Joan Baez No. 5 – JOAN BAEZ****

There But For Fortune/Stewball/It Ain’t Me Babe/The Death Of Queen Jane/Bachianas Brasilieras No. 5 Aria/Go ‘Way From My Window/I Still Miss Someone/When You Hear Them Cuckoos Hollerin’/Birmingham Sunday/So We’ll Go No More A-Roving/O’Cangaceiro/The Unquiet Grave

Joan Baez No. 5 provided the contemporary folk singer with the UK No. 8 hit single There But For Fortune. It mixed traditional with current folk songs in about equal measure. (US:12 UK:3)

"Unlike her earlier albums, Joan Baez 5 was divided evenly between contemporary work, and traditional folk material. What made it really special for me was the song Birmingham Sunday, her lovely lyrical voice coupled with the story really had a profound effect on me. I also found that I enjoyed all of the other works as well."

"She is able to project her message in a very emphatic but still complex way. Her version of Phil Och's There But For Fortune is inspirational and takes you down a road less travelled today. And I Still Miss Someone is sad and solemn, and touches you deep inside. All in all, a stunning performance from the days when music meant something. Don't hesitate, if you're into good folk...no, good music, just buy this one."

"If you prefer the acoustic guitar and the traditional ballads as I do, this is Joan's last album that features this kind of music, and she was already crossing over with songs like Birmingham Sunday, mixed in with contemporary (well, 'sixties) songs."

"This is the most beautiful recording. I grew up listening to the incredible voice of this folk queen, and after all these years, this is still my favourite. Birmingham Sunday may bring tears to your eyes."

"Joan Baez 5 starts with the finest version of Phil Ochs There But For Fortune that I know of. Her perfect soprano accentuates the hauntingly beautiful lyrics, which seem to grow more topical as the years go by."

"Ms. Baez continues to dazzle with her voice, a voice like no other, as well as with her song selections, a blend of old, traditional folk songs and contemporary ones, some with historical significance as well as political overtones. Never does she fail to move the listener, who is transported to another realm on the simple strength and beauty of her pure, clear, sweet voice."

I’m Gonna Be Strong – GENE PITNEY****

I’m Gonna Be Strong/Walk/I Love You More Today/Who Needs It/Follow The Sun/Lips Are Redder On You/It Hurts To Be In Love/The Last Two People On Earth/That Girl Belongs To Yesterday/E Se Domani/Hawaii/I’m Gonna Find Myself A Girl

Powerful American pop vocalist Gene Pitney enjoyed another UK album chart hit with I'm Gonna Be Strong. The rousing title track was a No. 2 hit single in the UK and No. 9 in the States. Also contains the top ten hits It Hurts To Be In Love and That Girl Belongs To Yesterday. Album released as It Hurts To Be In Love in US. (US:42 UK:15)

"Pitney was a soulful and passionate singer; even the songs I don't particularly like are still listenable because of his voice."

"An underrated artist and wonderful performer to say the least. He deserves all the credit other artists of his time got and more."

"How many times can this gifted songwriter and performer be overlooked."

"I realize that he was one of the giants of his era, creating unforgettable musical novellas every bit as dramatic and powerful as the now more celebrated Roy Orbison. He was more than a teen idol - he was an accomplished storyteller, with a beautiful voice, who seemingly effortlessly sang one memorable melody after another."

"Only one word for this gentleman, his work and that voice - incomparable. Nobody like him before or since. Gene, you're one of a kind. Powerful, heart-rending - simply great."

"Anyone with a voice that great can be confident. I'm confident he had more talent in his little toe than today's singers have in their entire body."

"Gene's version of I’m Gonna Be Strong is the best that ever was. Still gives me goose bumps after all these years. The man was in a league of his own."

"This man has one of, if not the best, voice range of any male singer I have ever listened to. His songs are timeless. If we could only go back to the sixties, was that an era - the kids today do not know what they missed

Goldfinger – SOUNDTRACK****

Goldfinger-Into Miami/Alpine Drive-Auric’s Factory/Oddjob’s Pressing Engagement/Bond Back In Action Again/ Teasing The Korean/Gassing The Gangsters/Goldfinger(Instrumental)/Dawn Raid On Fort Knox/The Arrival Of The Bomb & Count Down/The Death Of Goldfinger

The soundtrack album from the third James Bond movie Goldfinger topped the US album chart, staying for over a year. Based on the Ian Fleming spy novel the film starred Sean Connery. The music was scored by John Barry, and the title track was a No. 8 hit single for Shirley Bassey in the States. Was this the best ever Bond film? (US:1)

"Goldfinger in many ways is the definitive Bond soundtrack and score. Shirley Bassey's vocal of the title tune is not only the best of the series, it is one of the great show tunes of all time. The score is excellent as well; Bond Back In Action is a particular delight which includes the James Bond theme opening and then presents a kind of mini-score from the pre-title sequence."

"Goldfinger established Barry as the master in this genre, and made clear his enormous talents in film scoring. Moreover, this score became the standard by which all Bond scores have been and will be measured."

"The Goldfinger theme music is Barry all the way, and it's as close to a perfect movie song as there is. Mix the bombast of Barry's horn-soaked arrangement, the over-the-top lyrics by Leslie Bricusse and Tony Newley, and of course the powerful delivery by vocalist Shirley Bassey, and you have a theme song that's a thriller in itself."

"The soundtrack reaches its powerful peak in Dawn Raid On Fort Knox and The Arrival Of The Bomb & Countdown. Each has violins and horns building upon each other dramatically to a finish that leaves you tingling."

"The Goldfinger main title is the best song in the James Bond film series. Into Miami is a great jazz intro. Alpine Drive is very good in the way it combines the main title with fragments of the James Bond beat in the background. However, my favourite cut has always been Bond Back In Action Again. Goldfinger has to be the best James Bond soundtrack. It not only has the best James Bond theme song but the score is one of the best. They don't compose them like this any more. It brings back fond memories."

Camelot – LONDON CAST****

Overture/I Wonder What The King Is Doing Tonight/The Simple Joys Of Maidenhood/Camelot/Follow Me/C’est Moi/The Lusty Month Of May/Take Me To The Fair/How To Handle A Woman/The Jousts/Before I Gaze At You Again/Fie On Goodness/If Ever I Would Leave You/The Seven Deadly Virtues/What Do The Simple Folk Do/I Loved Him Once In Silence/Camelot(Reprise)

The London production of Camelot opened at the Theatre Royal, Drury Lane in August 1964 and ran for 518 performances. Based on the legend of King Arthur it starred Lawrence Harvey and Elizabeth Larner. Music by Frederick Loewe and lyrics by Alan Jay Lerner. (UK:19)

"What becomes clear in every revival or presentation of the show is that the score by Lerner and Loewe is one of the most glorious in all musical theatre."

"The London cast album is a treasure. It feels quite different than its Broadway counterpart and includes The Jousts that wasn’t in the original Broadway cast album. Harvey is a great King Arthur, and Larner a wonderful Guinevere. Their performances are reason enough to cherish the London recording, but the whole thing has a vibrancy and sheen that is terrific, and that score - one great song after another. I think it’s safe to say that they don’t write ‘em like this anymore."

"I don't know why everyone raves about Richard Harris's version, this is beautiful and far superior. I saw the show and have the vinyl LP and it was and is magical. The orchestrations are far superior to any other and Lawrence Harvey draws you into his turmoil by the way he 'speaks' the songs. The London (Drury Lane) production surpasses due mainly to the orchestrations and because it started the story at the beginning instead of the end as Richard Harris does."

"The original London cast album offers a very different listening experience to the Broadway original, and includes some material (most notably The Jousts) not on the Broadway disc. It’s a different take on a familiar favourite."

A Bit Of Liverpool – THE SUPREMES**

How Do You Do It/A World Without Love/The House Of The Rising Sun/A Hard Day’s Night/Because/You’ve Really Got A Hold On Me/You Can’t Do That/Do You Love Me/Can’t Buy Me Love/I Want To Hold Your Hand/Bits & Pieces

The Supremes' A Bit Of Liverpool was the Motown tribute album to the British Invasion. The title is rather a misnomer since nearly half of the tracks are from groups associated with other parts of the country. There is general agreement that the originals are better. (US:21)

"The Supremes singing The House Of The Rising Sun is less than inspiring and their version of Peter & Gordon's UK number 1 single A World Without Love sadly doesn't get any better."

