His Hand In Mine – ELVIS PRESLEY***

His Hand In Mine/I’m Gonna Walk Dem Golden Stairs/In My Father’s House (Are Many Mansions)/Milky White Way/Known Only To Him/I Believe In The Man In The Sky/Joshua Fit The Battle/He Knows Just What I Need/ Swing Down Sweet Chariot/Mansion Over The Hilltop/If We Never Meet Again/Working On The Building

Demonstrating his versatility, His Hand In Mine was Elvis’s first complete album of gospel music. Predictably it sold far less copies than his pop releases of the time. (US:13 UK:3)

“One of my favourite Elvis albums, allowing every opportunity for his great voice to flourish. He turns out to be a fantastic gospel singer and The Jordanaires give great support.”

“Elvis took few chances with the release of His Hand In Mine. The song choices are conservative and safe. He presents them in a pop style and stays away from rock ‘n’ roll. He is smart enough, however, to reach back into several traditions for his material and moves from old time spirituals to country oriented songs to traditional gospel. Elvis’ deep voice brings vibrancy and life to these songs and others of this type. The spiritual Elvis is never disappointing.”

“The arrangements here all tend to be highly derivative of classic pre-existing versions, and to the extent they sound a little different it's only because of the uniformly bland, rubber-stamp 50s-pop backing harmonies. This feels like it is just making black music more palatable to white audiences, and that turns me off. From another, kinder perspective you could say Elvis knew how to pick good songs, but in his performances he's too deferential here to the artists whose versions of the songs inspired him. Either way this album is self indulgent.” “Everything about it is remarkable. Not only is the singing wonderful but Elvis had a hand in most of the arrangements. The music on most of the tracks is simply produced and sincere to the point of true inspiration.”

“Elvis is in fine voice. His phrasing, timing and general performance are good. Also, his backing musicians know gospel music. The problem with this set is the material which is all second tier.”

“I don't think I will ever get tired of listening to these happily swinging gospel songs. Though not being a religious guy at all this album moves me each time I play it.”

Exodus – SOUNDTRACK****

Theme Of Exodus/Summer In Cyprus/Escape/Ari/Karen/Valley Of Jezreel/Fight For Survival/In Jerusalem/The Brothers/Conspiracy/Prison Break/Dawn/Fight For Peace

The epic war film about Jewish refugees Exodus starred Paul Newman and Eva Marie Saint. Ernest Gold composed the Grammy winning score. A cover version of Theme Of Exodus by piano duo Ferrante & Teicher was a top ten single on both sides of the Atlantic. (US:1 UK:17)

"Theme Of Exodus is probably the most beautiful piece written for a movie and the rest of the album is not far behind. Conspiracy is another interesting piece with the authentic Israeli and Arabic music. Dawn is one of the most dark and foreboding film pieces that I have ever heard, it definitely more than captures the mood of the scene.”

“Ernest Gold's early version of this (main theme) tune was always a favourite of mine However, here, you get 'variations' of the music, compliments of The Sinfonia of London Orchestra, definitely classical, definitely contemporary, definitely melodic.”

“I must have turned the grooves into canyons listening to it so much. I love lush orchestra tracks as it is. I still can't listen to the score without feeling moved. The main theme has been covered by a multitude of artists, but this original is still my favourite.”

“Ernest Gold's name is rarely seen but he is capable of composing amazing film music. Exodus is the proof. It stands among the very best soundtracks ever written. I only wish that more tracks from the film were available. Unfortunately, this soundtrack seems to have been overlooked in recent years."

“Such passion in the music. Such emotion, tells the story through the musical notes. I highly recommend this album to everyone.”

“Ernest Gold's musical creation for Otto Preminger's Exodus has to be one of the greatest compositions in film music and ranks among the best. It still conjures vibrant images of the epic story of the struggle of the early Israelis seeking a home. Whenever I am involved in creative writing I use Gold's Exodus music. It is one of those compositions that inspires and triggers deep feelings.”

A Date With – THE EVERLY BROTHERS****

Made To Love/That’s Just Too Much/Stick With Me Baby/Baby What You Want Me To Do/Sigh Cry Almost Die/Always Its You/Love Hurts/Lucille/So How Come/Donna Donna/A Change Of Heart/Cathy’s Clown

A Date With was a quick follow up Warner LP from the Everly Brothers, just in time for the Christmas rush. Don and Phil must have been pretty chuffed by the massive success of their own composition Cathy’s Clown, No. 1 on both sides of the Atlantic for weeks on end. (US:9 UK:3) “The Everlys second set with Warners contains a few more Bryant gems including the debut of the classic melancholia song Love Hurts, always associated with Don and Phil but never released as a single, plus the self penned Cathy's Clown and a thumping cover of Little Richard's Lucille.”

“The pre-Beatles era is hugely neglected as a source of classic and minor classic albums. Even a blatant classic like A Date With The Everly Brothers gets overlooked. An album like this can challenge some pre-conceptions about music history. Side one is terrific. Overall, this is a bit sedate and lacking in surprises - but still a flawless period piece, with eight new songs and four good covers, climaxing with their greatest ever song.”

“The big hit here is Cathy's Clown. However, the other songs are excellent examples of Don and Phil's style of very catchy pop rock beat songs with a few ballads that highlight their harmonic singing. Some of the songs are written by one or both of the brothers: Most of the others are penned by Boudleaux Bryant and his wife Felice who were responsible for The Everlys hits on the Cadence label.”

