Frank's final album for Capitol is one of his more obscure and underrated efforts; while it certainly isn't as good as "In The Wee Small Hours," "Where Are You," or "Only The Lonely," it's at least as strong as "No One Cares." Vocally, Frank is in fine form, and the record gives him one last chance to reunite with Axl Stordahl, his original primary arranger in the Dorsey / Columbia days.
The insistent strings that begin "When The World Was Young" get the record off to a great start even before Frank's warm, wistful vocals kick in. This is a beautiful ballad with a relaxed, melancholy vibe and the differences in tempo and melody between the verses and choruses make it one of Sinatra's more musically interesting tracks. "I'll Remember April" is one of the best songs on the album. Stordahl's slicing, distant percussive chimes and twinkling vibes really add an edge to this song, as well as Frank's resigned yet powerful reading of the song. A very haunting song, and another often covered song that Frank made his own. "September Song," however, is not my favorite Frank version of this song. Both the 1946 and 1965 takes are superior. "September Song" achieves its power from the desperation, the 'now or never' element of the lyric, which needs to be matched by an equally emphatic arrangement, and this version is far too relaxed (both musically and vocally) to be effective. Still, there are some nice instrumental touches and Frank sounds great as usual. "A Million Dreams Ago" also isn't particularly compelling. It's kind of one-note and doesn't really go anywhere interesting musically or vocally. Likewise, "I'll See You Again," aside from the dramatic vocal intro, this is another one that doesn't really go anywhere interesting. What saves it is Frank's phrasing, including some of his best use of vibrato.
"There Will Never Be Another You" is a great take on this standard. Lush, subtle instrumentation and a touching vocal from Frank. You really can't ask for more, honestly. The dynamics of the strings in this song are very effective in dragging out the melancholy at the heart of the song. "Somewhere Along The Way" is a beautiful rendition; Frank's phrasing on the bridge reminds me of "Dancing On The Ceiling" from "In The Wee Small Hours." Once again, some interesting dynamics with the strings add a lot to the song's soundscape. The whole album sounds like Frank wandering through a dark alley at night looking for an old flame on a particularly chilly night. "It's A Blue World" is a very pleasant, slightly jazzier, less strings-heavy rendition. Frank's emotional conviction is off the charts here, very good strong singing and taut inflections in the phrasing to really make it resonate.
"These Foolish Things (Remind Me Of You)" is an elite rendition of this classic. Everything about this is perfect - the bubbly yet achingly sad orchestration, Frank's devastatingly sincere vocal, and the inherent quality of the song all add up to this being the clear standout of the album. Frank's voice moves across this song like a spectre, it's spooky in its sustained, thought out phrasing. I love the little pause he takes on 'a tinkling piano in the next...apartment' for some reason. A masterful performance all the way. "As Time Goes By" is of course another often covered Great American Songbook cover that Frank nails. A truly touching rendition with a great instrumental break, I find myself returning to this version more than any other take on the song.
"I'll Be Seeing You" is yet another evergreen, and is also Frank's second recording of the song in under a year, having cut a much swingier version for the "I'll Remember Tommy" album. This version is the superior one for me, as it's much more dynamic and nails the sentiment of the lyric better.
"Memories Of You" is a fine song for Frank to end his Capitol tenure with, although I personally prefer the 1956 rendition that saw the light of day only on 1990's "The Capitol Years" boxed set. Still, Frank gives the song a fine go, and it's also a nice final testament to Axl Stordahl's work. Stordahl was Frank's original go-to guy before the 'core four' of Riddle, Jenkins, Costa and May, so it's very nice that he was finally called upon once more to direct one of Frank's better albums.
I often like to envision Frank's run of saloon albums on Capitol as part of a story, about a man's journey through love and loss. "Point Of No Return" seems to circle back to "In The Wee Small Hours," in mood, in that is very melancholy and resigned but not overly morose and wallowing in hopelessness like "No One Cares." Perhaps "Point Of No Return" is the same character as "In The Wee Small Hours" some years later, reflecting on his past heartaches with resignation and sentimentality, but ultimately coming to terms with it. With that in mind, it rounds his Capitol career very nicely, the perfect farewell note to the label where he graduated from a mere pop singer to a true artist.
