Meet The Temptations – THE TEMPTATIONS***

The Way You Do The Things You Do/I Want A Love I Can See/Dream Come True/Paradise/May I Have This Dance/Isn’t She Pretty/Just Let Me Know/Your Wonderful Love/The Further You Look The Less You See/Check Yourself/Slow Down Heart/Farewell My Love

Meet The Temptations was the debut album from the legendary Motown vocal group The Temptations, mostly comprising failed singles, although The Way You Do The Things You Do reached the US top twenty. (US:95)

“For a first release on Motown, consisting mostly of failed singles, I wasn’t expecting to have much in the way of praise for this album, but it’s actually fairly decent. The Way You Do The Things You Do is a minor classic, with those clever but simple Smokey Robinson lyrics and a great performance from the group. The best track here is Check Yourself, with passionate vocals and a wonderful segue from slow-ballad to uptempo pop. The rest of the album isn’t up to the same level but none of the songs are terrible, with the group giving consummate, professional yet soulful performances on all the tracks, with nothing sounding rushed or under rehearsed.”

“All twelve songs are nicely done and display the group's harmonizing and phrasing which were a hallmark of their success over the years.”

“This is a surprisingly strong album and shows the early Temptations for the capable group that they were, with some singles I can’t believe weren’t hits. Meet The Temptations has a few good early tracks that are difficult to find elsewhere, and should appeal to fans of The Temptations or early Motown in general.”

“This album showcases what a great lead singer Paul Williams was, a fact which many Temptations' fans are maybe unaware.”

“This is a historic LP that chronicles the beginning of a supergroup. If you are a Temptations purist, then this is a must have.”

“The music is brilliant but sometimes spotty. Still it's far better than one might expect given that this is a debut and that Motown albums are not held in high esteem by most critics. Although, the only hit here is the brilliant The Way You Do The Things You Do, there are many other tracks that approach it in quality.”

Kissin’ Cousins – ELVIS PRESLEY***

Kissin’ Cousins/Smokey Mountain Boy/There’s Gold In The Mountains/One Boy Two Little Girls/Catchin’ On Fast/Tender Feeling/Anyone/Barefoot Ballad/Once Is Enough/Kissin’ Cousins/Echoes Of Love/(Its A)Long Lonely Highway

By the time of the release of this album, Elvis Presley was well into his barren mid sixties period, when he was contracted to star in many sub standard movies. During this time his immense vocal talents were wasted on the kind of third rate material found on Kissin' Cousins. The title track was a No. 12 hit in the US and No. 10 in the UK. (US:6 UK:5)

"Not deep social music, but it sure is fun to listen to and his voice is perfect, the smoothest vocals in the world. There is nothing bad to say about the music of Elvis. He is often imitated but never equalled." "While this collection is better than some of his other 1960s movie soundtracks, it is still not particularly strong. This is recommended only for avid Elvis fans."

"I must admit that the songs performed during Elvis's film making period are not the best in his career, but there are lots of fun songs to listen to."

"Kissin' Cousins is one of his most underrated songs. This is such a very fun, tremendous and underrated song."

Glad All Over – THE DAVE CLARK FIVE***

Glad All Over/All Of The Time/Stay/Chaquita/Do You Love Me/Bits & Pieces/I Know You/No Time To Lose/Doo Dah/Time/She’s All Mine

The Dave Clark Five enjoyed considerable success in the US in the mid 1960s after The Beatles paved the way for the British Invasion. The title track caused headline news when it ended the long residency of The Beatles at the top of the British singles chart in late 1963. Also includes the top five hit single Bits & Pieces. (US:3)

"It's safe to say that anyone versed in the airwaves of the sixties can name the title tune from the record in four notes. The honking sax and tightly knit rhythm section court the vocals perfectly."

"The Dave Clark Five's first album might seem a bit on the meagre side outside of the context of the first flush of the British Invasion. At the time, though, it was a pretty exuberant slab o' vinyl that rocked pretty hard for the most part, paced by the hit singles."

"It does have a few decent, though not great, original songs that don't show up on greatest hits compilations."

"There's some pure filler, like the jazzy instrumental Time and the infantile Doo Dah. It certainly ranks among their best non-greatest-hits albums, which isn't as high a recommendation as it sounds, since the group's LPs weren't that good overall."

"I just heard Glad All Over on the radio and almost fainted. Cannot believe how good these guys were."

"They had a great live sound, and played all the instruments. Mike Smith's vocals are some of the best ever in rock." "The Dave Clark Five had a distinctive sound. I still enjoy this today."

Funny Girl – BROADWAY CAST*****

Overture/If A Girl Isn’t Pretty/I’m The Greatest Star/Cornet Man/Who Taught Her Everything/His Love Makes Me Beautiful/I Want To Be Seen With You Tonight/Henry Street/People/You Are Woman/Don’t Rain On My Parade/ Sadie Sadie/Find Yourself A Man/Rat-Tat-Tat-Tat/Who Are You Now/The Music That Makes Me Dance/Don’t Rain On My Parade

The Broadway musical Funny Girl starred the new singing sensation Barbra Streisand as comedienne Fanny Brice. It opened at the Winter Garden Theatre in March 1964 and ran for 1,348 performances. The album enjoyed a two year chart run. Music by Jule Styne and lyrics by Bob Merrill. (US:2 UK:19)

"Not quite 22 when she did the show, her voice is a marvel - no other word for it. She brings new meaning to the word 'clarion', providing some of the most thrilling moments to be heard on any cast recording. People comes from this score and Streisand did a beautiful reading of it in the film. But it can't compare with the simplicity of her version on the stage - it's just exquisite."

"It's one of those Broadway cast albums that really is special. With a star perhaps bigger than any in recent history, a score that is up with the best of the sixties, and a recording that's rich-sounding and theatrical, you won't regret this joining your collection. What more can you ask for? Streisand and a score to die for."

"The official Broadway cast recording of the Tony nominated play that was another stepping stone in Barbra Streisand's transition from successful recording artist to unparalleled superstar. Streisand is virtually the only performer who could do justice to Jule Styne and Bob Merrill's larger than life score."

"This breathtaking recording of one of the finest scores in Broadway history is brought to life by a fantastic cast headed by the legendary Barbra Streisand in her first major stage role."

"A fantastic, record-breaking Broadway show, equalled by a thrilling recording which more than evokes the magic of this musical performance." "While the music, lyrics and all the performers are, of course, outstanding, it is the brilliance of the young Ms. Streisand that makes this album indispensable to any lover or collector of the genre."

Call Me Irresponsible – ANDY WILLIAMS****

Charade/Mona Lisa/Call Me Irresponsible/I’ll Never Stop Loving You/Madrigal/Be My Love/More/Laura/Anniversary Song/Gigi/Song From Moulin Rouge/Love Letters

Subtitled Hit Songs From the Movies, Call Me Irresponsible stayed on the US album chart for over a year. Note the emphasis many reviewers place on the qualities of Andy's voice. (US:5)

"Call Me Irresponsible, features songs from various movies. He had already recorded another album of movie songs, Moon River & Other Great Movie Themes, but there was no shortage of songs to choose from and this album proves it. Perhaps the most famous songs here are Love Letters and I'll Never Stop Loving You, but there are many great songs, all superbly sung by Andy."

"The songs tended to be evocative of a mood rather than specific, and Williams' warm, yet homogenized approach, backed by sympathetic orchestral arrangements with occasional vocal choruses, brought out their haunting, romantic qualities. The whole album suggested that Williams and movie songs remained perfect partners."

"What a wonderful masterpiece is Call Me Irresponsible and a very lovely song it is. Very entertaining, I wish Andy Williams would live forever." "No one sings Mancini better than Andy Williams - ballad, uptempo, whatever, he's just the best, delivering the emotion as well as the fun in Mancini's songs. They have a great chemistry on and off the stage."

"Andy Williams is an icon. No matter what song he selects, it is always so right for him. Love all of his music, always have, always will." "More is one of the most beautiful songs ever written. I still to this day can't believe it lost to Call Me Irresponsible for the 1963 Academy Award for Best Song."

