Down Drury Lane To Memory Lane – 101 STRINGS**

Drury Lane To Broadway/Rose Marie/One Alone/Make Believe/One Kiss/You Are My Heart’s Delight/Don’t Say Goodbye/A Girl Like Nina/I Won’t Dance/Glamorous Night/Between The Acts/Music In May/Rose Of England/My Love Is Like The River/People Will Say We’re In Love/Some Enchanted Evening/Getting To Know You/Fanny/I Could Have Danced All Night

The 101 Strings delivered the first double LP, and first wholly instrumental album, to top the UK album chart. Down Drury Lane To Memory Lane consists of orchestral cover versions of both older and contemporary hits. In answer to the final comment below, a combination of the glamorous couple on the cover, the classy associations implicit in the title and nostalgia for the music of their youth, would have appealed to the aspirant yet conformist middle classes with their new radiograms. (UK:1)

“I felt that I was listening to the ashen footsteps of ghosts. Out of all the albums to have topped the chart this seems to me the most singularly neglected and erased, perhaps the most sheerly deserted, of them all. Despite the florid sleeve note’s repeated rhetorical use of the word 'unforgettable' this music did not survive into the CD era.”

“What was the audience? Listening to the seeping sanitisation of Down Drury Lane it is hard to establish who those people were, the ones who kept the album at number one for five weeks and in the chart for 21 weeks in total. By some distance this is the first number one album which feels as though it belongs to a totally alien era; its neutralisation defies any attempt at track-by-track analysis.”

Brenda Lee – BRENDA LEE****

Dynamite/Weep No More My Baby/Jambalaya/(If I’m Dreaming)Just Let Me Dream/Be My Love Again/My Baby Likes Western Guys/Sweet Nothin’s/I’m Sorry/That’s All You Gotta Do/Heading Home/Wee Wee Willies/Let’s Jump The Broomstick

Debut album from the young 'Little Miss Dynamite' Brenda Lee, who would become one of the top female pop vocalists during the first half of the 1960s. Contains the top twenty hits Sweet Nothin’s, I’m Sorry, and Let’s Jump The Broomstick. (US:5)

“For listeners searching for a title to expand their knowledge of Lee beyond the usual hits compilations, this disc functions very well. It has a raft of hits and great performances.”

“Little Miss Dynamite shows how quickly she found her own style given the right material.”

“Brenda Lee was a torch singer who could somehow project emotions she was too young to have ever really experienced. She represented music for and by teenagers.”

“With 1957's Dynamite, pint-sized 12-year-old Brenda Lee earned her nickname Little Miss Dynamite. Her first top-tenner, 1960's Sweet Nothin's, with confidential sounding whispered intro, yakkety sax solo, and Lee's vocals shifting from gutsy to kittenish, set the stage for her becoming one of the decade's top-charting solo female singers.”

“What a great singer. Just love to hear her tear up a song. Commanding voice, so strong for such a tiny lady.”

“I remember when I’m Sorry came out and it was so popular that we will always associate this lady with this beautiful song, as hers and hers alone, a very powerful voice - love it.”

“A tremendous talent that was not recognized by the music industry as much as she should have been.”

Bongos Bongos Bongos/Bongos Flutes Guitars – LOS ADMIRADORES****

Bongos Bongos Bongos: Tenderly/Bidin’ My Time/Sylvie/All Of Me/Greensleeves/Between The Devil & The Deep Blue Sea/Blue Moon/Unchained Melody/Don’t Blame Me/Londonderry Air/The Very Thought Of You/You & The Night & The Music - Bongos Flutes Guitars: How High The Moon/Caravan/C’est Si Bon/Friendly Persuasion/My Funny Valentine/ Making Whoopie/Birth Of The Blues/Golden Earrings/East Of The Sun/By The River St Marie/Laura/I Can Dream Can’t I

Los Admiradores were a studio creation of Enoch Light, used as a vehicle to promote his stereo recording techniques aimed at the newly emerging audiophile market. As such they enjoyed considerable success, Bongos Bongos Bongos reaching No. 2, and Bongos Flutes Guitars reaching No. 3, on the US album chart.

“Los Admiradores were another of Enoch Light's all-star studio creations, put together specifically to explore stereo recording techniques and exploit the large emerging market of fanatical audiophiles. It is not a collection of studio ploys and tricks designed to beguile the public with ping-pong sound effects or other stereo gimmickry, but a subtle and deft exploration of texture, colour, and rhythm, with minimal accompaniment of muted horns, double bass, drums; a recording of superlative definition, minimal clutter, afloat in its own ambience.”

“Easy swinging popular songs with a Latin touch, delicate arrangements and a clean sharp production. For every song there is information about the technical sound effects to enjoy the music on your home system. The future shined bright in 1960.”

“You get a bunch of jazz/pop standards with pretty cool arrangements and bongo breaks galore. Bluesy guitar lines and tight orchestration actually make this record quite listenable.”

“This LP harkens back to the golden age when stereo sound was quite novel. Enoch Light was a pioneer of recording big band jazz in tight stereo separation with highly distinctive arrangements. There are familiar old songs, pop standards and what not distributed among the grooves, all given the bongo treatment and the Enoch Light sonic signature. The cover art is in the Command house style, and one can tell at a glance that the cool cats and kittens were purring all over this one.”

The Best Of – CHRIS BARBER’S JAZZ BAND****

Bobby Shaftoe/Rock Island Line/New Orleans Blues/John Henry/Stevedore Stomp/Merrydown Blues/I’d Love It/Storyville Blues/The Girls Go Crazy About The Way I Walk/I Hate A Man Like You/Salutation March/Weeping Willow Blues

Compilation album of tracks recorded by British jazz stalwart Chris Barber in the early 1950s. Includes Rock Island Line, featuring Lonnie Donegan, which kick started the 1950s British skiffle craze. (UK:17)

“Includes some of the first records made by the band and reveal it to be a very polished, assured unit even at that early stage. As an aside two tracks were cut at that first session by the band's banjo player, Lonnie Donegan. Two years later they were issued at a single and Rock Island Line sparked the whole skiffle craze.”

“Barber and his band's specialty is what I suppose is called 'roots' jazz. That is, heavily blues oriented and leaning towards songs that were popular when jazz was first taking off in the roaring 20s.”

“Full of foot tapping, swinging trad jazz, with skiffle, blues and gospel. It shows just what an innovator Barber was, and the variety of styles he embraced.”

“Barber plays his trademark trombone, with an insouciant ease that makes it look so very easy. This is an album full of happy music played with such verve and joi-de-vivre that it really entertains and gets the feet tapping.”

“Chris Barber's take on jazz was at the blues, folk and gospel end which had influenced the earliest New Orleans model and, via Lonnie Donegan, he was in at the ground floor of the skiffle movement.”

