A World Of Our Own – THE SEEKERS***

A World Of Your Own/Don’t Think Twice Its Alright/The Leaving Of Liverpool/This Land Is Your Land/Two Summers/The Times They Are A Changin’/Just A Closer Walk With Thee/Don’t Tell Me My Mind/Allentown Jail/Four Strong Winds/You Can Tell The World/Whistling Rufus

After moving to London, clean cut Australian group The Seekers enjoyed considerable success in the mid 1960s with their bouncy folk-pop singles. Their LP A World Of Our Own contained mostly purely folk material. The title track hit single peaked at No. 3 in the UK and No. 19 in the States. (UK:5)

"The Seekers second LP was built around their hit A World Of Our Own, written by Tom Springfield. The title track is an acceptable pop-folk song, but the rest is rather ho-hum fare in the style of Peter, Paul & Mary with a slightly more prominent beat. Bruce Woodley sneaks in with a couple of compositions, but most of this is traditional folk with far less pop flair than Tom Springfield's songs, creating the sense of a group whose sound was still more suited to 1963 than 1965, on album at least."

"The distinctive sound of The Seekers, with their tautly harmonised vocals and catchy folk arrangements, could only be the product of one decade: the 60s. The blurring of moral codes and the increased levelling-out of gender roles at this time created an atmosphere of hedonistic excitement, leading to the decade's 'swinging' nickname, yet there remained, in some quarters at least, a certain naivety, a wide-eyed, innocent, peace-loving hope, absent from much of the music of later decades. It is this aspect of 60s music that characterises the output of The Seekers."

"Judith has a wonderfully clear, strong voice, backed up by the harmonies, done in their own style."

"I was lucky enough to see them live, in the sixties, just before they split, and they were one of the few groups that could sing live, every bit as good, or even better than on record."

"Durham's stunning vocals and the sheer fun and imagination on these recordings shines through."

"The Seekers never went for gimmicks, they just made good music that has survived."

Whipped Cream & Other Delights – HERB ALPERT & THE TIJUANA BRASS*****

A Taste Of Honey/Green Peppers/Tangerine/Bittersweet Samba/Lemon Tree/Whipped Cream/Love Potion No. 9/ El Garbanzo/Ladyfingers/Butterball/Peanuts/Lollipops & Roses

Herb Alpert's fourth album Whipped Cream & Other Delights is best remembered for its alluring cover. It was a massive success, topping the US album charts for eight weeks during its three year run. Includes the US No. 7 single A Taste Of Honey. During the next three years Alpert & The Brass would be on a roll and could do no wrong with American record buyers. (US:1 UK:2)

"1965's Whipped Cream & Other Delights transformed Herb Alpert & The Tijuana into bona fide superstars, spending an incredible eight straight weeks at the top of the charts. The album was not only memorable for its music, but for the iconic cover art which featured model Dolores Erickson strategically swathed in whipped cream."

"Way back in the '60s, you couldn't go through anyone's record collection without finding a copy of this album. Herb Alpert & The Tijuana Brass had taken the country by storm, and this was the album that helped them do it."

"The album cover must be one of the most memorable ever and the music lives up to the promise of the title."

"Back in the mid 1960s, when most easy listening was orchestral swill, A & M Records co-founder Herb Alpert released Whipped Cream & Other Delights. With its clipped, cheerful trumpet motifs and flavours of jazz and Spanish pop, Herb Alpert created music that was both easy to listen to and full of substance. These jaunty treats hold up well today due to their unaffected sense of fun and their indelible bounce."

"I have always loved Herb Alpert's music because it managed, to be both very simple and complex at the same time. One might think the tunes are simple trumpet tunes, uncomplicated, and maybe unchallenging, but there seems to be quite a bit going on. I'm sure a great many people bought the album for the cover, but soon discovered there's a treasure trove of excellent music inside. His version of A Taste Of Honey is a delight and so are the rest of the tracks."

What’s Bin Did & What’s Bin Hid – DONOVAN***

Josie/Catch The Wind/Remember The Alamo/Cuttin’ Out/Car Car/Keep On Truckin’/Gold Watch Blues/To Sing For You/You’re Gonna Need Somebody On Your Bond/Tangerine Puppet/Donna Donna/Ramblin’ Boy

Fey troubadour Donovan's strangely titled first LP contains the UK No. 4 hit single Catch The Wind. The early folk influenced Donovan was seen as Britain's answer to Bob Dylan. He would soon move away from his folk roots to embrace a more gentle pop-rock style of music. (UK:3)

"Donovan's album debut, What's Bin Did & What's Bin Hid, presented his breakout British single Catch The Wind and added an assortment of pleasant folkie jams. Though he was often derided at the time as a pale imitation of Bob Dylan, there isn't a lot of evidence here. True, he does cover a Woody Guthrie song and gives it some twang worthy of the master, but his style is his own, slanted toward the mysticism of British folk less than the earthiness of its American cousin."

"Donovan's early sound was a very basic folk-revival approach heavily influenced by the likes of Woody Guthrie, Ramblin' Jack Elliott, and of course, Bob Dylan, to whom the young Donovan was compared ad nauseam by the British press."

"This is a folk type record with Donovan accompanying himself on guitar and harmonica. Though many people of the day were heralding Donovan as the British Dylan, his music is really quite different. True he does play the harmonica, but Donovan has a melodic voice that Dylan could never equal."

"Donovan's first album and a great start to his recording career. This is the Donovan who appeared in Dylan's Don't Look Back when Bob was still a folkie. No real stand out tracks, apart from Catch The Wind, but a great blast from the mid 60s."

"This is the foundation that his later efforts were built on and, although most tracks are simply voice, guitar, and harmonica, the 'set' has aged well. It's a mix of his own material with songs by others, and the original material points toward the poetry that would emerge later."

"For those of you who have not heard or investigated the charm of Donovan, this album would be a great place to start. Donovan is remarkable and this album will not fail to impress fans new or old."

Today My Way – NANCY WILSON****

Reach Out For Me/Welcome Welcome/My Love Forgive Me/Dear Heart/Don’t Come Running Back To Me/And Satisfy/You’ve Lost That Lovin’ Feeling/Love Has Many Faces/Take What I Have/I’m All Smiles/If I Ruled The World

Smooth jazz styled vocalist Nancy Wilson was at the height of her popularity with the release of Today My Way. Adult orientated material such as this became commercially less successful with the rise of new pop and rock artists. (US:7)

"The 1960s and 1970s are considered the prime years of soul and R & B music. Consequently almost all black singers were comfortably snuggled into either one of those niches. Nancy Wilson was a singer, period. She had her share of popular hits but she pretty much stayed true to her own muse, more of a jazz singer."

"If you are new to Nancy lie back, relax and absorb. Nancy Wilson is listening and feeling music. This is singing about feelings and experiences through a grown woman's prism."

"Any list of the greatest female vocalists of the twentieth century will have to include Nancy Wilson. Blessed with a stunning and supple voice, unusually gifted at lyric interpretation, perfect timing, colour and intonation and formidable stage presence, Wilson has it all."

"Ms. Wilson is to say the least 'simply beyond description'. No one, absolutely no one, can phrase a song with the style and range that she can."

"To listen to Nancy Wilson you have to get into the mood. You let her cool, sophisticated and sultry voice seep into your inner soul and let her melt your troubles and cares away. Her sounds are sweet, warm and cosy, just like a warm comfortable blanket."

Songs For The Jet Set - TONY BENNETT***

Song Of The Jet/Fly Me To The Moon/How Insensitive/If I Ruled The World/Love Scene/My Ship/Then Was Then & Now Is Now/Sweet Lorraine/The Right To Love/Watch What Happens/All My Tomorrows/Lazy Afternoon

MOR vocalist Tony Bennett's Songs For The Jet Set conjures up images of a glamorous elite, globetrotting on the international social circuit, courtesy of the recently introduced jetliner. (US:47)

"I love the songs in this LP, one of the best Tony has done, without his more recent need to keep hitting higher and higher notes. I find that ruins numerous recordings like a trumpet player who just keeps playing the upper octaves without regard to balance and taste."

"On each hearing, my already considerable respect for Tony Bennett grows. This album just heightens that. It is a masterpiece."