"A Little Bit Of Liverpool was issued at a time when Motown was staring to break across the globe and was arguably in competition against The Beatles/Stones/Who etc. It may have been a potentially lucrative move for Mr Gordy to hit the UK with their own songs, but the result I suspect is that the LP is not one of those 'must have' items. It suggests that the vast majority of dedicated Motown fans will have given this album a very wide berth indeed."

"Slapdash, slightly horrid effort to cash in on the British pop exports. The only song that makes a modicum of sense is The Miracles You've Really Got A Hold On Me, which The Supremes obviously knew inside-out."

"Beatlemania hit everywhere else in the US, so why not Hitsville? Unfortunately, this isn't a very good record, principally because the arrangements are surprisingly unimaginative but also because of the bizarre selections. I mean House of the Rising Sun sounds interesting in theory but is pretty drab in execution. Surely the idea behind You Really Got A Hold On Me, a cover of The Beatles' cover of The Miracles' original on Motown, comes straight from the Twilight Zone."

"This is a pretty disappointing tribute by The Supremes to the bands of the British invasion. The Supremes generally sing together here, with Diana Ross taking very few leads. The result is generally boring, and she only stands out on You've Really Got A Hold On Me."

12 X 5 – THE ROLLING STONES***

Around & Around/Confessin’ The Blues/Empty Heart/Time Is On My Side/Good Times Bad Times/Its All Over Now/2120 South Michigan Avenue/Under The Boardwalk/Congratulations/Grown Up Wrong/If You Need Me/ Susie Q

The Rolling Stones second US album release 12 x 5 contains the US No. 6 single Time Is On My Side and the UK chart topping Its All Over Now. Five of the tracks are from the UK EP Got Live If You Want It. (US:3)

"The album doesn't flow because it's a butcher job. As a result, it has some weak cover material, with Susie Q the most uninspired of all. But the good covers are really good; the harsh sound of It's All Over Now exemplifies how The Stones were far, far superior to other UK bands of the time at interpreting American R & B."

"This record seems to have more depth and less blues than the debut. Confessin' The Blues is one stunning blues number. It is hard to believe that it was performed by five white British guys."

"Not quite as good as their debut and still mostly covers. There are more originals than the previous album but they aren't better than before. Some of the covers are disappointing too. Under The Boardwalk is a pale shadow of the original, Suzie Q is tame. On the positive side, the album does have the definitive versions of It's All Over Now, Time Is On My Side and Around & Around."

"It's too bad that the UK releases have not been put out as CDs. It forces us to listen to these 'butcher albums' instead. The Stones didn't seem to have broken any new ground with the release. Song for song, I'm not sure there's much of a difference in quality between this and the first album."

"The tracks are not of uniform brilliance. They were basically songs they had been performing live for a few years in London clubs. It does have a few weak tunes on it and some early attempts at songwriting, which are variable. However, the strong tunes are really strong and still sound great today."

"This is The Stones second US release and displays the band in the early stages of their classic raw blues/R & B sound. It is loaded with great tunes."

Your Cheatin’ Heart – SOUNDTRACK****

Your Cheatin’ Heart/Hey Good Lookin’/I Saw The Light/Jambalaya/Ramblin’ Man/I’m So Lonesome I Could Cry/ Jambalaya/Cold Cold Heart/Kaw-Liga/I Can’t Help It/Hey Good Lookin’/Long Gone Lonesome Blues/You Win Again

Your Cheatin' Heart stars George Hamilton in a biographical film of country music's greatest singer Hank Williams. All the songs are performed by his son Hank Williams Jr. (US:16)

"Great singing for a teenager. Your Cheatin' Heart was a movie better heard than seen according to some and for those who are familiar with the movie, we know why."

"This soundtrack is a time machine of the early 1960s 'countrypolitan' sound. Those were the good old days before the youth revolution of the late 60s and the country outlaw movement of the 1970s. Young Hank does a commendable job on the soundtrack."

"I've been in Hank's fan club since 1978. Have all original albums dating back from 1964, and this is one of the best. Great songs, strong voice for a young man. It is great to release an album that has such feelings. No one else could have done it better."

"The quality is surprisingly good and there are great covers of songs by Hank Williams Jr. like I'm So Lonesome I Could Cry, I Saw The Light, and Jambalaya. Most of these songs are done very much in a '1960s style' of country, but still very good and worth buying."

"If you are a songwriter or have ever written a song, you must marvel at the work of Hank Williams, and this movie shows us the magic of his songwriting. Where do the greatest songs come from? And if we happen to write one, is it not our responsibility to let the world hear it?"

"All the songs heard in this movie are classics. It is amazing that Hank Jr. does such a fantastic job dubbing his dad's music. In some ways his rendition of Hank senior's most poetic song, I'm So Lonesome I Could Cry, is better than the original. He almost captures all the pain and loneliness of his dad's magnificent voice."

Wednesday Morning 3am – SIMON & GARFUNKEL***

You Can Tell The World/Last Night I Had The Strangest Dream/Bleecker Street/Sparrow/Benedictus/The Sounds Of Silence/He Was My Brother/Peggy-O/Go Tell It On The Mountain/The Sun Is Burning/The Times They Are A Changin’/Wednesday Morning 3am

Wednesday Morning 3am was the debut album from the world's greatest musical duo Simon & Garfunkel. Mainly of historic interest only as the pair would only begin to hit their stride musically and artistically with their next album. (US:30)

"The vocals are the best thing about the album. Otherwise, though, they are jumping on the folkie bandwagon. Unfortunately, that really dates most of this stuff pretty severely. Fortunately, Simon rapidly learned to come up with more universal statements. By far, this is their least essential album."

"Nothing too special here. Aside from the stripped-down version of The Sounds Of Silence and a decent-enough Bob Dylan cover, there's nothing particularly great. S & G didn't get down to what they were going for until their next album."

"Of course, the whole thing is largely samey. No matter that songs like Bleecker Street, The Sounds Of Silence or the title track make a stab at sophistication, the inclusion of tracks like You Can Tell The World, render large parts of this album, really square and even faintly embarrassing. Hints at greater things to come are to be found here for sure, but for all that, this is merely a pleasant little album made by some bookish finger picking folky and his angelic voiced friend."

"Overall this album is not bad, it's pretty decent but really these guys made better stuff. But it's interesting to see how they started out. In the end what makes this album good is their voices. If it wasn't for the fact that they had the most amazing voices this just wouldn't work." "I'm sure Simon would be embarrassed about much of this album now, but he shouldn't be. Its dated innocence is a big part of its timeless beauty."

"This album has a smattering of Paul Simon originals surrounded by cover versions, as was much the fashion at the time. Both American and British influences shine through."

Walk Don’t Run Vol. 2 – THE VENTURES****

House Of The Rising Sun/Diamond Head/Night Train/Peach Fuzz/Rap City/Blue Star/Walk Don’t Run ‘64/Night Walk/One Mint Julep/Pedal Pusher/The Creeper/Stranger On The Shore

Instrumental group The Ventures rejigged their best known tune as Walk Don't Run '64, achieving a US No. 8 hit single as a result. It permitted the accompanying album to be titled Walk Don't Run Vol. 2. (US:17)

"Like 700 million other people, this is one of the albums which turned me on to playing the guitar and I haven't stopped since. This is where The Ventures truly hit their stride, the re-furbished version of their original early '60s hit propelled by Don Wilson's pipeline inspired muted guitar accompaniment. It is also where they began using Semie Mosley's 'Ventures' guitar model, giving them that distinctive Ventures sound."

"This album has a great selection of tunes, from the refurbished Walk Don't Run to Diamond Head, Pedal Pusher and a raunchy House Of The Rising Sun. Anyone who hasn't been into The Ventures before, buy this album. It is a classic and truly is one which would accompany me on a desert island."

"This is a great album, especially The Creeper, House Of The Rising Sun and Walk Don't Run '64."

"The Ventures are the greatest rock instrumental band ever. I would even go the length to say they were the best rock group, period, but that's a little too extreme for many people. What a group of extraordinary musicians. The group could tackle so many musical styles. And with what ease and feel they did it with. During the 1960s, The Ventures put out great albums, and had some great hit singles."

"As most people refer to The Ventures as a covers band I think of them as much more. I think of them as extraordinary self-taught musicians, great music makers, great rockers, great guys and my favourite band."

