Ella In Hollywood – ELLA FITZGERALD****

This Could Be The Start Of Something Big/I’ve Got The World On A String/You’re Driving Me Crazy/Just In Time/It Might As Well Be Spring/Take The A Train/Stairway To The Stars/Mr Paganini/Satin Doll/Blue Moon/Baby Won’t You Please Come Home/Air Mail Special

With Ella In Hollywood Ella Fitzgerald turns to the movies for inspiration on this well received album of many familiar songs, performed in a variety of styles. (US:35)

“Of all the Ella Fitzgerald albums I have, Ella In Hollywood is probably the one I listen to the most. Her talent is magnified by the diversity of the songs she sings on this album. I think it's one of her very best.”

“A great collection of Ella Fitzgerald songs. Take The A Train is one of the best renditions ever of this song. Everything you've heard about in other Ella Fitzgerald live performances are in this recording. Improvising, scat, Ella's version of a popular song of the time etc. My personal favourite Ella Fitzgerald album.”

“The scatting is out of this world on Take The A Train and Airmail Special which is probably one of the fastest scats I have heard. There is an unusual Latin style version of Blue Moon in which Ella makes up the words to alert the audience that she's not afraid to sing a song from the hit parade. This LP is just as entertaining as the Berlin concert the year before, and I can't understand why it's not so well known.”

“This is Ella at her best - in concert, vibrant, sassy, the ultimate in jazz vocals. More than worth the money.”

“I grew up with my parents playing this record and had almost forgotten how many of songs were just languishing in my memory. What a treat.” “This is a fabulous compilation of songs - Ella sounds superb. Some of Ella's biggest hits and after you listen, you'll know why. I absolutely love this album and if you love Ella Fitzgerald and great jazz standards, you'll love this too.”

“Doesn't matter how many other live Ella's you have this one is a must. There will never be another like her."

Blue Hawaii – ELVIS PRESLEY****

Blue Hawaii/Almost Always True/Aloha Oe/No More/Can’t Help Falling In Love/Rock-A-Hula Baby/Moonlight Swim/Ku-u-i-po/ITo Eats/Slicin’ Sand/Hawaiian Sunset/Beach Boys Blue/Island Of Love/Hawaiian Wedding Song

A monumentally successful soundtrack album from Elvis at the peak of his popularity. Unfortunately, this would result in the release of increasingly sub par movie soundtrack LPs over the rest of the decade. Blue Hawaii topped the US album chart for an incredible twenty weeks and spent nearly as long at the top in Britain. Includes the tremendous double A-side single Can’t Help Falling In Love/Rock-a-Hula Baby, No. 2 in the US and No. 1 in the UK. (US:1 UK:1)

“Blue Hawaii is probably the movie most associated with Elvis Presley. It is also his most popular and enduring. The soundtrack would sell three million copies and spend an astounding 20 weeks atop the American music charts. This was good news and bad news for the career of Elvis. The good news was the money and continued popularity. The bad news was that because of this success the future emphasis of his career would be focused on making movies quickly and releasing accompanying soundtrack albums. Studio releases would be few and far between, and live concert performances would cease.”

“The biggest song from this soundtrack was one of Elvis' finest - the beautiful Can't Help Falling In Love. A track that remains one of his all-time greatest love songs. The beauty of the disc doesn't end there. The title track immediately transports the listener to crashing waves and rainbow coloured skies, and the King croons the listener with a comforting warmth that only he could deliver.”

“It is not 'authentic Hawaiian music', but who cares? It is entertaining, the songs are good, and Elvis turns in fine performances. Blue Hawaii, Can't Help Falling In Love and Rock-A-Hula Baby are great songs worth repeated listening. Several others have at least some staying power, but there are some weaker songs."

“This is a truly beautiful album for people who can appreciate real quality singing. The songs are mainly ballads; there are a number of highlights on this timeless classic. The first of these has to be Can't Help Falling In Love, one of the greatest and most popular love songs of all time. Next would have to be the title song Blue Hawaii. This is a less well known, but one of the many Elvis classics. Another great song is No More, a song done in a Latin style."

Exotic Percussion – STANLEY BLACK****

Temptation/By The Waters Of Minnetonka/Adieu Tristesse/Jungle Drums/Hymn To The Sun/Babalu/Old Devil Moon/Baia/Moon Of Manakoora/Misirlou/Flamingo/Caravan

Exotic Percussion was an excursion into exotica from British bandleader and conductor Stanley Black, a transient sub-genre more popular across the Atlantic than in Britain. (US:30)

“Stanley Black's music can be addictive and you must have more. The arrangements, orchestrations and piano playing are so very relaxing and thought provoking that you must listen to more and more of his music.”

“A classic example of America's pop culture past. Exotic Percussion was an obvious attempt to cash in on the tiki exotica craze. It is a great listen. It reminds you of the music played on contemporary hi-fi consoles. Features some female vocals to give it that mystic feel.”

“This LP features light music at its most adventurous. Exotic Percussion was an early example of multi-miking. In it, Black made arrangements for various percussion instruments, recorded closely and intimately, along with a small orchestra and a female chorus. Throughout, the arrangements are both innovative and entertaining. In Babalu and Jungle Drums, the chorus makes a delightful addition, creating a suitably romantic atmosphere.”

“The particularly colourful Exotic Percussion picks up the threads of the North American exotica craze that reached England during a time when its novelty factor was already wearing thin in the US. It remains one of Black's best-known genre-related works thanks to its focus on the percussive instruments.”

“Exotic Percussion stands the test of time and remains to this day an awe-inspiring work thanks to the large amount of wood sticks, congas, timpani and the prominent choir who perform the lyrics in a positively melodramatic fashion. Luckily, the twelve numbers are neither pompous nor over the top, but inherit the spirit and intimacy of the original pieces most of the time.”

“Phase 4 Stereo was an example of the sort of record that you used to find back in the early days of stereo, a demonstration of supposedly cutting-edge, high-end stereo technology. The music is arranged accordingly.”