"Bennett swings through these pieces with his easy style bringing joy and sometimes a tear. All My Tomorrows in particular needs to be singled out for attention. It is sung with the tenderness needed by the lyrics, but also contains a bit of forcefulness, as if it cannot be denied that this is the work of a true artist."

"The opening track, Song Of The Jet, is the English translation for a lesser-known Jobim tune for which Bennett and arranger Don Costa pull out all the stops. Despite the album's title however, this varied set from '65 is less international in flavour than the previous I Wanna Be Around."

"Apart from the fine bossa nova How Insensitive, and the definitive English version of Michel Legrand's Watch What Happens, there are key Tony Bennett performances such as the title song and Fly Me To The Moon. Also included are little heard versions of the Peggy Lee penned ballad Then Was Then & Now Is Now and Duke Ellington's swinging Love Song."

"Bennett takes us from Rio to Harlem. There is a lot of bossa nova here, and Al Cohn provides some jazz playing where needed. It may not be an essential recording, but it certainly is enjoyable."

"This album, which places Tony Bennett in a number of different settings and tempos is, I think, one of his very best."

The Paul Simon Songbook – PAUL SIMON***

I Am A Rock/Leaves That Are Green/A Church Is Burning/April Come She Will/The Sound Of Silence/A Most Peculiar Man/He Was My Brother/Kathy’s Song/The Side Of A Hill/A Simple Desultory Philippic/Flowers Never Bend With The Rainfall/Patterns

The Paul Simon Songbook is an interesting curiosity featuring early material from this seminal songwriter before his reunion with Art Garfunkel. The definitive versions of most of these songs are the later Simon and Garfunkel re-recordings.

“Bootleg quality curiosity that doesn’t even come close to capturing the emotional intensity or sophistication of the later re-recordings. Worth a listen, nevertheless, but just once.”

“Simon's solo debut is a very personal and down to earth affair, that has is exactly what folk music should be: a man and his guitar, telling a story. Unfortunately it's pretty unequal but when it shines, it's a beautiful way to relax.”

“The songs are performed in a way that sounds dated, with the melodies stilted and syncopated, and the delivery a little flat. Perhaps Simon hadn't found his own voice yet, and his partnership with Artie helped him ease into it. Whatever the case, the songs don't work like they do on the duo's albums that came later. Let's face it, the blending of Paul and Art's voices is incredible, and the filled-out backing tracks give life and depth to the songs that is missing here.”

“There is a purity and an innocent optimism to this early Paul Simon solo album. Accompanied only by his acoustic guitar, a very young and still unknown Paul Simon offers up passionate and tender versions of songs that later became Simon and Garfunkel classics, often with subtle differences in lyrics.”

“The Paul Simon Songbook is not for the casual Simon and Garfunkel fan. It is not well-recorded. The performances are not particularly inspired. It's not the kind of album one can simply sit back and enjoy. What is interesting is that we get a glimpse of Paul Simon, the songwriter, as he really comes of age.”

My Name Is Barbra – BARBRA STREISAND*****

My Name Is Barbra/A Kid Again - I’m Five/Jenny Rebecca/My Pa/Sweet Zoo/Where Is The Wonder/I Can See It/Someone To Watch Over Me/I’ve Got No Strings/If You Were The Only Boy In The World/Why Did I Choose You/My Man

Barbra Streisand received a Grammy for best female vocal for her TV special My Name is Barbra broadcast on CBS in April 1965. The accompanying album stayed on the US chart for over a year. (US:2)

"In April of 1965, CBS broadcast the first of Barbra Streisand's monumental television specials. The show was not only a runaway ratings success, but also one of the most memorable moments of 1960s television. Filled with wonderful songs and a spectacular performance by Barbra, this special is a must view for any Streisand fan and anyone interested in early television."

"This album contains all of the new songs featured in the show, as well as some new recordings to replace the songs that had already appeared on her previous records. A semi-concept record; the first portion is devoted to songs about the child in all of us, next some songs about the transition from child to adult, and finally songs from an adult perspective. A fantastic complement to a spectacular show."

"Here is the reason why Barbra Streisand is a great singer and complete artist of the first magnitude. Streisand shows off her understanding of singing and acting at the same time. Singing funny childish songs or dramatic tributes to parenthood, Streisand captivates the listener with her vocal characterization of her childish ideals. At the same time, Streisand shows off brilliant singing of great classics. She tells the world that she is the greatest star that they have ever seen in this early album."

"I really adore all of Barbra's work in the 60s and My Name Is Barbra is a standout. This is more or less a soundtrack to Barbra's phenomenal first television special in 1965 and ranks among her best work. After singing on Broadway in Funny Girl every night, Barbra's tonsils were in great shape and she was doing some of her finest work."

"Displaying that ingenuity for finding insanely perfect material for her exploding talent, Barbra nails this album down good and proper. Full of surprising material that sounds instantly classic in her rangy, pure, strident soprano, this album stands the test of time."

Just Once In My Life – THE RIGHTEOUS BROTHERS****

Just Once In My Life/Big Boy Pete/Unchained Melody/You Are My Sunshine/The Great Pretender/Sticks & Stones/See That Girl/Ooo-Poo-Pah-Doo/You’ll Never Walk Alone/Guess Who/The Blues

Just Once In My Life was quickly released to cash in on The Righteous Brothers new found fame. The title track was a No. 9 US hit single. Unchained Melody reached No. 4 in the US and topped the singles chart in the UK 25 years later in 1990. (US:9)

"Even if Just Once In My Life is a rewrite of You've Lost That Lovin' Feelin', its a fantastic rewrite. Instead of Mann-Weil co-writing with Spector, this time its Goffin-King bandwagoning. The song is highlighted by Bill Medley, who gives another powerful performance, as well as the utterly majestic music."

"Unchained Melody (with Bobby Hatfield as the main singer) was a cover of a movie theme that had been a hit for several artists in the fifties. It was somewhat less successful for The Righteous Brothers in the sixties."

"The Righteous Brothers had rich voices which, with Phil Spector's production, probably gave birth to the power ballad."

"Unchained Melody - they own this tune because of their fine diction and excellent timing. The strings are used to great advantage and I love every minute of it."

"Just Once In My Life has a very pretty melody and The Righteous Brothers bat this one straight out of the ballpark. The background musical arrangement complements their singing perfectly."

"Bill Medley with the baritone deep soulful, choir voice, and Bobby singing tenor, showed proof that when it comes to soul, you've either got it, or you haven't. Some of their less played songs are fabulous and would make Ray Charles proud."

"If you have never heard of The Righteous Brothers, you must know that they belong to the few singers who have a unique voice, they are brilliant. Their songs are timeless, others have tried to sing them, but poorly. It takes talent. They are classic, and forever."

The Jim Reeves Way – JIM REEVES****

Make The World Go Away/In The Misty Moonlight/You’ll Never Know/There’s That Smile Again/Bolandse Nooientjie/It Hurts So Much(To See You Go)/I Can’t Stop Loving You/A Nickel Piece Of Candy/Where Do I Go To Throw A Picture Away/Maureen/Ek Verlang Na Jou/Somewhere Along The Line

The Jim Reeves Way includes the UK No. 8 hit single It Hurts So Much together with some of the final recordings from this legendary velvet voiced singer. (US:45 UK:16)

"After his death RCA released The Jim Reeves Way, which also included great versions of In The Misty Moonlight. I Can't Stop Loving You and one of his most beautiful recordings, Maureen. These feature Jim as the crossover artist who so nicely balanced country and easy listening."

"This LP has songs remembered as being sung by Gene Autry, Eddy Arnold, Jerry Wallace, Don Gibson and who knows else. I can recall only Somewhere Along The Line as a Reeves hit in America. But his renditions of other's songs are so good and the non-commercial cuts, Nickel Piece Of Candy, Where Do I Go To Throw A Picture Away?, Maureen and Ek Verland Na Jou from South Africa, where he was enormously popular, are so exceptional, I must recommend this. The songs need not conjure up specific memories. Jim could have sung from the telephone book and sounded good. I recommend this highly."

"If you are a Jim Reeves fan, this LP is an absolute must have. If you are not a Jim Reeves fan as yet, you certainly will be when you hear this absolutely beautiful album."

"The Jim Reeves Way let's us hear Jim's final recordings. Jim's original albums are better than the cobbled together compilations that are being issued at the moment."