"A much different type of voice to Sinatra, but Andy ranks with the best singers ever. In his prime, his vocal range was incomparable."

"I feel he is the best singer of movie theme songs, period. His soft falsetto voice and his way of singing songs sounds so effortless it blows me away. He is just awesome."

The Beatles' Second Album – THE BEATLES***

Roll Over Beethoven/Thank You Girl/You’ve Really Got A Hold On Me/Devil In Her Heart/Money/You Can’t Do That/Long Tall Sally/I Call Your Name/Please Mr Postman/I’ll Get You/She Loves You Released only in the US, the The Beatles' Second Album contains five tracks from the British album With The Beatles, four from previously released singles, and two new tracks Long Tall Sally and I Call Your Name. She Loves You topped both the UK and US singles charts. (US:1)

"Contains exclusively uptempo numbers, and for this reason is a favourite of some Beatles aficionados and rock critics."

"This album cracks along at a break-neck pace, enabling the listener to really enjoy what the boys were known for at this time in their career. Even for a 1964 release, it still holds up very well, retaining a freshness and a spark of fun that is undeniable." "Second Album is a good, representative collection of the material that The Beatles were doing at the beginning of their careers. George Harrison offers up an energetic, earnest version of Chuck Berry's Roll Over Beethoven, a song he performed up into the twilight of his career, while Paul McCartney's interpretation of Little Richard's Long Tall Sally is nothing short of explosive."

"What really makes this 'second' album stand out from the other early Fab Four efforts is that it has so many covers of songs by black American artists and songwriters."

"You Can't Do That is the Fab Four's strongest hard-edged R & B-style original ever. There's a raw twelve-bar blues verse and melodic bridge with minor chords."

"Unlike every other Beatles album released by Capitol during the 60s, this one truly rocks out from start to finish, with all eleven tracks included having a cheerful, up-tempo feel to them."

"It contains more covers than original songs."

At The Greek Theatre – HARRY BELAFONTE****

Look Over Yonder Be My Woman Gal/Glory Manger/Shake That Little Foot/Windin’ Road/Hoedown Blues/Try To Remember/Why’n Why/Contemporary Dance/In My Father’s House/Hayoshevit Baganim/Cruel War/Pig/Sailor Man/Merry Minuet/Boot Dance/Zombie Jamboree

Calypso king Harry Belafonte enjoyed his last US top twenty album hit with this double album. It features his acclaimed live set recorded at Greek Theatre, Los Angeles in August 1963. (US:17)

"By 1963, Harry Belafonte's live act had taken on the proportions of a theatrical event, tightly choreographed and rehearsed with elaborate production numbers. For a solid month during the summer of 1963, the act sold out Los Angeles' Greek Theatre, an open-air amphitheatre nestled in the Hollywood Hills."

"For Belafonte fans this recording is certainly the crowning glory of an artistically fruitful phase." "This live, double album was edited from performances recorded during that month, and despite a nagging echo, captures the excitement of the concerts, which helped make the 'Greek' world renowned."

"Belafonte's keen sense of humour and rapport with his audience are in evidence here, especially in the epic sing-along of the moment, Zombie Jamboree."

"This album marks the end of Belafonte's most artistically productive period on record. Other excellent albums followed Greek Theatre, but not with the consistency of those from 1959-63."

"If you like Belafonte Sings The Blues, you'll love this. For a live recording the sound is amazing and the song selection is superb."

Anyone Who Had A Heart – DIONNE WARWICK*****

Anyone Who Had A Heart/Shall I Tell Her/Don’t Make Me Over/I Cry Alone/Getting Ready For The Heartbreak/ Oh Lord What Are You Doing To Me/Any Old Time Of Day/Mr Heartbreak/Put Yourself In My Place/I Could Make You Mine/This Empty Place/Please Make Him Love Me

Dionne Warwick's second album Anyone Who Had A Heart featured six Bacharach-David songs, specially written for her. Unfortunately, three tracks were carried over from her first album. In the UK Cilla Black topped the singles chart with the title track, sidelining Dionne's version to a very lowly No. 42, although it did significantly better in the States reaching No. 8.

"This release captures Dionne Warwick, the great '60s interpreter of Burt Bacharach and Hal David's immaculate pop songs, early in her recording career, and includes her first single, the sophisticated Don't Make Me Over, as well as her subtle original version of the duo's classic Anyone Who Had A Heart. Throughout, Bacharach's urbane arrangements are complemented perfectly by Warwick's graceful phrasing and delicate tone."

"This is pop vocalist Dionne Warwick's second long-player, which builds off of her debut LP. It continues her association with songwriters Hal David and Burt Bacharach. Her rich tonality is perfectly suited to their haunting and slightly noir material."

"The songs, highlighted by Anyone Who Had A Heart and Don't Make Me Over are some of the finest written in the 1960s. The arrangements are tasteful and restrained yet full of the hanky-wringing emotion that made 1960s girl singer music so uniquely visceral." "Dionne voice is like dying and going to heaven. All these great complex songs are sung amazingly. I have been a fan for 40 years and still going strong."

"There is a very soulful rawness to these recordings, her voice has deepened and mellowed in the intervening years so it is a 'time-machine' delight to revisit the songs as laid down back then. She had the added gift of two of the most famous collaborators in musical history, Bacharach and David, who appear to have known how to use her extraordinary gospel-tinged voice to bring a clarity and reality to the heartbreaking and soulful songs collected here. This is great music and a real gift to anyone who enjoys this particular style of 1960s pop."

A Girl Called Dusty – DUSTY SPRINGFIELD****

Mama Said/You Don’t Own Me/Do Re Mi Forget About The Do & Think About Me)/When The Lovelight Starts Shining Through His Eyes/My Colouring Book/Mockingbird/Twenty Four Hours From Tulsa/Nothing/Anyone Who Had A Heart/Will You Love Me Tomorrow/Wishin’ & Hopin’/Don’t You Know

A Girl Called Dusty was the debut album from Britain's most acclaimed female vocalist Dusty Springfield. It contains a mix of recent pop hits and Motown covers. Dusty was formerly with the folk pop group The Springfields. (UK:6)

"Dusty's voice is huge on most of these tracks, and although at this point she hasn't gained full control of her voice, it's still great to listen to because it captures a singer younger and more innocent, although even at this point her interpretation of songs are generally considered beyond her years."

"The songs on this album are timeless, and Dusty made them her own. Her first album, and one of the best of her entire career."

"Dusty really pours out her heart in My Colouring Book. A song that's guaranteed to reach into you and pull out a tear."

"My favourite song on this record is Twenty-Four Hours From Tulsa, Dusty really grabs for the guts on this one as she does on the whole record."

"A Girl Called Dusty was her first album release, and it turned out to be quite a brilliant debut. Even in our times this music sounds so good; I can enjoy it no matter what. Dusty's ability to sing so many types of ballads impresses me, she always gave blood to please and thrill her fans."

"On her first solo album she didn't exactly go wild - but cleverly turned to US originals and sang them with her own twist, and it shows that she always recognized good songs from the start."

"Dusty Springfield's debut album A Girl Called Dusty, which was released in 1964, is without question, the most important female pop/soul debut ever waxed during that decade. Dusty Springfield's soulful vocals dominate throughout, as she blends a mixture of pop melody and soulful overtones that very few could ever match."

The Best Of – FLOYD CRAMER****

Last Date/Tricky/Lovesick Blues/Unchained Melody/Satan’s Doll/San Antonio Rose/On The Rebound/Your Last Goodbye/Java/Swing Low/These Are The Young Years/Flip Flop & Bop

The Best Of Floyd Cramer was the first compilation album from the respected Nashville pianist who enjoyed singles chart success in the early sixties on both sides of the Atlantic.

“This is great music for any generation. Who doesn't love piano music? Cramer’s style is unique and I have always liked it so much. Put on this album, sit back and relax. I know you will enjoy it.”

“I have always loved Floyd Cramer. Last Date is my very favourite of all his hits, but all the songs on this album are great."

