The Ventures In Space – THE VENTURES****

Out Of Limits/He Never Came Back/Moon Child/Fear/Exploration In Terror/War Of The Satellites/The Bat/ Penetration/Love Goddess Of Venus/Solar Race/The Fourth Dimension/Twilight Zone

US instrumental group The Ventures most highly regarded LP was In Space. All the unique, unworldly sounds featured on the album were made with musical instruments, rather than with electronic devices. (US:27)

"This was not only their best, but also their most experimental album, at times totally demented yet simultaneously innocent, pre-LSD psychedelia." "The mysterious, all-night feel of an album that exudes sheer confidence, combined with a pre-psychedelic embrace of experimentation, bizarre for its time."

"Ventures In Space includes covers of tracks like Out Of Limits and the Twilight Zone theme, alongside space age themed originals. So far so predictable, but the imagination, and advanced guitar effects involved, meant that the band ended up with probably the first ever recorded example of psychedelia - years before anyone else had done much other than R & B."

"An incredible album to listen to - one of the bridging points between the early rock 'n' roll, and the music that we've now come to call rock."

"The Ventures In Space will always be ahead of the times, this music is so classically futuristic that they could be listening to this in the third millennium and it'd still be making sense."

"The twelve tracks on Ventures In Space are not just songs, they are so visual, so artistic, so compelling at times it's hard to believe that this LP was made in 1963. It is just so ahead of its time, the production value so crisp, clear and creative. When you listen to the album now, its difficult to think of anything this creative to have been produced in a pre-Beatles world. That is a testament to The Ventures and they can be proud to know that they made a masterpiece."

"The bizarre and wonderful Ventures In Space - this strange fusion of surf music and weird sci-fi inspired noise is, in my humble opinion, one of the greatest rock albums ever."

In Person – THE KINGSMEN**

Louie Louie/The Waiting/Mojo Workout/Fever/Money/Bent Sceptre/Long Tall Texan/You Can’t Sit Down/Twist & Shout/J.A.J/Night Train/Mashed Potatoes/Haunted Castel/The Krunch

Garage rock band The Kingsmen debut album In Person includes the much covered Louie Louie which peaked at No. 2 on the US singles chart. Their stripped down back to basics sound was, to some extent, a precursor of the late 1970s British punk craze. (US:20)

"I suppose this rating is more for the Wand label than for The Kingsmen In Person, as I doubt it was their idea to intertwine fake crowd noises into these tunes."

"For me, the thing that vaults The Kingsmen's version of Louie Louie into the realm of greatness is the uniquely depraved vocal style of lead singer Jack Ely. Unfortunately, it seems that that song is the first and last Kingsmen recording featuring Ely, who was replaced by the much more ordinary Lynn Easton."

"One of the first albums that I ever owned. The Kingsmen recorded a number of songs in the studio and audience reaction was added afterwards. What we have are good raw tracks that represent one of the mid-1960s frat rock party bands; Louie Louie is an all time classic. The rest of the tracks give a wonderful picture of an era long gone. Still a great listen."

"These albums on Wand are 'mock live recordings'. It's not that fun to listen to - the choices of covers are pretty sad."

"There are no extraneous exhibitionist guitar pyrotechnics here. It's minimalist and scruffy, strictly from the heart and soul, with just a dash of sham on the side. Just a bunch of raucous alley cats yowling for mates. They definitely filled a niche back then in those days just prior to the British Invasion."

"This was the first album by The Kingsmen, featuring Louie Louie, the all time garage band classic. It is supposedly a 'live' album, but it's really a studio album with applause dubbed in. There is one other hit besides Louie Louie, that being a cover version of the Motown classic Money. The rest of the album features a mix of group originals and cover versions of recent hits. About half of the album consists of instrumentals. This is a solid garage band album from the group that started the whole garage band thing."

Yesterday’s Love Songs Today’s Blues - NANCY WILSON****

The Song Is You/The Very Thought Of You/Satin Doll/Bewitched/Suffering With The Blues/Someone To Watch Over Me/The Best Is Yet To Come/Never Let Me Go/Send Me Yesterday/All My Tomorrows/Please Send Me Someone To Love/Blue Prelude

Jazz styled vocalist Nancy Wilson scored her highest placed LP with Yesterday's Love Songs Today's Blues. Arrangements and backing are from Gerald Wilson and his orchestra. (US:4)

"Nancy Wilson can do it all. A singer who sings some jazz, some pop, some blues, some soul, and some standards from the Great American Songbook, she manages to do everything well and appeal to everyone."

"With her light, high voice and great feel for tempo and phrasing, she ranges here from an Eartha Kitt-like sound in Bewitched to the gorgeous ballad Never Let Me Go."

"This album stands among the relatively small number of recordings that deserve to be regarded as 'great.' Most people seek it out for Ms. Wilson's arresting and sly performance of Satin Doll. But there is so much more here. She pushes more perfectly shaped soul through her vocal chords than seems humanly possible, song after song, until this very brief album has ceased and left a most unwanted silence."

