Pops Roundup –THE BOSTON POPS ORCHESTRA***

Bonanza-Maverick-The Rebel-Bat Masterson-Gunsmoke-Wagon Trail-Wyatt Earp-Have Gun Will Travel- Rawhide(Medley)/O Bury Me Not On The Lone Prairie-Red River Valley-Home On The Range-Whoopie Ti Yi Yo- Tumbling Tumbleweeds(Medley)/The Yellow Rose Of Texas/Wagon Wheels/Riders In The Sky/Cool Water/The Last Roundup/Arkansas Traveller-The Devil’s Dream-Chicken Reel-Thunder Hornpipe-Paddy Whack-Pop Goes The Weasel-Miss McCloud’s Reel-Turkey In The Straw-Stop Buck-Soldier’s Joy-The Rakes Of Mallow- Lamplighter’s Hornpipe(Medley)

Pops Roundup was the Arthur Fiedler and the Boston Pops Orchestra’s first chart album of popular music and includes many well known TV western themes of the time. (US:29)

“Arthur Fiedler was neither a great conductor nor a top-notch musicologist. But he had a great sense of his audience and what worked with them, and he understood how his orchestra could deliver the musical goods.”

“Includes the theme songs for a variety of Westerns that I remember from high school. They got me jazzed up then, and recall neat memories even now.”

“Although maestro Fiedler didn't only perform popular tunes, that's what he and the Pops were known for. And this was always my favourite album. The two special medleys, Pops Hoe-Down and the title piece, are beautifully done. You’ve got to love the sound effects on the former.”

“The LP contains many of the old favourite western songs I grew up listening to. Hearing them with such wonderful orchestration was a joy.”

“The quality is outstanding and the performance is perfect. It sounds a lot like a film score to me but I like things like that from time to time.”

“The Pops Orchestra effectively conjures up childhood images and dreams of the old west; cowboys, gunfighters and pioneers.”

Vincent Edwards Sings – VINCENT EDWARDS**

I’ll Walk Alone/Don’t Worry ‘Bout Me/When I Fall In Love/I Got It Bad(And That Ain’t Good)/Try A Little Tenderness/How Deep Is The Ocean/Lonesome Road/Stormy Weather/As Time Goes By/And Now/Unchained Melody/Everybody’s Got A Home But Me

Vincent Edwards was the star of the TV series Ben Casey when he recorded this album of standards to cash in on his celebrity status. His quick follow up album would struggle to make the top 100. (US:5)

“Vince Edwards sings like he wanted to be called by the Rat Pack if anything ever happened to Sammy Davis Jr. Well worth investigating if you like vocal standards.”

“Vince Edwards recorded this during the height of his Ben Casey fame. Based on his dark rugged looks, I expected his voice to be deep, low, and maybe gruff; I did not expect to hear a tenor. All in all, a pleasant record full of familiar standards."

“As I recall his voice wasn’t anywhere as beautiful as his face. Kildare wins on this one.” “I tried listening to it but I would rather stare at the record sleeve.”

Two Of Us – ROBERT GOULET****

Two Of Us/Something’s Gotta Give/But Beautiful/Don’t Blame Me/Where Do I Go From Here/Here’s That Rainy Day/All Of You/Goodbye/Make Someone Happy/Take Me In Your Arms/Little White Lies/I Wish You Love

Two Of Us became the first top twenty album from the Massachusetts easy listening vocalist Robert Goulet who achieved recognition through his performance in the musical Camelot. (US:20)

“Two Of Us, arranged and conducted by Glenn Osser, found Goulet fresh from his star making turn in Broadway's Camelot, negotiating some lovely ballad material originated by the likes of Bing Crosby and Fred Astaire. Osser deliberately toned down Goulet's powerful voice in favour of a more intimate approach, resulting in some affecting performances. All of that was appropriate in establishing a talented new easy listening singer. In 1962 Goulet went on to win the Grammy for best new artist.”

“Two Of Us is a nice surprise, as this was Mr Goulet's second album. He really interpreted the lyrics well and it is obvious that the arranger, Glenn Osser, worked the same kind of magic with Robert that he did with Johnny Mathis. Robert was working himself into the ground on this album and the recognition came when he won the Grammy for best new recording artist. Two Of Us proves the award was justified.”

“Robert Goulet's voice is timeless. This is one of his best albums, featuring great versions of Goodbye, Little White Lies and I Wish You Love all beautifully sung and arranged.”

“What is there to say but simply the best baritone. I have played and played this LP over and over again. This is how beautiful his voice is."

“Robert Goulet will always be my favourite singer. No one can replace him in my book. He puts so much feeling into his songs.”

It Keeps Right On A-Hurtin’ – JOHNNY TILLOTSON***

It Keeps Right On A-Hurtin’/Lonely Street/I’m So Lonesome I Could Try/Funny How Time Slips Away/I Fall To Pieces/What’ll I Do/I Can’t Help It (If I’m Still In Love With You)/Take Good Care Of Her/Four Walls/Send Me The Pillow That You Dream On/Fool No.1/Hello Walls

It Keeps Right On A-Hurtin’ was Florida teen idol Johnny Tillotson’s most successful album, with the title track single reaching No. 3 in the States. However, a compilation album of his hit singles, which includes the fabulous Poetry In Motion, may be a better purchase. (US:8)

“It Keeps Right On A Hurtin was a huge pop and country hit for Johnny, who composed it himself, in tribute to his musical hero Hank Williams. Both that song and the whole album were recorded in Nashville, using the city's A-list musicians.”

“This is the best album Johnny made. Great songs and great backings.” “Johnny Tillotson can sing anything and give it his best. He can sing a song better than the original singer of a song. He is a great songwriter.”

“This Tillotson album really grew on me, subconsciously. I am not a country fan, but this LP hits a sweet spot.”

“Johnny Tillotson's soothing harmonies swooned audiences through much of the '60s.”

"It Keeps Right On A Hurtin’ is a lush country ballad that shows just how well Johnny Tillotson could handle differing types of material; and I really like the ultra-romantic Send Me The Pillow You Dream On."

The Stripper – DAVID ROSE***

The Stripper/Night Train/What Is This Thing Called Love/Mood Indigo/Banned In Boston/St James Infirmary/Soft Lights & Sweet Music/Black & Tan Fantasy/Harlem Nocturne/Sophisticated Lady/Blue Prelude/My Heart Belongs To Daddy

David Rose and his Orchestra had been around since the 1940s before achieving their biggest commercial success with the very mildly risqué The Stripper, which topped the US singles chart, boosting sales of the accompanying album. (US:3)

“David Rose was one of the most admired and characteristic mainstream instrumental pop composers of the '40s, '50s and '60s and rightly deserved the moniker 'King of the Strings'.”

“For those who enjoy light orchestral music, this is as good as it gets. A special treat is the guest appearance by Woody Herman on Harlem Nocturne."

“Music of the type and beat played for strippers who performed in the old vaudeville stages across America.”

“The appearance of The Stripper in this context isn't much of a change of pace, and evokes the dance of a ruffled saloon girl in a dusty cowboy watering hole.”

“The song The Stripper cracks me up every time I hear it. It's so big and brassy and evokes its eponymous subject matter so effectively.”

Rome Adventure – SOUNDTRACK***

Rome Adventure/Lovers Must Learn/Tarantella/Al Di La/Serenade/Prudence/Rome Adventure/Oh Marie/ Mattinata/Arrivederci Roma/Come Back To Sorrento/Santa Lucia/Volare

The romantic drama Rome Adventure starred Troy Donahue and Angie Dickinson. The film was scored by Max Steiner and includes the US top ten hit single Al Di La sung by Emilio Pericoli. (US:14)

“Like water from the Trevi Fountain, Steiner’s score springs forth from the composer’s seemingly endless well of melodic themes. The requisite accordion and mandolin give the music an old world, Italian flavour. The film also features Emilio Pericoli’s hit recording of Al Di La, which Steiner incorporated as the love theme for the film. Side two of the album features easy listening arrangements of six Neapolitan favourites.”

“As well as the famous Al Di La, the rest of the musical scores and instrumentals are also first rate. The music reflects a time and place when and where people in love still took the patience and time to go steady. Yes, the pace was slow but it was also elegant.”

“Ever since I was a child I loved the movie and the soundtrack Rome Adventure. The colour, scenery, music and the actors were all gorgeous. I can watch the movie over and over as well as listen to the music now. They just don't make movies or music like that anymore.”

“Al Di La is the theme song, performed by Emilio Pericoli, one of the most romantic pieces of music ever written. We just want to float away, 'beyond the beyond'."

“Al Di La is the ultimate love song. It gets no more romantic than this.”

A Touch Of Velvet – JIM REEVES*****

Have You Ever Been Lonely/There’s Always Me/Just Walking In The Rain/Be Honest With Me/Welcome To My World/(Its No) Sin/I Fall To Pieces/Am I That Easy To Forget/Blue Skies/All Dressed Up & Lonely/Wild Rose/I’m A Fool To Care

A Touch Of Velvet was the first album from country legend Jim Reeves to use an orchestra, which gave him more crossover appeal. Includes one of his best tracks the UK No. 6 hit single Welcome To My World. (US:97 UK:8)

“I love the melodies, Jim Reeves's voice, and the strings. The arrangements are beautiful. The songs are ballads with a country flavour and the clean sound is characteristic of Nashville in the 60s.”

