Twangy Guitar Silky Strings – DUANE EDDY***

High Noon/Born To Be With You/Secret Love/Unchained Melody/When I Fall In Love/Mirriam/Moon River/Bali Ha’i/Hi-Lili Hi-Lo/Angel On My Shoulder/Memories Of Madrid/Love Me Tender

On Twangy Guitar Silky Strings pop guitarist Duane Eddy attempts to enter the easy listening market with his instrumental interpretations of some well known standards. (US:72 UK:13)

“Lee Hazlewood produced Twangy Guitar Silky Strings, and he helped create a wonderfully lush, majestic sound that allowed Eddy to showcase his romantic side. The twangy guitar can get a little samey, but it's never incongruous on this gem of a record.”

“Adds up to an assortment of period standards and some less familiar selections arranged to showcase Eddy's inimitable guitar pyrotechnics.”

“The album Twangy Guitar Silky Strings is exactly what you’d expect from the title - Eddy’s signature guitar married with the silky sounds of an orchestra. Of the album’s twelve tracks, only one was written by Eddy, the rest are covers of older pop hits. Released in the twilight of Eddy’s mainstream success, there’s more than a whiff of desperation here. With covers of Moon River, Unchained Melody and Love Me Tender it’s obvious that Eddy was desperately searching for a hit.”

“The idea of pairing Eddy’s high-plains guitar and an orchestra is a good one, but the song choices bring Twangy Guitar Silky Strings down. Rather than pick songs that would show off Eddy’s skill as a guitarist, the safe song choices are too sedate and end up sounding a bit too sleepy. The album isn’t helped by the fact that a choir of female singers accompanies Eddy’s guitar playing. As a whole, this album is just too tame, especially when compared to Eddy’s earlier work which framed him as a rock ‘n' roll icon.”

“If one listens hard enough there are a few moments of greatness on Twangy Guitar Silky Strings. One can’t help but admire the dream-like quality of Eddy’s signature guitar tone.”

Sings Great Songs From Great Britain – FRANK SINATRA****

The Very Thought Of You/We’ll Gather Lilacs In The Spring/If I Had You/Now Is The Hour/The Gypsy/A Nightingale Sang In Berkeley Square/A Garden In The Rain/London By Night/We’ll Meet Again/I’ll Follow My Secret Heart

Sings Great Songs From Great Britain was a Sinatra curiosity, an album of songs by British composers, performed with British musicians, recorded in Britain and released only in Britain. (UK:12)

“Since Sinatra was very tired after touring Europe he was not in top voice on these recordings. It matters not, because the mood and theme of this album is unique. If you are not familiar with this album, get to know it. The mood is relaxing, the songs are good, and arrangements are outstanding.”

"Recorded in the summer of 1962, and available only in the UK for a number of years. Arranger/conductor Robert Farnon had written a set of arrangements that were ambitious, lush, ornate and sweeping. Although sometimes provocative, occasionally they are more interesting than the actual songs. Sinatra was simply not in good shape for the sessions, which is clear from his thin, strained singing. As such, Great Songs From Great Britain isn't much more than a curiosity.”

“I had low expectations. Several commentators had noted that Sinatra's voice was spent by the time he joined Robert Farnon in London to record this set, and how the spare string arrangements had left the singer 'nowhere to hide'. But for these contemplative, romantic ballads, a thinner Sinatra voice works perfectly.”

"These ballads, combined with Robert Farnon's string arrangements and Sinatra's golden voice made a record you can play again. Some have said Frank's voice wasn't up to par on this recording, that he was tired after his arduous European tour. I don't buy it. He sounds every bit as good here as on anything he ever recorded. He was man who put out his best effort, whenever he sang, and he does so here.”

“These songs and arrangements by Frank and company are like beautiful presents from another era. Maybe they were once considered old-fashioned, compared to his hipster swinging stuff. Now though, they seem to be at once timeless, peerless, nostalgic, bittersweet, yet somehow soothingly optimistic, and always exquisitely beautiful. Highly recommended.”

Sherry & 11 Others – THE FOUR SEASONS****

Big Girls Don’t Cry/Yes Sir That’s My Baby/Peanuts/La Dee Dah/Teardrops/Apple Of My Eye/Never On Sunday/I Can’t Give You But Love/The Girl In My Dreams/Oh Carol/Lost Lullabye/Sherry

Sherry & 11 Others was the debut album from the highly successful New Jersey group The Four Seasons that specialised in falsetto harmony singing. Includes the US chart topping singles Sherry and Big Girls Don’t Cry. (US:6 UK:20)

“The Seasons' first album is very much standard fare for the times comprising a couple of hit singles fleshed out with cover versions and re-workings of a few tunes recorded during their previous career as The Four Lovers. The Seasons were not overnight sensations and therefore had a repertoire of songs that were well grounded in their nightclub act. Accordingly, the album tracks are polished performances, particularly the vocal harmonies.”

“This is an absolutely fantastic album, and one of my all time personal favourites. Every song has the incredible catchiness and enthusiasm as the first two huge hit singles. Peanuts is irresistible, a song which should've been a huge hit. The covers of La Dee Da and Never On Sunday are also great, all of the aforementioned songs having more of that incredible Valli falsetto.”

“The Four Seasons were one of the best white doo-wop vocal groups, and they'd continue to grow and change with the times, becoming one of the best vocal pop groups. This is an excellent debut album, though you have to love their early singles that first brought them to worldwide stardom to appreciate it most.”

“Here is the sound that made The Four Seasons famous, with lead singer Frankie Valli at his best. Their early recordings contain a strong doo wop flavour that disappeared about the time of the British invasion. This album is notable for that reason, and for the album cuts that don't seem to be anywhere else.”

“The Seasons' 1962 debut album is typical of its time, in that it's based around a hit or two, with the rest being more or less filler - either contemporary pop songs like Never On Sunday, or pre-rock standards like Yes Sir That's My Baby (here done in slowed down, hilariously doo-wop style). The group's singing, however, is glorious throughout, and the album's two hit singles, Sherry and Big Girls Don't Cry, are innovative re-workings of the East Coast harmony vocal style."

Sarah + 2 – SARAH VAUGHAN****

Just In Time/When Sunny Gets Blue/All I Do Is Dream Of You/I Understand/Goodnight Sweetheart/Baby Won’t You Please Come Home/When Lights Are Low/Key Largo/Just Squeeze Me (But Please Don’t Tease Me)/All Or Nothing At All/The Very Thought Of You

Sarah + 2 comprises an album of slow ballads backed up by bass and electric guitar, a musical accompaniment that is purposely understated to showcase Sarah Vaughan’s vocals.

“Vaughan is in extremely fine voice. Her control and restraint create an intoxicating and sophisticated atmosphere. The interplay between the singer and her musicians is masterful."

“Those who throughout the years have denied Sarah the cachet of a true jazz singer are in for a surprise with this LP. Those who have also said that Sarah couldn't interpret lyrics are also in for a surprise. Daring, startling, innovative, creative, are just a few of the words that come to mind, given the risk it represents for a jazz singer to cut an album with bass and electric guitar only. However, the format works wonders by giving her a minimal support that showcases her fireworks.”

“This is Sarah at the peak of her career and voice, singing jazz tunes with sensitive accompaniment. I get a little misty every time I listen to this.”

“Comprising mostly standards in which Vaughan's phrasing gives new meanings to the lyrics, this LP is a thrilling opportunity to study her rich voice. The bass and the guitar are barely there, adding just enough beat to keep the songs interesting and just enough musical variation to suggest new harmonies. The songs, almost entirely slow ballads, are clearly in Vaughan's style, though they lack the flights of jazzy innovation and improvisation for which she was famous later in her career.”

“A stunning intimate experience. This magnificent voice is never heard to better effect than here. The arrangements are short and sweet, generally from sad and slow to soft and swinging. Everything is done in the very best of taste.”

“Rightly considered another intimate gem in Sarah's discography. Sarah + 2 gives Vaughan another chance to show the splendour and richness of her musical persona, without excesses and overdoing anything, she delivers.”

Rapture – JOHNNY MATHIS****

Rapture/Love Me As Though There’s No Tomorrow/Moments Like This/You’ve Come Home/Here I’ll Stay/My Darling My Darling/Stars Fell On Alabama/I Was Telling Her About You/Lament (Love, I Found You Gone)/The Love Nest/Lost In Loveliness/Stella By Starlight

Rapture featured a collection of romantic standards from the ever popular Johnny Mathis, enhanced by the imaginative string filled arrangements of Don Costa. (US:12)

“There are so many great songs on it, the one I like the most is Love Me As Though There Were No Tomorrow. He is probably the best of the romantic ballad singers."

“Top quality, top Mathis from his first Columbia Records era. Did you know Stella By Starlight has a verse?: only Mathis would know it, only Mathis would sing it stylishly as well as he does with Stars Fell On Alabama, both tracks from Rapture his first album with Don Costa arrangements.”

