Frank Sinatra didn't just sing songs. He claimed them. When you hear that brassy, confident opening blast of "The Best Is Yet to Come," you aren't just listening to a mid-century pop standard. You're hearing the sound of a man who had been through the professional wringer and come out the other side as the undisputed king of cool. It’s a track that defines the "Second Sinatra" era.
Honestly, most people forget he wasn't the first to record it.
The song was actually written by Cy Coleman and Carolyn Leigh. Tony Bennett got to it first in 1962. Bennett’s version is great—sophisticated, jazz-leaning, and technically perfect. But when Sinatra touched it in 1964 for his It Might as Well Be Swing album, something shifted. He didn't just sing the lyrics; he gave them a swagger that made you believe the promise. It became his anthem. It was the last song he ever performed in public. That carries weight.
The Count Basie Factor
You can't talk about The Best Is Yet to Come Frank Sinatra rendition without talking about Count Basie and his orchestra. This wasn't just another studio session. This was a collision of titans. Quincy Jones—yes, the same Quincy who later produced Michael Jackson’s Thriller—was the one who arranged it.
Quincy knew exactly how to use Sinatra’s voice.
By 1964, Sinatra’s voice had changed. The "Boy Singer" sweetness of the 1940s Columbia years was long gone. In its place was a textured, slightly gravelly baritone that sounded like it had stayed up too late drinking Jack Daniels. Quincy Jones leaned into that. He wrote arrangements that required Sinatra to "swing" against the beat rather than just sit on top of it.
The brass in this track is aggressive. It’s loud. It’s punchy.
If you listen closely to the middle of the song, there’s this incredible tension between the walking bassline and Frank’s phrasing. He’s behind the beat, then he’s ahead of it, then he’s right there. It’s effortless. Or at least, he makes it sound that way. In reality, Sinatra was a perfectionist. He’d stare down a horn section if they missed a sharp. The chemistry between the Basie band’s "Kansas City Swing" style and Sinatra’s "Hoboken Bravado" is why this specific version ended up in the Library of Congress’s National Recording Registry.
Why the Lyrics Hit Differently in 1964
"Out of the tree of life, I just picked me a plum."
Think about where Sinatra was when he recorded that line. He was nearly 50. In the 1960s, 50 was old. The Beatles were already taking over the world. The "Rat Pack" era was starting to feel a little bit like yesterday’s news to the younger generation.
But Sinatra didn't care.
He was at the height of his power as a businessman with Reprise Records. He had total creative control. When he sang about the "best" being ahead, it wasn't just a romantic sentiment about a girl. It was a middle finger to anyone who thought he was a legacy act. He was telling the world that he was still the heavyweight champion.
The Anatomy of a Masterpiece
- The Intro: Those first three seconds of brass? That’s the musical equivalent of a double espresso.
- The Phrasing: Notice how he says "wait." He holds it just a microsecond longer than you expect.
- The Build: The song doesn't just stay at one level. It grows. By the time he reaches the final "Come on, baby, wait and see," the band is at a roar.
Most singers try to compete with a big band. Sinatra invited the band to the party. He treated his voice like one of the instruments in the woodwind section. It’s a technical marvel that feels like a casual conversation at a bar.
The Epitaph and the Legacy
It is well-documented that "The Best Is Yet to Come" is the phrase carved into Frank Sinatra’s headstone at Desert Memorial Park in Cathedral City. It’s a hauntingly optimistic choice for a grave.
It tells us everything about his philosophy.
Sinatra lived a life of massive highs and devastating lows. He lost his voice in the early 50s. He was dropped by his label. He was considered a "has-been" before From Here to Eternity saved his career. Because he had seen the bottom, he genuinely believed that the future held something better.
People often confuse this song with "My Way" or "New York, New York." While those are iconic, they are backwards-looking. They are about what he did. "The Best Is Yet to Come" is about what’s next. That’s why it resonates so much with modern audiences. It’s a song for people who are starting over, or people who just hit a milestone and aren't ready to quit.
Technical Brilliance: The Quincy Jones Arrangement
Let's get into the weeds for a second. Quincy Jones was only 31 when he arranged this. He was a kid compared to Frank. But he had this uncanny ability to bridge the gap between old-school jazz and the burgeoning "cool" sound of the 60s.
Jones used "space" as an instrument.
If you listen to the Bennett version, it’s beautiful, but it’s busy. Quincy Jones’s arrangement for Sinatra has holes in it. It lets the silence speak. It gives Frank room to breathe. This is why the The Best Is Yet to Come Frank Sinatra recording sounds so much bigger than the others. It’s not just the volume; it’s the contrast between the quiet moments and the wall of sound.
Misconceptions and Trivia
Wait, did he actually record it twice?
Actually, Sinatra performed this live hundreds of times, but the 1964 studio recording with Basie remains the gold standard. There are some live recordings from the Sands Hotel that collectors swear by because you can hear the ice cubes clinking in the glasses and Frank’s banter with the crowd.
Another weird fact: the song was played on the Apollo 10 mission.
Gene Cernan and his crew played it while orbiting the moon. Think about that. The ultimate "space age" pop song actually went to space. It was the first song ever played on a cassette tape in lunar orbit. It fits. The optimism of the 1960s space race and the optimism of Sinatra’s delivery are a perfect match.
How to Listen to It Today
If you’re listening to this on a cheap pair of earbuds, you’re missing half the song.
This is "big" music. It needs air. It needs room to vibrate. If you can, find a vinyl pressing of It Might as Well Be Swing. There is a warmth to the brass and a depth to the bass that digital compression just kills. You want to hear the spit in the trumpets. You want to hear the floorboards of the studio creaking.
Actionable Next Steps for Fans
If this song is on your heavy rotation, you shouldn't stop there. To really understand the DNA of this track, do the following:
- Listen to the Tony Bennett version immediately after the Sinatra version. Pay attention to the tempo. Notice how Sinatra slows it down just enough to make it feel "cooler."
- Watch the 1965 "A Man and His Music" TV special. He performs this toward the end, and you can see the physicality of his singing. He’s not just standing there; he’s conducting the air with his hands.
- Check out the album Sinatra at the Sands. It’s widely considered one of the best live albums in history. The version of "The Best Is Yet to Come" on there features a hilarious monologue intro that gives context to his mindset at the time.
- Analyze the "Sprechgesang." This is a German term for "speech-song." Sinatra was a master of it. He doesn't always hit a note perfectly on the head; sometimes he speaks the lyric to emphasize the emotion. Try to spot where he does this in the second verse.
Sinatra’s work isn't just a museum piece. It’s a masterclass in confidence. When he sings that the best is yet to come, he isn't wishing for it. He’s announcing it. That shift in perspective—from hope to command—is why we are still talking about a 60-year-old recording today. It isn't just a song; it's a lifestyle.