“Being able to hear this beautiful music again is a real treat. Jim Reeves was a wonderful talent, still very listenable. I recommend this highly.”

“A Touch Of Velvet is outstanding. Jim is in top form, what a great voice. If you like anything by Jim Reeves then this LP is a must.”

“I grew up listening to Jim Reeves' music. He was called the ‘Voice of Velvet’. Few singers in history have had the vocal quality of this superstar. Sit back and listen to the beautiful melodies.”

“Showcases Jim's velvet vocals on a selection of Nashville country-pop tunes. The giant hit Welcome To My World is nice to have in its original form.”

“I'm a great fan of Jim Reeves. I think he has a wonderfully rich and expressive voice and is a truly great interpreter of country music. The Touch Of Velvet LP has some really excellent songs, beautifully performed.”

“A Touch Of Velvet was the first album he did with an orchestra and contains some nice country standards. Although a long way from his original sound it is still very good.”

“Jim in easy listening mode. From the classic Just Walking In The Rain to the rarer All Dressed Up & Lonely, this selection is as good as it gets, winding up with the standard I'm A Fool To Care, which shows off that rich voice. Marvellous music.”

Pot Luck – ELVIS PRESLEY****

Kiss Me Quick/Just For Old Time Sake/Gonna Get Back Home Somehow/(Such An)Easy Question/Steppin’ Out Of Line/I’m Yours/Something Blue/Suspicion/I Feel That I’ve Known You Forever/Night Rider/Fountain Of Love/ That’s Someone You Never Forget

A rare studio album since, for the rest of the decade, Elvis’s album output would largely be confined to movie soundtrack releases. Four of the tracks would later be released as singles, Kiss Me Quick in 1963, (Such An) Easy Question and I’m Yours, both 1965, and Suspicion in 1976. (US:4 UK:1)

“Pot Luck is an apt name for this album. While it will never be viewed as one of the classic or even memorable Elvis releases, it does in its own way hold up well. It remains a relaxing album and proves that Elvis could make almost any group of songs worthwhile.”

“Pot Luck was a good name for this album as there is little cohesion in the selection of material. This was another album lacking a memorable track, but overall the parts added up to a better than average release.”

“This is a mellow Elvis who has established his own unique style along with the Blue Hawaii album and before all the rubbish that followed. This is as good as it gets and fans will search for decent product after this release and come up empty handed.”

“Pot Luck was not itself a film soundtrack, but you can definitely hear the formulaic approach that Elvis took towards his film work rubbing off on the sound here. It is safe and restrained; a pastiche of the Nashville country sound and the unthreatening pop, which had come to define the Billboard charts at the time.”

“Pot Luck is definitely not his best or most inspired sounding work by a long stretch, but the intrinsic quality and presence of the man does just enough to save this album from complete tedium.”

"Except for gospel releases, it would be his last true studio album for years. It was very apparent to the RCA label and manager Col. Tom Parker that movies and soundtrack albums were more popular, and hence made the most money for Elvis as well as themselves.”

For The Nero Minded – PETER NERO****

Moon River/Dancing On The Ceiling/Don’t Get Around Much Anymore/Little Girl Blue/Something’s Coming/My Man’s Gone Now/Ev’rything I’ve Got/Let’s Not Waste A Moment/Isn’t It Romantic/ Yesterdays/Too Late Now/ Love Is A Simple Thing

Brooklyn pianist Peter Nero specialized in jazz tinged romantic easily listening tunes and placed many LPs on the lower reaches of the US album chart. The cleverly titled For The Nero Minded was one of his most successful. (US:16)

"The lush sounds of pianist Peter Nero's cover a wide range of familiar standards, gentle ballads, and sophisticated interpretations of Broadway hits.”

“Some of the songs were composed by Peter Nero. There’s that unmistakable Nero arrangement and style on all the songs, that only a talent like his can pull off. It seems the early Peter Nero years had a lot more flair and style than his later albums. Not that they weren't good, its just that this was such a high standard.”

“This album may come as a shock to people who think of Peter Nero as a purveyor of easy listening or smooth jazz. In his early days, he put classical music shadings into popular songs and performed them with lightning speed, creating jazz piano with real bite and texture. The tunes are comfortable and familiar, but there's also a lot of fun stuff going on if you're willing to listen deeply. For example, Yesterdays glides back and forth between major and minor interpretations of the theme.”

“During his early albums, Marty Gold conducted and scored the orchestral support which worked beautifully with Nero's arrangements. It has stood the test of time very well. If you are a Nero fan and you've missed his early stuff - they're here.”

“This album is fantastic. One of the main reasons why I listen to smooth jazz today. A child of the 60s no more. A guitar player for 40 years. Nero gave me a great appreciation for the jazz pianist.”

“There are so few masters of piano in this world...make no mistake...this man is a master in every genre, and in every sense of the word. Do not miss this.”

Lovers Who Wander – DION***

Lovers Who Wander/Come Go With Me/King Without A Queen/The Twist/Little Diane/Stagger Lee/Shout/ Tonight Tonight/(I Was) Born To Cry/Queen Of The Hop/Sandy/Lost For Sure

Lovers Who Wander was a mixed bag from Dion with new pop hits, rock & roll covers, one self penned track and, this being 1962, an obligatory Twist song. The title track single reached No. 3 in the States with the follow up Little Diane making No. 8. (US:12)

“A better than average early-'60s effort. Besides the oft-anthologized singles Lovers Who Wander, Little Diane, Sandy and (I Was) Born To Cry, it has some hot covers that Dion makes his own. The haunting Lost For Sure, which Dion co-wrote, is one of his best obscure Laurie era tracks.”

“This is one really great Dion album. Five songs made the pop chart. He does a good job on the other five album cuts, four of which happen to be covers of some big hits. My all time favourite Dion LP.”

“Dion is underestimated and doesn't get enough credit for what he did. He's up there with Elvis as far as talent goes.”

“The album is patchy, like most pop albums of the period, but Dion's highly original jazz-inflected vocals are outstanding throughout.”

“Dion had the voice and emotional delivery that set him apart from many singers of his time.”

Instant Party – THE EVERLY BROTHERS***

Step It Up & Go/Theme From Carnival/Jezebel/True Love/Bye Bye Blackbird/When Its Night Time In Italy Its Wednesday Over Here/O My Papa/Trouble In Mind/Autumn Leaves/Long Lost John/The Party’s Over/Ground Hawg

On Instant Party The Everly Brothers start to lose direction. Denied access to their usual songwriters the Bryants, they turned to interpreting oldies, a move not to the liking of many of their fans. (UK:20) “The cover picture of this 1962 collection unwittingly summarises the market reaction to the album. The Everlys are giving their best on stage but the couple in the foreground seem bored with what's going on. If ever Don and Phil sunk to mediocrity in their distinguished career then this was the moment.”

“Their version of Jezebel is OK with soaring vocals reminiscent of the early Cadence days but it's spoilt by a tinny guitar sound and in any case none of the covers match the class and intensity of the originals. A few others like Step It Up & Go and Long Lost John are amiable foot tappers. The Party's Over is pleasant but delivered slightly flat emotionally. Covers of other MOR tunes of the recent past like Autumn Leaves, True Love and Oh My Papa are pointless and excruciating; Bye Bye Blackbird is better but not much. Album wise, one of the great pop acts of all time was slowly going to seed.”

“Surprisingly enjoyable, though no originals and many standards. Side two is very strong.”

“I really like some of the songs on this LP, especially Jezebel. But on the whole, the LP’s material wasn't typical Everly Brothers.”

“As they weren't allowed to record any songs by Felice and Boudleaux Bryant, Don and Phil recorded jazz oldies instead. Unfortunately, the people who enjoyed that kind of music weren't interested in The Everlys, while the traditional Everly fans didn't take to the boys new musical direction.”

“The purity and nuance of the vocal harmonies was what made The Everlys so wonderful. Here the lousy choice of most of the songs and the hokey arrangements sink this LP. I am sure that Don and Phil lament the circumstances that resulted in this recording.”

I Left My Heart In San Francisco – TONY BENNETT*****

I Left My Heart In San Francisco/Once Upon A Time/Tender Is The Night/Smile/Love For Sale/Take A Chance On Love/Candy Kisses/Have I Told You Lately/Rules Of The Road/Marry Young/I’m Always Chasing Rainbows/ The Best Is Yet To Come

Jazz crooner Tony Bennett had been popular since the early 1950s but his biggest success came with the Grammy winning song I Left My Heart In San Francisco, which became his signature tune. (US:5 UK:13)

“This is, perhaps, the definitive Tony Bennett recording which includes many of the songs most associated with him. The title track, I Left My Heart In San Francisco, sets the pace but it just gets better. Smile, in particular, is done with a pathos and empathy that any artist would envy. It is a masterwork. Much of this album is dated in that the songs are of a bygone era. This one is a must for Tony Bennett fans.”