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

Meet The Minstrels/The Good Old Summertime/Alabamy Bound/The Old Ark’s A Moverin’/Western Style/Your Requests/Ay Ay Ay/More Stephen Foster Melodies/Dry Bones/Goodbye-Ee

The Black & White Minstrel TV show remained a firm favourite with British audiences in the early 1960s, apart from teenagers who much preferred watching programmes that were a bit more ‘with it’ such as 6.5 Special or Oh Boy. (UK:1)

“The musical focus seems to move away from placid accordion strolls towards energetic big band numbers, but the concept is hardly less nullifying, if marginally more listenable. On the weakly positive side, Dai Francis seems to have done a bit more work on his Jolson impressions since last time.”

“In 1957, the BBC decided to run a special entitled 'The 1957 Television Minstrels' and called in Mitchell. With female dancers called 'The Television Toppers' and a rechristened male choir the 'Mitchell's Minstrels', the basis was formed for the show. It was a ratings winner. The following year, the BBC and Mitchell decided to expand the special into a regular weekly series. The newly named 'Black And White Minstrel Show' began broadcasting on Saturday nights, featuring a Mitch Miller-type singalong format for the home audience.”

“In addition to solo and group minstrel numbers, folk, foreign and country/western songs were featured as well. The show was an instant hit and became a Saturday night tradition in England.”

“It's the music that counts, and this is musical entertainment at its very best. I have this and most other B & W LPs.”

“There are times when The Minstrels break away from possum-eating knees-ups, stop pretending to be someone else and begin to sing music they actually feel. Once again the Stephen Foster medley works well because it is clearly heartfelt and no showbiz is involved; just simple but effective choral work and at least the possibility of there being a lump in the throat.”

Melody & Percussion For Two Pianos – RONNIE ALDRICH***

Unforgettable/Secret Love/To Each His Own/Ruby/April In Portugal/My One & Only Love/Autumn Leaves/Misty/ Golden Earrings/Young At Heart/April Fool/The Gypsy

The growing popularity of hi-fi prompted record companies to release LPs which demonstrated the full potential of the stereo sound system. One such album making good use of this technique was Melody & Percussion For Two Pianos, by British arranger and pianist Ronnie Aldrich. (US:20)

“This amazing arrangement of Mr. Aldrich. The left and right piano can be distinctively heard from the left speaker, and then from the right speaker while playing the recording. One piano has a tremendous volume when it comes in, and then the second piano can be heard in a very low volume as if the sound was coming from a very far end of the stage. To some listeners this might sound strange. However, the dynamics of the recordings are surprisingly excellent.”

“Ronnie Aldrich was a superb British artist. Both pianos talk. Brilliant arrangements written by Mr. Aldrich and outstanding quality sound (the famous Phase 4 Stereo system). A must for all who love beautiful instrumental music."

“The crystal clear piano of Mr. Aldrich sounds like no other. Really beautiful music to listen to from the good old days.”

“Entertaining album from Ronnie Aldrich whose novel two piano style is heard to advantage.”

“Super hot sonics coupled with the Super Phase 4 'jumping out of the speakers' recording techniques, mean that this is one lively record. The pianos can get to be a bit much, but when they are under control, the huge stage, and the effect of all the percussion that jumps out of the soundfield, is really quite something to behold.”

21 Today – CLIFF RICHARD****

Happy Birthday To You/Forty Days/Catch Me/How Wonderful To Know/Tough Enough/50 Tears For Every Kiss/ The Night Is So Lonely/Poor Boy/Y’arriva/Outsider/Tea For Two/To Prove My Love For You/Without You/A Mighty Lonely Man/My Blue Heaven/Shame On You

Like other Cliff albums of this period 21 Today was a mixture of rockers and pop ballads. The former backed by The Shadows, the latter by the Norrie Paramor Orchestra. (UK:1)

“This is the best Cliff album I've heard. Vocals are excellent as is the bass sound. A very substantial 16 track, 40 minute album, a mixture of pop ballads and derivative rockers, nearly all cover versions but sufficiently rare or distinctive to be worthwhile. Sound quality is an absolute model of clarity. Vocals are excellent as is the bass sound.”

“Overall, 21 Today is the sound of a singer growing old before his time and hindsight insists that it is no coincidence that, within a year of its release, the arrival of The Beatles would consign Cliff to the boring category.”

“What a fantastic album by the British king of pop. A combination of songs with The Shadows and with Norrie Paramor and his Orchestra.”

“A great mix of rockers and ballads. Cliff and The Shads or Cliff with the orchestra. Forty Days is a great Chuck Berry song, which just belts along. Tough Enough and Shame On You recreate the Me & My Shadows feel. The ballads seem stronger than on his previous album, and many could have all been released as singles. Catch Me is very evocative of the early 60s. All in all, a lovely little album.”

Sings Hits Of The Rockin’ 50’s – BOBBY VEE***

Do You Want To Dance/Lollipop/School Days/Little Star/Come Go With Me/Summertime Blues/Happy Happy Birthday Baby/Lavender Blue/Donna/Earth Angel/Wisdom Of A Fool/Sixteen Candles

Bobby Vee is an underrated singer today but he should be remembered for his own hits rather than the covers of other artists’ releases which comprise the tracks on Sings Hits Of The Rockin’ 50s. (US:85 UK:20)

“The songs are arranged by 'ballad side' and 'rhythm side', but most of the rhythm cuts are pretty mild. For example, Vee's versions of the Chordettes Lollipop and The Elegants Little Star share a side with his remakes of much harder-hitting Chuck Berry and Eddie Cochran songs. The ballads, too, tend toward light pop tunes such as Lavender Blue and Earth Angel. Vee's Buddy Holly inflected vocals put his own stamp on these well-known songs, and in some cases, the arrangements differ considerably from the originals.”

“Some of the covers sound too much like Buddy Holly and he should have sung them with his own style. I know he sounded like Buddy - he substituted him on the day the great Buddy died - but sometimes he overdid it and in 1959 there were certain rumours for some time that Buddy was still alive after hearing Bobby Vee on the radio.”

“I don't know if you can consider any of these tracks to be rock and roll, but they are great pop music. Classics in their own right. Many have become standards.”

“If any member of the pop music set was ever the perfect 'boy next door', it had to be Bobby Vee. A toned-down Buddy Holly with a squeaky-clean image, he was the music industry's response to a rock & roll scene gone mad. Unfortunately, too many people let the image get in the way of the music. One of the first genuine teen idols of the pop era, above all else, Bobby Vee could sing.”