"Today, when someone says 'surf music', most people think Beach Boys. But true surf music is reverb-drenched guitar magic barely divorced from 50s R & B, with little if any need for vocalizations. And for about four decades now, The Ventures have been doing what they do best: writing and recording some of the best surf music ever made."

Two Sides Of – THE FOUR PENNIES**

Da Doo Ron Ron/Sweeter Than You/Claudette/If You Love Me/Do You Want Me To/Love’s Journey/You Went Away/Will You Love Me Tomorrow/Now We Are Through/Pony Time/Come To Me/Why Do You Cry

British pop group The Four Pennies achieved their only UK top twenty album with Two Sides. It contains none of their hit singles, most notably the UK chart topper Juliet. For those interested in their easy on the ear songs a compilation CD including their singles would be more representative of their output. (UK:13)

"On purely musical grounds this album is disappointing, even if you have a taste for the wimpy side of early British Invasion/Merseybeat sounds. The group seems to be consciously trying to present themselves as a versatile act, able to handle various styles of pop, rather than simply, as the best British Invasion bands did, play various styles of all-out rock."

"Two Sides Of The Four Pennies alternates between very light variations of the kind of early Merseybeat favoured by The Searchers, and paler reflections of the kind of ballads for which Roy Orbison was known. But the songs - some, though well under half, by the group - just aren't too memorable, and the overall approach so effusive they make Gerry & The Pacemakers sound rather heavy in contrast."

"The Four Pennies pleasant but lightweight sound makes for a reasonably upbeat album, long on melodies and ballads which is what The Four Pennies did best, and light on the amperage. What's lacking for the most part is excitement. Not only was the wattage not there for anything heavyweight, but the quartet were simply too dignified to generate anything tougher."

"They were a great group, with a highly distinctive sound and solid original songs. To judge a British beat group by its LPs is unfair. Groups lived and died by the quality of their singles in the 1960s. Albums were an afterthought, at best, with the exception of The Beatles and a few other groups."

"Overall, this is a generally mild collection of pop songs, some of which sound dated even for the 1960s. Their music was not as much British beat as high school pop. The Pennies' best records are their singles, since their LPs are not particularly good."

Kinks/You Really Got Me – THE KINKS***

Beautiful Delilah/So Mystifying/Just Can’t Go To Sleep/Long Tall Shorty/I Took My Baby Home/I’m A Lover Not A Fighter/You Really Got Me/Cadillac/Bald Headed Woman/Revenge/Too Much Monkey Business/I’ve Been Driving On Bald Mountain/Stop Your Sobbing/Got Love If You Want It (US Album omits I Took My Baby Home, I’m A Lover Not A Fighter & Revenge)

British beat group The Kinks self titled debut album includes the UK chart topping single You Really Got Me, credited as being the first heavy metal hit. The album is standard fare for the time, with many covers, before songwriter Ray Davies discovered his distinctive musical style. Released in America as You Really Got Me, it omitted three tracks. (US:29 UK:3)

"The key moment on this Kinks debut arrives courtesy of You Really Got Me. Suddenly, everything else pales in comparison. Such energy meant that this song not only stands the test of time but has been credited with inventing heavy metal."

"The problem was a rather standard one: the band was just starting, the producer was cramming them with horrible second-rate material and, first of all, Ray wasn't yet confident about himself. There is one absolute gem here - the rave rocker You Really Got Me, often hailed as the first hard rock (read: heavy metal) song."

"You Really Got Me is a hell of a great song. It has a nice, even though primitive, five-note riff - the first heavy riff in history, it builds up well and includes a mad one-string solo by Dave who complemented the grumbling riff by a deserving, chaotic instrumental passage."

"At least we should praise Ray Davies for including a whopping six original compositions on the album - at an epoch when even The Stones only dared to include one. Unfortunately, the poor young boy overestimated his forces."

"The cover tunes on which Ray takes lead vocals are not brilliant by any means - you'd be much better off with the originals."

"This album is mediocre at best, with few standout tracks. The biggie, of course, is You Really Got Me. There's a lot of cover versions, the record company thought it would lessen the risk if there were a few famous numbers on there."

The Door Is Still Open To My Heart – DEAN MARTIN***

The Door Is Still Open To My Heart/We’ll Sing In The Sunshine/I’m Gonna Change Everything/The Middle Of The Night Is My Cryin’ Time/Every Minute Every Hour/Clinging Vine/In The Misty Moonlight/Always Together/My Sugar’s Gone/You’re Nobody ‘Til Somebody Loves You/Take Me/So Long Baby

Crooner Dean Martin was on a roll in 1964 as he scored his third US top twenty album hit with The Door Is Still Open To My Heart. Unfortunately, it contains some recycled tracks from earlier albums. The title song was a No. 6 US hit single. (US:9)

"The Door comes from a period when Reprise was still scrambling to keep up with the demand for Martin product deriving from his comeback hit, Everybody Loves Somebody. The album is a catchall, even containing some songs recycled from Dean 'Tex' Martin Rides Again."

"The Door Is Still Open finds Dean making wonderful music on the title track, not to mention his take on a popular song of the day, We'll Sing In The Sunshine which seems tailor made to fit his easy swingin' approach. The 'sing-a-long' motif behind the country-tinged Clinging Vine is classic Dean; as is the tender yet driving ballad Always Together."

"The Door Is Still Open To My Heart has a few hits and a lot of fillers, and a few songs from the country albums of 1963. The pleasant surprise is We'll Sing In The Sunshine."

"This album is one of Dino's very best at Reprise, perhaps even of his entire career. Dean sings each and every song in his own unmistakable style and makes you feel that you've never heard them before he crooned them. Not a weak track anywhere on the album. If you're new to Dino, this is the best place to start your collection."

"This is Dean doing what he does best, he takes other artist's songs and stamps his own interpretation on them, as in I'm Gonna Change Everything, Clingin' Vine. I recommend this item without hesitation."

"The Door is one of Dean Martin's best songs. I love the lyrics and singers. It is the perfect arrangement."

The Sect – DOWNLINERS SECT***

Little Egypt/Hurt By Love/One Ugly Child/Lonely & Blue/Our Little Rendezvous/Guitar Boogie/Too Much Monkey Business/Sect Appeal/Baby What’s On Your Mind/Cops & Robbers/Easy Rider/Bloodhound/Bright Lights/I Wanna Put A Tiger In Your Tank/Be A Sect Maniac

The now largely forgotten group Downliners Sect were prominent in the British R & B scene during the mid sixties. Their debut album The Sect consists of standard R & B fare, insufficiently distinctive for them to achieve a commercial breakthrough.

“This was a very influential band, but there wasn't enough on it to keep me interested. A couple of good tracks, but these guys are a parody of a good R & B band. They are quite humorous. I enjoy sixties music but this doesn't measure up to what is exciting in sixties rock and roll.”

“This is the group's rawest and most R & B oriented album, firmly rooted in the same influences as The Rolling Stones and The Pretty Things, including covers of Chuck Berry, Bo Diddley, Muddy Waters, Jimmy Reed, et al., along with a few originals in the same vein. For those who don't get enough rough-and-ready British-style R & B and rock & roll The Sect should be their next stop.”

“Awesome early raw British R & B band, from the same school of thought as very early Stones. Standard material for the day - covers of Chuck Berry, Bo Diddley, etc. They tear it up on this stuff. If you are just looking for some killer music then you won't be disappointed.”

“The Sect is one of those 'best LPs that you've never heard'. Seriously, this record smokes. Tracks that have me spinning this more times than I have kept track of are One Ugly Child and Our Little Rendezvous.”

“Just about the best real rock and roll album I have ever heard. My neighbours think I have gone into hibernation with this LP playing over and over. I never knew these guys were so good.”

“Their music is very raw, early club R & B of the day - brilliant to hear and even better live - I can feel the sweat dripping on me now. Downliners Sect were a great group that should have had a lot of hits but didn't. Why? Maybe because there were so many great groups in the 60s. This album captures them at their finest.”