"It contains some of his very best recordings. There are some duff tracks (particularly the awful Afrikaans recordings), but overall this is far more consistent than most of the so called 'best of' compilations."

This Is – THE IVY LEAGUE***

Almost Grown/That’s Why I’m Crying/Floral Dance/What More Do You Want/Lulu’s Back In Town/We’re Having A Party/Don’t Worry Baby/Make Love/Don’t Think Twice Its Alright/Funny How Love Can Be/My Old Dutch/Dance To The Locomotion

This Is was the debut album from the British harmony pop group The Ivy League, who had a couple of highly melodic UK top ten hits in the mid sixties notable for their falsetto vocals.

“This obscure sixties group burst onto the scene in 1965, when it seemed that they might become major stars, but it was not to be. Their second release Funny How Love Can Be was a UK top ten hit.”

“With only two top ten UK hits and only one minor American hit, The Ivy League cannot be regarded as essential, but they were a brilliant harmony trio.”

“1960s harmony pop band fans will dig this. Like a lot of the Pye bands, the music isn't on the top tier, but most of their songs are at least B material. Lots of great vocals and haunting production. There are plenty of good tracks, with Funny How Love Can Be being grade A.”

“I fully agree about the high vocal quality of The Ivy League. They should have scored many more hit records and I can't understand why they didn't.”

“I only bought this for the totally forgotten, That's Why I'm Crying. Its still brilliant, completely un-commercial and a puzzle how it got chosen as a follow-up single. For the rest, well some are OK, some are MOR and some should have stayed in the can.”

“The band shows a surprisingly wide range of styles verging from jazz through to blues, boogie and rock & roll, to add to their ability to provide harmonious vocals.”

“Even though the group has been unfairly compared to various American groups because of their vocal harmony sound, many of these musical critics missed the fact that popular music for the young and rebellious during the late 1950s, and into the 1960s, was changing from solo lead singer into vocal harmony style for various bands during that period, both in the USA and in other parts of the world.”

In Town – THE ROCKIN’ BERRIES***

He’s In Town/Let’s Try Again/Ich Liebe Dich/You Don’t Know What To Do/Brother Bill/Without Your Love/All Of Me/Crazy Country Hop/All I Want Is My Baby/Lonely Avenue/Shades Of Blue/Follow Me/Ain’t That Lovin’ You Baby/Funny How Love Can Be

Birmingham based beat group The Rockin' Berries enjoyed their sole album chart success with In Town. Includes the British No. 3 hit He's In Town but unfortunately omits their other melodic smash Poor Man's Son. (UK:15)

"As mid-60s hit singles like He's In Town and Poor Man’s Son proved, The Rockin’ Berries forte was vocal harmonies that crossed the best of The Beach Boys and The Four Seasons."

"I first noticed The Rockin' Berries a couple of years ago while sitting in a pub in London. A tape of oldies was being played in the background, and suddenly a song came up which I hadn't heard before. It was a great melody played by a band that sounded a little like The Searchers or The Beach Boys. I assumed the song was called He's In Town as that line was sung several times."

"The band was obviously very talented, playing tight, great vocals (harmonies and falsettos) and a crisp guitar sound, quite similar to The Searchers, and for the time quite good production."

"I assume that the reason that they did not get their big breakthrough was the great variety in their choice of material. Spanning from pure beat-pop through ballads to cabaret and comedy. Another problem was that the band did not write much of their material, and thus were very dependent on being given the right songs."

"The Rockin' Berries were, when they chose to be, a brilliant pop group. They could also sing great comic songs. Their problem was that their fans did not appreciate this mix. They had one other problem - they didn't write their own material so all their hits (and misses) were covers."

"Good, but not great album. Represents '60s sound well - better harmonies than many groups at the time. They have a raw energy which comes across in a vivid way. It seems that they were forced down the novelty route by their manager."

I Know A Place – PETULA CLARK****

Dancing In The Streets/Strangers & Lovers/Everything In The Garden/The In Crowd/Heart/You’re The One/A Foggy Day/Gotta Tell The World/Every Little Bit Hurts/Call Me/Going Out Of My Head/I Know A Place

Teaming up with songwriter Tony Hatch reignited the career of Petula Clark. Their partnership is displayed to good effect on I Know A Place. The title track was a US No. 3 and UK No. 17 hit single. Known as The New Petula Clark Album in the UK. (US:42)

“This amazing album absolutely knocked everyone over the head when it first appeared. It was recorded very quickly but you'd think Pet and Tony Hatch had worked on it a year. The material is incredibly diverse; the orchestrations are as rich and intriguing as you'll ever hear; and Petula Clark is strictly magnificent. This album remains a propulsive, engaging, hypnotic musical voyage, from start to finish.”

“The Pet sound was unique. It had a pure, very light, airy quality combined with an elegant and rich sound which no other female singer has ever surpassed. She had perhaps better control of her voice than any female pop singer.”

“An extremely infectious album. Every song a gem, Petula makes each song her own. This has always been my favourite album. It's too great to pass up.”

“Marvel at the studio mastery of Tony Hatch's astonishingly lush and layered arrangements. An amazing collection of songs, without a clunker in the whole bunch. Clark was in perfect voice and in perfect synch with the material. From Motown to Gershwin, she and her powerful voice make it all rock to a deep and heavy relentless beat and a veritable wall of sound.”

“A great listening LP. Good mix of original material and well chosen covers of current songs of the period.”

“A powerful package of songs. Not a bad one in the bunch. Buy it, you won't regret it.”

“Hatch wrote several decent tunes for the album, with the title song being the best of the bunch, but Call Me is also pretty good, as are a couple of songs co-written with Clark, Heart and You're The One. Petula Clark at the peak of her hit making ability."

Hush Hush Sweet Charlotte – PATTI PAGE***

Hush Hush Sweet Charlotte/Try To Remember/The Green Leaves Of Summer/Jamaica Farewell/Croce Di Oro/ Who’s Gonna Shoe My Pretty Little Feet/Black Is The Colour Of My True Love’s Hair/Longing To Hold You Again/Danny Boy/Can’t Help Falling In Love/Scarlet Ribbons

Popular fifties MOR vocalist Patti Page made a return to the higher reaches of the US album chart with Hush Hush Sweet Charlotte. The title song from the movie of the same name was a No. 8 US hit single. (US:22)

"Listeners of classical pop artists often tend to look at the earlier, million selling hits and forget about the marvellous recordings made at a later date. Often the later recordings show a more mature voice, a singer at ease with all kinds of material. In the case of Patti Page one has to listen to material from every decade of her career, to realize that she has continued to thrill audiences in concert because of her way with a song."

"This LP contains some of Patti's most listenable material from the sixties. The Hush album showcases some of her best folk song recordings, with marvellous arrangements and a caressing of lyrics as Patti had never done before."

"For those only familiar with Patti's many Mercury million sellers of the 50s, this will introduce you to a whole new Patti."

"In this strong 1965 album, Patti's voice remains as rich, warm and vibrant as ever. I agree with those who say that when Patti sang these songs she caressed them while holding each song gently in her arms."

"When Patti Page left Mercury Records and went to Columbia, it's like if her voice got deeper and richer. Patti Page delivers on this album like she did so many times at Mercury."

"Hush Hush Sweet Charlotte is absolutely great. Why music like this can't be produced today is beyond me, except possibly we didn't do a good enough job raising our children to enjoy the same simple pleasures that we grew up with."

Hitmaker! – BURT BACHARACH*****

Don’t Make Me Over/Walk On By/Don’t Go Breaking My Heart/Blue On Blue/The Last One To Be Loved/There’s Always Something There To Remind Me/24 Hours From Tulsa/Trains & Boats & Planes/Wives & Lovers/Saturday Sunshine/A House Is Not A Home/Anyone Who Had A Heart

Acclaimed songwriter Burt Bacharach first album release, the aptly titled Hitmaker! includes the UK top five hit single Trains & Boats & Planes. Most of the songs were hits for other artists. (UK:3)

"Burt Bacharach's songwriting partnership with Hal David is one of the most successful in pop history. Together, they are often considered a songwriting team with few peers - Bacharach writes the music and David the lyrics."

"The only Burt for me is Bacharach. His soothing sounds and punchy lyrics lift me up in the elevator of his songs to the 777th floor of heavenly bliss. Don't Go Breaking My Heart is an undoubted classic, of course, but the real gem here is Saturday Sunshine, previously unreleased due to a hideous, unpardonable offence by the otherwise mostly benign music industry."