“All in all, this is a creme-de-la-creme collection from the Great American Songbook conducted by one of its greatest maestros, and sung by one of the great voices from the American song treasure.”

“Recorded in 1962, when the stirrings of musical changes were well under way, Rapture became one of my favourite Mathis albums, a collection of wonderful ballads. Lushly underpinned by iconic conductor Don Costa's gorgeous string-filled arrangements, Johnny must have felt inspired by the sheer width and depth of the project. The emphasis on romance brings forth beautiful moments via gems like My Darling My Darling, Moments Like This and Lost In Loveliness. Superb”

“Johnny Mathis at his best, backed by Don Costa and orchestra who did some of the finest Sinatra recordings; an imaginative and creative arranger.”

“Moonlight In Vermont, a wonderful song. If you long for some classics done as only Johnny Mathis can do them, get this, it will not disappoint.”

Out Of The Shadows – THE SHADOWS****

The Rumble/The Bandit/Cosy/1861/Perfidia/Little B/Bo Diddley/South Of The Border/Spring Is Nearly Here/Are They All Like You/Tales Of Raggy Tramline/Some Are Lonely/Kinda Cool

Out Of The Shadows was the second album from Britain’s top instrumental group The Shadows that was spoilt, not for the last time, by naff vocal tracks and a boring drum solo. (UK:1)

"A lot of vocal tracks. Many people don't know, Hank And Bruce used to imitate The Everly Brothers. A great one for Shadows fans."

“The Shadows have done it again, a wonderful mix of tunes providing the listener with the clean sound of Britain’s premier instrumental band."

“Perfidiahas a tempo of the mashed potato dance craze. Truly these Shadows are one of the greatest influences in instrumental popular music.”

“Out Of The Shadows stylistically acknowledges previous years, and likewise seems to anticipate new developments in British music, like the emerging sound of rock for instance. There are, indeed, some easy-listening instrumentals on this record, so folks who are attuned to more than rock 'n’ roll will enjoy the daylights out of whimsical gems like Spring Is Nearly Here and Perfida, while Cosy is every bit as satisfying. Other highlights include South Of The Border, with Marvin stretching out into a bluesy middle section and showcasing his precise and elegant picking.”

“To think that The Shads were in their early twenties when they released this album. It shows the quality and dedication that they put into their music. This is a must for any serious Shads collector.”

“This is vintage classic Shadows. A guitar super group, Brian Bennett was a maestro on drums.”

“Clever combinations of guitar and vocals give this album it's much loved appeal. An album that would come highly recommended in my books.”

The Original Monster Mash – BOBBY 'BORIS' PICKETT & THE CRYPT KICKERS**

Monster Mash/Rabian The Fiendage Idol/Blood Bank Blues/Graveyard Shift/Skully Gully/Wolfbane/Monster Minuet/Monster’s Holiday/Sinister Stomp/Me & My Mummy/Monster Motion/Monster Mash Party

Bobby 'Boris' Pickett & The Crypt Kickers Original Monster Mash was a monster themed album in which the novelty wears off very quickly. The title track was a US No. 1 hit single and reached No. 3 in the UK when re-released in 1973. (US:19)

“It features his monster smash Monster Mash and a lot of other monster themed music recorded to fill out the album. To be blunt, most of this material is filler. It is fun, silly stuff, but it's not great by any stretch of the imagination.”

“The early 60s were one of the most fun periods for pop music, exemplified well by this icon of the era. Sure it's ultra-commercial, but everything from that time was. Making money is what making music was all about. My only complaint about this album is that over the length of an entire LP, the mad scientist impersonation gets a little tired.”

“Its a fun little novelty album. Good one to play for Halloween, obviously.” “This is needlessly repetitive. But it is also awfully goofy and fun. Monster Mash is easily one of the greatest novelty songs.”

“This is a one of a kind experience album. Everyone knows the title song but, most 'ghouls' don’t know that an entire album exists. The title song and its B side Monster Mash Party are the best cuts, but there are some really outrageously weird tunes on this juvenile, but fun record.”

“The album comprises more or less similar monster-themed songs with witty lines. This is a cute album and makes fine background music for your Halloween party.”

On Stage With – GEORGE MITCHELL MINSTRELS**

States Medley/Happy Tramps Medley/Widdicombe Fair/Your Requests/Cheep Cheep (Birdies) Medley/Down Memory Lane/The Frog & The Mouse/Long Long Ago Medley

Not a live recording but a representation of the kinds of songs they performed in their stage show. On Stage was the final UK album chart topper from the now reviled Black & White Minstrels. (UK:1)

“One’s primary astonishment is how The Minstrels managed to survive and indeed thrive in the mainstream of entertainment for so long. In the last album chart of 1962, three of the top five slots were occupied by Minstrels music.”

“Tony Mercer croons Georgia as though Ray Charles had never happened. Readings of Stars Fell On Alabama and Where Or When compared with Sinatra’s illustrate a difference between death and life. And everywhere there lurk these perfect Home Counties vowels, unchanging whether they be in 'Kentucky sure as you’re born' or on the 'bonnie banks of the Clyde'.”

“Some songs, for instance, The Lady Is A Tramp and You Are My Sunshine are more or less entirely obscured by unnecessary contrapuntal devices, but then show tunes appeared to be the only 'recent' music with which The Minstrels seemed to be comfortable. It is virtually superfluous to say that their Sunshine perishes instantly when set next to the definitive George Russell/Sheila Jordan recasting of the same song recorded in the same year. But when The Minstrels strive to 'go modern' the results are merely embarrassing.”

“Though many of record buying demographic elected to change their allegiances in 1963, the show continued both on TV and on stage for a further fifteen or so years. Even though the TV show’s final cancellation was ascribed to political pressure, the truth was that it had been losing ratings for some while and was proving prohibitively expensive to produce. But then it disappeared completely, wiped from the collective slate.”

“This is a great collection of familiar songs. I spend the early 60s in London and loved the TV show where these songs were performed.”

Oliver! – BROADWAY CAST*****

Food Glorious Food/Oliver/I Shall Scream/Boy For Sale-Where Is Love/Consider Yourself/You’ve Got To Pick A Pocket Or Two/Its A Fine Life/Be Back Soon/Oom-Pah-Pah/My Name/As Long As He Needs Me/Who Will Buy/Reviewing The Situation/I’ll Do Anything/As Long As He Needs Me (Reprise)-Reviewing The Situation (Reprise)-Finale

The Broadway musical Oliver! starred Clive Revill and Georgia Brown. It opened in January 1963 at the Imperial Theatre and ran for 774 performances. Based on the Charles Dickens novel Oliver Twist about the boy who falls in with a gang of pickpockets led by the notorious Fagin. Music and lyrics by Lionel Bart. (US:4)

“As the original American recording of this fine score, it's still the best. The reason is the talented cast, led by Clive Revill and the phenomenal Georgia Brown. A seasoned music hall star from London, Miss Brown had the perfect stage voice, and this recording captures her performance admirably. Lusty and bold, her voice vacillates between as forceful as a foghorn, and as thick and sweet as caramel.”

“Lionel Bart's score for this musical version of Oliver Twist captures both the rollicking good humour and the dark seriousness of the Charles Dickens classic. The opening prelude transports us to gloomy London, as does the minor-key Boy For Sale. At the same time, such songs as Consider Yourself, It's A Fine Life, I'd Do Anything and Oom-Pah-Pah convey the carefree, if close and unsavoury, atmosphere of the thieves' world into which Oliver falls. The haunting Who Will Buy? expresses his barely contained joy at being (temporarily) rescued from that world.”

“One of the best musicals in my collection. Nearly every song is worth its weight in gold, especially the songs featuring Dodger and Georgia Brown: It's A Fine Life, I'd Do Anything and Consider Yourself are among my favourites.”

“The songs are lively and fun, and bring this Broadway classic to life. Many memorable and well known songs are in this show. The voices of the principals fit their parts perfectly.”

“I wore out the vinyl on this album when I had it as a child. I can sing along with every word, know every nuance. I loved the big numbers, Consider Yourself, Oom- Pah-Pah, etc. And now as I listen as an adult, I am enjoying the rest of the pieces.”

Modern Sounds In Country & Western Volume Two - RAY CHARLES*****

You Are My Sunshine/No Letter Today/Someday/Don’t Tell Me Your Troubles/Midnight/Oh Lonesome Me/Take These Chains From My Heart/Your Cheating Heart/I’ll Never Stand In Your Way/Making Believe/Teardrops In My Heart/Hang Your Head In Shame

Following the massive success of Ray Charles’s first album of country songs the speedy appearance of a second volume came as no surprise. Modern Songs In Country & Western Vol. 2 contains the top twenty hit singles You Are My Sunshine, Your Cheating Heart and Take These Chains From My Heart. (US:2 UK:15)

“This record came quickly on the heels of the first Modern Sounds in 1962. It is really a continuation of the first with the same formula of songs and arrangements. Half of them have a big band R & B arrangement and half are arranged with strings and Raelets backing. For my tastes the R & B versions work best while the string arrangements seem a little dated and overly syrupy. However RC's vocals and piano, and the strong songs, make them worth listening to.”

