In Concert - PETER PAUL & MARY****

The Times They Are-A-Changin’/A’soalin/500 Miles/Blue/Three Ravens/One Kind Favour/Blowin’ In The Wind/ Riding In My Car/Puff The Magic Dragon/Jesus Met The Woman/Le Deserteur/Oh Rock My Soul/Paultalk/Single Girl/There Is A Ship/Its Raining/If I Had My Way/If I Had A Hammer

Influential folk trio Peter, Paul & Mary's double album In Concert remains their only live album from their years of peak popularity in the sixties. It contains a significant amount of dialogue from the group. (US:4 UK:20)

"In Concert is heaven for old-school folkies. The double album was recorded live in the innocent days before Dylan went electric and features Peter, Paul and Mary performing most of their big hits."

"Paul's long comedic bits are extremely entertaining, but if you want to really enjoy PP & M music, some of the other albums might be for you. If listening to this in the car I often skip tracks that are oral recitations in favour of the great music."

"This recording captures the energy, diversity of talent and great vocal style of the trio which epitomized the collective folk conscience of the dynamic '60s. Peter, Paul and Mary became the popular mouthpiece of an idealistic generation which had begun to dare to question war and social injustice, spinning their message with the hearty fibre of love songs (requited and not), folk ballads and humour."

"It is unfortunate that 'must-have' is such an overused phrase, but it surely applies to this effort. Join in, get your feet tapping and heart-strings jumping, and, 'if you do not know the words, you'd better learn them', as Peter chides."

"This double-album with its 81 minutes of music (and comedy) made listening to their studio albums nowhere near as much fun. Lots of groups sound better live than in the studio, and PP & M amply proves that here."

"Normally a live album by any performer is probably avoided by most listeners. Who wants to hear a stage version when you can have the original releases, right? And I agree, avoiding live albums like the plague. This album, though, is one of those rare exceptions. The songs are all clear and legible, with very little audience interruptions while they sang their serious songs. Recorded during the heyday of PP & M, this album gives you a feel for why they were so popular, especially live."

I Walk The Line – JOHNNY CASH***

I Walk The Line/Bad News/Folsom Prison Blues/Give My Love To Rose/Hey Porter/I Still Miss Someone/ Understand Your Man/Wreck Of The Old 97/Still In Town/Big River/Goodbye Little Darlin’ Goodbye/Troublesome Waters

On this LP country legend Johnny Cash re-recorded for Columbia several of his earlier songs released by Sun Records, including his No. 17 hit from 1956, I Walk The Line. However, the remaining half is formed of new songs. (US:53)

"The album was a ploy by Columbia to record successful songs from Cash's Sun Records period as part of the Columbia catalogue. Half of its tracks were new performances by Cash, two of which, Bad News and Understand Your Man would go on to become top ten singles on the country & western chart."

"I admit it I grew up listening to Johnny Cash in my parents’ car. This was probably the first one I can remember hearing. It's chock full of good stuff like the title track, Big River, a different, but just as good a version of I Still Miss Someone."

"Back before country music became dumbed-down, there was a very eclectic mix of musical styles which melded to form what was known as 'bad [boy] outlaw country blues', of which Johnny Cash was the exemplar. I Walk The Line is an appropriate intro to the man who carefully crafted his 'man in black' identity. That identity always brought together the two seemingly opposite sides of Cash's personality: The 'Folsom Prison' outlaw and the gospel-singing, deeply-religious man. No matter, Cash's intelligent, complex tunes are a slap in the face at the kind of facile 'I'm just a simple country person, and proud of it' stuff that the media puts out today."

"Today's aspiring country stars would do well to listen to Cash, who deftly mixes Nashville country, gospel and blues." "The voice of The Man in Black is the voice of America. Together with Louis Armstrong, Frank Sinatra and Elvis Presley, Johnny Cash embodies the American spirit and sublimates it through his songs."

"Johnny's voice is cool and calm. He is the only singer I listen to who can be tough yet gentle at the same time. Here is a man that judging only by the sound of his voice you'd know not to mess with, yet his lyrics show a man with a genuine heart."

I Don’t Want To Be Hurt Anymore – NAT KING COLE****

I Don’t Want To Be Hurt Anymore/You’re Crying On My Shoulder/Only Yesterday/I’m Alone Because I Love You/ Don’t You Remember/You’re My Everything/I Don’t Want To See Tomorrow/Brush Those Tears From Your Eyes/Was That The Human Thing To Do/ Go If You’re Going/Road To Nowhere/I’m All Cried Out

Legendary jazz influenced vocalist and pianist Nat King Cole achieved his last US top twenty album during his lifetime with I Don't Want To Be Hurt Anymore. The title track just missed the US singles top twenty. (US:18)

"What a joy to hear that magnificent voice of Nat King Cole on this album. It makes one realize more and more what a treasure we had in that man. I would rate this as prime Nat King Cole. Some would refer to it as 'easy listening' but I would call it just great music performed by one of the industry's giants."

"The orchestras and choruses on all sides here frame Nat's voice perfectly, and considering this album came late in the game for Nat, he is in spectacular form. One of my favourite performers ever. Listen and enjoy."

"There should have been more like this, but this is it, so cherish the moment. Listening to Nat though, is always great; he had a tenderness in his voice, completely flawless. He could never deliver a bad tune, his style and signature of making a song his own has never been duplicated."

"The one and only master of interpretation, no other singer in the business had the warmth that this man gave during a performance or recording session. All Nat King Cole fans should take the opportunity to acquaint themselves with this almost forgotten album. Contains none of his great hits, but is so full of beautiful singing and trenchant interpretations that for me it tops his wonderful, more popular albums. Cole conveys loss and loneliness with a wistfulness that even Sinatra had trouble matching."

"Continues the country/western/folk theme with arranger and conductor Ralph Carmichael at the helm. Before I listened to it, I was hoping for maybe another jazzy Cole/Shearing-like project . There are some songs that are worth listening to, such as I Don't Want To Be Hurt Anymore. The other songs will have to grow on me"

The Exciting Sounds Of – ROY ORBISON***

This Kind Of Love/Devil Doll/You’re My Baby/Tryin’ To Get To You/Its Too Late/Rock House/You’re Gonna Cry/I Never Knew/Sweet & Easy To Love/Mean Little Mama/Ooby Dooby/Problem Child

Opportunistically released to take advantage of the Big O's string of chart smashes, Exciting Sounds comprised tracks from his time with Sun Records in 1956-58. The rockabilly style is very different from his later driving, soaring releases on the Monument label. (UK:17)

"Orbison, at this time, had his voice, and the beginnings of his songwriting, but hadn't yet developed a sound that particularly suited either. The vital elements that would propel him to artistic stardom were awaiting his move to Monument a few years later."

"The overall impact of his Sun sessions is 'talent in waiting'. His slower blues numbers (replete with rockabilly hiccups) simply don't provide the balladry that he later leveraged to such incredible effect."

"Interestingly enough, Orbison had that driving style in his voice from early on in his career - the only draw back was he needed better material, much of it sounded the same."

"This might not be regarded as essential to anyone who was not a fan in general of the Big O, but to any devoted follower of his illustrious career this is an absolute must."

"After I bought this album I was surprised to hear how great his rockabilly/Sun songs were. If Roy Orbison's short tenure with Sun was a rocky one, one would never know it from listening to this great rockabilly album. As for me, I loved it."

"Before Roy Orbison had his great success with Monument Records, he recorded for Sun Records. His stint with Sun was not so successful. He only released four singles, only one of which was a moderate success (Ooby Dooby)."

"This material is definitely not as sophisticated as his later, more popular material. It is just basic rockabilly, but still quite enjoyable." "This is Orbison when in terms of trying to find an artistic voice he was still a baby."

Everybody Loves Somebody – DEAN MARTIN***

Everybody Loves Somebody/Your Other Love/Shutters & Boards/Baby-O/A Little Voice/Things/My Heart Cries For You/Siesta Fiesta/From Lover To Loser/Just Close Your Eyes/Corrine Corrina/Face In A Crowd

Relaxed MOR vocalist Dean Martin achieved his highest US album chart placing with Everybody Loves Somebody. The title track topped the US singles chart and was a No. 11 hit in the UK. (US:2)

"Comprises a collection of B-sides and tracks from previous albums put together to exploit Martin's 1964 hit single Everybody Loves Somebody."