"Ladies and gentlemen, Burt Bacharach is the best musician ever. Burt is so incredible, when I first heard this album I thought I was dreaming, I was so amazed at the depth and validity every one of his songs contain."

"This album is lovely, especially for containing Walk On By (original instrumental), and I love What's New Pussycat. Here is sensitive music and great arrangements. For me it brings out the essence of Burt Bacharach."

"Burt Bacharach is one of the greatest and hippest composers of all time, and his collaborations with Hal David are some of the greatest pop tunes ever written."

"I still get chills from Anyone Who Had A Heart, or Always Something There To Remind Me. These are the great tunes that inspired so many of the great pop writers that followed."

"Words cannot describe how this musical giant has lifted me up. I have a great appreciation for Mr. Bacharach's music. I think this album catches the essence of what is Burt Bacharach exactly. Wonderful arrangements, elegance and creativity. It's like a travel through the best that music can be.

Greatest Hits – GERRY & THE PACEMAKERS*****

Ferry Cross The Mersey/How Do You Do It/I’m The One/My Babe/Away From You/I’ll Be There/Its Gonna Be Alright/Pretend/I Like It/Chills/It’ll Be Me/Don’t Let The Sun Catch You Crying

At one stage Gerry & The Pacemakers were second only to The Beatles in the sixties beat revolution. However, lacking any consistent songwriting skills their hits had dried up by the end of 1965. There are more comprehensive compilation CDs of the group available today, which can be strongly recommended. (US:44)

"As part of the first wave of British Invasion bands, Gerry & The Pacemakers had a brief but brilliant career. Here's where the Beatles and The Pacemakers parted ways. The Beatles took their early Merseybeat sound and evolved musically. The Pacemakers did not. What they left behind is a collection of wonderful songs to remind us of everything that was vibrant and exciting about the early sixties British pop scene."

"Gerry Marsden had the perfect reedy voice to front this vintage British Invasion group. It was what really propelled them, since their sound didn't include the close harmonies and/or twanging guitars of The Searchers and some of the other early British bands. Their sound was often pretty middle-of-the-road compared with everyone else in the early stable."

"Their initial US propellant was the absolutely gorgeously written-and-performed Don't Let The Sun Catch You Crying, which is high up on the list of greatest ballads of the last fifty years."

"Ferry Cross The Mersey is a tune I love to hear anytime; Gerry & The Pacemakers do this better than any other group ever could and that's grand. The music fits in perfectly with the vocals. I'll Be There has a great arrangement with the strings enhancing it greatly; How Do You Do It was always one of my favourite tunes by this band; the musical interlude is awesome and they do this one up right."

"Gerry and The Pacemakers were one of those English bands which cashed in on the English Invasion of the mid sixties pop music culture. They had some very good songs and were nearly rivals to the Beatles in 1963-64."

Marianne Faithfull – MARIANNE FAITHFULL****

Come & Stay With Me/If I Never Get To Love You/Time Takes Time/He’ll Come Back To Me/Down Town/Plaisir D’Amour/Can’t You Hear My Heartbeat/As Tears Go By/Paris Bells/They Never Will Leave You/What Have They Done To The Rain/In My Time Of Sorrow/What Have I Done Wrong/I’m A Loser

The eponymous Marianne Faithfull was the second of her simultaneous album releases. It is more pop based and contains her first two top ten hits As Tears Go By and Come & Stay With Me. A compilation CD of Marianne's best releases from the period 1964-67 is strongly recommended. Her later darker work is best avoided. (UK:15)

"Hearing these songs transported me back to 1964 and an innocent time of great British music. Listen to Paris Bells or They Never Will Leave You and wonder at the sweetness of Marianne's voice."

"If you loved the 60s British folk and pop scenes, you'll love this album. Some wonderful memories are in store for those who remember her back then, and a revelation for those that are only familiar with her cigarette and drug tortured voice of today."

"There are many interesting songs here. Marianne's voice was exceptionally sweet and pure back then, in sharp contrast to her recordings from the late seventies and beyond. Her music was also much more upbeat in the sixties, as this set shows."

"This collection of vintage Marianne Faithfull is her best stuff. Listen and enjoy. Every song is worth the listen."

"The music is somewhat dated, but I still enjoy her voice which had a higher range at that time but still contained a hint of the lower, huskier voice that eventually, through abuse of her voice, became the lower range growl that it is today."

"All the early hits are here, the beautiful As Tears Go By and Come & Stay With Me, songs I can picture no one else from the time singing but Marianne. Paris Bells is heartbreakingly beautiful, plus Marianne singing In My Time Of Sorrow, a beautiful song reflective, not of her present, but of what was yet to come. An excellent album that very well may make you fall in love with that voice. It wrenches you listening to her pure voice and knowing of the personal and vocal decay which spawned so quickly later on."

Come My Way – MARIANNE FAITHFULL***

Come My Way/Jabberwoc/Portland Town/House Of The Rising Sun/Spanish Is A Loving Tongue/Fare Thee Well/Lonesome Travellers/Down In The Sally Garden/Mary Ann/Full Fathom Five/Four Strong Winds/Black Girl/Once I Had A Sweetheart/Bells Of Freedom

Gorgeous pop vocalist Marianne Faithfull released her first two albums simultaneously. Come My Way comprised mostly traditional folk tunes with minimal backing. (UK:12)

"Come My Way was comprised solely of folk tunes, most of them traditional, the acoustic settings arranged by guitarist Jon Mark. Faithfull at this very early stage in her career still had the tremulous soprano common to many woman folk singers of the era. While her singing here is pleasant and competent, it's rather average when stacked against the emotional commitment and personality the best interpreters of such tunes brought to the material at the time."

"An uncompromising traditional folk album featuring sparse musical backing. Many of the songs are of the hand-me-down variety, their origins unknown, though some songs are familiar."

"This album features Marianne singing (for the most part) traditional folk music. If you want her pop music, you must look elsewhere. For folkies, this is a real treasure trove not to be missed."

"An excellent folk album sung by Marianne's sweet soprano voice. Her version of Portland Town is gentle and then powerful. Needless to say, for folk fans and Marianne fans this album is essential."

"With an early show of artistic strength and resolve, Marianne Faithfull agreed to cut a pop album to follow As Tears Go By on the condition that she was allowed to record this folk album for simultaneous release. With minimal guitar and double bass back-up, she delivers a mix of originals and covers with an assurance beyond her years."

"Not an essential folk album, but one that holds plenty of interest for folk fans."

"Come My Way was a pure folk album with shades of children's songs and a sense of the avant-garde."

Cast Your Fate To The Wind – SOUNDS ORCHESTRAL****

Something’s Coming/Cast Your Fate To The Wind/Scarlatti Potion No. 9/At The Mardi Gras/When Love Has Gone/To Wendy With Love/Sounds Anonymous/Carnival/Downtown/Scarlatti Potion No. 5/Love Letters/Like The Lonely

Sounds Orchestral was a British studio based easy listening group, assembled by John Schroeder with Johnny Pearson in 1964. The title track hit single on Cast You Fate To The Wind reached the UK top five. It is unfortunate that Sounds Orchestral are not better known as the group created a seductive blend of romantic strings with uptempo jazz. (UK:17)

"British pianist Johnny Pearson and producer John Schroeder teamed up initially to cover Vince Guaraldi's US hit Cast Your Fate To The Wind, and went on to make twenty best-selling albums of jazz-influenced pop instrumentals together. Always accessible but with a cool middle-eight, and touches of classical. I loved this album when I first heard it."

"Great piano skills by Pearson with a very smooth sound behind him. The rendition of Wendy on this album is the best I've ever heard."

"Sounds Orchestral provide a distinctive sound of a strings-rich soft jazz type of pop orchestra. Just lovely, and there is a quality that almost makes people feel as though they could soar if they really tried. Cast Your Fate To The Wind is one of those songs that is larger than life. Love all the musical variations within it."

"I've been buying Johnny Pearson's albums because I think he's one of the more interesting arranger for pops, and an extremely competent pianist."