“Typical of many crossover albums back in the late 50s and early 60s, this LP has one side that is targeted for the masses who are used to bland mush and another where the artist gets to be more himself. In this case, the stronger side is Side A, with Ray backed by his big band.”

“Interesting original idea of country covers in a soulful big band or ballad style that is beautiful to listen to. The album contains a great cover of You Are My Sunshine in a duet with Margie Hendrix and a lot of other very good performances.”

“Volume two may not have been much of a surprise, but neither was it a second helping. As with the first volume, Charles finds a directness in country songwriting that matches the expression he developed with the blues.”

“Country music and Charles' career each received a boost from his Modern Sounds albums. Nashville expanded its audience outside its core region, Nashville songwriters found new ears for their songs, and Charles gained an influx of fans who might otherwise have never bought R & B records.”

The Many Moods Of Belafonte – HARRY BELAFONTE****

Tongue Tie Baby/Who’s Gonna Be Your Man/’Long About Now/Bamotsweri/I’m On My Way To Saturday/Betty An’ Dupree/Summertime Love/Lyla Lyla/Zombie Jamboree/Try To Remember/Dark As A Dungeon

The Many Moods Of Belafonte showcases Harry Belafonte’s versatility and features performances by South African trumpeter Hugh Masekela and vocalist Miriam Makeba. (US:25)

“The Many Moods Of Belafonte is an adult performance, beginning with the opening track, Tongue Tie Baby, one of Belafonte's calypso efforts, complete with Caribbean accent, in which he humorously describes a romantic tryst. Elsewhere, eclecticism is the ruling principal on an album intended to showcase Belafonte's versatility. That means not only blues, ballads, but also show tunes like Summertime Love, African songs like Miriam Makeba's Bamotsweri and the Hebrew lullaby Lyla Lyla.”

“The material is so varied that it risks being too diverse, the key element of stylistic consistency is the performer. Belafonte is an excellent musical actor, adopting different approaches, not to mention accents and languages on occasion, for different songs. But his distinctive voice and personality are always present, guiding the listener from style to style and country to country.”

“If you haven't listened to Belafonte for a while, or if you only know him from calypso, try to find this LP. More folky, and for me, more interesting.”

“Any Belafonte fan will declare that the 1960s were undoubtedly his most creative period. This set showcases a dynamic range of material.”

Joan Baez In Concert - JOAN BAEZ*****

Babe I’m Gonna Leave You/Geordie/Copper Kettle/Kumbaya/What Have They Done To The Rain/Black Is The Colour Of My True Love’s Hair/Danger Waters/Gospel Ship/The House Carpenter/Pretty Boy Floyd/Lady Mary/ Ate Amanha/Matty Groves

First live album from the renowned folk singer Joan Baez, who was in the vanguard of the sixties protest movement. Joan Baez In Concert enjoyed a two year chart run. (US:10)

“In Concert testifies not only how Joan Baez handled such a colossal repertoire with startling ease, it equally demonstrated her unassuming charms, chemistry with audiences large and small, and sheer talent.”

“A beautifully pure sounding voice if ever there was one. Baez's interpretations of traditional songs are absolutely gorgeous. House Carpenter in particular is heartbreaking.”

“In Concert stands as the purest and most beautiful example of Joan Baez's expertise in interpreting traditional folk music. Extremely dark and atmospheric, every song here has the purely touching quality that all folk music should.”

“One thing you will most certainly notice is the incredible quality of Baez's voice - it was one of popular music's greatest instruments, producing bell-like tones of absolute purity. And finally, you will notice the quality of the material. Baez's love of songs that extend back in America's and the world's history is clearly in evidence.”

“This was my first encounter with Joan Baez, I was completely captivated. The purity and range of her voice, the quality of the songs and the simple guitar backing, all provided a very rich experience. What Have They Done To The Rain took my breath away, coming at a time when the nuclear debate was spreading world-wide. The contrast between the beauty of the melody and voice with the grimness of the meaning was very powerful. Time has not dimmed that first reaction.”

“Listening to In Concert today, I am struck by Joan Baez's keen ability to interpret these beautiful folk songs. She truly was in her element. More than that 'achingly pure soprano', she was able to convey the drama, the pathos, and the sheer longing of the lyrics. Joan Baez had a tremendous impact on American popular music and you can hear why in this recording.”

Let’s Face The Music – SHIRLEY BASSEY****

Let’s Face The Music & Dance/I Should Care/Let’s Fall In Love/The Second Time Around/Imagination/All The Things You Are/I Get A Kick Out Of You/Everything I Have Is Yours/Spring Is Here/All Of Me/I Can’t Get You Out Of My Mind/What Now My Love

On Let’s Face The Music Shirley Bassey is supported at the peak of her popularity by the renowned Nelson Riddle Orchestra. Includes the UK top five hit What Now My Love. (UK:12)

“Let's Face the Music is a favourite among her legion of fans. With Nelson Riddle and his orchestra, it includes many classic covers."

“The album is one of the best from each of these celebrated performers. It presents Shirley Bassey at her youthful best, just prior to her finding the definitive Bassey vocal style that would emerge the following year. Although the voice is unmistakably hers, Shirley's knife edge vocal style was yet to fully emerge. Shirley's voice is in prime condition and she receives the incomparable support of master arranger Riddle, who provides a stunning array of backdrops for his singer.”

“A classic interpretation of What Now My Love, a song that has remained a permanent part of the Bassey concert repertoire. Though other singers have tried their hand on this extremely difficult number, Shirley continues to claim it as her own. The poise and complete control she musters, together with the suspense she creates are stunning. The other uptempo piece is a Latin styled account of Cole Porter's I Get A Kick Out Of You, another popular standard that has had many interpretations. However, Shirley's version remains one of the finest accounts of this great song on record. Other gems on this fine album are a dramatic reading of the Kern classic All The Things You Are, Rodgers and Hart's Spring Is Here, and an unusual presentation of Berlin's Let's Face The Music & Dance.”

“From the very first notes of the orchestra on the title track, to the outstanding high note that closes What Now My Love, this album is a masterpiece from Shirley's early years as an artist. I was pleasantly surprised to hear the sweetness in her vocal quality that, even at her surliest, can still be found.”

“Let's Face The Music is a great LP by Shirley Bassey. Many classic pop songs are covered with backing by Nelson Riddle. All the tracks are worth listening to. Shirley Bassey followers will appreciate this LP.”

Green Onions – BOOKER T & THE M.G.S***

Green Onions/Rinky-Dink/I Got A Woman/Mo’ Onions/Twist & Shout/Behave Yourself/Stranger On The Shore/ Lonely Avenue/One Who Really Loves You/I Can’t Sit Down/A Woman A Lover A Friend/Comin’ Home Baby

Green Onions was the debut album from the Stax house band Booker T & The MGs. Unfortunately, none of the remaining songs are as inventive as the top ten title track. (US:33 UK:11)

“Consists of Green Onions, and eleven songs trying to be Green Onions. They aren’t all that bad; some of them are actually quite enjoyable. But when they all keep coming up, one by one, after one another, it gets rather tiring. So the album as a whole is okay. It’s decent, it’s somewhere in the middle.”

“This album is essentially all filler except for the of course excellent title track. I often find myself not even bothering to flip this record over.”

“I think Green Onions is by far the best track on the album, but the other songs are solid soulful numbers, played very well.”

“There are a couple of songs that are really awesome, the title track especially, but then there's a ton of filler that isn't all that interesting.”

“Other than the timeless title track and perhaps their superb rendition of Comin’ Home Baby, there is nothing on the album that is a ‘must hear’.”

“The title track is amazing. The rest of the songs are good instrumentals with some phenomenal organ playing, but amazing musicianship doesn't make this a great album. Aside from the title track the songs don't grab you enough to make this more than an occasional listen.”

"Green Onions is a great song that sounds thrilling no matter how many times you've heard it. Unfortunately, the album isn't nearly as exciting and gets tiring after a listen or two. The inventiveness and fire evident on the title single is just about impossible to find on the other tracks.”

“It couldn't live up to the invention and excitement of its title single, but even without the catchy hooks of their hit, the band's soul grooves cut deep.”

Golden Greats – BOBBY VEE*****

Take Good Care Of My Baby/Devil Or Angel/Punish Her/Suzie Baby/Walkin’ With My Angel/Stayin’ In/ Run To Him/Rubber Ball/Please Don’t Ask About Barbara/How Many Tears/Everyday/Sharing You/One Last Kiss/More Than I Can Say/Someday

This fine collection of Bobby Vee's highly melodic hits covers the period until the end of 1962 and thus omits some later releases available on more recent compilations. These are masterful recordings from a shamefully underrated performer. (US:24 UK:10)

"Every track here earned its place on the album."