The Shadows – THE SHADOWS****

Shadoogie/Blue Star/Nivram/Baby My Heart/See You In My Drums/All My Sorrows/Stand Up & Say That/ Gonzales/Find Me A Golden Street/Theme From A Filleted Place/That’s My Desire/My Resistance Is Low/ Sleepwalk/Big Boy

Very solid debut album from Britain’s top instrumental group. Unfortunately it is weakened by the inclusion of some inferior vocal tracks. The Shadows deservedly topped the UK album chart. (UK:1)

“Many strong tracks here - Sleepwalk is a favourite of mine. Still, I feel it would have been a better album if it was all instrumental.”

“There is something hypnotic in the style of The Shadows; tracks like Blue Star or Gonzales seem to bring with them a mysterious aura that I do not recognize in any other artist."

“This album features seven original compositions, of which Shadoogie at least is utterly fantastic and really showcases the talents of all involved. Listen to the guy on Nivram and try to tell me he wasn't utterly superb. A truly electric and exciting Gonzales continues to ensure the album thrills, and then Find Me A Golden Street has wonderful atmospherics. This is a thoroughly absorbing album all should hear.”

“This is the disc that started a whole generation to get out, buy a guitar and amp, and form their own group. This is vintage classic Shadows. A guitar super group when Jet Harris was on the new Fender bass and Tony Meehan was a maestro on drums. If you only ever buy one Shadows record get this, it ticks all the boxes.”

“There are a few tracks where the boys sing, and really it's not for the best - I think the lads were wise to mainly stick to instrumentals, but mainly the rest of the tracks make up for it. Easy to listen to, but with the punch and kick that easy listening doesn't have.”

“On this album, we have a really classic selection of some of the best music The Shadows have given us over the years. A really fantastic album for all the family, with a huge range of songs."

“The wonderfully jazzy Nivram is a jewel of a track that is note perfect. Many of the other tracks have stood the test of time rather well.”

Stringbeat – JOHN BARRY****

It Doesn’t Matter Anymore/Sweet Talk/Moody River/There’s Life In The Old Boy Yet/A Handful Of Songs/Like Waltz/Rodeo/Donna’s Theme/Starfire/Baubles Bangles & Beads/Zapata/Rum-Dee-Dum-Dee-Dah/Spanish Harlem/Man From Madrid/The Challenge

John Barry was Britain’s best known musical arranger and composer of film scores, most notably the James Bond series. As an unusual departure he released Stringbeat, an album of lounge music featuring his own compositions and those of other artists.

“By the time John Barry recorded Stringbeat in 1961, he was already a regular on the singles chart, both as a recording artist in his own right and as the arranger behind a host of artists. This album enabled him to explore different musical avenues, with John composing five of the tracks.”

“Wonderful retro sounds perfect for that special evening, remembering earlier times when trying to listen to this music. I can't get enough from these songs.”

“Barry delivered an engaging piece of audiophile instrumental music, and one which manages to cross swords with rock & roll and soundtrack music, as well as the muzak that lay in PA systems' future. Mixing electric instruments and a string orchestra, coupled with lively arrangements, Stringbeat is both a playful piece of 'bachelor pad' music and an elegant piece of pop/rock.”

“Here Barry serves up a cool slice of instrumental lounge music (think James Bond bachelor pad), featuring tunes by the best songwriters of the day, as well as his own compositions.”

The Slightly Fabulous Limeliters – THE LIMELITERS****

Western Wind/Hard Travelin’-Mount Zion (Medley)/Lass From The Low Country/Gunslinger/Curima/Vikki Dougan/Aravah Aravah/Whistling Gypsy/The Time Of Man/Harry Pollitt/Hard Ain’t It Hard/Mama Don’t Low

The Slightly Fabulous Limeliters encapsulated the approach of the group to folk music by mixing more serious songs with some whimsical humorous tracks. (US:8)

“This album was my introduction to this great act. The musicianship is excellent, and Lou Gottleib's wry sense of humour is an added bonus. Others have recorded some of these tracks but none have the sound of The Limeliters.”

“Better than pretty good. These guys sounded great, and had a sense of humour to boot. For proof, listen to Vikki Dougan. But lest you think they are just a novelty act, the bulk of the album has wonderful harmonies like Curima. The album was recorded live, and it's the patter between songs that provides the levity.”

“I really believe The Limeliters were the best group of all. All three singers played instruments, their harmonies were superb, the accompanying musicians were excellent, their inter-song humour and patter was great, and they could sing songs in a dozen different languages. Seriously excellent entertainers.”

“Lou Gottlieb, Alex Hassilev and Glenn Yarbrough really were a unique fit. Their voices blended together so well that the three of them really did sound like six. Their personalities were also a remarkable fusion on-stage.”

“The songs, alternating between the serious and the whimsical, are largely traditional American folk, but there's an interesting mixture of foreign influence as well.”

“These are extremely accomplished musicians, well-crafted productions, and in concept and execution merge into the brilliant. Instant treasures, that will often be long played.”

“I was worried that the music may seem dated but I found it still fun to listen to even after all these years. I like all kinds of music but must admit I have missed the intelligence, harmony and joy of life that The Limelighters personified.”

Pass In Review – BOB SHARPLES***

Fanfare/Rule Britannia/Scotland The Brave/Waltzing Matilda/La Marsellaise/La Ritirata Italiana/Meadowland/ Mexican Hat Dance/Wearin’ Of The Green/Matilda/Lili Marlene/The Caissons Go Rolling Long/The Us Airforce/ Buckle Down Winsocki/The Bells Of St Mary/Yankee Doodle/Indian Drums/She Wore A Yellow Ribbon/When The Saints Go Marching In/Dixie/Onward Christian Soldiers/Anchors Aweigh/The Marines’ Hymn/Stars & Stripes Forever

The LP of marching songs Pass In Review was the inaugural release in the Decca Phase 4 stereo series, featuring British bandleader and arranger Bob Sharples. (US:11) “Pass In Review, the first Phase 4 Stereo release, set the tone for the label's early releases. Imagine that you are standing in a crowd watching a parade of marching bands pass before you, going from left to right. Though a studio recreation, it's pretty realistic, complete with interactive crowd noise. The LP starts with a fanfare, a shout of 'Pass in review!', and a British military band playing Rule Britannia. Now, Phase 4 didn't just include traditional marching bands. After a bunch of European bands go by we are treated to Mexican Hat Dance with guitars, castanets and maracas, and Matilda, played by a calypso band with vocals by the great Lord Kitchener. Side two focuses on US themes, including the usual military stuff like The Caissons Go Rolling Along. But we also get The Bells Of St. Mary's played by a bell choir, Indian Drums (my favourite), When the Saints Go Marching In and Onward Christian Soldiers. The LP ends with Anchors Aweigh, The Marines' Hymn and Stars & Stripes Forever. Great! You can experience the parade of a lifetime without having to get off the couch.”