"Gerald Wilson and his Orchestra offer wondrous playing and arrangements that complement each song meaningfully, deftly, and with obvious respect for the great singer they back. Its truly some of the most impressive orchestral work of the period."

"The songs, the arrangements and the vocals are as good and as relevant as I remembered the album I owned in the mid-60s. Nancy Wilson's presentation of these songs is terrific. Gerald Wilson's arrangements are both lush and jazzy. Anyone who likes smooth jazz should have this album in their collection."

"Coming on the heels of Nancy's breakthrough Broadway and Hollywood albums this one put the icing on the cake with a clever title and great selection of songs."

Wives & Lovers – JACK JONES****

Wives & Lovers/Toys In The Attic/Song About Love/I’m Moody/Angel Eyes/Fly Me To The Moon/Charade/I Wish You Love/Nina Never Knew/Summertime Promises/I See Your Face Before Me/Come Rain Or Shine

Smooth MOR vocalist Jack Jones entered the US album top twenty for the first time with Wives & Lovers. The Grammy winning title track single reached No. 14 in the US. (US:18)

"Without a doubt, Jack Jones is the greatest 'crooner' singer of the lot, the natural sound of Jack's voice is the most pleasant of them all. His delivery is so great and beautiful, I have really no choice but to say he's the best singer of all. It's a wonder that he wasn't more popular than he actually was."

"The backing orchestra's very lush st

"It's great to appreciate Jack Jones' magic with the love song. Far too often, Jones has been wrongfully dismissed as a lightweight for singing many ballads, but he elevated this genre into an art form."

"It's astounding enough that the man possessed the most perfectly beautiful singing voice and the greatest vocal range in the business. Even more amazing that he added so much warmth, sensitivity, charm and humility that made each love song so immediate and memorable. No other singer could match these qualities."

"It's not just that he has a golden, smooth voice, with an almost operatic range, it's that he is never afraid of taking chances with his phrasing and delivery, which makes for some very exciting performances. Jack has a beautiful multi-layered voice that just gets better and better with each listening. His musical stylings are impeccable and have truly stood the test of time."

"As a fifty-something woman I've come about full circle with the playful, lovely song Wives & Lovers. I was an adolescent girl when I first heard it on AM radio and thought it was wonderful; then I was taught it was 'sexist' and, budding feminist that I was, felt properly guilty about my affection for it. Now I love it again, and without reservations. I've learned that sometimes it's better to go with the mood and not obsess about the meaning."

Time To Think – THE KINGSTON TRIO****

The Patriot Game/Coal Tattoo/Hobo’s Lullaby/Seasons In The Sun/These Seven Men/Ally Ally Oxen Free/ Deportee/No One To Talk My Troubles To/If You Don’t Look Around/Turn Around/Song For A Friend/Last Night I Had The Strangest Dream

The enormously popular folk band The Kingston Trio made their final US top twenty album chart entry with Time To Think. Recorded in the wake of the Kennedy assassination it is probably the most political of their albums. The folk baton was now passing to a new generation of singers, Peter, Paul & Mary and most notably, Bob Dylan. (US:18)

"Time To Think, where the title tries to give the game away. Here we have Patriot Game, Last Night I Had The Strangest Dream and Woody Guthrie's Deportee and the haunting Song For A Friend, written immediately in the wake of JFK's assassination."

"The Kingston Trio should be heard not just for the hits. These guys can play guitar and banjo pretty fine also. Plus their harmonies are not too shabby."

"Song For A Friend was inspired by the then recent assassination of President John F. Kennedy."

"This album was released near the end of a much more civil period in our history than the time which soon followed. The gentle sounds and thoughtful lyrics are to be treasured."

"Time To Think is the most mature and truly emotion laden albums The Kingston Trio ever did, regardless of the groups composition. I consider it one of the top five folk albums ever made and certainly The Kingston Trio's ultimate achievement and finest contribution to truly American folk music."

"Time To Think was member John Stewart's finest moment ever in his long singing career since he is prominent on many songs on this album."

"Time To Think was Stewart's memorial to the late president. The mix of songs is extremely diverse and, if not the group's ideal repertory, shows off their ability to deal with folk music in a multitude of moods and settings."

Tijuana Brass Volume 2 – HERB ALPERT & THE TIJUANA BRASS****

The Great Manolete/Spanish Harlem/Swinger From Seville/Winds Of Barcelona/Green Leaves Of Summer/More/America/Surfin’ Senorita/Marching Through Madrid/Crea Mi Amor/Mexican Corn/Milord

The follow up album from the Tijuana Brass, Volume 2 failed to chart on release but as the group’s popularity increased it entered the album chart when reissued in 1966. (US:17)

"The better parts of the album are similar to the best parts of The Lonely Bull, namely, the ones that contain a majestic sound. Winds Of Barcelona, Marching Thru Madrid and Crea Mi Amor all fit that description. To these introspective pieces, all featuring piano, mandolin and trumpet, Alpert adds just a hint of strings in the background. It is probably no coincidence that all of these songs were penned by Sol Lake, the same writer who contributed the best original songs on Alpert’s début album."

