Come Swing With Me – FRANK SINATRA****

Day By Day/Sentimental Journey/Almost Like Being In Love/Five Minutes More/American Beauty Rose/Yes Indeed/On The Sunny Side Of The Street/Don’t Take Your Love For Me/That Old Black Magic/Lover/Paper Doll/I’ve Heard That Song Before

Come Swing With Me features songs from one of Frank Sinatra’s final recording sessions with Capitol before he started up his own record label Reprise. (US:8 UK:13)

“By 1961, Sinatra had launched his Reprise label and was completing his contractual obligation to Capitol. This album was part of the transition, so it most likely did not receive the attention lavished on the earlier Capitol concept albums. In this case, the fast arrangements and Sinatra-in-his-prime vocals work very well, turning a set of great older songs into a tour de force. In particular That Old Black Magic and Lover suggest that even in his last days at Capitol Sinatra was reaching for first-rate songs."

“It may not rise to the level of Come Dance With Me, but this album is a blast. Crazy experimental wide stereo separation, great tunes and Frank on the point as usual. Near the end of this Capitol winning streak, Sinatra really delivers especially on the slower Sentimental Journey, which for my money, is the definitive version. That's the great thing about Frank. He could take a song recorded by everyone else and just make it his own.”

“Though not one of Sinatra's best Capitol era efforts, it's still pretty good. Fine versions of On The Sunny Side Of The Street, Don't Take Your Love From Me and That Old Black Magic make it well worth your hard earned cash. Most interesting, however, are Billy May's dynamic arrangements, which take maximum advantage of the stereo spectrum. While some listeners may find the relentless ping-ponging a distraction, fans of 'space-age bachelor pad' artists will find much to enjoy herein.”

“Good performances of (mostly) fine songs, but even the best - That Old Black Magic - are not among the most memorable Sinatra performances. May's arrangements have exuberance rather than subtlety, noise rather than emotion - they are fine but don't stick in the memory. Sinatra, of course, always dominates: the band is like a movie score, however noisy it gets it stays in the background of the listener's attention, just heightening our response to the main action, which here is Sinatra's voice. An enjoyable album but not one that calls you back to listen to time after time.”

All The Way – BRENDA LEE***

Lover Come Back To Me/All The Way/Dum Dum/On The Sunny Side Of The Street/Talkin’ ‘Bout You/Someone To Love Me/Do I Worry (Yes I Do)/Tragedy/Kansas City/Eventually/Speak To Me Pretty/The Big Chance

Brenda’s fourth album included some standards, some rockers, some ballads and some pop hits. All The Way features the top five hit singles Dum Dum and Speak To Me Pretty. (US:17)

“What a delight to hear Brenda sing some of her hits with better arrangements coupled with standards from days gone by. Her rendition of The Sunny Side Of The Street is amongst the best I've heard. If you like Brenda then this collection of songs is a must.”

“The track selection mainly consisted of American standards and pop ballads. Only Speak To Me Pretty and Dum Dum became worthy hit singles. These tracks were just not what her fans had become used to.”

“This is probably as good a collection of hers as I have heard. It is the only one I have found with Lover Come Back To Me on, and for that I am grateful. But first and foremost, it is Brenda Lee, at her vocal best.”

“Like many albums of the time, it is a little thin on outstanding non-45 material. A number of covers of recent rock and pop songs filled out an album, spearheaded by a big hit single, the organ-grinding groover Dum Dum . Within its limitations, however, it was a pretty good record, and certainly very well produced and well sung.”

“The LP seemed programmed to showcase her versatility; she sang each and every number - even the less imaginative selections, like On The Sunny Side Of The Street - with nothing less than utter panache. It seems a little strange to apply the adjective 'overlooked' to a singer as popular as Lee was at this time, but the album, like so much of her early-'60s work, is further evidence of her underrated skills as a rock and pop singer.”

“When you consider her vocal maturity at this early stage of her career it is little wonder that she has endured as a favourite for so long. These songs are as fresh today as they were in the early 60s. A must for any fan of great talent and beautiful music.”

Yellow Bird – LAWRENCE WELK***

Yellow Bird/Don’t Worry/Goodnight Irene/Runaway/Mockin’ Bird Hill/Marianne/My Love For You/Heartbreak Hotel/Harbour Lights/Love Those Eyes/Loch Lomond/Juanita

1961 was the best year for Lawrence Welk’s brand of easy listening orchestral music. He followed up his chart topping Calcutta with Yellow Bird which peaked at one place lower. (US:2)

“These tracks find the conductor/musician/arranger Lawrence Welk interpreting such traditional material as Loch Lomond, Juanita, and the 1961 hit Yellow Bird.”

“Whether you are 28 or 88, this collection of Lawrence Welk orchestral classics is one to own. From his hit Yellow Bird to Mockin’ Bird Hill, there's something for every mood you may be in.”

“Lawrence Welk may have been for your grandparents. But if you listen carefully, you'll understand what a craftsman he was. No orchestra sounded better than 'The Champagne Music Makers'. Care to recall a time when music was easy to listen to? Pick up a copy of this LP and pop a bottle of champagne.”

Spanish Harlem- BEN E. KING****

Amor/Sway/Come Closer To Me/Perfidia/Granada/Sweet & Gentle/Quizas Quizas Quizas/Frenesi/Souvenir Of Mexico/Besame Mucho/Love Me Love Me/Spanish Harlem

Latin themed debut album from Ben E. King, the former lead singer of The Drifters, backed by a large orchestra. The title track of Spanish Harlem was an American top ten hit single. (US:57)

“The arrangements on this LP can cross the line into 'muzaky', but it seems to work for Latin tunes with an early 60s atmosphere, and most of it is more hip than that.”

“Ben E. King was the definition of R & B elegance. King's plaintive baritone had all the passion of gospel, but the settings in which it was displayed were tailored more for his honey smooth phrasing and crisp enunciation, proving for perhaps the first time that R & B could be sophisticated.”

“I feel as though the record company was trying to capitalize on the title song by producing an entire album with a Spanish theme and somehow it just doesn't work.”

“Ben's voice sparkles all the way through tracks which have a Latin feel, making it a perfect listen on a summer’s night. His lush voice breathes new life into Sway, Besame Mucho and the old favourite Quizas. He brings the album to a close with Spanish Harlem and let's face it nobody sings it like Ben.”

“After his work with The Drifters it was logical that former lead singer King should turn out an album of Latin classics with a distinctly Mexicana-romantica flavour. If the late 50s full-on lush escapism of Latin America appeals then this album is a cracker. The classic Spanish Harlem is left to the end, with the glorious strings and rococo soprano sax phrases. Even the usually overblown Granada is credible in King's masculine yet caressing tones. The album really sparkles when considered in context - Latin lounge music with vim.”

“Contains Latin songs, all of which Ben sings well, backed by a large orchestra, which is superb. I think that one of the best tracks is Love Me Love Me which Ben wrote. Ben does a really good job on Granada and on Frenesi.”

“On Spanish Harlem, we hear King in a Latin setting, crooning atop the Cuban percussion and sweeping strings.”