“This LP was the first of London's Phase 4 series of very early multi-channel recordings. Side 'A' was a 'parade' of various marching bands from several nations. The stereo mixing made the bands appear to move from left to right across the listening room fading in on the left, building to a centre crescendo and fading out on the right, just as a new band was fading in again from the left. Side 'B' was more of the same except the bands were American themed. All this seems quite hokey nowadays but was rather astounding way back then.”

Let’s Twist Again – CHUBBY CHECKER***

I Could Have Danced All Night/The Jet/The Continental Walk/I Almost Lost My Mind/Fishin’/Quarter To Three/Let’s Twist Again/Ballin’ The Jack/Peanut Butter/The Ray Charles-Ton/Takes Two To Tango/Dance-A-Long

Chubby Checker ruled the charts in the USA during 1961 with his dance tunes spearheaded by the Twist craze. The title track of Let’s Twist Again was a top ten hit on both sides of the Atlantic. (US:11)

“There's real charm in these recordings, particularly Checker's version of I Could Have Danced All Night and his masterpiece hit Let's Twist Again.”

“A really enjoyable LP. Great to get back to some of the old time goodies. Brings back lots of memories, if you grew up in the 60s.”

“An album from the height of the Chubby Checker twist phenomenon, Chubby just flat-out ruled the charts in the early 1960s.”

“Checker's albums were literally filled with dance tunes, old and new, here including The Jet and The Ray Charles-ton. Throw in a couple of R & B covers, like I Almost Lost My Mind and Quarter To Three and you have a standard issue Chubby Checker album. Despite the many variations on a few themes, Checker throws himself into each song as if it's brand new, and the Cameo-Parkway house band swings hard on everything it plays.”

“A great, non-stop party album, driven in large part by the fat sax tone and a swinging rhythm section that even manages to sneak in a second-line rhythm on I Could Have Danced All Night.”

“I've seen dance floors full of young people still go crazy for Let’s Twist Again even today. What can you say, it is certainly catchy.”

Close-Up – THE KINGSTON TRIO****

Coming From The Mountains/Oh Sail Away/Take Her Out Of Pity/Don’t You Weep Mary/The Whistling Gypsy/O Ken Karanga/Jesse James/Glorious Kingdom/When My Love Was Here/Karu/Weeping Willow/Reuben James

Close-Up was notable as the first Kingston Trio album with new member John Stewart who provided several of the songs. The change of personnel had no discernible effect on their popularity. (US:3)

“Close-Up is the first of the albums with John Stewart. As with most Trio albums, there are a couple of songs that don't 'grab me', but the vast majority of the album is a good example of the Trio as masters of their style of music. They have different international flavours included in their repertoire, and their voices, harmonies and instruments are well rehearsed, finely tuned, and wonderfully exhibited here. Their version of Reuben James, might be their very best recording."

“Having a new songwriter in the group clearly made a difference, Stewart wrote the best track on the album, When My Love Was Here along with the first track, Coming From The Mountains, but there are also some traditional standards, the best of which is their cover of Reuben James. This is not a great Kingston Trio album, but given the concerns their fans had about the group's future there was no doubt they were going to turn out just fine.”

“Close-Up departed from previous KT albums with only one novelty cut and introduced John as a writer of more reflective songs. It produced no singles that charted, but it is underrated in the quality of these studio performances, and its release certainly kept KT fans happy.”

“The Close-Up recording is really, really good early 60s folk music, but it often reminds me how much Dave Guard's contribution was missed. All in all, though, it is a worthwhile purchase for the KT fan.”

“Close-Up is, I believe, John Stewart debut album with the trio. They didn't miss a step in replacing Dave Guard. The KT sound with Stewart is different to that with Guard, but no less satisfying. They write a lot of their own material on this one and the songs are well executed. You'll enjoy having this in your collection.”

Kenton’s West Side Story – STAN KENTON****

Prologue/Something’s Coming/Maria/America/Tonight/Cool/I Feel Pretty/Officer Krupke/Taunting Scene/ Somewhere- Finale

Kenton’s West Side Story enabled jazz bandleader and pianist Stan Kenton to win a Grammy for best jazz album for his interpretations of some of the finest tunes from Leonard Bernstein’s smash stage show. (US:16)

“Take a marvellous Bernstein score and give it to collaborators Stan Kenton and Johnnie Richards and you end up with a sum greater than the parts. All of the fire, fun, beauty and emotion of Leonard Bernstein's monumental creation are captured for the ages on this LP."

“This is absolutely one of the most innovative interpretations of an American classic you will ever hear. Even if you have no idea of the contribution of Stan Kenton, it is virtually impossible not to be thrilled with this recording. For fans of Kenton, fans of Bernstein, or fans of band music, this is a sure winner.”

“Kenton's version of West Side Story is a free interpretation; arrangements, phrasing, and rhythms are altered to fit Kenton's exotic style. For example, the prologue from the opening scene is played with a relaxed shuffle beat, not the tense syncopated rhythms and phrasing that Bernstein intended. One does not tamper with a work of a genius without incurring the risk of degrading it. Fortunately, in this case, Kenton can be forgiven, because this is his band at its best.”

“Lovers of big band jazz and serious brass sections will truly enjoy this. You will recognize the melodies immediately, and will be literally blown away by Kenton's orchestra. You won't hear the original soundtrack again without a small feeling of regret that these arrangements didn't make it into the movie.”

“The score plays right into Stan Kenton's strengths: the music has a certain complexity and there's plenty of opportunity to blast the hell out of your ears.” “This is an absolutely stunning album. If you are 'into' high-register trumpet playing, your jaw will be on the floor after the first shake in the Prologue. And then you realize that it was just a small, throwaway taste of what they can do.”