"The opening track, Alpert’s The Great Manolete does not disappoint - with its overdubbed cheering crowd and melancholy melody, it sounds like a cousin to his previous hit, The Lonely Bull."

"Vol. 2 finds Alpert stretching a bit as a producer with thicker arrangements, yet regressing as a composer with a fondness for novelty songs (Swinger From Seville and Surfin’ Senorita)."

"The follow-up LP to The Lonely Bull, in the great tradition of follow-ups, tries to duplicate its appeal right off the bat with another leadoff track featuring bullfight sounds and an authentic bullring tune, The Great Manolete. Yet Alpert is beginning to expand his reach beyond Baja California without losing the ambience of Lonely Bull, sharpening his skills as a producer and exploring other moods and rhythms."

"V2 has always been one of my favourite Tijuana Brass albums. It makes me imagine a romantic Madrid. There's more of an international sparkle to this album, a Spanish feeling. It's unquestionably a party album and not as commercial sounding as some of the later releases."

There! I’ve Said It Again – BOBBY VINTON***

You're Nobody 'Till Somebody Loves You/Unchained Melody/There I've Said It Again/If/My Foolish Heart/Trying/ Lavender Blue/To Each His Own/I Can Dream Can't I/Warm & Tender/My Heart Belongs To You/Too Young

Popular vocalist Bobby Vinton was at the peak of his popularity with the release of this album of oldies. The title track provided Bobby with his second successive US No. 1 hit single. With the exception of Warm & Tender the entire album consists of songs that were made popular during the 1940s and early 1950s. (US:8)

"Bobby Vinton was one of those few artists that maintained a level of popularity in that era with his slower paced, more emotional and sentimental tunes. While most of the music of that time was introducing a lot of wiggling, shaking and groovin', Bobby's music just made you want to close your eyes and listen."

"I'm glad that Bobby finally gained recognition in the UK, however belatedly, because he was a singer of real quality."

"Fans of early sixties pop music should give Bobby Vinton a listen."

"For a decade between 1962 and 1972, Bobby Vinton's easy going, unpretentious pop tunes climbed the charts over and over. Even more remarkable was his seamless presence on the charts in spite of the British Invasion."

"In comparison to today's standards, the tasteful understated orchestration is timeless. Bobby Vinton is the quintessence of hard work and perfection."

Sings For You – RICKY NELSON***

For You/Fools Rush In/Down Home/That Same Old Feeling/You're Free To Go/I Rise I Fall/That's All She Wrote/ A Legend In My Time/Just Take A Moment/Hello Mister Happiness/Hey There Little Miss Tease/The Nearness Of You

Teen idol Ricky Nelson achieved his final US top twenty album success with Sings For You. Old revivals For You and Fools Rush In both made the UK and US singles top twenty. Ricky was far from being the only clean cut teen orientated singer to be swept aside by the British invasion. (US:14)

"Fools Rush In, with its classic James Burton guitar work, overshadowed everything else on Nelson's second Decca album, which contained another big hit in the title track. The singer moved into some more country-oriented material on cuts like A Legend In My Time, but as a whole the atmosphere was too sedate and the material was unexceptional, sometimes sounding like inferior derivations of his early-'60s hits for Imperial."

"This is an excellent album and, as far as I know, the only one with Down Home, a song of nostalgic longing that puts Rick's young yet melancholy voice to perfect use."

"Like most pop music in America (just before The Beatles' arrival) a lot of the songs here seem 'watered down' compared to the harder, more exciting material on his earlier albums. And a couple tunes are marred by one of the worst group of back-up singers I've ever heard."

"It leads off with Rick's two late '63/early '64 hits, For You, and Fools Rush In, the latter an exciting arrangement of the swing era standard, with a beautiful guitar solo by James Burton."

"There's also a surprising take on the standard The Nearness Of You. Rick's smooth vocals fit the romantic mood of these songs perfectly. Rick knew how to give a song just what it needed, which is even more important. There's nothing phony in Rick Nelson's singing, it all comes from the heart."

Romantically – JOHNNY MATHIS***

Getting To Know You/Moonlight In Vermont/Hi-Lili Hi-Lo/Friendly Persuasion/Autumn In New York/In Wisconsin/ All That Is Missing/The Sound Of Music/Theme From Carnival/Too Young To Go Steady/Its Only A Paper Moon/September Song

Romantically was Johnny Mathis's final album of new material for Columbia featuring the arrangements of Don Costa, before his interregnum with Mercury. (US:23)

"Costa's string back-drop is now augmented with a chorus in order to create the perfect mood for Johnny's superb phrasing and emotional depth."

"Johnny Mathis is probably the best of the romantic ballad singers."

"The most interesting of Costa's arrangements is the song Its Only A Paper Moon. Usually this song is done as a jaunty little ditty, but here Johnny sings it as a straight forward ballad with a wonderful result."

"There is not a dud among the twelve songs on this album."

