It’s Everly Time! – THE EVERLY BROTHERS****

So Sad (To Watch Good Love Go Bad)/Just In Case/Memories Are Made Of This/That’s What You Do To Me/ Sleepless Nights/What Kind Of Girl Are You/Oh True Love/Carol Jane/Some Sweet Day/Nashville Blues/You Thrill Me/I Want You To Know

At the turn of the new decade America’s top pop harmony duo The Everly Brothers, were at the peak of their popularity. Their first Warner Brothers album It’s Everly Time contains the US and UK top ten hit single So Sad (To Watch Good Love Go Bad). (US:9 UK:2)

“The Everly Brothers first album for Warner Brothers after leaving the Cadence label, It's Everly Time, saw the pair stretch out from their traditional pop base. Most of the songs have an almost country feel, not surprising given their Nashville hometown, but infused with a distinct Everly Brothers flavour.”

“Vocally, the style and delivery are indistinguishable from the Cadence recordings but this first Warner album marks the beginning of a newer and fuller Everly sound. The side one cuts are as per Cadence, but much of side two is heavier stuff with a much stronger drum sound, a more pronounced bass line and a heavier piano riff backing a mid song electric guitar solo. The last track, I Want You To Know, epitomises the evolving trend.”

“A great selection of Everly Brothers songs, the music is as timeless as any that you could hope for. An excellent example of the variety that the Brothers could generate. If there is one Everly album to own this is it.”

“The Everlys’ releases on Warner Brothers, are greatly underrated and well worth a second look. Their voices are at a peak. This is The Everly Brothers at their best.”

“It's Everly Time begins with So Sad To Watch Good Love Go Bad, one of their classic hits. Most of the other songs were written by the Bryants. One of these, Sleepless Nights, is pure magic. I believe it to be the best song the pair recorded that wasn't released as a single by them.”

“Some of my all time Everly favourites are here; and the lesser known songs are very good too. Carol Jane is haunting and Sleepless Nights has got to be the most beautiful love song they've recorded."

Elvis Is Back! – ELVIS PRESLEY*****

Make Me Know It/Fever/The Girl Of My Best Friend/I Will Be Home Again/Dirty Dirty Feeling/Thrill Of Your Love/ Soldier Boy/Such A Night/It Feels So Right/The Girl Next Door/Like A Baby/Reconsider Baby

The title says it all, Elvis Is Back! The world’s top pop vocalist is finally out of the army and back in the recording studio. What a crazy waste of talent that he had to spend two years in a German army barracks at the height of his fame. (US:2 UK:1)

“These were Elvis' first post army studio sessions. He was in fine voice and you can hear the maturing of his vocal talent (range, interpretation and emotive achievement) revealing a refined, yet fresh new style. The choice of material also speaks volumes...country, blues, gospel, doo-wop, rock and wonderfully navigated pop. If you've ever wondered what Elvis is all about...this is a good place to learn. I can't imagine any singer alive today who could even come close to the capabilities of this guy.”

“This is a remarkably well-rounded collection of material, with a stellar collection of pop tunes, romantic crooning, raving rockers and some of the best blues tunes The King ever belted out.”

“Elvis Is Back!, named in reference to the man's return from service in the US army in Germany, marked a clear transition in his music. The days of wild, energetic, iconoclastic rock and roll were behind him. The new approach is more clean-cut. The new Elvis was calculated to be a little safer and more palatable to parents. And to be clear, Elvis Is Back! is calculated. It's a highly eclectic batch of songs, performed in a variety of styles, determined to find something to appeal to everyone.”

“Elvis brought a new maturity to this album both vocally and in regard to his changing musical vision. Elvis Is Back comprises songs from many disciplines, but what they have in common is that Elvis would take most of them in a pop direction. His musical future would ultimately be this fusion of polished pop to his rock roots.”

“History has shown that Elvis was very pleased with this album. It appears to be a relaxed effort consisting of many songs that Elvis enjoyed singing. While it did not sell as well as his film soundtracks of the time, it did serve to re-establish Elvis as a commercial force. Elvis Is Back remains an interesting listen decades later.”

Crazy Times! – GENE VINCENT***

Crazy Times/She She Little Sheila/Darlene/Everybody’s Got A Date But Me/Why Don’t You People Learn To Drive/Green Back Dollar/Big Fat Saturday Night/Mitchiko From Tokyo/Hot Dollar/Accentuate The Positive/Blue Eyes Crying In The Rain/Pretty Pearly

One of the kings of rockabilly Gene Vincent was noted for his wild stage act. By the early 1960s he had begun to fade in his native USA but he still retained a loyal following in Britain. His only UK album chart success came with Crazy Times. (UK:12)

“Known for his black leather image, hell-raising lifestyle and the sheer brilliance of his wild stage act, Gene Vincent became the best rockabilly vocalist of the 1950s.”

“I absolutely love Gene's voice no end. Although there are no major hits here there is plenty of great and ageless music. One must listen a few times. It's great stuff but differs some from his earlier discs. Not as gutsy as his first two albums, but with great musicianship and interplay with piano, sax and background vocalists. Give it some time and plenty of spins. You'll be glad you did.”

“Gene stretches beyond the narrow confines of rockabilly. It's a nice mixture of novelty tunes, rockers and ballads which should please any fan.”

“Less than stellar production aside, there are some gorgeous gems highlighting Vincent's vocal talents. It doesn’t approach the raw energy of earlier material. Overall, this LP is more pop, more controlled, yet still helping define rock 'n' roll.”

“Gene Vincent, rock's original bad boy, and The Blue Caps, a band that was arguably the toughest and most cohesive rock outfit of their day. Unlike some of his earlier albums, there's little throwaway period filler here; the occasional pre-rock pop standard like Ac-Cent-Tchu-Ate The Positive notwithstanding, most of the songs are flat-out rockers. As usual, Vincent and band throw themselves into the material with an almost feral energy, and when the songs are good, the results are transcendent.”

“If you like Gene Vincent, then you can't go wrong with this. This is full of his echoed, hiccupped vocals. He turns standards like Johnny Mercer's Accentuate The Positive into swingin' rockabilly bebop. If you like him, you'll love this, and since all his recordings feature the great backup band The Blue Caps, all the stuff he recorded with them is excellent. Great rockabilly that swings as much as it rocks.”