“Bennett is obviously in the top realms of the great crooners of the 50s and 60s and this album has his signature tune to lead off with and Tony sings it brilliantly.”

“I Left My Heart In San Francisco is Tony Bennett's most famous song, and this album is probably his best. It kicks off with the fantastic 1-2-3 punch of the title track, Once Upon A Time and Tender Is The Night. All classics. But there is not a bad tune on this album. It's really a must have if you are at all interested in this genre.”

“This album is known largely for the title track, and Bennett's version is the definitive one. However, it manages to pack in another signature Bennett song, The Best Is Yet To Come as well as great versions of Tender Is The Night, Love For Sale and other standards.”

“Beginning with the title ballad that became his signature anthem, and concluding with The Best Is Yet To Come, this hit album captures Tony Bennett at the peak of his popularity, in lush orchestral arrangements. This is Bennett the belter at his best, his big voice made to sound even more expansive with that hallmark early-'60s echo behind it.”

“This is a great collection of some of Tony's biggest songs from the early 1960s when his voice was even more perfect than it always has been. The title song, his signature, never sounded better and the album is made up of first-rate songs.”

Hatari! – HENRY MANCINI****

Theme From Hatari/Baby Elephant Walk/Just For Tonight/Your Father’s Feathers/Night Side/Big Band Bwana/ The Sounds Of Hatari/The Soft Touch/Crocodile Go Home

Hatari! was another successful film score from Henry Mancini, the master of the genre. Set among the African wild life Baby Elephant Walk is the best remembered track. (US:4)

“This is firstly a fun blend of jazz and Afro-exotica, jungle drums mixed with a classic bop combo. Elsewhere, however, the soundtrack opts for some pleasant, but very Western jazz, only stopping for the African instrument sampler The Sounds Of Hatari, which features some nice treated piano. Hatari! is memorable for the incredibly goofy Baby Elephant Walk, which has gone on to be infamous musical shorthand for kookiness of any stripe. Get this tune in your head and it sticks.”

“Hatari has three musical themes running through it: the first is the title and The Sounds Of Hatari. Since this is set in Africa, these two tracks set the stage for actors to chase and capture wild animals. For the comical side, you have the classic Baby Elephant Walk, a tune that is the equivalent to the Pink Panther theme in clarity and remembrance. The song has become an international hit and recorded by numerous artists over the decades. The music is great - Mancini at his best.”

“A favourite movie score and highly recommended. Baby Elephant Walk was a pop hit for Mancini. However, the whole movie score is really excellent.” “Some excellent Henry Mancini music, with a little twist due to the African motif. Fun if you're a Mancini fan.”

“Hatari proves Mancini is also a tone colour master, getting the right instrument in just the right place. Infinite combinations exist, but Mancini is experimental in the way that he works to get the most pleasing sound for the ear.”

“My favourites are the introduction and the classic African sunrise piece. They show the range and genius of Henry Mancini.”

“The music just took me back. There is not one album of Mancini’s that I have not thoroughly enjoyed, and this one, like the rest, did not disappoint.”

A Funny Thing Happened On The Way To The Forum – BROADWAY CAST****

Overture/Comedy Tonight/Love I Hear/Free/Lovely/Pretty Little Picture/Everybody Ought To Have A Maid/I’m Calm/Impossible/Bring Me My Bride/That Dirty Old Man/That’ll Show Him/Lovely (Reprise)/Funeral Sequence/ Finale

The Broadway musical comedy A Funny Thing Happened On The Way To The Forum starred Zero Mostel. It opened in May 1962 at the Alvin Theatre and ran for 964 performances. Set in Ancient Rome, the plot involves a slave attempting to win his freedom by helping his young master woo the girl next door. Lyrics and music by Stephen Sondheim. (US:60)

“The first musical in which Stephen Sondheim was responsible for both music and lyrics, was not expected to be a hit. Many of the critics were proven wrong when this smashing musical endeared itself to the theatre going public. The recording is quite a masterpiece - it really captures every bit of the emotions exhibited on stage.”

“The cast are so superbly suited to the piece that it is little wonder that it became an immediate hit. The whole thing is wonderful, there is not one song in it that does not grow on, or appeal instantly, to the listener.”

“I have very little doubt that this original cast album will always be the best recording of this show. Who else but Zero Mostel could make this show so memorable? While Sondheim’s craft would grow considerably in the years following this effort, the work here is solid and enjoyable. Comedy Tonight is a classic and Pretty Little Picture gives us our first glance into Sondheim's future. While the comedy of the script may overshadow the comedy of the songs, they are funny in their own right. Lovely and Everybody Ought To Have A Maid are both very funny."

“Sondheim comes up with lilting melodies as settings for his word barrages. Forum has hellzapoppin humour, full of jokes and slapstick, and Sondheim's songs provide audiences the chance to catch their breath, even if they are likely to chuckle at his clever juxtapositions of words and unfettered talent for alliteration. The star of Forum is the show itself; the music makes for a worthy accompaniment. Some numbers will amuse you more than others because you may not know the context in which they were performed; but many of these fine songs will entertain you anyway.”

Dinah '62 – DINAH WASHINGTON****

Drinking Again/Destination Moon/Miss You/A Handful Of Stars/Is You Is Or Is You Ain’t My Baby/You’re Nobody ‘Til Somebody Loves You/Red Sails In The Sunset/ Where Are You/Coquette/Take Your Shoes Off Baby

Comprising a set of standards, Dinah ’62 was the first and most commercially successful album from R & B vocalist Dinah Washington after she moved to the Roulette label. (US:33)

“Highly recommended to lounge lizards with opulent brass, Destination Moon being a favourite. There are blues and some early R 'n' B. Dinah's voice is one of my favourites. Had she lived longer she would have become a soul queen.”

“The first of Dinah's Roulette's albums. Her style was changing a little, and she made use of pauses and whispers much more than in the past. A must have to experience something really wonderful from the swinging Miss D.”

“I grew up with this album and loved every minute of it. Her phrasing is unbeatable. If I had to choose one Dinah Washington album to listen to - this would be it.”

“Dinah Washington invariably commanded the attention of her adoring audiences wherever she performed, and this LP gives us more than ample proof as to why. Dinah's voice remains in strong form throughout even though these songs were recorded not long before her untimely death.”

“Dinah Washington was one of those rare singers whose artistry was enhanced by her uniquely rare, memorable, beautiful voice. She could literally sing anything and give it her own unique spin. Dinah could sing torch songs, the blues, jazz, R & B in sad, yearning, lonely vocals or high and happy vocals, depending on the song. The raw emotion she sings with can move you to tears of longing, and just as easily have you jumping and laughing for joy.”

“Dinah '62 finds one of the foremost interpreters in vocal jazz treading merrily through a set of standards informed by Fred Norman's modern and commercially slanted big-band arrangements. Despite a few trad vocal backgrounds, most of these never overwhelm the songs or Washington's performances, and sometimes add to them. The singer brings a lifetime of experience to these songs, carrying the soporific world-weariness of Drinking Again, but then skating rompishly over the light novelty Destination Moon."

Blitz! – LONDON CAST****

Our Hotel/Tell Him Tell Her/I Want To Whisper Something/The Day After Tomorrow/We’re Going To The Country/Another Morning/Who’s This Geezer Hitler/Be What You Wanna Be/As Long As This Is England/ Opposites/Bake A Cake/Leave It To The Ladies/The Day After Tomorrow (Reprise)/Ent’racte/Far Away/Petticoat Lane/Down The Lane/So Tell Me/Mums & Dads/Who Wants To Settle Down/Is This Gonna Be A Wedding/Duty Calls/Who’s This Geezer Hitler (Reprise)

The London Cast musical Blitz! starred Amelia Bayntun. It opened in May 1962 at the Adelphi Theatre and ran for 568 performances. Plot is based around a romance that takes place during the London wartime blitz. Music and lyrics by Lionel Bart. (UK:7)

“Blitz! was Lionel Bart's follow-up to Oliver! It has since largely been forgotten which is a shame because it is a tuneful musical and very evocative of the blitz era and the people living through it.”

“The score is excellent. Performances are uniformly good too, especially from Amelia Bayntun as the central character, Mrs Blitztein. Best known songs include the children's play song Mums & Dads, and Far Away. I really enjoy The Day After Tomorrow, which was recorded by Vera Lynn especially for the show. The words and music for this song give it such an authentic, wartime singalong feel.”

“I consider it a tribute to the spirit of those who worked and went through the blitz itself, which was concentrated within the East End. Lionel Bart, throughout his troubled career, personified and adapted in music and song so much of the unique character of what London's East End was all about.”

“Terrific music, great lyrics, exceptional singers, especially the lead woman, Amelia Bayntun, who I don't think did anything significant again.”

“Unashamedly an emotion tugger, this spectacular 1962 Lionel Bart musical strives to recreate the East End spirit at the time bombs rained - a community determinedly bouncing back, whatever the damage inflicted.”