“Chris Barber has been one of the giants of the British jazz scene. Without compromising his high musical standards, or the precision of his trombone playing, he demonstrated the ability to adapt to seismic changes in jazz music, earning admiration well beyond these shores. His band has embraced traditional jazz, blues, R & B, skiffle and gospel.”

Acker – ACKER BILK****

White Cliffs Of Dover/Snake Rag/2.19 Blues/Fancy Pants/Lazy River/There’s A Rainbow ‘Round My Shoulder/ Original Dixieland Onestep/Good Night Sweet Prince/Good Woman Blues/Bottom Of The Bottle/Milenberg Joys

Acker comprised a varied and interesting selection of tunes from Acker Bilk, performed in the trad style that was so popular in Britain during the early 1960s. (UK:17)

“From the period when Acker was paramount, had a fantastic line up and played traditional jazz.”

“Behind the gimmicky bowler hats and striped waistcoats Acker Bilk and his Paramount Jazz Band were excellent musicians who played a wide range of music. This album concentrates on jazz, albeit of a diverse nature. I am completely at ease with trad but find Acker Bilk's later numbers too brash.”

“This period was very much the 'classic' era for the Bilk band with a good mixture of material and some hot, foot-stomping jazz.”

“It was a band that played happy British trad, a band to jive to, a band to listen to. Acker was always inventive in his choice of music he played. Such diversity was common with the original New Orleans bands.”

“The publicity boys had an inventive time with Acker and his band with bowler hats and fancy waistcoats. All great fun visually but, in the end, its the music that counts. Here is trad jazz, diverse in its choice of titles and styles, so there is no chance of boredom.”

“This will be much appreciated by jazz fans of a certain age. Younger generations should listen in and learn but, above all, enjoy.”

The Music Of The Mountains – MANUEL***

Mexican Hat Dance/You Belong To My Heart/Plaza De Toros/The Mountains Are Crying/The Song Of The Barefoot Contessa/Mexican Lullaby/The Wedding Song/The Three Caballeros/Song Of The Mountains/April In Portugal/Song Of Mexico/Without My Lover/Blushing Moon/Be Mine

British orchestra leader Geoff Love made a living for over two decades evoking the sound of the Latin American mountains. The debut album The Music Of The Mountains was where it all began. (UK:17)

“Orchestra leader Geoff Love provided the musical accompaniment to literally scores of artists during the 1950s and 60s but settled on the moniker of Manuel for his 1960 album The Music Of The Mountains. The project was successful enough to prompt several revisits throughout the next two decades.”

“Absolutely beautiful music by an artist of class, that is pleasing to the ear and of the finest quality. Manuel plays with feeling and blends his music with all sorts of instruments bringing out the best in each. He turns his orchestral renditions into a class of their own, giving them his own personal stamp. This is orchestral easy listening music for cultured ears.”

“The music is relaxed and easy to listen to. Very good as background music during dinner or relaxed evenings.” “I first discovered Manuel on TV and found his music to be extremely soothing and full of passion. He has that hidden Spanish influence in his sounds that really draws me in.”

“I've listened to a lot of easy flowing instrumental music. Manuel's arrangement tops them all.”

“Manuel has been heard worldwide for many years on easy listening radio stations. His lush, elegant orchestration will be a welcome addition to your collection.”

"Geoff Love created a string of albums under the disguise of Manuel & The Music Of The Mountains. The music is generally supercharged with orchestra strings, features a mixed choir and weaves prominent guitar accompaniments into the arrangements, to create the notion of a carefree life in the mountains of Latin American countries.

Young At Heart – RAY CONNIFF****

Remember/You’ll Never Know/Dancing With Tears In My Eyes/I’m In The Mood For Love/I’ll Be Seeing You/Its Dark On Observation Hill/These Foolish Things/Ma He’s Making Eyes At Me/Young At Heart/If I Loved You/ Harbour Lights/I’ll See You In My Dreams

Easy listening choral music was very popular during the early 1960s, none more so than that of the Ray Conniff and his singers. Young At Heart was one of his most popular LPs. (US:6)

“I've owned quite a few Ray Conniff LPs over the years, and this one continues to be my favourite. It has a great collection of standards, a smooth and happy tempo throughout, and the arrangements are totally awesome.”

“This is one of the early attempts from the vocal talents of the Ray Conniff Singers performing popular numbers, and it is one of the best. Young At Heart, Harbour Lights and These Foolish Things all have wonderful arrangements. My personal favourite is It's Dark On Observatory Hill. If you enjoy the voices of the Ray Conniff Singers, then you will like this album.”

“Ray was at the peak of his choral writing for this album. There is just no one on the market with a better vocal dance beat.”

“I love the blending of their voices and the way they style the music. I find myself humming the songs long afterwards. You will never hear anything as beautiful and lively as a Ray Conniff styled song. I just know I love listening to them and that's the bottom line.” “The Ray Conniff Singers are one of those old time groups that had a distinctive sound. The songs are very old fashioned but it is soothing music.”

“If you are not singing along with these tunes, I will be amazed. Another collection of old standards that you are not 'too old' to enjoy. Very rich treatments of songs we all know, and most of us love. So-called 'modern music' has so much to learn, and offers so little to be truly appreciated, in comparison.”

“Ray was at the peak of his choral writing for this album. There is just no one on the market with a better vocal dance beat.”

Teach Me Tiger! – APRIL STEVENS***

Do It Again/Teach Me Tiger/I Want A Lip/In Other Words/I Get Ideas/Talk To Me/I’m In Love Again/That’s My Name/I’m Making Believe/I’ll Wait For Your Love/ It Can’t Be Wrong/When My Baby Smiles At Me

Teach Me Tiger! from April Stevens may well be the ultimate sultry temptress album. She would achieve greater commercial success a couple of years later when she teamed up with Nino Tempo.

“Calculated naughtiness that's ultimately as innocent as a lamb, the album luxuriates in the double entendres and nudge-nudge-wink-wink eroticism of a simpler time. Henri René's lush, knowing arrangements perfectly complement Stevens' starry-eyed interpretations, adding a much needed touch of truly adult sophistication to the proceedings.”

“The vibrancy of the vocal performance, coupled with the colourful and varied backing arrangements, make this an utterly irresistible bucket of suggestiveness.”

“The music is interesting thanks to space popster Henri René, so we get a little bit of everything from saxophone to minimalist jazz to strange pop to well anything he can dream up for April to coo over. She actually interacts very well with the music often answering to the sax or playing off different instruments.”

“Sensuous, I suppose, but also hilarious. The recording of Teach Me Tiger! is often included on lounge type collections and should not to be taken too seriously. It almost comes down to how much is too much, and this teeters the line in places, but I still enjoyed it."