Live At Basin St. East – TRINI LOPEZ***

La Bamba/Alright Okay You Win/Stagger Lee/Be Careful Its My Heart/Jezebel/Bill Bailey Won’t You Please Come Home/Hello Dolly/You Need Hands/Hallelujah I Just Love Her So/Personality/If I Had A Hammer/What I’d Say

Live At Basin St. East was Latin folk musician Trini Lopez's fourth live LP release in just over a year, as his record company preferred them to studio recordings. However, it would turn out to be his last live chart album. (US:30)

"Trini Lopez's fifth Reprise album continued his uninterrupted run in the top 40 and marked a return to live recording after its studio-bound predecessor, The Latin Album. Lopez had a strong desire to make studio recordings, but Reprise preferred that he stick with what worked, at least for a while. Live At Basin St. East would be his last live album for the label."

"An unusual aspect of the set list is that several songs are reprised from Trini Lopez at PJ's, Lopez's big hit album from 1963. It is understandable that an audience would want to hear songs from his most popular album, but a little strange to fill a new album with live performances of songs from an earlier live album. Aside from those cuts, Live At Basin St. East contains Lopez's usual assortment of oldies performed with stripped-down, electrified arrangements in a party atmosphere."

"His bilingual version of Hello Dolly is a standout, and his rendition of the dramatic Frankie Laine hit Jezebel shows Lopez's ability to adapt practically any kind of material to his style. Live At Basin St. East is more of the same for enthusiasts of his earlier live albums but a little redundant."

"Trini's music is always very dynamic and he can energize any song with his very special brand of electricity."

"There is still something indefinably amazing about this artist who, I believe, came close to bridging the '60s generation gap. Though many try crossing over musical boundaries, few succeed at making it fun and uplifting to do so."

"I like to refer to Trini's music as 'folk, go-go style', as he reminds me of a combination of Johnny Rivers and The Kingston Trio."

"He learned early on how to perform and he always gave so much that his fans adored him."

Greatest Hits – FRANK IFIELD****

I Remember You/Listen To Your Heart/Lovesick Blues/She Taught Me How To Yodel/The Wayward Wind/Nobody’s Darlin’ But Mine/Confessin’/Waltzing Matilda/Please/Mule Train/Don’t Blame Me/Say It Isn’t So/Angry At The Big Oak Tree/Go Tell It On The Mountain

Aussie yodelling vocalist Frank Ifield bowed out of the UK album chart with this greatest hits package. Since he was to achieve no more major hits, this collection is a fitting testament to his brief high flying musical career. (UK:9)

"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 sing I Remember You. Every cut on this album rings the bell."

"Frank Ifield has an amazing voice and uses it with wonderful results. He has a tremendous range and control of his voice and uses it with great effect."

"Just beautiful. Question: where have all the great songwriters and artists gone? Seriously...what happened? I guess the music industry is ugly and all about controlling what we hear, what with them trying to stuff so many lame artists and songs down our throats. Thank God we can listen to music from yesteryear such as this."

"Frank sang beautifully, I remember him from when I was young in the 1950s and I was also listening to The Everly Brothers. These singers have much more dedication in them than today's music."

"Wonderful rendition of The Wayward Wind. This is one of my favourite songs, but I had never heard it with yodeling before. He really made this song his own."

"What can I say about Frank and his wonderful songs. His voice covers a great range from love songs to slightly quirky numbers."

"I can't recommend it more highly if you'd like an escape back to a happier time in your life. What a magnificent voice he has, and what a good looker."

Fiddler On The Roof – BROADWAY CAST*****

Prologue/Matchmaker/If I Were A Rich Man/Sabbath Prayer/To Life/Miracle Of Miracles/The Dream/Sunrise Sunset/Now I Have Everything/Do You Love Me/Far From The Home I Love/Anatevka

The Broadway musical Fiddler On The Roof starred Zero Mostel as the milkman Teyve, who struggles to maintain his traditions in the changing society of Tsarist Russia in 1905. It opened in September 1964 at the Imperial Theatre and ran for a then record 3,202 performances. The LP stayed on the US album chart for four years. Music by Jerry Bock and lyrics by Sheldon Harnick. (US:7)

"This score, though considered by most to be beautiful and moving, is rarely given credit for its true artistry and thematic significance. Fiddler On The Roof is one of the most beloved musicals of all time; listen to this recording and you will understand why."

"The original has remained the best. The cast is superb and performances are glorious. I'm only disappointed that I wasn't alive back then to see it on Broadway."

"This is simply the classic recording of a classic musical. I like the intimacy of the pit orchestra over the inflated version on the soundtrack. If I were a rich man, this is still the recording I would own."

"What a great play. Once you reacquaint yourself with it, you will be singing and humming the tunes for weeks and weeks, you just can't help it."

"Fiddler On The Roof is one of the greatest of all musicals. A flawless book, remarkable score and wonderful performances. Zero Mostel was one of those larger than life personalities the likes of whom we don't have anymore. Tevye was tailor made for Mostel, loud, comic and ultimately endearing. This recording captures all of that beautifully. The entire cast is wonderful."

"This musical is so very beautiful. The music is fantastic. Of course my favourite song is Sunrise Sunset. I highly recommend this recording to anyone who is interested in musical theatre. You can play this LP over and over again for years to come and still enjoy it. Fiddler On The Roof is one of few Broadway productions that has truly stood the test of time. This original cast recording is a superb souvenir of the way a musical should really sound."

The Johnny Burnette Story – JOHNNY BURNETTE****

Dreamin’/Clown Shoes/You’re Sixteen/Big Big World/God Country & My Baby/Little Boy Sad/I’ve Got a Lot Of Things To Do/Settin’ The Woods On Fire/The Way I Am/The Fool Of The Year/I Beg Your Pardon/Girls

The Johnny Burnette Story was released as a tribute to the pop star after he was killed in a boating accident. Although his musical career began as part of a rockabilly trio, his solo releases were in the pop mainstream.

“Johnny Burnette and his buddies made some pretty wonderful music when they performed together; and this LP proves it. They turned out many songs that had superb arrangements and they could do powerful songs as well. Johnny was also one of the first rockabilly artists; he could do anything he wanted to do.”

“Dreamin’ was a huge hit for Johnny Burnette. He does this with panache; and his excellent diction enhances his performance all the more. The backup singers harmonize well. His voice was remarkably strong and distinctive; Johnny also does a fantastic job on You're Sixteen, this shines bright when Johnny sings it and you're sure to love this number. Girls has a lush arrangement but they don't ever steal the show from Johnny; he remains in the spotlight for this playful song.”

“The LP starts with the terrific song Dreamin’ featuring Johnny squarely front and centre; he never misses a note and that's very special. The melody is very pretty and this tune makes a strong beginning for this album. You're Sixteen is a number I still sometimes hear on the local oldies radio station; it sounds as special as it did the first time I ever heard it, and these guys perform this with all their hearts and souls.”

“Exit Johnny Burnette the rockabilly man; enter Johnny Burnette teen idol. Given a choice, most would prefer the cross between Ricky Nelson and Elvis Presley any day, but having hit with Dreamin' and tasting pop stardom and appearances on teen shows, better gigs, and wild admirers, Burnette chose a new bag for him. He had plenty of company and competed with the likes of Frankie Avalon, Fabian, Bobby Rydell and Bobby Vee. Singing more relaxed than his early fans were accustomed to, Burnette cruises through his notable hits. If he had lived, Burnette would have returned to his roots: rockabilly.”

Beach Boys Concert – THE BEACH BOYS***

Fun Fun Fun/The Little Old Lady From Pasadena/Little Deuce Coupe/Long Tall Texan/In My Room/Monster Mash/Let’s Go Trippin’/Papa-Oom-Mow-Mow/The Wanderer/Hawaii/Graduation Day/I Get Around/Johnny B Goode

Beach Boy's Concert was the group’s only sixties live album, recorded with the original line-up. Unfortunately, it contains rather too many covers, and some of the tracks appear to have been manipulated in the studio. Recorded in Sacramento in 1964. (US:1)

"What everybody wanted to know was could they reproduce the sound of those wonderful harmonies live in person? As the first song Fun Fun Fun kicks in, and sounds not just as good as the recorded version but actually a whole lot more rockin', the question is answered. Too many covers for my liking, but imagine this was a typical Beach Boys live set of the day. It's worth a listen for fans, especially to hear Brian performing live."

"I'm sure the guys could reproduce the wonderful harmonies live, but there's a little cheating here - Fun Fun Fun and I Get Around are not live recordings, they were re-recorded in the studio, with the screaming girls overdubbed. The other songs are recorded live, though."

"It's great to hear The Beach Boys in their prime with all of the girls screaming and with Brian still on stage belting out the high notes."