“Cast Your Fate To The Wind is, like Cole Porter’s Love For Sale or Gershwin’s Summertime, one of the great musical palettes upon which artistic musicians are able to freely express themselves. And many have. Almost as soon as it came out, musicians flocked to this tune as a means of channelling their own expression."

"Schroeder provides the unobtrusive yet cinematic string accents. Pearson’s solo curiously mixes gospel flourishes with a cocktail-bar tinkler’s heavy handed approach to Tin Pan Alley, but maintains interest nonetheless."

Bringing It All Back Home – BOB DYLAN*****

Subterranean Homesick Blues/She Belongs To Me/Maggie’s Farm/Love Minus Zero-No Limit/Outlaw Blues/On The Road Again/Bob Dylan’s 115th Dream/Mr Tambourine Man/Gates Of Eden/Its Alright Ma(I’m Only Bleeding)/Its All Over Now Baby Blue

Bob Dylan's groundbreaking album Bringing It All Back Home included his first tracks with electric backing, to the consternation of his more purist folk fans. Includes the UK top ten single Subterranean Homesick Blues. (US:6 UK:1)

"This is a great album. There is not a single weak spot."

"All in all, this is as good a portrait of Dylan's inventiveness as can be found. It's a showcase for his brilliant writing, his evolving musical exposition and his ability to parlay his unconventional voice into some of the world's most expressive and effective vocals."

"The furore over going electric now looks childish in the extreme and this is one of Bob's strongest set of songs."

"By the time of this 1965 release, Dylan had already proven himself a lyrical master and a new legend in the folk universe. With his electrified performance at the Newport Folk Festival, and this half-electric/half-acoustic LP, he showed that he was not only far from done with pushing the envelope, but that he'd really only begun. In particular, his music and subject matter were now catching up to his revolutionary words and lyrical structures."

"This is where, in retrospect, it all started. I didn't realize it at the time but I do now. There were two sixties, the early 60-64, Beach Boys, Frankie Avalon, Annette Funicello, crew-cut, clean-cut, A-line dress, beehive hair, American Graffiti sixties, and the other sixties, Revolver, Sgt Pepper, Jimi Hendrix, Steppenwolf, The Doors, Led Zeppelin, Cream, hippy sixties that everyone today thinks was the sixties, happened after 1965. And it all started with this album."

"No one will ever really unravel what the meaning of Subterranean Homesick Blues was about except that it has produced one of the most famous lines of the 1960s 'you don't need a weatherman to know which way the wind blows'."

Brasil ‘65 – THE SERGIO MENDES TRIO****

So Nice/Favela/Berimbau/Tristeza Em Min/Aquarius/One Note Samba/She’s A Carioca/Muito A Vontade/Let Me/Consolacao/Reza

The Sergio Mendes album Brasil ’65, featuring the vocals of Wanda de Sah, is considered to be more authentically bossa nova than the later, more easy listening albums, he recorded with Brasil ’66 for the A & M label.

“The warmth of Brasil ‘65 is truly unique and is my favourite of all Sergio Mendes albums. Wanda de Sah's vocals are smooth and sensual and sound great with this small combo. Smooth as silk, it still sounds fresh and new. But good music is timeless.”

“The addition of Wanda de Sah to the excellent Sergio Mendes Trio makes for pure listening pleasure all the way through. In my opinion Brasil '65 is better musically than Brasil '66 - why it wasn't as successful is beyond me.”

“On the one hand you have the lush pop of Brasil '66, on the other you have the straight up bossa nova as found here. Wanda de Sah has one of the coolest deep, breathy voices I've ever heard. Some of the songs are sung in Portuguese, some in English, but both come off very well.”

“For those who are used to the more kitschy sound of his Brasil ‘66, you are in for a surprise here. Mendes is playing serious first rate bossa nova jazz.”

“If you enjoy the throaty samba sounds that remind you of late night dining in a smart dinner club with plenty of candles and good wine, you must experience this LP. Wanda de Sah delivers that cool, low and sensuous voice which takes you away in English and Portuguese to a soft, windy place. The Sergio Mendes Trio have the Latin guitar, jazz bass and percussion down to a soulful science that is timeless and relaxing. At last I can enjoy great South American samba as it was meant to be.”

“Few people know about Mendes Brasil '65 with Wanda de Sah. Completed and performed after the Getz/Gilberto's classic, this clearly stands side-by-side and the sound is perfect.”

The Astrud Gilberto Album – ASTRUD GILBERTO****

Once I Loved/Agua De Beber/Meditation/And Roses And Roses/O Morro/How Insensitive/Dindi/Photograph/Dreamer/So Finha De Ser Com Voce/All That’s Left Is To Say Goodbye

Bossa nova reached a peak of popularity in the USA during the mid 1960s. One of the most praised vocalists in the genre was Astrud Gilberto. Fresh from her acclaim on the Getz/Gilberto collaboration, she released her solo debut The Astrud Gilberto Album. (US:41)

"Unlike other Brazilian singers Astrud Gilberto possessed a gift for singing in English. Her's are just about the only translated performances of the great Jobim tunes (How Insensitive, Dindi, Meditation) that don't seem awkward. Naturally, she could perform just as effectively in Portuguese when called upon, as her great duet with Jobim himself on Agua De Beber and the gently soaring versions of Photograph and O Morro attest."

"With her simultaneously childlike and alluring voice and vibrato-less 'desafinado' (deliberately slightly off-pitch) singing style, Gilberto is one of the most unique and unforgettable singers in the history of jazz."

"Some of her most famous Jobim interpretations are featured here, including the spry sadness of Once I Loved, the lush despair of Agua De Beber, and the bright reverie of O Morro."

"This was right after Gilberto did Girl From Ipanema written by Antonio Carlos Jobim, who produced this. It has the same quiet night in front of the fire sound, with nice subtle orchestrations. What else is there to say? She's a goddess of bossa nova."

"Gilberto has, in my opinion, the most beautiful voice in the world of jazz. Sometimes, its sweetness and naivety almost makes you cry."

"These were the first time Astrud was on her own but with the involvement of Jobim, Donato, Bonfa, et al. her achingly sweet voice is a true wonder."

"From 1965, this was before rock and funk got injected into Brazilian music, and for me, the soft tones are great, but a little nod inducing."

Along Came Jones – TOM JONES****

I’ve Got A Heart/It Takes A Worried Man/Skye Boat Song/Once Upon A Time/Memphis Tennessee/Whatcha Gonna Do/I Need Your Loving/Its Not Unusual/Autumn Leaves/The Rose/If You Need Me/Some Other Guy/ Endlessly/Its Just A Matter Of Time/Spanish Harlem/When The World Was Beautiful US Version titled Its Not Unusual which omits I’ve Got A Heart/The Rose/Some Other Guy/Endlessly

Powerful Welsh vocalist Tom Jones debut album Along Came Jones contains the UK No. 1 hit single Its Not Unusual. LP released as Its Not Unusual in the States with cover photo reversed and minus four tracks. Tom Jones was to enjoy consistent chart success until the early seventies with a series of magnificent hit singles. (US:54 UK:11)

"A hidden gem. It covers all styles but always sounds like Tom Jones."

"Memphis Tennessee is done as Jerry Lee Lewis would have done it. Worried Man is done as a stomper. Autumn Leaves is a Glen Campbell pastiche, done with a bit more powerful voice. When The World Was Beautiful, is a perfect ender to the album."

"There will always be a place for a big balladeer, and I’d rather have Tom Jones than most of the modern ones. His choice of material has always been great and his voice is perfectly suited to a surprising variety of styles."

"It's Not Unusual starts the album with a bang. Tom swings brightly as he sings this song to perfection - and beyond. The backup singers sound great and the melody gains strength from the brass and more. It's Not Unusual is clearly one of Tom Jones' biggest hits ever."

"I'm not a long-time Tom Jones fan. In fact, I like country music. However, Tom Jones is one of those guys who transcends genres."

"Tom Jones's voice is simply a marvel - a delicious, supple, powerful baritone that can wrap itself with effortless ease around anything."

Zorba The Greek – SOUNDTRACK****

Theme From Zorba The Greek/The Full Catastrophe/Life Goes On/The One Unforgivable Sin/Questions Without Answers/Zorba’s Dance/The Fire Inside/Clever People & Grocers/Always Look For Trouble/Life Goes On (Reprise)Free/That’s Me Zorba

The movie Zorba The Greek starred Anthony Quinn and Alan Bates with the traditional Greek music composed by Mikis Theodorakis. The soundtrack LP stayed on the US album chart for eighteen months. (US:26)

"One of the best Greek music soundtracks around. This is one of Theodorakis' best."