“This vividly conjures up the mood of the blitz. Impressively heading the cast is Amelia Bayntun as widowed battleaxe Mrs. Blitztein. She holds everything together, at once raising spirits with Our Hotel as trains rattle past. There are many highlights, including The Day After Tomorrow after a night raid.”

Young World – LAWRENCE WELK***

Young World/Love Letters/Secret Love/She’s Got You/April Love/Don’t Break The Heart That Loves You/Young At Heart/Anything That’s Part Of You/Young Love/The Wonderful World Of The Young/Good Luck Charm/Young Love

Young love is the theme that links the modern standards on Young World, interpreted by the orchestra of Lawrence Welk. His albums appear to be interchangeable with those of fellow Dot artist Billy Vaughn, both of whom recorded separate tunes from the other. (US:6)

“Demonstrates that touch of magic, and the light and happy feel, that Welk added to every one of his pieces. I have discovered through experience that most non-Welk music is like flat champagne.”

“I have always enjoyed listening to Mr. Welks music. His orchestra is one of the best in the business. They are absolutely the greatest.”

“Mr. Welk and his 'bubbly' musical style was a format that drew more than it's fair share of ridicule from the more acerbic musical 'experts' who, after 1955, fell into a pit known as 'only rock & roll counts'. Among those sharing their barbs and darts with Welk were people like Pat Boone, Engelbert Humperdinck and Bobby Vinton. Strangely, however, they all shared one common factor: their music sold in the millions.”

“Extremely beautiful music....I love all the songs on this LP. I can't believe sometimes how music can make you feel so good.”

Jerry Lee Lewis Vol. 2 – JERRY LEE LEWIS***

Money/As Long As I Live/Country Music Is Here To Stay/Frankie & Johnny/Home/Hello Hello Baby/Let’s Talk About Us/What’d I Say/Break Up/Great Balls Of Fire/Cold Cold Heart/My Girl Josephine

Frenetic pianist Jerry Lee Lewis was one of the most influential rock & roll pioneers from the late 1950s. However, he made very little impact on the album chart. This collection, unrepresentative of his best work, being his only top twenty entry on either side of the Atlantic. (UK:14)

“Lee was all of twenty years old when most of his astounding flurry of musicality took place in the bustling den of creativity, Sun Records. Check him out; none of the Killer's contemporaries came close to the diversity of material as he did.”

“I've always thought only of Great Balls Of Fire when I consider Jerry Lee, but he was so much more. His lifestyle contributed to his ups and downs in the music business, but he was always a great musician. Some of the songs on this album were new to me, but I enjoyed all of them.”

“Lewis paved the way for piano-playing rockers, and also straddled the line between rock and country; fans of both genres will find much to savour here.”

“You could say that Jerry Lee was the real king of rock 'n' roll, certainly one of the founding fathers, and much wilder than Elvis.”

“Jerry Lee is known primarily for a handful of hard driving, piano based rockers like Great Balls Of Fire. Aficionados (and knowledgeable dilettantes) know that he had a lot more up his sleeve than that. OK, so he couldn't turn in a masterful ballad, but there's still enough variety in the uptempo numbers to satisfy any discriminating rock 'n' roll fan.”

“Jerry was a Southern man, a true country star. His songs are honest and raw tales about the ups and downs on the wild side. They don't call him 'The Killer' for nothing.”

“When you get to hear the original Sun Records recordings of his best and most popular tunes, you begin to understand why his influence on later rock and roll artists was so strong. The reckless intensity he displays is rarely heard anywhere else. Jerry only had five real hits at Sun, so any other songs included are debatable.”

Chapel By The Sea – BILLY VAUGHN***

Chapel By The Sea/Petite Fleur/Exodus/Can’t Help Falling In Love/Moon River/Don’t Break The Heart That Loves You/Midnight In Moscow/The Twist/Tuff/Route 66 Theme/Bonanza/Wonderland By Night

Chapel By The Sea contains a very eclectic mix of recent hit singles that are given Billy Vaughn’s well established orchestral interpretations, to the usual formula. (US:14)

“Most of the music recorded by Billy Vaughn is very much part of my memory. Chapel By The Sea is beautiful.”

“I've been listening to Billy Vaughn since I was 16 yeas old. If you like excellent alto sax playing third harmonics, this is music for you. I've never met anyone who doesn't like Billy’s music.”

“Anything by Billy Vaughn was readily discernible within the opening few bars and, without exception, charted or uncharted as singles, all of his music is thoroughly enjoyable.”

“His music is smooth and a pleasure any time of the day.”

Twistin ‘N’ Twangin’ – DUANE EDDY***

The Peppermint Twist/Twistin’ & Twangin’/Let’s Twist Again/Miss Twist/Sugartime Twist/Exactly Like You/Walkin’ & Twistin’/Dear Lady Twist/Moanin’ & Twistin’/Country Twist/The Twist/Twisting Off A Cliff

Twistin’ ‘N’ Twangin’ was a rather gimmicky concept album from guitarist Duane Eddy in which just about every track features a different take on the Twist dance craze. (US:82 UK:8)

“The man was a god and could do no wrong, especially when working with renegade producer Lee Hazlewood. His wild, gimmicky take on the Twist, Twistin' ‘N’ Twangin', where he covered Fats Domino's I'm Walkin' and re-titled it Walkin' 'N' Twistin' his own Twistin' On A Cliff and a killer cover of Joey Dee's Peppermint Twist, complete with wild doo wop vocals in the backdrop, are only a sampling of what's here.”

“Twistin' & Twangin' is in the same vein as Dance With The Guitar Man, but it isn't quite as entertaining, mainly because everything has the same Twist beat and is tied into the Twist craze - all but one song has 'Twist' in the title. Still, there are some fun moments to be had before the concept wears itself out, and it's a reasonably entertaining record, even if it is padded with filler.”

“Another great classic, played with this unique style and amazing sound. Every one should purchase such a great LP. Definitely my favourite Duane Eddy album.”

Through Children’s Eyes – THE LIMELITERS***

This Train/Marty/Hey Jimmy Joe John Jim Jack/The Whale/Grace Darling/Morningtown Ride/Join Into The Game/I Had A Mule/Lollipop Tree/Run Little Donkey/The Riddle Song/Stay On The Sunny Side/B-A-Bay/ America The Beautiful-This Land Is Your Land

Through Children’s Eyes was an album of folk songs for children, recorded by The Limeliters at the Berkeley Community Centre, California in December 1961, featuring a chorus of seventy children. (US:25)

“Although primarily a children's record, some of the nuances of the songs can only be appreciated by adults. This album remains fresh and enjoyable to all regardless of age and number of times it is replayed.”

“Upon listening to it for the first time in almost thirty years, it brought tears of joy to my eyes. All those familiar, warm and utterly innocent songs of childhood sounded as fresh and wonderful as they did the first time.”

“The children's vocals on this album are a musical inspiration and are a wonderful complement to the three distinctive voices of Lou, Alex and Glenn. We love the stories told in classic folk songs such as The Ballad Of Grace Darling and The Whaling Song.”

“It brings back memories of growing up and listening to lots of different folk artists who took the time to record songs for children, mixed with enough adult humour that parents didn't mind listening to them. The Limeliters were amongst the best at that.”

“One of the more endearing aspects of the folk era was that groups like The Limeliters were interested in educating children. While teaching life lessons, their songs are fun for both children and adults alike. The participation of the children is fun to listen to and The Limeliters candid reactions are wonderful.”

“This album is precious to children of a certain age and time. Many kids first heard folk songs and American history from this LP. It stands as an important reminder of how music can influences children. The result is what folk music is all about: children learning songs from 'town troubadours'. Any youngster in the early '60s, could sing along with this record.”

Once Upon A Time – THE LETTERMEN****

Time Was/Young & Foolish/Lover’s Beach/Polka Dot’s & Moonbeams/Evening Rain/Once Upon A Time/How Is Julie/My Funny Valentine/Remembering Last Summer/Sixteen Reasons/Summer’s Gone/Turn Around Look At Me

Once Upon A Time was a quick follow up LP from the vocal harmony group The Lettermen that was not nearly as commercially successful as the debut, but followed the same formula. (US:30)

“Great little love songs, fabulous harmonies and terrific memories. These songs and presentations never lose their beauty.”

“The Lettermen at their best and that is something worth hearing. A must have LP.”

“Evening Rain has a stunning arrangement for the piano and The Lettermen sing this with all their hearts and souls. It's a very pretty melody and they take this song to new heights. In addition, My Funny Valentine works at many levels at once; and this is another major highlight. Once Upon A Time shines brighter than silver and gold when The Lettermen sing it.”

“This early album from the original line up is fantastic. The Lettermen harmony has never been equalled.”

“A very good nostalgic album. The Lettermen were one of the more harmonious groups with lush sounds. This LP recaptures some of those feelings when young, in college, and all we had to do was study, be with friends, and listen to a variety of music.”

“The outstanding harmony, along with the orchestra, background singers, and great sound make this a 'must' for any fan of The Lettermen.”