The Intimate Jim Reeves – JIM REEVES****

Dark Moon/Oh How I Miss You Tonight/Take Me In Your Arms & Hold Me/I’m Gettin’ Better/Almost/You’re Free To Go/You’re The Only Good Thing (That’s Happened To Me)/Have I Stayed Away Too Long/No One To Cry To/I Was Just Walkin’ Out The Door/Room Full Of Roses/We Could

A collection of sentimental songs showcasing the velvet voice of Jim Reeves. At this time he was broadening his style away from his country roots to adopt a more mainstream easy listening approach for which his voice was ideally suited. The Intimate Jim Reeves contains the UK top twenty hit single You’re The Only Good Thing. (UK:12)

“I grew up listening to this album and have probably heard it over 100 times. I was recently able to gather up all the songs that are on this album and listen to them again. They are all still just as smooth, silky and relaxing now as they were then. Nowhere in today's music world will you find an artist with a voice as soothing as Jim Reeves.”

“Simply put...the greatest and most beautiful voice God has ever given anyone, and a magnificent recording. There was no one with, or will there ever be, a more trained or perfect voice. A standard by which all singers should be measured.”

“It sparkles with the velvety sentiments of a lover's heart and this superb collection of songs is exceedingly touching. Jim Reeves does his usual outstanding vocal arrangements.”

“Very good, I always loved Gentleman Jim. His songs are breathtaking and soothing. The voice of Jim Reeves has no equal.”

"Most of these songs were originally recorded by different singers. All are romantic ballads that bring to mind past memories. A great collection for sentimental or romantic types.”

Sold Out – THE KINGSTON TRIO****

El Matador/The Mountains O’Mourne/Don’t Cry Katie/Tanga Tika-Toerau (Medley)/With Her Head Tucked Underneath Her Arm/Carrier Pigeon/Rimini/Raspberries Strawberries/Mangwani Mpulele/With You My Johnny/ The Hunter/Farewell Adelita

With a string of hit albums the Kingston Trio were undoubtedly the most commercially successful group spearheading the US folk revival of the early 1960s. Not a live album, Sold Out topped the US album chart during its 18 months run. (US:1)

“The Kingston Trio are arguably the defining group of the American folk revival. When you talk about who made folk music popular you are talking about the Kingston Trio. From 1957 to 1963 they were the most popular music group around.”

“You would think that Sold Out is a live album, but it is not. The common denominator for the dozen songs is that they are mostly fast tempo notably El Matador and Don't Cry Katie, one of the group's better songs featuring banjo playing. For those who like The Kingston Trio's humour they offer up With Her Head Tucked Underneath Her Arm. This is not to suggest that there are not some nice ballads included in the mix as well, namely The Mountains O'Mourne and Raspberries Strawberries. Otherwise, what makes this album stand out is that you will not have run across most of these songs before, since they have not popped up on the sundry Kingston Trio hits collections.”

"Sold Out has two of their best: El Matador and Mountains O'Mourne and five other good cuts. That's more that most albums give you. This batch has more 'real' folk music than pseudo-folk from the 60s.”

“If you are tired of the music being produced today, this is for you. The Kingston Trio cover everything: funny songs, traditional ballads, unusual finds, etc. El Matador remains to this day my favourite Kingston Trio song.”

“By 1960, The Kingston Trio had reached mass popularity. While their reign as the world's most popular folk act remained unchallenged, many within the folk community were critical of the group, arguing that the trio's music had little to do with 'real' folk music. Their smooth harmonies and evasion of political controversies placed them at odds with the spirit of Woody Guthrie.”

Love Is A Now & Then Thing – ANTHONY NEWLEY***

Gone With The Wind/Some Other Spring/The Thrill Is Gone/What’s Good About Goodbye/Love Is A Now & Then Thing/When Your Lover Has Gone/It’s The Talk Of The Town/I Guess I’ll Have To Change My Plan/Speak Low/ This Time The Dreams On Me/Ask No Question/I Get Along Without You Very Well

The cockney actor, composer and singer Anthony Newley is perhaps best remembered for some of his quirky single releases in the early 1960s. A little too old to be fully accepted as a pop singer, Love Is A Now & Then Thing is an album of well known MOR standards aimed at broadening his appeal with the grown ups. (UK:19)

“If Anthony Newley’s singles success had made him something of a pin-up to the teenage market, Love Is A Now & Then Thing was a deliberate attempt to cultivate an older audience. As such there were no hit singles on the album, only material that the likes of Frank Sinatra had recorded. Accompanied by an orchestra, it proved he would not have to rely on the unpredictable teenage market for future success."

“This is a wonderful album of songs with a heartbreak theme, or songs for lovers and sung to perfection by Anthony Newley, with wonderful arrangements by British arranger Eric Rogers. All the twelve songs are well known standards by great writers and the album is very well recorded.”

“In 1960, Anthony Newley recorded an album of beautiful love songs, lending his unique voice to these classics.”

“So many classic songs by the great composers that you are spoilt for choice. The interpretation of a song was always something uniquely Newley, and this album demonstrate just how magically he could deliver a song.”

“This album of familiar and less familiar standards is magnificent. His interpretations are superb and a match for any singer.”

“What can I say - wish I'd discovered Anthony Newley before, really into him at the moment and this LP says it all. Wonderful, a must listen to album. Sit quietly with a glass of wine and just relax, the orchestration is fantastic and Anthony is truly at his best. Such a wonderful man with so much talent, buy this and you'll end up wanting more of the same.”

The Most Happy Fella – LONDON CAST***

Overture/Ooh My Feet/Somebody Somewhere/The Most Happy Fella/Standing On The Corner/Joey Joey Joey/ Rosabella/Abbondanza/Sposalizio/Don’t Cry/Happy To Make Your Acquaintance/Big D/How Beautiful The Days/ Warm All Over/I Like Everybody/My Heart Is So Full Of You/Mama Mama/Song Of A Summer Night/I Made A Fist/Finale

The London cast musical The Most Happy Fella starred Inia Wiata and Helen Scott. It opened at the London Coliseum in April 1960 and ran for 288 performances. Story is about an affair between an older man and a younger woman. Music and lyrics by Frank Loesser. (UK:19)

“This London cast recording was always conceived as excerpts only, unlike the Broadway version which was originally issued on three LPs. Fortunately, the selection was extremely well chosen, considering it had to fit on one LP.”