"Notes to sooth ones ear. To listen to this album is to enjoy the art of ethnic Greek music. It exhibits all the emotions in Greek culture - passion, strength, and joy of life itself. Theodorakis needed prison to capture these notes and did it well."

"The movie soundtrack is so much better than the musical/Broadway soundtrack."

"I have always loved the music, especially the main theme and dance Zorba The Greek."

"The Greek traditional music used in the film is catching and is often a viewer's introduction to that form of music."

"The transcendent Zorba's Dance, a song composed by Mikis Theodorakis. The song is being played at many parties reminding us of this interesting character (Zorba) who touches the very core of Greek culture."

1st Album – UNIT 4 + 2***

Concrete & Clay/Sorrow & Pain/Couldn’t Keep it Myself/You’ll Remember/Cotton Fields/500 Miles/La Bamba/ You’ve Lost That Lovin’ Feelin’/Swing Down Chariot/Wild Is The Wind/The Girl From New York City/Cross A Million Mountains

The unimaginatively titled 1st Album was the sole LP release from the British pop group Unit 4+2. Now largely forgotten, they reached No. 1 in the UK with their own composition, the highly original Latin sounding Concrete & Clay. Later pressings of the album included their second hit You’ve Never Been In Love Like This Before.

“Their earliest work applied their smooth, multipart harmonies to standards that were blossoming in Greenwich Village. Their third single, Concrete & Clay, became the group's commercial high water mark. The single's bossa nova beat and Spanish-styled acoustic guitar runs were memorable then, and still sound unique to this day.”

“Unit 4+2 were a very underrated group, perhaps not wild enough to be as successful as their music deserved.”

“Their music was a blend of folk, pop and rock ‘n’ roll. Unit 4 + 2 made some entertaining music, but history will record them as a one-hit wonder. This LP is for those who are into sixties music and who want to explore its obscure backwaters.”

“A most peculiar idiosyncratic mix of six English guys with something like five-part coffeehouse folk harmonies, backed by driving percussive Latin rock, with a very distinctive south-of-the-border guitar orientation. All of which is quite evident on their big hit Concrete & Clay. I don't recall hearing any standouts on the remainder, but I do recall maybe a few that I couldn't stand.”

“Their big hit Concrete & Clay is a good and catchy 1960s pop song, but the majority of these songs sound dated and without profile. Even the rocking songs sound like they were played for granny on her 75th birthday."

“Hardly any other album I have heard from the 60s have more clearly 'one hit, the rest is filler' written on it. It must have been a bit of a shock to have a No.1 hit out of the blue, and that's always the moment when the obligatory LP appears. And it sounds like these chaps had exactly five minutes to decide what to put on it. The outcome is the usual something for everyone, nothing for anyone.”

The Sound Of 65 – THE GRAHAM BOND ORGANIZATION****

Hoochie Coochie Man/Baby Make Love To Me/Neighbour Neighbour/Early In The Morning/Spanish Blues/Oh Baby/Little Girl/I Want You/Wade In The Water/Got My Mojo Working/Train Time/Baby Be Good To Me/Half A Man/Tammy

The Graham Bond Organization were a London blues band which included future Cream members Jack Bruce and Ginger Baker. They never achieved commercial success - neither of their two albums charted - but they were highly influential in the mid sixties British R & B scene.

"The Organization had a very unique sound, driven by Bond's hoarse, growling vocals. The organ/sax/bass/drums line up was also unusual when compared to most other British blues bands of the time, which were guitar-based. The resultant sound was very dark, aggressive and heavy, as can be heard on their debut LP The Sound Of '65."

"The Sound of '65 album by The Graham Bond Organization never even bothered the LP charts of the time but I think in some respects it was a little ahead of its time. The band is renowned for half its membership being Jack Bruce (bass and harmonica) and Ginger Baker (drums), both to unite with Eric Clapton the following year to create supergroup Cream."

"Graham Bond's voice is raw but it works within this fusion of rock/jazz/blues. Bruce sings on some tracks and you get a taste of experimental stuff that matures later in Cream. Baker's drumming is brilliant of course."

"Graham's importance as a key figure in the development of rock music is covered in the reference books. But there can be no substitute for hearing his legendary Organization for yourself. The stunning power of the band, compared to other groups of the time, is here in abundance for all to see. The material is mostly classic R & B, but the much gentler song Tammy gives a fascinating glimpse of what else Graham might have achieved."

"The groundwork laid down in their albums went on to change the face of rock music. To truly understand the roots of modern rock, and see why the Organization were so highly regarded at the time, this recording is a must have."

Red Roses For A Blue Lady – WAYNE NEWTON***

Red Roses For A Blue Lady/So Long Lucy/Laura Lee/Heart(I Hear You Beating)/One More Memory/Don’t Talk To Me/Laughing On The Outside/They’ll Never Know/I’m Looking Over A Four Leaf Clover/Looking Through A Tear/I’ll Be With You In Apple Blossom Time

US MOR vocalist Wayne Newton's only US top twenty album entry came with Red Roses For A Blue Lady. His revival of the title track was less successful than that of Vic Dana. Wayne Newton is best known for his long residency as an entertainer at Las Vegas. (US:17)

"Red Roses For A Blue Lady came out in 1965 and became Newton's most popular recording. Although his career was far more dependent on Vegas than albums, the records gave him the exposure to draw Vegas visitors to his shows in the first place."

"The album Red Roses For A Blue Lady is one which I wore out through repeated playing in the late 60s and early 70s."

"Lots of vintage Wayne here. I love it. If you are a long time fan, this is definitely the songs you remember and love."

"For Wayne Newton fans, this collection of his early works, will remind you why he has been the success that he is. He is a gifted and talented man."

"This is another wonderful album from easy listening entertainer, Wayne Newton."

"Red Roses For A Blue Lady is easily another highlight of this album; Wayne croons this as only a pro could ever do. The musical arrangement makes great use of the brass, strings and percussion. In addition, I'll Be With You In Apple Blossom Time gives us Wayne performing a tune made famous by The Andrews Sisters; and Wayne sings this beautifully."

Red Roses For A Blue Lady – VIC DANA***

Red Roses For A Blue Lady/I’ll Be Around/You’re My Everything/I’ll See You In My Dreams/I’m In The Mood For Love/I’ll Be Seeing You/You Were Meant For Me/Love After Midnight/Once In A While/It Had To Be You/I’d Trade All Of My Tomorrow’s/I’ll Get By

US romantic vocalist Vic Dana achieved his only US top twenty album success with Red Roses For A Blue Lady. His revival of the title track peaked at No. 10 on the US singles chart. (US:13)

"Vic Dana charted a long string of mostly moderate and minor hit singles in the '60s, but never achieved the name recognition of such likeminded contemporaries as Bobby Vinton or even Jack Jones. Dana's biggest hit, and only top ten entry, was one of three hit versions of Red Roses For A Blue Lady in 1965, and, in general, his hits were covers of songs that are strongly associated with other artists."

"Dana may not have forged a unique musical identity, but his recordings bridged the gap between teen idol pop and adult contemporary, making him the sort of sturdy and versatile MOR vocalist who enjoyed steady album sales."

"Vic Dana didn't make it like the other Philly singers then but he had a great voice for ballads. Vic Dana has the most beautiful singing voice." "This is an excellent album, as were most of Vic's early albums."

"Dana caught his stride when he moved towards more mature, adult material. His silky-smooth tenor found him a following with such tunes as Red Roses For A Blue Lady. The material is mostly romantic ballads with strong melodies backed up by bouncy orchestrations. No musical breakthroughs here - just some very listenable smooth-sounding middle-of-the-road pop."

"Although Vic Dana was slighted by some, his voice was actually quite beautiful to hear and I always enjoy listening to him sing. Vic's style was terrific; he could really plunge into a song and make it special with genuine feeling and emotion."

"The album starts with Vic Dana performing at his usual very best on Red Roses For A Blue Lady, this number stuns me with its beauty every time I hear Vic sing it. The music that plays fits perfectly with Vic's vocals, and his excellent diction improves his performance all the more. I love it."