"Vee's records always had the benefit of some very polished production, featuring highly commercial string arrangements and tasteful rhythm guitar, piano and female vocal backings."

"The songs are catchy, easy on the ear, and tailor-made for dancers. To my ears they haven't dated at all."

"Bobby Vee is often dismissed as part of the teen idol wave of the early 60s but he actually is pretty darn good, and had a string of quality hits."

"I'm 13 and I absolutely love this kind of music. It seems like a different world, a better world."

"Clean cut, well dressed, great voice - what more could you want?" "What a golden era of music."

"It gives me a memory of sweets and milk shake, soft pink cardigans and candy frost lipstick, ice blue jeans and the boy next door."

"One of the greatest records of the best time in pop music history .... the late 50s, early 60s."

"I still love his music as much now, it really takes me back to those good times when I thought the world was a much different place."

Brenda That’s All – BRENDA LEE***

I’m Sitting On Top Of The World/Fool No. 1/White Silver Sands/Just Out Of Reach/Sweethearts On Parade/It’s A Lonesome Old Town/Organ Grinder’s Swing/Gonna Find Me A Bluebird/Why Me/Valley Of Tears/Someday You’ll Want Me To Want You/You Can Depend On Me

Brenda Lee’s versatility is demonstrated on Brenda That’s All which was rather over reliant on MOR standards for her largely teenage pop obsessed audience. Includes two US top ten hit singles, Fool No. 1 and You Can Depend On Me. (US:20 UK:13)

“Brenda That's All was a mix of material that seemed designed to highlight her versatility. Pop music was at the centre, but there were various shades of country, R & B and the adult contemporary market. It's not a scintillating record, but it's pretty good, in part because it avoids the overemphasis on adult pop standards that hurt some of her LPs from the period."

"Fool #1 and You Can Depend On Me are the hits, but there are some good tracks here, whether the buoyant I'm Sitting On Top Of The World, the bluesily arranged White Silver Sands, the orchestrated country-pop of Just Out Of Reach, or the mildly swinging Why Me?. Someday You'll Want Me To Want You is the kind of classy, impeccably produced pop ballad in which she specialized in the early 1960s, and sounds like it could have been a hit single under its own steam. The whole album is impressively sung and immaculately produced."

“As on all of Brenda's LP's there is a strong foundation of 'standards'. Brenda delivers some great ballads here, such as Just Out Of Reach, I'm Gonna Find Me A Bluebird and the classic Someday You'll Want Me To Want You. The album in livened up with some uptempo rockers like Organ Grinder's Swing. This is another great album of quality music.”

“This girl for her age was a superstar, perfect timing, big clear voice with feeling.” “By a singer from a time when the person had to be able to actually sing, and you could clearly understand the artist.”

At Carnegie Hall – TONY BENNETT*****

Lullaby Of Broadway/Just In Time/All The Things You Are/Stranger In Paradise/Our Love Is Here To Stay/Climb Ev’ry Mountain/Ol’ Man River/It Amazes Me/Firefly/I Left My Heart In San Francisco/How About You/April In Paris/(In My) Solitude/I’m Just A Lucky So & So/Always/Anything Goes/Blue Velvet/Rags To Riches/Because Of You/What Good Does It Do/Lost In The Stars/One For My Baby/Lazy Afternoon/Sing You Sinners/Love Look Away/Sometimes I’m Happy (Sometimes I’m Blue)/My Heart Tells Me/De Glory Road

At Carnegie Hall was an acclaimed double live album recorded in June 1962 featuring many of Tony Bennett’s best known songs, showcasing the singer at his finest. (US:37)

“They must have picked him up off the floor that night, as his energy is boundless, his musicianship tremendous, as is his personality. Live albums are always the true test of any artist, no matter what the genre. It's a joy to hear a sublime singer, without over dubs or studio help.”

“You are reminded time and again how Tony picks the very best songs to sing. There are a lot of gems here and I would classify this concert as one of the best live recordings of all time. It just does not get much better than pure Bennett at his peak. The live concert brings out the best in him. This is the one indispensable Tony Bennett LP.”

“This two disc set showcases Tony Bennett at his best. He was, and still is, a fabulous singer. In many ways, he was more compelling in a concert setting than in the studio. On this night at Carnegie Hall in 1962, the acoustics must have been perfect. His voice, though always great, sounded extra special. I'm fortunate to have this as part of my eclectic collection.”

“The song selections and arrangements are terrific and Tony's voice shines throughout. This LP covers almost all of Tony's great hits from that era and has the added benefit of spontaneity found in a live performance. Believe me these songs swing. There are a lot of uptempo arrangements to so many great songs. Tony's voice and phrasing are uniquely different from his peers and that's what makes this album such a gem.”

"He is in great voice, and sings an astonishing number of songs. My only complaint is that he closes the show with a dreadful song called De Glory Road that goes on for over eight minutes. Aside from that, this is a wonderful show with Tony which any fan of real music will appreciate.”

Alley Cat – BENT FABRIC***

Alley Cat/Across The Alley From The Alamo/You Made Me Love You/Trudie/Markin’ Time/In The Arms Of My Love/Delilah/Catsanova Walk/Symphony/Early Morning In Copenhagen/Comme Ci Comme Ca/Baby Won’t You Please Come Home

Danish pianist Bent Fabric sole album chart success came with Alley Cat, a collection of piano instrumentals. The Grammy winning title track was a US No. 7 hit single. (US:13)

“Easy listening pianist Bent Fabric raised some eyebrows when he won the Grammy for best rock & roll recording in 1962 with Alley Cat, a pop instrumental that consists, like most of his recordings, of simple one or two finger melodies played on a piano with lean accompaniment that prominently features an electric bass guitar.”

“I used to listen to Bent Fabric as a child (the Alley Cat album). The music is happy and definitely reminds me of simpler times.”

“These instrumental tunes done in an exotica type style are real effervescent jewels of the 60s. It's just great to listen to these whimsical pieces of the 60s tapestry roll out the musical barrel all these years later.”

Best Of – SAM COOKE*****

You Send Me/Only Sixteen/Everybody Loves To Cha Cha Cha/For Sentimental Reasons/Wonderful World/ Summertime/Chain Gang/Cupid/Twistin’ The Night Away/Sad Mood/Having A Party/Bring It On Home To Me

This was the first Sam Cooke hits compilation LP, with an excellent choice of classic tracks from his early career. The hits would still keep coming though, until his untimely death two years later. (US:22)

“The true originator of modern soul music and a hugely influential artist not only musically but also with the way he approached the music business. To do that he had to sing a fair deal of saccharine fluff miles away from his gospel roots, but fortunately this record is pretty much the sunny, pristine soulful pop that launched Sam as a regular top ten act. A collection of mostly classics are all here, marking the end of the first phase of his career as a charismatic mainstream soul star.”

“The consistent songwriting for all tracks, plus the excellent sequencing, means this compilation flows as smooth as Sam's voice and it doesn't get any smoother than that. Listening to these songs it's hard to feel any kind of negativity.” “Anyone looking for an entry point to the genius of Cooke would not be served badly by this album. Everything here is what makes Sam Cooke matter. He was pure genius.”

“What more could you ask for. This truly is music. You can hear it in every last lyric he sings. It's hard to single out a Sam Cooke song, but You Send Me has to be one of my all time favourites.”

“All the true classics from Sam Cooke's early career. You Send Me, Wonderful World, Chain Gang, Summertime and the mind-blowing Bring It On Home To Me, all on one album."

“Classic stuff. Even if you've never heard of Sam Cooke, you've probably heard many of these songs. And when taken together in this wonderful package, it can't help but bring a smile to your face.”

“There's a timeless quality to Sam Cooke's music. And while he's been often imitated they've never matched the soulfulness of these originals.”

Hello Young Lovers – NANCY WILSON****

A Good Man Is Hard To Find/Hello Young Lovers/Sophisticated Lady/When A Woman Loves A Man/Little Girl Blue/Nina Never Knew/You Don’t Know What Love Is/Put On A Happy Face/When Sunny Gets Blue/Listen Little Girl/Miss Otis Regrets/Back In Your Own Backyard

Hello Young Lovers was an early album from jazz vocalist Nancy Wilson, arranged by George Shearing, released just before her commercial breakthrough. (US:49)

“This is Nancy Wilson at her finest. Her voice is superb, crystal clear and very well liked.”

“For lovers of the finest in music to savour and enjoy over and over - timeless in appeal. Hello Young Lovers arranged by legendary master George Shearing, crystal clear mix brings to life a total masterpiece from Nancy Wilson who certainly is one of the true greats.”

“This outstanding album came just before Nancy's emergence as a massive record seller so it has been rather forgotten over the years. Sounding wonderful, it is still a true gem. Highly recommended.”