“The London cast perform extremely well and, in the case of the main roles, I prefer their performances to those of the excellent Broadway cast. Which is better is a close run thing.”

“It was considered that a London cast recording would always be somewhat muted compared to its Broadway counterpart, but this is definitely not the case here. All the performers seem to be freer and less inhibited and all are singing beautifully.”

“If you are not familiar with the show, this is an excellent introduction. The songs are all wonderful.”

“Inia Wiata is a wonderful Tony and comes the closest to equalling the brilliant Robert Weede. If the London cast had been given the three record treatment the Broadway cast got, I'd probably be hard pressed to name my favourite, as each has their strengths. If you're getting more than one 'Fella' this is your second one, after the original.”

“Unlike many British versions of musicals set in America, it is not plagued by bad American accents, and its performers are assured and comfortable in their portrayals.”

“The listener does not get the full sense of the show that the Broadway album provides, but all the big songs are here, including Standing On The Corner, Joey Joey Joey and Big D, and all are performed well.”

Saturday Night/Sentimental/Memories Sing Along With Mitch – MITCH MILLER**

Saturday Night: Dancing With Tears In My Eyes/Silver Moon/Bye Bye Blackbird/Poor Butterfly/Too Ra Loo Ra Loo Ral- That’s An Irish Lullaby-Mother Machree (Medley)/Now Is The Hour/Baby Face/I Wonder What’s Become Of Sally-Ain’t She Sweet (Medley)/I’m Looking Over A Four Leaf Clover/The Man On The Flying Trapeze-Ta Ra Ra Boom De E (Medley)/Sing Along/Little Brown Jug-After The Ball (Medley) Columbia 1414 Sentimental: Singin’ In The Rain-All I Do Is Dream Of You-Toot Toot Tootsie (Medley)/Heart Of My Heart/Little Annie Rooney-Hello My Baby (Medley)/Our Boys Will Shine Tonight-Give My Regards To Broadway (Medley)/While Strolling Through The Park One Day-Ida (Medley)/When The Saints Come Marching In/Jeannine/Just A-Wearyin’ For You/I’ll See You In My Dreams/When I Grow To Old To Dream/Jeanie With The Light Brown Hair/Three O’clock In The Morning Columbia 1457 Memories: My Blue Heaven/I’m Nobody’s Baby-You Were Meant For Me (Medley)/At Sundown-Five Foot Two Eyes Of Blue (Medley)/Meet Me In St Louis Louis-Bill Bailey Won’t You Please Come Home (Medley)/The Bowery-The Yankee Doodle Boy (Medley)/I’m Goin’ Back To Dixie-Dixie (Medley)/Honey-Sleepy Time Gal (Medley)/Ramona/Peg O’ My Heart-Peggy O’Neill (Medley)/I Love You/Home On The Range/Battle Hymn Of The Republic Columbia 1542

Conductor and TV show host Mitch Miller released a series of popular sing along albums which charted during 1958-62. These three albums from 1960 made respectively No. 8, No. 5 and No. 5 on the US album chart.

“As a recording executive, Miller was very much in tune with the tastes of the times, at least among adults. His work, epitomized by the Sing Along With Mitch albums, was the music listened to by millions of white middle-class (some would say middle-brow) adults, that seemed to suit everyone concerned just fine. Even as Miller’s artists and his own recordings were generating millions of dollars for Columbia, the label's market share was slowly being undercut by changes in public taste that he and the rest of the management were doing their best to ignore.”

“Miller's television show remained very popular, mostly with middle-aged and older viewers which, in the days before audience demographics mattered, was enough to keep it on the air. He was something of a media superstar during this period, his smiling, bearded visage was as well known as that of any variety show star.”

“The days of Mitch’s great fame lay far back in the early 1960s, when he produced a number of albums that invited listeners to Sing Along With Mitch. The music was principally choral, usually with no more accompaniment than a lone harmonica. But they were so well received that Miller was given his own television programme, which lasted five years.”

Follow That Girl – LONDON CAST***

Overture/Tra La La/I’m Away/Follow That Girl/Life Must Go On/Three Victorian Mermaids/Doh Ray Me/Song & Dance/The Chase/Taken For A Ride/Solitary Stranger/Shopping In Kensington/Lovely Meeting You At Last/ Waiting For Our Daughter/One Two Three One/Evening In London/Finale

The London cast musical Follow That Girl starred Peter Gilmore and Susan Hampshire. It opened in March 1960 at the Vaudeville Theatre and ran for 211 performances. Set in Victorian times, the plot concerns a daughter who flees her family home as a result of her father's insistence that she immediately choose between two suitors. Music by Julian Slade, lyrics by Dorothy Reynolds. (UK:5)

“Love the show and the songs. Pity they are not sung now and were not particularly well known at the time. Story a little weak perhaps, but well sung and you can sense the enjoyment of the cast as they sing.”

“If you like Peter Gilmore's voice, this is a must for you. His songs are strong and yet sympathetic and fun. My favourite song is Song & Dance where he sings against and with the cast and of course, the title song. The words to the final song are particularly good. Enjoyed and replayed often.”

“When all is over, one remembers happy moments rather than sustained delight. The song from which the play is named, for instance, is excellently sung by Peter Gilmore as Tom."

“The plot is nothing, but from the first wax-work group assembled at a soiree musicale, the show possesses an immaculately pointed style that breaks down the distinction between satire and whimsicality. There is not a single 'natural' movement in the production; instead there is a flowing choreography of exaggeration. The music, leaning alternately on Offenbach and Ivor Novello, has a spirit and turn of phrase that rescues even the scenes of insipid romance; and Susan Hampshire, bobbing a head of blonde curls before a pursuing crowd gave the title a conclusive justification.”

“The music is of the tinkling kind with nothing approaching the charm of the score of Salad Days.”

Julie…At Home – JULIE LONDON***

You’d Be So Nice To Come Home To/Lonesome Road/They Didn’t Believe Me/By Myself/The Thrill Is Gone/You’ve Changed/Goodbye/Sentimental Journey/Give Me The Simple Life/You’ve Stepped Out Of A Dream/Let There Be Love/Everything Happens To Me

Julie London was a jazz vocalist who was at the peak of her popularity in the mid 1950s. However, by the start of the new decade her musical style had gone a little out of fashion. At the title suggests, Julie…At Home was recorded in the intimate setting of her home.