"Concert was the first live album released by a rock & roll group, and promptly went to #1. It featured the mayhem of the crowd, the charm of the band, and the typical post-production sweetening most groups require."

"It features The Beach Boys original line-up. The group sounds good, if a bit sloppy at times, and the audience is frequently too loud. The songs consist of five Beach Boys originals, and eight cover versions of other people's songs. There are a few odd song choices."

"The Beach Boys first live album, Concert, is a good effort, but as with most of the live albums released in the mid 60s, it is marred by poor production and too much crowd noise." Vox

At The Copa – SAM COOKE****

Best Things In Life Are Free/Bill Bailey/Nobody Knows When You’re Down & Out/Frankie & Johnny/You Send Me/If I Had A Hammer/When I Fall In Love/Twistin’ The Night Away/This Little Light Of Mine/Blowin’ In The Wind/Tennessee Waltz

Soul legend Sam Cooke spent a year on the US album chart with the live At The Copa. Recorded in July 1964, only a few months before he was killed, it showcases the smoother elements of his repertoire, toned down for a predominantly white audience. (US:29)

"In 1964, when this concert at New York City's legendary Copacabana night club was recorded, Sam Cooke was at the top of his game, having charted numerous times with his unique blend of pop and soul. The success doesn't seem to have gone to his head, though. He sounds relaxed and conversational throughout this intimate performance."

"Accompanied by a band that includes Bobby Womack on guitar, Cooke brings his R & B tendencies further to the fore than on his immaculately produced studio work. At The Copa is an essential part of the Cooke canon."

"One of a handful of live albums by any major soul artist of its era, this captured Cooke in excellent voice, and was well-recorded - it just wasn't really a 'soul' album, as Cooke toned down his performance and chose the safest material with which he could still be comfortable."

"At The Copa is fantastic and shows Sam as the ultimate cross-over artist. There are some musical hits, some of his own hits and a very good Bob Dylan cover. Towards the end of the show he starts doing more of his gospel style singing and that's where it really gets interesting."

. "For me this album has always been a little too neat. I think the real Sam can better be heard on the Live At The Harlem Square Club album where he performs in the black ghetto of Miami and turns it into a real gospel/soul show."

. "At first listen, this album, stylistically, sounded dated. By the third listen, I was hooked. This is one of the few albums that I can listen to over and over again without ever getting tired of it. Sam Cooke's genius really shines."

You Never Can Tell – CHUCK BERRY****

You Never Can Tell/Diploma For Two/The Little Girl From Central/The Way It Was Before/Around & Around/Big Ben/The Promised Land/Back In The USA/Run Around/Brenda Lee/Reelin’ & Rockin’/Come On

Rock & roll pioneer Chuck Berry was a major influence on the British beat groups of the mid 1960s, and as a result enjoyed a revival in his popularity during this period. You Never Can Tell was a UK only release. (UK:18)

"Chuck Berry has to be my all time favourite artist, and these recordings are some of his best. When you consider that most of You Never Can Tell was recorded after three years in prison, it is a delight to hear the happy nature of songs such as Promised Land. Don't bother getting any 'Best of' Chuck Berry, 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."

"If you're a fan of rock 'n' roll, you need Chuck Berry in your collection. Elvis Presley may have been hugely influential as far as the imagery of rock 'n' roll is concerned, but Chuck Berry was its originator, the man who created rock 'n' roll both musically, lyrically and not least instrumentally. He is the true father of the genre."

"It's a shame that Chuck Berry is not universally recognized as one of the greatest rock lyricists and most innovative figures. This LP will convince even sceptics of his brilliance. Without Chuck Berry, there would be no Beatles, Rolling Stones or Kinks, or at least in the forms they eventually took."

"Chuck Berry was a pioneer with words and music and his influence is sorely underestimated today."

"The music is certainly great, not to mention groundbreaking, making Berry an essential entry in any music collection."

"There will never be anyone who can top You Never Can Tell. It's what music was made for. Let this song take you away."

"Promised Land is one of the hardest rocking songs ever written and recorded."

Where Did Our Love Go – THE SUPREMES****

Where Did Our Love Go/Run Run Run/Baby Love/When The Lovelight Starts Shining Through His Eyes/Come See About Me/Long Gone Lover/I’m Giving You My Freedom/A Breathtaking Guy/He Means The World To Me/Standing At The Crossroads Of Love/You Kiss Of Fire/Ask Any Girl

Female Motown vocal trio The Supremes achieved three US chart topping singles in 1964. Where Did Our Love Go, Baby Love and Come See About Me are all included here. The Supremes hit making machine was to continue, on both sides of the Atlantic, throughout the remainder of the decade and beyond. (US:2)

"Even though this long-player was the second collection to have featured the original Supremes line-up it was the first to significantly impact the radio-listening and record-buying public. It effectively turned the trio into one of the Motown's most substantial acts of the 1960s. Undoubtedly, their success was due to the formidable composing/production team of Brian Holland, Lamont Dozier and Eddie Holland."

"Like the debut, this contains a few singles and some filler. On the other hand, what singles! Where Did Our Love Go and Baby Love, are classic black pop. The rest of the album suffers in comparison, especially those cuts not built specifically to the restricted vocal chords of Diana Ross."

"Where Did Our Love Go contains The Supremes' first three number ones and are all just fantastic pop songs. These ladies had wonderful voices, great harmonies - they were about as good as it gets for girl groups."

"Where Did Our Love Go is more of a vehicle for The Supremes first three number one hits than it is a proper album. Every individual song is smooth and lush with harmonies and pop fare, but when put together the album lacks flow."

"If soul music had its own Meet The Beatles then Where Did Our Love Go is surely it, and its historic value and still undiminished pleasures cannot be overstated. This is the album that took The Supremes to the top."

"The album's title track had been a massive hit over the vacation months, putting The Supremes name on the lips of every teen and pre-teen whose ears caught it. This was no easy feat given the chart competition at the time."

The Kingsmen Volume II – THE KINGSMEN**

Little Latin Lupe Lu/Long Green/Do You Love Me/New Orleans/Walking The Dog/David’s Mood/Something’s Got A Hold On Me/Let The Good Times Roll/Ooh Poo Pah Doo/Great Balls Of Fire/Linda Lou/Death Of An Angel

US garage band The Kingmen's achieved their highest US album chart placing with their second LP Volume II, despite the lack of a major hit single. The group's primitive basic sound compared unfavourably with that of many British Invasion bands. (US:15)

"The Kingsmen were a good garage rock style band in the 1960s. They were arguably the most successful of the garage bands, since they had seven songs that made it into the Hot 100. This album is a typical one for them, since it contains two lower placed chart singles and a bunch of cover songs. Singer Lynn Easton was actually a decent, if derivative, songwriter. As for the cover songs that make up the bulk of the album, they are okay, for the most part. But none of them come close to matching the versions that were recorded by the original artists."

"Let's face it: they were awful. A lot of throwaway knock-offs on the twelve-bar blues form, which a lot of groups of that era did. If nothing else it'll give you a fresh appreciation of what The Beatles brought to the rock scene."

"I'm not sure why anyone would want to listen to this. I guess I had too high expectations as I thought I would be getting a tight, garage-rock band. Instead I got very bland, vanilla covers of classic songs. Overall, this was a disappointment to me."

"The Kingsmen were little more than a standard issue, R & B influenced frat-rock cover band. They played music for teenagers who wanted to get in a couple of dances. The songs are, for the most part, dull and unoriginal covers of the rock standards of the day."

"This disc is a demonstration of a mediocre rock band who only managed to record one truly great song. It is an album full of filler, and probably not one that you'll play all that often."

The Cat – JIMMY SMITH****

Theme From Joy House/The Cat/Basin Street Blues/Main Title From The Carpetbaggers/Chicago Serenade/St Louis Blues/Delon’s Blues/Blues In The Night

Jazz and blues organist Jimmy Smith second 1964 offering The Cat features acclaimed arrangements for the backing band by Lalo Schifrin, offering a contrast in musical styles. (US:12)

"Compared to his earlier Blue Note recordings, organist Jimmy Smith's outings for Verve are not as strong from a jazz standpoint. Certainly his renditions of the Theme From Joy House, The Cat and the Main Title From The Carpetbaggers are not all that significant. However, this LP has some tasteful arrangements for the big band by Lalo Schifrin and some good playing by the great organist on a variety of other blues-oriented material."