“Last Date resonates with the sounds of yesteryear, but all of the songs are special. I get such joy from listening to this album, so peaceful and heart warming.”

“I have enjoyed his music for many years. The first hit I can remember is Last Date. When you are feeling down, you can listen to the strains of beautiful music from his piano and right away you have to feel better.”

“Excellent and varied selections of Floyd Cramer's music that is relaxing and soothing to listen to. One of the finest pianists of the time. You will enjoy his music.”

“How can you go wrong with Floyd Cramer? His style and grace on the keys is legendary, and his talent is amazing. This is a beautiful LP for any collection.”

“The disc captures Cramer's signature stride piano style in all of its glory on a variety of country, pop and R & B numbers. It contains a good portion of his very best recordings, making it a fine introduction to one of the most influential pianists in country and pop history.” “The RCA studios at the start of the 60s became a fertile ground for the 'crossover' sounds of country/pop, and Cramer was a central figure. He came up with the wistful Last Date and his catchy composition On The Rebound again scored heavily. A great retrospective for those who remember the sounds of the early 1960s.”

Who’s Afraid Of Virginia Woolf – JIMMY SMITH****

Slaughter On Tenth Avenue/Who’s Afraid Of Virginia Woolf Part 1/Who’s Afraid Of Virginia Woolf Part 2/John Brown’s Body/Wives & Lovers/Women Of The World/Bluesette

Jazz electric organist Jimmy Smith achieved his fourth US album success with Who's Afraid Of Virginia Woolf. It was considered rather too experimental for some reviewers. (US:16)

"The music tends to be corny and overly dramatic, based in soul-jazz and boogaloo. it's dated even for this time period and a bit bland. Disparate elements clash rather than meld, the title track and Slaughter On Tenth Avenue being perfect examples. If you can get beyond the hokey 007 theatrics, patriotic splashes, and sleigh bells, you do hear Smith jamming."

"A curiosity in his discography, for some an 'experiment' that never worked, and for others an interesting aside, one wonders what Smith really thought of this project after the fact, considering his far greater works."

"The arrangements for most tunes start with a smooth orchestral opening and Smith playing melody. The orchestra crescendos and departs to make room for Jimmy Smith's incredible improvisations. This is best illustrated on Slaughter and the first version of the title cut."

"This is one of Jimmy's best. Slaughter On Tenth Avenue builds to a mighty crescendo that just leaves you exhausted, exhilarated and smiling. It is so incredible and then the second track, Virginia Woolf takes off and you're away on another incredible adventure in Jimmy's undeniable perfection of the Hammond B-3."

"Good mix of styles of music. Best jazz organist of all time. I have listened to this album for 40 years and am taken to near Nirvana each time. If you consider yourself a true Jimmy fan, and have not heard this 1964 recording of Slaughter On Tenth Avenue, find it. It is his absolute masterpiece."

"A really cool classic album from the master of cool jazz. For me the two outstanding tracks have to be Slaughter On Tenth Avenue and Bluesette. A must album for any Jimmy Smith fan."

What Makes Sammy Run? – BROADWAY CAST***

Overture/A New Pair Of Shoes/You Help Me/A Tender Spot/Lights-Camera-Platitude/My Hometown/I See Something/Maybe Some Other Time/You Can Trust Me-A Room Without Windows/Kiss Me No Kisses/I Feel Humble/Something To Live For/You’re No Good/The Friendliest Thing/Wedding Of The Year/Some Days Everything Goes Wrong

The Broadway musical What Makes Sammy Run starred Steve Lawrence as Sammy Glick as he climbs the ladder of success. Based on the novel by Budd Schulberg, it opened at the 54th Street Theatre in February 1964 and ran for 540 performances. Music and lyrics by Ervin Drake. (US:28)

"The only surprise here is that WMSR? ran for some 540 shows. Not because it was bad, but because it was so good."

"Extremely unusual songs. One contrapuntal, others not sung, but almost libretto-like, I don't think any song is of the usual 32-bars, but of widely differing lengths, interesting melodies, an anti-love song, where the two paramours describe how bad the other is -You're No Good, a song about A New Pair Of Shoes, etc. The score by Ervin Drake is different and delicious. Steve Lawrence is absolutely wonderful in, let's face it, what is a one man show."

"Drake's lyrics are a bit esoteric at times and come too quick to comprehend a couple of times, but after a few listens you can make it out. Like his music, they are certainly not typical of other Broadway shows, which makes the fact that this show ran for more than a year all the more impressive."

"Though it’s a bit of an oddity, this 1964 show has its moments, thanks to Ervin Drake’s quirky score, Don Walker’s imaginative orchestrations, Lehman Engel’s tight conducting, and an interesting cast. Steve Lawrence made his Broadway debut in the show and earned a Tony nomination for it."

"Although the show is clearly not from the top drawer of 1960s Broadway shows, it is a high-quality curiosity and benefits from a lively, theatrical performance that distinguishes the very best cast albums."

"The cast album has fifteen songs from the show and the overture. Perhaps the distinguishing quality of the music is how well integrated it is with the character."

Tribute To Eddie – HEINZ***

Come On & Dance/Cut Across Shorty/Don’t Keep Pickin’ At Me/Hush-A-Bye/I Remember/Look For A Star/My Dreams/Rumble In The Night/(Sorry) I Ran All The Way Home/Summertime Blues/Three Steps To Heaven/ Tribute To Eddie/Twenty Flight Rock/Just Like Eddie

Heinz Burt was the former bassist with the instrumental group The Tornados, created by legendary producer Joe Meek. He had intended to make a teen idol out of Heinz based around his appealing looks. Unfortunately, Heinz's limited vocal ability and poor stage presence scuppered Meek's plans. His only solo album Tribute To Eddie reached No. 10 on the NME album chart and includes the catchy UK No. 5 hit single Just Like Eddie.

"Heinz's only big hit Just Like Eddie was a tribute to then recently deceased rocker Eddie Cochran, and as the title of the album implies, much of the record is given over to Eddie Cochran covers, as well as producer Joe Meek's awkward self-penned Tribute To Eddie. Certainly none of this was going to position Heinz as any sort of substitute for Cochran, but Summertime Blues and Twenty Flight Rock chug along pretty nicely, and the non-Cochran composition Hush-A-Bye is one of Heinz's strongest little-known cuts. But basically the album is only for Joe Meek purists; Heinz's own material is better represented via compilations."

"Insofar as Heinz is remembered at all as a solo singer, it will be for his British top five hit Just Like Eddie, which is a tribute to Eddie Cochran."

"While it contained five covers of Eddie Cochran songs (Summertime Blues, Cut Across Shorty, Twenty Flight Rock, I Remember, Three Steps To Heaven), it wasn't a tribute album in the full sense. The title track is an original song by Joe Meek, while Heinz's big hit Just like Eddie is also featured, but I'm not convinced that the other six songs belong in an Eddie Cochran tribute album. Then again, tribute albums were in their infancy in those days so perhaps record buyers regarded this is a genuine tribute album back then."

"What a great catchy song is Just Like Eddie. I really like Heinz's solo stuff that I have heard. Underrated."

"Just Like Eddie is a great track from Heinz. Its a pity that tastes in music change. A lot of great artists fell by the wayside when Beatlemania hit."

The Times They Are A-Changin’ - BOB DYLAN*****

The Times They Are A Changin’/Ballad Of Hollis Brown/With God On Our Side/One Too Many Mornings/North Country Blues/Only A Pawn In Their Game/Boots Of Spanish Leather/When The Ship Comes In/The Lonesome Death Of Hattie Carroll/Restless Farewell

The Times They Are A-Changin' finds Bob Dylan in peak form with some of his best remembered protest songs. The title track was the anthem to the Sixties Generation, and a No. 9 hit single in the UK. (US:20 UK:4)

"The still very young Dylan weaves lyrics and tunes with the sensibility of one who has 'seen it all and is sick of it'. Regardless, this album remains one of Dylan's greatest albums, though its darkness may not appeal to everyone."