“Teach Me Tiger! represents some kind of absurd apotheosis in post Julie London pop seduction. April Stevens' vocals are so breathy that one can't help but wonder whether the poor girl spent the recording session hooked up to a respirator machine.”

“Not sure if anyone not from the 60s era will appreciate or enjoy this music; but it's sultry and perfect romantic mood music.”

“Her voice is amazing and these songs are sweetly alluring.”

String Along – THE KINGSTON TRIO****

Bad Man Blunder/The Escape Of Old John Webb/When I Was Young/Leave My Woman Alone/This Mornin’ This Evenin’ So Soon/Everglades/Buddy Better Get On Down The Line/South Wind/Who’s Gonna Hold Her Hand/ Tomorrow/Colorado Trail/The Tattooed Lady

Back in the 1960s popular artists released new albums at frequent intervals to ensure they remained in the public eye. The second Kingston Trio album from 1960 String Along again topped the US album chart. (US:1)

“This album also offers the last singles by the original Kingston Trio line up, Bad Man Blunder and Everglades. But the two songs that really stand out are Leave My Woman Alone, a Ray Charles composition and, of course, The Tattooed Lady. Otherwise, attention should be paid to the group's original compositions When I Was Young and Buddy Better Get On Down The Line. This is a great mix of tunes that showcase the group in the last stages of their first and arguably best incarnation.”

“String Along has little authentic folk music, but has no poor tracks and few weak ones. Everglades, Bad Man Blunder and Colorado Trail alone make the album worth the money.”

“String Along has two more of my favourites: South Wind and When I Was Young. South Wind has more complex instrumentals and is sung in a minor key, adding to its haunting sound. I could listen to this one indefinitely without getting tired of it. When I Was Young exemplifies The Kingston Trio's great harmonizing vocals. This album also includes a western song, Colorado Trail, that I like to imagine cowboys singing after a long cattle drive.”

"String Along has the most unusual sound of any Kingston Trio album, mostly by virtue of the crisp mixing and voicing of the instruments. Guitars and banjo all appear in very high relief, matching the attention usually reserved for the voices on The Kingston Trio's records. The result is a somewhat quieter record, without much presence of the familiar unified group sound, as the individual members are relied upon more than the ensemble singing on many of the songs.”

Spartacus – SOUNDTRACK****

Main Title/Spartacus Love Theme/Gladiators Fight To The Death/Blue Shadows & Purple Hills/Homeward Bound/On To The Sea/Beside The Pool/Hopeful Preparations Vesuvius Camp/Prelude To Battle/Quiet Interlude Final Conflict/On To Vesuvius/Forward Gladiators/Forest Meeting/Oysters & Snails Festival/Headed For Freedom/Goodbye My Life My Love-End Title

The epic historical movie Spartacus starred Kirk Douglas and Laurence Olivier. The highly acclaimed soundtrack music was composed and conducted by Eric North.

“Very rarely in life does a work of art affect you profoundly for ever, but this soundtrack affected me from the first time I heard it. To truly appreciate it and be moved by it, you need to see the movie because Alex North's inspiring score sought to enhance the themes of love, comradeship, loyalty and other noble qualities.”

“Alex North's score for this epic film is one of the most beloved of all time. His music is perfect, evoking not only the passions of the characters but a feeling for the later first century BC.”

“North here created something utterly unique, a virtual time machine back into an age of cruelty and decadence, which I feel I understand so much better for North's music. Those who know the score won't need to be sold on it; for the rest, don't call yourself a soundtrack collector until you have this album.”

“My two passions for movies and music have allowed me to acquire a greater appreciation for film scores and Spartacus is the crowning jewel in my collection. Without a doubt Alex North's music resonates in the listener's mind long after hearing it.

“They don't make 'em like this any more: triumphant, passionate, soaring, reverential, militaristic and inspirational."

“North's Spartacus score has a truly pagan flavour, as does the film itself. Arming his orchestra with a wonderful array of percussion and an early electronic instrument called an ondioline, North captured the decadence, fantastic excesses, and especially the military precision of the Romans. He also composed a love theme of such delicacy that jazz musicians adopted it as a near-standard. Certainly, Spartacus is classic movie music."

In Person – RAY CHARLES****

The Night Time Is The Right Time/What’d I Say/Yes Indeed/The Spirit Feel/Frenesi/Drown In My Own Tears/Tell The Truth

In Person was the first live album from the R & B star Ray Charles, recorded at the Herndon stadium, Atlanta in 1959. The early 1960s was the period when he was at the height of his popularity and critical acclaim. (US:13)

“This is a live concert album from 1959, and despite the slightly imperfect recording quality, it is an astonishing performance. It's worth it just for Ray's recording of Drown In My Own Tears, but most of the other cuts are great too.”

“This is Ray at his early best, and do I wish I could have been at that concert. My only reservations about this album have to do with its length and with the rather long, dull The Spirit Feel. This is one of a handful of fantastic early Ray Charles recordings. Don't pass it by.”

“Why is this music so good? Ray Charles is a vocalist unlike any other. He does not 'sing' a song, he communicates the song to you soul to soul. He drives it into your brain. The tunes on this record are his full effect masterpieces. These include uptempo numbers like What'd I Say, hard driving slow blues like The Night Time Is The Right Time, and the slow show stoppers like Drown In My Own Tears.”

“Of course Ray Charles is a wonderful singer with the ability to really emote and get inside a song. But above all he is an outstanding piano player, and backed by a tight band on these live sets it really allows him to stretch out and show off his stuff.”

“No wonder Ray Charles was a popular concert draw. With tracks such as these you get spirited performances of Charles doing the songs that established his reputation.”

“He doesn't sing about moving, he moves me. This live recording is high intensity rock 'n' roll, blues, jazz, and a whole lotta soul.” “The show was and remains the best I've ever heard. The performance by Ray Charles, his band and The Raylettes was without equal. The energy of What'd I Say, Tell The Truth and Night Time Is The Right Time are incredible.”

Pretty Eyes – PEGGY LEE****

As You Desire Me/It Could Happen To You/Pretty Eyes/Moments Like This/Remind Me/You Fascinate Me So/I Wanna Be Loved/I’m Walking Through Heaven With You/I Remember You/Too Close For Comfort/In Other Words/Because I Love Him So

Pretty Eyes, from jazz legend Peggy Lee, features many of the less well known tunes from the American Songbook, sung with romance in mind. Arranged by Billy May.

“This album shows Peggy in her prime. Pretty Eyes has got to be one of her best recordings. The arrangements by Billy May, with lush, beautiful strings, are sweet but never overdone, gentle but driving rhythms, and on top of it all Peggy sings as if she's trying to seduce the listener. Gorgeous."

