are the vast array of show tunes and weird covers for anyone who prefers those. So, in some ways, this is the all-encompassing Nancy Sinatra album!

Of course, the best song on this album is "Some Velvet Morning"… It was the best thing about Nancy & Lee as well! Grr… why must those record company bastards make us buy the same songs twice!! If you thought that was bad, here's another instance of "Jackson" making it the third time it popped up in unchanged form in her discography. They should have just written new songs. Man. Another one, "Friday's Child," appeared in Nancy in London, but this was an actual re-recording, and a massive improvement. Instead of the sloppy, and somewhat cheese ball original, this one has dark, brilliantly orchestrated strings and a really awesome electric guitar noodling throughout. So that's cool.
The two-minute "I Gotta Get Out of This Town" opens the album, and it's quite a spirited piece with Sinatra giving her great bad-girl vocal performance and punchy albeit typical '60s arrangements. It's nothing more than a fun song to hear. "See the Children" is a great Hazlewood ballad with a fine melody and wonderful sort of contemplative arrangements. It's nothing that'll move you to pieces, but it's endearing. "This Town" is also a fine composition of his, but I think the instrumentation should have been different… I do like the atmosphere, but it seemed much more reserved and smoother, and it would have been more effective if it was brassier.

The covers aren't quite as splendid as those Hazlewood originals, overall, but there are a number of minor gems in here. "Who Will Buy" is a rock 'n' roll interpretation of the song from the hit play Oliver!. It's a beautiful song, and the arrangements are done well… So the idea worked great. "What I'd Say" is a really bizarre cover of the Ray Charles song … so bizarre that I can't decide if I like or hate its sloppiness. That sax solo at the beginning is so hyper that it tries to beat out the general pace of the song! Making it weirder is that there is nothing about Nancy Sinatra's voice that would make one thing that it would suit the material …….. and it really doesn't. Give it credit for being fun, but in the end, I'm never going to want to listen to it again. Frank Sinatra comes in and sings "Younger Than Springtime" all by himself. …Er… whose album is this? And there's an OK though uninspired duet with Dean Martin, "Things." …Well, it doesn't annoy me at least.  [review by Don Ignacio]
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OK, so this is a trip down memory lane, for those of you who grew up in the 60's. Lots of fun even for those who weren't even around in the 60's and again, it was the 'cover' that caught my attention with this one. Like Cilla Black, Nancy Sinatra did some great record covers and probably sold the vinyl based on this alone.
This post consists of MP3s (320kps) ripped from my A+ vinyl and includes full album artwork and label scans. Also included are some bonus tracks, taken from singles that my parents bought back in the 60's which I remember playing as a young boy and probably attribute to my obsession with music throughout my life!  Firstly, Nancy's first big hit "These Boots Were Made For Walkin' " and it's flip side "The City Never Sleeps At Night" and her later hit single "Lightning's Girl" with it's B-Side "Until It's Time For You To Go". 
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Track Listing
01. I gotta get out of this town

02. Who will buy
03. Wait till you see him
04. Younger than springtime (frank sinatra)
05. Things (with Dean Martin)
06. Some velvet morning (with Lee Hazlewood)
07. See the little children
08. Up, up and away
09. Friday's child
10. Jackson (with Lee Hazlewood)
11. This town
12. What'd I say

Bonus Tracks

13. These Boots Are Made For Walkin' (A-Side Single)

14. The City Never Sleeps At Night (B-Side Single)

15. Lightning's Girl (A-Side Single)

16. Until It's Time For You To Go (B-Side Single)

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Nancy Sinatra (112Mb)  New Link 26/12/2023

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