"Dylan's third album finds him writing songs with a heavily political bent, taking ideas from newspapers and setting them to old and new folk melodies. Though it lacks some of Freewheelin's light-hearted moments, Times comes across as more mature, often more emotionally moving, and darker."

"For all the countless albums made by others that were specifically designed to make a strong political statement, none were able to distil the transient issues of the time into bigger principles, and to tie them to basic human issues."

"The title song is a raging protest against the establishment, one young people could still be singing today."

"Here Dylan manages with just acoustic guitar, occasional harmonica and Bob's ragged voice, to make one of his most powerfully emotional albums. Perhaps the darkest of his career, certainly the starkest and it's just beautiful."

"With Times, he is going for a stark, world-gone-wrong feel that dominates the entire record. Because of its heavy content, it stands as Dylan's most depressing and emotionally draining album by far."

"The Times They Are a-Changin' is one young man's rage against how things are going in America back in the '60s and the song still rings true today. We still have war and corrupt politicians, and parents who will never understand their sons and daughters. I guess some things never change."

Sweet & Sour Tears – RAY CHARLES****

Cry/Guess I’ll Hang My Tears Out To Dry/A Tear Fell/No One To Cry To/You’ve Got Me Crying Again/After My Laughter Came Tears/Teardrops From My Eyes/Don’t Cry Baby/Cry Me A River/Baby Don’t You Cry/Willow Weep For Me/I Cried For You

Musical genius Ray Charles concept album Sweet & Sour Tears, featured songs with titles or lyrics referring to crying. It was difficult to pigeonhole him as his musical styled ranged across soul, jazz, country and pop. (US:9)

"Wrapped in lush string arrangements and the swooning background vocals of the Gene Lowell Singers, 1964's Sweet & Sour Tears is a concept album in which Ray interprets material dealing with loss and heartbreak."

"His voice often cracks with emotion as his piano forlornly pushes on, particularly in the loping country waltz A Tear Fell and You've Got Me Crying Again, providing the soundtrack for heartbreak the world over."

"Its not exactly a thematic unity. If anything Charles likes to mix up his genres, moving from jazz to country and then to soul and pop. Overall the slow and more sentimental songs do not fare as well as the more upbeat numbers."

"The incredible thing about Sweet & Sour Tears is that, after having heard it, you could swear its a compilation. But its not. Its just one of the average recordings of a man who turned into gold whatever song he played, a man whose musical production during the fifties and the sixties is a unique and admirable legacy."

"An album from 1964 when Ray was at the peak of his vocal and exploratory powers. Jazz, blues, middle-pop, a little rock-and-roll, some great country (If A Tear Fell doesn't have you waltzing across the floor, you're dead) all rolled-in together in one superb LP. A great start to the most essential of collections."

"Professional album from 1964. A very good selection of tearful songs by one of the greatest singers and musicians. Some of the songs are so lovely you will want to hear them over and over again."

"One is almost tempted to think that Charles was toying with audience expectations by mixing unabashedly sentimental slow tunes with the far more bluesy, satisfying, and upbeat numbers."

Something Special For Young Lovers – THE RAY CHARLES SINGERS****

This Could Be The Start Of Something/I Left My Heart In San Francisco/More/There I’ve Said It Again/This Is All I Ask/Dominique/Hello Dolly/Quiet Nights/Love Me With All Your Heart /Charade/What Kind Of Fool Am I/Sweet Little Mountain Bird

Arranger and conductor Ray Charles enjoyed his only US top twenty album success with Something Special For Young Lovers which includes the US No. 3 hit Love Me With All Of Your Heart. He is not to be confused with the better known R & B artist of the same name. The final comment below demonstrates the arrogance from youth of the time, since the music being praised is now (regrettably) almost as uncool amongst today's teenagers as this so called 'elevator' music. (US:11)

"Something Special For Young Lovers has wonderful musical numbers by The Ray Charles Singers. They practically defined easy listening in their heyday."

"From the first few tunes, covers of This Could Be The Start Of Something, I Left My Heart In San Francisco and More, we can't remember hearing an ensemble this bright, smooth, sincere upbeat and downright entertaining as Ray's 25 mixed voices. His singers sing their tails off on every song and believe in every lyric, and so do we."

"What does the music of Ray Charles mean to me? I grew up in the sixties. It brings back tailored suits for women with bouffant hair and plenty of makeup, spike heels, and an elegance that today's women (and men) lack. His musical arrangements are so clean, so clear. There is no equivalent today of the type of music made here."

"More is quite a special love song that became one of my very favourites the first time I ever heard it back in the 1970s. The Ray Charles Singers do this one up right. The musicians never steal the show from the chorus; wisely they let the chorus stay squarely in the spotlight - which is right where they belonged and always will belong."

"The album offers more of the same unimaginative, lightweight elevator/on-hold easy listening twaddle that Beatlemania and the rest of the rock & roll revolution were so desperately trying to break free from

The Shelter Of Your Arms – SAMMY DAVIS JR****

Bee-Bom/Make Someone Happy/The Party’s Over/Some Days Everything Goes Wrong/The Shelter Of Your Arms/A Man With A Dream/That’s For Me/If I Loved You/Come On Strong/I Married An Angel/Guys & Dolls

Sammy Davis's The Shelter Of Your Arms featured the title track top twenty single. His album releases at this time were noticeably less commercially successful than his 'rat pack' chums, Frank Sinatra and Dean Martin. (US:26)

"Davis pulls out all the stops over the top of Marty Paich's energetic and otherwise perfectly matched arrangements, displaying the indescribable and undeniable magic that more often than not occurred between the two." Shelter Of Your Arms, confirmed his status among the finest adult contemporary artists of the era. The success was undoubtedly boosted by the title composition, the unusual Polynesian flavour, emphatic syncopated melody, and modern interpretation, including an electric rhythm guitar, perfectly suited to Davis' commanding vocals."

"Sammy Davis Jr. was always an excellent singer during his Decca years in the fifties but became a really great singer when he signed to close friend Frank Sinatra's Reprise Records. This great collection is one of the very finest from this awesome period and Sammy's recording career has been vastly underrated and sadly overlooked. It shows Sammy Davis Jr. as one of the finest of the great legendary singers over the past fifty or so years."

"Opening with the jazzy great rhythm cooker Bee-Bom, Sammy hits his stride with a loose vocal where he scats around and pulls the listener along for a great ride, every varied performance is winning and arrangements are first-rate. The Shelter Of Your Arms is one of Sammy's finest classic performances and this great vocal is full and passionate, making this a huge and well-deserved hit. Anyone who wants to experience Sammy at his peak, do not miss this masterpiece."

"A must for all his fans. Classic songs from a golden era, the young Sammy Davis is superb in this early collection of standards. Compositions from legendary songwriters enable Sammy to shine supreme. Unbelievably good."

The Pink Panther – HENRY MANCINI****

The Pink Panther Theme/It Had Better Be Tonight(Instrumental)/Royal Blue/Champagne & Quail/The Village Inn/The Tiber Twist/It Had Better Be Tonight(Vocal)/Cortina/The Lonely Princess/Something For Sellers/Piano & Strings/Shades Of Sennett

Multi talented composer and arranger Henry Mancini enjoyed his ninth US top twenty album chart success with his renowned score for the Pink Panther movie. The Pink Panther Theme received a Grammy for best pop instrumental. (US:8)

"Arguably Mancini's finest film score. What beautiful songs! Henry Mancini's timeless tunes and arrangements sparkle as much now as they did then, bringing forth emotions as strongly as only music can. Each composition is beautifully written, arranged and orchestrated, and each is timeless."

"This is one of the most important music albums ever made. Henry Mancini was a genius that left us a wonderful work. It doesn't seem a soundtrack album and all the songs are very beautiful."

"Henry Mancini's classic soundtrack to The Pink Panther is very timely for the carefree period in which it was released, and captures the feel of this film and those great times that still resonate in the mind. The Pink Panther theme is an endearing and enduring melody that has become instantly identifiable, with both the cartoon character and the film series."