“Pretty Eyes shows Peggy's seductive voice at it's most romantic, including lovely versions of I Remember You and In Other Words, done very slowly. Most of the other songs are obscure gems from the Great American Songbook. Peggy knew which songs suited her style and didn't mind whether they were famous or not. Her song selection was always impeccable. So many gorgeous tunes on this album. Peggy is so seductive here. A delight for anyone who loves marvellous vocals.”

“It Could Happen To You features Peggy Lee singing at her best with an orchestration that makes great use of the strings. Peggy never misses a note on this classic love ballad. Pretty Eyes starts with the strings playing beautifully, and when Peggy comes in this number positively takes flight. Peggy's excellent diction bolsters her performance too. Listen also for I Wanna Be Loved, Peggy delivers another love ballad flawlessly with all her heart and soul.”

“Peggy Lee remains one of the very greatest female vocalists ever. I highly recommend this for Peggy's fans and anyone who enjoys classic pop vocals.”

“Peggy Lee was a great singer, always with quality arrangements. All the tunes on Pretty Eyes are romantic. Yes, this is candle light stuff.” “This album is beautiful. Peggy's singing is so soft and really brings such a presence to these recordings. Billy May's arrangements are perfect, with the sweeping strings, and the woodwinds make for some magical stuff.”

More Songs By Ricky – RICKY NELSON***

I’m Not Afraid/Baby Won’t You Please Come Home/Here I Go Again/I’d Climb The Highest Mountain/Make Believe/Ain’t Nothing But Love/When Your Lover Has Gone/Proving My Love/Hey Pretty Baby/Time After Time/ I’m All Through With You/Again

For More Songs By Ricky teen idol Ricky Nelson appears to have been encouraged by his minders to move away from his rock & roll base towards a more middle of the road sound. (US:18)

“Bobby Darin influenced pop album. Ricky sounds unfamiliar and uninspired by the songs and the band is hopeless. The material is extremely poor.”

“This album differs from Ricky's previous efforts in that it finds him moving away from the traditional 1950s rock-n-roll/rockabilly style to a bigger 'more mature' sound. We hear more piano and find the sax taking a big part in many of the songs. This appears to be a move directed more by Ricky's father, Ozzie, than by Ricky himself. The material is more jazz-pop/rock than pure rock 'n' roll. Although there are several stand-out tracks, clearly Ricky wasn't entirely comfortable with this direction.”

“In 1960 the popularity of rock ‘n’ roll was on the downward, and this shows on More Songs By Ricky. So it's no surprise Nelson and the people around him felt like trying out new fields and sounds. But recording old standards like Baby Won't You Please Come Home, Here I Go and Time After Time, obviously wasn't the way for him."

“More Songs By Ricky is a substandard album which finds him trying material with more of a middle of the road pop style, there's very little rock and roll on this album. Maybe Ricky and his dad Ozzie were reacting to the recent success of Bobby Darin. There are some nice tunes but this is definitely one of Ricky's lesser albums."

“I'm Not Afraid starts the LP with a great number; Rick sings this very well in his great voice with a lot of sensitivity. The guitar arrangement shines and the backup vocalists do a fine job of harmonizing flawlessly. Baby Won't You Please Come Home has a strong show tune feel to it, with an arrangement full of brass and percussion. Rick sings this so beautifully and the female backup chorus works well for this number. Here I Go Again has a terrific Rick Nelson interpretation and he bats this one straight out of the ballpark.”

Look For A Star – BILLY VAUGHN***

Look For A Star/Snowfall/Mona Lisa/Paper Roses/Greenfields/Beyond The Sunset/Because They’re Young/He’ll Have To Go/Theme From The Apartment/La Montana/Just A Closer Walk With Thee/Maria

Look For A Star follows the usual Billy Vaughn formula of combining older standards with more recent chart hits. The title track was a US top twenty hit single. (US:5)

“One of Billy's best albums, led by big singles hits. Look For A Star has some marvellous strings on some very big hits of the day as well as standard material.”

“Look For A Star is a beautiful creation. I love the lyrics and the music.”

“Brilliant music. If you feel stressed these are great pieces to listen to with your eyes closed.”

“This music takes me soaring in my imagination above the clouds and further. It is such beautiful music that takes me on an emotional joyful carpet ride every time. I am sure that many people feel the same way. Magical music.”

“This is such a wonderful instrumental music. Never get tired of listening to it. Look For A Star is a great gem.”

“One of the all time most beautiful 'title songs' from a movie. Most people find it hard to believe that this beautiful piece was the theme for a horror movie, but the words do have the answer.”

“Can you get any more beautiful than this? You certainly can't. It's just eternal. From a time when there was beautiful music.”

I’ve Got A Right To Sing The Blues – EILEEN FARRELL***

Blues In The Night/I’m Old Fashioned/Supper Time/Looking For A Boy/Glad To Be Unhappy/On The Sunny Side Of The Street/Old Devil Moon/He Was Too Good To Me/Ten Cents A Dance/ Ev'rytime/September Song/I’ve Got A Right To Sing The Blues

Opera singer Eileen Farrell defiantly asserts her right to change her musical style. I’ve Got A Right To Sing The Blues paid off as it was her only album chart success. (US:15)

“The first time you hear this LP, you'll probably be most struck by the first track - a beautiful, heartbreaking, even overwhelming rendition of Blues In The Night - as glorious a celebration of female pop vocal prowess as has ever been recorded by anyone, anywhere. But as you continue to listen you'll discover that it is merely the first among equals of dynamite covers that function almost as reinventions of a treasury of pop and jazz standards. Basically, every track is a showstopper.”

“On almost any other album, any one of these performances would be the high point. Here, the embarrassment of riches is such that you'll find it difficult, in the end, to choose a favourite. My preference? Probably the scintillating, uptempo version of Jerome Kern and Johnny Mercer's I'm Old Fashioned.”

“Her tone is gorgeous, her rhythms are spot on, her diction is crisp and her interpretations are enticing. Farrell was a world-class opera singer who brought her enormous artistry to the American popular song. We won't hear the likes of this voice again. Treasure this one.”

“Any fan of the dramatic soprano's operatic artistry should have this album to demonstrate how equally adept she was in the realm of classic pop music. On this album she simply sounds like an incredibly versatile big-band singer, not an opera singer who is slumming out her repertoire.” “One of the great voices of all time. Ms. Farrell is always right on the money, who can do anything she wants.”

“Her voice is pop perfection, her range is impressive and her high notes are as sustained as her low notes. She sings from the gut with unexpected gusto. Her perfect pop performance is all the more amazing when you understand her accomplishments as an opera singer.”