"This album is rather problematic and indicative of some of the problems inherent in Martin's career. It is kind of a slapdash affair with about half the stuff worth listening to and about half throw away garbage."

"The remade Everybody Loves Somebody is a marked improvement over Dean's previous recording by using the classic Martin formula updated with a rock like rhythm section."

"We all know the story behind Everybody Loves Somebody. It was recorded by Dean only as a passing suggestion by pianist Ken Lane (who also co-wrote the song) when sessions were short by one song. It had been recorded many times before, but only Dean would claim the best of it when he iced it in the studios of Reprise."

"Everybody Loves Somebody, which Dean had featured in his early career, and this new recording gave Dean's record producer, Jimmy Bowen, the idea that in a different musical setting, this song would find wider appeal. So with a soaring contemporary arrangement and chorus, the song was re-launched and became a massive hit single."

"I love this version of Everybody Loves Somebody. This song truly belongs to Dean Martin. I never heard it performed better by any other performer on the face of this earth. This is Dean Martin at his zenith."

"There is absolutely no reason to include the six songs that Dean had already recorded the year before on his country albums. It's clear that Reprise wanted to cash in on the Everybody Loves Somebody hit single."

Dream With Dean – DEAN MARTIN****

I’m Confessin'/Fools Rush In/I’ll Buy That Dream/If You Were The Only Girl In The World/Blue Moon/Everybody Loves Somebody/I Don’t Know Why/Gimme A Little Kiss/Hands Across The Table/Smile/My Melancholy Baby/ Baby Won’t You Please Come Home

Dream With Dean was released concurrently with Everybody Loves Somebody. Although it gained more critical plaudits, it was less successful commercially. Includes a different version of the hit single Everybody Loves Somebody. (US:15)

"An intimate, late-night affair recorded with a small combo and spare arrangements."

"Martin decided to cut a concept album of slow ballads, sung as slow as they could be sung, with an intimate backing of just four pieces. The resulting sound is, of course, sparse and mellow, but it actually works very well behind Martin's voice, which sounds deep and soothing, a little bit as though he were singing directly into the listener's ear, trying his best to contain the emotions expressed in the lyrics."

"Dream with Dean might be the crooner's best album. Backed by a small tasteful quartet this is the polar opposite of the music that is normally associated with Dino. The album is all the better for that difference as Martin's truly beautiful voice is accentuated in all its subtle glory. The result is a stunningly intimate recording."

"The arrangements though tasteful vary little from song to song and listeners are left begging for a little drama. Still hearing Martin in this context is well worth the effort and the album is in general a success. While Martin had a reputation for being indifferent to just about everything, this is a real serious attempt at some kind of art."

"Dream With Dean is what many consider a 'Dino unplugged' session, if you will, away from all the glitz and glamour and hype and swing, just Dino, the boys in the small group, and you. Clearly an after hours mood album that even Frank Sinatra must have been thrilled to hear."

"Dream With Dean is a quiet and very relaxed meander through a dozen standards, simply accompanied by four musicians. Dean is completely relaxed, and there is no doubt this minimal backing provides the perfect setting for his understated style which represents the ideal package for late night listening."

The Concert Sound – HENRY MANCINI****

(Academy Award Selections) - Never On Sunday/High Noon/Over The Rainbow/Buttons & Bows/Love Is A Many Splendored Thing/Three Coins In The Fountain/Moon River (A Tribute To Victor Young) - Golden Earrings/When I Fall In Love/Sweet Sue Just You/Stella By Starlight/My Foolish Heart/Love Letters/Around The World In 80 Days (The Music Of David Rose) - American Hoe Down/Manhattan Square Dance/The Stripper/California Melodies/Dance Of The Spanish Onion/Our Waltz (Peter Gunn Meets Mr Lucky) - Mr Lucky/Lightly Latin/Dreamsville/Timothy/March Of The Cue Balls/Joanna/My Friend Andamo/Peter Gunn

Despite the title The Concert Sound was a studio recording based on Henry Mancini's orchestral US concert tour. It consists of medleys collected together under four separate themes. (US:15)

"The Concert Sound of Henry Mancini is not a live album. Mancini embarked on a national tour before the album was recorded, for which he wrote new arrangements of signature and popular tunes organized into thematic medleys. The concerts were well-received, but instead of releasing a live recording from the tour, Mancini assembled a 70-piece orchestra to perform selections from his concert repertoire on a Hollywood sound stage. The resulting album reproduces in part the content and arrangements from Mancini's live shows."

"The medley format is entertaining and fast-paced, particularly on the set of Academy Award-winning melodies, but the album's concept is of dubious merit."

"The sides are setup like concert medleys of movies and Broadway shows exactly like they would be in a concert. The arrangements are terrific and the sound is on a par with some of the best orchestras in the world. Mr. Mancini may be gone, but fortunately we still have his music."

"A touch of this, a splash of that, a tad of this. All combine to form The Concert Sound. Buy it, buy it, buy it."

"It was the combination of arrangements, the concert orchestra sound and the transitions between each piece. All of that, plus the overwhelming nostalgia of what that music meant when it represented themes for the period in which it and we were raised."

"Mancini literally wrote the textbook on composing scores for motion pictures, and his mastery of both composition and arrangement shines throughout this album."

The Best Of – JIM REEVES***

He’ll Have To Go/Four Walls/Guilty/Blue Boy/I’m Getting Better/The Blizzard/Am I Losing You/Billy Bayou/Anna Marie/Stand At Your Window/Adios Amigos/Danny Boy

The Best of Jim Reeves was released immediately after his death. Only one of his numerous UK top twenty singles was included, thus there are many more comprehensive collections currently available which better live up to the title. (US:8 UK:3)

"Each age gifts us with legendary songs and there are some which are ageless. Jim Reeves' songs belong in the latter class. His songs touch the core of human existence any day, any time, anywhere."

"There are greater compilations I could recommend, but if you like his voice and style, you won't care."

"Many legendary performers came and went through Nashville, Most of them are gone now but Jim Reeves just keeps marching on. Nothing seems able to stop him, not even death. None have had the lasting impact that Jim has had on the generations that have followed. Many of today's stars can trace their inspirations back to Jim Reeves. For anyone who wants to get a sense of what country music was, is and shall be, this legendary performer's work stands alone."

"Jim Reeves was a superstar who far transcended his Nashville country roots. This collection includes a fair selection of his greatest hits but is in no way a comprehensive anthology of his best loved tracks."

"Nobody will ever confuse his voice with that of any other singer, it's just too distinct. His material was always well chosen, so you get wonderful melodies and quality lyrics. Reeves remains a magical musical experience decades after his death. Just a true pleasure to sit back, relax and listen. Every song is enjoyable and the velvet voice of Jim Reeves is evident in every selection."

"This guy has got the richest, most sincere voice, in the history of male singers in my book. Sweet, sad and silly lyrics adorn all of these songs, and his voice just adds to the quality of the overall music. I definitely recommend this for those who enjoy oldies but goodies."

The Best Of Mancini – HENRY MANCINI****

Peter Gunn/Timothy/Lujon/March Of The Cue Balls/Fallout/Mr Lucky/Moon River/Experiment In Terror/Baby Elephant Walk/Days Of Wine & Roses/Theme From Hatari/Charade

Henry Mancini's first compilation LP of his best known recordings. More comprehensive CDs are currently available. This kind of music was facilely dismissed as elevator music by some critics. (US:42)

"Henry Mancini gave us so much of our consciousness of the 1960s and 1970s, and yet was 'out' almost as soon as he was 'in'."

"His work became synonymous with much-despised 'elevator music' in the later 1960s. This stereotype (or monotype, for his earliest works) can mislead." "I really like Mancini's music generally and I am becoming concerned that he may be one of the greats of American music who will soon be forgotten if he hasn't been already."