Moon River – ANDY WILLIAMS*****

Love Is A Many Splendored Thing/A Summer Place/Maria/Never On Sunday/As Time Goes By/The Exodus Song/Moon River/Tonight/The Second Time Around/Tender Is The Night/It Might As Well Be Spring/Three Coins In A Fountain

Moon River was an album of classic movie themes from Andy Williams which spent three years on the US album chart. Inexplicably the title track was never released as a single, although it has since become one of his best remembered songs. (US:3)

“Here is the classic Moon River and other academy award contenders as only Andy could sing them with big vocal choirs and creative arrangements. This was one of Andy's all-time best sellers and speaks for itself. Academy award contending songs, and Andy Williams' stylish vocals, explain why this recording went gold.”

“Andy Williams had a truly marvellous voice and great emotional power. I didn't know the Theme From Exodus had words to it. This one track makes the whole album but is certainly not the only reason to buy it. All the other selections are classics and with Mr. Williams' fantastic voice, this is a joy to listen to again and again.”

“Outstanding. Andy Williams performs like nobody else can. It forever reminds me of the 'good old days' and how life, movies and music went hand-in-hand. I treasure it dearly and guarantee it will be one of your most prized possessions. I've listened to it for 40 years and I'm still overwhelmed by these beautiful songs.”

“Andy Williams can take a song and make it all his own using his very special vocal skills. Andy leads his adoring audiences wherever he wants them to go because he passionately delivers each song he sings with true emotion and style.”

“These are the songs that will leave you saying 'they don't make singers like that any more' and other things to cause your kids to roll their eyes and shake their head at you...but it's true, they don't.”

“I really love this recording. It's got the most incredible versions of some amazing classics. I purchased it specifically for A Summer Place but every cut on it is truly wonderful. This comes close to being the perfect LP. All of these songs are ideally suited to his voice.”

Experiment In Terror – HENRY MANCINI****

Fluter’s Ball/Tooty Twist/Kelly’s Tune/Golden Gate Twist/The Good Old Days/Experiment In Terror (Twist)/ Experiment In Terror/Nancy/Down By The Wharf/Teenage Hostage/White On White/Final Out At Candlestick Park

Experiment In Terror was a soundtrack album from the movie musical maestro Henry Mancini, who succeeds in conveying an air of suspense, reflecting the chilling nature of the film. (US:37)

“Now this is the kind of Mancini I like. Very inventive music with lots of drama, suspense and surprise. The music fits the movie. When he performed for movies or TV shows, he was at his most creative and talented.”

“This LP is a quirky, cool, delight. Fans of Mancini who are expecting something in the vein of Breakfast At Tiffany's or The Pink Panther may be disappointed, but true Mancini aficionados will want this in their collection.”

“If you are familiar with the works of Henry Mancini, then you pretty much know what to expect. Whether or not you are, this LP is an audio delight. It has great arrangements and orchestration. As with all of his soundtracks, he knows how to illustrate a mood with sound. This disc should not disappoint the Mancini lover, or someone new to the music of one of the greatest soundtrack masters ever. Buy with confidence.”

“Henry Mancini was the perfect choice to score this movie. There are many types of music in this soundtrack based on the elements of the film and, as usual, Mancini captures all of them. Be prepared for a lot of different sounds, but both jazz and blues are at the heart of what Mancini does best. A great album and a great film.”

“Mancini's sound is quite eerie, if you can imagine Mancini's music sounding eerie. Although he relies on simple motifs, he has a way with subtly and nuance. He seems to be able to achieve any effect he wants.”

“Great weird, moody, haunting Mancini, but too many chirpy old-time music tracks. Well worth getting though.”

George Maharis Sings! – GEORGE MAHARIS***

I Want To Be Wanted/Its All In The Game/I’ll Never Smile Again/Moon River/Can’t Help Falling In Love/Hurt/ Teach Me Tonight/You Must Have Been A Beautiful Baby/(Get Your Kicks On)Route 66/My Kind Of Girl/ Witchcraft/After The Lights Go Down Low

George Maharis, the star of the TV series Route 66, released four LPs in the mid 1960s during the height of his fame, George Maharis Sings! being the first and best selling. (US:10)

“His singing was just as good as his acting. He has such a smooth, easy listening voice.”

“What a great voice George Maharis had. He comes close to Sinatra in sound. It's great music to sit back and enjoy or work to.”

“He represents a type of popular music that is now sadly out of date, and if you prefer what passes for music in today's juvenile delinquent circuit, that's your problem.”

“Maharis was from an era whose series masters decided it would be good publicity for his show if he cut a few records. The same ploy had been used by executives associated with Dr. Kildare (Richard Chamberlain), and Ben Casey (Vince Edwards). However, like Chamberlain and Edwards, Maharis didn't fit into the teeny-bopper image, and so the songs handed to him were more in the line of ballads and old standards. And surprisingly he wasn't bad at all.”

“I bought this more out of curiosity than anything, and was surprised at how good a singer Maharis really is. He's got an intense style with a pronounced vibrato that is quite effective, especially on ballads. He conveys intimacy in a way that somewhat recalls Johnny Mathis. Even when the production on these songs gets a little too gooey (too many strings and backing vocals), Maharis' vocals are always appealing. If you love classic pop, this is worth checking out.”

Countdown Time In Outer Space – THE DAVE BRUBECK QUARTET***

Countdown/Eleven Four/Why Phillis/Someday My Prince Will Come/Castilian Blues/Castilian Drums/Fast Life/ Waltz Limp/Three’s A Crowd/Danse Duet/Back To Earth

Countdown Time In Outer Space was another LP in the time signature themed category from Dave Brubeck based around the contemporary fascination with space travel. (US:24)

“A spacey, yet entertaining, adventure. Worth checking out if you like Dave Brubeck and his quartets 'Time' series.”

"Somehow it feels like the quartet run into a bit of a rut on this one. The title track and Castilian Blues are quite nice, but otherwise I see no reason to really venture into what's going on here. Whilst Brubeck gears himself once more into his timesignature themed works (some with more intriguing aplomb than others), the most impressive advancement here is that of the percussion emphasis. All in all a bit of a let-down in terms of quality overall, but if you're a hardcore jazz fan, check it out.” “The group's use of time signatures is extremely creative and always natural sounding - always musical, not just technical.”

“The outer space theme is a fun one, and every song is great. There are also more songs on it than I believe any of the other odd time albums. The time signature experiments are more interesting on this one than on some others. If you liked Time Out, you'll like this one as well.”

“This is a very fine album in both music and performance. The Brubeck team was continuing its unusual time explorations and improvised melodies, so key to this period of 'progressive jazz'. Except for one song, there are no catchy tunes, no memorable tour de force; instead, there is just superb playing and musical poetry, especially that smooth, unique sound of Paul Desmond.”

“This album should be considered classic Brubeck. The quality is maintained through all these experiments with differing time signatures. Desmond is in pure form here. It's a shame that this album didn't get the recognition it deserves.”

The Sound Of Johnny Cash – JOHNNY CASH***

Lost On The Desert/Accidentally On Purpose/In The Jailhouse Now/Mr Lonesome/You Won’t Have Far To Go/In Them Old Cottonfields Back Home/Delia’s Gone/I Forgot More Than You’ll Ever Know/You Remembered Me/I’m Free From The Chain Gang Now/Let Me Down Easy/Sing It Pretty Sue

Like many albums of this period from prolific country star Johnny Cash his Sound Of LP failed to chart. Nevertheless, he was building up a strong fan base for his commercial success later in the decade.

“A nice little nugget of early Johnny Cash. In The Jailhouse Now is funny, witty and well played, and the original version of Delia's Gone is cool too.”

“One of Cash's better albums - the song selection is fantastic and the arrangements - even with backing vocals - are pretty good. Also, it features his original take on Delia's Gone which is great, and the excellent Sing It Pretty Sue and Mr. Lonesome.”

“I didn't appreciate the music or the talent of Johnny Cash until I was at an older age than my parents when they played this album. Now it is a different story and I'm glad I found this in their collection of albums.”

“The Sound Of Johnny Cash is the thirteenth album by country singer Johnny Cash, released in 1962. Among other songs, it contains In the Jailhouse Now, a Jimmie Rodgers cover and Delia's Gone, which Cash would re-record years later.”

“This is pitifully dull material, and the anticipation of hearing the Man in Black's original version of Delia's Gone is quickly lost as this rendition is far more peppy than dark. A mere curiosity as one of Cash's first releases, but steer clear if you're smart.”

Best Of – THE KINGSTON TRIO*****

Tom Dooley/The Tijuana Jail/Scotch & Soda/Bad Man’s Blunder/Raspberries Strawberries/Everglades/MTA/The Merry Minuet/Where Have All The Flowers Gone/Billy Goat Hill/Take Her Out Of Pity/A Worried Man

By the time this compilation album was released The Kingston Trio were coming to the end of their reign as the leaders of the American folk revival. Both Bob Dylan and Peter Paul & Mary had released their debut LPs which shifted the emphasis away from traditional folk towards protest songs. (US:7)

“They don't make music like this anymore. It's unfortunate, because the folk era of the late 50s and early 60s was one of the greatest in the history of popular music. The Kingston Trio rank with The Beatles in terms of changing the musical landscape. They provided the inspiration and opened the door for a whole generation of performers. Not many artists can claim to have left such a mark.”