“An incredible opening with the vaguely surfy Made To Love, and an unbeatable closer with the classic Cathy's Clown. What happens in between is consistently very good - the best songs are written by The Everlys themselves, while the Bryant originals are also very special (Love Hurts in particular). The bluesier covers are less compelling but done with love.”

“The singing and close harmony are just beautiful, and the love songs on this album (all of the songs, that is) range from jubilant and happy to, more often, melancholic and unhappy. Whatever the mood, they are always sweet and beautiful. And Cathy's Clown is one of the finest pop songs of the decade.”

Concert Spectacular – MANTOVANI***

Stars & Stripes Forever/Estrellita/Theme From A Summer Place/Granada/Forgotten Dreams/Thunder & Lightning Polka/Zapateado/Londonderry Air/By The Sleepy Lagoon/A Trumpeter’s Lullaby/The Green Leaves Of Summer/The Parade Of Wooden Soldiers

The epitome of easy listening, Mantovani and his cascading strings, produced Concert Spectacular, comprising traditional material combined with some covers of recent hit tunes. (UK:16)

“Mantovani the conductor/musician/arranger interprets such traditional material as the Londonderry Air. This is an enjoyable LP. Mantovani's strings were doing a lot of cascading during his prolific late-'50s/early-'60s period.”

“Mantovani teases the listener with a distinctive waltz time arrangement of the popular Sousa march, Stars & Stripes Forever. Many will shed a tear when they hear the cathedral sound of languorous strings and woodwinds in Danny Boy. This Concert Spectacular offers the listener a plethora of musical imagery. With extraordinary and unique orchestrations, one will feel the fiery excitement of Granada, sense the clash of thunder and lightning in Strauss's Polka, and march step and 'fall' with the Parade Of The Wooden Soldiers.”

“This is the ultimate Mantovani, soothingly wistful moods and evocative melodies that make you want to listen to them with all the attentiveness of a concert goer, a paradigm of which Mantovani was truly the master.”

“Like a breath of fresh air sweeping you back to a time when life was less hectic and romance meant romance.”

“The sound of Mantovani fits perfectly for that moment when you relax, and just enjoy life. Perfect for background music when having friends over for dinner.”

Camelot – BROADWAY CAST*****

Overture/I Wonder What The King Is Doing Tonight/The Simple Joys Of Maidenhood/Camelot/Follow Me/The Lusty Month Of May/C’est Moi/Then You May Take Me To The Fair/How To Handle A Woman/If Ever I Would Leave You/Parade/Before I Gaze At You Again/The Seven Deadly Virtues/What Do The Simple Folk Want/Fie On Goodness/I Loved You Once In Silence/Guenevere/Camelot (Reprise)

The Broadway musical Camelot starred Richard Burton, Julie Andrews and Robert Goulet. It opened in December 1960 at the Majestic Theatre and ran for 873 performances. Based on the historical legend of King Arthur. Music by Frederick Loewe, lyrics by Alan Jay Lerner. (US:1 UK:10)

“With Richard Burton, Julie Andrews and Robert Goulet, how could you go wrong? They really don't make them like this anymore. Lerner & Loewe’s fantastic songs make this LP a must have for any fan of great musicals.”

“Camelot features a beautiful score with some of the most beloved songs in the musical repertoire. They include If Ever I Would Leave You, a ballad recounting the timelessness of a love affair, though forbidden, that knows no season. The original Broadway Cast recording features a young Julie Andrews as Guenevere, Richard Burton as King Arthur, and Robert Goulet as Sir Lancelot. The whole cast does a great job recreating the golden time of the mystical world of Camelot, filled with romantic intrigue and scheming sorcery.”

“I can't resist the temptation to say a few words in praise of one the greatest Broadway musicals ever produced. Both Julie Andrews and Richard Burton are beyond magnificent. Andrew's voice has a quality of merriment to it that not even the saddest song can strip away. Richard Burton's singing is light and airy, and Robert Goulet is also magnificent. All the wonderful music proves that there never was a place as marvellous as Camelot.”

“This recording catches a rare moment in time when good fortune brought together a talented cast of singer actors who were at their peak and showed it. I never thought of Richard Burton as a singer, but the feeling…wow! And who could match the sweetness of Julie Andrews? It has the definitive performance of Robert Goulet's If Ever I Would Leave You. The words and music really are perfectly entwined, and the songs are really good. A superb addition to any record collection.”

Bernstein Plays Brubeck Plays Bernstein – DAVE BRUBECK****

Dialogues For Jazz Combo & Orchestra:Allegro-Andante Ballad-Adagio Ballad-Allegro Blues/Maria/I Feel Pretty/ Somewhere/A Quiet Girl/Tonight

Dialogues for Jazz Combo and Orchestra on side one was composed by Howard Brubeck and performed by the New York Philharmonic Orchestra with the Dave Brubeck Quartet and conducted by Leonard Bernstein. Side two of Bernstein Plays Brubeck Plays Bernstein contains five compositions by Leonard Bernstein played by the Dave Brubeck Quartet. (US:13)

“The music on the 'orchestral' side of the BpBpB record is neither Dave's nor Leonard's (but Howard's), nor is it jazz, and it is still awesomely beautiful, especially the third part. The 'Wonderful Town' side of the record still thrills me.”

“Bernstein Plays Brubeck Plays Bernstein is a classic. The West Side Story side is excellent, the orchestration on the reverse side is classic. I have the original record and rate it as a work of art by several musical geniuses.”

“In my love for all things Brubeck, I wore out side one which was the composition that Howard Brubeck (brother of Dave) wrote for his brother's quartet and the New York Philharmonic.”