"As always, the music of Henry Mancini never fails to deliver the range of sounds associated with his talented career. This album showcases a wide variety of his music, and that's the key to his charm. He could never be expected to do the same thing, and his talent led him from the growling notes of the Peter Gunn theme to the sentimental Moon River. Mancini always delivered in an expert, smooth style that is so lacking in the present. The perfect album for what is now sneeringly referred to as easy listening, it's just the thing for a rainy afternoon sipping coffee."

"Henry Mancini was one of the greatest composers of the 20th Century. I have a number of collections of his music. He was a perfectionist when conducting his compositions. The result is high quality music that sets a romantic mood."

"Truly one of the best composers ever. I've always enjoyed the way his arrangements and certain instrumentations all come together. He truly understood styling, and the vocals sound timeless. You always knew a Henry Mancini track by the way it was played and arranged. He had his own musical signature."

"I have been ordering Mancini albums lately because his music brings back a feeling from when I was young. My parents had Mancini music on during their dinner parties, cocktail parties and of course everyone was smoking away."

All Summer Long – THE BEACH BOYS****

I Get Around/All Summer Long/Hushabye/Little Honda/We’ll Run Away/Carl’s Big Chance/Wendy/Do You Remember/Girls On The Beach/Drive-In/Our Favourite Recording Sessions/Don’t Back Down

The Beach Boys second 1964 album All Summer Long demonstrates further advancement in Brian Wilson's songwriting skills. Contains the US chart topping single I Get Around, which peaked at No. 7 in the UK. (US:4)

"All Summer Long is a first response to The Beatles, first of the magnificent Brian Wilson produced albums and the first to really break the mould of surf and car songs. Stellar production and vocal arrangements, catchy timeless tunes."

"This is (like a lot of Beach Boys albums) a magnificent collection of songs. My favourites are Drive-In and Little Honda because they are good hot rod songs and they have funny and groovy lyrics."

"The fact that radio still plays these songs 40 years later is proof of their timelessness. Truth is - you can't have summer without them."

"It is evident that Brian Wilson took a quantum leap here. From the opening I Get Around to the closing Don't Back Down the album is consistent in its greatness. The songs are brilliantly arranged, produced and sung. All of them are winners."

"Truly, there isn't a bad cut on All Summer Long, and it is the first Beach Boys album that established the group as a worthy pop rival to the Fab Four."

"Many songs are familiar big hits, and some are gems in the rough. The harmonies are simply some of the best. Yes, there are a few tunes that are not as polished as I would like. But, I would not pass up on this disc, no way."

"This is The Beach Boys I fell in love with and will play over and over again, period. I just wish there were more music like this today, but it isn't being done and it also was a place and time that has long been gone. Get these and sit back and enjoy their sun drenched/hi-revving genius."

"This is a fantastic album that shows The Beach Boys taking surf-rock to its limits. The vocals and the energy are amazing."

A Hard Day’s Night – THE BEATLES*****

A Hard Day’s Night/I Should Have Known Better/If I Fell/I’m Happy Just To Dance With You/And I Love Her/Tell Me Why/Can’t Buy Me Love/Any Time At All/I’ll Cry Instead/Things We Said Today/When I Get Home/You Can’t Do That/I’ll Be Back

The Beatles third LP A Hard Day's Night left most of their pop competitors trailing so far behind they were left at the starting line. The only Beatles album to be comprised entirely of Lennon-McCartney originals, it immediately topped the UK album chart. There's no doubt about it - every track is a musical gem. (UK:1)

"Many of the chords, progressions and structures to the songs are very advanced - especially coming from a rock band who wrote their own material. What is still more impressive is how they seem to make it all sound so seemingly simple; the complexity of the musicianship doesn't overwhelm the music, but plays an important role in making their music infectious and devouring. The way they treat the melodies, and how they sequence and arrange them, is so marvellous."

"Every track here is brilliant in consummate beat-pop style. Infectious joy just explodes out of every song. A Hard Day's Night is a timeless classic that sounds as fresh and energetic today as it did all those years ago."

"All the songs are wonderful. No filler, just classic power pop sprinkled with some of John and Paul's most beautiful ballads. This whole album is utter pop perfection."

"If there is such a thing as an under appreciated Beatles album, it's A Hard Day's Night. Lennon's raw voice truly shines as the highlight with some notable favourites from McCartney too. John and Paul wrote all the songs on this one, composing an incredible number of outstanding originals. The melodies and middle-eight changes, along with the harmonies and execution, make these songs come alive."

"A Hard Day's Night is perhaps The Beatles' crispest and cleanest album. It rocks, has great harmonies, and crackles with the energy of guys on top of the world."

"It's easy to forget that the reason The Beatles became so famous was because they could write infectious and unforgettable pop songs. That's what A Hard Day's Night is full of and that's why it catapulted them to international stardom. It contains some of their catchiest songs. While their later songs are more experimental and musically sophisticated, the early ones make you want to get up, sing and dance."

Wonderful Life – CLIFF RICHARD***

Wonderful Life/A Girl In Every Port/Walkin’/Home/A Little Imagination/On The Beach/In The Stars/We Love A Movie/Do You Remember/What’ve I Gotta Do/Theme For Young Lovers/All Kinds Of People/A Matter Of Moments/Youth & Experience

Cliff Richard's 1964 soundtrack album Wonderful Life was noticeably less successful than its two predecessors, both critically and commercially. Contains the UK No. 7 hit On The Beach and The Shadows' instrumental No. 12 hit Theme For Young Lovers. Released only eighteen months after Summer Holiday, during the period when Cliff's pre-eminent position in British popular music was overtaken by The Beatles and the other newly emerging beat groups. (UK:2)

"Another excellent album from Cliff & The Shadows. Relaxing, toe-tapping, just what you would expect from these guys. A really nice album."

"Cliff's On The Beach is a Shadows backed guitar number, excellent pre-Beatles rock and pop. The guitar work and the rhythm section truly excel." "The moment Cliff handed the baton to The Beatles."

"On The Beach is my favourite Cliff song, along with Bachelor Boy."

"Wonderful Life is a brilliant Cliff track even if the film was a bit dated even back then. The music is timeless."

"The music is flat for the most part and closer to show music than rock & roll."

"The songs, with a couple of exceptions, are especially weak."

"This time the songs aren't strong enough to cover up the cracks in the plot. True, there are a few exceptions, notably The Shadows' Theme For Young Lovers, plus On The Beach and A Matter Of Moments."

The Fabulous Ventures – THE VENTURES***

Needles & Pins/Runnin’ Wild/Eleventh Hour/The Cruel Sea/Scratchin’/Tall Cool One/Only The Young/Journey To The Stars/Fugitive/Ravin’ Blue/Walkin’ With Pluto/Pink Panther Theme

The Fabulous Ventures was a combination of covers and original compositions. Many Ventures fans would have preferred more of the latter even though it would have meant fewer albums. (US:32)

“The Ventures continued the trend of altering their basic surf sound. The band had recently begun using the Mosrite guitar exclusively, and its fuzzy glory is found all over this album including the brilliant Journey To The Stars. The guitars on Only The Young, coupled with the female background vocals, sound absolutely majestic."

“The Ventures were in transition on this album, as the surf was ebbing and the tidal wave from England was crashing onto shore, and they proved, as they would do throughout the rest of the 60s, that they were the kings of instrumental music.”

“It's their standard fare, but with some surf driven selections this time, as well as some early fuzz guitar. There are a lot of really good ideas on this one, that ultimately fail to materialize as promised.”

“Does not deserve consideration among the group's most stellar outings. Relies too heavily on filler to be successful.”

“This is one of The Ventures' most famous albums. Perhaps the most well known song on this album is Journey To The Stars. It certainly sounds like a 'space' tune, just the name of it alone. Some great stuff here.”

“The Fabulous Ventures combined six original compositions including the single Journey To The Stars. It also includes six cover versions of popular songs from the era. In general The Ventures' albums have stood the test of time and hold together well, especially the ones that follow a particular theme.”

“The Ventures kept on becoming better songwriters by the minute, as evidenced by originals like the hyperactive Runnin' Wild, the creepy Eleventh Hour, the silly Scratchin’, the odd chord sequenced Ravin' Blue the ugly stupid Walkin' With Pluto and the picture-perfect surf/spy classic Journey To The Stars, which is one of the best known and most cherished songs ever recorded in this genre.”