“If you are a true Nancy Wilson fan then you will already have this wonderful work of art. If you are looking for mellow music don't look any further, you've found it.”

“I highly recommend this beautiful album to all those out there who are fans of Miss Wilson, or just lovers of jazz and blues. I am impressed with all the strings and orchestration backing her wonderful voice. The choice of songs alone is worth the purchase of this marvellous album. With standards such as the title track and Put On A Happy Face, which I guarantee you will when listening to this gem of a recording. What more can I say except that I am, and will forever be, a lifetime fan of Nancy.”

“Hello Young Lovers contains Wilson's standard programme of easy swingers and ballads which show off her impeccable phrasing, while sporting George Shearing's luxurious string arrangements like Little Girl Blue and Back In Your Own Backyard. One also hears Wilson's burgeoning talent for vocal drama as she evokes a variety of moods on Miss Otis Regrets. On this recording, the listening pleasure is found mostly in her signature urbane pop sound.”

That Happy Feeling – BERT KAEMPFERT****

That Happy Feeling/A Swingin’ Safari/Market Day/Take Me/Similau/Zambesi/Happy Trumpeter/Tootie Flutie/ Wimoweh/Sunday In Madrid/Black Beauty/Skokiaan

That Happy Feeling was an early attempt at world music from German bandleader Bert Kaempfert, with many of the tunes having an African connection. (US:14)

“You have probably heard these songs all over middle of the road radio throughout the US and the rest of the world. The bass drum and upright bass are superb on Swingin' Safari.”

“This is my favourite Kaempfert album. Every song makes me dance. For those unfamiliar it is instrumental, with some vocals (but no lyrics). It is very upbeat and distinctive. I highly recommend it.”

“It probably established Kaempfert in the States as much as anything. The album's lively tone is far sprightlier than subsequent Kaempferts, which got weighted down with 'big' arrangements and the dreaded 'padoom-padoom' of the rhythm section. Despite the album's liberal and often palpable African influence that German engineering is never far from the surface, especially in Wimoweh.”

“These are all early and excellent examples of what would soon be called 'world music', and this is by far Kaempfert's best and most entertaining recording.”

“Never before this album had Kaempfert so fully integrated his love of American swing with his training as a pop orchestrator. His arrangements are sophisticated, but the bouncy bass lines and sparkling brass keeps things breezy and swinging. Most memorable of all are the flutes and piccolos emulation of South African penny whistles, and the terrific performances from the trumpet and trombone.”

“Kaempfert dwells playfully upon the classic, simple harmonic cycles of kwela, the popular music of South Africa at the time, itself derived in part from the big band swing that influenced this artist. All of which is an involved way of describing these irresistible, merrily swinging, cunningly constructed tracks where string, brass, flute, and choral layers are not allowed to get in the way of the dancing Fender bass, rhythm guitar and brushed drums.”

Sing Something Simple – THE CLIFF ADAMS SINGERS**

Sing Something Simple/Hometown-Underneath The Arches/Drink To Me Only With Thine Eyes/Cruising Down The River/Home On The Range/Little Dolly Daydream-Lily Of Laguna/I Love You Truly/Me & My Shadow/My Bonnie Lies Over The Ocean/Let The Great Big World Keep Turning

The Cliff Adams Singers are well remembered in Britain for their very long running BBC radio show. They released many LPs with the same basic formula of medleys of well known tunes, the most successful being 1962’s Sing Something Simple. (UK:15)

“Takes you back to the singalong Sunday evenings with The Cliff Adam Singers on Sing Something Simple. Buy this and enjoy the songs any day of the week. An album that just makes you sing and cheers your day.”

“I have a few of these Cliff Adam's collections of Sing Something Simple. Originally booked for a short six week series on the old BBC Light programme, it was an instant success with listeners and became one of the longest running music programmes ever.”

“A complete mix of diverse material and the easiest of easy-listening.”

“During the forty years or so that the radio show was running, Cliff used the singers to record a wide variety of albums, all sticking closely to the formula of presenting a number of well known songs in medley form.”

Rhapsody In Rhythm – RAY CONNIFF****

Lady Of Spain/Beautiful Love/Moonlight & Roses/Love Walked In/Our Waltz/I Concentrate On You/Take Me In Your Arms/Malaguena/Imagination/Kiss Of Fire/To My Love/My Romance

Rhapsody In Rhythm was one of the relatively few Ray Conniff albums that featured the use of strings. It features a full orchestra and many of the tracks have a Latin influence. (US:28)

“Rhapsody In Rhythm is one of several albums in Ray Conniff's 'In Rhythm' series. The very concept of the album reveals Conniff's sense of humour and calculated middlebrow approach to music making, as he pairs the complex, linear melodies of rhapsodies with the pop and youth orientation suggested by rhythm."

“Rhapsody In Rhythm was a moderately successful album for Conniff, but is one of his less breezily accessible works and is better suited to listeners with a pointed interest in his arranging skills and unique musical vision.”

“In 1962 Ray Conniff released this album that featured the stylings of some wonderful classics from years gone by. My personal favourite is I Concentrate On You by Cole Porter.”

“Rhapsody In Rhythm is one of the few Ray Conniff albums featuring strings and he did a wonderful job. It is Conniff’s favourite album and he considers Malaguena his best arrangement. Listen to Moonlight & Roses, Love Walked In and Kiss Of Fire and you'll wish Ray had recorded more albums with strings.”

“Rhapsody In Rhythm is one of the few albums Conniff made with strings and it has a classical, Latin feeling. There's hardly a weak song here. Ray Conniff’s music and unique arrangements hold up well.”

“The 1962 sessions for Rhapsody In Rhythm are a listener's treat. This is the only Conniff album I know of that features a full orchestra. The arrangements perhaps do not have the distinctive Conniff sound one is used to, but the total effect is still very engaging. The perky take on Moonlight & Roses remains an absolute delight.”

Ramblin’ Rose – NAT KING COLE****

Ramblin’ Rose/Wolverton Mountain/Twilight On The Trail/I Don’t Want It That Way/He’ll Have To Go/When You’re Smiling/Goodnight Irene Goodnight/Your Cheatin’ Heart/One Has My Name/Skip To My Lou/The Good Times/Sing Another Song(And We’ll All Go Home)

Ramblin’ Rose, an LP of mostly country songs, provided Nat King Cole with one of the most commercially successful albums of his career. The title track was a top five hit in both Britain and the USA. (US:3)

“There are a few songs such as Skip To My Lou that tend to be a little on the corny side but overall this LP is very good. Nat brings his warm and seductive charm to these tunes, He could sing anything and make you love it - which is just what happened to me. It has that 'everybody, sing-it-with-me' quality.”

“For a non-country fan like me, Ramblin' Rose turned out to be a pleasant surprise. Only Nat King Cole's magnificent voice could make me have more respect for this genre of music, whereas before I thought most country songs were about drinking beer and cheating on your partner.”

“Nat King Cole had the kind of voice and talent which stands alone regardless of the style of music he performed. If I had to live out my days with only a limited selection of music, this album would be on my shortlist.”

“Featuring country & western tunes by that velvet voice from heaven. No other singer in the business had the warmth that this man gave during a performance.”

“Highlights and stand outs are the entire album, with fun loving country & western melodies interwoven with lingering arrangements that instantly became classics, with Nat performing them as he sings from the heart and you're loving it.”

“Enough praise cannot be written about Nat King Cole's way of pleasuring your senses. His smooth way of singing is always a delight. I am thankful that he is still with us on recordings that we'll be able to enjoy for our lifetimes.”

“Nat had a tenderness in his voice, completely flawless. He could never deliver a bad tune; his style and signature of making a song his own has never been duplicated.”

Folk Matinee – THE LIMELITERS***

Sing Hallelujah/Sweet Water Rolling/Funk/Blue Mountain Lake/Tamborito/Uncle Benny’s Celebration/Wake Up Dunia/Die Gedanken Sind Frei/To Everything There Is A Season/Reedy River/Those Were The Days/The Minstrel Boy

Folk Matinee contains a diverse selection of songs from the folk group The Limeliters. The inclusion of Those Were The Days is of interest as this would become a massive hit for Mary Hopkin in 1968. (US:21)

“It was nice to hear the song Funk again after such a long time. There were other songs that were also good on this album.”

“The Limeliters have always been on of my favourite recording and performing acts. The choice of material, even in languages other than English, is exciting, thoughtful, and fun. The chemistry of Lou, Alex and Glenn has rarely been equalled.”

“It's not their best, but this studio album does have its moments. As their career progressed, The Limeliters' repertoire got more and more eclectic. They were all interested in many types of musical styles, and did what they could to introduce a variety on all of their albums (they even sing in German on this album).”

“A couple of gems stand out on this album: most notably, the jaunty, nonsensical Funk and Pete Seeger's musical adaptation of the words from the Book of Ecclesiastes, which appears under the title To Everything There Is A Season.”