“I had this album as a teenie-bopper back in the 1960s and believe me it was different but great. If you're into The Dave Brubeck Quartet this is a must have.”

“This is one of the best among many of Brubeck’s albums. Truly a work of art.”

My Kind Of Blues – B.B.KING****

You Done Lost Your Good Thing Now/Mr Pawn Broker/Understand/Someday Baby/Driving Wheel/Walking Dr Bill/My Own Fault Baby/Cat Fish Blues/Hold That Train/Please Set The Date

Legendary blues singer and guitarist B.B. King recorded My Kind Of Blues with only bass, drums and piano for accompaniment, taking him out of his usual big band setting.

“Sweet, big hearted blues from BB. His voice sounds so amazing here its untrue, he is easily one of the blues greatest vocalists. Side A is just stunning, but the whole set is really enjoyable and is one of the finest examples of King playing with a sparse accompaniment.”

“BB’s kind of blues is the kind you listen to with a smile on your face. He is always injecting humour into his music. Taking the worst moments of his life with a light-hearted stride. When he opens his mouth and sings those words he simply cannot hide his big heart.”

“BB is in top form here. If you’re looking for some early to mid period BB this is the one to get.”

“This, to my mind, is the greatest B.B. King album. It is very sparse, relative to his other albums. Mostly, it's recorded with a backing combo of just bass, drums and piano (and very occasional backing horns) and the result is that it's the true 'essence' of B.B. King, just him with the backing band. On most of his other albums, the production is much more 'layered', with a heavy dose of a 'big band' sound, and you just don't get to hear the man himself and see what he can do when he really stretches out on his guitar. This album is a real rarity and expresses the true essence of his art.”

“This 1960 album has a laid-back club feel that features piano up front in the mix. It was the first electric US blues album I heard that said it was the real deal."

“Unlike most of his albums from this period (which are mostly collections of singles), this was recorded in one session. The result is a masterpiece: a sparse, uncluttered sound with nothing to mask King's beautiful guitar and voice.”

“If you are new to BB (there may be some out there), this serves as a primer.”

Walk Don’t Run – THE VENTURES****

Morgen/Raunchy/Home/My Own True Love (Tara’s Theme)/The Switch/Walk Don’t Run/Night Train/No Trespassing/Caravan/Sleep Walk/The McCoy/Honky Tonk

First of many album chart entries from America’s most successful instrumental group, The Ventures. Despite their worldwide popularity they were relatively little known in the UK where The Shadows ruled the roost. Nevertheless, the Grammy winning title track single reached the top ten in both countries. (US:11)

“Although The Ventures were never a self-defined 'surf band', the Washington quartet found mass acceptance among America’s burgeoning surf culture. Of course, The Ventures attained international fame. To date, they have sold over a hundred million records making them the best-selling instrumental band of all time.”

“Walk Don’t Run is an example of why The Ventures became so successful. Given one word to describe the album I’d say fantastic. It also doubles up as one of those albums that can mesmerize and inspire musicians. These guys were no hacks.”

“If you haven’t already done so, get Walk Don’t Run into your bloodstream right away. This is one of the greatest instrumental bands ever and this album is one of their best.”

“This is a highly important album in the history of rock. The Ventures were all extraordinarily talented musicians, and this was certainly a high point in their early career.”

“The Ventures provided a true blueprint for so many bands, from the 60s up through today. Their twin guitar sound defined great instrumental rock. They were young guys on a roll when this came out in 1960. The recordings were basic (a good thing), with minimal effects besides reverb. It suits the music and the times.”

“It's another great Ventures album. If you love great guitar music this album is for you. The music is very exciting to listen to.”

“There have been lots of instrumental groups, but for sheer productivity and longevity, nobody touched The Ventures. Their trademark hard-driving and twanging guitar made them the most successful instrumental group of the sixties.”

This Is…Brenda – BRENDA LEE***

When My Dreamboat Comes Home/I Want To Be Wanted/Just A Little/Pretend/Love & Learn/Teach Me Tonight/ Hallelujah I Love Him So /Walkin’ To New Orleans/Blueberry Hill/We Three (My Echo My Shadow & Me)/Build A Big Fence/If I Didn’t Care

A quick follow up album from the sensational teen vocalist Brenda Lee proved just as popular as her debut. This Is …Brenda includes the US chart topping single I Want To Be Wanted. Unfortunately, she attempts a few too many unsuitable covers on this one. (US:4)

“Brenda's producer tailored her releases for an international audience, concentrating mainly on 'big sweeping ballads'. Although the hit single on this album, I Want To Be Wanted is a ballad, half of these tracks are uptempo rockers.”

“1960's This Is... Brenda, was significantly above the average for a pop/rock LP of the era. The orchestrated Nashville production was lush but tasteful, Lee's singing was unfailingly committed, and the material pretty good, even if there was nothing else on the album as strong as its big hit, I Want To Be Wanted.”

“The record did lean more toward pop than rock, but it was clearly neither Nashville country or straight adult pop, even if by this time in her career she was taking her shots at (and doing quite well with) standards like Teach Me Tonight. The rock & roll side of her sound was represented by Love & Learn and covers of Ray Charles' Hallelujah, I Love Her So and Fats Domino's Blueberry Hill and Walking To New Orleans, though she really did better with the ballads.”

“I Want To Be Wanted makes you want to cry even when you're not sad. She gives it so much real feeling.”

“She has what I would call a knock ‘em dead voice. Wanted is so melancholy you can almost feel the heartache.”