The Merseybeats – THE MERSEYBEATS***

Milkman/Hello Young Lovers/He Will Break Your Heart/Funny Face/Really Mystified/The Girl That I Marry/Fools Like Me/My Heart & I/Bring It On Home To Me/Lavender Blue/Jumping Jonah/Don’t Turn Around

The Merseybeats self titled LP was their only UK album chart entry and includes the UK No. 13 hit Don't Turn Around, but omits their best known single I Think Of You. A compilation album by this group would be a good investment for those who appreciate musicians who play their own instruments and sing a neat tune. (UK:12)

"While their chart history is not as strong as some of the other Liverpool groups, they had some great songs, both ballads and rockers, and were clearly accomplished musicians."

"If you enjoy British pop music of the sixties, give The Merseybeats a listen. You'll be in for a treat."

"Their music does not sound out-dated like that of many of their contemporaries."

"The Merseybeats will ever retain that quintessential twang that so distinguished the beat music of the early to mid-sixties."

"Worth the admission price just for Milkman, that lovely chord-ey sort of sound."

"The Merseybeats shows the band liked to mix mid-tempo harmony numbers with ballads and show tunes."

"They are worth a listen because they are so characteristic of that embryonic Mersey sound. This is where it all began, with this blend of harmony and rock, this sense of youthful optimism and liberation."

"They were much better live than recorded, and were perfectly suited to the hot, intimate atmosphere of the early discotheques. Their recordings are often hurried and under-rehearsed. Also, they lacked an innovative songwriter, and failed to progress beyond their earliest American influences."

16 Great Songs – THE BACHELORS***

I Believe/Charmaine/You’ll Never Walk Alone/Diane/Whispering/Moonlight & Roses/I’ll Be With You In Apple Blossom Time/If/With These Hands/Ramona/Put Your Arms Around Me Honey/Maybe/Melody Of Love/The Little White Cloud That Cried/I’ll See You In My Dreams/Jailer Bring Me Water

Irish easy listening trio The Bachelors debut album 16 Great Songs contains three UK top ten singles Charmaine, I Believe and Ramona together with the chart topping Diane, the latter reaching No. 10 in the US. The group's forte was performing old time songs in a more modern upbeat style. (UK:2)

"The Bachelors tackled a diverse range of material, always stamping their own identity on whatever they chose to record. In some ways, their music was a relic of a bygone age even while they were recording it, but they brought a freshness and a charm to the old songs that allowed them to appeal to all ages."

"With soaring harmony and sophisticated arrangements of mostly older songs and standards, these guys managed to appeal to both the adult and younger market."

"Part of what made their appeal more widespread, across the generation gap, was their ability to use harmony so effectively, but to also instil many of their recordings with passion, excitement and intensity."

"The Bachelors were an Irish vocal trio that skirted the mid 1960s British Invasion. They were of a 'Trad Fab' vocal, liked by mums and dads. They reached the US top 40 by covering pop classics like Charmaine and Diane, purely vocal, and retro-sounding."

Peter & Gordon – PETER & GORDON***

Lucille/Five Hundred Miles/If I Were You/Pretty Mary/Trouble In Mind/A World Without Love/Tell Me How/You Don’t Have To Tell Me/Leave My Woman Alone/All My Trials/Last Night I Woke/Long Time Gone

British pop duo Peter & Gordon achieved their only UK album success with their self titled debut LP that was titled A World Without Love in the USA. The Lennon & McCartney song A World Without Love topped the single charts on both sides of the Atlantic. Their softer, gentler style of beat music is best sampled through compilation albums containing their later hit singles, including several Lennon/McCartney songs specially written for them. (US:21 UK:18)

"Peter and Gordon have been unjustly ignored in the annals of rock history in general and in the assessment of the British Invasion in particular."

"Believe it or not, I'm actually a Peter & Gordon fan, and I thought that they released quite a lot of well performed, well recorded music."

"The songs The Beatles threw P & G's way were probably less suited for the Fab Four than for them; the duo really did something good for these songs."

"In their classic hit A World Without Love Peter & Gordon harmonize well to this tune and the lyrics are very well written. The drums and guitars make the melody quite catchy and memorable."

"Peter & Gordon made a splash during the British Invasion, offering beautiful, emotional songs with a softer sound that was a hybrid of the old Everly Brothers, crossed with folk-rock."

"They may have looked like typically cute British invaders, but Peter Asher and Gordon Waller brought a gripping moodiness to their music, which counts almost as protest music in its own right."

"The first thing that struck me on rehearing Peter & Gordon after all these years was how genteel and upper-crust they sound, especially on A World Without Love."

Moonlight & Roses – JIM REEVES****

Moonlight & Roses/Mexicali Rose/Carolina Moon/Rosa Rio/Oh What It Seemed To Be/What’s In It For Me/ Roses/One Dozen Roses/Moon River/There’s A New Moon Over My Shoulder/Its Only A Paper Moon/When I Lost You

Moonlight & Roses was the final album release from country music legend Jim Reeves before his death in an air crash in July 1964. The relatively low US chart placing is rather surprising, considering the tragic circumstances and his unique talent. (US:30 UK:2)

"Moonlight & Roses was the last album released in Reeves' lifetime, and includes the pleasant title song and really nice versions of Mexicali Rose and When I Lost You, among others."

"I ordinarily wouldn't recommend any album which covers songs that are virtual signature songs of other singers, even if they were recorded later in some instances. But his renditions of others' songs are so good and so exceptional, I must recommend this. The songs need not conjure up specific memories."

"Moonlight & Roses is great song sung by one of the top country singers of the 1960s. This was the last album released in Jim's lifetime. If you like country music at its best you won't go wrong with this album."

"On Jim Reeves' Moonlight & Roses, it is lovely to hear the songs we all love. Of course we think Jim is one of the best. So pleased to have it our collection."

"Any fan of Jim Reeves needs this album in their collection as it showcases Jim at his best. Moonlight & Roses has always been one of my favourite albums because of the warm, relaxing mood it creates."

"Moonlight & Roses is a wonderful LP with excellent songs. Great sound."

"My favourite among Gentleman Jim's songs. Moonlight & Roses, the very mention of these two soothes the mind."

"Years since I heard this song Moonlight & Roses - wasn't Jim Reeves wonderful?"

Little Children – BILLY J. KRAMER WITH THE DAKOTAS***

Little Children/Da Doo Ron Ron/Dance With Me/Pride/I Know/They Remind Me Of You/Do You Want To Know A Secret/Bad To Me/Great Balls Of Fire/Its Up To You/Tell Me Girl

Merseybeat leading light Billy J Kramer's only US album chart placing came with the US only release Little Children. Contains the UK chart topping title track and the No. 2 Do You Want To Know A Secret. (US:48)

"This album shows Billy J. Kramer and The Dakotas at their very best, with really good versions of all time standards. A must for all fans of the Liverpool sound."

"Billy J. Kramer became part of the British Invasion because he had the same manager as The Beatles, Brian Epstein. Consequently, Kramer got the chance to record several Lennon & McCartney compositions. The result was a short-lived music career of a singer who was an enjoyable example of the Merseybeat sound."

"There is something rather enjoyable about Kramer's singing. He was a lightweight pop singer to be sure, but that is what the Merseybeat sound was all about and he is certainly representative of the genre."

"Billy J. Kramer with The Dakotas did not have a distinguished recording career, but they did have a handful of very enjoyable hits."

"This was an underrated group that because they only had two hits in America they were written off as wimps. Not true at all. This was actually an album of some well hidden rockers. They do a few covers here, but a couple were rather good sounding. So I can dispel the notion that Little Children was the be all end all of this group, and say that they're pretty good."

"For all intent and purpose, lacking a steady enough supplier of even decent enough original material, Billy J. Kramer and The Dakotas' career dried up when their access to The Beatles' throwaway songs ended."

"Billy and the boys got their US props for awhile, thanks to a pair of Beatle throwaways and perhaps the single dopiest song legendary writer Doc Pomus composed, Little Children, which they actually took to number one."

