You know the song. Even if you’ve never stepped foot in Midtown or smelled a dirty water dog, you know those opening horns. It is the unofficial national anthem of the biggest city on earth. But here is the thing about the New York, New York song Frank Sinatra made famous: it wasn't written for him, he didn't record it first, and the version we all sing at weddings and baseball games was actually a "Plan B" rewrite because the original was, frankly, a bit of a dud.
It’s iconic now. Legendary. A staple of American culture. Yet, in 1977, it was just a title track for a movie that didn't do very well at the box office.
The Liza Minnelli Era and the Rejection That Changed History
Before Frank ever touched it, John Kander and Fred Ebb wrote the song for Martin Scorsese’s 1977 film New York, New York. They were the heavy hitters behind Cabaret and Chicago. They knew how to write a showstopper. But when they presented the original title theme to Robert De Niro and Scorsese, the reaction was… lukewarm.
De Niro, who was playing a jazz saxophonist in the film, told them it wasn't "strong enough." Imagine being a legendary Broadway composer and having an actor tell you your song lacks punch. Ebb was reportedly furious. He felt they were being insulted. However, that ego-bruising moment forced them to go back to the piano and write a second version. That second attempt? That’s the one we know today.
Liza Minnelli performed it in the movie with all the theatricality you’d expect from her. She was fantastic. But the movie underwhelmed. It was dark, long, and didn't really capture the public's imagination. The song might have died right there in the deleted bins of cinema history if the Chairman of the Board hadn't heard it.
Sinatra Steals the Show (and the Song)
Frank Sinatra started performing the New York, New York song during his live sets at Radio City Music Hall in 1978. He saw something in it that worked for his "Old Blue Eyes" persona. It wasn't just a song about a city; it was a song about winning. It was about being "A-number-one."
He didn't officially record it for an album until 1979 for his ambitious Trilogy: Past Present Future project. By the time it hit the airwaves in 1980, it became his final massive hit. It’s funny because Sinatra was in his 60s at the time. He wasn't exactly the "young kid trying to make it" that the lyrics describe. But his voice had this weathered, gritty authority that made you believe every word.
Why the Sinatra Version Hits Different
If you listen to Liza's version and Frank's version back-to-back, the difference is startling. Liza sings it like a Broadway performer reaching for the rafters. It's desperate and hopeful. Sinatra? He sings it like he already owns the city and he's just reminding everyone else who the boss is.
👉 See also: Why The Son TV Episodes Still Hit Hard Years After the Finale
He changed some of the lyrics, too. The famous "A-number-one, top of the list" line? That’s pure Frank. He infused it with a swagger that transformed a movie theme into a global anthem for anyone with a dream and a suit.
The Yankee Stadium Connection
You can’t talk about the New York, New York song Frank Sinatra belted out without mentioning the Bronx Bombers. Since 1980, the song has been played over the speakers at Yankee Stadium. For a long time, there was actually a weird rule: they played the Sinatra version after a win and the Liza Minnelli version after a loss.
Liza eventually found out about this and, understandably, wasn't thrilled. She basically told the Yankees organization, "Play me when they win or don't play me at all." The Yankees switched to Frank-only. Now, it’s the sound of victory. When the final out is made and those horns kick in, the energy in that stadium is something you have to feel to understand. It’s tribal.
Technical Brilliance in a Simple Melody
Musically, the song is a masterpiece of tension and release. It starts with that pulsing, insistent brass riff. It’s the sound of traffic, of heartbeat, of the city waking up.
- The Build-Up: The song utilizes a "long crescendo." It starts relatively quiet and conversational.
- The Key Change: About two-thirds of the way through, there’s a dramatic shift. This is where Sinatra shifts from singing to almost shouting with joy.
- The Finale: Those final notes are some of the most recognizable in music history. It’s designed to make you want to throw your hat in the air.
Don Costa handled the arrangement for Sinatra. Costa was a genius at making a big band sound like a freight train. He gave the song its "kick." Without that specific arrangement, it might have remained a soft-shoe Broadway number. Instead, it became a powerhouse.
Misconceptions and Trivia
People often think this was Sinatra's biggest career hit. It wasn't. Songs like "Strangers in the Night" or "My Way" technically charted higher or sold more in their initial runs. But "Theme from New York, New York" has a cultural longevity that surpasses almost everything else in his catalog.
Another weird fact: Sinatra actually recorded it a few times. There’s the Trilogy version, but there are countless live recordings where he toys with the phrasing. He would often joke with the audience about the lyrics, sometimes saying "If I can't make it there, I'll make it... in Yonkers."
Honestly, the song is a bit of a paradox. It’s a song about how tough the city is, but it’s played in the most celebratory moments. It’s a song for the underdog, sung by a man who was the ultimate insider.
How to Experience the Song Today
If you want to really "get" the New York, New York song Frank Sinatra made a legend, don't just listen to it on Spotify while you're washing dishes. That doesn't do it justice.
- Watch the 1980 performance: Look up his performance at the Concert for the Americas. He’s older, he’s sweating, and he is absolutely commanding the stage.
- Go to a New York sporting event: Whether it’s the Rangers at MSG or the Yankees in the Bronx, hearing 40,000 people scream "Top of the heap" is a bucket-list experience.
- Listen to the 1977 original: Find Liza Minnelli’s version. Appreciate the theatrical roots. It helps you see how much Sinatra "tough-guyed" the track up.
The song is a reminder that New York isn't just a place; it's a test. Sinatra’s voice is the sound of passing that test. It remains the definitive tribute to the city that never sleeps because it captures the arrogance and the ambition that New York demands of its inhabitants.
🔗 Read more: Piccolo vs Android 17: What Most People Get Wrong About This Fight
To truly appreciate the history, track down the original film New York, New York. It’s a messy, beautiful piece of cinema that gives the song its context. Then, put on the Sinatra Trilogy vinyl, pour a drink—two fingers of Jack Daniel's, just how Frank liked it—and let the brass section do the rest of the talking.
Actionable Takeaway for Music Lovers
To understand the evolution of a hit, compare the vocal phrasing between the 1979 studio recording and Sinatra’s 1993 Duets version with Tony Bennett. You’ll hear how he learned to "talk-sing" the more difficult notes as he aged, a masterclass in vocal preservation and style over raw power. This transition is why the song remained a staple of his live shows until his very last performances in the mid-90s.