Joan Baez Vol. 2 – JOAN BAEZ*****

Wagoner’s Lad/The Trees They Do Grow High/The Lily Of The West/Silkie/Engine 143/Once I Knew A Pretty Girl/Lonesome Road/Banks Of The Ohio/Pal Of Mine/Barbara Allen/The Cherry Tree Carol/Old Blue/Railroad Boy/Plaisir D’amour

Joan Baez was the foremost female folk singer from the early and mid 1960s, acclaimed for the purity of her voice. Joan Baez Vol. 2 remained on the US album charts for two years. (US:13)

“Joan Baez was a pivotal figure in the folk revival movement of the 1960s. Her perfect pitch voice, her commitment to social causes, and her choice of material made her an important figure during the decade. Her second album was mainly traditional, which not only entertained but told timeless stories.”

“Where she sounded a little tentative on the first album, here she sings with magnificent assurance - she has found the voice she was searching for.”

“I am always blown away by the purity of Joan's voice. These songs were well-selected and performed with similar perfection, but something about the dated material holds me back and prevents me from fully enjoying them. The songs are also all very depressing. Typical folk, I suppose - all about death and murder.”

“The songs themselves need no introduction. This is as traditional as traditional music gets, and Baez gives it a very traditional treatment, accompanying her singing only with a guitar or banjo, or not at all. Even if you think you know these songs by heart, this collection is essential to any fan of '60s folk music in its purest form.”

“All the great Joan Baez tunes are here. Listening to it, I found myself back in my dorm room in college, singing along, remembering the words after all these years. I found some of the energy of the era revive within me. What a great time to be young and what a scene to witness.”

“Here is a young woman's voice so strong and lovely that it can take the simplicity and lasting melody of folk songs and give them the honour they deserve. Her voice has the range and purity to make you ache with its beauty.”

“These songs are classics, because they have singable melodies, express enduring emotions, and have universal appeal. Joan lifts them from the simple to the sublime.”

Golden Waltzes – BILLY VAUGHN***

Melody Of Love/Beautiful Ohio/Girl Of My Dreams/Silver Moon/Missouri Waltz/My Buddy/The Waltz You Saved For Me/Three O’Clock In The Morning/Let Me Call You Sweetheart/Tennessee Waltz/Meet Me Tonight In Dreamland/Just A Wearyin’ For You

Golden Waltzes, as the title suggests, was an album of old time waltz tunes from prolific band leader Billy Vaughn. He was able to bring the same formula to older tunes and more recent releases. (US:17)

“Tennessee Waltz is truly a magnificent song and these saxophones are glorious.”

“Not too sure if the beginning of the rock era was all that good. We lost so many beautiful songs like Melody Of Love.”

“Fantastic musician. These melodies/waltzes are so wonderful....very intense and at the same time emotional."

“If you want to know a people or culture, look at its music.”

Forbidden Fruit – NINA SIMONE****

Rags & Old Iron/No Good Man/Gin House Blues/I’ll Look Around/I Love To Love/Work Song/Where Can I Go Without You/Just Say I Love Him/Memphis In June/Forbidden Fruit

Jazz vocalist Nina Simone stamps her own personal style on several tunes made famous by other artists. Forbidden Fruit is considered one of the best of her earlier albums.

“It's brilliant end to end. It rolls and weaves, suggests and states, looks under the skirts of the music. The title track has generated lasting interest - maybe more for Oscar Brown's lyrics than anything else, but it rollicks here. Still, my favourite is Gin House Blues, which aches and wails and seems to live inside the walls of what it describes.”

“There's not a mediocre song or rendition here. And you'll never hear anyone else do any of them the way she does.”

“The best of Simone's earlier albums. A fine collection of songs: my favourites are the two identified with Billie Holiday No Good Man and I'll Look Around - but Simone makes them completely her own. As she does with the Bessie Smith number Gin House Blues. On the other songs here, most of which are well known through other earlier versions, Simone stamps her own personality on them. Oscar Brown's Forbidden Fruit perhaps verges on the cute, but his other two songs, Rags & Old Iron and Work Song are intriguing.”

“I won't spend much time talking about how wonderful Nina's singing is - you wouldn't be here if you weren't already a believer. I'll Look Around is an amazingly beautiful slow torcher. Just Say I Love Him is a wonderfully smoky number with a pleasingly spare arrangement and an understated Cubano rhumba beat.”

“I love just about everything by Nina Simone. I especially love the song about nobody better be coming between me and my gin. Here's a woman who knew how to get good and liquored up, sassy, brassy, and retain her dignity in the process.”

“This is one of Nina's best collections of songs, with a wealth of her quirky arrangements.”

Stereo 35mm Volumes One & Two – ENOCH LIGHT****

Vol. 1: Heat Wave/The Man I Love/I’ve Got A Crush On You/All The Way/My Romance/You Do Something To Me/ Zing Went The Strings Of My Heart/Someone To Watch Over Me/Love For Sale/I’ll See You Again/I See Your Face Before Me/With A Song In My Heart Vol. 2: I Want To Be Happy/The Gypsy In My Soul/In A Little Spanish Town/September Song/I Still Get A Thrill/Digga Digga Doo/Of Thee I Sing/Deep Purple/Just One Of Those Things/The Very Thought Of You/Do It Again/The Thrill Is Gone

Music arranger Enoch Light turns his attention to movie tunes which receive his innovative audiophile stereo techniques. Stereo 35mm reached No. 1, and Volume Two No. 8, on the US album chart.

“Offers fully orchestrated instrumental versions of schmaltzy movie songs like My Romance and Zing Went The Strings Of My Heart recorded at Carnegie Hall. I really like this album, seriously lovely lush strings here.”

“Groovy easy listening pioneer Enoch Light's 1961 album, the show tunes-centric Stereo 35MM, is a foray into space age bachelor pad music. Coming off the enormous success of his Persuasive Percussion series, Light's orchestra utilizes stereo field recording techniques that were pretty mind-blowing for the early '60s.”

“These tracks were stunners of the time and contained some marvellous music. Sound is now a bit dated, but more than adequate.” “Enoch Light & The Light Brigade were pioneers in the field of electronic instrumentation and stereo sound. The clear channel separation with one track leading to the other and back is still simply amazing.”

“I have been a fan of Enoch Light from the early 60s. Great to listen and dance to."