Craig Douglas – CRAIG DOUGLAS***

Only Sixteen/Golden Girl/Come Softly To Me/My First Love Affair/What Do You Want/Come Be My Love/Pretty Blue Eyes/New Boy/Teenager In Love/Riddle Of Love/Sandy/Heart Of A Teenage Girl

Isle of Wight born Craig Douglas was a regular fixture in the British singles chart in the early 1960s, concentrating on melodic ballads. Album wise he was less successful with only this self titled debut slipping into the UK album chart. His cover of Only Sixteen was a UK chart topper, with Pretty Blue Eyes and Heart Of A Teenage Girl also making the top ten. A compilation of his hits is worth a listen. (UK:17)

“Apart from the hits, which were quite good, most of the rest is average. It is easy to understand why Craig Douglas never hit the heights.”

“Craig had a sweet 'ballad' voice, good diction and a distinctive sound at a time when so many singers sounded pretty much the same.”

“Douglas can be seen as one of this country's finest exponents of high school pop, and to be honest his cover of Sam Cooke's Only Sixteen is better than the original, for the simple reason that Cooke may have wanted to pass himself off as a teenager, but Douglas was the real deal.”

“Though Douglas is not known as an album artist and never really made another, even this is just a 'hits so far' collection. Rock critics may have wanted to write Douglas off as of little worth, but the facts are simply too much in his favour.”

“I'd forgotten just what a good singer he was. Funny business show business, that a fellow with his talent should so quickly fade into relative obscurity. Still, here's a chance to relive good memories, good songs and good singing...treat yourselves.”

“It is nice to hear some quality well written songs sung by a very talented and professional entertainer.”

“If you, like me, are stuck in a time warp, and like your music to have lyrics you can understand clearly, and a tune you can sing along to, then you will enjoy listening to some well remembered songs, and some not quite so well remembered, but very enjoyable all the same. Although Craig Douglas was not a pop icon, he made his mark on the music world in the late 50s and early 60s.”

White Satin – GEORGE SHEARING****

Your Name Is Love/Dream/Laura/There’s A Small Hotel/Old Folks/Blue Malibu/How Long Has This Been Going On/Love’s Melody/An Affair To Remember/There’ll Be Another Spring/Moonlight Becomes You/I’ll Take Romance

Jazz influenced pianist George Shearing achieved his final US album top twenty entry with the smooth romantic White Satin which provided him his highest album chart placing. (US:11)

“The combination of Shearing's beautiful piano and the strings behind the music make this a pleasant and relaxing LP to listen to. Compared to other Shearing productions, this collection gives the listener a more sensitive and mellow sound which makes it perfect for a late rainy night.”

“I enjoy listening to George Shearing because his music is very rich in melody and his solos represent him as a great pianist. Whether he plays with his quintet or with an orchestra in the background, Shearing shows that he is versatile at different sounds. Although there are no lyrics here, I think these sounds give the listener one thousand things to talk about, like it did for me.”

“The lush orchestral arrangements, coupled with the distinctive Shearing piano-vibraphone melody, took my breath away. One song with a Latin theme is Blue Malibu. The percussion, combined with the harmonic patterns from Shearing's piano, take you to a sunny beach overlooking blue waters and white sands. From sensual to introspective, the songs on this LP will lift your spirits. Truly timeless music.”

“White Satin literally bursts at the seams with romantic numbers; and the first track entitled Your Name Is Love sets this tone right away. The flutes are well used in this arrangement as Billy May conducts the number. Unfortunately, all good things must come to an end. I'll Take Romance ends the LP with a distinctly upbeat tone that leaves you wanting more. The infectiously catchy melody makes good use of the piano as the strings and percussion enhance the number, which works on several levels at once; and therefore makes for a strong ending."

“Classic, smooth sounds. Shearing never intrudes on your space. Always keeps the jazz heritage in the background, so you remember his roots. Great late night music."

Sings His Big 15 – PAUL ANKA*****

Diana/Put Your Head On My Shoulder/Crazy Love/Don’t Gamble With Love/I Love You Baby/Midnight/Don’t Ever Leave Me/Its Time To Cry/Lonely Boy/(All Of A Sudden) My Heart Sings/I Miss You So So/You Are My Destiny/ That’s Love/Puppy Love/Adam & Eve

Teenager Paul Anka launched his career with the worldwide smash Diana. Although he never quite reached the same height again, between 1957-62 he was a regular visitor to both the US and UK singles chart. The compilation of 1950s singles Sings His Big 15 stayed in the US album chart for nearly three years. (US:4)

“It is great to hear the early songs in their ABC Paramount original versions, rather than the RCA re-do's a few years later. Don Costa's orchestra is there in all its glory, conjuring up all my old teenage memories.”

“One of the things that distinguished Paul Anka from the vast majority of his contemporaries was the fact that he wrote most of the songs he recorded during his heyday in the late 1950s and early 1960s.” ,p> “Anka's early recordings for ABC-Paramount truly captured the flavour of that era. Anyone who grew up during those years has a very special place in their hearts for such classics as Put Your Head On My Shoulder, Lonely Boy and of course his 1957 summertime smash Diana.”

“What can be said about Paul Anka? All of his music is just the best. I never get tired of listening to him and this LP has many of his best songs.”

“I would highly recommend this collection to anyone who loves Paul Anka's music. He's one of the best in the history of music.”

“Paul Anka's songs have endured the test of time because of his great ability to sing beautifully and to make songs into small stories that capture the heart. There truly are a number of highlights on this album. I really like Diana, this ballad rocks as Paul sings his heart out. He never sings a superfluous note and the musical arrangements have great special effects. Put Your Head On My Shoulder, a very romantic, slow dance ballad, features Paul crooning as only a real pro can; and the beat is great. This is the kind of music they just don't make anymore. I wish they did. This is one of the best voices of all time.”

Rockin’ With Wanda! – WANDA JACKSON****

Rock Your Baby/Fujiyama Mama/You’re The One For Me/Did You Miss Me/Cool Love/Honey Bop/Hot Dog That Made Him Mad/Baby Loves Him/Mean Mean Him/You’ve Turned To A Stranger/Don’a Wan’a/I Gotta Know

Wanda Jackson belonged to a rare breed, the female rockabilly vocalist. On Rockin’ With Wanda! she shows she can rock just as hard as the fellers. However, major commercial success would elude her.

“These sides show just why she's so highly regarded by rockabilly aficionados. Jackson blazed the trail with and for the small number of original female rockabillies, cementing her place as one of the genre's legends.”

“Rockin' With Wanda cherry picked a dozen sides waxed between 1956 and 1959. Backed by world class picking, she is utterly authoritative on everything she sings.”

“Wanda just rocks with the best of the men. Songs like You're The One For Me and Did You Miss Me? are teen love songs that are just as good as anything from the best teen queens of the 50s or 60s. She's the queen of rockabilly, she's hot, and if you've never heard of her then shame on you. This is a must have LP.”