My Kind Of Town – JACK JONES****

My Kind Of Town/Somewhere Along The Way/More/The Race Is On/I Can’t Believe I’m Losing You/Travellin’ On/The One I Love/Yes I Can/I’m All Smiles/I Must Know/Time After Time/King Of The Road

MOR vocalist Jack Jones cemented his growing reputation with My Kind Of Town, which includes the US No. 15 hit single The Race Is On and other contemporary songs. (US:29)

"Speaking of Ol' Blue Eyes, who else could sing My Kind Of Town? Jack Jones, that's who. Complete with a new set of lyrics from Sammy Cahn and a jazzy new arrangement, Jack puts his own spin on this ode to the great city without ever trying to upstage Sinatra. Very classy, and very swingin'."

"The album, My Kind Of Town contains more contemporary songs - contemporary that is to 1965, and is well worth a listen especially on Neil Hefti's jazzy I Must Know. Just great vocal pop music."

"Yet another classic collection from his golden period. When you look back at his releases from the sixties alone, he was one prolific guy." "Jack often recorded an entire album of songs in two or three days, which is staggering considering how pampered (and under-talented) most modern artists are. There is just no way to get your head around how good Jack Jones is. He is beyond comparison."

"Jack Jones performs brilliantly on this LP. His voice is in excellent form here and he never once falters; this is a wonderful album for his fans and great for starters if you're just getting into the great way Jack can sing a tune."

"This album gave him an opportunity he rarely had to tackle really deep material. It's clear he is a supreme vocal talent - gorgeous baritone, beautiful long phrasing, great breath control, impeccable pronunciation, on-the-nose intonation at all times and truly intelligent and emotional lyric interpretation."

"My Kind Of Town, has no single theme or concept. It consists of songs compiled from different sessions recorded between 1962 and 1965 (a few lovely ballads, but predominantly fun and upbeat titles), and it was a huge commercial hit for Jones."

Live At The Regal – B. B. KING****

Every Day I Have The Blues/Sweet Little Angel/Its My Own Fault/How Blue Can You Get/Please Love Me/You Upset Me Baby/Worry Worry/Woke Up This Mornin’/You Done Lost Your Good Thing Now/Help The Poor

An early live performance from blues legend B. B. King recorded at the Regal Theatre, Chicago in November 1964, in front of a lively and enthusiastic audience.

“B.B. King, one of the all-time great guitarists, is at his absolute best here, and you can really sense the amount of effort and emotion he puts into both his playing and singing on this album. It's that combination of equal passion in both fields which yields often powerful results, with cuts like Please Love Me and Worry Worry being prime examples of the man at his peak.”

“This is just a great, great live record. The band is firing on all cylinders, BB is on top form, both in terms of his guitar playing and his showmanship, and the audience is loving every single second of it.”

“The passion, the intensity, the consistency - all combine to make an incredible LP. The first four, and the last songs, stand out to me every time as the best, but none the less, all ten are essential listens and the finest blues ever recorded. And I disagree with those who contend that the audience detracts from the enjoyment, they add to the atmosphere, and King gives the people a wonderful time.”

“An absolute essential blues recording and one of the few live performances you will find that captures the manic energy of the performers as well as the crowd. The execution of the solos is fantastic, with a young BB fluidly moving along the neck with his trademark expressive vibrato.”

“Anyone who dismisses blues music as being sad and depressing and whiny should listen to this album. Although, B.B. King sings about heartbreak and lost love in many of the songs, he does so in such a way that it is uplifting. That is why this record is timeless. Nearly all of the songs are knockouts. This being a live album of course, the audience is absolutely in love with BB.”

“It is an absolutely incredible album in which you get drawn into further and further after each track. BB's playing is top shelf and his audience surely lets him know. This is a fantastic album that truly exemplifies how good a live blues album can be.”

Introducing – THE BEAU BRUMMELS****

Laugh Laugh/Still In Love With You Baby/Just A Little/Just Wait & See/Oh Lonesome Me/Ain’t That Loving You/Stick Like Glue/They’ll Make You Cry/That’s If You Want Me Too/I Want More Loving/I Would Be Happy/Not Too Long Ago

Catchy Californian pop group The Beau Brummels achieved their only real commercial success with their debut LP Introducing. Contains the US top twenty hit singles Just A Little and Laugh Laugh. (US:24)

"San Francisco's answer to the British Invasion, The Beau Brummels could write a catchy hook or a fine set of harmonies with the best of them. Ten of the songs included here on their first are Ron Elliot originals."

"The Beau Brummels' 1965 debut, with a sound hinting at jangle pop, folk rock, and proto-psychedelia, is a cosy slice of 1960's musical Americana. The San Francisco quintet borrowed much in style and structure from British Invasion bands, and their music compares favourably with many of their English contemporaries."

"Elliot's songs, whether upbeat rockers such as Stick Like Glue or moody, minor key numbers such as I'll Make You Cry, are powered by finely honed melodic hooks. The group's soaring, complex harmonies and expansive feel seem to foreshadow both the folk rock of The Byrds and the San Francisco sound of the late '60s."

"The Beau Brummels were a terribly under appreciated band. This, their first album, should've been a much larger hit for them, as it is full of great music from start to finish. For anyone interested in the music of the sixties, this is an important album."

"The Beau Brummels were the sort of band that deserved far more success than some others. This LP is brilliant, just listen and wonder how Autumn records went under with such quality aboard. Buy this, you will not be disappointed."

"These guys are a revelation every time I listen to them. Let's add it up - the first US band to respond to the British Invasion, great songs, great harmony, surprisingly strong instrumental support - I think we have a winner."

"The Beau Brummels' 1965 debut album contains the band's two biggest hit-singles Laugh Laugh and Just A Little, both of which are still great listening."

Here They Come! – PAUL REVERE & THE RAIDERS***

You Can’t Sit Down/Money (That’s What I Want)/Louie Louie/Do You Love Me/Big Boy Pete/Oo Poo Pah Doo/ Sometimes/Gone/These Are Bad Times/Fever/Time Is On My Side/A Kiss To Remember You By

Here They Come! was an early album from popsters Paul Revere & The Raiders, before the hits started to roll, divided into a raw live side and a slow pop ballads side. (US:71)

“The first half of this album seems live and the lead guitar is especially good. Furthermore, in the first half the band sounds like a popular, cashed up pub rock band. I also liked the second, especially for what I assume are original songs.”

“Side one is rowdy and raucous, live, old-style R & B pop rock, while side two is studio recordings of slow pop ballads. Both sides feature some covers of material typical of this vintage. Unfortunately, it's still a long way from the type of stuff they would be into towards the end of the decade.”

“It is mostly a covers album with a poorly produced live side. But they cover the songs as good as anyone and their versions of some of these mid 60s standards are among my favourites.”

“This is Paul Revere & The Raiders before they began to have hits. They were a typical garage band with a raw sound. Like many other groups of the time, they could not write enough material to fill an album, so they turned to cover songs with varying success. Rather average, but a good reflection of the time period.”

“This album is best of the genre. The album was the template for thousands of garage bands during the 1960s, who learned the songs and performed them for countless high school dances.”

“I always loved the raw energy of the 'live side', early Raiders before we'd come to know and love them. But, the crowd noise.... all the screaming, well.... it detracts from the sound.”

“Though this album might have some 'rough edges', and the sound quality isn't the greatest, it's a gem. Mark's vocal talent is extraordinary, and the group is musically very tight. It's worth buying for the hot version of Fever alone.”

Here Are The Sonics!!! – THE SONICS**

The Witch/Do You Love Me/Roll Over Beethoven/Boss Hoss/Dirty Robber/Have Love Will Travel/Psycho/Money/Walkin’ The Dog/Night Time Is The Right Time/Strychnine/Good Golly Miss Molly

Garage rock was a musical sub genre that enjoyed a fleeting popularity in the USA during the mid 1960s. It was noted for its raw, energetic yet unsophisticated sound with heavy guitar amplification. Here Are The Sonics!!! was an early example of this phenomenon.

“Here Are The Sonics!!! is considered very influential to the development of garage rock. But helping to pioneer a burgeoning genre does not make this a great album. For starters, eight of the songs are covers, and while the lo-fi production makes this one of the earliest garage rock albums, the album is too overly derivative of 50s rock and roll to be anything really exceptional or new.”