“Julie is really at home on this album. It seems she's there in front our sofa singing for us privately. And the brilliant musicians she requested are playing right in the next room. It's a menu of classics, every song here is a near definitive version.”

“Filled with songs I already love; her delivery on each is cool and smooth. This screams night time, laid back yet still a bit jazzy and definitely soft, smoky and breathy, in fact this may be the most seductive that I've heard her sound so far. The album has a lovely intimate feeling that makes you almost feel like you can see her stretched out on the piano while smoke oozes around the bar.”

“Julie At Home was recorded at Julie's home with a small jazz combo of piano, guitar vibes, bass and drums using mainly brushes. The song list is typical of Julie's albums, nothing out of the ordinary. Julie does a fine job of singing each of the standards in a natural unaffected manner that was her trademark. It's hard to pick out highlights, and fortunately there are no lowlights because everything is played and sung in a very consistent manner. An excellent album that would have been a career best for many singers, but falls slightly below Julie's most stellar albums.”

“I thought this was a fairly relaxed sounding album, but doesn't really add anything important to her song catalogue. It was recorded before her voice started to sound significantly lower and, in my opinion, harder and less smooth."

“People who appreciate classic pop vocals will find a lot to like on this LP, especially if they also enjoy a jazzy twist to this genre of music.”

“This LP is a must have for any fan of smoky, intimate jazz. The warm, combo feel of Julie...At Home provides a swinging backdrop for the alto's sultry vocals.”

Flower Drum Song – LONDON CAST****

Overture/You Are Beautiful/A Hundred Million Miracles/I Enjoy Being A Girl/I Am Going To Like It Here/Like A God/Chop Suey/Don’t Marry Me/Grant Avenue/Love Look Away/Fan Tan Fannie/Gliding Through My Memoree Into Grant Avenue/The Other Generation/Sunday/The Other Generation (Reprise)/Finale

The London cast musical Flower Drum Song starred Mei Li, Kevin Scott and George Minami. It opened at the Palace Theatre in March 1960 and ran for 464 performances. Plot centres on conflicts between the traditional and integrated outlook of the main characters in an American Chinatown community. Music by Richard Rodgers, lyrics by Oscar Hammerstein II. (UK:10)

“Flower Drum Song seems to inhabit a sort of Rodgers & Hammerstein no man's land. It was not one of the mega hits but neither was it a failure. The score is appealing and worth listening to and this London Cast recording, although not quite as accomplished as the original, has one major advantage over its Broadway counterpart: the musical director takes a more sympathetic view of the score than his Broadway colleague by allowing the ballads more space and the swingers the chance to swing.”

“Both the original Broadway and London cast recordings are very different from the film soundtrack, which is my personal favourite. The differences between the two original recordings make it worthwhile to investigate this one, particularly as it is not that readily available.”

“It is one of my favourite Rodgers and Hammerstein musicals. Love the Chinatown storyline, great lyrics and beautiful music - from the enchanting Eastern flavoured A Hundred Million Miracles to the lively Grant Avenue. This is a fun-packed musical.”

“The score contains some great numbers, though I Enjoy Being A Girl might fall foul of today's political correctness.”

“It has not lost any of its magic over the years. Good listening. One of my Rogers and Hammerstein favourites, although not the most publicised.”

Tell Me All About Yourself – NAT KING COLE****

Tell Me All About Yourself/Until The Real Thing Comes Along/The Best Thing For You/When You Walked By/ Crazy She Calls Me/You’ve Got The Indian Sign On Me/For You/Dedicated To You/You Are My Love/This Is Always/My Life/(I Would Do) Anything For You

By the early 1960s Nat King Cole had achieved greatness as one of the best exponents of relaxed easy listening music. However, with Tell Me All About Yourself he made a slight return to his jazz roots. (US:33)

“Nat swings on this LP. If you like Nat, you'll enjoy this bouncy swingin' collection which I found to be more mid tempo, rather than fast, with a good use of brass.”

“Everyone who enjoys Nat King Cole needs to be familiar with this album. It's a must. This shows his more jazzier side and it certainly seems as if he is having a wonderful time recording these songs. The man had such an amazing talent for beautiful singing, while making you feel as if you were spending time with a good friend.”

“By 1960 Nat was so identified as a singer of standards that, to a good portion of his record buying public, his previous connection to jazz was tenuous indeed. With this release Nat sought to re-cultivate his jazz roots.”

“Once again, Nat King Cole has shown us just why he is the King. His baritone voice, which is rich and tempting, entrances the listener.”

“Tell Me All About Yourself is another smooth ballad release featuring Nat King Cole. He had a tenderness in his voice, completely flawless. He could never deliver a bad tune. His style and signature of making a song his own has never been duplicated. Within this LP are wonderful ballads complete with romantic lyrics; some are timeless and remain classics, while others are songs that had never seen the light of day before.”

"Tell Me About Yourself features a more mature Nat King Cole and he does a great job on this; he switches tempos and keys effortlessly and the big band style arrangement is very well done. Until The Real Thing Comes Along is a classic love ballad that has Nat crooning like the very best of them and showcases Nat's excellent voice with flawless diction. Listen also for Dedicated To You; this beautiful love song has Nat swaying slowly and gently and this tune is perfect. You Are My Love is more upbeat, relentlessly happy as Nat sings of his one true love.”

Theme From A Summer Place – BILLY VAUGHN***

Theme From A Summer Place/Tammy/Tracy’s Theme/Climb Every Mountain/Que Sera Sera/The Terry Theme From Limelight/True Love/The Sound Of Music/The Three Penny Opera/Some Enchanted Evening/All The Way/Sayonara

Bandleader Billy Vaughn was a fixture in the US album charts from the late 1950s to the end of the 1960s, with his easy listening interpretations of popular tunes. His most successful release was the chart topping Theme From A Summer Place. (US:1)

“A large string section added to Billy's usual orchestra brought a new lushness and romanticism to themes from Broadway, TV and the movies. This album is truly spectacular. From the Sound Of Music to Some Enchanted Evening, it's a great listening experience you'll want to have again and again.”

“Good times, when music was still there. Today is just rubbish, terrible and diabolical noise.”

“Simply beautiful, the equal of any of the big band leaders, once again timeless and enduring.”

“Theme From A Summer Place forms one of my early boyhood memories. My spirits soared with the opening bars. It's a treasure.”