“Wanda Jackson's infectiously upbeat energy really impresses me, but she can sing just about any type of number she wants and make it sound special. This album showcases her magnificent voice with some well written musical arrangements fitting in perfectly with her singing.”

“There's nothing but great country/rockabilly here, all performed as few others but Wanda could ever do; just one listen proves it. Wanda Jackson fans will be thrilled with the excellent music found here; and it makes a fine starting out LP for newcomers just discovering Wanda's artistry.” “She simply had no peers among female vocalists in her ability to rock out. The somewhat cutesy cover of the 1960 album gives no real clue of the scorching vocals contained therein."

“There is some real good female rockabilly here, and some other interesting tracks, but it gets a little too country at times, at least for my tastes. It's an interesting blend of music, though. Wanda has a good voice with personality.”

Like Love – ANDRE PREVIN***

Like Love/When I Fall In Love/I Wish I Were In Love Again/Falling In Love Again/In Love In Vain/Nothin’ To Do With Love/Love Is Here To Stay/Love Me Or Leave Me/Looking For Love/At Long Last Love/Like Someone In Love/I Love A Piano

With the world love in each song title some perceptive pundits suspected that pianist Andre Previn may have wanted Like Love to engender a feeling of romance in his listeners. (US:25)

“Previn’s slightly jazzy yet romantic piano stylings are featured here with lush strings as background. Some might call it easy listening; it certainly is that; yet some would think of this LP as primarily romantic. I like it as quiet, light music to entertain by. So, take your choice, it is a great and listenable collection.”

“It is my all time favourite album. I love the jazz piano with the strings. Andre Previn really got this one right. To date, there has been no equal.”

“I grew up listening to the wonderful music of Andre Previn. This album is one of my particular favourites, twelve tracks of love songs. It is the epitome of easy listening, relaxing music. A great stress reliever. Highly recommended."

“I have always loved it. Previn is an outstanding jazz and classical pianist, combining the two masterfully on this LP.”

“I'm a big fan of Previn's jazz work and while he himself is fine, the orchestra accompanying him is dire and the arrangements dreary, grim even.”

“Like Love is a pleasant session that features pianist André Previn and a string section breezing through several standards that include 'love' in the title. Previn keeps the proceedings from getting too sugary by utilizing his jazz talents, which especially benefit Hollander/Lerner's Falling in Love Again, Gershwin's Love Is Here To Stay and Cole Porter's At Long Last Love. This is an enjoyable and romantic addition to Previn's immense catalogue.”

“This is a nice easy listening, romantic and lush orchestra album. It features some nice piano playing as well, with orchestrations similar in style to Nelson Riddle. Very recommended.”

Crazy! Baby – JIMMY SMITH***

When Johnny Comes Marching Home/Makin’ Whoopee/A Night In Tunisia/Sonnymoon For Two/Mack The Knife/ What’s New/Alfredo

Crazy! Baby was an early release on the Blue Note label from jazz electric organ wizard Jimmy Smith, before he achieved greater commercial success a few years later after moving to Verve.

“Starts strong but by the end of the first side there's what sounds like too much of the bad kind of improvisation. Smith throws some stuff at the wall ... it slides down to the floor ... doesn't stick.”

“Another great Smith album for Blue Note. Jimmy Smith here set up the organ trio standards. Cool cover and soul jazz at their peak.”

“Crazy Baby was Jimmy Smith's first album of the sixties, a decade which would make him a household name. The record is filled with tight swing, and the flawless Smith groove is kicked off with When Johnny Comes Marching Home. The tune features one of the most exciting solos Jimmy ever recorded and he is constantly inspired and spurred on by some fierce drumming. The trio burns on A Night In Tunisia, Sonnymoon For Two, and Mack The Knife before slowing down with a nice take on What's New highlighting Jimmy's expressive stop use.”

“Jimmy recorded only four trio albums for Blue Note between 1960-1963, and this in my opinion is the best of the lot. The album is consistently swinging, and is a peek at things to come in terms of the trio's interplay in the next couple of years.”

“Jimmy is heard in peak form on swinging and soulful versions of such tunes as When Johnny Comes Marching Home and Makin' Whoopee.”

“Why Jimmy was still using the warbly, rinky-dink setting on his organ when he recorded this set is a mystery. He uses it here on three tracks and it's just not nice. Happily, there are treats in store. For one there is his first recording of the perennial Dizzy Gillepsie tune A Night In Tunisia, which has that patented swing-and-bounce Smith magic. Best of all is the opening track which, once you get over the surprising material, has a great Jimmy solo, replete with a good early example of his two-note repetitive hold.”

Bye Bye Birdie – BROADWAY CAST****

Overture/An English Teacher/The Telephone Hour/How Lovely To Be A Woman/Put On A Happy Face/Normal American Boy/One Boy/Honestly Sincere/Hymn For A Sunday Evening/One Last Kiss/What Did I Ever See In Him/A Lot Of Livin’ To Do/Kids/Baby Talk To Me/Spanish Rose/Kids (Reprise)/Rosie

The Broadway musical Bye Bye Birdie starred Dick Van Dyke and Chita Rivera. It opened in April 1960 at the Martin Beck Theatre and ran for 607 performances. Satirical plot involves a rock & roll singer drafted into the army. Music by Charles Strouse, lyrics by Lee Adams. (US:12)

“Great fun. Dick Van Dyke at his best, Chita Rivera is glorious. Classic 60s musical, light hearted and entertaining, it proved to be a masterpiece. Good score, terrific performances all added up to make it the hit it was.”

“When Bye Bye Birdie opened on Broadway in April 1960, rock and roll was for kids and Broadway musicals were for adults. Thus, much more so than in the movie version three years later, the stage show was a satire of rock and roll. The rock and roll numbers in it are satires on the music and lyrics that were typical of rock and roll at the time.”

“This musical is a sweet little show that is in between the classic musical style and the modern musical. Its quite enjoyable to listen to if you want some light toe tappers. It also has some good ballads and duets.”

“With an outstanding cast and many wonderful songs, this semi-spoof of a late 50s rock star, a songwriter, his overbearing mother and the woman he loves and almost loses is a highly underrated and entertaining musical. Grounded as it is in its time period, it explores timeless themes and is as fresh today as when it was first released.”

“This is a great soundtrack, it is fun and enjoyable to listen to. The best songs on this LP are all of them.”

“The original recording is wonderful, because the music and lyrics are wonderful. If you are child of the fifties and/or sixties you will thoroughly enjoy this LP, so much fun, that you will 'put on a happy face'.”

Ride This Train – JOHNNY CASH**

Loading Coal/Slow Rider/Lumberjack/Dorraine Of Ponchartrain/Going To Memphis/When Papa Played The Dobro/Boss Jack/Old Doc Brown

Ride This Train may not be to everyone’s taste as it comprises a series of tracks, each of which opens with a monologue by Johnny Cash, who then portrays the character in the song.