“Naturally, you can't take a group like The Kingston Trio and condense their 'greatest hits' into a single LP. However, this is a good album to start with if you're just discovering The Kingston Trio; more diehard fans will appreciate collections that are much more substantial.”

“Folk music was very popular in the early sixties and The Trio were at the top of their game. It's easy, entertaining, toe-tapping music, the kind you can sing along with. There's not much of that kind anymore.”

“I immediately fell in love with their style, their rhythm, their harmonies, their incredible energy, their musical arrangements and the sense of fun they conveyed in their performances.”

“To anyone who has been a fan of popular and/or folk music from the late 50s to the present, you'll be thrilled hearing again all these wonderful songs. Though you've probably heard each of them a countless number of times, you just never tire of them. It would be an understatement to say that they are some of the best loved songs of America.”

“The Kingston Trio were one of the most stellar groups rising out of the pop woof and warp of the late 1950s singing traditional folk songs, popularizing them to the point of creating a cottage industry with imitators by the score.

Bashin’ - JIMMY SMITH****

Walk On The Wild Side/Ol’ Man River/In A Mellotone/Step Right Up/Beggar For The Blues/Bashin’/I’m An Old Cowhand (From The Rio Grande)

Bashin’ was the first album release from jazz Hammond organist Jimmy Smith after moving from Blue Note to the Verve label and featured arrangements by Oliver Nelson. (US:10) “First side with a big band with arrangements by Oliver Nelson, second side is with the trio Smith-Warren-Bailey. Highlights are a nice version of the classic Walk On The Wild Side, the self-penned Bashin' and the grooving I'm An Old Cowhand.”

“A popular jazz album in 1962 was this session featuring Jimmy Smith, with Walk On The Wild Side being a great favourite with jazz aficionados and pop fans alike. The song peaked at No. 21, no small achievement for a jazz musician at that time. Smith's music for the movie is probably better remembered than the film itself, although the entire set is a real jam session. Ol' Man River and the title tune Bashin' are also excellent numbers. This jazz LP is a nice trip down the music memory lane.”

“This LP has some really smokin' playing by Jimmy. It's highly recommended. The big band backup of Oliver Nelson, with whom Jimmy collaborated for a good number of recordings really adds to Bashin’. It's real powerful stuff all the way through."

“The arrangements by Oliver Nelson are splendid. Numbers like Step Right Up and Walk On The Wild Side are worth five stars.”

“This disc, released in 1962, captures the artist at a transition period, and proves that no matter the band, year or label, Smith was a consistently compelling artist.”

“While fans of Smith's lower-key trio work for Blue Note may cringe at the blare of horns and the grandiose dynamic shifts, Smith is still in uber-cool form, and his Hammond plays the groovy foil to Nelson's occasionally square arrangements.”

“On the first half Smith was for the first time joined by a big band. Oliver Nelson provided the arrangements, trumpeter Joe Newman and altoist Phil Woods have a solo apiece, and Walk On The Wild Side became Smith's biggest hit up to that point.”

Don’t Play That Song – BEN E. KING***

Don’t Play That Song/Ecstasy/On The Horizon/Show Me The Way/Here Comes The Night/First Taste Of Love/ Stand By Me/Yes/Young Boy Blues/The Hermit Of Misty Hollow/I Promise Love/Brace Yourself

As well as the title track Don’t Play That Song also contains the best known solo single from the former lead singer of The Drifters, Ben E. King. Stand By Me, reached No. 1 in the UK when re-released in 1987.

“Apparently Ben E. King actually did record other songs besides the timeless Stand By Me. This LP, one of his earliest apart from The Drifters, is cheesy and nerdish right down to that laughable shot on the cover. The music is warm, satisfying and easy to embrace but the aforementioned Stand By Me is the only true compositional triumph.”

“The title track's good, and there's a lot of filler, but it also has Stand By Me, which is one of the best songs ever recorded.”

“I was captivated by the sound of Ben E King's voice, the lyrics to the songs and their orchestration.”

“Opening up with Don't Play That Song and followed through with a string of his early singles and their B sides. The LP winds up with Brace Yourself, which is very fitting as you will be....for another listen.”

“Don't Play That Song is pure ear candy, with the B sides of King's hits being as enjoyable as the chart toppers. Especially nice to hear is On The Horizon, which could have been a hit on its own and The Hermit Of Misty Mountain. A great LP for fans of R & B music of the 1960s.”

“His honeyed voice on the album's opening title track can induce goose bumps. He also really shines on the march-like Here Comes The Night and the light rock number The Hermit Of Misty Mountain."

State Fair – SOUNDTRACK****

Overture & Main Title-Our State Fair/It Might As Well Be Spring/That’s For Me/More Than Just A Friend/ Isn’t It Kinda Fun/Willing & Eager/Never Say No To A Man/Its A Grand Night For Singing/This Isn’t Heaven/The Little Things In Texas/Our State Fair Finale

The remake of the romantic musical State Fair starred Pat Boone, Bobby Darin and Ann-Margret. Music by Richard Rodgers, lyrics by Oscar Hammerstein II. This version includes some new songs by Richard Rodgers. (US:12) >p> “The 1962 version of this film is rather unimpressive. Ann-Margret almost justifies the radical rearrangement of Isn't It Kinda Fun that turns it into a mambo halfway through, but the new Rodgers songs are a waste of talent.”

“Not up to the usual Rodgers & Hammerstein standard. Lots of repetitive instrumentals, not many vocals. Rather boring.”

“The rarely-seen (or heard) 1962 movie has the souped-up Isn't It Kinda Fun belted out by Ann-Margret for all its worth. Alice Faye sings a new number Never Say No To A Man while Bobby Darin croons a new ballad This Isn't Heaven.”

“The original Rodgers & Hammerstein score was composed at the height of their powers and still holds up after 60 plus years. The 1962 remake retains the best tunes and adds several new ones by Rodgers, all first class. Additionally it reintroduces the inimitable voice of Alice Faye.”

“The new songs, written by Rodgers alone, are a mixed bunch. Never Say No To A Man is just plain odd, although it is a nice number for Faye's voice. Sweet Hog Of Mine fits perfectly, although some of the others feel like padding.”

“Much has been written about the fact that Richard Rodgers' additional songs weren't up to the six originals, but they are necessary - the original score contained only one character driven song, and no love songs at all, so even if they are sub-par, Willing & Eager and This Isn't Heaven are welcome opportunities to allow the two couples to express themselves in song, and the charm of Faye and Ewell's It's The Little Things In Texas compensates somewhat for the loss of All I Owe Ioway. Moreover, the additional songs transform a mini-musical into a true musical.”

Point Of No Return – FRANK SINATRA****

When The World Was Young/I’ll Remember April/September Song/A Million Dreams Ago/I’ll See You Again/ There Will Never Be Another You/Somewhere Along The Way/It’s A Blue World/These Foolish Things/As Time Goes By/I’ll Be Seeing You/Memories Of You

Point Of No Return was the final Capitol album of new Sinatra material. Some critics suggest that as it was only recorded to fulfil his contract his heart was not really in it. (US:19)

“This, the last Capitol album, reunites Sinatra with Alex Stordahl. An uneven record, but the highlights are very good. It's a treat to hear Sinatra take on These Foolish Things, As Time Goes By and I'll Be Seeing You."

“An underrated gem, Point Of No Return features an absolutely sublime reading of As Time Goes By, a rather overplayed chestnut that gets an unusually subdued, nuanced performance from Sinatra. Also noteworthy is his reading of When The World Was Young. Superb.”

“This is Sinatra's contractual obligation album, to finish off his career with Capitol, and though it may not be up there with some of the classics he recorded for that label, it's still a fine, underrated album.”

“This album long suffered the reputation of being, if not the black, then at least the grey sheep among Sinatra's Capitol long-players. It was recorded mainly to fulfil the singer's lingering contractual obligation to Capitol Records, and Sinatra's heart wasn't really in the project. The album as a whole lacks some of the passion with which Sinatra had almost invariably approached his Capitol studio sessions.”

“Out of all of Sinatra's Capitol concept album, this one is the weakest. Yes, it's filled with standards, but at this point, Frank had already started his own label, Reprise. He was avoiding recording for Capitol but he was still contractually obligated to provide one more album. This is the result. You can tell that Frank is not particularly interested in the recording. He seldom comes to life and just goes through the motions.”

“As his last album for Capitol Records, you'd think Frank would have supplied this 'contract filler' with a batch of leftovers and throwaway tunes. I was extremely surprised when I first heard this album, it is absolutely beautiful.”