Something For Everybody – ELVIS PRESLEY****

There’s Always Me/Give Me The Right/It’s A Sin/Sentimental Me/Starting Today/Gently/I’m Comin’ Home/In Your Arms/Put The Blame On Me/Judy/I Want You With Me/I Slipped I Stumbled I Fell

Something for Everyone was one of the few none film LPs released by Elvis during the 1960s. It was divided into a romantic ballad side for female fans, and a more rocking side for the boys. (US:1 UK:2)

“In the early 60s Elvis' voice was in its prime. He wasn't quite rockin’ out like the Sun days, but he was in total control and was putting out perfect pop/rock gems. This is an album without a single dud. And though it may not have a plentiful supply of must have songs, it satisfies all the way through.”

“Something For Everybody is one of those Elvis Presley albums that just glides under the radar. It was a solid, if not spectacular release. The priorities at this time were films and their accompanying soundtracks, plus his single releases which would receive massive airplay and sell millions of copies.”

“Something For Everybody contains a ballad side and an uptempo side. Personally, I prefer a mixture of the two as the first side drags a little. The original intent may have been to create a romantic atmosphere on side one, and it is up to each listener to decide if that was accomplished. His smooth vocal just flows along and lulls the listener into a journey of relaxed mood and sound.”

“When the album was released the ballad side was aimed at his female fans and the B side more toward his male fan base. I Want You With Me and I Slipped I Stumbled I Fell are excellent moderate rockers. In Your Arms, Put The Blame On Me and Judy are all straight pop songs that Elvis had been producing for the past year, and there is nothing wrong with any of them.”

“This is one of Elvis's few actual non-soundtrack studio albums of the 1960s. The first half is the ballad side, the second has upbeat songs. None of these songs belong in the Elvis canon.”

“Something For Everybody was a mixed bag. Looking at the album's song list there are no memorable songs or classic Elvis performances. Yet when playing the album the songs hold together well and are a pleasurable listening experience. Not bad, certainly, but very much an album geared towards the Elvis enthusiast.”

Sinatra Swings – FRANK SINATRA*****

Falling In Love With Love/The Curse Of An Aching Heart/Don’t Cry Joe/Please Don’t Talk About Me When I’m Gone/Love Walked In/Granada/I Never Knew/Don’t Be That Way/Moonlight On The Ganges/It’s A Wonderful World/Have You Met Miss Jones/You’re Nobody ‘Til Somebody Loves You

No fewer than three of the Frank Sinatra albums released in 1961 had the word 'swing' in the title. The original title of this LP Swing Along With Me had to be changed because of the similarity to the recent Capitol release. Sinatra Swings includes the British top twenty hit single Granada. (US:6 UK:8)

“This is Frank at the top of his game, singing twelve swinging standards that suit him to a T. His voice, timing and phrasing are in excellent shape, allowing him to unleash some of his strongest moments on record.”

“Sinatra followed the Capitol album Come Swing With Me! with the Reprise album Sinatra Swings - both with arrangements by Billy May. Here there are a couple of wonderful songs - Rogers and Hart's Falling In Love With Love and the Gershwin's Love Walked In - a couple of dreadful songs - Granada and Moonlight On The Ganges - but most are in the middle, nothing wrong with them but not that memorable: almost as though Sinatra was beginning to run out of material, having recorded all the good old songs and there not being enough suitable new ones.”

“There is a self-confidence and attitude on the Reprise recordings that you don't get on the Capitol recordings. This is a perfect example of the later Sinatra. The phrasing is more pronounced and the conviction is more mature. These are things you can only get from experience. The arrangements by Billy May are outrageous at times, but never overpower his voice."

“There is a noticeable difference in Sinatra in the last Capitol efforts and the early Reprise albums. He seems much more cut-loose uninhibited in his singing, much more daring and reassured in his execution. He is now in total control as he records on his own label. Even Billy May sounds a great deal different when ironically he had arranged the final Capitol album.”

“Sinatra is at the top of his craft and this is a great example of his maturing voice. In addition to Frank's vocal prowess, the song arrangements are fantastic.”

Breakfast At Tiffany’s – HENRY MANCINI*****

Moon River/Something For Cat/Sally’s Tomato/Mr Yunioshi/The Big Blow Out/Hub Caps & Tail Lights/Breakfast At Tiffany’s/Latin Golightly/Holly/Loose Caboose/The Big Heist/Moon River Cha Cha

Breakfast At Tiffany’s, an iconic movie, featuring the elegant Audrey Hepburn style, together with the unforgettable main theme Moon River, cemented the reputation of arranger and composer Henry Mancini. (US:1)

“With his score for Breakfast At Tiffany's, Henry Mancini truly established himself as the pre-eminent composer of film music. With these songs, as well as with his overall arrangement of the music, Mancini radically challenged the entire era that movie music should provide background and exist as a secondary and relatively formulaic accompaniment to the picture and dialogue. Mancini wanted his music to be conspicuous; he was at the forefront of shifting the aesthetic of motion picture music in Hollywood toward his concept.”

“The elegant Hepburn cover pose, together with the classic Moon River, provide the obvious attractions. In addition, Mancini offers up his usual great music for this movie. This is a fine example of how movie music in the golden age of Hollywood was better than any being composed today.”

“This an important album of the contemporary musical scene. All the songs are excellent and very beautiful, but Moon River is a special jewel. Recommended for all music lovers.”

“There's something ethereal and haunting about Henry Mancini's arrangements, especially his title tunes. They reverberate with longing, melancholy and sweet sadness. Moon River has been recorded by everybody, but nothing quite compares with this Mancini and chorus original. The rest of the score is a dizzyingly high, posh and elegantly friendly. It strikes all the kicky notes you hope it will, delivering Tiffany-styled satisfaction.”

“This is a must-have for lounge fans and any fan of the music of Henry Mancini. My favourite two tracks on the album are the fun Something For Cat and the beautifully romantic Holly. I also think they are particularly representative of the album, being about as different as they can be from one another despite sharing a composer. The album, like these two songs, inspires a range of emotional responses not typically found on the soundtrack albums of today.”

Both Sides Of An Evening – THE EVERLY BROTHERS***

My Mammy/Muskrat/My Gal/Grandfather’s Clock/Bully Of The Town/Chlo-E/Mention My Name In Sheboygan/Hi-Lili Hi-Lo/The Wayward Wind/Don’t Blame Me/Now Is The Hour/Little Old Lady/When I Grow To Old To Dream/Love Is Where You Find It

The loss of their usual songwriters, the Bryants, left the Everlys scouring the vaults for suitable songs to record. This resulting album of old time tunes, Both Sides Of An Evening, had limited appeal to their young fans and was a commercial flop. However, it did contain the US and UK top twenty double A side single Muskrat/Don’t Blame Me.

“Contractual problems had cut The Everlys adrift from the songwriting sources that had provided their classic hits and album tracks. Thus, finding original album material with which their teen fan base could identify with was a big problem. This release, which bombed in the market, did not solve the problem.”

“Not one original and no B-B songs. Very bizarre choice of material aimed at the over thirties.”

“Not wishing to return to their natural roots in country music (which, with hindsight, might have been a wiser choice), Don and Phil decided to record pop and jazz oldies instead, but to do them in their own style. The traditional Everly fans didn't like the new direction in which the boys were taking their music. So this album was a commercial failure, but I still love it.”

“The songs are true oldies from the 20s and 30s and the musicianship here is so perfect. The Everlys are of course awesome too and the production is huge, if a little campy at times.”