"Romantically is a bunch of well picked up songs, performed to a highly professional standard, the third Mathis-Costa collaboration, the last one for Columbia Records."

"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."

“His voice is incredible, and so is his sensitivity. Very few singers have that quality."

“How can you go wrong with Rodgers and Hammerstein and Johnny Mathis."

"This album is filled with lush ballads with undemanding arrangements."

Judy Collins 3 – JUDY COLLINS****

Anathea/Bullgine Run/Farewell/Hey Nelly Nelly/Ten O’clock & All Is Well/The Dove/Masters Of War/In The Hills Of Shiloh/The Bells Of Rhymney/Deportee/Settle Down/Come Away Melinda/Turn Turn Turn

American folk singer Judy Collins' first limited taste of album chart success came with her third LP. It is of course the case that contemporary chart placing is not always an accurate guide of total sales. (US:126)

"Judy Collins' #3 album was one of my favourite records growing up. I hadn't heard it for a long time and had eagerly awaited its re-release, at the same being a bit nervous in case it didn't live up to my rose-coloured memories. I needn't have worried. Although Collins would go on to a long and distinguished career of notable musical eclecticism, in some ways she never surpassed her performances here, particularly in sheer vocal freshness and beauty."

"Already she is aiming for a higher, lighter sound than on her first two albums and the results are available again for all to hear - the arching vocalise at the beginning and end of Anathea must be as gorgeous a thing as she's ever sung. Indeed, the sheer magnetism of her sound leavens what on the whole is a pretty intense and serious program, with grim, in-your-face anti-war tracts."

"Collins has a powerful voice in these early songs and has never sounded better."

"The songs not only showcase the many colours of Judy's voice but also her guitar playing which is always great to listen to."

"This is Judy Collins at her finest. With her clear and true voice, she is able to express all the emotion the selected songs deserve. Did I know most of the songs on this LP? No. Still with one playing, the album became one of my favourites. These songs, sung so beautifully, bring to mind the real focus of many songs during the heyday of the folk song era - an effort to bring the causes of social injustice to those who are listening."

"This album catches Judy as a rousing folkie, interpreting for all she's worth on some great traditional stuff and belting out material from the likes of Dylan and Paxton. She is almost inventing folk-rock with Anathea and Bullgine Run for starters, followed by a protest song Hey Nelly Nelly to bring shivers down the spine."

Blues Songs Ballads – TOM RUSH****

Alabama Bound/More Pretty Girls/Sister Kate/Original Talking Blues/Pallet On The Floor/Drop Down Mama/Rag Mama/Barb'ry Allen/Cocaine/Come Back Baby/Staggerlee/Baby Please Don’t Go

Blues Songs Ballads is a follow up collection of folk and blues standards interpreted by Tom Rush with acoustic guitar accompaniment, backed only by washtub bass.

“None of these songs are originals but while Tom Rush stole from everyone, I'm starting to get the feeling he always did their material better. Barb'ry Allen is a standout as is Cocaine in a typically light-hearted version. Pallet On The Floor displays some wonderful guitar playing, and Drop Down Mama, another early bluesmen cover is also a highlight.”

“Blessed with an exceptionally expressive voice, Tom rambles through a set of folk and blues standards. It also helps that his guitar skills are more than adequate to carry the set in near solo fashion. In this engaging album, backed only by a washtub bass, Tom shows why he was a legend in the mid sixties.”

“His versions of Staggerlee, Cocaine and Sister Kate have stayed in my brain for decades now, overpowering all the other versions.” “What I like most about Tom Rush is the emotion he puts in the guitar playing. His voice sounds sad a lot of the time.”

“This is definitely one of his best. And it's just Tom, accompanying himself on acoustic guitar, backed up by washtub bass. Tom was young at the time he made this, but sounds like a real old-timer.”

“This is a truly delightful set of songs. From start to finish, this is a great song set: hilarious at times, moving at others, and always delivered by Rush expertly. A supremely underrated work that won't disappoint you.”

“A great album which reveals the early talent which burned itself out far too soon. It was the sixties, I guess, and you had to be there.”

“If you want to get to the roots of folk music of the sixties, this is a good place to start. A major influence on artists from Joni Mitchell to James Taylor.”

Fun In Acapulco – ELVIS PRESLEY***

Fun In Acapulco/Vino Dinero Y Amor/Mexico/El Toro/Marguerita/The Bullfighter Was A Lady/(There’s) No Room To Rhumba In A Sports Car/I Think I’m Gonna Like It Here/Bossa Nova Baby/You Can’t Say No In Acapulco/ Guadalajara/Love Me Tonight/Slowly But Surely

The second soundtrack album from Elvis in 1963 was the Latin themed Fun in Acapulco. It contains the top ten hit single Bossa Nova Baby, together with some less memorable tracks. (US:3 UK:9)

"As one might expect, the emphasis here is on Latin sounds and though the songs aren't particularly deep, Elvis seems to have a lot of fun in this setting."

"They're not always memorable, but neither are they the lackadaisically written sore thumbs of Elvis' worst soundtracks."

