Personnel includes: Frank Sinatra (vocals); Quincy Jones (conductor); George Benson, Lee Ritenour, Tony Mottola (guitar); Margaret Ross, Amy Sherman (harp); George Young, Frank Wess, Michael Brecker, Buddy Collette, William Green, Kim Hutchcroft, Jerome Richardson (saxophone); Alan Rubin, Lew Soloff, Jon Faddis, Oscar Brashear, Snookie Young (trumpet); Wayne Andre, Urbie Green, Dave Taylor, Lew McCreary, Bill Watrous (trombone); Peter Gordon, John Clark, David Duke, Sidney Muldrow, Henry Sigismonti (French horns); Tony Price, James Self (tuba); Bob James, Sy Johnson, Randy Kerber, Craig Huxley (keyboards); Lionel Hampton (vibraphone); Bob Crenshaw, Marcus Miller, (bass); Ndugu Chancler, John Robinson (drums); Ralph MacDonald (percussion).

Engineers include: Phil Ramone, Stanley Wallace, Jimmy Santis.

Includes original release liner notes by Stan Cornyn.

Over the course of his long career, Sinatra enjoyed so many comebacks that even his harshest detractors must have been able to identify his flame as impossible to extinguish. When he wanted to make a definitive recorded statement for the mid-'80s, he enlisted the aid of conductor/producer Quincy Jones, who, though he made a name for himself as a pop producer in the '70s, was equally well-versed in the classic Big Band tradition. L.A. IS MY LADY presents Jones and Sinatra working together on a combination of chestnuts like "Mack The Knife" and more contemporary tunes.

Though the faithful might be put off by the opening title track, which can only be described as disco Sinatra, Jones supplies a wealth of the kind of swinging Big Band arrangements that are so closely associated with Sinatra's brassy side. Tight horn section work and sparkling piano accompaniment enliven versions of "Until The Real Thing Comes Along" and "The Best Of Everything." Unique among Sinatra's recordings, this is an idiosyncratic blend of old and new.