"This is one of my very favourite albums. I never get tired of hearing it. The great arrangements by conductor Lalo Schifrin, the powerful organ of Jimmy Smith, big band jazz doesn't get better than this. Listen to the first two tracks and see if you are not blown away."

"This album is a fantastic union of the raw funkiness of Jimmy Smith and the smooth arrangements of the unrivalled Lalo Schifrin. It is the combination of these two musicians, both deserving the title of 'genius', which causes the sparks to fly. The organ has never sounded so groovy and the big band arrangements are equally unique. This will give something extra each time you listen."

"By the time Jimmy Smith moved from Blue Note to Verve in the early '60s he was widely acknowledged as the ruling jazz Hammond organ player in the world. He was not only seminal in introducing the instrument to jazz, he continued to innovate throughout the '50s and '60s. His feet provided funky bass lines, his left hand swinging chords, and his right hand lightning-quick gospel-influenced runs. Given the fullness of his playing, it's a wonder there was even room for other players on his sessions." "Even more impressive is the way this 1964 release weaves together the breadth of Smith's organ with the full-blown band arrangements of Lalo Schifrin. Smith leans more heavily to soul than jazz on these eight tunes, and his interplay with the orchestra is necessarily formalized by the use of arrangements."

Ramblin’ Boy – TOM PAXTON****

A Job Of Work/A Rumblin’ In The Land/When Morning Breaks/Daily News/What Did You Learn In School Today/ The Last Thing On My Mind/Harper/Fare Thee Well Cisco/I Can’t Help But Wonder Where I’m Bound/High Sheriff Of Hazard/My Lady’s A Wild Flying Dove/Standing On The Edge Of Town/I’m Bound For The Mountain & The Sea/Goin’ To The Zoo/Ramblin’ Boy

Debut album from Tom Paxton, one of the leading lights in the mid sixties US folk revival. Ramblin’ Boy includes some of his best remembered songs that have been covered by a variety of artists.

Tom Paxton recorded several memorable albums, many of them a lot more topical than this initial recording, but this one really showcases his wonderful melodies and lyrics - some political, some romantic, and even a kid's song. For an introduction to his work, this is a good one. A must have for all folk enthusiasts.”

“Tom Paxton's debut album sounds rather dated these days for the simple reason that nothing grows old faster than topical material. What keeps Ramblin' Boy from being just another period piece from the 1960s are a trio of songs in which Paxton swings away from trying to be relevant and brings a kind of restless and romantic self-analysis to the table. The Last Thing On My Mind, Ramblin' Boy and I Can't Help But Wonder Where I'm Bound all exhibit a classic, timeless appeal simply because they work to the positive side of emotional ennui.”

“What an LP this is. After over forty years, such songs as Ramblin' Boy and The Last Thing On My Mind remain classics. They're complemented by such fine songs as Goin' To The Zoo, one of the best songs ever written for children, and When Morning Breaks. Paxton has always written his share of topical/political songs, which, by their nature, don't age well. But the other songs are as fresh today as when released.”

“Even if you've never heard of Tom Paxton, chances are you know at least one of his songs by heart: The Last Thing On My Mind, Goin' To The Zoo, and Ramblin' Boy are loved by millions of people who have no idea who wrote them. Surprisingly, the original versions of all these classics appeared on Paxton's first album. These recordings are spare and fairly low key compared to many of the more famous cover versions, but that just adds to their charm. And the classics are only the tip of the iceberg when it comes to Tom Paxton. Made at the height of the 1960s folk revival, these recordings are the ultimate product of that era, complete with low-budget production and stridently political lyrics.”

Pops Goes The Trumpet – AL HIRT & THE BOSTON POPS ORCHESTRA****

La Virgen De La Macarena/Eili Eili/Pavanne/Carnival Of Venice/A Trumpeter’s Lullaby/The Toy Trumpet/Bugler’s Holiday/Trumpet Concerto/The Lost Chord/Java

Pops Goes the Trumpet was a unique collaboration between trumpeter Al Hirt and the Boston Pops Orchestra led by Arthur Fielder. Features the Haydn Trumpet Solo. (US:18)

"Al was actually a classically trained trumpeter and also one of the top army bandsmen of his era. Many will argue that he pales alongside Wynton, Rolf, Maurice etc but he sounded pretty good to me doing the Haydn Concerto on this album."

"This was the first time I heard Leroy Anderson's Bugler's Holiday. This little 2:30 study in perpetual motion really hooked me and I think the grooves in the vinyl on my first Pops were worn out by the time I moved out of the house."

"The single most powerful cut to me was, and still is The Lost Chord. The last sixteen bars of both Al and the Pops Orchestra at full throttle on this piece still brings shivers to me. This was a favourite recording from 'back when', with a classic trumpet repertoire and sweet playing."

"Al's music is great. Whenever I start taking the trumpet too seriously, I always listen to Al so that I can hear how much fun it is supposed to be."

"I grew up listening to Al Hirt. He was, in my opinion the best. He played things that seemed to be unplayable. His Dixieland stuff was amazing; he played a ballad with more feeling than anyone I have ever heard. Nobody played behind a vocalist or melody better than Al Hirt. His Pops Goes The Trumpet album with Arthur Fiedler and the Boston Pops is still my favourite album. Check out Eili Eili, that will make you cry. Never sleep on Al Hirt."

"This album is a superb example of contemporary (of the time) artists collaborating with orchestra. It was the genesis of my interest in classical music that continues to this day."

People – BARBRA STREISAND*****

Absent Minded Me/When In Rome/Fine & Dandy/Supper Time/Will He Like Me/How Does The Wine Taste/I’m All Smiles/Autumn/My Lord & Master/Love Is A Bore/Don’t Like Goodbyes/People

Supreme songstress Barbra Streisand continued to maintain her impeccable standards with her fourth album People. The title tracked reached No. 5 in the US singles chart and earned her a Grammy for best pop vocal. (US:1)

"Barbra Streisand's first number one album is still one of the most exciting and intensely satisfying vocal performances ever recorded. Like most of her glorious early recordings, this album contains some incredibly varied material, yet the lush arrangements, and the elegantly restrained vocals of Streisand give it an amazing consistency. Every song represents a cornucopia of emotions, all of which Streisand handles with immense poise."

"She is in top form throughout this entire landmark album. Definitely one of her best."

"The songs are brilliant and Streisand's voice is youthful and spirited. The arrangements are classic. The songs are mostly Broadway musical songs. This is simply a great album and one I have listened to consistently since I was 14 when I bought the first edition. If you only own one Streisand album this should be it."

"This ranks as one of Barbra's very best, not just from the '60s but from her overall body of work. You can tell the Broadway theatrics show up in most of the songs -bold, campy, and definitely dramatic, all indelibly Barbra at her best."

"This, one of Streisand's first album releases, is one that real sold me on her. I found this album to be a hauntingly beautiful demonstration of a singer yet to be born into international glory. She was yet unstructured by the huge successes yet to come, and filled each song with genuine passion."

"This album is what contributes to the legacy Barbra now basks in, all the ingredients that make her an unforgettable performer of our time are on display - power, control, timing, originality, and that Streisand dramatic flair."

"One of the wonderful things I love about Barbra's older albums is that they never age - they simply get better like a fine wine."

My Fair Lady – SOUNDTRACK*****

Overture/Why Can’t The English/Wouldn’t It Be Loverly/I’m Just An Ordinary Man/With A Little Bit Of Luck/Just You Wait/The Rain In Spain/I Could Have Danced All Night/Ascot Gavotte/On The Street Where You Live/You Did It/Show Me/Get Me To The Church On Time/A Hymn To Him/Without You/I’ve Grown Accustomed To Her Face

The musical My Fair Lady was transferred to the screen from the hugely successful Broadway stage show. The film starred Rex Harrison and Audrey Hepburn, the vocals for the latter being dubbed by Marni Nixon. Music by Frederick Loewe, lyrics by Alan Jay Lerner. (US:4 UK:9)

"My Fair Lady is one of the best musicals ever made. This soundtrack album of songs and music from the picture is a must have for fans of the great musicals."

"This is still my favourite version. I think that Marni Nixon is a wonderful singer - and a bit underrated."

"All the songs here are pure magic, there isn't a clunker in the bunch and that's saying something considering the record contains 16 songs, most of them standards. Marni Nixon, one of the most underrated and brilliant sopranos of our time, brings her unique personality to the songs, She has a focussed, controlled electricity to her singing that sets her apart."