“Some pretty good songs surrounded by too many mediocre ones. The Everlys do the best they can with some less than great material.”

“The album is worth a listen but is a prime example of an artist moving in advance of their audience. To that extent it is a development of The Everly Brothers career as recording artists, but not necessarily in the right direction. Don't Blame Me did make the charts coupled with Muskrat as a single release, but the distance between The Everlys and their core fans was beginning to widen.”

Sinatra Souvenir – FRANK SINATRA*****

Nancy (With The Laughing Face)/One For My Baby/Embraceable You/Stella By Starlight/Birth Of The Blues/I Don’t Know Why (I Just Do)/Lover/September Song/Begin The Beguine/Don’t Cry Joe/I Only Have Eyes For You/ Laura/Poinciana/I Couldn’t Sleep A Wink Last Night

Sinatra Souvenir was a British only compilation album featuring very early Frank Sinatra recordings from the 1940s, most backed by Axel Stordahl and his Orchestra. (UK:18)

“Forget the hard swinging Sinatra of the late '50s and early '60s. Listen to Stella By Starlight, the long vocal passages, sung by a guy who really wants to know what he will do when his girl is gone and he still hurts, are still spellbinding.”

“This is Axel Stordahl's greatest contribution to Sinatra's rise to stardom. He was called the 'Father of Modern Vocal Orchestrations' for his exceptional arrangements on most of the tracks. He was Sinatra's very first conductor and musical director.”

“It is fascinating to hear the voice that had the girls screaming back in the 40s. And what a great voice it was. In fact, Sinatra was arguably a better pure vocalist in 1944 or 1945 than he would ever be again. The young Frank was 'The Voice', with an impressive range, perfect pitch, smoothness and great feel for the often sophisticated lyrics he sang.”

“This is great music. Sinatra became a superstar with the songs in this collection. So, if you are a fan of Sinatra's later Capitol and Reprise years, then you might want to take a listen to this music. It will be very worthwhile.”

“It boasts a great rendition of Nancy (With The Laughing Face), this sensitive melody gets the royal treatment from Frank and I'm very impressed.”

“There's nothing on here as memorable or as artistically impressive as say, I've Got You Under My Skin, and Frank's voice had not yet matured into the rich, provocative instrument it would become, nor had be begun to work with arrangers as talented as Nelson Riddle or Don Costa (though Axl Strodahl more than holds his own).”

On Campus – THE FOUR PREPS***

Opening/Heart & Soul/Mr Blue-Alley Oop-Smoke Gets In Your Eyes-In This Whole Wild World-A Worried Man-Tom Dooley-A Teenager In Love (Medley)/Young & Foolish/Rock & Roll/Their Hearts Were Full Of Spring/Swing Down Chariot/He’s Goin’ Away/26 Miles-Early In The Morning-Lazy Summer Night-Got A Girl-Big Man (Medley)/ In The Good Old Summer Time

The Four Preps were a vocal harmony group from California who achieved a couple of big US hit singles in the late 1950s. On Campus was their biggest selling LP. Their appearance and material appear a little dated for the campuses of the time. (US:8)

“They always put on a great show and sang beautifully, and threw in lot of clever humour. I glad some of their shows were saved and can still be listened to.”

“It was recorded live on college campuses around the US back in the early part of the 1960's. The Preps medleys are fantastic, and you have to listen again and again to catch everything said and sung. He's Goin’ Away and Their Hearts Were Full Of Spring are top-notch ballads. In short, there's something here for everyone. It's kind of Beach Boys harmony in blazers with a lot of tongue-in-cheek humour thrown in for good measure.”

“The Four Preps had some of the best harmony and overall sound of the times, and all of that was captured On Campus.”

“Good group of harmonious guys having fun on tour. Wish this kind of music was still being done.”

Goin’ Places – THE KINGSTON TRIO****

You’re Gonna Miss Me/Pastures Of Plenty/Coast Of California/It Was A Very Good Year/Guardo El Lobo/Razors In The Air/Billy Goat Hill/This Land Is Your Land/Run Molly Run/Senora/Lemon Tree/You Don’t Knock

Goin’ Places maintained the unstoppable momentum of the Kingston Trio in the early 1960s. At the time this was the music of first choice on many American campuses, although its supremacy would soon end with the arrival of the folk protest movement and the British invasion. (US:3)

“You're Gonna Miss Me is without a doubt the best song here, but It Was A Very Good Year also stands out. Overall, I don't care as much for this album as I do for New Frontiers. This Land Is Your Land is a weak cover, unjustifiably so.”

“Goin' Places sets forth lively takes of Lemon Tree and You're Gonna Miss Me. All of the group's trademarks - tight, smooth harmonies, traditional material, and energetic presentation - govern these sessions. Beware, though, old fans and the young at heart will feel the urge to sing along with This Land Is Your Land, no matter who is in the room.”

“This is truly a delightful collection. Some Woody Guthrie folk staples such as the classic This Land Is Your Land as well as a good mix of other creations makes this one unique.”

“Goin' Places has several of their best: Coast Of California and It Was A Very Good Year (long before Sinatra) are both superb. If you are a KT fan, this is a good buy.”

“The Trio sounds better than ever, and I consider Goin' Places to be the best Kingston Trio album ever recorded. For Trio fans, it's the Holy Grail.”

Hi We’re The Miracles – THE MIRACLES***

Who’s Lovin’ You/(You Can) Depend On Me/Heart Like Mine/Shop Around/Won’t You Take Me Back/Cause I Love You/Your Love/After All/Way Over There/Money/Don’t Leave Me

Debut album from The Miracles, featuring the vocals and songwriting talents of Smokey Robinson. Hi We’re The Miracles is of historical importance as the first LP released by the Motown record company. Includes the Grammy winning US No. 2 hit single Shop Around.

“As the title might imply, this was the first album released by The Miracles, the group that would make a major star out of Smokey Robinson. It is also the very first album released on the Tamla label and thus the first album released by a Motown company. As chief songwriter for the group Smokey penned hit after hit, with Shop Around becoming an early signature song for the group. The album also features Motown founder Berry Gordy on production duties; the teaming of Gordy and Robinson was one that helped quickly establish Motown as a musical force to be reckoned with.”

“Their full debut album, Hi We're The Miracles is a great, harmony-driven set of doo-wop style soul. Smokey Robinson handles a lot of the songwriting and of course, singing in his trademark falsetto.”

“It certainly helps that, with the exception of a cover of the classic hit Money (to which Smokey and company give a heartfelt rendition), all of this material comes from the pen of Smokey Robinson himself, an incredible feat for an artist in 1961. The Miracles deliver on inspired soul, indicative of this era of music. Of note are the classic Who's Lovin' You and the group’s very first hit Shop Around that is so far beyond classic.”

“Every legend has a beginning. For The Miracles, this was it, the very first album by Motown's very first group, that launched a recording empire. It was the spark that caused the worldwide explosion known as the Motown sound. No matter what the label went on to do afterwards, or how many great artists it discovered, without The Miracles, it simply wouldn't have happened.”

“The only classic song on this one is Who's Lovin' You but its an excellent album nonetheless, especially since this is a Motown album with almost no filler in it.”