“The production on this one is pretty raw, and there is a whole lot of screaming and loud guitar riffs. The band really had an ear for making addictive catchy melodies, and since the release is so short it manages to remain awesome from beginning to end. Perhaps one flaw is that they overdo it sometimes, otherwise it is a really fun release.”

“The Sonics are basically the missing link between Little Richard and Iggy Pop. A handful of punks from the Pacific Northwest who picked up their instruments and, with seemingly little interest in reaching any kind of mass audience, devoted themselves to playing the loudest, most ferocious rock & roll they possibly could.”

“Without the energy, a lot of these songs would be completely unlistenable. Just listen to the riffs on Have Love Will Travel and Psycho back to back. They are exactly the same. You just can't do that. This album is so dated.”

“What makes it hard for me to fully appreciate this album is the overabundance of cover songs. I realize this was standard in the 1960s, but it’s still a major turn off for me. The strength of this album is not so much in the song selection as in the raw energy of the performances.”

“When The Sonics came roaring out of Tacoma with this album, they pulled out all the stops. They did not care about making pretty love songs or serious artistic statements.”

Greatest Hits From The Beginning – THE MIRACLES*****

I Got A Job/I Cry/Mama Done Told Me/(If I Need Some)Money/Bad Girl/I Love Your Baby/I Need A Change/All I Want Is You/(You Can)Depend On Me/Who’s Lovin’ You/That’s What Love Is Made Of/Mickey’s Monkey/I Gotta Dance To Keep From Crying/You Really Got A Hold On Me/I Like It Like That/A Love She Can Count On/Shop Around/Way Over There/I’ve Been Good To You/Would I Love You/I’ll Try Something New/What’s So Good About Goodbye

The Miracles, led by Smokey Robinson, were Motown's first major artist and played a pivotal role in establishing the success of this groundbreaking music company. The double LP Greatest Hits From The Beginning includes their hit releases between 1958 and 1964. (US:21)

"Smokey Robinson may be the greatest songwriter of his era. No one else was coming up with his splendidly clever turns of phrase. Hear some motherly advice via Shop Around, and just dance and have a good time with Mickey's Monkey."

"Smokey was one of the most amazing songwriters of the 20th century, and his best work was with his group, The Miracles. And we can't forget Smokey's pristine falsetto voice sailing over the music, with the tight harmonies of The Miracles holding it."

"This music is R & B in its purest form. I can relate to this music more than the R & B of today. Bad Girl from 1959 is such a beautiful doo-wop style harmony, and Smokey Robinson's voice has such a passion in it. The simplistic beat is just so relaxing and cool to chill or ride to."

"No R & B/soul collection would be complete without Smokey represented, and this exceptional anthology represents him admirably. It is exploding with content, replete with must-have classics and unfamiliar gems. Robinson's voice evokes a visceral, emotional response. It has, of course, an ethereal beauty that sounds more suited to heaven than earth. The precision of the back-up harmonies and arrangements makes for an effect that is uniformly appealing and genuine. This music is never overtly clever or self-conscious - it is masterfully crafted and sincere."

"Smokey Robinson was once described by Bob Dylan as 'the greatest living poet'. That is certainly nothing of an understatement and Smokey Robinson was one of the most richly talented singer/songwriter/producers at Tamla Motown Records."

Girl Happy – ELVIS PRESLEY***

Girl Happy/Spring Fever/Fort Lauderdale Chamber Of Commerce/Startin’ Tonight/Wolf Call/Do Not Disturb/Cross My Heart & Hope To Die/The Meanest Girl In Town/Do The Clam/Puppet On A String/I’ve Got To Find My Baby/ You’ll Be Gone

The eleventh Elvis soundtrack album Girl Happy contains the US No. 14 single Puppet On A String and the UK No. 19 Do The Clam. Some of the tracks appear to have been speeded up. (US:8 UK:7)

"Girl Happy is a fine uptempo pop number that still makes a person smile 40-plus years later. Elvis is in fine vocal form as he belts out what could have been a successful single release. It is vocals that like this for which Elvis should be remembered."

"Overall, the album presents a list of songs that are somewhat indifferent and even the most electrifying performance by Elvis does not attach any merit to them. But do hold on, because there are some excellent pieces as well, like the tender Puppet On A String, the sensual Do Not Disturb, the grooviest in terms of lyrics and music, Girl Happy, and the best of them all Spring Fever."

"Even though the overall soundtrack to Girl Happy is less than memorable, there are a couple of decent songs here, namely, Puppet On A String and Wolf Call."

"Do the Clam, one of the album's two hits will have you dancing the sensation that didn't quite sweep the nation."

"It's not a particularly good soundtrack. The single from the album was Do The Clam, which is arguably the worst song Elvis ever released as a single. The best song from the movie is Puppet On A String, which was eventually released as a single 'by popular demand' after it started receiving a lot of radio airplay. None of the other songs are very good, although some of them are kind of fun in a goofy way."

"The problem with Elvis soundtracks (not Elvis himself) is the material he was given. This one is for hardcore Elvis fans only."

"I think Puppet On A String has got to be my #1 favourite Elvis song. I hear it and cry. Brings back so many memories. No one could ever sing a song like Elvis."

The Genius Of Jankowski – HORST JANKOWSKI***

My Yiddishe Momme/Clair De Lune/A Walk In The Black Forest/When The Girls Go Marching In/Donkey Serenade/Sing Song/Toselli Serenade/Simple Gimpel/Speak To Me Of Love/Caroline-Denise/Soon Luck Will Also Knock On Your Door/Nola

German pianist Horst Jankowski appeared from nowhere with his catchy jazzy instrumental A Walk In The Black Forest but then soon faded from view. The title track single was a top twenty hit in both the US and UK. (US:18)

"A Walk In The Black Forest has such a beat, lively and quick, makes you want to get up and jive to it."

"A delightful song, one of my best 1960s memories. Hearing it never fails to brighten my day and my mood. I can well understand why it was a 1965 million seller. Mr Jankowski was truly a rare and brilliant talent."

"What an enormous hit in 1965. Even the R & R radio stations played it every hour or so, comparable to the eternal A Summer Place. This music transcends time and taste."

"Superb, A Walk In The Black Forest was one of the most universally acclaimed instrumentals ever to last into eternity. Horst this is your gift to the music world. Ah they don't make 'em like this folks, this doo-wop/rock 'n' roll historian has heard many a song and I love 'em, but this is in a class all by itself."

"This was probably the number one 'elevator music' song of all times. I would hear it ten times a day when it first came out. Even the AM rock stations played it. This was the summer of 1965."

Freddie & The Dreamers – FREDDIE & THE DREAMERS***

I Understand/Money/Kansas City/Early In The Morning/It Doesn’t Matter Anymore/Sally Anne/Yes I Do/Tell Me When/Johnny B Goode/I Don’t Love You Anymore/Say It Isn’t True/If You Gotta Make A Fool Of Somebody

Freddie & The Dreamers appear to be more remembered for their zany stage antics rather than their music. However they released a string of fine singles and the group's work is best sampled on a compilation CD. This self titled release was their only major US hit album and contains the UK top ten hits If You Gotta Make A Fool Of Somebody and I Understand. (US:19)

"It was hard to take Freddie & The Dreamers seriously simply because they were pretty much the self-appointed clowns of the British Invasion, just along for the ride with no desire or pretensions of making anything other than pop music. No messages here, just fun and laughs, probably best represented by the song If You Gotta Make A Fool Of Somebody."

"More pop than rock to be sure, but then somebody needed to balance Mick Jagger and The Rolling Stones in the eyes of American parents, and Freddie and The Dreamers certainly fitted the bill in that respect. However, the best reason to pick up a Freddie & The Dreamers collection is because they are still quite representative of the Merseybeat sound that the early Beatles epitomized, and which still resonates with those of us who remember the British Invasion."

"Freddie & The Dreamers liked to have fun, yet they were competent musicians and their music stands the test of time. Their UK hits were a mix of original songs and American covers."

"Some of the selections show the group trying the more American soul/R & B staples that were covered by many other Northern England groups (Money and Johnny B.Goode etc.), and they're decent attempts, but the group's strength was in more pop oriented tracks featuring vocal harmonies, often Freddie harmonizing with himself via overdub."