S’Continental – RAY CONNIFF****

The Continental/The Whiffenpoof Song/Beyond The Sea/Swing Little Glow Worm/The Poor People Of Paris/ Strange Music/Tico-Tico/The White Cliffs Of Dover/African Safari/Morgen/Lisbon Antigua/Green Eyes

S’Continental s’reversion to the quirky titles of Ray Conniff’s earliest LPs. With changing musical tastes there would be a dip in the chart placing of his future albums. (US:6)

“The songs were secular standards, in this case many with a European origin (though The Continental, of course, came from the continent of Hollywood), and the voices were back to 'da-das' and 'doot-doots.' The result was another top ten hit and a lengthy stay in the charts. Conniff's return to the form of his first albums accurately suggested that he was repeating himself, and this album marked the end of his most popular period.”

“This is one of the best of Ray's classic albums, the songs are terrific and with the best energy of Ray's orchestra and chorus; many of the tunes have dancing themes, like The Continental and Swing Little Glow Worm. There are beautiful romantic ballads like La Mer and Strange Music and typical European ballads like The Poor People Of Paris and Lisbon Antigua. This is an excellent LP.”

“If you like the orchestral and wordless arrangements of Ray Conniff then this is an LP I can recommend. I especially enjoyed the jazzed up version of Glow Worm and the rendition of the White Cliffs Of Dover. Ray Conniff presents some of the most entertaining tunes in his repertoire. Enjoyable listening for everyone.”

“A delightful trip into the past. Beautiful music, excellent arrangements.”

“This is one the absolute best of Conniff's albums, I never get tired of hearing it. I have all of his albums from 1956 to 1966.”

Peter Paul & Mary – PETER PAUL & MARY*****

Early In The Morning/500 Miles/Sorrow/This Train/Bamboo/Its Raining/If I Had My Way/Cruel War/Lemon Tree/If I Had A Hammer/Autumn To May/Where Have All The Flowers Gone

Peter Paul & Mary was the incredible debut album from the talented New York folk trio and includes several of their own compositions. It features the US top ten hit single If I Had A Hammer. They would take over from The Kingston Trio as the leading American folk group with a greater focus on political protest. (US:1 UK:18)

“For a young group on their first album, this was meticulously produced and already showed their incredible sense of professionalism. From their close harmonies to tightly interleaved guitar picking, each song radiates perfectionism. Mary's voice is a lilting bird reaching above Peter's tenor and Paul's bass, adding brilliant highlights and enforcing the sense that these songs just couldn't be sung any better.”

“The album contains some beautiful folk music from a time when that genre was popular. Many of the songs are written by the group. The trio sound wonderful together. They have wonderful phrasing, intonation and balance. Perhaps some of the modern groups should take a cue from them.”

“This LP is a delight. Here is where we were introduced to three great voices and the selection of songs is very good. There is a mixture of classic and new folk songs. The early 60s folk revival is in full bloom here.”

“There are so few artists making vital music now that I have been craving to listen to music with meaning, power and passion. When I replayed this album, its majesty and beauty really hit me. I can understand and appreciate how popular the album was. Vocally, the trio are inspirational, and Peter and Paul's guitar playing is magnificent. This is what music is all about.”

“What strikes me about Peter, Paul and Mary above everything else is the way they can take a simple melody and make it magical with gorgeous vocals and honest emotions. It's genius because most bands can't pull off simple and honest emotions in such a beautiful and memorable way.”

“This record is just so doggone good, it's hard to find adjectives that can praise it enough. Folk singers are at their best when, as here, they're young and idealistic.”

No Strings – BROADWAY CAST****

The Sweetest Sounds/How Sad/Loads Of Love/The Man Who Has Everything/Be My Host/La La La/You Don’t Tell Me/Love Makes The World Go Round/Nobody Told Me/Look No Further/Maine/An Orthodox Fool/Eager Beaver/No Strings/Finale-The Sweetest Sounds

The Grammy winning Broadway musical No Strings starred Diahann Carroll & Richard Kiley. It opened in March 1962 at the 54th Street Theatre and ran for 580 performances. Based on a book by Samuel A. Taylor about a romantic entanglement between a fashion model and a novelist. Lyrics and music by Richard Rodgers. (US:5)

“A great recording of a beautiful score with a stunning cast. It is the only show that Richard Rodgers wrote both the music and lyrics.”

“No Strings was Richard Rodgers' first big project following the death of Oscar Hammerstein II. The score is youthful, peppy, romantic and quite modern for the time. The score is a real delight, featuring the classic Sweetest Sounds as well as several juicy numbers for Carroll and Kiley, both solo and as a duet.”

“Despite some weak lyrics here and there, the score is the finest of Rodgers in the post-Hammerstein era. You'll have little trouble following the story as most of the songs are laundry lists that give examples to support their titles, but the best tracks provide enjoyable listening experiences.”

“The songs on this album are all splendid. Perhaps Rodgers faltered in his musical writing abilities later on in his career, but not with this album. If you care about musical theatre, you must buy this. The voices are splendid and The Sweetest Sounds ranks with RR's top tune melodies.”

“From the first time I heard The Sweetest Sounds I knew this LP would be one of my favourites. Each song is unique and wonderful in its own way. There are some melancholy, haunting songs and also some upbeat and humorous songs. This is definitely an album you'll listen to over and over, and the songs will soon be stuck in your head.”

“There are some OK songs, Look No Further for example, but take the idea that No Strings is a great Rodgers score with a big grain of salt. Most of the other songs are completely forgettable.”

Nat King Cole Sings/George Shearing Plays – NAT KING COLE & GEORGE SHEARING*****

September Song/Pick Yourself Up/I Got It Bad(And That Ain’t Good)/Let There Be Love/Azure-Te/Lost April/A Beautiful Friendship/Fly Me To The Moon/Serenata/I’m Lost/There’s A Lull In My Life/Don’t Go

On this unique album Nat King Cole Sings/George Shearing Plays, the legendary Nat King Cole teams up with jazz pianist George Shearing and his quartet. (US:27 UK:8)

“This album represents one of those rare moments where all the stars were in alignment, although in this case not by chance. Take Nat King Cole's warm baritone, add George Shearing's jazzy yet subtle piano, and wrap them in the room filling sound of Ralph Carmichael's lush yet subtle string arrangements. Then take a dozen or so first-rate songs by the 20th century's greatest composers and record them in exquisite detail in one of the best studios in the world. Half a century later this album is as beautiful and relevant as ever. And it all looks so easy.”

“Easy listening doesn’t get much better or more enjoyable than this classic. Nat King Cole's effortless crooning over the George Shearing’s smooth backing complement each other perfectly. My favourite track is the great single Let There Be Love, but as both pairings were at the top of their game there are many highlights.”

“This is a great album. Nat's voice is an absolute perfect match for Shearing's trademark velvet carpet sound. The highlight is here is the classic, Serenata. Presented with Latin rhythms and smooth strings, great music doesn't get any better than this. This cut alone is practically worth the price of admission.”

“If you can only buy one Nat King Cole album, it should be this one. The arrangements are great. Shearing complements the singer superbly, and I've never heard Nat sound better. Every song is a gem.”

“For fans of Cole and/or Shearing, this is a must-have disc, a wonderful collaboration between two jazz titans. In fact, it's a shame singer Nat King Cole and pianist George Shearing didn't make more albums together.”

"All of the tracks are either slow and romantic or gently swinging. The arrangements are by Ralph Carmichael and Shearing. A lovely easy listening disc.”

Modern Sounds In Country & Western Music – RAY CHARLES*****

Bye Bye Love/You Don’t Know Me/Half As Much/I Love You So Much It Hurts/Just A Little Lovin’/Born To Lose/ Worried Mind/It Makes No Difference/You Win Again/Careless Love/I Can’t Stop Loving You/Hey Good Looking

Modern Sounds In Country & Western was an incredibly successful crossover album showcasing blues, jazz and soul singer Ray Charles’ interpretations of country standards. It topped the US album chart for fourteen weeks and includes the US and UK chart topping single I Can’t Stop Loving You plus the top ten hit You Don’t Know Me. (US:1 UK:6)

“Its a classic. There is no denying Modern Sounds In Country & Western is easily Ray Charles' most popular and all time best album. He recorded hundreds of songs but no single album in his career came close to this.”

“All the arrangements are beautiful and uniquely Ray Charles' own. His voice is so soulful and moving at times that its hard to believe he didn’t write everything here. No weak moments really.”

“Although considered a daring move at the time for a black artist to take on country and western standards, Ray had already shown an interest in country music and being from the south was used to hearing these songs on the radio. It was only a controversial move in terms of the social context rather than what Ray was doing musically.”

“This is probably his most famous album, and my favourite from what I've heard, a clever batch of country tunes done R & B style. And it's hard to argue with the results. The backing vocals are bathetic and distracting, but this is real soulful stuff anyway, and I'm not even a country fan.”

“Modern Sounds In Country & Western, was a revelation, both for fans of country music and for fans of Ray Charles. The former had never heard their favourites orchestrated with the depth of soul brought to the table by Ray Charles, and fans of the genius singer had never before heard him indulging his love of country music so deeply. Nashville had adapted to brass and strings in an attempt to create crossover hits, but their players never swung with the sort of big band finesse and bravado of these arrangements. These country and western songs shine bright when Ray Charles performs them with so much genuine emotion.”