"The fuzz guitar and sensual vocal of Slowly But Surely is a great way to close the album."

"The Latin feeling, and its uncompromising south of the border beat, seem to provide a platform of very exciting tunes, fresh either in performance or song presentation."

"The full version in terms of lyrics provides a wonderful listening and dancing experience, and above all shows the undisputed talent of Presley to artistically tap into a foreign musical venue, with great charisma and unmistakable performing talent."

"The album provides some very romantic themes that can be easily considered as Presley top love songs. The case is made certainly for the song Marguerita, an overtly passionate and filled with Latin feeling tune, that is both tender and sad."

"He does some of his best singing in his career to wit, a masterpiece written by the great Don Roberston, Marguerita, in which Elvis applies his art in such a way to temporarily sway his most Sun Records-oriented fans."

Everyone’s Welcome At Mrs Mills Party – MRS MILLS**

Chicago/Avalon/Who's Sorry Now/When You're Smiling/Who Were You With Last Night/Margie/I Cried For You/I Only Have Eyes For You/When Somebody Thinks You're Wonderful/Just A Wee Deoch & Doris/If You're Irish Come Into The Parlour/She's A Lassie From Lancashire/I Wonder Who's Kissing Her Now/In A Shanty On Old Shanty Town/Kiss Me Again/Alexander's Ragtime Band/How Ya Gonna Keep 'Em Down On The Farm/Bill Bailey Won't You Please Come Home/Whispering/Put On Your Old Grey Bonnet/Back Home In Tennessee/For Me & My Gal/Moonlight Bay/Oh You Beautiful Doll/Sweet Rosie O'Grady/Three O' Clock In The Morning/I'll Be Your Sweetheart/September In The Rain/Dinah/You Must Have Been A Beautiful Baby/Brown Eyes (Why Are You Blue)/Wait 'Till The Sun Shines Nellie/Don't Dilly Dally On The Way/Rock-A-Bye Your Baby With A Dixie Melody/ River Stay 'Way From My Door/When Day Is Done

Fancy a knees-up? Just put Mrs Mills on the radiogram and your party is sure to go with a swing. Prolific good time pianist Mrs Mills enjoyed her first hit LP with Everyone’s Welcome At Mrs Mills Party, which reached No. 7 on the NME album chart. Her music was hopelessly outdated in the 1960s but she nevertheless retained a loyal following for her party time releases.

"This is good-time music that brought pleasure to a great many people and that was reflected in Mrs. Mills' popularity and record sales."

"Both sides have two medleys featuring Mrs. Mills on piano with some accompaniment."

"A showcase for Mrs Mills' potent piano skills, its the song selection for the medleys and the creative, new and exciting ways in which they segue into each other that really counts."

"So out of step with the times."

"This is what people seem to forget about 'the sixties' - for the bulk of the people it was a time of continuity, not change, and that was reflected in Mrs. Mills' popularity and record sales."

"Mrs Mills was all about fun, having a laugh and letting everyone join in. Her music harked back to music halls, communal sing-a-longs, the wartime spirit and evenings by a roaring fire in smoky, boozy pubs."

Drag City – JAN & DEAN***

Drag City/I Gotta Drive/Drag Strip Girl/Surfin’ Hearse/Dead Man’s Curve/Schlock Rod Part 1/Schlock Rod Part 2/ Popsicle Truck/Surf Route 101/Sting Ray/Little Deuce Coupe/Hot Stocker

Jan & Dean were a pop duo who epitomised the American surf and hot rod youth culture of the early sixties. The concept LP Drag City comprises mostly original tunes and was their most commercially successful LP. The title track was a US No. 10 hit single. (US:22)

"Jan & Dean are the quintessential Californian pop duo of the early 1960s; versed in surfing and hot-rod culture. They created music that provided a soundtrack for summertime fun. The sonic complexity of Jan Berry's productions was a serious influence on the young Brian Wilson, and one can easily follow the progression of '60s rock from Dead Man's Curve to The Beach Boys Good Vibrations. As such, Jan & Dean are more influential than many people realize."

"A concept album from Jan & Dean, but this time focussing on all things automotive. As is typical of most of their releases, it's a grab-bag of tracks of varying quality and pedigree, the best of which are great, and the worst of which are simply forgettable. There's also a good many laughs to be found within these grooves, as both Surfin' Hearse and Schlock Rod (Parts 1 & 2) are pretty funny tracks. Other highlights include Drag City, Dead Man's Curve, I Gotta Drive and Surf Route 101."

"Drag City is arguably Jan & Dean's best album. Unlike the typical albums of the era, which used to feature one or two hits plus covers of other performer's hits, this album features almost all original tunes. The songs are all about cars and they are all good. Drag City was the hit single, but Popsicle Truck also became a hit later, as did Dead Man's Curve (but this isn't the version that was later released as a single). The other songs are all good, too, but my favourite is Schlock Rod (Parts 1 & 2) which is a hilarious parody of songs where a guy brags about his car."