“I didn't like this at first. After repeated listening, I'm a true believer. This is a concept album in the truest sense of the word. Between tracks you hear Johnny talking about America, along with the sounds of a steam locomotive. It's as though Johnny is travelling cross country and telling stories of various Americans including slaves, slave-owners, outlaws, Cajuns, lumberjacks, miners etc.”

"All the songs tell a different tale, but they all fit together somehow. The songs are clear and Cash's voice sets far up front of the instruments.”

“The record contains eight tracks that give examples of the different people that make up our great land. It uses the train as transport, complete with sound effects, to take the listener on a tour of America.”

“The linking stories feel incredibly corny, and they do disrupt the flow of the album, but the actual musical performances are so good that I'm inclined to forgive Cash the more self indulgent aspects of the album.”

“To me this album stands alone on a par by itself. Story telling is a lost art and when it is done as masterfully as here, you are at a loss if you don't get to hear it. I recommend this to anyone who likes story telling.”

“I'm a huge Johnny Cash fan, but this album sucked and I had to throw it away. I've never been a fan of Johnny’s spoken word, and would rather he put his ballads to music.”

“It's got some cool moments, but is mostly an oddity. Cash's first person narration of different characters and the same repeating train sounds are more jarring than evocative.”

The Sound Of Fury – BILLY FURY****

That’s Love/My Advice/Phone Call/You Don’t Know/Turn My Back On You/Don’t Say Its Over/Since You’ve Been Gone/Its You I Need/Alright Goodbye/Don’t Leave Me This Way

Uniquely for a British teen idol of the time Billy Fury composed all the tracks on his album debut The Sound Of Fury. It reflects his rock and roll origins before he turned his hand to the big ballads for which he is best known. (UK:18)

“All ten songs were written by Billy Fury and encompass rockabilly, blues and country influences. He was later to be steered towards the big ballad style but is here presented doing the sort of material he loved best.”

“Billy Fury's first long-player is quite simply an outstanding piece of British rock 'n' roll - even rockabilly - history. From imitations of slapped-bass style playing to raw and natural vocal sounds, this is a real treat for heart-felt music fans. Billy is remarkable and quite simply demonstrates his energy at all audible levels.”

“He wrote all the songs himself, itself a rarity in those days. He also performs rock, rockabilly, country rock and a little blues and rhythm and blues in the space of ten songs, giving you a perfect imitation of Sun Elvis. The whole show is a one-off, and no-one else could have pulled it off in such an original fashion."

“This is Billy Fury pure and raw at the beginning of his amazing career. To have written and recorded these beautiful rock 'n' roll classic songs so early on shows us just how very talented he was."

"Billy was the nearest version Great Britain had to America's Elvis Presley, and this LP shows all the talent and versatility of this great artist and performer. There's everything from rock to ballad and no Billy fan should be without this.”

“Billy Fury was, by far, a better authentic rocker than anyone else of his generation. And here is the definitive testimony. Heavy-lidded, with his trademark blond hair partially falling into his face, slouching and slightly threatening in front of the mike, Billy Fury was the real deal. His 1960 Sound Of Fury album was iconic and - more significantly - had a genuine feel about it, when compared to the many wooden British rock parodies that were around in those days.”

The Strings Sway – THE KNIGHTSBRIDGE STRINGS**

South Sea Island Magic/Sleepy Lagoon/Harbour Lights/Red Sails In The Sunset/Heavenly Hawaii/Song Of The South Islands/Sweet Leilani/Down Among The Sheltering Palms/Trade Winds/Sing Me A Song Of The Islands/ Blues Hawaii/Honolulu Blues

An album of Hawaiian themed tunes from the now completely forgotten Knightsbridge Strings. One star deducted from The Strings Sway for the total failure to engage with posterity. (UK:20)

“The phenomenal success of The 101 Strings prompted a host of copycat orchestras around the world. The members of the rivals were as anonymous as the members of The 101 Strings, prompting many to believe the new arrivals were merely the 101 Strings under a different name. The Knightsbridge Strings, who were to enjoy one chart album, did possess something of a pedigree, with Malcolm Lockyer and Reg Owen handling conducting and arrangements for the orchestra. Also involved, albeit in a supervision role, was Tony Hatch, later to become one of the best known writers and producers of the decade.”

Everybody Loves Saturday Night – BOB WALLIS’ STORYVILLE JAZZMEN***

Le Reve Passe/Down Home Rag/Old Stack-A-Lee Blues/Everybody Loves Saturday Night/I’ll Take You Home Again Kathleen/Alla Turka/Savoy Blues/Where Shall I Be/Kansa City Man Blues/Captain Morgan/Sons Of The Brave/L’Oiseau Bleu

Riding on the back of the trad jazz bandwagon, the relatively little known Bob Wallis’ Storyville Jazzmen just managed to breached the UK album chart with their Everybody Loves Saturday Night LP. (UK:20)

“Archetypal trad jazz. Of particular interest is the whacky piano and some of the best banjo playing.”

“The band's uniform of looking like Mississippi gamblers led to them being dismissed by 'serious' jazz pundits, but beneath the showbiz there was a group of talented players. Wallis himself was a hard-hitting player of considerable ability.”

“Bob Wallis blew a mean trumpet, and with great support from Keith 'Avo' Avison on trombone and Doug Richford on clarinet, they made a great front line. The rhythm section too (Hugh Rainey on banjo, Pete Gresham on piano and Brian 'Drag' Kirby on bass) keeps the whole thing moving. If you've never heard Bob vocalising then you've missed a treat. It can be an acquired taste but the gravelly voice soon grows on you, and in my view Bob's outfit was the pick of the sixties British trad bands.”

Now, There Was A Song! - JOHNNY CASH***

Seasons Of My Heart/Feel Better All Over/I Couldn’t Keep From Crying/Time Changes Everything/My Shoes Keep Walking Back To You/I’d Just Be Fool Enough/Transfusion Blues/Why Do You Punish Me/I Will Miss You When You Go/I’m So Lonesome I Could Cry/Just One More/Honky-Tonk Girl

With Now There Was A Song Johnny Cash moves away from his then usual rockabilly style to embrace a more full blooded country sound, complete with fiddle, pedal steel guitar and piano backing.

“Most of Cash's music revolves around his trademark boom-chicka-boom rhythm and relatively simple instrumentation, with rock 'n' roll influences that separate it from most commercial country music. Now There Was a Song! paired Cash with a fiddle, pedal steel guitar and piano, with more conventional country settings and rhythms. Cash sounds like he loves these songs and is thrilled to be performing them. He was on top of the world at this point in his career."

“This is one of the man's most consistently good albums, even if paradoxically it's probably the least representative of his trademark sound.”