Judy At Carnegie Hall – JUDY GARLAND*****

The Trolley Song-Over The Rainbow-The Man That Got Away/When You’re Smiling (The Whole World Smiles With You)/Almost Like Being In Love-This Can’t Be Love/Do It Again/You Go To My Head/Alone Together/Who Cares (As Long As You Care For Me)/Puttin’ On The Ritz/How Long Has This Been Going On/Just You Just Me/ The Man That Got Away/San Francisco/I Can’t Give You Anything But Love/That’s Entertainment/Come Rain Or Come Shine/You’re Nearer/A Foggy Day/If Love Were All/Zing Went The Strings Of My Heart/Stormy Weather/ You Made Me Love You-For Me & My Gal-The Trolley Song/Rock-A-Bye Your Baby With A Dixie Melody/Over The Rainbow/Swanee/After You’ve Gone/Chicago

Judy At Carnegie Hall, a Grammy winning double album, recorded in April 1961 by the legendary singer and film star Judy Garland, is considered to be one of the greatest ever live recordings. (US:1 UK:13)

“I can certainly see why so many consider this the best of them all. How many can approach the exciting, immediate thrill this album provides? The wild cheers and repeated demands of encores from the audience are something to hear. The orchestra is brilliantly led by the dynamic direction of Mort Lindsay. And as for Judy, what can you say? She probably never was in better voice or in better control of her voice, her songs, perhaps even herself, than she was that night; there are marches, uptempo numbers, ballads, even a little jazz and blues. It is flawless from beginning to end; she nails every single song.” ,p> “If I were told that I would be forced to live out my days on a desert island, and I could take only one album with me, it would be Judy At Carnegie Hall. This is the best album ever recorded. Judy is at her absolute zenith in this concert.”

“Musically she seems to have been at her peak. She's backed by a big band with strings, and the crowd is lively. The fast songs are solid, but it's the slow numbers that really shine. The sparse instrumentation allows the strength and expressiveness of her voice to be heard. This may be the best representation of Judy Garland's powerful stage and vocal presence on record. Every version of her songs on this performance beats the original.”

“Possibly the greatest live album by a popular singer of the last century. From the moment she opens you know that she never sounded better. Judy is flawless, the orchestra is amazing, the music selection is perfect. They're all fantastic. When will there ever be another talent like this?"

Ebb Tide – EARL GRANT***

Stormy Weather/Bewitched/Canadian Sunset/Dreamy/I’m In The Mood For Love/That’s All/Ebb Tide/My Foolish Heart/Deep Purple/Misty/Evening Rain/Theme From Exodus

Hammond organist and vocalist Earl Grant enjoyed his greatest commercial success with Ebb Tide, a collection of easy listening standards performed in a jazzy style. (US:7)

“I fell in love with the music. It is phenomenal and worth every penny. If you are a music lover, you will definitely enjoy this beautiful presentation from a legend - Earl Grant.”

“Earl Grant is now a faded memory in the music scene. The first time I heard him I was hooked. The smooth melodic voice combined with his mastery of the organ was haunting and wonderful. Mr. Grant had a style all his own. Original and never duplicated.”

“One of the most outstanding jazz-pop-soul organists, a master of the power, many voices, and subtlety of the Hammond B-3 organ, as well as an accomplished vocalist and dancer.”

“Music the way it should be. Earl Grant’s ability to transcend time is best expressed in this album. The magic of Ebb Tide, or the wide range of the vocals, will have you playing the LP time and time again.”

Dance ‘Til Quarter To Three – GARY U.S.BONDS**

Quarter To Three/A Trip To The Moon/Cecilia/That’s All Right/I Know Why Dreamers Cry/Minnie The Moocher/New Orleans/One Million Tears/Not Me/Please Forgive Me/School Is Out/Don’t Go To Strangers

Florida born Gary US Bonds enjoyed a brief rock & roll career in the States during the early 1960s. Sales of Dance ‘Til Quarter To Three were boosted by the No. 1 title track single. Surprisingly, the singer enjoyed a revival in popularity in the early 1980s. (US:6)

“From rockers like New Orleans through more tender tracks such as Cecilia and Please Forgive Me, Gary US Bonds seems to repeat himself in vocal style.”

“There is of course a lot of filler here. Gary did too many dance craze singles that are just not too convincing these days. Fun as they are they don't really stand up to the test of time. Gary's voice is one of R & B's most distinct. It is raw, emotional, passionate and filled with excitement.”

“While I admit Gary US Bonds has always been a major talent and has done some fine work, I've always wondered if the guy recorded his songs in a phone booth. The sound quality, especially on his key hits, has a really bad muffled sound.”

“The music is classic Bonds. I love the mixture of calypso and rock. A smile comes to my face every time I listen. If you like unpretentious fun, then get this one.”

“Raucous soul shouter Gary US Bonds busted out some of the grittiest, hardest hittin' rock & roll of his day, bolstered by Frank Guida’s primitive production methods, which included multi-tracking his star's raw voice for a unique crash-boom-bang echo effect. Instant party-starters included the unforgettable smashes New Orleans and Quarter To Three, which buzzed along on yell-it-out choruses, boisterous crowd noise and hot sax.”

“Some people don’t like the muffled sound, but I think its truly unique and wonderful. Gary needs a lot more recognition and the new generation needs to be told about him. Very lively and full of joy. These twistin' songs display the ending of the golden epoch of rock 'n' roll.” “This is truly uplifting music with a level of `party excitement' that is rarely achieved."

After Hours – SARAH VAUGHAN****

My Favourite Things/Ev’ry Time We Say Goodbye/Wonder Why/You’d Be So Easy To Love/Sophisticated Lady/ Great Day/Ill Wind/If Love Is Good To Me/In A Sentimental Mood/Vanity/Through The Years

After Hours is an intimate collection of songs from jazz vocalist Sarah Vaughan focussing on ballads with minimal backing. It should not be confused with her 1955 Columbia album with the same title.

“Accompanied solely by Mundell Lowe on guitar and George Duvivier on bass, Sarah shows why she's considered one of the greatest jazz singers. The choice of songs focuses on ballads. The two musicians offer the ideal arrangements for Sarah. Perfect swing and romantic ballads, with Sarah singing wonderfully.”

“This collection of songs shows the quiet and meditative side of Sarah, as she tones down after her somewhat over-the-top early recordings. She croons here with only a bass and guitar, and although at first I was sceptical, I soon became delighted and began to marvel at the control she so easily exhibits.”

“In this most unusual album, Sarah Vaughan conjures up images of after hours performances in smoke-filled clubs, where a few sad and lonely people nurse their drinks and listen to a solitary singer crooning softly. Here Vaughan sings 'pure', without a big band behind her, without sharing the stage with a jazz superstar, and without any restrictions on her own interpretations. Accompanied only by a guitar and a bass, both of which play quietly in the background, Vaughan turns in a remarkable performance, recording her most intimate album, one in which she makes the listener feel as if each song is sung for no one else.”

“The 'real' Sarah Vaughan is totally in charge here, singing her mellowest, smoothest, and most intimate album ever. There is a moody, blue Sarah in many songs, and the album is for quiet times, not celebrations. If you are a lover of Sarah and wished her to sing a private concert for you alone, this is your chance.”