“The music is very nostalgic for me and I am reminded how much I love instrumental music like this.”

“To say this offering is drenched in strings would be a vast understatement - everything here is so utterly sweet as to be saccharine.”

Stormsville – JOHNNY & THE HURRICANES****

Reveille Rock/Milk Shake/Cyclone/Travelin’/Beanbag/Rockin’ T/The Hungry Eye/Hot Fudge/Time Bomb/Corn Bread/Catnip/The Hep Canary

Johnny & The Hurricanes were a popular instrumental group in the early 1960s noted for their saxophone and Hammond organ dominated sound. Stormsville includes the UK top twenty hit Reveille Rock. (US:34 UK:18)

“The late 50s/early 60s were the golden era for rock ‘n’ roll instrumentals and Johnny & The Hurricanes were at the forefront of the boom, enjoying widespread international popularity with the unmistakable sound of Johnny Paris’s rasping sax and Paul Tesluks’s searing Hammond organ.”

“It's short, of course, this is 1960. But boy are these guys good. In 1960, nobody played rock 'n' roll with so much power and bands just weren't that tight. The musical themes are corny - very corny, but so well done.”

“A much underrated group today but 'back then' they were great favourites. Of all the great instrumental bands of that era Johnny & The Hurricanes had the best uptempo beat for dancing.”

“This band produced a string of energetic, organ and sax-dominated rock instrumentals in the late 50s and early 60s. Much of their output was based on a formula of creating rock tunes out of traditional songs.”

“Remember back to 1959-60 or so, and all those instrumentals that your girlfriends didn’t understand? Well here they are, great driving sounds with organ and all.”

“I was always an aficionado of instrumentals with guitars and saxophone. There is no doubt that The Hurricanes were very good at them.”

“Top notch instrumental group that made a career out of covering vocal tunes. If you love instrumentals, then you will love this.”

“The band enjoyed several hits, led by distinctive organ melodies and beefed up by sax, guitar and jumping drums. Straightforward, fun, instrumental rock and roll.”

Fings Ain’t Wot They Used T’Be – LONDON CAST***

Overture-G’night Dearie/Fings Ain’t Wot They Used T’be/Layin’ Abaht/Where Its Hot/The Ceilin’s Comin’ Dahn/ Contempery/Entr’acte/Cochran Will Return/Polka Dots/Meatface/Where Do Little Birds Go-Big Time-Fings Ain’t Wot They Used T’Be/Carve Up/Cop A Bit Of Pride/The Student Ponce/Finale

The London cast musical Fings Ain’t Wot They Used T’be starred Miriam Karlin, Maurice Kaufman and Barbara Windsor. It opened at the Garrick Theatre in February 1960 and ran for 886 performances. With heavy Cockney dialect it portrays a mixed ensemble of London low life. A bowdlerized version of the catchy title track was a big British hit for Max Bygraves. Music and lyrics by Lionel Bart, based on the play by Frank Norman. (UK:5)

“The comedy show, as devised by Joan Littlewood, written by old lag Frank Norman, with songs by Lionel Bart, was a celebration of an idealised East End and Soho bohemian lifestyle at the end of the 1950s, as knocking shops and coffee shops teemed with ponces, doxies, molls, spivs, gamblers and bent coppers.”

“With stars such as Yootha Joyce and Barbara Windsor, and Lionel Bart's words and music, this original cast recording is a must for any lover of musicals.”

“Fings was unique in that it was written almost entirely in the Cockney dialect, prompting a dozen or so phrases to be explained in the theatre programme.”

“Soho is changing, as we learn from the title song, head and shoulders above any other, which is apparent from its regular reappearances throughout the musical.”

“The music and lyrics are a curtain-raiser for Bart's finest moment but are not yet at the peak that he subsequently reached.”

“The score was always one or two numbers short of a full house. But there’s nothing but delight spreading from the horizontal sensuality of Layin’ Abaht, the music hall bounce and cheek of The Ceiling’s Comin’ Dahn or the hilarious interior decorating numbers, Contempery and Polka Dots.”

“Fings Ain't Wot They Used T'Be launched the career of Barbara Windsor in the role of 'Lil', long-suffering girlfriend of Fred 'Razor King' Cochran. The stock character of the tart with a heart, who longs for a ring on her finger, and a 'bungalow with no stairs'.”

I Hear A New World – JOE MEEK & THE BLUE MEN**

I Hear A New World/Orbit Around The World/Entry Of The Globbots/The Bublight/March Of The Dribcots/Love Dance Of The Saroos/Glob Waterfall/Magnetic Field/Valley Of The Saroos/Dribcots Space Boat/Disc Dance Of The Globbots/Valley Of No Return

Producer Joe Meek’s first stab at futurism, I Hear A New World, is a big disappointment. Compared to the heights he would reach with The Tornados in just a couple of years, with the possible exception of Love Dance Of The Saroos, these tracks are depressingly trite.

“This is really only for die hard Joe Meek fans. I can see what he was getting at - space sounds etc., and he was years ahead of his time. However these recordings lack what made Joe Meek's innovative music really great - good songwriting. This is self indulgent in the extreme.”

“Sorry to say, this just isn't very good to listen to. Not to worry, Joe would soon put out lots of good stuff that we still enjoy and much of it evolved from this.

“All the songs deal with a journey to moon, and what life may be like on it. It is a bizarre vision to say the least, which includes speeded up voices of space creatures, armies of 'Globbots', and plentiful sci-fi noises and sound effects. If you're expecting it to be full of Telstar like instrumentals, you'll be disappointed.”

“Even in its aural vagueness, it's still an extremely early example of someone dreaming up the potential for rock music beyond the seven inch single. I'm just glad someone recorded something like this in that optimistic blip of time between the invention of magnetic tape and the actual Moon landing.”

“Vacillates between being something sublime and something utterly horrible. Otherworldly and brilliant on the one hand, novelty and goofy on the other.

“Some of this just plain awful. But, its so awful it collapses upon itself like a dead star and becomes awesome in its own peculiar way.

“Most space age pop was just easy listening lounge music in disguise. But these songs are borderline frightening, if not just really silly sounding. Take Glob Waterfall, for example. The song is very minimal, with bubbly sounds that are like a foreboding of something much worse to come.”

