A pitch-perfect interpretation of this lovely song, both musically and dramatically.  Sinatra’s almost conversational tone, wistful and self-deprecating, is backed by a subtle and tasteful arrangement by Gordon Jenkins.  It’s one of the high points of Sinatra’s years at Capitol.

Dylan’s cover of the song on his album Shadows In the Night is nearly as good.  He also sings it in an almost off-hand way, bemused but perfectly sincere when he gets around to the song’s thematic climax, the matter-of-fact declaration of a love that’s never going to change.  Dylan has more miles on the odometer that Sinatra did in 1959, when he recorded the version above, so his interpretation is inflected with a bit more resignation, but both Dylan and Sinatra get to the heart of a miraculous entry in The Great American Songbook.