“Includes one of the first English versions of the Russian folk song Darogoy Dalyonu sung as an adaptation called Those Were The Days. It would later become a big hit for Mary Hopkin in 1968.”

A Taste Of Honey – MARTIN DENNY****

A Taste Of Honey/I’m In A Dancing Mood/Black Orchid/Take Five/Stranger On The Shore/Walk On The Wild Side/Exodus/A-Me-Ri-Ca/Route 66/Clair De Lune/Violetta/The Wild One

Arranger and pianist Martin Denny was one of a select band of performers specializing in exotica lounge music during the late 1950s and early 1960s. A Taste Of Honey was one of his most successful. (US:6)

“I love the version of A Taste Of Honey on here, the piano mixed with the exotic instruments add flavour, and colour to this jazzy little number. Actually the jazzy touches can be found throughout this release, sure he invited the bongo player too (so the island touches are still there), but this is a little more streamlined than some of his other work I've heard.”

“This is perfect cocktail or lounge music, very clean, bright and easy going with enough interesting touches to make sure you know you aren't listening to something boring. Denny's versions are short, concise and punchy just the way they should be.”

“I know that Denny's small niche is now with the kitsch-meisters who dig his exotica stuff, but I like this because it still serves its original purpose today - mellow music that doesn't fall into clichés or banality. This is a rare achievement, not necessarily exotic, just rare.”

“I invite you to listen to the marvellous piano playing and the tight arrangements. Listen to the band and the fun that emanates from this music. This was 'chill' before chill was known to be cool.”

“Denny is stunningly sharp on the ivories, his classical piano training is apparent. The musicianship is original and the professional abilities are unmatched. I remember it being described as 'visual sound' and this becomes stunningly apparent. This music has elements of jazz, lounge and exotica. I imagined myself stepping into the lobby of a fine hotel bar back in the day.”

“This was my first taste of cool jazz. I especially liked his version of Route 66. One of many contemporary artists whose music can be relaxing for anyone who ever had a bad day.”

Country Music Connie Style – CONNIE FRANCIS****

I Really Don’t Want To Know/Oh Lonesome Me/I Fall To Pieces/(Someday)You’ll Want Me To Want You/I Walk The Line/He Thinks I Still Care/She’ll Have To Go/I’m Movin’ On/I Don’t Hurt Anymore/I’m A Fool To Care/I Can’t Stop Loving You/Heartaches By The Number

During her heyday Connie Francis tackled a number of genres on her LPs and on Country Music Connie Style she demonstrates her versatility on some well known country & western songs. (US:22)

“A must for country lovers and anyone who likes Connie's voice. I enjoyed every song.”

“Connie's incredible voice and style give these country classics new life. Again, she crossed a music boundary/style and has improved on it. I actually like many of these re-recordings better than the originals. If you're a Connie Francis fan, this LP is a real treat. This proves Connie can sing anything.”

“The connection Connie had to country goes right back to the start of her career.” “A good listen. Connie's voice, with clarity and emotion, brings heartache and hope alive for the listener.”

“What a wonderful discovery, pairing the incomparable Connie Francis with simple but emotionally potent early country lyrics.”

“There is no female singer who can 'cry' a tune like Connie Francis. Her voice never ever fails to bring home to us as listeners a true love, lost, unrequited or just never ever found.”

32 Minutes & 17 Seconds – CLIFF RICHARD***

It’ll Be Me/So I’ve Been Told/How Long Is Forever/I’m Walkin’ The Blues/Turn Around/Blueberry Hill/Let’s Make A Memory/When My Dream Boat Comes Home/I’m On My Way/Spanish Harlem/You Don’t Know/ Falling In Love With Love/Who Are We To Say/I Wake Up Cryin

32 Minutes 17 Seconds was a seriously uninspired title for this Cliff Richard album that is heavily reliant on covers of sometimes unsuitable material. Includes the UK No. 2 hit single It’ll Be Me. (UK:3)

"32 Minutes And 17 Seconds starts off with a great version of Jerry Lee Lewis' It'll Be Me, Cliff's last rock 'n' roll single. Other than that, the rest of the album is mediumpaced or ballads. A major disappointment. Just too downbeat, Cliff.”

“His interpretations are good enough but nothing beats the originals and his own contribution in this era was considerable.”

“This album has many good songs on it. A lot of them are cover versions of songs that I didn't like at first, but Cliff’s version are more modern in a 60s kind of way.”

“The search for direction is undoubtedly still weighing on Cliff's mind. That said, an excellent version of skiffle king Chas McDevitt’s How Long Is Forever ranks among his strongest ballad performances, while the hit It'll Be Me is more or less peerless. Most of all, though, this album stands as a reminder of why the Merseybeat explosion was so important. Without it, all British pop might have continued to sound like this.”

“Played my LP 32 Minutes & 17 Seconds vinyl to scratches when I was a teen. Great album with beautiful songs, and I’m On My Way is one of them.”

Mashed Potatoes & Gravy – THE VENTURES***

Lucille/Gravy (For My Mashed Potatoes)/Hernando’s Hideaway/Mashed Potato Time/Summertime/Hot Summer (Asian Mashed)/Poison Ivy/The Wah-Watsui/Instant Mashed/Scratch/Hully Gully (Baby)/Spudnik

The potato as a theme seemed an unlikely choice for an album. The Mashed Potato was a very short lived dance craze but on Mashed Potato & Gravy it is milked for all it was worth by The Ventures. (US:46)

“Mashed Potatoes & Gravy was released to capitalize on the popularity of the Mashed Potato dance craze. The album features nine cover versions of other people's songs and three original tunes. Some immortal Ventures tunes are here, including Spudnik.”

“For an album that yielded not a single hit, Mashed Potatoes & Gravy is an enjoyable and substantial album. The group's sound was lean and mean all the way through, whether doing a respectful cover of Summertime or raucous renditions of Lucille and Poison Ivy. Even the seeming throwaway numbers, such as Hot Summer (Asian Mashed), with its faux-Eastern embellishments, and the soaring Spudnik, are played with such virtuosity and spirit that they demand attention.”

“After the Twist faded away the record companies tried to capture 'the next big thing'. Well, the Mashed Potato was Dolton's stab at it and The Ventures were just the guys to do it. The music includes bad potato puns and is executed in typical instrumental surf fashion. Although this album is specially designed for the Mashed Potato, the tempos are great for many other dances.”

“A bunch of songs for people to dance the 'Mashed Potato' to. Apparently this dance is performed at a much slower rate than the Twist, because all these songs are midtempo. They're nice tunes though - classic 60s tunes like Lucille and Poison Ivy, as well as some lesser known but equally fun tunes like Mashed Potato Time. Another three band originals grace the stage this time - only one is remarkable, the classic surf/spy original Spudnik, one of The Ventures' most incredible original compositions, it is so awesome.”

Sinatra & Swingin’ Brass – FRANK SINATRA****

Goody Goody/They Can’t Take That Away From Me/At Long Last Love/I’m Beginning To See The Light/Don’cha Go ‘Way Mad/I Get A Kick Out Of You/Tangerine/Love Is Just Around The Corner/Ain’t She Sweet/Serenade In Blue/I Love You/Pick Yourself Up

Sinatra & Swingin’ Brass was an album of faster upbeat numbers arranged by Neal Hefti intended to complement the Sinatra strings LP released earlier in the year. (US:18 UK:14)

“There's never a dull moment listening to Sinatra & Swingin' Brass with all the songs interpreted to perfection. The arrangements written by Neal Hefti are totally engaging and full of exuberance making the entire LP one of the liveliest Sinatra recordings of all time. For the most part Sinatra sings in upbeat fashion showing off his exceptional vocal flair on timeless standards.”

“Swingin' Brass is an album I might like to have playing in the background at a cocktail party recreating the carefree days (real or imagined) of the early '60s. In other words, it doesn't scale the artistic heights of the grandest of Sinatra's swing albums, or plumb the depths of those masterpieces of despair from the late Capitol years.”

“Sinatra & Swingin' Brass may have a few critics out there but I for one enjoyed this album immensely. Franks sings very well and just one listen proves it amply. Frank Sinatra sang so beautifully I don't know if we'll ever see another male singer quite like him ever again. This album is terrific for his fans and it makes a fine starter LP for newcomers to Frank's artistry.”

“This is one of the first Sinatra's recordings for his own Reprise label and, while critics were lukewarm at the time, it's a strong group of songs. Sinatra always had the best arrangers and Neal Hefti was on his game for this collection. Sinatra is in good voice - and overall the set holds up well. Best of all, it swings.”

“It's one of his best. No special surprises, just scintillating, felicitous, inspired Sinatra all the way. He's more tenor than baritone on this album. In fact, I detect a playful, 'boyish' quality in his melodic alterations as well as the timbre of his voice that's not present on the other early Reprise sessions. If you like relaxed swing tempos, brassy-but-not-excessively-so songs, old standards and Sinatra's way with them, you'll enjoy Swingin' Brass.”