"My personal opinion on this album is that it's 'loverly'. The music is absolutely wonderful. I think that you would have to be crazy not to like it. I mean, I Could've Danced All Night is beautiful, Get Me To The Church On Time is slightly humorous, and very cheerful, and there isn't a single song that's irritating."

"The soundtrack, first and foremost, is one of the most beautifully composed collections of music of all time. It's classical yet fresh. The songs are sung with passion and are true to the play, but life is breathed into them in most places with the spectacular and versatile range Marni Nixon was famous for."

"Two reasons to buy this version Marni Nixon and Rex Harrison. Marni may be the most under-appreciated vocalist of the 20th century. And Rex Harrison, and only Rex Harrison, knows how to sing the greatest love song ever written for a man, I've Grown Accustomed To Her Face."

Mary Poppins – SOUNDTRACK*****

Overture/Sister Suffragette/The Life I Lead/The Perfect Nanny/A Spoonful Of Sugar/Pavement Artist/Jolly Holiday/Supercalifragilisticexpialidocious/Stay Awake/I Love To Laugh/A British Bank(The Life I Lead)/Feed The Birds (Tuppence A Bag)/Fidelity Fiduciary Bank/Chim Chim Cher-Ee/Step In Time/A Man Has His Dreams/Let’s Go Fly A Kite

The soundtrack album Mary Poppins topped the US album chart during its more than two years run. The Walt Disney film, starring Julie Andrews and Dick Van Dyke, about a nanny with magical powers, is regarded by many as the best ever musical film for children. Scored by Richard and Robert Sherman. (US:1 UK:2)

"It's no stretch to call the Mary Poppins score the Shermans' most memorable of their 40-plus-year association with Disney. Boasting at least three bona fide classics A Spoonful of Sugar; the Oscar winner, Chim Chim Cher-ee, the Gilbert and Sullivan-esque romp, Supercalifragilisticexpialidocious, and at least as many other contenders, the Shermans' score held the technical tour de force together while giving it a sense of ageless wonder to match the powers of its titular magical nanny."

"These songs are silly, deliciously without any message. A Spoonful of Sugar is as meaningless as it is catchy. Don't be embarrassed after a few listens, that you, an adult, are caught up in public whistling Chim Chim Cher-ee. The music seems a million miles away from the canned pop tunes Disney cranks out now."

"I love this album. It is a collection of masterpieces by the Sherman brothers. The music is fun to dance to and is a great way to brighten up your day. I love listening to Julie Andrews and Dick Van Dyke sing their hearts out. It is fun for the whole family whether you are a baby, a teen, an adult or a senior."

"This is such a great soundtrack. It has all my absolute favourite songs on it. I think I've watched and listened to the movie and the soundtrack so much now that I think I know Mary Poppins all by heart. An absolutely must have for Julie Andrews fans, Disney fans, or just anyone who needs a lift."

"Mary Poppins has always been one of my favourite movies. However, I never fully appreciated the high quality of the score until I heard the soundtrack. Every song contributes to the story yet is memorable in its own right."

Invisible Tears – RAY CONNIFF****

Invisible Tears/Honeycomb/Are You Lonesome Tonight/I Walk The Line/S’posin/Oh Lonesome Me/Everybody Loves Somebody/Singing The Blues/Waitin’ For The Evening Train/Kisses Sweeter Than Wine/Far Away Places/ Marianne

Top arranger and conductor Ray Conniff just missed out on another US album top twenty hit with Invisible Tears. Easy listening orchestral albums such as this, which had been a regular feature in the album charts, were henceforth to register a significant dip in popularity. (US:23)

"Ray Conniff was a remarkable artist who received too little respect for his innovations, and it isn't hyperbole to note that his dreamy, echoey arrangements - which placed the voices alongside rather than in front of the instruments - laid a philosophical foundation for dream pop and other fusions of conventional pop song craft with ethereal sounds. Invisible Tears is a more conventional pop album than some of Conniff's others, but he tried to appeal to different audiences with his various thematic LPs, and this one is aimed at fans of folk and country-pop."

"Enthusiasts of Conniff's 'happy beat' won't be disappointed with this meticulously crafted record and its easygoing sing along quality."

"For me this is the 'Ray Conniff country album', because it captures the energy of the old western spirits, and I think every country fan will be delighted with this; the best songs for me are Everybody Loves Somebody and Singing The Blues, but the rhythm touch of Walk The Line is excellent."

"This LP represents a time in Conniff history where he began to successfully bring in the full voices of the singers, rather than the traditional blending of instruments and voices, Conniff's earliest trademark sound. The recording of the title song, Invisible Tears was also the earliest measurable success of that style change, in that it received a lot of attention on the pop charts and radio."

"You will find that Conniff's treatment of the title song and the 'supporting cast' of selections represent some true listening enjoyment. Faraway Places, Are You Lonesome Tonight and S'posin' are terrific renditions, and the Jimmy Rodgers numbers Honeycomb and Kisses Sweeter Than Wine are as enjoyable as the original versions by that artist."

In The Hollies Style – THE HOLLIES****

Nitty Gritty-Something’s Got A Hold On Me(Medley)/Don’t You Know/To You My Love/Its In Her Kiss/Time For Love/What Kind Of Boy/Too Much Monkey Business/I Thought Of You Last Night/Please Don’t Feel Too Bad/ Come On Home/You’ll Be Mine/Set Me Free

The Hollies second LP In The Hollies Style was less successful than the debut released earlier in the year, reaching No. 7 on the NME album chart. However, with a large number of self penned originals, and the development of the group's three part harmonies, the album was received a lot more favourably by music pundits.

"The majority of songs second time out are Hollies originals and it makes a big difference. The bands instrumental attack has also improved and although The Hollies remain very rough around the edges, there are some pleasing things on this LP. It is far more consistent than their debut, even if very few of these songs would have been able to trouble the hit-parade, had they actually been released as singles. Still, the three part harmonies make an entrance and the guitar playing is far better."

"The Hollies were yet to really find themselves as an albums band, and still owed too much to other artists. Having said that, at thirty minutes long, In The Hollies Style doesn't outstay its welcome."

"The group's progress was rapid and in a certain way, amazing: seven out of twelve songs on here are credited to 'Ransford', the band's collective pseudonym at the time. Seven, as opposed to, what, two or three insecure attempts on the debut? And it's immediately evident that, generally speaking, the originals are more impressive than the covers. In The Hollies Style is a big leap forward."

"This, chronologically, is the first place where you encounter those magnificent multi-part audacious harmonies, the only thing on which The Hollies could really beat The Beatles (as well as everybody else this side of the Atlantic)."

"This record was a big improvement over their first. The harmonies are really starting to gel. At this point, The Hollies are starting to sound like The Hollies. The thing about The Hollies are the harmonies, and the trebly guitar sound, together. Other groups have harmonies technically as good, but none as vibrant and energetic. Nobody ever sounded, quite like them and no one ever will."

The Honeycombs – THE HONEYCOMBS***

Colour Slide/Once You Know/Without You It Is Night/That’s The Way/I Want To Be Free/How The Mighty Have Fallen/Have I The Right/Just A Face In The Crowd/Nice While It Lasted/Me From You/Leslie Anne/ She’s Too Way Out

The Honeycombs were a short lived British pop group from the mid sixties that were distinctive for having a female drummer. Their self titled LP includes the single Have I The Right, the third and final UK chart topper from independent producer Joe Meek.

“The Honeycombs are remembered for two things, they had a woman drummer and their producer was Joe Meek. And of course they had also a couple of big hits, Have I The Right and That's The Way, which both happened to be very good. Well, what else? After listening to their debut album that is pretty much the whole story.”

“Joe Meek was certainly inventive producer, with his echo effects and space sounds. But after listening to The Honeycombs, I've had enough to last for awhile. It all sounds a bit too samey to hold interest, at least mine. Mostly mediocre songs but Honey Lantree wasn't that bad a drummer, was she?”

“If you enjoy sixties pop music, you are likely to enjoy the music here although (as you might expect) the outstanding track is Have I The Right. If you are fond of great, eerie mid-60s production (with a bit of schmaltz) - this is a fun one to have.”