Greatest Hits – BOBBY VINTON*****

Blue Velvet/Roses Are Red(My Love)/Blue On Blue/Mr Lonely/Let’s Kiss & Make Up/My Heart Belongs To Only You/There! I’ve Said It Again/Rain Rain Go Away/I Love You The Way You Are/Over The Mountain/Trouble Is My Middle Name/Tell Me Why

Popular US vocalist Bobby Vinton released his first hit singles collection which includes three chart toppers. The high class songs contained here became less fashionable after the British invasion. (US:12)

"Bobby Vinton is among my favourite male vocalists from the years before the British Invasion. Bobby sang with such passion that you were instinctively drawn in to listen to him sing. He always gave his adoring audiences nothing short of his very best."

"His work on this disc proves this he is full of energy and the high quality control of Bobby's artistry makes him an iconic singer of the twentieth century. I highly recommend this album."

"Bobby Vinton at his best. All his early great songs are here. This album is an example of what an incredible singer and artist Bobby Vinton was. The songs are inspired, romantic, beautiful and great."

"I think this LP is just wonderful. It has great variety on it. I can't say enough about it. His four famous song's that he's known for are on it plus others that he sings so beautifully. Nobody else could sing them as good as he could."

"This album is replete with beautiful, romantic ballads sung by Vinton, all boasting excellent musical arrangements. These songs are all timeless love ballads any vocalist would have loved to record. Moreover, Bobby Vinton throws himself into the music throughout; his passion for his music becomes extremely clear as you listen."

"Highly recommend for fans of Bobby Vinton, classic pop vocals, and people who enjoy a good solid love song with charming musical arrangements."

"His hit songs were mellow; most were romantic. This collection highlights some of Bobby's most memorable songs from this era and makes a perfect background for a candlelight evening. Bobby Vinton's music is timeless. It is just as poignant and beautiful today as it was when he first recorded it. If you ever get nostalgic for mellow, romantic music, pick this album up and give yourself a treat."

Don’t Let The Sun Catch You Crying – GERRY & THE PACEMAKERS***

Don’t Let The Sun Catch You Crying/I’m The One/Away From You/Jambalaya/Maybellene/You’ll Never Walk Alone/How Do You Do It/You’re The Reason/Don’t You Ever/Summertime/Slowdown/Show Me That You Care

Merseybeat group Gerry & The Pacemakers debut US LP Don't Let The Sun Catch You Crying contains the UK chart toppers How Do You Do It and You'll Never Walk Alone. The title track was their highest placed US chart single reaching No. 4, two places higher than in the UK. (US:29) "The album tracks are often similar to the singles, bouncy pop tunes penned by Mitch Murray and the band's lead singer/guitarist, Gerry Marsden, with the rest covers of country, rock and R & B evergreens."

"Gerry & The Pacemakers earned their place as Liverpool's second biggest band of the mid-'60s. They were a tight little rock & roll band with an exuberant leader. Marsden's enthusiastic, adenoidal tenor comes across well on the ballads, suggesting his later musical direction and foreshadowing the breakup of The Pacemakers, who ultimately couldn't keep pace with the musical changes of later in the decade. This material catches the band at its height."

"Similar to The Beatles early releases, these LP's were a patchwork of various British singles, EPs and album cuts. Because of this, the selections on the American albums were never in the chronological order in which they were recorded."

"Gerry & The Pacemakers were an early manifestation of the British groups of the sixties. They enjoyed phenomenal early success, which did not last because they failed to progress and innovate. They stayed firmly rooted in the American popular tradition, with smooth melodies and unadventurous lyrics. They remain an essential, and now underrated, major sixties band. Give them a listen."

"Don't Let The Sun Catch You Crying is an absolutely great and monster song of the era. How Do You Do It is a good song too, but it seems a mite juvenile now. There is a large second tier of songs that are very listenable. They really capture the Liverpool and early British Invasion sound. The rest of the material drops off from there. This collection really does show what a great singer Gerry was. The cover of Summertime is quite satisfying."

Return! – THE DAVE CLARK FIVE**

Can’t You See That She’s Mine/I Need You I Love You/I Love You No More/Rumble/Funny/Zip-A-Dee-Doo-Dah/Can I Trust You/Forever & A Day/Theme Without A Name/On Broadway

The Dave Clark Five's second US LP Return! includes the top ten single Can't You See That She's Mine. During this period record companies felt compelled to swiftly deliver new product onto the market, in this case a mere two months since the group's first album release. (US:5)

"This is, in fact, one of the weakest DC5 albums. It suffers all the typical strains of a rush release. The band is pressed into the studio, urged to find enough original material to sound diverse and 'independent', yet when it turns out that the original material is sorely lacking in quality, is nevertheless encouraged to do several idiotic covers rather than giving the listener a good time."

"Here The Dave Clark Five play lounge ballads and watered down 'poppers', and when they aren't supported with the band's energy and Clark/Smith's massive hooks, they easily epitomize everything that was wrong with pop music in the early sixties."

"The whole first half of the album ranges from (rarely) excellent to (more often) enjoyable. The one big highlight, Can't You See That She's Mine, is vintage single material: fast, but not as noisy and chaotic as Glad All Over, making more way for Smith's pulsating organ and the band's coordinated vocal harmonies to be heard."

"It's absolutely obvious that there just wasn't enough material to form a decent LP, but that's no excuse. One of the reasons why The Beatles are still revered and The Dave Clark Five mostly forgotten is filler."

Showcase – BUDDY HOLLY***

Shake Rattle & Roll/Rock Around With Ollie Vee/Honky Tonk/I Guess That I Was Just A Fool/(Umm Oh Yeah)Dearest/You’re The One/Blue Suede Shoes/Come Back Baby/Rip It Up/Gone/Girl On My Mind

Five years after his untimely death, demand for unreleased Buddy Holly material still remained huge. Showcase includes unfinished Holly tracks overdubbed by The Fireballs and produced by Norman Petty. (UK:3)

"Anyone remotely interested in rock & roll, rhythm & blues, country & western or contemporary pop owes it to themselves to check this out. Even if you've never heard of Buddy Holly, there is almost certainly something in this early rock collection to surprise and delight you."

"This album revived interest in Holly's music and reaffirmed Holly's rock and country roots with some first rate performances of fresh material."

"Rockin' With Ollie Vee is probably the best of the Decca Nashville sessions, and holds up very well as solid, classic rock 'n' roll."

"Shake Rattle & Roll/Blue Suede Shoes/Rip It Up - these '50s standards are heavily overdubbed for punch, and The Fireballs are pretty much on the money."

"This album is worth buying and owning no matter who you are or what kind of music you like. There's truly an impressive variety of material here. And after all these years, Holly's vocals still have that fresh excitement and startling originality of a first class star."

"I never tire of listening to this wide array of Buddy's vision - and what a bonus, the track of pure guitar rock and soul in Honky Tonk, what a treat. The deep vocal range on Come Back Baby is haunting and heartfelt."

"These are what I would describe as second tier Buddy Holly songs. That places them above the first tier of many other artists. Some of the songs are outstanding."

Bossa Nova York – SERGIO MENDES TRIO***

Maria Moita/Só Tinha De Ser Com Você/Batida Diferente/So Danço Samba/Pau Brasil/Garota De Ipanema/Inútil Paisagem/Vivo Sonhando/Primavera/Consolação/O Morro Não Tem Vez

An early album release from Sergio Mendes before his commercial breakthrough. Bossa Nova York is considered to be closer to authentic Brazilian music than his later releases.

“This set pays homage to several of the bossa nova standards with jazz twists making a delicious bossa jazz combo.”

“Sergio Mendes started his musical career in the early 60s influenced by two major musical genres: bossa nova that just had started in Brazil, and by jazz. During his early recordings (including this one), Sergio was avid to promote and mix both styles of music with a lot of success, and Bossa Nova York is a perfect example.”

“Bossa Nova York is closer to authentic Brazilian music than his later, more commercial recordings and these early sides are adored by jazz purists."