"The soundtrack captures a lot of source music that was certainly then in vogue, and has captured that tantalizing cocktail jet set quality in the numerous compositions especially in It Had Better Be Tonight. The aplomb and easy nature of this recording is on target, capturing the great feel of this film and giving the listener the chance to relive the experience."

"A great way to describe this album is smooth. Everyone will immediately get hooked on the almost ubiquitous first title, The Pink Panther Theme. From there get ready to experience a mellow trip down various snazzy tracks with a European/Latin beat that adds some kick to the tunes, but always in balance with the strings and other instrumentals."

"The musicianship on these songs is impeccable and each tune is very well crafted."

Meet The Searchers/Needles & Pins – THE SEARCHERS***

Needles & Pins/Since You Broke My Heart/Oh My Lover/Alright/Ain’t Gonna Kiss Ya/Tricky Dicky/Ain’t That Just Like Me/Some Other Guy/Farmer John/Saturday Night Out/Cherry Stones/Don’t Cha Know

Merseybeat group The Searchers just missed out on an album top twenty entry with their US debut Meet The Searchers/Needles & Pins. The title track topped the singles chart in the UK and reached No. 13 in the States. (US:22)

"This is the American release of the debut Searchers album Meet The Searchers. It has a different track listing and different cover art. Very high quality British Invasion. Needles & Pins is a true classic."

"The Searchers deserved their reputation as one of the very best bands of the British Invasion. It's unfortunate that the band didn't have the songwriting talents of some of the other groups of the era, otherwise they would have enjoyed a greater longevity as recording artists. Still, the songs sound fresh and energetic and represent a great time in pop music history."

"The Searchers, like everybody else of their era, were overshadowed by The Beatles, but they made some great music of their own."

"The mid-sixties gave us so much terrific music, it was hard for any one group (besides The Beatles) to stand out of the crowd. The Searchers were an exception. Their music was so well crafted and performed, that in retrospect their best was as good as it got. Great tunes, well sung and recorded, this music stands up well even thirty years later. And one thing which you've got to love - there is a lot of diversity in their music."

"The opening drum riff on Needles & Pins will stir the blood of any Mersey listener."

"The Searchers were one of the top bands at the time, when the British Invasion took over the States. The Searchers never made an incredible dent into the American scene; however they did have their share of hits. I would be lying to you if I said this is very complex music. It's not. It is very time specific. But, for anyone who remembers this time, it definitely was exciting."

Folksy Nina – NINA SIMONE****

Silver City Bound/When I Was A Young Girl/Erets Zavat Chalav/Lass Of The Low Country/The Young Night/Twelfth Of Never/Vanetihu/You Can Sing A Rainbow-Hush Little Baby

Folksy Nina consists of tracks with traditional folk themes recorded at Nina Simone’s concert at Carnegie Hall in May 1963, including some of Israeli origin.

“Her voice is the real attraction here. But the band seems to be a bit bored and don’t catch up to her pretty flawless and passionate performance. Not too bad a starting point.”

“Another good live concert by Nina Simone, she continues picking out songs like The Young Knight, which features her doing an overall dark performance. She continues to pull material out of thin air like Erets Zavat Chalav, a Jewish song. The album overall is good, but some parts aren't as interesting as others.”

"This is a strong set concentrating on material that could be seen as traditional or folk in orientation. It's not strictly folk music, in repertoire or arrangement, Twelfth Of Never certainly isn't folk music. However, there was also an uptempo piano blues, Silver City Bound, covers of the Israeli Erets Zavat Chalav and Vanetihu, which serve as further proof that Simone’s eclecticism knew no bounds. The stark, moody, spiritually shaded ballads at which she excelled When I Was A Young Girl, Hush Little Baby and Lass Of The Low Country are as exquisitely sad-yet-beautiful as it gets.”

“It comprises further material from her Carnegie Hall concert. It is smooth and middle of the road but most of all classy. Nina's Colpix output stands out as dated compared to her Philips and RCA releases. However, it is always worth investigating because the genius is still there and that classical piano style is wonderful.”

“For those of us living in an age where music has to be 'defined and categorized', this LP does not fit into that mould. How do you describe an artist whose repertoire of songs range all over the map, from children's lullabies to Israeli folk song to Tin Pan Alley standards and back to blues and jazz? Nina's voice is tender and caressing on some tracks, bluesy and mournful on others. She is just one unique artist.”

Days Of Wine & Roses – FRANK SINATRA****

Days Of Wine & Roses/Moon River/The Way You Look Tonight/Three Coins In The Fountain/In The Cool Cool Cool Of The Evening/Secret Love/Swinging On A Star/It Might As Well Be Spring/The Continental/Love Is A Many Splendored Thing/All The Way

Days Of Wine & Roses from the legendary Frank Sinatra was a concept album comprised entirely of academy award winners, with arrangement by Nelson Riddle. (US:10)

"One of the winners is All The Way, my number one favourite song penned by the most eloquent songwriter America ever produced and Mr Sinatra's very favourite lyricist, Sammy Cahn."

"This album is another example of why Sinatra and Riddle worked so well together. You might think that this is just a warmed over collection of show tunes but you would be wrong. It shows how the exceptional can make even the familiar special. Frank is strong and clear and Nelson has the band playing in a creative style throughout."

"This is an album full of songs that won an Oscar. There are some good songs and also plenty of clunkers. The Way You Look Tonight is the absolute best cut in the album, probably best version ever. Frank's singing is good on this album - not top notch as on The Concert Sinatra, for example, but then this is a lighter album."

"This is a terrific collection of Academy award winning songs performed by the best popular singer of the 20th century, Frank Sinatra. When Sinatra sings them, they become his. No question. Nelson Riddle's arrangements swing, and form perfect settings for this roster of exceptional songs."

"Frank sounds wonderful as always on these tracks; and the selection is very good, although I wish we got a couple more songs here. That's especially true since the incomparable Nelson Riddle arranged and conducted the music for these recordings."

"This 1964 compilation of Oscar winning tunes is hardly an essential purchase, but is still a very fun recording that will appeal to most Sinatra fans. Frank's voice is very much in peak form, and Nelson Riddle's orchestrations are typically excellent."

Blue Skies – FRANK IFIELD***

Blue Skies/Dark Moon/You Came A Long Way From St Louis/Tumbling Tumbleweeds/Let Me Be The One/I’ll Be Around/My Blue Heaven/Sweet Lorraine/I’m Sorry/Who Cares/Make It Soon/I’ve Got You Under My Skin

Blue Skies was Frank Ifield's third and final top twenty LP of new recordings. His choice of material was becoming a little outmoded with the rise of beat groups delivering a more dynamic R & B based sound. (UK:10)

"Frank Ifield's sound was so unique. An Englishman from Australia, his music was very special to me from the very first time I heard him."

"What mastery of voice he displays - his effortless glissando or portamento into and out of falsetto is simply breathtaking."

"Frank Ifield was a little before The Beatles so he just had his talent to ride on not the whole British Invasion. He sounds like early American country music. Well worth a listen."

"While the man could certainly carry a nice tune, it seems his stage presence was a bit wooden."

"He was my first pop idol before The Beatles came along. Much underrated, although he had at least three Number 1 hits in the UK."

Big Sixteen – GENE PITNEY****

The Ship True Love Goodbye/Twenty Four Hours From Tulsa/Only Love Can Break A Heart/Not Responsible/ Teardrop By Teardrop/Donna Means Heartbreak/Aladdin’s Lamp/The Man Who Shot Liberty Valance/Keep Tellin’ Yourself/Mecca/Town Without Pity/Tower Tall/Cry Your Eyes Out/True Love Never Loves Smooth/Take Me Tonight/Half Heaven Half Heartache

The first hit collection from the man with the powerful voice, Gene Pitney. Big Sixteen includes all his big hits from the early part of his career. However, better compilations are currently available which include his many later hits. (US:87 UK:12)

"Gene Pitney was so unique and versatile with his singing and his style. I love all of his music." "When I first heard Only Love Can Break A Heart I was captivated by the strong emotion coming from Gene Pitney's voice. Gene's been gone for a few years now, but he lives on through his wonderful music." "I am a true Gene Pitney fan so it is hard for me to give an unbiased opinion. I really love his style and voice. He has great range and performs each song in that true Gene Pitney style. He makes each song his own." "Gene Pitney remains a crooner who just doesn't get the respect that he deserves." "Only Love Can Break A Heart is an achingly beautiful ballad about the angst of heartache that can come with love and romantic breakups; Gene sings this with a heavenly backup chorus to make this number full and complete." "If you have ever loved and lost, then you will understand why Gene Pitney's music touches my heart and makes me cry when I listen to his excellent music." "Gene Pitney had a voice that could make you feel that he sang to you alone. His ability to over dub made his sound bigger and brighter. Overseas he was given his rightful due on his ability to take a song and make it his own. When a song came on and you heard his voice you knew who it was." "If Gene's vocals don't reach into you and touch your soul I don't know what will."