“I bought this hoping it would be something similar to The Beatles or The Hollies. But it sounds a lot more old-fashioned and primitive. I only liked a few of the songs.”

“The Honeycombs had distinctive vocals, and a very distinctive drummer since a female drummer was almost unheard of back then.”

“Joe Meek used his avant-garde production techniques to record The Honeycombs. This LP from a much underrated group is a must have for 60s audiophiles.”

“Ken Howard and Alan Blaikley, a very prolific British songwriting team penned most of the tunes on this album. Singer Dennis O'Dell has been unfairly accused of being unable to hold notes, but there's no doubting his wobbling vocals were, along with drummer Honey, the distinguishing feature of The Honeycombs.”

Great Songs From My Fair Lady – ANDY WILLIAMS****

On The Street Where You Live/I’ve Grown Accustomed To Her Face/I Could Have Danced All Night/Get Me To The Church On Time/Wouldn’t It Be Loverly/Show Me/Hello Dolly/Where Or When/Begin The Beguine/Once Upon A Time/People/The Sweetest Sounds

Easy listening Andy Williams notched up his third US top ten album success in 1964 with this collection of Broadway songs. The first half comprises tunes from the blockbusting hit show My Fair Lady. (US:5)

"The album focuses on Broadway. The first six songs are from My Fair Lady. Of these, the first three (On The Street Where You Live, I've Grown Accustomed To Her Face, I Could Have Danced All Night) have become standards, regularly covered down the years. The other three may not match the exceptional quality of the first three but they all sound great here. The remaining six songs come from other Broadway productions and include such classics as Hello Dolly and People."

"Nobody can top Tony Bennett's version of Once Upon A Time, but Andy beautifully gets close. His readings of People, Show Me and Get Me To The Church On Time are also magnificent. And who knew Andy could swing? Doubters should refer to one of my favourites on this album The Sweetest Sounds or the laughably great reading of Hello Dolly, it sounds like Andy really had a ball with this one."

"My favourite song in this collection is definitely On The Street Where You Live, a beautiful arrangement."

"He has the kind of rich, silky voice that could melt butter."

"Andy Williams possesses one of the most distinct and memorable voices of the entire pop era. His songs may be lively or mellow, but they are always easy on the ears but hard to get off the mind."

"I can't think of anyone else before or since with a voice like Andy Williams, the kind of smoky quality that seems to harmonize with itself."

"Andy Williams is a national treasure and this album clearly demonstrates that. He performs superbly and is so easy on the ear."

The Five Faces Of – MANFRED MANN****

Smokestack Lightning/Don’t Ask Me What I Say/Sack O’ Woe/What You Gonna Do/Hoochie Coochie Man/I’m Your Kingpin/Down The Road Apiece/I’ve Got My Mojo Working/Its Gonna Work Out Fine/Mr Anello/Untie Me/ Bring It To Jerome/Without You/You’ve Got To Take It

British beat group Manfred Mann are best remembered for their many well crafted pop singles. However, they started out as a blues band and this style is reflected in their debut album Five Faces. (UK:3)

"One of the best blues-oriented British Invasion albums, with uniformly powerful and enjoyable tracks, providing a fine listening experience." "Listen to the stuttering organ solo and inventive blues changes on What You Gonna Do, and the magnificent piano solo on Kingpin."

"This is probably my all time favourite album. It reflects the set list of the band that they were featuring at the Marquee Club. In those days they would perform a medley of their hit singles 'to get them out of the way' and then deliver their blues in a knockout way."

"This, the band's debut album, shows what they were originally about, and it stands as one of the early classic R & B albums by a British band. Their brand of blues was rather more measured than The Stones, Yardbirds, Animals, etc. They went more for finesse than frenzy. Smokestack Lightning is a good example."

"When you listen to their albums you discover Manfred Mann were not a pop group, they were an R & B group that happened to make pop hits."

"The Five Faces Of Manfred Mann is one of the great blues-based British invasion albums. It's a hot, rocking record that benefits from some virtuoso playing and some of the best singing of its era, courtesy of Paul Jones who blew most of his rivals out of the competition with his magnificently impassioned, soulful performance."

"They were the niche that was supposed to appeal to those who wanted their R 'n' B and their rock 'n' roll, but were too conservative, too 'correct' to take it in the manner offered by the likes of The Stones or The Animals."

Charlie Rich – CHARLIE RICH****

Big Boss Man/River Stay ‘Way From My Door/Big Jack/Mountain Dew/She Loved Everybody But Me/Let Me Go My Merry Way/Ol’ Man River/The Grass Is Always Greener/The Ways Of A Woman In Love/Why Oh Why/ Rosanna/Are You Still My Baby

Country artist Charlie Rich covered a variety of styles with many changes of record label before attaining commercial success in the mid seventies. On this self titled album, released on the short lived Groove label, he is teamed up with Chet Atkins on production duties.

“These mostly superb tracks were waxed for Groove Records, RCA's short-lived R & B imprint, and were produced by Chet Atkins, the country-soul mix is therefore more than implied. Rich was simply a master of passionate precision, whether through a brilliant understatement on piano or a soulful inflection in his ripe voice. In addition to staples such as Big Boss Man, River Stay Away From My Door and a hip Ol' Man River, Rich contributes some terrific originals, especially the ballad Mountain Dew, the down-home Let Me Go My Merry Way, and a funky reworking of Ways Of A Woman In Love."

“Very good-sounding album, produced by Chet Atkins after Charlie was dumped by Sun Records, Not that he was any more successful at Groove records, an RCA sub-label, but at least artistically it's full on and can stick up to his best.”

“First, there’s what might be the best version of Big Boss Man, a song which Charlie made his own. Another cover is the tasteful, groovy version of the standard Ol’ Man River. Most of the songs here are written by Charlie himself though. There is, for example, an early version of Why Oh Why, one of my personal favourites and it's also great how he reinvents The Ways Of A Woman In Love into an R & B song.”

“There is a bit of a slick Nashville feel here, especially on pathos-filled ballads like Mountain Dew or Rosanna with strings and background chorus. He doesn't hide his love for the blues and his general eclecticism on most numbers, so this is in no way a standard Nashville sound album, but more one with a very individual feel to it.”

“This was the first Charlie Rich LP I ever bought and blew me away completely - not a dud track on it and a magnificent showcase of the range of Charlie's musical talents. Fortunately, the glossier elements of the Groove sides collected here are neutralized by Rich's powerful tenor voice and solid, jazz-tinged piano work."

The Applejacks – THE APPLEJACKS***

Tell Me When/Wishing Will Never Make It So/Over Suzanne/Hello Josephine/As A Matter Of Fact/Too Much Monkey Business/Memories Of You/Ain’t That Just Like Me/Kansas City/I Wonder/Three Little Words/Baby Jane/ No Time/See If She Cares/What’s The Matter Little Girl/What’d I Say

Self titled sole album from the Birmingham pop group The Applejacks. It includes their biggest and best known hit Tell Me When but omits their next release Like Dreamers Do, a Lennon-McCartney composition. The group was unusual for the time in having a female guitarist.

“The Applejacks are little more than a footnote in pop's history, but anyone who loves the lighter beat pop of the 1960s will enjoy this.”

“These days, Tell Me When sounds twee and dated, as do a few of the tracks on this album, but a good tune doesn't fade. Baby Jane, however, reveals that The Applejacks could play a bit harder, and there are a few rousing R & B performances here too, which contrast against the fresh-faced innocence of the poppier material.”

“The Applejacks were very lightweight and on their only studio LP the selection is fluffy and slightly tedious.”

“Very talented young musicians, famous for having a lady in the group and for their fantastic hits Tell Me When and Like Dreamers Do, they got the feet tapping of every music fan in England at the time.”

“Having already heard a couple tracks I liked I thought that The Applejacks would become one of my favourite 60s bands. I was very wrong. There are only a few good songs on this LP and the rest are really bad covers.”

“The Applejacks from Solihull are perhaps one of the less remembered groups of the Swinging Sixties. There is a storming version of What'd I Say. Buy this and get a bite of sixties Brumbeat.”

“They sounded a little too much like the Liverpool bands to really make it big. Moreover they did not write their own material, and had to rely on songs by other songwriters. I'm sure fans of the Merseybeat sound will find a lot to enjoy. Some tracks are a little awkward, with stray out-of-tune backing vocals or off-kilter guitar parts here and there, but this is an LP that fans of British invasion rock should enjoy.”