“This is Cash at his most country. He can often be folk and maybe even a little rock, but this is completely country and perfectly done at that. His voice has never sounded better. The songs are pure country classics.”

“It's one of his most atypical albums, Johnny doing covers of country standards. Pedal steel and fiddles seep into his sound, instruments that Cash had generally shied away from, yet it still sounds pretty good.”

“If there was ever a Johnny Cash album that is true country, this is it, with some great versions of country standards. This is indeed a different Johnny Cash style but he is in excellent shape. I think every Cash fan will enjoy this album.

“This album marked a departure from past Johnny Cash releases in that it is made up of old country standards. It is also unique in that it was recorded at only one session. A notable song from the album is Transfusion Blues, which is a censored version of Cocaine Blues, which Cash would later record under the original title.”

“This is one of the more Nashville sounding releases of Cash's. Weeping steel guitar, fiddle, honky-tonk piano...it's all there.”

Moonglow – PAT BOONE***

Moonglow/San Antonio Rose/Hands Across The Table/You Always Hurt The One You Love/Very Thought Of You/Girl Of My Dreams/Again/Who’s Sorry Now/We Love But Once/It’s A Sin To Tell A Lie/Imagination/ Unchained Melody

Although a few years earlier he was very hot property, by the early 1960s the popularity of smooth vocalist Pat Boone was on the wane, although he had yet to reach the height of uncool that would come later. The relatively low chart placing of his first sixties LP Moonglow reflects this dip in support. (US:26)

“Moonglow as to be expected, is mainly soft lights and sweet music (with two oddities: a hillbilly-ish San Antonio Rose and a reversion to Pat's popular style in Who's Sorry Now) with a creamy, string laden orchestra backing him (plus a wonderful trombone choir and the odd alto-sax and violin solo).”

“The melodic and romantic voice of Pat delivers songs from the American Songbook which remind the listener that the old performers can sound pretty good.”

“Pat starts the new decade in fine fashion with this gem from 1960. Moonglow stands among the four or five top albums in Boone's voluminous catalogue. And like the others in that group, there is hardly a weak link. Each of the twelve songs is a splendid musical offering. Collectively they span the golden era of American popular music, from the late '20s to the late '50s, and provide a thumbnail history of that prolific period. At the time of this album's release, Pat Boone's hits were occurring with somewhat less frequency than before. Yet, it could be argued that his creative successes were never greater.”

“The artistic depth which came from finding wholly his musical niche, are the qualities that Pat Boone brings to Moonglow, and which radiate throughout. The warmth, sincerity and finesse he accords these timeless treasures make this album an exceptionally fine listening experience.”

“Moonglow gives Pat the chance to smoothly croon his way to romantic heaven via the ears of the listener. A sincerely rendered Unchained Melody rates amongst the best versions of this much recorded favourite. However, just in case Pat might be considered to have gone soft on ballads, a jangly uptempo version of San Antonio Rose intervenes and not letting hit-maker Connie Francis have her own way, he borrows two of her hits and tearful style."

King Size Guitar – BERT WEEDON****

Guitar Boogie Shuffle/Big Beat Boogie/Nashville Boogie/Lonely Guitar/King Size Guitar/Bongo Rock/Apache/Blue Guitar/Teenage Guitar/Bert’s Boogie/Querida/Theme From A Summer Place

Bert Weedon is best known for his million selling guitar tuition books. His only UK chart album of original material came with King Size Guitar. It contains his sole UK top ten single Guitar Boogie Shuffle. Sad to relate his version of Apache sounds nowhere near as good as The Shadows' chart topper. (UK:18)

“His name may be relatively little known these days but there is no denying the influence that Bert wielded among later guitar players.”

“Bert Weedon’s first LP includes many old favourites all in crisp clear sound. This is a must for all instrumental fans or 50s and 60s enthusiasts.”

“I heard Bert's version of Apache, before The Shadows version, which I must say the Shadows is far superior, and have been a Shad's fan ever since.”

“In 1959 Bert Weedon was the first British guitarist to have a hit record in the UK with Guitar Boogie Shuffle. His best-selling tutorial guides were a major influence on many leading British guitarists."

“Lovely guitar playing. I can listen to it over and over again. If you like guitar music buy this. Bert Weedon is first class.”

“I was very impressed with this LP, and then I thought to myself, if it was not for this guy we would not have had so many great guitarists."

“Bert Weedon was one of the best guitarists of the fifties and sixties. His session work was all over the British pop charts. This album serves as a good introduction to his playing.”

“Bert Weedon was a guitar hero for me during the 1950s and early 60s. His brand of guitar playing inspired many, and his famous book will live forever. Here are most of his best recordings, including the iconic Guitar Boogie Shuffle, well presented and in good quality sound. If you're a guitarist, no matter what style, get this LP for your collection. It's a piece of guitar history.”

Hits Of The 50’s – SAM COOKE***

Hey There/Mona Lisa/Too Young/The Great Pretender/You You You/Unchained Melody/The Wayward Wind/ Secret Love/Song From Moulin Rouge/I’m Walking Behind You/Cry/Venus

Not a compilation but an album of newly recorded tracks. The MOR songs on Hits Of The 50’s are a long way from the soul music upon which the reputation of Sam Cooke rests.

“Sam Cooke's second RCA album is mostly a missed opportunity. He wasn't inspired by the material or the way it was chosen, and the result is an album aimed at what the label thought the white teenage market was all about, which is a lot less interesting than some of the singles he was doing around the same time. Hits Of The 50's is still an improvement over its immediate predecessor, but it's also one of the records that for many years - in the absence of his best material being available - blighted Cooke's reputation as a soul singer.”

“I have not been able to get these songs out of my head. This is vintage stuff, to be savoured only by those who know and appreciate Sam.”

“Sam Cooke's voice is excellent. I can listen to the songs all day long without getting bored. Sam Cooke's Mona Lisa is the one that I keep hearing in my head. I think that this is my favourite Sam Cooke album.”

“Sam Cooke as a nightclub crooner, singing gentle versions of fifties standards. Smooth and relaxed, singing slower and lower with a languid band. A reminder, if one was ever needed, that they mysteriously completely forgot how to write standards sometime shortly after the last moon landing. However, in the fifties universal songs came in droves. Pre-teen idol recording artists were vocal athletes who could tackle popular songs in any genre. The art of popular singing and recording vocals was then at an all time high.”

“If you love Sam you will adore this LP as it will give you a further proof of his boundless talent. Sam will show you another side of his immense personality, and every time you listen again you'll discover something new.”

“Wonderful songs and the way Sam sings them is simply sublime. The orchestra and arrangements accompany his incomparable voice, giving full freedom to flow into the sweetest, smoothest and most musical sound possible, just unbelievable.”