The Beatles Song Book – THE HOLLYRIDGE STRINGS***

From Me To You/I Saw Her Standing There/Please Please Me/PS I Love You/Love Me Do/I Want To Hold Your Hand/Can’t Buy Me Love/All My Loving/A Taste Of Honey/Do You Want To Know A Secret/She Loves You

Capitol took advantage of the extraordinary popularity of The Beatles in the States by releasing an instrumental album of their songs. The vehicle for this project, The Hollyridge Strings, were Capitol's in-house orchestra. Subsequent releases, including covers of other artists, were less successful suggesting that easy listening versions of pop hits had less appeal than the originals. (US:15)

"This is one of the finest collections of Beatles music. It stresses some of their best writing. They define the easy listening format like no other."

"At one time considered to be 'un-cool' to listen to. Well forget what your friends used to say when browsing through the department store record section. Then you'd sneak back later to buy it. Its here again and it will bring back memories."

"Superb instrumental music. Never a dull moment, hum along to the melodies of the greatest songwriters and band, The Beatles. You won't regret it, grab one now."

"The Hollyridge Strings used a host of techniques including pizzicato string treatment, to create the ultimate lush instrumental sound. What made them great, however, was the contrast of the strings with a bold brass section and infectious, assertive percussion. The arrangements are nothing less than brilliant, and make their versions of the 60's popular hits seem almost like different songs."

"Though many cashed in on The Beatles with their own instrumental interpretations, Stu Phillips' balanced arrangements are my favourites. Add lush, intelligent engineering that is nothing short of amazing for mid-60s technology."

"I have found that The Hollyridge Strings produced some of the most beautiful renditions of popular selections. They have such a lush sound that you can never tire listening to them. The arrangements are absolutely superb. Full orchestra, and fantastic instrumentation."

Today Tomorrow Forever – NANCY WILSON****

One Note Samba/Go Away Little Boy/Unchain My Heart/I Left My Heart In San Francisco/Wives & Lovers/The Good Life/What Kind Of Fool Am I/I Can’t Stop Loving You/On Broadway/Our Day Will Come/Call Me Irresponsible/Tonight May Have To Last Me All My Life

Jazz style vocalist Nancy Wilson continued her winning streak by placing her fourth US top ten album within a year. Today Tomorrow Forever was a collection of recent pop standards. (US:10)

"On Today Tomorrow Forever, Nancy Wilson lights up a set of the usual mid-'60s pop standards. They're all good choices for her breathy voice and occasional improvisations, especially One Note Samba and Wives & Lovers. On them, Wilson plays with the notes and rhythm, making a pair of light-hearted songs even more playful and irresistible than they had been previously."

"Considering the dozens of traditional jazz-based singers unfamiliar with their place in the middle of the turbulent '60s, Today Tomorrow Forever is an accomplished album that sounds almost effortless."

"I didn't know so much could be made out of Call Me Irresponsible and Our Day Will Come. Wow, is she ever a great singer."

"My personal favourite is the knockout performance of Go Away Little Boy. Nancy's yearning and longing come through loud and clear. You can hear the ache in her voice and the conflicting emotions she's feeling. Anyone who's been through an ill-fated affair can surely identify with her take of this song."

"Another album filled with perfect definitive versions of classic songs. If you're a fan of Nancy, you cannot go wrong with this album."

"Nancy was one of the best jazz-pop singers of her generation and this proves it."

"Nancy Wilson shows her range and versatility in this set from the 60s. Add some wonderful jazz arrangements and some classic songs from the era and you get quite a delightful package."

"On this album we find Nancy in a more secular setting. It seems like she was getting out of the mould of being just a jazz singer. She branched out on this one."

Presenting – DIONNE WARWICK*****

This Empty Place/Wishin’ & Hopin’/I Cry Alone/Zip-A-Dee-Doo-Dah/Make The Music Play/If You See Bill/Don’t Make Me Over/Its Love That Really Counts/Unlucky/I Smiled Yesterday/Make It Easy On Yourself/The Love Of A Boy

Dionne Warwick's US debut album Presenting featured nine songs from the celebrated Bacharach-David musical partnership. Includes her first US hit Don't Make Me Over which peaked just outside the UK top twenty. The British LP with the same title has different tracks. (UK:14) "Dionne Warwick's first record for Scepter can be considered as the birth of a genius. The LP is the first full length collaboration between Warwick and the team of Burt Bacharach and Hal David. It easily bridges the worlds of soul, vocal and pop with its unique sense of poise and class. Sung perfectly by Dionne throughout and arranged with orchestral brilliance by the young Burt."

"Singer and songwriters' winning combination of sophisticated arrangements, subtle orchestration, and Warwick's ingenious phrasing and muted tone is much in evidence."

"When a singer is singing the songs they personally love you can hear heaven in their voice. This album is a conduit between heaven and earth. Get it now."

"Dionne's first LP showed that rare quality of an artist with maturity beyond her years. The production on these releases is top notch. This LP still gives me joy since I first heard it years ago. Hear Dionne at the beginning of her career."

"There is a very soulful rawness to these recordings, 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."

"Did any other recording artist in the history of popular music have so many 'standards' under her belt by so young an age."

"The Bacharach and David songs (the bulk of these tracks) have never lost their impact over the years, and nor has Dionne's voice and delivery. The productions still sound wonderful."

The Latest & The Greatest – CHUCK BERRY****

Nadine/Fraulein/Guitar Boogie/Things I Used To Do/Don’t You Lie To Me/Driftin’ Blues/Liverpool Drive/No Particular Place To Go/Lonely All The Time/Jaguar & The Thunderbird/O Rangutang/You Two/Deep Feeling/Bye Bye Johnny

The Latest & The Greatest is a collection of new material from rock & roll legend Chuck Berry. Contains the hit single No Particular Place To Go which reached No. 3 in the UK and No. 10 in the US. (UK:8)

"Chuck Berry has to be my all time favourite artist, and these recordings are some of his best. This album is the genuine article and is guaranteed to bring a big rockin' smile to your face. Chuck Berry, the singer, the guitarist, the songwriter, the entertainer, you will find it all on here, trust me."

"Feeling low? A shot of Nadine and I'm up for anything."

"This was the kind of music that made us white boys think we could dance. A lot of his rock and roll might all be same sounding but the lyrics are always brilliant."

"Chuck Berry is the inventor of rock and roll, and the only one that influenced the so called rock and rollers such as Elvis."

"These kind of songs are the ones we shall never forget. This is pure history."

"It is only a slight over implication to state that most rock since Berry has been a variant of his original adaptation of rhythm and blues. And lyrically Berry was the most gifted lyricist before the advent of Bob Dylan. Of all the rock and roll performers, Berry was the easiest to understand when he sang, pronouncing precisely every word and for a very good reason: they were good words." "How can a guy come up with those riffs? Those simple, yet poetic lyrics."

"Berry is one of the creators of rock and roll, and listening to this stuff 40 years later, it's still rocks, and rocks really hard. The music here sounds more vital, fresh, and edgy than most rock and roll acts do today."

It's the Searchers – THE SEARCHERS****

Its In Her Kiss/Glad All Over/Sea Of Heartbreak/Livin’ Lovin’ Wreck/Where Have You Been/Shimmy Shimmy/ Needles & Pins/The Empty Space/Gonna Send You Back To Georgia/I Count The Tears/Hi Heel Sneakers/Can’t Help Forgiving You/Sho’ Know A Lot About Love/Don’t Throw Your Love Away

The Searchers third album is considered by many to be their best. Contains the UK chart topping singles Needles & Pins and Don't Throw Your Love Away. A greatest hits compilation by this talented and influential group should be a must for all pop music enthusiasts. (UK:4)

"The band does the upbeat ballad Needles & Pins real justice with the searing jangle of the guitars and moving harmonies."

"With a change in lead vocalist came a shift in style. In came the chiming guitar sound and falsetto harmonies. Together with a faultless choice of songs, these were to become their trademark in a highly competitive sixties music market."

"This album is a must for fans of The Searchers and anyone who appreciates sixties music at its best, from a group who proved to be a decisive influence on many British and American groups of the sixties and later eras."

"This is the last Searchers album with the original line-up but it is a world apart from the more basic rock sound of the first two albums. The plus side of this is that you get what became the classic Searcher's sound of high harmonies and chiming guitar sounds."

"With melodic guitars and good vocal harmonies, for any Searchers fan this may be their best individual recording ever."

"It makes you realise just how innovative this much overlooked band was. Without their enduring legacy music today might have been completely different."