Sentimentally Yours – PATSY CLINE*****

She’s Got You/Heartaches/That’s My Desire/Your Cheatin’ Heart/Anytime/You Made Me Love You/Strange/You Belong To Me/You Were Only Fooling/Half As Much/I Can’t Help It(If I’m Still In Love With You)/Lonely Street

Sentimentally Yours was country legend Patsy Cline’s final album before her untimely death in an air crash. Includes the US top twenty hit single She’s Got You. It is a tragedy that she would be unable to release more albums of this quality. (US:73)

“Here you’ll find a collection of some of the most beautiful and everlasting popular songs of our time, performed in the distinctively warm and irresistibly charming vocal style of Patsy Cline.”

“Patsy just oozed class and her haunting vocals caress these songs beautifully. The song that stands out for me is Lonely Street. It has a theme that many can relate to, as they look for their hideaway from this cruel world when their heart is broken.”

“Not much needs to be said about this album except that it is the perfect blend of country blues and pop sophistication. It is one of the finest examples of crossover appeal and has something for everybody. She’s Got You was the hit single from the album. Patsy’s phrasing on this torch ballad is impeccable. Sentimentally Yours makes a strong introduction to the artistry of Patsy Cline.”

“Sentimentally Yours is by all accounts a classic - not only of American country music of the early 1960s, but also of the middle-of-the-road pop music of the same era. In fact, Patsy Cline straddled the lines between country and pop better than perhaps any other singer.”

“I could listen to Patsy for hours. She was the greatest. She had a way of making you feel what she was feeling. When she sang you could share the feeling of pain of lost love, happiness, or any of the emotions in her songs.”

“Numerous later female country singers have singled out Patsy Cline as a major influence, and this particular album shows just why she had the impact she did, even in a short career. She sounds convincing and honest, but never overworks the selling of a song. A true country classic. Treat yourself to an era gone by, but one worth repeating.”

We Thank Thee – JIM REEVES***

We Thank Thee/Where We’ll Never Grow Old/I’ll Fly Away/Across The Bridge/Have Thine Own Way Lord/My Cathedral/The Night Watch/I’d Rather Have Jesus/Where Do I Go From Here/Take My Hand Precious Lord/This World Is Not My Home/Oh Gentle Shepherd

We Thank Thee was an album of new and traditional gospel songs, the kind of material that was well suited to the more restrained and sincere sounding voice of Jim Reeves. (UK:17)

“This album is a gospel treasure that has been hidden for far too long. When I listen to Jim's voice on this album, I definitely know that the Divine one put him here on this earth to glorify us with his sound.”

“This album will not only bless your heart, but it will also comfort your soul. Whenever I listen to this album it just does something special to my heart. You have never been anywhere until you have been Across The Bridge with the glorious Jim Reeves.”

“Who better to sing these hymns than Jim Reeves. Even if you don't like religious music, you will love this LP. If you have ever been curious about the velvet voice of Jim Reeves, look no further. This is a great way to get to know his timeless voice.” “For most people, gospel music is either too abrasive or too slickly done. Its got to have soul but needn't be emotionally overwrought. Jim Reeves performances are just right. For fanatics he may be too smooth, but every one else can just appreciate the fact that these lovely songs are performed by one of the warmest voices in recorded history. It is a perfectly lovely baritone that is never overextended.”

“This has been and still is one of the most beautiful inspirational albums by the inimitable Jim Reeves that I have really enjoyed over many decades. It is a spiritual banquet for the soul and a great source of comfort to the heart.”

“This is the music of a spectacular singer, Jim Reeves. His voice was wonderful, as are all the sacred songs on this LP. I highly recommend this for anyone who likes classical renditions of these beautiful songs.”

“We Thank Thee is an inspirational album of new and traditional gospel songs. Although Reeves' voice is in good shape nothing here particularly stands out.”

A Picture Of You – JOE BROWN***

A Picture Of You/Lonely Island Pearl/A Layabout’s Lament/Stick Around/Talking Guitar/The Surrey With The Fringe On Top/The Switch/Shine/Good Luck & Goodbye/I’m Henery The Eighth I Am/Pop Corn/English Country Garden/Put On A Happy Face/What A Crazy World We’re Living In

A Picture Of You was the debut album from cockney pop singer and guitarist Joe Brown, its sales boosted by the UK No. 2 title track single. His chart career was quickly cut short by the arrival of the beat groups the following year. (UK:3)

“A brilliant guitarist, and a very bubbly personality. Star of a number of shows I saw in the early '60s.”

“This reminds us, not only what a good guitarist he was, but also that he was a more than passable vocalist, often singing original material at a time when cover versions were still very much the preferred choice for many an artist's management team.”

“There were the cockney records, usually but not always rocked up. Only Tommy Steele had dared to release cockney songs before Joe so I'd guess this took a bit of daring on behalf of the man and his producer. Who really knew whether the public wanted this? It would appear that they didn't judging by the lack of sales. He injected a rock beat into the excellent Henery The Eighth, though sales wise that didn't do much, which was a shame.”

“There are a few covers in here but they are more like affectionate revivals rather than covers in the sense of versions of current hits by other artists.”

“With very few covers and plenty of original material, Joe's music has plenty to offer sixties pop fans, especially those who are tired of hearing the same old songs.” “Joe Brown is so underrated and yet must be one of Britain’s best all round entertainers. I bought this solely for Picture Of You but was surprised how many tracks I enjoyed and what an accomplished guitarist he is. He certainly deserves more respect from the English music business.”

Greatest Hits – ROY ORBISON*****

The Crowd/Love Star/Crying/Evergreen/Running Scared/Mama/Candy Man/Only The Lonely/Dream Baby/Blue Angel/Uptown/I’m Hurtin’

First greatest hits compilation album from the master of the melodramatic Roy Orbison, covering his magnificent hits on the Monument label released between 1960-62. (US:13)

“A collection of Orbison’s Monument singles, all perfectly fine but due to how early on in his career this is, it is not the best Orbison collection to get. There are plenty of more comprehensive ones available, but this has nostalgic value for me and it counts as the first time I heard that gloriously haunting voice. Part country, part opera, part rock ‘n’ roll, Orbison was a unique talent who brought a lot of drama, romance and endless depths to his music. This was just the start.”

“Roy Orbison's first Greatest Hits release contains all his early hits for the Monument label. Crying, Running Scared, Candy Man, Dream Baby and Only The Lonely are essential. The other minor hits have some pros and cons, and while very listenable, are not of the same quality as these.”

“His voice remains the purest instrument in popular music in the last fifty years. The haunting Crying, with the poignant tenor cry at the conclusion. My personal favourite Orbison song has always been Running Scared, a sort of mini-opera, replete with the soaring, rather syrupy arrangements his songs are noted for. I admit many of these arrangements sound dated, but the voice is the primary instrument anyway, and the only one you'll care about.”

“Personally, I don't see how anyone can 'not like' Roy Orbison. There are recording stars and then there are recording 'artists'. The world has plenty of the former but not many of the latter. Roy is not only on that list of 'artists' but very near the top.”

“These early Monument tracks are breathtaking, helping to create the pop-operatic style that would propel Orbison up the charts.”

Golden Hits – THE EVERLY BROTHERS*****

That’s Old Fashioned/How Can I Meet Her/Crying In The Rain/I’m Not Angry/Don’t Blame Me/Ebony Eyes/ Cathy’s Clown/Walk Right Back/Lucille/So Sad/Muskrat/Temptation

Golden Hits comprises a stunning collection of hit singles from the top pop harmony duo The Everly Brothers covering the period 1960-62. Their five year reign at the top of the charts was now drawing to a close. (US:35)

“While The Everly Brothers were tanking in the album charts with their original material, Warners decided to give them a boost with this hits compilation which did make some noise by making the lower reaches of the top 40. There's nothing new here representing as it does a package of their first six Warners singles minus a few flip sides. The set also includes the Everly classic, the mournful but compelling Crying In The Rain. It represents The Everlys first entry into the Brill Building for new material."

“A compilation of their early and often very good sides for Warners. Cathy's Clown is a masterpiece; but even if that's a career highlight, there are several other classic tracks to be found here. Don't hesitate to pick it up, if you stumble upon it, as it contains some of the sweetest sounds in rock & roll.”

“This is a fine collection of great Everly Brothers songs from their Warner Brothers years.”

"Cathy's Clown is a tune you may well recognize. The Everly Brothers sing passionately of how they want to end the love affairs they have had with their girlfriends. The brothers harmonize perfectly and I love it. This is easily a highlight of this album. Crying In The Rain is a fine tune about the sad ending of a love gone awry, and when The Everly Brothers sing this the effect is truly extraordinary - they're that good.”