“Well as always there is only one Sarah, she is divine on this session. She makes all the so called pop singers of today look like the most incompetent amateurs. You can easily visualize the setting; cigarette smoke curling in eddies to create a blue haze that serves as an aura to Sarah, the occasional clink of bottles and glasses in jazz rhythm to her satin smooth sound; the unbroken silence of the raptly attentive audience to every mesmeric note.”

Yellow Bird – ARTHUR LYMAN****

Havah Nagilah/Yellow Bird/Ravel’s Bolero/Autumn Leaves/Arrivederci Roma/Sweet & Lovely/Bamboo Tamboo/Andalusia/Adventures In Paradise/Granada/September Song/John Henry

Arthur Lyman was one of the pioneers of the musical sub genre known as exotica, which achieved a degree of popularity in the States at the turn of the 1960s. Evoking tropical sounds, the arrangements featured novel instruments such as the vibraphone and marimbas. The title track on Yellow Bird was an American top five hit single. (US:10)

“Arthur Lyman - what kind of a god of the marimbas. This faux Polynesian approach is represented on this album in extremes - his titles that gives some spice, and precisely what makes it so good. Vibraphone and picked guitar do their best to bring out the shimmering xylophone in the background. One is inevitably reminded of a holiday in the South Pacific."

“This, his second album, includes the soft and dreamy title song, but is also an audio panorama of Lyman's range - from such 'native' offerings as Bamboo Tamboo, continental tunes such as Arrivederci Roma, and sentimental American favourites including Sweet & Lovely."

“So beautiful and relaxing. You can feel the gentle surf glide onto the sandy beaches. You can feel the gentle trade winds cross your face. You can feel Arthur Lyman caress the keys of his marimbas and vibes. This music brings back so many beautiful memories of a beautiful place and a beautiful time."

“Soft warm breezes float over the beach and carry fragrant floral aromas to the hammock your lying in, while sipping a fruity rum drink in a coconut half as hula girls giggle near by. Sounds like a slice of heaven. And almost every song on this LP conjures up those images. Even the tunes that are not Polynesian in origin seem to be given a tropical touch. Very good stuff and I recommend this album to everyone, even those who don't enjoy exotica.”

The Touch Of Your Lips – NAT KING COLE****

The Touch Of Your Lips/I Remember You/Illusion/You’re Mine You/Funny (Not Much)/Poinciana/Sunday Monday Or Always/Not So Long Ago/A Nightingale Sang In Berkeley Square/Only Forever/My Need For You/Lights Out

The Touch Of Your Lips comprised a collection of romantic ballads from the master of the craft Nat King Cole and featured new arranger Ralph Carmichael. The relatively lowly chart placing must have been disappointing. (US:79)

“Nat Cole's The Touch Of Your Lips is absolutely a masterpiece. Ralph Carmichael's arrangements are lush and heartfelt. Nat's singing is smooth, the sound is beautiful, wonderful Capitol stereo; they knew what they were doing.”

“The Touch Of Your Lips marked the beginning of Nat's relationship with Ralph Carmichael. It proved to be a happy choice. This album opens with a lush arrangement of the title song, matched by Nat's raspy voice and cool tones. A very satisfying album.”

"Touch Of Your Lips again showcases Nat's vocals as he croons yet another beautiful love ballad that just doesn't get enough recognition. I Remember You is more recognizable; and Nat sings this with a slower than usual tempo to enhance the natural beauty of this number.”

“Beautifully romantic. With lush orchestrations by long time Cole collaborator Ralph Carmichael, you can just fall in love listening to this masterpiece.”

“It's simply a masterpiece and in my humble opinion is perhaps Nat's best album ever. This collection of ballads is brilliantly sung with incredible warmth and depth, and the arrangements by Ralph Carmichael are so smooth.”

“The arrangements are just gorgeous without being cheesy, and what can you say about the material? You're Mine You and A Nightingale Sang In Berkeley Square are standouts for me, but frankly there is not one weak track here.”

“This set is a great example of the perfect use of a voice as an instrument. Nat King Cole was already known for his velvet voice, and he adds it to the melody as an instrument. This set is a prime example; especially on I Remember You, you feel the melody and the precise blending of vocal and music. Highly recommended.”

Tony – ANTHONY NEWLEY***

Yes We Have No Bananas/You’re Free/I Was Never Kissed Before/Drink To Me Only With Thine Eyes/All Or Nothing At All/Pack Up Your Troubles In Your Old Kitbag/Pop Goes The Weasel/Who Can Say/Bye Bye Blackbird/I Should Care/Basin Street Blues/By Myself

A very mixed bag from Anthony Newley, combining MOR standards with more idiosyncratic material. Tony includes the eccentric British top twenty single Pop Goes The Weasel. Newley’s success in the pop charts would soon fade, but in the musical theatre he would enjoy more staying power. (UK:5)

“Where nursery rhymes, first world war songs, medieval ballads and jazz standards sung in French meet for the first and probably last time. Brilliant in its downright peculiarity, Newley's second studio album is unparalleled in its construction. Some of the lounge-jazz orchestrations place it firmly inside its 1961 release date, but the incomparable and, frankly, twisted vocal performances with defiant cockney vowels offset the datedness.”

“Is it any good? Some of it. The straighter the musical approach, the less interesting it is. A fearless one voice, one guitar reading of the standard Who Can Say? or the lush, romantic 40s style strings on I Should Care tend toward the dull despite the fantastic vocals. It's when there's no obvious reason for song choice, or extremity of musical background, where things get exciting. The bonkers bongos and time shifts in I Was Never Kissed Before, the curious harp and flute prettiness that almost mutates into medieval creepiness on ye olde Drink To Me Only With Thine Eyes, or the manically impish Pop Goes The Weasel, are all examples of songs with musical settings worthy of a performer unclassifiable, inimitable and some might say, untouchable.”

“His unmistakable cockney voice gives a unique sound to his music. Having a relaxed and easy going vocal style, he influenced many singers. A musical talent that will not be forgotten while there are people who like pure, simple and well sung songs.”

“Effectively handling pop standards, amusingly resurrecting Tin Pan Alley evergreens and even turning in a French interpretation of Basin Street Blues, Newley seemed to be preparing himself for a career in nightclubs and Nevada gambling casinos.”

The Roaring 20’s – DOROTHY PROVINE***

Crazy Words - Crazy Tune - Bye Bye Blackbird - The Whisper Song - Laugh! Clown! Laugh Medley)/Charleston - Doin' The Raccoon - Black Bottom (Medley)/I Wanna Be Loved By You - Someone To Watch Over Me - Don't Bring Lulu (Medley)/ Mountain Green - Ery - Sweet Georgia Brown (Medley)/Poor Butter - Fly - Let's Misbehave – Avalon (Medley)/ O-Oo Ernest - Clap Hands! Here Comes Charley - Do-Do-Do (Medley)/ I'm Looking Over A Four Leaf Clover - A Cup Of Coffee A Sandwich And You - Tea For Two - The Girlfriend (Medley) It Had To Be You – Just A Memory - Barney Google (Medley)/ I'm Forever Blowing Bubbles - Limehouse Blues (Medley)/Am I Blue? - Let's Do It - Nagasaki - The Roaring Twenties (Medley)

First spin off album of medleys from the popular American TV series The Roaring 20s starring Dory Provine. Includes the British top twenty hit single Don’t Bring Lulu. (US:34 UK:3)

“The Roaring 20s started off as a television drama series, with Dorothy Provine starring as Pinky Pinkham, the singer at the Charleston Club. Although intended as a drama, the music featured, which saw Dorothy updating the best known songs of the '20s, earned accolades in its own right, with Don't Bring Lulu becoming an international smash hit single. This in turn prompted two albums, the first of which is presented here.”