Can-Can – SOUNDTRACK****

Entr’acte/Its All Right With Me/Come Along With Me/Live & Let Live/You Do Something To Me/Let’s Do It/Main Title-I Love Paris-Montmart’/C’est Magnifique/Maidens Typical Of France/Just One Of Those Things/I Love Paris/Can-Can

The musical film Can-Can starred Frank Sinatra and Shirley MacLaine with music by Cole Porter and arrangements by Nelson Riddle. The Grammy winning soundtrack includes Sinatra’s rendition of Its All Right With Me which appears to be the stand out track. (US:3 UK:2)

“Can-Can is neither the best Frank Sinatra movie musical out there nor his best soundtrack, which is disappointing considering that the source Cole Porter songs are so strong. Still, the soundtrack does have its charms and features Sinatra's definitive, wrist-slashing interpretation of It's All Right With Me. But Sinatra doesn't handle the vocal chores alone; he shares the spotlight with the eternally charming Maurice Chevalier, Louis Jourdan and Shirley MacLaine. The first two handle themselves with French élan, but MacLaine's zany persona quickly becomes grating."

“Sinatra’s tender but heartbroken take on It's All Right With Me is so great that it alone makes the album worth owning. That Frank Sinatra cast such deep emotional pain into Cole Porter's witty romps remains one of the reasons why so many other singers stand in his shadow.”

“Sinatra is in excellent voice here and his slowed down and heartfelt rendition of It's All Right With Me is the definitive version of the song. He just doesn't sound terribly French, especially when his crass American accent crosses with Chevalier's authentic item. MacLaine sounds even less at home as the dance hall hostess, but Louis Jordan adds a touch of class and the orchestrations by Nelson Riddle are top drawer.”

“The real magic in Can-Can comes from what Frank Sinatra can do with a Cole Porter song. Even though they stuck him in France in the 1800s, he's still Sinatra, the incomparable ring-a-ding ding cool, the essential charm and star quality, the cocky grin and blue eyes and, of course, that voice. Never would that voice be more perfect than in the scene where he put away that lovable arrogance and gave one of the finest performances of his career with the aching tenderness of It's All Right With Me.”

The Brothers Four – THE BROTHERS FOUR***

The Zulu Warrior/Sam Kama Wacky Brown/The Damsel’s Lament/Yellow Bird/Chicka Mucka Hi Di/Superman/ East Virginia/Greenfields/Darlin’ Won’t You Wait/Eddystone Light/Banua/Hard Travelin’

Traditional folk music reached a peak of popularity in the States during the early 1960s and the Seattle based The Brothers Four were amongst the most successful exponents. Their debut album achieved a respectable placing in the US, thanks to the inclusion of the No. 2 hit single Greenfields. (US:11)

“This debut LP from The Brothers Four shows lots of promise. Eager to please, they do a lot of standards and some Zulu folk songs. The innocence of this oldie will top your list.”

“I tried singling out one song to recommend over others, but I couldn't. I thought about remarking on the banjo work, the infectious spirit of the music, etc. But to make a long story short, the whole album is phenomenal.”

“Memories will come flooding back when you listen to this remarkable album, by the equally remarkable Brothers Four. Their vocal harmonies, and instrument mastery, have no equal.”

“As folk revival albums go, this one is tame but very upbeat and well sung, treading a fine line midway between The Kingston Trio and Mitch Miller & The Gang. Side one shows a strong calypso and Caribbean influence, and also offers a pair of novelty-style tunes, while side two is weighted more toward traditional American folk material. These are more beguiling and playful, and serve as a beautiful showcase for the quartet's harmony singing - rousing, straightforward vocalizing on Hard Travelin’ and the melodic sea shanty Eddystone Light, the gorgeous multi-layered arrangement of Darlin' Won't You Wait and the moody chart hit Greenfields."

“It's an excellent bunch of songs from a great singing group. Some fun, some serious. Great harmony.”

“This is a nice quiet album, definitely easy listening. It would have been beneficial to have included a few songs that are a little snappy to intermingle with the mellow ones.”

Always – ROGER WILLIAMS****

Stardust/Stranger In Paradise/Traumerie/Moonlight & Roses/To A Wild Rose/Dark Eyes/Love Theme From Romeo & Juliet/The Skaters Waltz/Moonlight Sonata/None But The Lonely Heart/Brahms’ Lullaby/Till The End Of Time

Roger Williams was the leading pianist in the USA from the mid 1950s to the mid 1960s, enjoying acclaim and success with a string of hit albums, including Always. (US:25)

“What a big influence the man was. Roger Williams was dignified, and a superb technician and interpretive musician. He could improvise so well. And those arpeggios! Few of us achieve that kind of technique.”

“I adore the sincerity as he plays, just like he was part of the instrument he was playing. I believe many great artists noticed that.”

“The translation of his emotions, as he played, transcended anyone else's interpretation of a song, and that was his true gift to each of us.”

“Roger Williams was certainly the most popular pianist in America during the 20th Century with Billboard magazine still ranking him as the best-selling piano artist in history.” ,p> “Roger Williams at the peak of his prowess. If only we had a pianist playing tunes like this now.”

“Love this performer's music and have for many, many years. I could listen to him all day long and never get tired. Hope to get more of his work.”

“Truly Mr. Piano at his best. Listened to this in the car repeatedly. You can't get this music on the radio anymore.” “Roger Williams is the greatest pianist ever. I have collected his music for years and didn't want to miss any of his creations.”

This Is Darin – BOBBY DARIN****

Clementine/Have You Got Any Castles Baby/Don’t Dream Of Anybody But Me/My Gal Sal/Black Coffee/ Caravan/Guys & Dolls/Down With Love/Pete Kelly’s Blues/All Night Long/The Gal That Got Away/I Can’t Give You Anything But Love

Bobby Darin began as a teen pop idol but very quickly moved towards the MOR easy listening cabaret market. This Is Darin triumphantly reinforced this changed approach with high chart placing in both the US and UK. Includes a rather mannered interpretation of the traditional tune Clementine, a top ten hit single in the UK. (US:6 UK:4)

“Great arrangements by Richard Wess, this is Darin at his Sinatra ultimate. This is not copycat music, Darin was an original, placing his own indelible stamp on these tunes.”

“Bobby Darin was a chameleon who switched between rock & roll and easy listening music with big bands, tuxedos, beautiful girls, martinis and a lot of class.”

