Sin-atra. It's a metal tribute project dedicated to the most iconic songs of 20th Century crooner and SNL-target, Frank Sinatra. I'd have called this "Sinatrica", but that's just me. While the project doesn't require in-depth knowledge of the source material, it certainly helps. The gimmick will be lost on the youngest generations, who may have no cultural familiarity at all with "Ol' Blue Eyes". Those of us who've heard any of these songs in their original formats (most likely through our parents and older relatives) will at least get the joke. Will all of us appreciate the joke? That's a different question. . .

This is not really a "Various Artists" compilation, as it's marketed, because it's only the vocalists who change from song to song. The creative force and backing band here are producers Bob Kulick (known for work with Kiss, Meat Loaf, and W.A.S.P.) and Brett Chassen on guitars and drums, with Doug Katsaros managing the keyboards and orchestral elements and none other than Billy Sheehan on bass (Note: Not one 10,000-note finger-tapping bass solos are heard).

These are not mere cover versions of the originals, faithfully updated with distorted guitars; the songs have been rebuilt into new creatures, with metal riffage and arrangements blended with the source material's lyrics, vocal melodies, and original melodies. Some work as mere novelty numbers, others truly succeed as listenable, satisfying songs in their own right, and few others simply fail. The best way to finish the description is to go quickly track-by-track:

1.) ‘New York, New York’ - Devin Townsend (Strapping Young Lad) This is perfect. The tempo change from the ultra-famous original is a bit jarring, but Devin Townsend COMPLETELY gets the concept, and delivers a wonderfully weird, heavy, perfect performance with a log truck full of attitude. A Canadian singing "New York, New York"? This is a highlight.
2.) ‘I’ve Got You Under My Skin’ - Glenn Hughes (Deep Purple) Ian Gillian's shadow in Sabbath and Deep Purple, Glenn Hughes shows his talent with a competent, severely mutated, good song.
3.) ‘Summerwind’ - Geoff Tate (Queensryche) I love Geoff Tate, but this was a poor song choice for him. Sinatra basically talked through the original; Tate's high, piercing voice just never sounds right.
4.) ‘It Was A Very Good Year’ - Dee Snider (Twisted Sister) Dee has never sounded better. Delivered with such attitude and chutzpah - - this is the best thing out of Long Island since the 1983 Islanders Stanley Cup team.
5.) ‘Witchcraft’ - Tim "Ripper" Owens (Judas Priest, Iced Earth) My ears are bleeding. Ripper comes through with what he does best for a moderate success.
6.) ‘Fly Me To The Moon’ - Robin Zander (Cheap Trick) Pretty good.
7.) ‘Lady Is A Tramp’ - Eric Martin (Mr. Big) One of the album's misses. Maybe we could have had Geoff Tate do this one instead?
8.) ‘Strangers In The Night’ - Joey Belladonna (Anthrax) The best song on the album. It slices and dices and will still cut through a tomato. The "Doobie doobie do" part is sure to slay.
9.) ‘High Hopes’ - Franky Perez (Scars on Broadway) The original is so ridiculous; this one is 110% camp. The team pulls it off, however. Good for a laugh.
10.) ‘I’ve Got The World On A String’ - Dug Pinnick (King’s X) Dug Pinnick's vocals were always underappreciated (I think), due to his exceptional bass skills. He does a great job with good backing material.
11.) ‘Love And Marriage’ - Elias Soriano (Nonpoint) This is executed perfectly like a classic speed metal tune. Puts me right there on the couch again with Al Bundy. Another highlight.
12.) ‘That’s Life’ - Jani Lane (Warrant) Features Richie Kotzen on guitar. This is the weakest effort, mainly due to the lackluster, charmless vocals.

Overall, I think this is a fun project with some excellent, satisfying metal moments. It's an ambitious, whimsical, volatile cocktail, which mostly works. I appreciate Frank Sinatra's impact and talent, but I've never counted myself as a fan, and this works for me. I enjoy and recommend Sin-atra as long as you can tolerate the gimmick.