“The material is done well and Dorothy`s singing is right on.”

“If you're into the Roaring 20s music you must get this album. When you listen to it, you can just see Dorothy 'flapping' in some speakeasy swinging a long strand of pearls with a band behind her. The cover photo says it all.”

Rick Is 21 – RICKY NELSON*****

My One Desire/That Warm Summer Night/Break My Chain/Do You Know What It Means To Miss New Orleans/I’ll Make Believe/Travelin’ Man/Oh Yeah I’m In Love/Everybody But Me/Lucky Star/Sure Fire Bet/Stars Fell On Alabama/Hello Mary Lou

Rick is 21 showed a return to peak form for Ricky who delivers what many consider to be his best album. Includes the double A-side hit single Travelin’ Man/Hello Mary Lou, No. 1 in the US and No. 2 in the UK. (US:8)

“Ricky Nelson released dozens of albums during his career, but no studio album as good as this one. It was the perfect cross between the rock of his early career and the increasingly pop sound that he would develop during the 1960s.”

“On Rick Is 21, he developed a new pop/rock sound that contained echoes of his rockabilly past but also made its peace with early 60s pop, especially on the double-sided hit Travelin' Man/Hello Mary Lou, and also on other custom written songs.”

“This LP is an absolute delight. Just listen to the different ranges in Rick's voice from the controlled ballads to the joyous uptempo numbers, simply magic.”

“This LP illustrates the exacting standards that Ricky felt were necessary in all his recordings, making him a legend in the USA. A must for fans of the rock 'n' roll era.”

“Rick Is 21 begins to establish the template that Rick would follow in the first half of the 1960s. Plenty of quality songs, some rockers, some with a country flavour and the occasional standard. Standout tracks apart from the hits are Everybody But Me, Break My Chain and My One Desire."

“Rick Is 21 finds him returning to what he does best - upbeat rock and roll songs, and ballads with a country influence.”

“Includes both of the huge 1961 hits Travelin' Man and Hello Mary Lou, and lots of other goodies that haven't gone stale at all during the decades since they were taken out of the oven. As fresh and tasty as ever.”

“The songs are strong, and Rick's new songwriting discoveries Dave Burgess and Jerry Fuller in particular give the album a more modern approach.”

TV/Happy Times!/Your Request Sing Along With Mitch – MITCH MILLER**

TV: California Here I Come-Avalon/I Found A Million Dollar Baby/Breezin’ Along With The Breeze/Happy Days Are Here Again/Has Anybody Here Seen Kelly-I’ve Got Rings On My Fingers/Shuffle Off To L Buffalo/ Moonlight Bay-There’s Yes Yes In Your Eyes/The Love Nest/Would You Like To Take A Walk/You Must Have Been A Beautiful Baby-If I Could Be With You/Its Only A Paper Moon/Auf Wiedersehen My Dear Happy Times: That’s My Weakness Now-Last Night On The Back Porch/I Love My Baby My Baby Loves Me-If You Knew Susie/Indiana/Where Do You Work A John-Yes We Have No Bananas/Collegiate-Alabamy Bound/The Trail Of The Lonesome Pine/My Melancholy Baby/Side By Side/Anniversary Song/Wagon Wheels/The Prisoner’s Song/Beautiful Ohio Your Request: When The Red Red Robin Comes Bob Bob Bobbin’ Along/Cecilia/Under The Bamboo Tree/Back In Your Own Backyard/(I Wanna Go Where You Go Do What You Do)Then I’ll Be Happy/Sunny Side Up/You’re The Cream In My Coffee/Harbour Lights/The Sweetheart Of Sigma Chi/Did You Ever See A Dream Walking/ Aura Lee/Its Been A Long Long Time/By The Beautiful Sea/Paddlin Madelin’ Home/Drifting & Dreaming

More singalong albums from Mitch Miller & His Gang, sales boosted by his regular US TV show. In contrast he was completely unknown in Britain. TV peaked at No. 3, Happy Times! at No. 5 and Your Request No. 6 on the US album chart. None of his 1962 releases would make the top twenty.

“There's no doubt that Mitch Miller will never be forgotten by those of us who used to watched his TV show, singing those old standards. The legendary maestro captured the simplicity of songs that were not only beautifully written and sung, but more so, understandable. The crisp voices of the Mitch Miller singers captured their essence.”

“There is no one like Mitch Miller. You know every one of his songs, they were learnt in second grade music class, or in summer camp. Your mom, dad and grandparents knew all the words to the verses, and somehow, when you hear the tune, you know the words too. This is the musical equivalent of comfort food. It is impossible to resist singing along.”

“Kids will likely enjoy the easy-to-remember tunes. Adults will enjoy the funny, catchy lyrics and the harmony. All in all, this is great music that has stood the test of time.”

“The wonderful music of Mitch Miller and his chorus came into the households of so many Americans; and I am still amazed by that classic Mitch Miller sound. These songs remain special today for their charm and their timeless appeal.”

Italia Mia – MANTOVANI****

Catari Catari/Theme From Capriccio Italien/Italia Mia/Vissi D’arte/Mattinata/Variation On Carnival Of Venice/Bersaglieri March/Come Back To Sorrento/Return To Me/Nessun Dorma/Tarantella/O Sole Mio/A Frangesa/Santa Lucia/Maria Mari/Funiculi Funicula

Italia Mia featured a popular compendium of timeless Italian songs and tunes given the Mantovani treatment, providing him with a lengthy American album chart run. (US:8)

“An excellent collection of his timeless music that just proves the aural artistry and beauty depicted by Mantovani. This select grouping of tunes will give you chills from his arrangements, and add to anyone's library of great music. You will find yourself playing it over many times.”

“These Italian melodies enhanced by Mantovani's gifted arrangements are still attracting listeners today, who may hear some of the renditions by the current day orchestra bearing the Mantovani name. These original recordings are even more spectacular to hear, such as the hauntingly beautiful Come Back To Sorrento, the stunning Mattinata, the ever popular classic Return To Me, a heart tugging Vissi D'Arte, and a very lively and clever arrangement of the Bersaglieri March, among many other Italian classics.”

“Italia Mia by Mantovani was the first record purchased by our family when we bought our first radiogram in 1961. This record was being played in the store when my parents entered. They loved this beautiful traditional Italian music. It was so hard to resist they not only bought the record but also bought the radiogram.”

“A glorious treat for those who can never get enough of the Mantovani sound.”

I’ll Buy You A Star – JOHNNY MATHIS***

I’ll Buy You A Star/Stairway To The Stars/When My Sugar Walks Down The Street/Magic Garden/Smile/Oh How I Try/Ring The Bell/Love Look Away/Sudden Love/The Best Is Yet To Come/Warm & Willing/My Heart & I

You knew you had arrived as a vocalist when your record company teamed you up with the leading arranger Nelson Riddle. I’ll Buy You A Star comprised a combination of swing tunes and ballads. (US:38 UK:18)

“There are few singers whose appeal transcends the so-called barriers of time, style, and era, as this velvet-voiced pop crooner.”