“Darin in 1960 was at the top of his professional career as an entertainer. He always took the music business seriously. In this collection of songs, he reinvents Clementine and Duke Ellington's Caravan, and shows his most heartfelt performance in Don't Dream Of Anybody But Me.”

“Darin hoped this album would establish his reputation as an interpreter of standards. Gone is the bobby-sox rock of Splish Splash and even the crossover appeal of Mack The Knife. In its place is a more mature Darin aiming squarely for adult, not pop, credibility.”

“This album's covers include E Y Harburg's Down With Love, Harold Arlen & Ira Gershwin's The Gal That Got Away, and Frank Loesser's Guys & Dolls. Every song in this set is good. Clementine should be a neo-swinger favourite; its language about a large woman is mildly offensive now, but not for the time. The smooth sax, slinky piano, and piercing trumpet solos on Have You Got Any Castles make it one of the standouts. Darin's interpretation of Johnny Mercer's lyrics here are fabulously tongue in cheek.” ,p> “This Is Darin is highly recommended if you have long since tired of the Swingers soundtrack and want to discover Darin's more traditional fare.”

Satchmo Plays King Oliver – LOUIS ARMSTRONG****

St James Infirmary (Gambler’s Blues)/I Want A Big Butter & Egg Man/I Ain’t Got Nobody/Panama/Dr Jazz/Hot Time In The Old Town Tonight/Frankie & Johnny/I Ain’t Gonna Give Nobody None Of This Jelly Roll/Drop That Sack/Jelly Roll Blues/Old Kentucky Home/Chimes Blues

Satchmo Plays King Oliver was Louis Armstrong’s tribute album to his mentor and teacher, jazz pioneer and bandleader King Oliver, featuring tunes he performed and composed. (UK:20)

“If you don't know which Louis Armstrong to purchase, take this one. The sound is outstanding and the St. James Infirmary version here is one of the most poignant tracks ever recorded by Satchmo. The emotional strain is very tough from the beginning to the end: slow tempo, deep and low trumpet and grievous voice. Great jazz album with a lot of feeling.”

“Satchmo's third studio version of St. James Infirmary is without question, his finest. Taken at a slower pace than his previous attempts in the 1930s, it's filled with a marvellous trumpet introduction, followed by a powerful vocal. It ends with Satchmo hitting a high note, soon mirrored by his band. Another highlight is Frankie & Johnny. Performed with an authentic bar room piano, and no other band members, just Satchmo and the piano. A definite highlight of this album.”

“There is a lot of good music on here, paying tribute to Louis's idol and mentor, 'Papa' Joe Oliver. The songs are tunes either written by King Oliver, or tunes that Oliver played. St. James Infirmary is taken at an incredibly slow and eerie pace, and when Louis comes back to repeat the main theme at the end, the effect is breathtaking. Louis sings a charming version of Frankie & Johnny accompanied only by an old-time honky-tonk piano. Jelly Roll Blues is a beautiful take on the Jelly Roll Morton classic. Chimes Blues is deep and bluesy return to the tune Oliver and Armstrong first recorded way back in 1923. The title Old Kentucky Home may seem out of place, but musically the song fits right in, and when Louis prompts his band to sing along with him for a chorus, the result is rather touching. Panama Rag is a joyous uptempo romp, and I Ain't Gonna Give Nobody None Of This Jelly Roll is pure Satchmo fun."

“You can't ask for more, his distinctive gravelly voice and virtuoso trumpet playing; the man was a giant.”

Music From Mr. Lucky – HENRY MANCINI****

Mr Lucky/My Friend Adamo/Softly/March Of The Cue Balls/Lightly Latin/Tipsy/Floating Pad/One Eyed Cat/Night Flower/Chime Time/Blue Satin/That’s It & That’s All

Fresh from his success with the chart topping Peter Gunn LP Henry Mancini consolidated his place as the premier music arranger with Music From Mr Lucky. It was awarded a Grammy for best instrumental album. (US:2)

“I am a Henry Mancini fan. The music is relaxing and on the jazzy side.”

“The music was creative at the time, relaxing, and enjoyable. He used a variety of instruments in creative ways.”

“This is a jazz classic. With Mr. Lucky, you get a good idea of the musicianship of Henry Mancini.”

“I was a fan of Mr. Lucky when it was on TV, but the best thing about it was the music.”

“This album is smooth and upbeat with a great Latin kick. It shows another side of the genius of the composer.”

“From the popular TV series, this music is timeless, great for the car or anywhere. I love his music anywhere, anytime.”

“Unfortunately Mancini is probably going out of style for the younger generation, which is a shame as his music is good and definitely has his unique stamp upon it. I grew up watching Mr. Lucky so this LP is filled not only with good music but happy memories.”

“Henry Mancini tried for something similar to Peter Gunn in his music for this TV series, but didn't quite succeed. This music is moody and occasionally interesting, but nowhere near as driving as the other.”

Provocative Percussion Vols. 1 & 2 – ENOCH LIGHT****

Vol.1: You’re The Top/Somebody Loves Me/Blues In The Night/Perhaps Perhaps Perhaps/Love For Sale/ Fascinating Rhythm/'S Wonderful/Mood Indigo/Ain’t Misbehavin’/The Man I Love/Song Of India/Mad About The Boy Vol.2: Hernando’s Hideaway/Speak To Me Of Love Cha Cha/Matilda/Good Night Sweetheart Cha Cha/What Is This Thing Called Love/Lady Is A Tramp/Speak Low/I’ve Got The Right To Sing The Blues/Mack The Knife/Temptation/The Natives Are Restless Tonight/Foggy Day Cha Cha

During the early 1960s the music industry targeted the growing audiophile market for stereo hi-fi systems. Bandleader Enoch Light was one of the leading producers of albums that demonstrated the full capabilities of the stereo system. Provocative Percussion Vols. 1 & 2 reached No. 2 and No. 4 respectively in the US during lengthy chart runs.

“I was amazed by the 'quality of sound and fidelity' of his records. And this was back in the '50s and ‘60s.” “Enoch Light on the Command Record label is nothing shy of fantastic. 60s pop music at its finest. Enoch Light invented audiophile. You can't go wrong with Enoch.”

“This is simply one of the best records in my collection. The sound is fantastic - pretty advanced for the 60s. Also, a great introduction to the music of Porter, Gershwin et al.”

“For anyone who is interest in jazz, this is must listen and have in their collection.”