"There are no words to describe how beautiful is the song Needles & Pins. Its just magical."

"For some mysterious reason the song Needles & Pins hits you from the very first time you hear it; and never goes away ever again."

In Concert – NINA SIMONE****

I Loves You Porgy/Plain Gold Ring/Pirate Jenny/Old Jim Crow/Don’t Smoke In Bed/Go Limp/Mississippi Goddam

Jazz vocalist Nina Simone's first LP on the Philips label was this live performance recorded at Carnegie Hall, New York in March and April 1964 that features several civil rights songs. (US:102)

"In Concert is a rare treat because it captures Nina in full force, playfully chiding her audience as she sings some of her most socially active songs like Mississippi Goddam and Pirate Jenny."

"This is probably the most personal album that Simone issued during her stay on Philips in the mid-'60s. Old Jim Crow, Pirate Jenny and especially Mississippi Goddam were some of the most forthright musical reflections of the civil rights movement to be found at the time."

"This live album is pure, unadulterated Simone captured live. There is an intimacy and sense of occasion on this album that is missing from some of Simone's other records, and her performances are commanding and her presence palpable. The angry, deeply-felt protest anthem Mississippi Goddam, which features glimpses of Simone's biting humour. She introduces the song as 'a show tune, but the show's not been written for it yet'."

"These seven songs are all utterly superb, marking out In Concert as one of the highlights in Nina Simone's recorded canon. It is mostly a stark, spare work with the spotlight shining on Simone's voice and piano, as well as the occasional and always effective and sympathetic backing of her intuitive musicians. Her subject matter is often strong and political. This is the sound of Nina Simone at the peak of her powers, hitting her artistic stride."

"Simone was a superb story teller, a fine pianist and just happened to have one of those voices often imitated but never duplicated. Her voice had a shimmering, frolicking vibrancy that comes from living the emotions of her music. Her folk-jazz style was not only unique and provocative, it was the music that reflected the times of the civil rights era in America."

"If you like to be stimulated by thought and emotions, then Nina Simone is for you.".

Hello Dolly! – LOUIS ARMSTRONG****

Hello Dolly/Its Been A Long Long Time/A Lot Of Livin’ To Do/A Kiss To Plan A Dream On/Someday/Hey Look Me Over/I Still Get Jealous/Moon River/Be My Life’s Companion/Blueberry Hill/You Are A Woman I Am A Man/Jeepers Creepers

Veteran jazz original Louis Armstrong topped the US album chart for six weeks with Hello Dolly. The title track single was also a No. 1 hit in the States, reaching No. 4 in the UK. (US:1 UK:11)

"A must-have album in which Satchmo shows the world he's still got it by blaring that famous trumpet to then current Broadway tunes, old standards and pop hits."

"Released in 1964, this hep cat album from a 60+-year-old American legend featured the title song that pushed The Beatles off their #1 perch on the charts at the peak of their popularity."

"I dare anyone to groove to Jeepers Creepers and not find themselves snapping their fingers."

"Louis Armstrong's Hello Dolly! may have been one of the last acoustic jazz hit records in the sixties."

"Louis doesn't seem in peak form here - and the relationship of these tune selections to each other seems random, but it is nonetheless delightful to hear the master player/singer in his waning years."

"If you take this album on its own terms, as a solid day's work by one of the greatest pop singers of all time who was still making hits in his sixties, in the sixties, it's pretty darned good."

"Hello Dolly is Satchmo at his mainstream best, crammed full of his renditions of popular Broadway tunes."

"One of his most popular albums from the '60s, Hello Dolly captures the Armstrong of this era - his voice leathered and wise, performing signature tunes like the title track or A Kiss To Build A Dream On with inimitable flare."

Greatest Hits – MARY WELLS****

The One Who Really Loves You/You Beat Me To The Punch/Two Lovers/Your Old Stand By/What’s Easy For Two Is So Hard For One/My Guy/Laughing Boy/What Love Has Joined Together/Oh Little Boy/Old Love/You Lost The Sweetest Boy/Bye Bye Baby

Mary Wells was Motown's most popular vocalist during the label's early days. She left the company at about this time, a serious career mistake as her subsequent singles were much less successful. (US:18)

"Mary Wells was a Motown artist in the early 1960s. She had some great hit tunes for the label. Then she got too big for her britches and left the label for 20th Century. After one mediocre hit she flopped and never hit the top 40 again. This LP is a reflection of her big hits at Motown. If she had stayed at Motown she could have been one of the best recording vocalists ever and probably the best artist to come out of Detroit."

"One of the foremost singers of the early Motown era, Wells had the best voice of them all. This collection is impressive and fun to listen to." "One of the greatest singers of the sixties. This album has all of her best songs on it. She sang with a feeling which one can feel as you listen to her music. A fine piece to own. She wraps you in the sweet soul of her music."

"Mary will be forever remembered for My Guy, but there was much more to her music than that. This collection encapsulates the best of it. She was a very soulful singer, able to wring every ounce of emotion from a song."

"Mary Wells built Motown in the crucial early years and was their first superstar. Listen to all these classics and weep that somehow her later work didn't make it."

"She is the girl with the X factor in her voice. Listen: you'll hear it, and it's cool, sensual water and absolutely gorgeous. Don't forget her timeless legacy, she put Motown on the map. She was their first killer artist. Without her there might not have been a Motown at all. A lot of times you get a Greatest Hits album and there are holes that make them less than great. It is not the case with Mary Wells Greatest Hits. You will enjoy it from beginning to end. No filler."

Greatest Hits – CHUCK BERRY*****

Roll Over Beethoven/School Days/Rock & Roll Music/Too Much Monkey Business/Johnny B Goode/O Baby Doll/Nadine/Maybellene/Memphis/Sweet Little Sixteen/Thirty Days/Brown Eyed Handsome Man

The first US hit compendium of rock & roll pioneer Chuck Berry. The song choice is a good one but his importance in the history of popular music warrants a wider selection. (US:34)

"1964's Chuck Berry's Greatest Hits is his first official Greatest Hits LP, inaugurating a long, long line of repackaging Berry's biggest hits. It's a very good overview of his hits up to 1964, containing twelve songs, almost all of them blockbusters. Of course, these tunes would be repackaged on other sets later, but it's both a good listen and a nice little piece of history."

"Where Elvis stands as the definite symbol of rock 'n' roll music for the casual listener, us 'experts' know better, and we proudly shake the hand of Chuck and bob our heads up and down to the frenzied beats of Roll Over Beethoven and Johnny B. Goode. And there's a good reason for that, Chuck Berry sure wasn't the first rock' n' roller on earth, but he was arguably the most significant one for the younger generation. And why? Because Chuck, as we know him, is the first rock 'n' roller who truly realized the potentials of that instrument we casually call the electric guitar." ,p> "He did come up with half a dozen, maybe a dozen, bona fide classics, most of them represented here. Who can deny the greatness of these archetypal rock songs. The problem is, Chuck was repeating himself all the time: his pot of creative ideas was exhausted rather quickly, and by the end of the fifties the standard process was to take an old hit and rewrite it as a new one."

"Anyone with the slightest interest in rock 'n' roll needs some Chuck in their collection. It sounds like a cliché, coming with an argument like that, but it's a fact. There were other rock 'n' rollers in the 50s, of course, but I doubt the British beat bands in the early 60s would have sounded like they did without him, and that again would of course have affected the whole history of rock. However, he was rather limited as a composer, as his many re-writings of his own songs bears witness."

"Berry was a terrific songwriter and guitarist. He gave birth to literally hundreds of (mostly white) guitar soloists, thus his legacy is huge, perhaps incalculable."

Getz/Gilberto – STAN GETZ & JOAO GILBERTO*****

The Girl From Ipanema/Doralice/Pra Machuchar Meu Coracao/Desafinado/Corcavado/So Danco Samba/O Grande Amor/Vivo Sonhando

This collaboration between US jazz saxophonist Stan Getz and Brazilian guitarist Joao Gilberto won a Grammy for best jazz album, staying in the US album chart for nearly two years. Contains the US No. 5 hit single The Girl from Ipanema, featuring vocals by Astrud Gilberto, which won a Grammy for best record. Considered to be one of the finest jazz albums ever released. (US:2)

"One of the biggest-selling jazz albums of all time, not to mention bossa nova's finest moment. The results were magic. Ever since Jazz Samba the jazz marketplace had been flooded with bossa nova albums, and the over exposure was beginning to make the music seem like a fad. Getz/Gilberto made bossa nova a permanent part of the jazz landscape not just with its unassailable beauty, but with one of the biggest smash hit singles in jazz history."