“Enoch Light continued to experiment with techniques, becoming one of the first to use 35mm film to record instead of magnetic tape. One big advantage of film over tape was that distortions due to the drag of the original tape across the recording head ('wow' and 'flutter') were reduced dramatically.”

“He is credited with being one of the first musicians to go to extreme lengths to create high-quality recordings that took full advantage of the technical capabilities of home audio equipment of the late 1950s and early 1960s, particularly stereo effects that bounced the sounds between the right and left channels.”

The Colorful Ventures – THE VENTURES***

Blue Moon/Yellow Jacket/Bluer Than Blue/Cherry Pink & Apple Blossom White/Green Leaves Of Summer/Blue Skies/Greenfields/Red Tops/White Silver Sands/Yellow Bird/Orange Fire/Silver City

The Colorful Ventures was a novel instrumental concept album in which every track was given its own colour code. At this stage the group were spreading their material too thinly over too many albums. (US:94)

“The Colorful Ventures LP is outstanding. When you put on the song Cherry Pink & Apple Blossom White it will send chills up your spine and make the hair stand on end on your arms. Nokie Edwards shows his expertise on this one.”

“As a kid I always loved the group, but tended to buy only their singles. Now I can also enjoy the superb sounds of such classics as Bluer Than Blue from The Colourful Ventures as well. This disc has magnificent sound, and the tracks are all original." “The godfathers of modern guitar shine. And its all original. Enjoy.”

“The Colorful Ventures features songs with colours in the title. Silver City and Blue Moon were low placed chart singles from this album. Other solid covers include Blue Skies, Red Top and White Silver Sand. But the real highlight of the album is the great Ventures original Yellow Jacket.”

“It often gets credited as one of the first ever concept albums in rock and roll, but that's about as far as the inspiration goes.”

Big Band Percussion – TED HEATH****

Johnny One Note/Blues In The Night/The Peanut Vendor/More Than You Know/Poinciana/Drum Crazy/Take A Chance On Love/It Ain’t Necessarily So/Daddy/Mood Indigo/Thou Swell/But Not For Me

The Ted Heath Band was the top British big swing band during the 1940s and 1950s. Their Big Band Percussion LP was one of the first released on the new Phase 4 recording series. (US:28 UK:17)

“The culmination of his career brought him into contact with the producers of the magnificently overstated London Phase 4 Stereo series. With arrangements by Heath's trombonist Johnny Keating, the new sound of Ted Heath caught on so successfully that it outlived Heath himself. Big Band Percussion is a genuine latter-day Heath production using jazz standards and popular melodies but tending more towards the Dick Schory style, in accordance with the then prevailing space age pop preference for exaggerated percussion and occasional novelty effects.”

“Big Band Percussion, found Ted and his orchestra performing jazz standards under the influence of the space age pop of the day. Hence the big sound of the bongos and drums (and even the occasional sound effect).”

“Big Band Percussion, one of the earliest Decca Phase 4 albums, showcases Ted and his musicians powering their way through scintillating arrangements of standards including Mood Indigo, Thou Swell and But Not For Me among many others. As the album's title suggests, percussion instruments are to the fore, adding an extra dash of musical colour to the proceedings.”

The Apartment – SOUNDTRACK***

Main Title/Theme From The Apartment/Lonely Room/Where Are You Fran/Ring A Ding Ding/So Fouled Up/ Tavern In Town/Hong Kong Blues/Theme From The Apartment/Career March/Blue Christmas/Kicked In The Head/Little Brown Jug/Office Workers/This Night

The romantic comedy The Apartment starred Jack Lemmon, Shirley MacLaine and Fred MacMurray. The soundtrack was scored by Adolph Deutsch. A cover version of Theme From The Apartment by piano duo Ferrante & Teicher was a US top ten hit single. (US:18)

“Adolph Deutsch, an underrated and really terrific composer, wrote the wonderful and popular score. However, the score’s well-known main theme was, in fact, by Charles Williams, a British composer, and had been used years earlier in an English film. That theme, entitled Jealous Lover, was made so popular by the film that the publisher agreed to re-name it Theme From The Apartment. The music served the film perfectly, and the soundtrack album was hugely popular, as was the Ferrante and Teicher version of the theme. There is superb dramatic scoring as well as jazzier tracks, and the whole thing makes for a wonderful listening.”

“The film's use of music is a high point and feels perfectly hand picked for each of scenes.”

“The soundtrack presents a wonderful very well known musical theme, music to hum to in the form of Love Theme From The Apartment. It's played on the piano at a Chinese restaurant. Usually you remember the theme song long after you've forgotten the movie. But not with this movie. Maybe because it's so unique memory-wise.”

Stop The World I Want To Get Off – BROADWAY CAST****

Overture-The ABC Song-I Wanna Be Rich/Typically English/Lumbered/Glorious Russian Meilinki Meilchick/ Gonna Build A Mountain/Typische Deutsche/Family Fugue/Once In A Lifetime/All American/Mumbo Jumbo/ Someone Nice Like You/What Kind Of Fool Am I

The Broadway musical Stop The World I Want To Get Off starred Anthony Newley and Anna Quayle. It opened in October 1962 at the Shubert Theatre and ran for 555 performances. Based on the story of everyman, going through all of the stages, joys and woes of life and registering his wonderment at the profundity of it all. It had opened in London the previous year. Music and lyrics by Leslie Bricusse and Anthony Newley. (US:3 UK:8)

“To say that Stop the World was a revolutionary musical in the days of sugar and spice, nicey-nicey musicals would be an understatement. For fans of musicals unfamiliar with Newley's work, you will not be sorry when you buy this LP. Enjoy, one and all, Anthony Newley at his very best.”

“You will marvel at Newley's memorable tunes and witty lyrics, his verbal gymnastics and chuckle at some of the topical references if you are of a certain age. You will also be humming and whistling more of these songs than you now know.”

“You will be enthralled by Anthony Newley as, with Anna Quayle as his foil and a Greek chorus as his conscience, he puts on what is basically a one man show.”

“This Bricusse-Newley musical is still fresh today. Some of the songs are classic. They include What Kind Of Fool Am I and Once In A Lifetime. Newley's voice and vocal range were at their height when this album was recorded.”