“This album is a disappointing offering from a vocalist unsuited to the style and swing of the American Songbook. The arrangements lack the sparkle of Riddle's best work and. although good by ordinary standards, do not sparkle in the same way as his work with greats of the genre. Mathis is poor on the uptempo tracks, showing little understanding of the lyrics and lacking the snap of a dedicated swing artist. The ballad tunes are the best cuts, but Mathis' vibrato style comes over as over-mannered and only the quality, shimmering arrangements elevate the songs from being completely ordinary.”

“The ballads come off better than the swing numbers, but When My Sugar Walks Down The Street is a terrific number. With regard to the ballads, Mr. Riddle was on the money with each one, the standouts include Love Look Away, Stairway To The Stars and the gentle Magic Garden.”

“His ballads on this album are pretty good, although not the best of selections, Stairway To The Stars being worth the price of admission. But the swing tracks? Johnny is not a swinger, and shouldn't try masquerading as one, as his voice is completely unsuited to this style of music. He's modulating his voice up, down, left and right, all over the board. It seems he has no idea where to go with the lyrics on the swing tunes. He really needs to stick to what he can do well: singing with the sweetest, smoothest, softest voice on love songs.”

“This kind of album was very popular in the early 60s and Riddle was the best arranger of this kind of music in the book. Mathis, obviously feeling the need to jump on the bandwagon, fails to score with this effort and Riddle is unable to work fluently with this unsuitable vocalist.”

The Greatest Horn In The World – AL HIRT****

Stompin’ At The Savoy/Begin The Beguine/Let’s Do It/Sweet Sue Just You/Undecided/I’m On My Way/Out Of Nowhere/Georgia On My Mind/Stella By Starlight/Willow Weep For Me/What’s New/Ava

The boastful title from trumpet virtuoso Al Hirt was undoubtedly true in the early 1960s. The Greatest Horn In The World became his first American chart album. (US:21)

“The Dorseys' trumpet virtuoso was discovered by a much wider audience when the Dixieland master became an instrumental pop star in the '60s.”

“This is Al Hirt's best album. He is freed from the restrictive Dixieland sound but had not yet had his big hits, so the sound is less commercial. On the first six songs he is backed by a 'big band' with a traditional swing sound, and on the last six he is backed by a group that includes strings for a more modern sound. I prefer the second group.”

“Broken down into two sections, the A side being Hirt backed by a conventional twenty piece big band, side B contains twelve strings, four trombones, a baritone sax and a rhythm section of seven. While there are a few good tracks on this one, (mostly on side A) the overall work is lacklustre.”

“He was a virtuoso with a technical brilliance that could be dazzling, who left behind a musical legacy heavily weighted toward his main love - Dixieland. A lot of music fans will always wonder if he should have spent more time with traditional jazz, or even classical music, but it was his choice to make and that's as it should be.”

“I feel Al Hirt is often overlooked when legendary trumpeters are discussed, which is unfortunate. As a musician he was top notch technically in his prime, while also being a master interpreter of song. This is a combination that is often hard to come by and shouldn't be underestimated.” “His large-bore tone, his technical playing skills, the romance and the sense of humour he applies to his style is totally timeless, brilliant and intelligent.”

“Al's power and technical ability just bowls over even the most advanced listeners/players who can appreciate his talent and expertise. Al's real talent came from showmanship, his likeable style and light to catchy pop and Dixieland themes.”

Greatest Hits – HANK WILLIAMS*****

Cold Cold Heart/Jambalaya/You Win Again/Kaw-Liga/Take These Chains From My Heart/There’ll Be No Teardrops Tonight/Settin’ The Woods On Fire/Your Cheatin’ Heart/Hey Good Lookin’/Honky Tonkin’/I Can’t Help It (If I’m Still In Love With You)/Why Don’t You Love Me/I’m So Lonesome I Could Try/Half As Much

A selection of some of the best songs from Hank Williams, who is considered to be the greatest country singer ever. A gifted songwriter, his tunes have been recorded by many artists.

“Whether this collection is the greatest hits or not will depend on the listener, but for anyone with even the slightest curiosity about country music, its essential listening. Hank was a landmark of the genre, and to hear him is to understand how country could change from rural to urban. Essential listening for everyone.”

“Hank was a fine singer who ensured his place in popular music history by the exceptional quality of his songwriting. His songs were often recorded by pop singers of the time and this practice has continued ever since. He rarely recorded covers - so rarely that the ones he did record are often thought of as his own songs anyway.”

“A celebration of the music of this true American original. His lyrics will move you and his vocals will haunt you. Listen carefully to these tunes and you will come to appreciate what a truly remarkable talent this man was.”

“A great compilation of classic hits that are guaranteed to bring back memories of a nostalgic past. If true country songs by a country master are what you are looking for, this is it.”

“Music is a mechanism for delivering feeling, and Williams excelled at that. His work is open and accessible and he worked with the music, and the concerns of ordinary people. Of course, he also wrote most of his own songs, and few have written better; several have become not just country standards, but popular music standards.”

“One listen and I was hooked. I never heard such honesty, happiness, sorrow, and real life drama laid out so beautifully in any music genre. Hank sang from experience and the heart. He was a true cowboy and I can listen to his wonderful music all day. No matter who you are, there is a Hank Williams song that you can relate to, and which will touch your heart. I can't recommend this highly enough, Hank deserves every star in the universe for these masterpieces.”

The Best Of – THE CRESTS****

16 Candles/A Year Ago Tonight/Six Nights A Week/The Angels Listened In/Gee (But I’d Give The World)/Step By Step/I Think the Moon/Pretty Little Angel/Journey Of Love/Trouble In Paradise/Earth Angel/Flower Of Love/ Always You/If My Heart Could Write A Letter/Molly Mae/Isn’t It Amazing

First compilation album from the New York doo-wop group The Crests, featuring the lead voice of Johnny Maestro. They had a string of US hits in the late fifties and early sixties.

“A fabulous LP for anyone who wants to understand this important style of American music, or to revisit the happy, golden moments of those days. The lyrics are sweet and innocent, the harmonies heavenly and the lead voice of the late Johnny Maestro is smooth perfection.”

“Johnny Maestro was one of the great doo-wop exponents. Great music, great vocals for those who enjoy rock and roll from a class act.”

“This music was before my time, but I got into it, and now am addicted. This is the epitome of real doo-wop, and Johnny Maestro has that unmistakable voice that makes this a gem.”

“Absolutely the best doo-wop LP out there. It really brings you back to a different era. I can't believe this man's voice. Everything he sings is outstanding.”

“Although sometimes tagged as doo-wop artists, Johnny Maestro and The Crests produced some of the best pop tunes of the early American rock and roll era. Clever lyrics, bouncy arrangements and Maestro's vocals combined to make catchy tunes as listenable now, if not more so, than when they first charted.”

“This is a must have for oldie fans and especially Johnny Maestro lovers. I know this will be one that I will listen to over and over. What a great voice, backup is wonderful too. His voice will remain long after we are all no longer here.”

“This album, featuring a young Johnny Maestro in the early stages of his career, is very, very good and will bring back many memories. If you are a fan of The Crests, this album features many of their songs and the hits they produced. Johnny Maestro’s soaring vocals on 16 Candles are truly astounding.”