Theme From The Sundowners – BILLY VAUGHN***

Theme From The Dark At The Top Of The Stairs/O Sole Mio/Never On Sunday/Old Cape Cod/The Green Leaves Of Summer/The Church’s One Foundation/Theme From Mr Lucky/Theme From The Sundowners/Everybody’s Somebody’s Fool/Walk Don’t Run/Remember When/Volare/Love Is A Many Splendored Thing

The early 1960s was a classic period for movie theme music. Several appear on the Theme From The Sundowners release which sees Billy Vaughn trying to widen his appeal by the greater use of strings. (US:5)

“I know some Vaughn experts prefer the earlier albums which are dominated by the trademark 'twin sax' sound. Vaughn tried to appeal to a wider audience in the early 60s by using more strings and diversifying his arrangements. Personally, I prefer this later period.”

“This album contains a generous collection of movie tunes that sound like magic. Sit back, relax and let this great, soothing music take you for a ride.”

“If you like the themes from the greatest movies of all times you'll appreciate this one. Vaughn's orchestra brings back memories that are both easy listening and relaxing.”

“If you are a Vaughn fan, you already know he was capable of some of the strangest arrangements around. This will no doubt be of great interest to those wishing to collect his albums, but to the casual listener or hipster who wants space age bachelor pad music, there are plenty of other places to look.”

“This is the very best of Billy Vaughn. I started listening to his music, and never get bored by it.”

“One of my all time favourites by Billy Vaughn. The Sundowners is a beautiful orchestra piece that was a part of my long gone childhood of the early sixties.”

The Alamo – SOUNDTRACK****

Overture/Main Title/De Guella/The Green Leaves Of Summer/David Crockett Arrives/David Crockett’s Speech Raid For Cattle/Tennessee Babe/Here’s To The Ladies/Ballad Of The Alamo/The Green Leaves Of Summer/ General Santa Anna/David Crockett/The Green Leaves Of Summer/Charge Of Santa Anna/Death Of David Crockett/Final Assault/Finale

The western The Alamo starred John Wayne as the legendary Davy Crockett. The rousing score was composed by Dimitiri Tiomkin. The soundtrack LP includes the much covered Green Leaves Of Summer. (US:7)

“Dimitri Tiomkin has written the film music of some of my favourite movies and westerns. I think The Alamo is his masterpiece. Mixing Spanish themes with other western standards it captures the period of the Alamo perfectly. When he introduces Davy Crockett, riding to immortality with his ragged bunch towards the Alamo with a funny accordion theme, or the bombastic fanfares of Generalissimo Santa Anna, or the exciting battle music, history comes alive. His beautiful Green Leaves Of Summer, perfectly captures the sadness of a noble stand and regret.”

“There are many others but The Alamo is as good introduction to Dimitri Tiomkin's wide range of film scores as any, and still stands the test of time.”

“Tiomkin beautifully captures the many moods and themes of the film in his haunting and reflective Overture. These themes play out again and again in the natural setting of the movie, from the plaintive guitar and harmonica to depict the south western flavour of the mission near San Antonio, to the stirring brass to introduce Davy Crockett, or the imperial trumpets to announce Santa Anna. The music is varied, rich, robust and teeming with excitement.”

“Tiomkin is a master. He can at once soothe the soul with The Green Leaves Of Summer on the eve of the final climatic battle. This LP evokes the many memorable scenes from the movie and is timeless and enduring.”

“Dimitri Tiomkin's rousing score is one of the film's major assets. Whether bittersweet, whimsical, inspiring, Tiomkin's mastery of musically defining key moments onscreen has never been matched. He gives a musical grandeur to the movie, as well as providing a very necessary pace, essential for a long narrative. As a composer for films, Tiomkin is unsurpassed in terms of his ability at orchestration, harmonics, melody, et al. As a writer of movie music, no one is better, and this album is an example of Tiomkin at his very best.”

Something Wonderful – NANCY WILSON****

Teach Me Tonight/This Time The Dream’s On Me/I’m Gonna Laugh You Out Of My Life/I Wish You Love/Guess Who I Saw Today/If Dreams Come True/What A Little Moonlight Can Do/The Great City/He’s My Guy/Something Happens To Me/Call It Stormy Monday/Something Wonderful Happens

Arranged by Billy May, Something Wonderful is an early release from jazz styled vocalist Nancy Wilson before she achieved her commercial breakthrough.

“Nancy Wilson has one of the most unique voices ever. Her vocals are crisp, jazzy and fun, and I don't imagine she was much older than her early twenties for this release. This is one of her absolute best recordings.”

“An early 'classic' Nancy Album. As usual, Nancy's standards are definitive in my opinion. Her phrasing is what vocal jazz is all about. A must for all true vocal jazz connoisseurs.”

“While no great innovator, Nancy Wilson was a supreme stylist with impeccable taste. These recordings represent a stunning set, special then and all too rare today.”

“Nancy Wilson is one of the greatest empresses of jazz. Not only was she flawless in her diction and impeccable in her phrasing, she was rich in tone and spellbinding in her delivery. A magnificent storyteller whose improvisations were always tasteful and artfully done.”

“Nancy Wilson's Something Wonderful is an amazing album, a great example of Nancy's very early work. The clarity and range of her vocals are what stand out here, as well as the great musicians backing her up. It is expertly arranged by Billy May. Capitol Records had some serious guys who knew what they were doing capturing the beauty, talent and soul of Miss Wilson.”

“Teach Me Tonight immediately displays the rich colour of her voice. On Guess Who I Saw Today incredulous wounded innocence melts into resignation over her husband’s betrayal. Something Wonderful reveals a similar gliding tenderness. Yet this rich voice can swing hard when the occasion arises as in If Dreams Come True. The Great City is a perfectly expressed, stand alone classic.