“I hadn't heard this musical in over forty years and was delighted to find it as wonderful now as I did in the sixties. I'd forgotten how brilliant a singer Newley was, and how marvellous the score is. I was particularly impressed with how well Mumbo Jumbo still wonderfully satirizes politicians on the campaign trail.”

“Stop The World is one of the most fascinating musical theatre scores of the 1960s. Rarely has the score been bettered than on the original Broadway cast album, Anthony Newley and his pert leading lady, underrated British performer Anna Quayle, perform the score with flash and verve. The entire score is fantastic."

Somebody Loves Me – RAY CONNIFF****

Somebody Loves Me/Golden Earrings/You’re The Cream In My Coffee/The Green Leaves Of Summer/Don’t Fence Me In/I Only Have Eyes For You/The Thrill Is Gone/You’d Be So Nice To Come Home To/It Had To Be You/I Don’t Want To Set The World On Fire/Moon Song/All Or Nothing At All

A new innovation on Somebody Loves Me is that the Ray Conniff Singers actually sing the lyrics rather than provide a wordless backing to the orchestration. (US:14)

“Somebody Loves Me offers a program of pop standards and love songs that receive the full vocal group treatment rather than the wordless vocalizing for which Ray Conniff is known. The voices are out in front and gorgeously arranged, with the male and female singers on opposite sides of the stereo spectrum. More suave than Mitch Miller's singalong albums but just as infectious, Somebody Loves Me has moments of real drama, like the crescendo at the end of Golden Earrings."

“If I had to pick one artist that I could listen to forever it would be Ray Conniff. No one else has done so many great songs and in such a terrific manner. Ray arranged most of the songs like they should have been written in the first place. This album is one of the best, but they are all excellent. Younger people are in for a real treat when they discover Ray Conniff.”

“I am a new fan of this talented musician. The versions of You're The Cream In My Coffee and Don't Fence Me In are first rate. Great music is alive and well.”

“This is among the very best. Here you have some of the most beautiful, lively and high-quality stereo of the time.”

“The album where the Ray Conniff Singers start to sing the lyrics, plus the introduction of a new instrument, the clavietta. These songs are wonderful ballads and typically romantic. This is a fantastic work.”

Ray Charles & Betty Carter – RAY CHARLES & BETTY CARTER****

Ev’ry Time We Say Goodbye/You & I/Goodbye-We’ll Be Together Again/People Will Say We’re In Love/ Cocktails For Two/Side By Side/Baby Its Cold Outside/Together/For All We Know/Takes Two To Tango/Alone Together/Just You Just Me

Ray Charles & Betty Carter sees prolific Ray Charles team up with jazz vocalist Betty Carter for a recording session in which they duet on many well known standards. (US:52)

“Nice interpretations of some well known standards. Both are in their element when they provide ironical interaction in People Will Say We're In Love and Baby It's Cold Outside.”

“Like a delicious cocktail, the voices of Ray and Betty blend perfectly. Exquisite arrangements by Marty Paich who conducts the orchestra.”

“Ray Charles's decision to cut an album of duets with then rising jazz singer Betty Carter defines the phrase 'unerring instinct.' Charles responds to Carter's gorgeous voice and compelling melodic changes with some of his softest singing.”

“I always considered Ray Charles a blues singer, and still do, but his voice and style compliment jazz artist Betty Walker's perfectly. If you want to hear Ray Charles at his softest, get this album. The only criticism I have is there is too much accompaniment by the orchestra and back-up singers.”

“Although a big Charles fan, I must admit that Betty Carter works on a different level, showing the difference between the genius of popular music and a great jazz-vocalist. Recommended for both the jazz audience, and for Charles' fans.”

“I was unaware that he and Betty Carter had collaborated musically. What a nice surprise this one was for me. Ray is sensual in a way that's classy and sophisticated and Betty's voice is so sweet and coy, but never boring. Together, this blend makes for a relaxing, jazzy sensuousness that should not be missed.”

“This is one of the very finest collaborations ever recorded. Carter and Charles are at their peak here and the arrangements support their artistry magnificently. This is an absolute treasure.”

Portrait Of Johnny – JOHNNY MATHIS****

Starbright/While You’re Young/Should I Wait (Or Should I Run To Her)/All Is Well/You Set My Heart To Music/My Love For You/Oh That Feeling/How To Handle A Woman/Cherie/Hey Love/Jenny/The Story Of Our Love

Portrait Of Johnny was the third compilation album from the ever consistent Johnny Mathis, although only My Love For You achieved a noticeably high chart placing. (US:2)

“The disc sounds like a pastiche, but as always, with the sublime voice of Johnny Mathis as the common denominator, it is as entertaining as ever and perhaps more interesting than usual with all the musical changes on each track.”

“Starbright was perfectly suited for Mathis, who sang a number of dreamy songs utilizing the word 'star' in the title.” “The Mathis voice - rich and deep at some turns, high and fragile at others, poured gold either way - seals it in timelessness; it's a pop scholar's very definition of a classic.”

“Is there another traditional vocalist who can move so easily among genres than Mathis. From classic ballads to R & B to Broadway, this brilliant singer can cover just about anything.”

“One of the most underrated vocalist of our time and certainly one of the most versatile. Few others have his range or are as fearless when it comes to testing it.”

Jump Up Calypso – HARRY BELAFONTE****

Sweetheart From Venezuela/Go Down Emanuel Road/The Baby Boy/Gloria/Land Of The Sea & Sun/Goin’ Down Jordan/Jump In The Line/Kingston Market/Monkey/These Are The Times/Bally Mena/Angelina

Harry Belafonte sings what he is most famous for – calypso. It may come as a surprise to many that he was born in New York and not the Caribbean, although he did spend five years in Jamaica as a child. (US:3)

“Artistically this album is magnificent; this is Belafonte in his prime, clearly at his delightfully infectious best.”

“How wonderful Harry Belafonte's second pure calypso album, Jump Up Calypso truly sounds. It is bursting at the seams with solar powered energy. Harry's warmth and charisma have these songs brimming with personality, and the album is well-paced with beautiful ballads which complement the pure fury of the upbeat numbers.”

“He was a talented performer and singer and helped bring calypso to a worldwide audience. Listen to Jump Up Calypso all the way through and you'll see what I mean. It's full of great songs, most of which are rarely played.”