“This album has a way of whisking one back to a time when we were coming alive, and experiencing the teenage rush; romance wanted, sought, and sometimes found; sometimes not. The Everlys capture that rushing essence; harmony tough to duplicate, and melodies that are classic.”

A Golden Age Of Donegan – LONNIE DONEGAN***

Have A Drink On Me/Nobody Loves Like An Irishman/Cumberland Gap/Seven Golden Daffodils/Puttin’ On The Style/Battle Of New Orleans/Rock O’ My Soul/Fort Worth Jail/Grand Coulee Dam/My Old Man’s A Dustman

The King of Skiffle, Lonnie Donegan, placed no fewer than 26 singles in the British top twenty between 1956-62. His first Golden Age album includes some of his best remembered hits. (UK:3)

“Donegan was anti-smooth; his voice was harsh sounding and that, combined with uptempo guitar and drums, created a raw and basic form of music. Although he happily pillaged the full gamut of American traditional music - blues, country, work songs, gospel, etc - he didn't sound anything like a folk singer - in those days the latter was a very polite individual with finger picked guitar. It's worth adding that his song selection was eclectic Putting On The Style, one of his earlier numbers, was old but hardly traditional.”

“Skiffle may appear slightly strange in the history of post war popular music. Instruments made from household utensils. American folk, blues and spirituals sung by Londoners. Although effectively killed off as a movement with the advent of beat music in the early 60s, skiffle was the bridge for young men who looked across the ocean to the exotic sounds of the first rock 'n' rollers with awe and wonder.”

“I guess that Lonnie Donegan's singing voice is not perhaps everyone's cup of tea, but this trip down nostalgia lane made me smile. I got the feeling that Lonnie enjoyed recording these songs as much as I enjoyed listening to them."

“Donegan was a very influential artist in the early 60s Brit rock and blues scene and this is a decent representation of his best work."

“As a young lad in the sixties, skiffle was a way of life and the tracks on this, a kind of tribute album, really reflect the fun we had and the energy that was expended on the dance floors.”

“Whilst skiffle itself was not durable in terms of the public eye it spawned a whole era of music that charts British music history. OK they weren't rock 'n' roll but they were the next best thing.”

Caribbean Guitar – CHET ATKINS****

Mayan Dance/Yellow Bird/Wild Orchids/Bandit/Jungle Dream/The Banana Boat Song/Montego Bay/Theme From Come September/Moon Over Miami/Come To The Mardi Gras/The Enchanted Sea/Temptation

Caribbean Guitar sees ace country guitarist Chet Atkins depart from his usual style to produce this collection of Caribbean themed instrumentals. Chet was never to achieve such a high chart placing again. (US:33 UK:17)

"A truly great artist knows how many instruments are too many on a track, and how to convey the essence of a song. At this, Chet is an undisputed master."

"I listened to Caribbean Guitar when I was a kid, and still haven't heard another guitar album with this clear, pure sound. A must have."

"If you don't know Chet Atkins then you will probably be surprised by his broad and impressive range of style."

"He is the man who helped create the Nashville sound of the late fifties and early sixties."

"There were three songs that brought me to my knees - Montego Bay, Wild Orchids, and Mayan Dance. Sublime work and arranging by a musical genius."

"Our family grew up with this masterpiece of an album."

"Yellow Bird is a very excellent old tune, romantic, haunting, nostalgic, evoking feeling and emotion."

“The Enchanted Sea is one of my favourite tracks, Chet was a master."

The Best Of – BALL BARBER & BILK***

Jump In The Line/Higher Ground/Willie The Weeper/Gladiolus Rag/Teddy Bear’s Picnic/Hawaiian War Chant/I Love You Samantha/Chimes Blues/Majorca/High Society/Tuxedo Rag/When The Saints Go Marching In

The three most successful British exponents of trad jazz are collected together in this budget release. Within a year the trad era would be over as the new beat groups took centre stage. (UK:1) “Good-time music from the trad boom of the late 1950s and 1960s. For fans of Chris Barber, Kenny Ball and Acker Bilk.”

“I loved this music. The modern stuff doesn't even come close. I became a jazz fan later in life so its great to be able to collect this music now.”

“Ball, Barber & Bilk were three of the best exponents of trad jazz in the late 50s & early 60s.”

“Brings back happy memories of great traditional jazz sessions in the West Country. Having seen these three great artists performing live on many occasions this LP was a 'must have'. Great music.”

Baby Elephant Walk – LAWRENCE WELK***

Baby Elephant Walk/Are You Lonesome Tonight/Love Me Tender/Gigi/Its All In The Game/Pretend/Theme From The Brothers Grimm/Three Coins In The Fountain/Mona Lisa/Its Not For Me To Say/Vaya Con Dios/Because Of You

Baby Elephant Walk was the final top ten album from the prolific bandleader Lawrence Welk and includes many movie themes. He had been a regular in the US album chart since the mid 1950s. (US:9)

“Lawrence Welk definitely did the best recording of Baby Elephant Walk, a magical Mancini composition.”

“These are toe-tappin’ instrumental versions of some of the great songs from the late 50s through the 60s. If you thought that Welk just played polkas and 'old folks' music, you are in for a shock.”

“The most popular shows on public television right now are the rebroadcasts of the old Lawrence Welk Show. That should be enough to convince you to get with the Welk momentum. Timeless arrangements of classic songs. A true American treasure.”

“Unlike most Welk aficionados, I was never a fan of his TV show. Thankfully, the maestro's music eschewed the flash, always focusing on the substance of the piece and getting deep into the heart of the music. Does not the music speak volumes on its own? No one spoke the universal language of music with the fluency of Mr. One an’ a two an’ a three himself.”

“This album explores some of the many styles with which Welk was so fluent. Even some of the well known hits are greatly enhanced by that touch of magic.”

A Swingin’ Safari – BILLY VAUGHN***

A Swingin’ Safari/(Its No)Sin/Born To Be With You/Alone/Glow Worm March/In The Chapel In The Moonlight/ Sunday In Madrid/Love Letters In The Sand/Blue Flame/A Fool Such As I/Throw Another Log On The Fire/When The Saints Go Marching In

A Swingin’ Safari was the final top ten album for bandleader Billy Vaughn as musical tastes began to change. The title track was a No. 13 hit single in the States. (US:10)

“Although the arrangements for Swingin' Safari are over the top, they do so in a real space age bachelor pad kind of way. These are arrangements that would not have been out of place on a Louis Prima session. Some of the hot picks are Blue Flame, Glow Worm March, and When The Saints Go Marching In."

“Swingin’ Safari has songs with strings, a little marching music and Woody Herman's great jazz classic Blue Flame which is given its due by the Billy Vaughn crew.”

“I remember first hearing this as a youngster in the early '60s. To me, it is reminiscent of a more laid-back, simpler, carefree, happier time. Wish I could go back.”

“A lot of people prefer Bert Kaempfert’s original version but I would choose the raw sound the usually smooth Billy Vaughn created in this cover, which the trumpeter is largely responsible for.”

Rhythm Is My Business – ELLA FITZGERALD****

Rough Ridin’/Broadway/You Can Depend On Me/Runnin’ Wild/Show Me The Way To Go Out Of This World/I’ll Always Be In Love With You/Hallelujah I Love Him So/I Can’t Face The Music/No Moon At All/Laughin’ At The Outside/After You’ve Gone

On Rhythm Is My Business Ella Fitzgerald returns to a big band backing with the emphasis on swing. Vocally she was considered to be still on top form at this time.

“The First Lady of Song, gives us another incredible album to enjoy. Ella's vocal gymnastics proved that she was the consummate singer, and quite a vocal athlete at that. This LP amply proves it; and the big band style musical arrangements by Bill Doggett enhance Ella's performance on every track.”

“Ella never ceases to amaze me with her immense talent. Every time I think I have the best album she ever made, I get another one and fall for her all over again. On this disc, she covers a wide range of diverse material for one album. From the sorrowful mourning of I Can't Face The Music to the outrageous tempo and swing of Runnin' Wild, Ella proves once again she will always be the versatile First Lady of Song.”

“By the early 60s she was at that awkward point where her pioneering days were coming to a close yet she wasn't exactly ready to retire yet. And the quality of the output she would make would depend on her arranger and the musicians she sang with. On this album she decided to make a full on return to the sound of the big band swing that made her. At the same time, she had already adapted a lot of new vocal ideas into her framework to do it the same way again.”

“The early '60s were a good time for Fitzgerald. The monumental achievement of the songbooks was behind her and she could relax and enjoy her success. Not that she is coasting here. On the contrary, her vocal powers were at a peak in 1962 and she commands the big band with ease and authority. No singer before or since has swung so effortlessly and with such verve.”

“Here Ella is singing over big, brassy, swinging arrangements complemented by Doggett's organ work. The rhythm is equally driving and, of course Ella brings a combination of her wonderfully sustained crooning, and her rangy scat singing, right into the spirited accompaniment.”