Jazz Samba – STAN GETZ & CHARLIE BYRD*****

Desafinado/Samba Dees Days/O Pato/Samba Triste/Samba De Uma Nota So/E Luxo So/Bahia

This landmark collaboration between jazz musicians Stan Getz and Charlie Byrd was instrumental in introducing bossa nova to the USA. Jazz Samba includes the Grammy winning Desafinado, a top twenty hit on both sides of the Atlantic. (US:1 UK:15)

“This is the record that introduced bossa nova to the world and at the same time sets the first benchmark for the young genre. The sophisticated Stan Getz, together with jazz guitarist Charlie Byrd, combined American cool jazz with samba and Latin folk rhythm from Brazil, to create a whole new feeling and attitude."

“Getz and Byrd’s landmark collaboration may have been the starting point of a new sub-genre. It probably sounds like lounge jazz to many contemporary ears; on the other hand it’s possible it did more to promote the name of Brazil and its music worldwide, while simultaneously creating more standards than any other jazz album.

“This is a milestone, for presenting the bossa nova genre to America. Getz is a great sax player, and Byrd an amazing guitar player.”

“The album that popularized Brazilian jazz music in America. This is a classic and I can't find anything wrong with the album. One of those instant five star albums simply for its place in music history and for setting the standard for Latin-jazz to come.”

“A classic piece of jazz culture that is nearly impossible not to like if you are a fan of jazz. The feel and mood of the album is awesome and every cafe in the world should have it in their library.”

“How do you critique the album that started an era? Decades later, Jazz Samba is still one of the most relaxing, rhythmically pleasing albums ever made. All instrumental, with the tenor sax of Stan Getz and inspired guitar of Charlie Byrd. While Desafinado and Bahia are the best known tracks, the album is a seamless experience and it is difficult to single out certain songs as superior.”

“The jewel in the collection is Samba Triste, one of the most beautiful jazz/bossa nova tunes ever recorded. Here in particular, Stan Getz's solo is simply perfect.”

Jazz Impressions Of Black Orpheus – VINCE GUARALDI TRIO****

Samba De Orpheus/Mahna De Carnaval/O Nosso Amor/Generique/Cast Your Fate To The Wind/Moon River/ Alma-Ville/Since I Fell For You

Jazz pianist Vince Guaraldi and his trio's interpretation of Black Orpheus includes the original version of Cast Your Fate To The Wind. The 1965 hit version by Sounds Orchestral is more familiar to the UK audience. (US:24)

"With Guaraldi's fleet, always rhythmic piano driving these concise trio settings, Black Orpheus remains a seductive delight, probing the then exotic push and pull of samba with glee, but leaving ample room for more contemplative ballads that still remain deeply affecting."

"Guaraldi's own wistful and swinging Cast Your Fate To The Wind was a surprise hit single in 1962. The song would later receive a more expansive pop cover, but its Guaraldi's original that remains the superior performance."

"The name of Vince Guaraldi may not readily come to mind but this is a definitely a heavy swinging jazz combo and well worth getting into if you dig that sound. Incidentally, you'll probably recognize the haunting Manha De Carnaval as the tune better known now as Black Orpheus."

"With Jazz Impressions Of Black Orpheus, Vince Guaraldi created one of the most original, recognizable, and joyous sounds in piano jazz. This item is an absolutely wonderful interpretation of the Black Orpheus theme."

"The lively keyboard work, the sympathetic rhythm section, the Latin flourishes, the tender ballads, and the playful swinging all come together to create an instant classic."

"Guaraldi cranks out music like few others. What makes him special? Aside from his trademark 'crushed tone thirds', he delivers at multiple levels. I can be swept away by the joy, bouncing with the beat, or running to my piano room to practice."

It’s Trad Dad! – SOUNDTRACK***

Tavern In The Town/Lonely City/Another Tear Falls/In A Persian Market/Let’s Talk About Love/Down By The Riverside/Ring-A-Ding/Space Ship To Mars/Everybody Loves My Baby/Rainbows/Frankie & Johnny/The Lose Your Inhibitions Twist/Sometime Yesterday/When The Saints Go Marching In

The British teen film It’s Trad Dad! starred Craig Douglas and Helen Shapiro. Plot involves a group of hip teens fighting attempts by disapproving and censorious grown ups to remove a jukebox from a local coffee bar. Released just before the trad fad fizzled out the movie also features several rock & roll acts. Notable for the directing debut of Richard Lester who went on to bigger things with A Hard Day’s Night starring a well known group that almost overnight killed off the British trad jazz craze. (UK:3)

“Riding the tail end of a wave of cheap, nearly plot-less all-star rock 'n' roll movies, it's charmingly naïve and old-fashioned but also highly innovative. The 'Trad' in It's Trad Dad! refers to the post-war revival of traditional jazz also known as Dixieland. The movement was especially popular in early-'60s Britain.”

“This is a real surprise, a delightfully old-fashioned and innovative trad jazz/rock 'n' roll musical uniquely positioned at the end of one revolution and the start of another.” “This is a very interesting movie. I love the teen songs the most. It's amazing to think that trad (Dixieland) had a burst of popularity just before The Beatles hit it big. Had it not been for The Beatles the 60s could have been mostly about jazz.”

"It's Trad Dad is ultimately an interesting museum piece that captures the British entertainment industry in its last innocence before The Beatles arrived.”

“Showcase a marvellously eclectic mix of songs alternating between wildly swinging traditional jazz bands and powerfully primal rock 'n' roll stars. The divinely cool Gene Vincent, looking super-smooth with slicked-back shiny black hair and an immaculate gleaming white suit, pile-drives his way through the sublimely groovy Spaceship To Mars. Chubby Checker grinds his hyperactive hips to giddy glory and gets down with several audience members, roaring the transcendently asinine Loose Your Inhibition Twist with infectious full-throttle brio.”

“The 'pop' performers were bland with the songs totally forgettable and it's obvious why the British trad jazz craze was soon blown away by The Beatles et al.”

Great Themes From Hit Films – ENOCH LIGHT****

La Dolce Vita/Moon River/Light In The Piazza/Love Theme From El Cid/Tender Is The Night/Never On Sunday/ Tonight/Exodus/Theme From The Hustler/Theme From Four Horsemen Of The Apocalypse/Theme From King Of Kings/Satan Never Sleeps

Great Themes From Hit Films showcases some of the best known movie themes of the period which are given the Enoch Light stereophonic heavy percussion treatment. (US:27)

“I have been a fan of Enoch Light from the early 60s. His music style was totally different. Great tunes to listen and dance to. It was fun listening to instruments coming from the left, then the right.”

“These were stunners of the time and contained some marvellous music.”

“Sad to say that most movie music today is made up of old hits or not so hit recordings from the past. If we are lucky we may get a new composition as the main theme. The themes on this LP are from the days when a good movie theme would usually end up on the hit parade.”

“Classic tunes done with totally flipped-out arrangements that ping-pong back and forth across your speakers (look, it's stereo!).”

“Enoch Light has a well-deserved reputation as both an accomplished musician and a pioneering technical recording engineer.”

$1,000,000.00 Worth Of Twang Vol. II – DUANE EDDY****

The Battle/Cripple Creek/Theme From Dixie/John Henry/Drivin’ Home/Prisoner’s Song/Up & Down/Bobbie/ Pepe/Lost Friend/Trambone/Gidget Goes Hawaiian

$1,000,000.00 Worth Of Twang Vol. 2 was the second collection of instrumental tracks from the king of the twangy guitar, Duane Eddy. His long run of instrumental hits would soon dry up. (UK:18)

“Duane Eddy gets pegged as a one-trick pony because of the 'twangy guitar' label but that's a misperception, as this album demonstrates. On Side A, he mostly drops the electric guitar in favour of acoustic (on which he displays a surprisingly delicate touch) and banjo, and focuses on traditional or traditional sounding songs; the result is a side with a distinct country-folk-bluegrass feel. Side B mostly features the trademark twang; the only exception is the Chet Atkins standard Trambone, which is a finger picking tune (and very well done here).”

"The Battle is a rocked-up version of Battle Hymn Of The Republic. Unfortunately, the song doesn't lend itself too well to this treatment, and it comes off as rather hokey and forced. A nice rendition of Cripple Creek comes next, followed by a nod to the other side in the recent unpleasantness in the form of Theme From Dixie, a swinging version that works very well. Then comes a very pretty John Henry, marred only by a clanging noise, meant to represent Henry's hammer that persists throughout the song and quickly becomes irritating. This is followed by Drivin' Home, which is the only contemporary sounding song on this side and is rather forgettable. The side ends with another nicely done traditional sounding tune, Prisoner's Song. The best of the mainly twangy songs on side two are Up & Down, Bobbie and particularly the jaunty Pepe. Gidget Goes Hawaiian sound corny, and Lost Friend is dirge-like.”

“Duane only needed a good melody and a few sidemen and his own talent and two minutes or so to make rock instrumentals that I've never grown tired of, despite hearing them hundreds of times.”