“This is an infectious album that combines some raucous calypso renditions of Caribbean folk tunes with a few more mellow but beautifully done selections featuring Belafonte's smooth as glass voice. It's really hard to choose a standout on this album, as all of it is wonderful.”

“This is a record that belongs in everyone's collection, regardless of the type of music you like. There is something for everyone, from the absolutely heartbreaking Land Of Sea & Sun to the infectious Monkey. The backing of the Trinidad steel band is just immaculate, and recording-wise, this is one of the great ones.”

“It remains true to its title and is the essential album for showing calypso as a viable musical genre and not just a footnote in American pop.” “This is my favourite album of Harry's and sounds as fresh today as it did when it first came out many years ago. Next time you have a BBQ get this out and get ready to party hearty.”

Halfway To Paradise – BILLY FURY****

Halfway To Paradise/Don’t Worry/You’re Having The Last Dance With Me/Push Push/Fury’s Tune/Talkin’ In My Sleep/Stick Around/A Thousand Stars/Cross My Heart/Comin’ Up In The World/He Will Break Your Heart/Would You Stand By Me

For his third album Halfway To Paradise Billy Fury moved away from the rock & roll of his debut towards the melodic pop ballads upon which his reputation rests. The magnificent title track was a UK No. 3 hit single and the equally impressive A Thousand Stars reached No. 14. (UK:5)

“This marks the end of Fury's transition from 'wannabe-rocker' into the 'light entertainment' category: the cover of Goffin and King's Halfway To Paradise, sent him to the top of the charts, lost him a squadron of devoted hardcore fans but gained an army of newly evolved softcore ones.”

“If you have nothing against early 1960s soft-rock, Halfway To Paradise is as nice and elegant a ride back into the epoch as anything. There is only one syrupy, orchestrated ballad, floating along at a slow waltz tempo A Thousand Stars; most of the rest is upbeat, catchy pop with occasional echoes of blues and R 'n' B. If only the arrangements relied a little less on keyboards, strings, and girlie harmonies, than on a well played guitar sound, the whole thing could have been a cool, tasteful example of pre-Beatles pop.”

“A Thousand Stars is one of my absolutely favourites by Billy. It's an eternal classic, such a beautiful song that has a lovely rhythm and style. And Billy's voice has never sounded better than here.”

“What a voice this guy had and so much passion in his songs. Billy had a fantastic presence and talent.”

“Historically, it helped make Billy a national star while at the same time forever burying his hopes of artistic growth - but the same could, indeed, be said about Elvis' early 1960s records, and we still enjoy them. Seems like there is more to life than artistic growth, after all.”

The Genius After Hours – RAY CHARLES****

The Genius After Hours/Ain’t Misbehavin’/Dawn Ray/Joy Ride/Hornful Soul/The Man I Love/Charlesville/Music Music Music

The Genius After Hours was distinctive in being an instrumental album with Ray Charles leading on piano, playing jazz and blues music, with drum, sax and bass backing. (US:49)

“A lot of folks forget that Ray Charles was a killer jazz-blues pianist. And this LP showcases this side of his talent. An all instrumental set that focuses on his jazz piano style with a heavy dose of the blues. This is perfect late night listening, stripped down Ray with a serious case of the blues is what you get here.”

“This is a rare opportunity to hear Ray playing straight ahead jazz with legends Joe Harris on drums and Oscar Pettiford walking the bass. Listen to Ray bop alongside Joe as he stirs the soup on the brushes during Dawn Ray. Make no mistake this rhythm section swings hard.”

“This set shows that even if Ray Charles had never sung a note in his life, his blues and jazz piano playing would have allowed him to make him a good career. My favourite track is Joy Ride a bebop (Parker) inspired blues variation.”

“This set casts Charles as a jazz-oriented pianist in an instrumental setting. Brother Charles has five numbers with a trio and jams on three other tunes. Fine music, definitely a change of pace for Ray. One must remember that although he became famous through popular music, he was really a jazz musician.”

“This is an excellent album - totally instrumental and some fine jazz. Mostly Ray at the piano, but also some great sax, etc. from other famous members of his group at the time.”

“Great presence from Ray, terrific jazz and blues. Ray doesn't sing on this but his piano playing is both easy to listen to and very soulful. For me, this is must have."

"The genius could do it all. You want straight ahead jazz with a little something extra on the piano, ask Ray. If I was in a quiet bar, enjoying a quiet drink, late at night, feeling mellow and relaxed ... this is the music I'd be listening to.”

Love Swings – BOBBY DARIN****

Long Ago & Far Away/I Didn’t Know What Time It Was/How About You/The More I See You/It Had To Be You/No Greater Love/In Love In Vain/Just Friends/Something To Remember You By/Skylark/Spring Is Here/I Guess I’ll Have To Change My Plan

Love Swings was a concept album in which Bobby Darin explores a relationship through songs, beginning with the joys and ending in the disillusionment. (US:92)

“The current vogue of taking songs from the American Songbook is nothing new; Bobby Darin was doing it back in 1961. Love Swings tells the story of a relationship via twelve classic tracks, with the first six concerning the joys of being in a relationship and the second six detailing the downside. It is has been described as the most sophisticated album of Bobby Darin's career and it is hard to disagree.”

“Offers music that was a challenge to Sinatra and what a challenge it is. Oh so smooth, late night romantic listening.”

“It's amazing how many of our present young vocalists are trying to copy Bobby but it is impossible. He had a unique talent and one can only marvel at how he could cross every spectrum. If you love Bobby's work definitely get this one."

“Side one contains songs that reflect the happier, giddier side of love. On it Bobby Darin's natural buoyancy as a performer shines through in six uptempo, truly swinging tunes. Side two contains the more poignant, mature songs, including the heartbreaking In Love In Vain.”

“Love Swings is Bobby Darin's most interesting conceptual approach LP and plays like two separate albums. The sequence of songs takes the listener on an emotional journey from love's first stirrings and its delirious heights to the first disillusionments and melancholy lows. While both sides are cohesive thematically, it is hard to listen to the sweet swinging sounds of side one and then eagerly flip to the more haunting and moody songs on side two.”

“This is one of Bobby Darin's most sophisticated albums. If you like a brassy, swinging sound and are not afraid of crying in your martini, then this LP may be your favourite Bobby Darin album.”