Ain’t That Good News – SAM COOKE****

(Ain’t That)Good News/Meet Me At Mary’s Place/Good Times/Rome/Another Saturday Night/Tennessee Waltz/ Change Is Gonna Come/Falling In Love/Home/Sittin’ In The Sun/There’ll Be No Second Time/Riddle Song

Ain't That Good News was the final album from soul star Sam Cooke during his lifetime. Regrettably, he was one of several top performers who died at the peak of their powers during this period. (US:34)

"This album, which was sadly to be Sam Cooke's last, found him exercising a hard-won creative freedom to fine effect. You can hear it most clearly in the moving, socially relevant ballad A Change Is Gonna Come. But it doesn't stop there. Cooke dips into the well of country music for a version of the classic Tennessee Waltz that is startling in its transformative ability, as he accomplishes a feat that no one but Ray Charles himself was capable of at the time - turning country seamlessly into soul."

"Ain't That Good News was probably Cooke's best studio album. It's more diverse and exciting than Night Beat, his other indisputable masterwork. The songs here feature an artist exploding as a performer and composer. Every track breaks down some sort of musical barrier. It's like Cooke is taking the whole of popular music as his own. The title track is a kind of nod to the folk boom of the early 60s with a pop twist."

"If Cooke hadn't been killed in December 1964, this record indicates he would have given The Beatles a run for their money as the future of pop music. Like them this music is work that could appeal to teenagers as well as adults. But unlike The Beatles, Cooke's work resonated strongly with African-Americans."

"This wasn't sequenced and compiled as a concept album like Night Beat but still it's nice to hear a Cooke original from beginning to end." "Sam Cooke had one of the most incredible voices in music. His style had a strong influence on Rod Stewart. Lucky for us, we are still able to enjoy Sam's voice and songs today. For the casual fan this is a nice little introduction to his music."

"Years ago, by the score, I heard the title number sung by this great star, and it made my hair stand on end, the way all great music does."

The Third Album – BARBRA STREISAND*****

My Melancholy Baby/Just In Time/Take A Chance On Love/Bewitched Bothered & Bewildered/Never Will I Marry/ As Time Goes By/Draw Me A Circle/It Had To Be You/Make Believe/I Had Myself A True Love

Barbra Streisand maintained the critical acclaim lavished on her first two LPs with The Third Album. Many commentators stress the purity of her voice during this early stage of her singing career. (US:5)

"A pristine masterpiece of what singing is all about and should be all about."

"This has been my favourite Streisand album for a long time. The excellent choice of classic songs, the ultra-slow tempo, a very subtle piano, her unique phrasing which contributes to definitive versions of her own, make this LP a must for Streisand fans and for music lovers in general. Barbra's first albums are among her best."

"Wow, what a voice and what a way to put an album together. Its a lost art. You will never see this again. First rate production, wonderful songs and great orchestrations."

"Barbra's early albums were by far her best. Her voice was at it's bell-like peak, her delivery beyond her tender years. This is an album of standards but there is nothing standard about it. One after another she takes the greatest songs of our time and stretches them out, adding poignancy and lushness in the process."

"She proves that in those days at least, she was the premier interpreter of standards. No Streisand fan needs to be reminded that in 1964 her voice, her pitch, her phrasing were so perfect that probably they will never be equalled."

"The Third Album saw Barbra Streisand exploring the softer side of her voice and personality. While her two previous albums virtually defined brass and sass, Barbra's third platter revealed how limitless her appeal was in the quieter numbers too."

"This is a fabulous album, complete with not only the greatest voice, but with classic songs to accompany her magnificent talent. A wonderful album."

"Barbra's readings are so subdued, she is in constant control and the end result is a mature, warm, intimate album of standards delivered by a very talented young lady much in control of her destiny."

The Serendipity Singers – THE SERENDIPITY SINGERS***

Waggoner Lad/Don’t Let The Rain Come Down(Crooked Little Man)/Sunshine Special/Mud/Freedom’s Star/ Sailin’ Away/Sing Out/Jimmy-O/Sinner Man/Cloudy Summer Afternoon/Boots & Stetsons/Goin’ Home

Folk band The Serendipity Singers enjoyed their only US top twenty album success with their self titled first release. Their style was similar to the New Christy Minstrels, but in comparison their success was ephemeral with subsequent albums charting appreciably lower. Contains the US No. 6 single Don't Let The Rain Come Down. (US:11)

"Their debut album was a nicely crafted and broad selection of folk and folk-based music, embracing traditional songs and themes and originals based on traditional material by the group members. The music was smoother and more diverse than the contemporary work of The New Christy Minstrels."

"There is no way to adequately describe the marvellous sound of The Serendipity Singers. Their music must be heard (more accurately experienced) to be understood. The group combines the traditional sound of American folk with the more uptempo beat of early 1960s pop to create a musical style that is theirs alone."

"If you love the sound of intricate harmonies and powerful voices losing themselves in the pure joy of singing, this album is for you." "I grew up with this music. It's actually the kind of music that appeals to all ages. The arrangements, the harmonies, the blending of nine voices and seven instruments - it's a must have."

"They did not achieve the greatness of other groups including The New Christy Minstrels whom they imitated and in many ways exceeded, but they did have a few modest hits and a loyal following."

"The early sixties folk revival was short-lived. The Serendipity Singers only really got going near the end. Like the more famous New Christy Minstrels, there were a lot of members in the group, though their style was generally more relaxed, but their repertoire was also varied."

Pure Dynamite! – JAMES BROWN**

Oh Baby Don’t You Weep/These Foolish Things/Signed Sealed & Delivered/Like A Baby/I’ll Never Let You Go/ Please Please Please/Good Good Lovin’/Shout & Shimmy

Soul legend James Brown followed up his immensely successful Live At The Apollo with another mostly live set from the Royal Theatre, Baltimore, recorded in November 1963. Given his impressive rendition of These Foolish Things it is unfortunate that he failed to channel his dynamism into better constructed songs. Thus the final comment below, attributed to the owner of his record company, has much validity. (US:10)

"1963 is about the time that this record was done. Part live and part studio intermixed. The energy is so phenomenal and overwhelming that you will pass out from exhaustion just listening to Shout & Shimmy, I'll Never Let You Go and Please Please Please."

"This is decidedly more raucous than his 1962 Live At The Apollo, with the balance leaning toward uptempo ravers like Shout & Shimmy, Signed Sealed & Delivered and the set-closing Good Good Lovin'."

"The performances are so energetic that you can't help getting caught up in the excitement."

"It is fair to say that the recording quality is primitive, even more so than on his 1962 Apollo gig; the vocals are a bit hollow, and the audience occasionally overwhelms the music."

"What a great performance, does not get better then this. He is pouring out his soul, great R & B... got that beautiful raspy voice. No one alive today has the power James Brown had over his audience."

"I never really was a big James Brown fan, but I tell you he really does an excellent job on These Foolish Things."

"Sid Nathan, the owner of JB's record company, refused to record Please Please Please. He was of the opinion that nobody would want to hear the word 'please' repeatedly endlessly."