"Drag City signalled a change for the boys. Up till then, Jan & Dean records were composed primarily of cover songs. Although Surf City introduced the concept of self-penned material, it was Drag City where it really came together. Working with a close knit group of Los Angeles songwriters, Jan brought together a collection of mostly original songs."

Concert For Lovers – FERRANTE & TEICHER****

Days Of Wine & Roses/More/Taste Of Honey/I Left My Heart In San Francisco/Anniversary Song/Her Concerto/ What Kind Of Fool Am I/Fascination/Fly Me To The Moon/Greensleeves/Theme From The Eleventh Hour/Beautiful

The magnificent piano duo Ferrante & Teicher presents Concert For Lovers, a collection of tunes with romance firmly to the fore. Musical professionalism and perfectionism such as this are a rare commodity. (US:63)

"Their trademark two piano plus big orchestra sound is, all performed to a high standard."

"Ferrante & Teicher were what I was into in the late 60s. I always loved their music."

"What gifts they gave the world. What a beautiful legacy. My gratitude for sharing time together on earth."

"These two, Ferrante & Teicher, stand alone in musical excellence. Always a pleasure to hear their works."

"Ferrante & Teicher, they were master pianists in every sense of the word."

"What a different era in music... I don't think anyone plays like this these days."

Charade – HENRY MANCINI****

Charade(Main Title)/Bistro/Bateau Mouche/Megeve/Bye Bye Charlie/The Happy Carousel/Charade(Vocal)/ Orange Tamoure/Latin Snowfall/The Drip-Dry Waltz/Mambo Parisienne/Punch & Judy/Charade(Carousel)

Leading movie composer Henry Mancini enjoyed his eighth US album top twenty success with the soundtrack to Charade. The film starred Cary Grant and Audrey Hepburn. (US:8)

"If you've seen the movie you don't have to be convinced that this is one of the most effective soundtracks ever produced. What you may not realize is how strong these pieces are individually. The pounding and complex title theme is a brilliant intro to the plot twists that will baffle all first time viewers. The same song played later and softer with the beautiful lyrics barely touching our consciousness, is proof of its versatility."

"So many works on this album are so affecting and effective. If you need a romantic piece for candlelight dinner try Bateau Mouche and the vocal rendition of the theme. You'll get points for romance every time."

"This film was a true last gasp of the romance and sophistication of old Paris, and the death of the pre-Beatlemania world where cultural standards were still set by adults. The LP is a fitting tribute to this world, soon to vanish, and stands on its own as not only a great soundtrack, but one of the final great mood music albums.

" "This album is a great collection of some of the best cool-jazz sounds of the early-60s. The excellent and memorable main title draws you in quickly and loosely establishes the blueprint from which the otherwise diverse selections are derived."

"All of it is so sumptuously done, always pulling out all the stops, and with consistently above-and-beyond levels of virtuoso playing. This is great cocktail party music. I don't know what it is about it, but it just reminds me of Martinis and cosmopolitans. I just love this soundtrack. Every track is unique and zippy with lots of flair, with the possible exception of the Drip Dry Waltz."

16 Hits From Stars & Garters - KATHY KIRBY***

Let Me Sing & Be Happy/I Can't Give You Anything But Love/Someone To Watch Over Me/I'll Get By/Acapulco 1922/Following In Father's Footsteps/Waiting For Robert E Lee/Bill/Happy Days & Lonely Nights/Who's Sorry Now/Can't Help Loving Dat Man/ If You Were The Only Boy In The World/The Man I Love/Miss Dynamite/On The Sunny Side Of The Street/Show Me The Way To Go Home

Powerful songstress Kathy Kirby enjoyed her only album chart success with this collection of old time numbers from the TV series Stars & Garters. Contains none of her hit singles. Kathy's star quickly began to fade as this kind of material became increasingly unfashionable, outgunned by the more pervasive beat music. (UK:11)

"It's an excellent marriage of first-class singing and good songs. The ballads are particular winners. Pieces like Someone To Watch Over Me, I'll Get By and If You Were The Only Boy In The World provide an excellent showcase for Kathy's strong, clear and warm vocals. My goodness, she could certainly sing."

"She looked stunning and beautiful and had a voice to match. Clear as a bell, powerful when it needed to be and gentle when that was what a song called for. When she sang of failed love, you felt her anguish. When she sang an upbeat, positive song, she put a smile on your face."

"There are no dud tracks here. There couldn't be as long as Kathy wraps her magnificent voice around them, there are only gold nuggets to be found. If you haven't heard Kathy before, listen to her sing before buying - just to be sure you enjoy her powerful voice. If you do, you're in for a real treat."

"With her platinum blonde hair flicked up at the ends, glossy lipstick, sparkling eyes and figure-hugging, oft sequined, dresses, she was one of the most glamorous of the 60s song-birds."

"Kathy's eloquent phrasing, combined with the soaring violins and neatly cropped drum rhythms, soothe the ear and stir the memory."

