A Quote by Mark Lanegan

When I was a kid in the late '60s and early '70s, my parents and their friends would play the records of Andy Williams, Dean Martin, Frank Sinatra, and Perry Como, music with string arrangements and men singing songs that sounded sad whether they were or not.
When I was in my formative years, I rejected Frank Sinatra, Bing Crosby, Andy Williams, and Dean Martin. I now realise they were all great artists, but at the time, as a young man, you have to clear the decks.
When I was a kid, a lot of my parents' friends were in the music business. In the late '60s and early '70s - all the way through the '70s, actually - a lot of the bands that were around had kids at a very young age. So they were all working on that concept way early on. And I figured if they can do it, I could do it, too.
Look, when I started out, mainstream culture was Sinatra, Perry Como, Andy Williams, Sound of Music. There was no fitting into it then and of course, there's no fitting into it now.
I didn't grow up with Broadway music. My mother played Perry Como, while I listened to Andy Williams records. Later on it was Cream, Grand Funk Railroad and lots of R&B like the Isley Bros. and Parliament.
In the mid-'60s, AM radio, pop radio, was just this incredible thing that played all kinds of music... You could hear Frank Sinatra right into the Yardbirds. The Beatles into Dean Martin. It was this amazing thing, and I miss it, in a way, because music has become so compartmentalized now, but in those days, it was all right in one spot.
The [Frank] Sinatra interpretation of the music, as opposed to some other music that you were listening to - where you felt like they were singing at you - you felt Sinatra was singing to you. It's a very intimate art form, and that's what I responded to - the intimacy of his performance.
I always been writing songs since I was, like, six. I was listening to Dean Martin, Frank Sinatra, and Frankie Laine and people like that. I was just in the backyard writing songs.
My memories of Las Vegas were all with my father when I was, like, a teenager. He was best friends with Frank Sinatra and Dean Martin, and we'd come up and see the shows and go backstage afterwards and have dinner together. It was one of my first educations about stars and how they really are back stage.
I like Frank Sinatra and Nat King Cole and Dean Martin, who was my favorite, you know.
I always refer back to the days of Frank Sinatra, Dean Martin, the Rat Pack. Back when everyone wore a suit because that's what it was to be an entertainer. You were stylish and you were fly, and it was an effortless fly.
In an attempt to amuse my friends and family, I would do impressions of Dean Martin, singing Everybody Loves Somebody. I secretly really enjoyed singing the song.
When we first went to L.A., Howard Koch, who was the head of Paramount Pictures and later President of the Oscars, threw a welcome lunch for us at his house. There were all these stars there - Frank Sinatra, Dean Martin, Lucille Ball, Natalie Wood, Henry Mancini.
I came up at a time in the late '60s, early '70s where music was without boundaries. You'd go into a music store, and the music was in alphabetical order. I hadn't heard of that word 'genre.'
My parents were into The Mills Brothers, Perry Como, Ella Fitzgerald, Bing Crosby, Sarah Vaughn, and all those people sung the most wonderful songs - and even when I got into rock 'n' roll, that stayed with me.
I'm awful at karaoke, but if I did have to sing, I'd go for my favourite Frank Sinatra song 'I've Got You Under My Skin.' The fact I love Frank is my grandfather's doing: he drummed it into me from a very early age that Frank Sinatra is God.
We listened [with my mother] to [Frank] Sinatra and Glen Campbell and we had some Beatles records that I liked. This was in the '70s.
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