Revisited – EARTHA KITT****

Jazz vocalist Eartha Kitt, famed for her cabaret performances, enjoyed a high media profile in the early 1960s that was only rarely translated into commercial success. One exception to this was Revisited, comprising re-workings of her best songs. (UK:17)

“Take some of Eartha's best songs from the 1950s, re-record them in high quality stereo with a great band and you have a stunning album. Eartha sings them like they're under her skin, giving them an edge not found on earlier versions.”

“Superior early 60s re-recordings of Just An Old Fashioned Girl, C'Est Si Bon, My Heart Belongs To Daddy and a fantastic uptempo version of I Want To Be Evil and the festive tease Santa Baby that shows this feline cat-woman at her best. Miss Kitt is in peak form here. Definitely for the bachelor pad or cocktail party.”

“She was the institution of cabaret personified, not to mention the most fatally feline femme fatale of them at all.”

“Eartha Kitt owned cabaret, gifted with deceptively towering talent, superlative linguistic skills, and the sophisticated awareness that allowed her simultaneously to let the audience in on the joke, yet be utterly seduced (if not enslaved) by this material woman. We may not have realized it at the time, but for Eartha life was a grand party, and each of us was a privileged guest.”

“Eartha's distinctive lovely voice never fails to soothe and her clever lyrics never cease to amuse.”

“Eartha Kitt ignites a flame that just won't be extinguished in this fine collection of tunes. So put this collection on your player, sit back and relax, and dream of being at a cabaret in Paris. What a voice.”

“The songs here seem to have been re-recorded in the 60s and they sound more juicy than the usual studio recordings from the 50s. Her voice is perfect, her performance brilliant, and the songs are enjoyable and legendary.”

Returns To Carnegie Hall – HARRY BELAFONTE***

Jump Down Spin Around/Suzanne/A Little Lyric Of Great Importance/Chickens/Vaichazkem/I Do Adore Her/The Ballad Of Sigmund Freud/I’ve Been Driving On Bold Mountain-Waterboy (Medley)/A Hole In The Bucket/The Click Song/One More Dance/The Ox Drivers/The Red Rosy Bush/Didn’t It Rain/Hene Ma Tov/I Know Where I’m Going/Old King Cole/La Bamba

Returns To Carnegie Hall was a follow up double LP to Harry Belafonte’s acclaimed concert album of the previous year. On this occasion he shared the stage with the Chad Mitchell Trio, Odetta, Mirian Makeba and The Belafonte Folk Singers. (US:3)

“In Returns To Carnegie Hall, Belafonte again brings his great humour and, at times his feeling and introspection to a grateful audience. This time, though, he enlists the aid of the then new Chad Mitchell Trio and the great Miriam Makeba. Somehow, though, the magic of the original concert is missing here. Unlike the original concert, Belafonte doesn't offer us much in the way of live versions of his famous songs. I miss hearing his vocal prowess, or the gentle and intricate intonations that made the original concert release so enjoyable.”

“Recorded almost exactly a year after his sensational Carnegie Hall debut in 1959, Belafonte presents a totally different type of concert in this return, with a new set of numbers. Here he is more a producer than soloist, bringing with him other artists to whom he cedes the stage but with whom he often shares songs.”

“With far more novelty/humorous numbers than in his previous Carnegie Hall performance, Belafonte is clearly appealing to a broader audience than the serious folkies who made the earlier concert a sell out. This show is more spectacular, with each guest performing some of his/her most unusual and memorable numbers. Belafonte is terrific for the eight songs he performs (plus his duets with Odetta and Makeba), but this is less a Belafonte concert than a Belafonte production."

“Those purchasing this recording because they enjoyed Belafonte's wonderful first recorded concert at Carnegie will be disappointed. Only two or three songs are Belafonte solos, and the strength of those numbers are well below the standard set at the first concert. Too much of the LP is taken up by his guests. A couple of those tracks are strong, but most are not particularly memorable.”

Joan Baez – JOAN BAEZ****

Silver Dagger/East Virginia/Then Thousand Miles/House Of The Rising Sun/All My Trials/Wildwood Flower/ Donna Donna/John Riley/Rake & The Rambling Boy/Little Moses/Mary Hamilton/Henry Martin/El Preso Numero Nuevo

Self titled debut album from the American folk legend Joan Baez still in her teens. She came to the attention of British audiences following her successful tour with Bob Dylan in 1965. (US:15 UK:9)

“Not bad, but not really that good. Starts out pretty strong but by the end of the album all the songs have more or less blended together.”

“With just her soprano voice and acoustic guitar she gives us an honest and convincing performance and placed the cornerstone for her further career as the folk queen for a new young and enlightened generation.”

“In a industry that was crowded with arrangers, big bands and session players, Baez’s debut album was in its way revolutionary - deceptively simple folk songs could be played in any student room, had a romantic appeal of old-time stories and in spite of humble origins, this music sounded far more arty and literate than any of the hits of pop charts.”

“The 19-year-old Joan Baez's debut is one of the albums that defined the 1960s folk revival, and deservedly so. Collecting an eclectic set of traditional songs - it's just one acoustic guitar and one voice, open and honest.”

“Nice debut. Her voice is a bit thin here compared to later work. I also find the song selection slightly cautious - a little heavy on the Scottish/Appalachian ballads, lending a feeling of sameness to the album.”