"Her voice is wonderful, strong and vibrant. The songs are nostalgic and have an old fashioned type of melody missing in most modern releases."

Wonderful! Wonderful! – LAWRENCE WELK***

Wonderful! Wonderful!/Don’t Think Twice Its All Right/That Sunday That Summer/Sugarshack/Night Life/Wives & Lovers/Fools Rush In/Maria Elena/Blue Velvet/Deep Purple/Washington Square/Fiesta

Bandleader Lawrence Welk, with his 'Champagne Pops' Orchestra, makes yet another appearance in the US album chart with Wonderful! Wonderful!. It is bang up to date, including a cover of Bob Dylan's Don't Think Twice Its Alright. Extraordinarily popular in the States during the 1950s and 1960s his easy listening music is little heard now. (US:29)

"You can't beat a professional like Lawrence Welk."

"I have always enjoyed listening to Mr. Welk's music. His orchestra is one of the best in the industry. They are absolutely the greatest."

"If you are nostalgic for 'beautiful music', Lawrence Welk is for you."

"I can't wait to hear more from him. He's such a genius."

"This album explores some of the many styles with which Welk was so fluent."

With The Beatles – THE BEATLES*****

It Won't Be Long/All I've Got To Do/All My Loving/Don't Bother Me/Little Child/Till There Was You/Please Mister Postman/Roll Over Beethoven/Hold Me Tight/You Really Got A Hold On Me/I Wanna Be Your Man/Devil In Her Heart/Not A Second Time/Money

The Beatles second LP With The Beatles stayed at the top of the UK album chart for five months. It again mixes original Beatles' compositions with recent covers. It maintained the excellent standard of its predecessor but contained no new musical development. A classic album, the songs were enormously influential as they formed the basis of The Beatles triumphant USA breakthrough early the following year. (UK:1)

"The Lennon-McCartney writing team was gathering steam and beginning to knock out pop classics as if they were pulling them out of thin air."

"With The Beatles both affirmed promise and proclaimed genius. A slew of memorable Lennon/McCartney compositions embraced pop at its most multi-faceted, robust, melancholic, excited and wistful."

"It really is brilliant and better than I remembered. The results were exciting, less restrained pop. The songs are just so catchy and you can see their enduring influence."

"There's a lot of brilliant music here, especially for rock 'n' roll fans."

"This second album by The Beatles is just as good as the first. A magical meld of pop and rock & roll."

"This is the early Beatles at their best and features a selection of cracking original tunes and some really good covers. The whole set is delivered with conviction and bags of raw energy."

"Today's so-called 'boy bands' cannot hold a candle to these guys and all the other great rock/pop bands of the British Invasion of the 1960s. No Beatle album collection is complete without this."

"This is not only one of the best records to come out in 1963, it's one of the best records of all time."

Little Deuce Coupe – THE BEACH BOYS***

Little Deuce Coupe/Ballad Of Ole’ Betsy/Be True To Your School/Car Crazy Cutie/Cherry Cherry Coupe/409/ Shut Down/Spirit Of America/Our Car Club/No-Go Showboat/A Young Man Is Gone/Custom Machine

This car themed album Little Deuce Coupe was rush released only a few weeks after Surfer Girl and combines new material with some already released tracks. The track Be True To Your School is a different version to the US No. 6 hit single. (US:4)

"For an album recorded so quickly, the quality was amazingly high. In particular, Brian Wilson's songs and their arrangements were becoming more and more dazzling and complex, specifically No-Go Showboat and Custom Machine."

"Little Deuce Coupe is arguably the first rock & roll concept album. Combining car songs from The Beach Boys' previous three albums with several new car-related numbers, it celebrates the simple joys of being a teenage automobile owner."

"Little Deuce Coupe is a car-themed concept album that has some good rock moments, such as Car Crazy Cutie and Cherry Cherry Coupe. The rest are mostly car classics from the previous three albums. This was a rushed record, but it stands pretty strong, if a bit corny."

"Despite the fact that nearly half the record wasn't new it sounds like a very real album to me. Great singing on Ballad Of Ole Betsy and the cheery Car Crazy Cutie will always raise a smile." ,p> "This is the typical cars, sunshine, surfboards and girls Beach Boys LP. It perfectly captures that feeling and time."

"Little Deuce Coupe has ideas and performance that astonish almost four decades on. The songs, harmonies and musicianship equal anything The Beatles did later."

“Hardly enough time to give the ever-more talented arranging skills of Brian Wilson a chance to shine. Little Deuce Coupe was very much made by people with dollar signs in their eyes.”

“It's a vague collection of car songs, many of which are either recycled duds (Shut Down, Car Club), or indistinguishable ‘rockers’.”

Never Grow Old – THE MAYTALS***

I’ll Never Grow Old/Sweet Sweet Jenny/Are You Mine/Matthew Mark/My Destination/True Love/Just Got To Be/ Treat Me Bad/Hallelujah/Don’t Let/War No More/Tell Me Your Love

Toots and the Maytals from Jamaica are best remembered as a reggae group, but their roots go back to the early days of ska. Never Grow Old is considered to be one of the best of the genre.