Pain In My Heart – OTIS REDDING***

Pain In My Heart/The Dog/Stand By Me/Hey Hey Baby/You Send Me/I Need Your Lovin’/These Arms Of Mine/Louie Louie/Something Is Worrying Me/Security/That’s What My Heart Needs/Lucille

Pain In My Heart was the debut LP from the renowned soul singer Otis Redding. Booker T & The MGs provide the spirited backing. He would become the dominant soul artist of the mid sixties. (US:103)

"After Otis Redding made his mark on the top 100 pop charts with his 1963 single Pain In My Heart, he released a debut album of the same name the following year that showed this Georgia soul singer to be no flash in the pan. The bulk are covers that either pay homage to influences like Sam Cooke and Little Richard, or ride on the coat tails of recent hits by Don Gardner, Dee Dee Ford and The Kingsmen. Although Redding's interpretive skills were impressive, his early, self-penned material such as These Arms Of Mine and That's What My Heart Needs were an even greater representation of his burgeoning talent."

"When listening to Pain In My Heart there is no denying that Otis hit the ground running with this excellent set of soulful gems."

"While some of it is unremarkable filler material, Redding's Something Is Worrying Me and the excellent Security make this disc worth a listen. The backing band is Stax's legendary rhythm section, Booker T & The MG's."

"At the time, Otis hadn't completely found his groove yet, so the album is fairly inconsistent. However, it's interesting to hear the seeds of what he would become, and his wonderful singing on the slow numbers was already in fine form. It stands as a promising debut record that's enjoyable but not essential."

"Otis Redding, at about 22 years of age, sounds a bit more restrained than on subsequent albums, and he relies rather heavily on covers, but this is far from a sugary pop record. He may not let loose quite as much as he would a couple of years later, but there is no mistaking the hoarse, gritty, powerful voice, and the arrangements are pure tough soul."

"The soulistic singer had not quite found his style on this first go around. But Otis has a unique, passionate voice, especially during down tempo love songs. His voice reaches out and grabs your soul out of your chest."

The Many Moods Of Tony – TONY BENNETT***

The Little Boy/When Joanna Loved Me/A Taste Of Honey/Soon Its Gonna Rain/The Kid’s A Dreamer/So Long Big Time/Don’t Wait Too Long/Caravan/Spring In Manhattan/I’ll Be Around/You’ve Changed/Limehouse Blues

Singers of the time were often tied to contracts requiring more albums than there were recent quality songs to fill them. Tony Bennett’s motley collection The Many Moods Of Tony suffers in this respect. (US:20)

"Columbia Records contract in the 1960s called for three albums a year, and the result was occasional releases like this one, whose title gives away the truth - it's a hodgepodge of previously released singles (Spring In Manhattan, Don't Wait Too Long, The Little Boy) and sessions held at various times with various arrangers and musicians, all stitched together to meet the release schedule."

"What rescues this album is a remarkable new ballad, When Joanna Loved Me, that immediately went onto the Bennett concert short list. But on the whole, this album does not meet the standard Bennett had set with recent releases."

"I don't believe there is a more romantic singer than Tony Bennett. He never fails to give a class performance."

"Oh what a beautiful song is When Joanna Loved Me. Just like my beautiful daughter Joanna."

"On When Joanna Loved Me Tony's singing is like a 'fine spice' you cannot live without it in your cooking. This is an amazing song, so well written too. One of the great all time recordings. Few singers ever have such a song."

The Best Of – MICHAEL HOLLIDAY****

The Yellow Rose Of Texas/Nothin’ to Do/Old Cape Cod/Palace Of Love/I’ll Always Be In Love With You/Ten Thousand Miles/Hot Diggity/Stairway Of Love/Starry Eyed/ My Heart Is An Open Book/Dream Talk/The Gal With The Yaller Shoes/In Love/The Story Of My Life

The Best Of Michael Holiday was the first compilation album from the popular fifties British MOR vocalist whose voice sounded similar to that of Bing Crosby. His musical style had become outdated at the start of the new decade.

“This LP brings together a lot of his best material, and most of the hits he had in Britain and there were quite a few of them. On disc he could be warm, romantic, humorous and swing as well. I would highly recommend this LP to anyone who wants to find out more about this singer who made such a big impact on the British popular music scene."

“I was a teenager in the late 50s well into rock & roll. However there was a British crooner with a wonderful voice that I really enjoyed. He achieved two number one hits in the UK charts with The Story Of My Life and Starry Eyed despite the overwhelming power of the rockers. On this disc there are all his other major hits including Stairway Of Love.”

“When I heard the LP, I realised that he is very much the English version of Bing Crosby. He even sings quite a few of the songs that I've heard Bing sing.”

“Such a great voice. Not fair to dub him the British Bing Crosby but it does describe him well. Great tracks.”

“Representing a good selection of this rather overshadowed artist once labelled the British Bing Crosby. Fans of this style of music will truly be able to immerse themselves in the rich tones. Thoroughly enjoyable.”

“My guess is that Michael's success was largely limited to his native Britain, many of his recordings being covers of American songs. Michael had a smooth, baritone voice that he used effectively to sing all types of song.”

“When Michael Holliday first came onto the scene, he was hailed as the new Bing Crosby, and there was a remarkable similarity in their voices. Michael tended, however, to sing the more popular songs of the day.”

Hello Dolly! – BROADWAY CAST*****

Prologue/I Put My Hand In/It Takes A Woman/Put On Your Sunday Clothes/Ribbons Down My Back/ Motherhood/Dancing/Before The Parade Passes By/Elegance/Hello Dolly/It Only Takes A Moment/So Long Dearie/Finale

The Broadway musical Hello Dolly! starred Carol Channing as Dolly Levi, a meddlesome widow interfering in the romantic alliances of her friends. It opened at the St James Theatre in January 1964 and ran for 2,844 performances. Music and lyrics by Jerry Herman. (US:1)

"Hello Dolly! is not the best musical Broadway has ever produced. It was not even the best musical of the 1960s - but it has that brassy Broadway sound that many people associate with the 'great white way'. Jerry Herman's score remains a delight and the cast delivers the songs with gusto."

"When I first listened to Carol Channing I thought she sounded like a frog, her voice wasn't very pleasant to listen to, and I preferred to hear Barbra Streisand instead. But after a while I started to like Carol, even on the soundtrack you could sense her charm and feel her natural stage presence. I realized that Dolly needed a character, not just a voice."

"Carol Channing and Dolly Levi are inseparable images in the American psyche. This is her great tour-de-force role, and this classic recording preserves all of the fun and melody for everyone to enjoy. A sublime performance and recording."

"Hello Dolly! remains one of those pinnacles in the Broadway musical theatre where you ask yourself: does it get any better than this? Probably not."

"This is still regarded as the best recording of the score; the original Broadway cast headed by the best-ever Dolly - Carol Channing. She is supported by a dreamlike ensemble."

"The exuberance of the performances is astounding. As for Carol Channing not being able to sing, in the role of Dolly: no-one can or ever will be able to top her. Carol Channing rules. The Jerry Herman songs are jewels, and with the music tailored to her eccentric talents, star Carol Channing works wonders with them."

Encore – JOHN GARY***

Tender Is The Night/Anywhere I Wander/Melodie D’amour/And This Is My Beloved/’Ol Man River/Stella By Starlight/Take Me In Your Arms/Faraway Places/A Beautiful Thing/If/(Its Been) Grand Knowing You/Stranger In Paradise

Talented MOR vocalist John Gary's rush released his second LP Encore. As was then commonplace it comprised the singer's interpretation of many popular standards in vogue at the time. (US:16)

"With Encore, a deliberate effort seems to have been made to offer a more solid, impressive sense of Gary's talent, and he covers more established standards in more formal arrangements. He certainly survives this maturation process, but there are a lot of people who sing Stranger In Paradise more or less the same way, so he comes off not quite as individually as he did on his label debut."

"A slightly more formal, self-conscious collection, its material and musical approach somewhat more conventional. Only the lead-off track, Tender Is The Night, and (It's Been) Grand Knowing You, were contemporary, the rest of the songs dating back as far as 1927."

"If Catch A Rising Star was an album that attempted, successfully, to attract attention to the versatility of Gary's vocal talent, Encore was one that tried to consolidate his newfound renown by making him sound like a more traditional pop singer than he had seemed at first."