“For a very casual fan of folk music such as myself, this was quite a revelation. Armed with a guitar and a fragile voice, the then 19 year old Baez takes on Americana classics of yesteryear and comes out victorious. It might not be as groundbreaking or powerful as some of her successors, but it is arranged beautifully and is more than worth a few listens.”

“This is one of the finest folk records of the folk revival. We witness a 19 year old woman with a soft but strong voice singing child ballads and social folk songs, with so many wonderful selections, it's hard to choose a favourite among them.”

Jealousy – PERCY FAITH***

Jealousy/Temptation/More Than You Know/The Most Beautiful Girl In The World/Tia Juana/Sophisticated Lady/ Begin The Beguine/That Old Black Magic/Right As The Rain/Dancing On The Ceiling/Where Or When/I’ve Told Every Little Star

Orchestral albums that featured romantic standards together with a dash of new hit tunes provided a winning formula that appealed to the early 1960s adult album buying public. Percy Faith’s Jealousy is a good representative of the genre. (US:7)

“Jealousy is a marvellous collection of not often heard older standards. All are superbly arranged and flawlessly recorded...a must.”

“Each track is carefully arranged and the result is always breathtaking. This is a must have for all fans and connoisseurs of Percy Faith.”

“I yield to no one in my admiration for Percy Faith, but this collection comes up short from my point of view. Too many of the tunes just refuse to gel in Faith's orchestrations. Jealousy is loosely organized and overly fussy, although not without some interest. I would recommend it only to Percy Faith completists, among whom I must count myself.”

“For this record the song selection was a little weak. Percy tried to record too many of the current hits of the time and wound up with less than desirable results. I would have preferred that he stick with the golden standards that he plays so well.”

“Jealousy is a darker and more brooding affair than usual, featuring stately but dramatic renditions of a dozen classic love songs.”

Irma La Douce – BROADWAY CAST****

Overture/Valse Milieu/Sons Of France/The Bridge Of Caulaincourt/Our Language Of Love/She’s Got The Lot/Dis-Donc Dis-Donc/Le Grisbi Is Le Root Of Le Evil In Man/The Wreck Of A Mec/That’s A Crime/From A Prison Cell/ Irma La Douce/There Is Only One Paris For That/But/Christmas Child

The Broadway musical Irma La Douce starred Elizabeth Seal and Keith Michell. It opened in September 1960 at the Plymouth Theatre and ran for 524 performances. Based around a romantic affair, set in the red light district of Paris. Music by Marguerite Monnot, with original French lyrics by Alexandre Breffort. (US:9)

“The quintessential French musical, Irma La Douce is a charming fable of love and romance set against the colourful backdrop of the Paris red-light district. Starring the incomparable Elizabeth Seal as Irma along with Keith Michell, the show moves along at a cracking pace and is helped no end by a bouncy, tissue-paper-tinkling score that is given a grand treatment.”

“I think this is my all-time favourite musical. The tone is buoyant even when the song is sad and the score is pretty much perfect. Every song is a winner, whether it's a beautiful ballad or one of the witty, cynical shots at Parisian life. The original cast was flawless and the effect of the whole is to leave you smiling and wanting to listen to it all over again.”

"Irma La Douce was once a big international success, but now for the most part is forgotten. Premiering in France, the score is wonderful. Elizabeth Seal proves that a wonderful performance can beat even the toughest competition. The rest of the cast are wonderful too. Overall, if you want a sampling of a bygone Broadway Irma La Douce is a wonderful trip down memory lane.”

“This is not a sophisticated musical nor does it have a deep plot. The music is that which you could hear in some small bistro in Paris, where you could just sit back and sip your wine. Let your mind run wild imagining action which fits with the music, and you will have a very enjoyable time.”

“Very enjoyable Broadway cast album. The music varies from lively to romantic. Highly recommended.”

The Ray Conniff Hi-Fi Companion – RAY CONNIFF****

You Do Something To Me/They Can’t Take This Away From Me/Hello Young Lovers/Where Or When/All The Things You Are/People Will Say We’re In Love/On The Street Where You Live/Moonlight Serenade/The Way You Look Tonight/As Time Goes By/Smoke Gets In Your Eyes/Lullaby Of Birdland/Cheek To Cheek/Thanks For The Memory/Easy To Love/Laura/It Might As Well Be Spring/Warsaw Concerto/I Could Have Danced All Night/I’ve Grown Accustomed To Her Face/An Improvisation On Lieberstraum/Young At Heart/An Improvisation On Dance Of The Sugar Plum Fairy/I’ll See You Again

The Ray Conniff Hi-Fi Companion was a good value British compilation double LP comprising tracks lifted from band leader Ray Conniff’s 1950s studio albums. (UK:3)

“Nothing beats the instrumental and vocal harmonies these people bring to the music scene. It's just a unique way to present some of the best tunes ever to come out of music composing.”

“Ray Conniff always made beautiful music; and his music with his chorus and orchestra leaves nothing to be desired, it's that good. If you want mood music or music for relaxation, Ray Conniff's artistry is still the best in the biz.”

“The Way You Look Tonight showcases a Ray Conniff flavoured tune with excellent orchestration, chorus and horns to bolster the melody.”

“Ray Conniff entertained millions of people the world over; and his music will never be forgotten. Ray pioneered the use of the chorus as a true musical instrument; and his countless renditions of classic ballads still sell briskly all these years later.”

“Ray Conniff constantly innovated from the mid 50s with the blending of voices and instruments. The combination gives a smoothness to the sound of the music which cannot be reproduced with instruments alone. His adoption of the fast swinging rhythm introduces life and colour to his music.”