Carnival – BROADWAY CAST****

Opening/Direct From Vienna/A Very Nice Man/I’ve Got To Find A Reason/Mira/A Sword & A Rose & A Cape/Humming/Yes My Heart/Everybody Likes You/Love Makes The World Go Round/Yum Ticky/The Rich/ Beautiful Candy/Her Face/Grand Imperial Cirque De Paris/I Hate Him/Her Face (Reprise)/Always Always You/ Always Always You (Reprise)/She’s My Love/Finale

The Broadway musical Carnival starred Anna Maria Alberghetti and James Mitchell. It opened in April 1961 at the Imperial Theatre and ran for 719 performances. Based on the 1953 film Lili, about an orphan girl and her relationship with a carnival puppeteer. Music and lyrics by Bob Merrill. (US:1)

“The simplicity and warmth of the story seems to have brought out the best in Merrill. Song after song, the score is fresh, exuberant, clever and emotionally rich. Credit is due to a committed cast, most notably Anna Maria Alberghetti who perfectly personifies Lili's naiveté and heart.”

“Carnival is a gorgeous Broadway musical based on the MGM musical Lili. It is a showcase for the amazing talents of Anna Maria Alberghetti, as Lili herself. Alberghetti has the most interesting voice I have ever heard, and was a child prodigy with her huge vocal range and soaring voice.”

“Bob Merrill's memorable score, best known for Love Makes The World Go 'Round is filled with delightful, often uniquely beautiful songs and numbers, truly without a dud among them.”

“Alberghetti originally made her mark as a child prodigy operatic soprano, and she created the role of Lili on Broadway when still barely out of her teens. Her combination of grit and vulnerability, part woman, part adolescent, combined with her gorgeous singing voice, make her performance a classic.”

“The songs are delightful and the cast a very talented group of people. Anna Maria Alberghetti is Lili, the childlike young woman who enchants the bitter puppeteer Paul. Their two voices, hers sweet and clear and his strong and virile, are well-suited to their conflicting roles as the innocent gamine, and the cynical and damaged man, who cannot show her the love he feels except through his puppets.”

The Bobby Darin Story – BOBBY DARIN****

Splish Splash/Early In The Morning/Queen Of The Hop/Plain Jane/Dream Lover/Mack The Knife/Beyond The Sea/Clementine/Bill Bailey/Artificial Flowers/Somebody To Love/Lazy River

The Bobby Darin Story was a premature best of release spoilt by the inclusion of an irritating narrative by Darin between tracks. A special mention should be made in praise of his evocative interpretation of Beyond The Sea. (US:18)

“Bobby Darin was a major contemporary music icon in his day. His career is amply represented here, starting with the early pop light heartedness of Splish Splash. You can hear Darin's maturity as a singer develop with Mack The Knife, a masterpiece of swing/pop interpretation. The inflections and fills that Darin adds make it an enduring classic. The real gem is the unbeatable Beyond The Sea. For an idea of just how perfect a pop song and its arrangement can be, listen to this cut a few times. The rest of the songs are not as well known, but are highly listenable and masterfully arranged."

“This would have been a great album without the narration and reminiscences.”

“Bobby Darin could sing any kind of song and nail it. This is a brief collection of his first few years, and includes his own commentary on his career to that point. From the rockabilly teen hit Splish Splash to the wonderfully moving way he croons Beyond The Sea the disc always satisfies.”

“Bobby Darin spent much of his career finding his own unique voice, veering between bubblegum At The Hop type pop and derivative Tin Pan Alley toss-offs until he passed magnificently Beyond The Sea."

“Bobby Darin had a wonderful voice, he sounds like he was one hip, cool guy. Though these days people no longer use the word, I think groovy would be an excellent way to describe him. My favourites on this LP are Mack The Knife, and Beyond The Sea, very groovy songs indeed.”

“It includes his best songs of his early period, the brilliant Mack The Knife and Beyond The Sea. What sets it apart is his commentary in between. Initially it annoyed me and I can't blame people who don't like it.”

The Best Of Barber & Bilk Vols. I & II – CHRIS BARBER & ACKER BILK***

Vol. 1: April Showers/Doin’ The Crazy Walk/Hushabye/Everybody Loves My Baby/I Can’t Give You Anything But Love/Whistling Rufus/Cre March/Dardenella/Franklin Street Blues/Blaze Away/Easter Parade/Marching Through Georgia Vol. 2: Bugle Call Rag/Beale Street Blues/Magnolia’s Wedding Day/Petite Fleur/Bye And Bye/Louisian-I-Ay/El Abaninco/Carry Me Back/Travelling Blues/Delia Gone/Under The Golden Edge

Two budget compilations cashing in on the popularity of trad jazz at the time. First half of both is Barber, second half Bilk. The Best Of Barber & Bilk reached No. 4 in the UK with Vol. 2 making it to No. 8.

“There are so many styles and trends in jazz, and with the hip cool new crooners around today, often endorsed by our favourite TV presenters, where does one begin when choosing a jazz compilation? The best of clarinettist Acker Bilk, and trombone of Chris Barber and their bands simply does that, cleanly and efficiently.”

“This music takes me back to my youth and makes me feel so good. Isn't it strange how music can be so evocative, no matter how much time has elapsed.”

“I loved the music. The modern stuff doesn't even come close. I became a jazz fan later in life so its great to be able to collect this music now.”

“Barber and Bilk were two of the best exponents of trad jazz in the late 50s & early 60s. This collection contains some of their best remembered tunes.”

Another Smash!!! – THE VENTURES****

Ghost Riders In The Sky/Wheels/Lonely Heart/Bulldog/Lullaby Of The Leaves/Beyond The Reef/Rawhide/Meet Mr Callahan/Trambone/Last Date/Ginchy/Josie

Another Smash!!! was an early album from the The Ventures which sees them still developing their guitar sound. With their prolific output they would become the most popular American guitar instrumental group. (US:39)

“This is great music to listen to in the car with the top down. The Ventures started out using Fender guitars, and produced a more smooth sound than their later hits with Mosrite guitars. Highly recommended.”

“The Ventures at their best - this album has always been my absolute favourite by the group and now even more so. If you like instrumentals, then this one is a must.”

“The sweet sounds of the twangy Fenders reverberate through the years since the original recording. Cut after cut bring back a time when rock and roll was simple and uncomplicated. This light but determined effort is, in my humble opinion, their best all round album."

“With this album the band are still searching for their signature sound. Some of the tracks get a little syrupy, with string arrangements that make you think you might have stumbled upon a lost Mantovani album where he was experimenting with electric guitars. However, it's still worth the price of admission for any fans of sixties instrumental rock.”

“Wonderful variety of selections ranging from ballads to hard driving twangy rockers, all delectably 'Fenderized' for your listening enjoyment. If you want to own just one Ventures album - this is it.”

“Sounding ever more confident with each release, The Ventures tackle all kinds of moods on this one. The two ballad-penned compositions are solid (Josie is one of their finest originals ever) and the covers they've chosen represent a really well-written batch of diversity, including the vibrato-murdered Ghost Riders In The Sky, the spy chuggers Bulldog and Ginchy, the bouncy as a ball Wheels, the gorgeous string-embellished ballad Last Dance and all those other songs that all do this or that.”