"John's voice is as beautiful as the day he sang them, without echo chambers and 'manipulation' that is so common with 'singers' these days." "Another masterpiece of music and more Marty Gould's perfect arrangements for Mr. Gary's three octave voice."

"If you love classic love songs, or if you're just being introduced to them, and if lyrics really matter to you, you owe it to yourself to check out John Gary. Once he draws you in, with one listen you'll be hooked."

"John Gary could sing a song and interpret it in such a way that you'd swear you never heard anything so beautiful before."

Dawn (Go Away) – THE FOUR SEASONS****

Big Man’s World/You Send Me/Mountain High/Life Is But A Dream/Church Bells May Ring/Dawn Go Away/Only Yesterday/Sixteen Candles/Breaking Up Is Hard To Do/Earth Angel/Don’t Let Go/Do You Want To Dance

Change of label for the falsetto pop harmony group The Four Seasons. The title track peaked at No. 3 in the US singles chart. The final comment below perceptively contrasts music such as this with some more contemporary offerings. (US:6)

"This album featured some of the group's best work. With the exception of the Elvis imitation on Don't Let Go, the trademark Four Seasons sound works great on the covers featured."

"Dawn(Go Away) was my very first album from my very first pay-packet when I was almost 17. The song that I most enjoyed was their cover version of The Crests' 16 Candles. To my mind, it is 100% better than the original and should have been released as a hit single."

"The Four Seasons very name is a harvest of full spectrum sound from boomy bass to the heights of instrumental and vocal. This group excites the ear, the mark of a truly classic 'oldies' group."

"The group's harmonies are glorious throughout, and the album's hit Dawn (Go Away) just happens to be The Seasons' first genuine masterpiece, a classic '60s single powered by a soaring melody, haunting wrong-side-of-the tracks lyrics, and inspired production."

"What a legend and great singer. If only this generation could hear music like this. They need to pull up their pants and throw out their rap and listen to what music should really sound like."

"Why do I never get tired of Dawn (Go Away), but I get tired of most modern fare after about five listens? I'll make an effort to answer my own question - possibly because this song contains a carefully considered and well-crafted melody. I don't think 'musicians' today even bother with the music part of being a musician anymore. If the artist has the right image and you can dance to it, it'll sell. We've lost something really great."

It’s My Way – BUFFY SAINTE-MARIE****

Now That The Buffalo’s Gone/The Old Man’s Lament/Ananias/Mayoo Sto Hoon/Cod’ine/Cripple Creek/The Universal Soldier/Babe In Arms/The Lived Alone In Town/You’re Gonna Need Somebody On Your Bond/The Incest Song/Eyes Of Amber/Its My Way

It’s My Way was the debut album from Canadian born Native American singer songwriter Buffy Sainte-Marie. Includes the war protest song The Universal Soldier later made famous by Donovan.

“Buffy Sainte-Marie is the continent's leader in Native American music. This was her first album, on which she introduced her unique style. It contains some amazing pieces: Now That The Buffalo's Gone, is a brilliant song about the genocide of a way of life. It is a metaphor for cultural destruction, and continues to be relevant. The Universal Soldier is a war song that keeps on going. Nothing seems to change in this world, and this song should be on the airwaves daily.”

“While this music might sound dated to some, it still holds up for me after all these years. Buffy's powerful guitar playing, unique and haunting voice, and wide range of adult topics make for a tremendous impact.”

“It's My Way is both noteworthy for her 1960s songs illustrating the plight of Native Americans, and as being highly talented innovator of western European folk tradition and one of the first cultural fusion musicians. Often accompanying herself on a bow-harp, at other times with rich instrumental backup, her music is sometimes eerie, always uncompromising.”

“Absolutely stunning folk debut from Buffy Sainte-Marie. Overlooked for certain. Here we have folk music with lyrics that challenge and confront. The Universal Soldier stings with a pain. Codine predates the vast majority of music's drug-related laments. And Buffy delivers this choice set of songs with a style so emotional and powerful you think nobody could ever put more feeling into their vocals.”

“This album isn't going to be for everyone. Sainte-Marie's voice is certainly an acquired taste. If that doesn't turn you off then there's a good chance her political, social and personnel agendas would strike a chord of controversy. This one's tough to get through, but definitely worthwhile."

“Essential for the stunning ferocity with which Sainte-Marie attacks every line. She has probably one of the most effective voices you'll ever hear.”

At The Whisky A Go Go – JOHNNY RIVERS***

Memphis/It Wouldn’t Happen With Me/Oh Lonesome Me/Lawdy Miss Clawdy/Whisky A Go Go/Walking The Dog/Brown Eyed Handsome Man/You Can Have Her/Multiplication/Medley:La Bamba-Twist & Shout

At The Whisky A Go Go was the first of several live albums to chart from US pop vocalist and guitarist Johnny Rivers. His interpretation of the Chuck Berry classic Memphis made No. 2 on the US singles chart. (US:12)

"Johnny's crisp guitar and harmonica playing along with Jerry Rubin's drums and Joe Osbourne's bass gave this trio a great sound."

"The album is mostly all cover tunes, but I really appreciated the way Rivers kept the tempo for the audience, who on more than one occasion included themselves in on the show. It's a real simple concept with a small venue armed with talented musicians playing to a very receptive crowd." "Johnny Rivers had a way of doing these songs that no one else could."

"I had the opportunity to see Johnny at the Whiskey a couple of times. He is such a dynamic live performer."

"I'm not usually a fan of live rock performances, but Rivers' club performances are much more fun and infectious than massive stadium concerts. There's not much here in the way of original material. However, Johnny's treatments of Chuck Berry and other rock & roll standards are a great listen."

"Rivers may not have been the most original rocker around, but he played with an infectious enthusiasm that was quite enjoyable. It should be pointed out that all of the songs here are cover versions of other people's material."

"Although Johnny's cover versions are almost never as good as the original performers versions, the songs still have a fun, intimate, small club feel to them. Don't go looking for much originality on this LP, but if you are a fan of Johnny Rivers, you will enjoy it."

"This might be great for a party but it's too much of the same thing if you're listening to it on a long drive."

At The Drop Of Another Hat – FLANDERS & SWANN

The Gas Man Cometh/Sounding Brass/Los Olividados/In The Desert/Ill Wind/First & Second Law/All Gall/ Horoscope/Friendly Duet/Bedstead Men/By Air/Slow Train/A Song Of Patriotic Prejudice/Hippo Encore

At The Drop Of Another Hat is a comedy review with witty anecdotes by Michael Flanders and musical accompaniment by Donald Swann. The clever linguist tricks were considered rather dated at the time. They are positively antediluvian in today's dumbed down society more accustomed to the crudity of in your face 'edgy' humour. No 'star rating' as the music is subordinate to the humour. (UK:12)

"For those who are fans of Flanders and Swann, this has some of their best songs such as The Gas-Man Cometh and the Slow Train. They epitomise the 1950s and 1960s revue and (gently but somehow more powerfully) satirical comedy."

"Flanders, the perfect after dinner speaker with a delightfully mellow and versatile baritone voice; Swann, the supreme partner, both on the keyboard and in the singing. Michael Flanders is expert with language, Donald Swann with music. All this, and it is very funny: even when the jokes are dated they retain their punch."

"If you're wandering who they were, Michael Flanders and Donald Swann were performers of comic songs and short monologues. They also wrote of subjects that, although technology has changed things, still encounter similar problems today like utility services and various means of transport."

"For those old enough to remember them the image of a bespectacled Swann at the piano, while the impressively bearded Flanders bass voice bellowed forth when seated in his wheelchair will, no doubt raise a smile. If you tire of entertainment aimed purely at the lowest common denominator then this is a welcome antithesis."

"It is sad to reflect that much of the wit and brilliance of the Flanders and Swann pieces might today be regarded as politically incorrect. However, the strength of their entertainment value is great enough for them to be an essential ingredient in anyone's library. Their comic songs have bite, wit, character, fire and - just below the surface - sometimes profound meaning."