“The wonderful 'sound' of Ray Conniff is something fans never tire of hearing. Any song that gets the Conniff treatment is made memorable and satisfying and worth collecting.”

“These recordings are excellent examples of Conniff and his singers at their very best. Their enthusiasm for what they do is evident in their voices and makes them always a joy to hear.”

Exodus & Other Great Themes – MANTOVANI****

Main Theme From Exodus/Karen/Theme From A Summer Place/The Green Leaves Of Summer/Song Without End/76 Trombones/Theme From The Sundowners/Irma La Douce/I Love Paris/Mr Wonderful/The Carousel Waltz/The Sound Of Music

Exodus comprises a collection of movie themes that provided the legendary orchestra leader Mantovani with his highest placed entry on the US album chart. (US:2)

“Movie buffs will particularly enjoy this set, because the film music played in Mantovani's incomparable style will entrance and delight all who have an ear for the maestro's classy arrangements and good taste.”

“Attention all true Mantovani fans. Do yourselves a big favour and buy this LP. It will affirm that Mantovani's original recordings are back to soothe our senses with time-honoured themes that sound better than ever.”

“Mantovani was a lot less schmaltzy and more edgy on this one, especially on the more dramatic tracks. A fantastic rendition of the Theme From Exodus.”

“Relaxing, soothing, pleasant, easy listening. Lovely music from an era when song writers created wonderful theme songs for marvellous and enjoyable movies of the 50s and 60s. It is so very rare when this happens today.”

“This is a great collection of some of the best film music. Absolutely beautiful Mantovani style album. Traditional, soothing, and easy on the ears. I could listen to this LP all year long.”

“The most beautiful piece of music ever written. I love Mantovani's orchestration.”

Dinah Sings Previn Plays – DINAH SHORE****

The Man I Love/April In Paris/That Old Feeling/I’ve Got You Under My Skin/Then I’ll Be Tired Of You/Sleepy Time Gal/My Melancholy Baby/My Funny Valentine/It Had To Be You/I’ll Be Seeing You/If I Had You

Dinah Shore was one of the most popular female singers during the 1940s to early 1950s period. This collaboration with jazz pianist Andre Previn brought out the best of her vocal talents.

“For this album, Dinah teamed up with pianist André Previn to record, as the subtitle says, 'songs in a midnight mood'. Previn proves to be an excellent jazz pianist, Dinah impresses with her perfect pitch and her clever restraint."

“Dinah Shore the band singer is replaced here by Dinah the jazz inspired song stylist. Some of the numbers are accompanied by piano only, the rest adding a subtle bass and drums. Throughout, Dinah is extremely communicative, with a superb technique that preserves a beautiful tone even at the softest volumes. Previn's playing is highly persuasive. He is brilliant at framing the entirety of a song, with a strong sense of its structure and high points.”

“Andre Previn is a master at bringing out the absolute best in vocalists. He teamed up with Dinah Shore and triumphed with this classic. Each ballad brings out Dinah's tenderness, sincerity and voice quality. Andre's song selection is spectacular.” “No heavy brassy orchestration, voice-overs, track swapping here, just Dinah, a piano, base and guitar. You are in for a wonderful treat.”

“With just a piano to accompany her, the voice America loved shows all its warmth. Dinah's phrasing is superb and this is a great collection of ever popular songs.”

“This is an intimate recording of standards by Dinah Shore and André Previn. André plays tastefully, with just enough variation to keep it fresh. Alas, Dinah is the unfortunate part as by this time her voice was beginning to show a slightly out of control unpleasant vibrato."

“These jazzy renditions of timeless songs highlight Dinah's versatility as a top notch performer; and this album also showcases André Previn's singular ability to use the piano to convey emotion out of every number faultlessly.”

Bo Diddley Is A Gunslinger – BO DIDDLEY***

Gun Slinger/Ride On Josephine/Doing The Crawdaddy/Cadillac/Somewhere/Cheyenne/Sixteen Tons/Whoa Mule (Shine)/No More Lovin’/Diddling/Working Man/Do What I Say

Bo Diddley's UK tour in 1963 resulted in some of his back catalogue LPs entering the UK album chart during the autumn of that year, including Bo Diddley Is A Gunslinger. Also on the tour were the up and coming Rolling Stones, who were the first to acknowledge the influence Bo had on their music. (UK:20)

"Diddley's fifth album, originally issued in 1960, didn't really expand on his formula - Diddley beat, propulsive rhythm guitar and maracas, and boastful lyrics - but it's such a bedrock sound, he didn't really need to."

“Diddley's bluesy recitation of Sixteen Tons has a darkness that (unsurprisingly) eluded Tennessee Ernie Ford."

“Diddley's music is fuelled more by the beat and the energy of the reverb than by clever stories or characters. Most of the album keeps the beat cranked, but even when it pauses for ballads like Somewhere and No More Lovin' there's a raw edge that leaps out."

"I'm not a big fan of this album. It all seems like watered down Bo Diddley in search of a hit. There is a lot of the popish do wop sound that was driving rock in those days. This is like one of those albums where the record company told the artist what to do."

"Bo Diddley has never really received the recognition he's deserved because many have viewed him as a one-trick, one-sound pony - which is a shame, because he was so much better than that. And like so many of the greats - he created his own sound, image and penned most of his own tunes."

"Not only are the songs great, Bo Diddley Is A Gunslinger is a great album as opposed to being just a collection of singles. Many of the tracks were recorded at Bo's home studio, and the album in general has an upbeat humorous feel to it."