“He formed Command Records in 1959 to create products specifically for the burgeoning stereo LP market, which at the time was more or less a hi-fi audiophile novelty. Under the direction of Terry Snyder, Light and the revolving cast known as either the Command All-Stars or simply just the All-Stars, began to experiment with extreme stereophonics, using close microphone techniques and hard-left or hard-right panning to re-create a comparatively austere sense of what could be accomplished with two distinct channels of sound.”

“Consists of 'modern' interpretations of familiar and popular music standards, circa 1960. Stylistically, however, the Provocative collections utilize a much more aggressive approach to the presentation, as if it were a novelty rather than actually furthering the dimension to the listening experience. This is a highly recommended kitsch-classic.”

Rockin’ At The Hops – CHUCK BERRY****

Bye Bye Johnny/Worried Life Blues/Down The Road A Piece/Confessin’ The Blues/Too Pooped To Pop/Mad Lad/I Got To Find My Baby/Betty Jean/Childhood Sweetheart/Broken Arrow/Drifting Blues/Let It Rock

Rockin’ At The Hops was rock & roll pioneer Chuck Berry’s last album of new material before serving two years in prison. Fans would have to wait until 1964 before he recorded again.

“Berry stays true to his sound here, which means that it is undeniable wonderful rock music. His lyrics as always are rhythmically stunning, clever and smooth and his guitar skips and struts.”

“He does a continuation of the Johnny B Goode story with Bye Bye Johnny, throws in some of the music that he cut his teeth on with Worried Life Blues and Confessin’ The Blues. He celebrates the juke joint possibilities with Down The Road A Piece and the wonderful horn parts of I Got To Find My Baby make this song swing along with Berry's smooth diction and voice. But the best song is the last: the short, strange, slightly dark, Let It Rock.”

“Overall there is some filler here, but this is a nice set of Berry tunes. This is a good way to capture the Berry sound and feel and it comes before he lost his prominent role in the commercial mainstream, so his songs still crackle with good spirit and bounce.”

“This is below par, with the 27 min play time, most of the arrangements, songwriting and performance and even the vocals. This is an album of Berry’s weakest, badly engineered filler, sandwiched between two rockers. Bye Bye Johnny is one of the best examples of CB’s super effective rhythm guitar. Let it Rock is a rewrite of Johnny B Goode. The only other decent track is the instrumental Mad Lad with Hawaiian guitar sounds and nice studio ambience. Many tracks are far too short, faded perfunctorily. In short - the worst of Chuck’s pre-prison albums.”

“There are some great songs here that are hard to find elsewhere. I find that its more fun to hear the Berry songs that have not been beaten to death.”

“The two classic cuts that bookend this album should be enough to attract the uninitiated. Berry at his best wrote danceable little screenplays dealing with teen life, of which Bye Bye Johnny and Let It Rock were two of his best.”

I Remember Hank Williams – JACK SCOTT**

My Heart Would Know/Your Cheatin’ Heart/I Could Never Be Ashamed Of You/Cold Cold Heart/You Win Again/Half As Much/They’ll Never Take Her Love From Me/Crazy Heart/I’m Sorry For You My Friend/Take These Chains From My Heart/I Can’t Escape From You/May You Never Be Alone

Canadian Jack Scott is one of the less well remembered rock & roll artists from the 1950s. With this tribute album to Hank Williams he is already leaving his roots behind in an attempt to establish himself in the more adult genre of country music. (UK:7)

“Jack's mournful voice is well-suited to these Hank Williams songs, the string arrangements are very unusual - not the Nashville sound type. I especially love his deliveries on Cold Cold Heart and You Win Again. This is fun music, and I recommend it highly.”

“A lot of artists have paid tribute to the great Hank Williams, but I found this one the weakest contribution. Just for absolute Jack Scott fans only.”

“These Hank Williams' tracks feature the distinctive clear voice of Jack accompanied by strings and a choral group, singing the popular, plaintive ballads of lost love, immortalised by the 'father' of country music Hank Williams. These well loved country ballads are ideal to sing along with whilst driving, or just to listen to with the lights down low and a glass of wine, especially when you're in a quiet restful mood.”

Encore/More Encore Of Golden Hits – THE PLATTERS*****

Encore: The Great Pretender/Twilight Time/Smoke Gets In Your Eyes/(You’ve Got) The Magic Touch/Enchanted/ One In A Million/My Prayer/(Only You) And You Alone/Remember When/My Dream/Heaven On Earth/I’m Sorry More Encore: Harbour Lights/Wish It Were Me/Where/Don’t Blame Me/What Does It Matter/My Secret/To Each His Own/Sleepy Lagoon/The Sound & The Fury/That Old Feeling/Its Raining Outside/I Wish

The Platters were the most successful vocal harmony group from the mid 1950s to the early 1960s. Encore and More Encore Of Golden Hits include most of their most successful singles from this period, peaking respectively at No. 6 and No. 20 in the US.

“The Great Pretender is awesome, Twilight Time is magnificent, Smoke Gets In Your Eyes is heart wrenchingly beautiful, My Prayer is powerful, Only You is...ah you get the point. You want to find out why The Platters were one of the finest vocal groups of their time. Pick these two up ASAP.”

“The greatest group of the 50s, The Platters combined a tremendous lead singer whose talents bordered on the operatic, great harmonizing, and tremendous musicality to produce some of the best songs ever recorded, most of which are captured here including the immortal The Great Pretender and the wonderful Smoke Gets In Your Eyes. The crescendo at the end of that song has got to be one of the most creative and thrilling moments in all pop music.”

“Now thought of as a 'doo wop' group because of the beat and the finger-snapping rhythms, The Platters set the scene for rock and roll, ushering in a new music which incorporated gospel and soul sounds never before part of the mainstream. They influenced pop music for many years and opened doors to the many doo-wop groups which succeeded them into the 1960s.”

“The wonderful Tony Williams sets the pace as tenor soloist, with a voice ranging from a soft whisper to a soaring vibrato. The harmonies are mellow, the timing is superb, the arrangements are terrific and the back-up voices are strong. The Platters are an indelible part of the high school memories of a whole generation. There isn't a bad song in this collection, all are timeless.”

“I grew up loving the music of the fifties and sixties. It was a time of fine music and The Platters were one of the greats. This includes the best of their music and if you love oldies its a must.”