"This album is bossa nova's finest moment. It contains the definitive version of one of the greatest hits in jazz music, The Girl From Ipanema." "I don't understand a word of the Portuguese but the music is as fresh today as it was back then. It continues to touch my soul, sooths me, lifts me, and bathes me in warmth and hope. It is light, whimsical, deep, and so very rhythmically balanced."

"The first time I listened to Getz/Gilberto I almost burst into tears, struck by its beauty and power. I was captivated, enthralled, I listened to it three times back to back to back. This is what musicians strive to accomplish, too often without success."

"Compare it to the bland, slick, superficial, and generally passionless music so often presented today, Getz/Gilberto reminds us that honest emotion, delivered with technical competence, is truly a work of art."

"Getz, possessor of the most beautiful tone in jazz is hard to top. His playing evokes several emotions while staying true to the music at all times. Joao Gilberto's guitar playing and singing were extremely influential, and his wife became a star with her effortless vocals on Girl From Ipanema and Corcovado. Jobim's sparse piano enhances the atmosphere of the album."

Dance With – THE SHADOWS****

Chattanooga Choo Choo/Blue Shadows/Fandango/Tonight/That’s The Way It Goes/Big B/In The Mood/Lonely Bull/Dakota/French Dressing/High & Mighty/Don’t It Make You Feel Good/Zambesi/Temptation

Dance With The Shadows was top British instrumental group The Shadows third album of new material. Two limp vocal tracks and the self indulgent Big B detract from the overall excellence. (UK:2)

"Dance With The Shadows offers a more spicy, twangy sound, upbeat music. A record that always makes me happy."

"Classic Shadows album from the John Rostill period. Strong melodies and magnificent performances make this one of the best LPs from their comparatively early days."

"Dance With The Shadows still gives me a lot of enjoyment with tracks that are timeless."

"Any album that gets to No. 2 in the charts and stays for 27 weeks cannot be that bad."

"Hank's impeccable lead, and Brian driving the drums, gives many numbers a new feel and, as always, the total package is well balanced."

"The wildest of The Shadows' early albums, Dance With may not possess the most inspiring track listing on earth (how many great albums can you think of which open with Chattanooga Choo Choo?), but overcome those qualms and Dance With draws you in from that opening number."

"Cut at a time - the early days of Beatlemania - when The Shadows were going to be requiring every last ounce of ingenuity to survive, Dance With The Shadows does more than simply acquit itself. It reminds the listener how the band had already spent so long at the top."

Cotton Candy – AL HIRT****

Cotton Candy/Hello Dolly/Django’s Castle/Moo Moo/Last Date/Big Man/Walkin’/Too Late/Rumpus/Melissa/ Walkin’ With Mr Lee/12th Street Rag

Easy listening trumpeter Al Hirt hit the US album top twenty for the second time with Cotton Candy. The title track peaked at No. 15 in the US singles chart. (US:6)

"The entire thing is fantastic. From the great, fun title song to a seductive version of Hello Dolly, all tracks are wonderful. A fantastic artist."

"A good mix of smooth jazz and toe tappers. A great follow up album if you are just now discovering some of the best music ever recorded. For those who want to hear the best trumpet player who ever lived, here he is. Al ruled the charts as the king of the jazz trumpet in the sixties. He is still the best."

"Cotton Candy was the first album I purchased from the late Al Hirt. This one blew me away when I played it over and over, and it's still a good album. Definitely one of my favourites I ever picked up. Al Hirt always has his skills when he plays a lot of songs that kids and fans alike would enjoy."

"For some people, Al Hirt stands pejoratively for a kind of trumpet playing that is less than artistic. It is important to realize that Hirt is a type of artist who was part of his time, and that time was the '60s, in its adult contemporary mode. If you're familiar with the brass and voices arrangements from this period by Ray Conniff, this Al Hirt album from 1964 will fit nicely into that mould."

"Hirt plays as only he can, with zest, wonderful rhythm and golden tone."

"I have a copy of this particular LP and I remember it well as a youngster when Cotton Candy became popular in the 1960s. It was destined to be a classic."

"Cotton Candy is awesome. One of the great 60s instrumental classics. This tune really swings. Always has been a favourite of mine."

Back In Town – THE KINGSTON TRIO***

Georgia Stockade/Ann/Ah Woe Ah Me/Walkin’ This Road To My Town/World I Used To Know/Salty Dog/Let’s Get Together/Isle In The Water/Farewell Captain/Tom Dooley/Lunch Toters-Stamp Lickers-Them Hors D’oeuvres (Poems)/So Hi

Final release by The Kingston Trio on Capitol Records, Back In Town was recorded live at The Hungry i club in Los Angeles. The Kingston Trio were the most successful US folk act in the late fifties and early sixties, but this would be their last prominent chart placing. (US:22)

"Back In Town is a live recording. Along with some excellent songs (Ann & Farewell Captain) it captures the feeling of a classic Kingston Trio concert by including the jokes and stories spoken between the songs."

"The Kingston Trio were always best in their 'rawest' form ie live-in concert or in the studio - no strings, no backup vocals."

"Back In Town was a live album, featuring The Kingston Trio at San Francisco's Hungry i where they performed their big hit Tom Dooley. Unless you are a devotee of the group you will be unfamiliar with most of these songs. There is just a much better feel to the live performances, which includes the jokes and banter along with the singing (e.g. Farewell Captain, So Hi)."

"Back In Town is an album I love. I listened to the vinyl copy my mom owned many times as a kid, and I've listened to it many times since. It's not their strongest live album - the performance of Tom Dooley is pretty anaemic - but I do enjoy the stage patter, and I would rank Columbus Stockade and So Hi right up near the top of everything they've done."

"These songs are as good as I remember them and bring back so many memories. So much fun to listen and sing along. The Kingston Trio are timeless."

Together – MARVIN GAYE & MARY WELLS***

Once Upon A Time/Deed I Do/Until I Met You/Together/(I Love You)For Sentimental Reasons/The Late Late Show/After The Lights Go Down Low/Just Squeeze Me/What’s The Matter With You Baby/You Come A Long Way From St Louis

Together was the sole collaboration between Motown artists Marvin Gaye and Mary Wells. Includes two US top twenty singles What's The Matter With You Baby and Once Upon A Time. At the time of release Mary Wells was much the bigger star but this would change considerably by the end of the decade. (US:42)

"A great start to the Marvin Gaye duet mode of the 60s - an early pairing with Mary Wells, done back when she was one of the leading female singers at Motown. The style here is a bit more old school than some of the later Gaye duo albums, but there's plenty of charm in the tunes, as the set makes for a real coming together of two vocal styles."

"Motown mogul Berry Gordon decided to increase his chances for sales by recording his male and female stars together, and the public went for it too. A two-sided hit, and the only single released, Once Upon A Time and What's The Matter With You Baby, helped the cause by charting in the upper echelons of the R & B and pop charts. The former is a slow, floating ballad, while the latter is an accusing, jump-beat number. For the most part, the material is different from what Mary or Marvin normally cut; Marvin probably felt more comfortable with these songs than Mary, since they were closer to the MOR tunes that he preferred doing at the time."

"No doubt inspired by the success of other successful duetting vocalists, Motown Records paired its top female singer with its top male vocalist. The result was Together a rare treat for fans of both singers. The cover sported the two young vocalists gazing romantically into each others' eyes. Wells' Cleopatra styled hairdo contrasted nicely with Gaye's All-American, boy-next-door image. The musical sounds they made were just as complementary."

"Together is an unremarkable, if by no means bad album, the pair seldom reaching the heights that either had achieved individually. Apart from the two songs on the single, all the material was fairly standard re-interpretations of songs well known at the time. Needless to say, the singing is smooth and faultless but perhaps missing that certain spark to lift the enterprise."