Black & White Minstrel Show – THE GEORGE MITCHELL MINSTRELS***

Meet The Minstrels/Leslie Stuart Melodies/In The Moonlight/Your Requests/Meet The Girls/Tribute To Al Jolson/ Memories Of Stephen Foster/Grand Finale

First spin off LP from the long running BBC TV light entertainment show. It is worth remembering that in 1960 absolutely nobody considered this programme to be anything other than wholesome family entertainment. Comprising medleys of old standards, Black & White Minstrel Show was a massive commercial success. (UK:1)

“Although largely forgotten now, there was a time when The Black & White Minstrel Show was a staple diet in British homes. First airing on television in 1958, it would run for the next twenty years, pulling in audiences of 18 million at its height.”

“Putting aside the arguments over the political incorrectness of the shows, as recorded music The Minstrels’ albums were full of polished performances and superb arrangements. They may appeal to only a certain section of the public today, but it must be remembered that in the first half of the 1960s they featured in the album charts, including at times the number one spot, holding their own against musical soundtracks and the dominance of the rock and pop of the era.”

“If you recall an age when it was the music and not the politics that mattered then you will enjoy once again the wonderful songs of The Black and White Minstrels.”

“Somehow the silk top hats weren’t screaming slavery at me and the reference to 'that coal black mammy of mine' comes from a time when it wasn’t paranoiac to mention the actual colour 'black' and see it as an automatic insult.”

“We should view the best of British light entertainment for what it was, not as the oh so tedious pc brigade would wish us to see it. Most people at the time enjoyed The Minstrels and I am not going to be made to feel guilty because I am among them.”

“The Minstrels were not blacking up to make fun of anyone; they were performing a long recognised tradition of minstrelsy. Back then it was accepted as good clean entertainment - far better than what passes for entertainment nowadays.”

At Last! – ETTA JAMES****

Anything To Say You’re Mine/My Dearest Darling/Trust In Me/Sunday Kind Of Love/Tough Mary/I Just Want To Make Love To You/At Last/All I Could Do Was Cry/Stormy Weather/Boy Of My Dreams

Etta James, known colloquially as Miss Peaches, was a highly regarded but commercially relatively unsuccessful blues and soul singer. Her albums can be inconsistent, but At Last! is considered one of her best. It was also her highest charting. (US:68)

“Every song here comes from the heart and soul. Her nuances and phrasing are unique and brilliant. She is a mighty force. I listen over and over and never get tired of this greatness.”

“This album has nothing but exquisite songs all performed by Etta. We get fine numbers like Anything To Say You're Mine; her excellent diction and sophisticated sense of timing and phrasing all combine to make this and other numbers here absolutely timeless.”

“Considering the familiarity and quality of the songs, this could serve as a 'best of' for anyone looking to get into James. This is one of Chess's finest gems. There are songs made famous by James along with some Dixon penned blues standards. Etta's music is sophisticated and jazzy; thus, one does not have to be a blues diehard to enjoy her.”

“At Last! is the crossroads between the vocal jazz prevalent in the 1950s, and the Southern soul that was picking up steam during the album's release period. As such, there is a particular, truly rare quality that makes it an essential slice of Americana: it achieves a flawless, perhaps unprecedented balance between pure class and jaw-dropping rawness.”

“Etta stakes a claim to be one of the best female singers in popular music history with this classic set of 1940s style torch songs. Her vocals are sensational on this harmonically and melodically sophisticated material.”

“Etta James had an extraordinary and powerful voice that touched your soul, and that couldn't be more evident than on her debut 60s album, which is fantastic from both a musical and spiritual standpoint. Definitely one of the best albums of its kind, which is saying a lot considering it crosses into three different genres.”

Adam – ADAM FAITH***

Wonderful Time/Diamond Ring/Summertime/Greenfinger/Piper Of Love/A Girl Like You/Turn Me Loose/So Many Ways/Singin’ In The Rain/Fare Thee Well My Pretty Maid/I’m A Man/Hit The Road To Dreamland

Adam was the debut LP from teen idol Adam Faith, second only to Cliff in the early 60s British pop hierarchy. Arranger John Barry and composer Johnny Worth make the best of his limited vocal abilities. (UK:6)

“He came together with arranger John Barry and songwriter Johnny Worth. Together they had a series of hit records with arrangements that owed a great deal to Buddy Holly. He did not have a great voice and he certainly knew his vocal limitations. However, he had a large female fan base and had in all fourteen top twenty hits.”

“An interesting time capsule - although in the Buddy Holly wanna-be sweep stakes - Bobby Vee does a far better job.”

“Admittedly, Mr. Faith was no Caruso, but he used his limited vocal range to good effect. He had rhythm and great phrasing, and his singing style was truly charming. He was also one of very few British acts of the early 60s to record original material.”

“It is worth checking out Faith’s first release entitled Adam. There are many contemporary hits of the time and some enjoyable inventiveness. The material ranged from standards such as Summertime, and Singin' In The Rain to more contemporary songs, such as Johnny Worth's Fare Thee Well My Pretty Maid.”

“It has long been fashionable to regard British pop from this era as weak-kneed pap, Adam punctures the point with singular ease. Much of the credit for the album's quality must, of course, go to John Barry, whose signature string and girlie chorus arrangements dominate the proceedings. But an interesting selection of material indicates Faith's own versatility. Without ever stepping too far out of the balladic mode, he does indicate far broader tastes, most notably during the finger-popping Greenfinger. There is a reasonably rocking version of Singing In The Rain and Summertime is given an especially punishing workout, without ever resorting to anything so crass as 'rock & roll' stylings. So, it's all very classy and yes, a little old-fashioned, too. But since when has that been a bad thing?”