“After many years of listening to, and collecting, ska and reggae, this album continues to be among the best I own. I have everything Toots has ever done, but these songs from the beginning are amongst the best he ever recorded. Never Grow Old and Hallelujah alone are worth the price, but all the others are great as well. If you like ska at all, do yourself a favour and add this to your collection immediately.”

“In 1963, when these cuts were recorded, Toots was still in his teens. The harmonies have traces of American gospel and R & B, but are already breaking out into the distinctively Jamaican rhythms that would evolve throughout the 1960s. The Skatalites provide typically pumped-up brass, The Maytals add tight harmonies, and Toots soars over it all. The brightest gem is the title track, which mixes it all together in an exuberant celebration of wailing voices and honking saxophone.”

“If you get the opportunity this album will change your life. Early Toots records started with a bang and got fiercer as the song developed. Just try it and see. You will not be disappointed.”

“Like all of the major Jamaican bands of the time, The Maytals were performing ska during this era, and doing a pretty good job of it, although the more distinctive styling of their reggae prime are only hinted at here. Featuring The Skatalites on backup, Never Grow Old is respectable early ska.”

“This is terrific vintage Toots from the early days of the ska rhythms in Jamaica. Your feet will be tapping and you will be dancing round the kitchen. Turn the volume up and enjoy it. This is the real thing - vibrant and toe-tapping. It is amazing to think that Toots was still only 19 when these songs were recorded and the other two group members in their twenties. The background music is provided by The Skatalites and they are all great songs. Buy it and have the neighbours in for a party.”

Sugar & Spice – THE SEARCHERS***

Sugar & Spice/Don’t Cha Know/Some Other Guy/One Of These Days/Listen To Me/Unhappy Girls/(Ain’t That) Just Like Me/Oh My Lover/Saints & Searchers/Cherry Stones/All My Sorrows/Hungry For Love

The Searchers quickly followed their debut album with a similar package of pop and rock & roll covers. Sugar & Spice featured the bouncy title track UK No. 2 hit single. (UK:5)

"The Searchers' 1963 LP Sugar & Spice was typical of most early British Invasion albums, built around one hit and 11 covers of American rock & roll standards."

"Its better than the average period artefact, due to the group's always enjoyable harmonies and arrangements. Actually, nearly half of the tracks are first-rate."

"The Searchers' first album Meet The Searchers set the tone for upfront melodic Merseybeat and Sugar & Spice continued in a similar vein."

"Its all good stuff with energy, although I particularly like the slow song, All My Sorrows."

"Buddy Holly would seem a strong inspiration for songs like Sugar & Spice."

"The group seem to have been unable or unwilling to update their crisply optimistic, teen-beat pop sound."

"They boasted a sound which was totally unique among the British 1960s beat boom bands, built around a chiming 12-string guitar and Everly Brothers styled close vocal harmonies. Moreover, they almost invariably chose exactly the right songs to suit their musical strengths."

Shangri-La – ROBERT MAXWELL****

Bewitched/Strange Music/Poinciana/That Old Black Magic/Nature Boy/Shangri-La/The Breeze & I/The Sounds Of Summer/Old Devil Moon/Magic Is The Moonlight/Tears/Its Magic

Harpist and orchestra leader Robert Maxwell achieved his only US album success with Shangri-La. Sales were boosted by the self penned title track No. 15 hit single which was featured on the Jackie Gleason TV show. It is unfortunate that lounge music of this kind is not better appreciated these days. (US:17)

"It is the instrumental version of Shangri-La, that I heard growing up on the Jackie Gleason show that I fell in love with. I wasn’t all that fond of the Letterman’s vocal cover version which always sounded a bit 'corny' to me, while the instrumental version was 'exciting'."

"Had forgotten how much I loved Robert Maxwell and his Magic Harp from my younger days. I came across him accidently and have just finished playing Shangri-La. It is going to be one that I will play over and over and over again."

"My favourite song was and still is Shangri-La. He adds a haunting touch to an already great song."

"It's a dreamy song and not often you hear one that has a stringed harp as part of an orchestra. What a nice music from the times. The piece acquires a deeper feeling when we get to know what Shangri-La means."

"I remember when this came out in '64 right in the midst of the British explosion of music with all the great and pioneering British bands. This record was played right along with them on AM radio in New York City. It stood out most prominently and I always loved this recording."

"That Old Black Magic is a true standard, written by Harold Arlen in 1942, with lyrics by Johnny Mercer. This is a nice bossa nova version by Mr. Maxwell."

Right Now! – THE RIGHTEOUS BROTHERS****

Let The Good Times Roll/My Babe/Bye Bye Love/B-Flat Blues/Little Latin Lupe Lu/My Prayer/In That Great Gettin’ Up Mornin’/Georgia On My Mind/Koko Joe/I’m So Lonely/Love Or Magic/Fee-Fi-Fidily-I-Oh

Right Now! was the debut release from the blue-eyed soul duo The Righteous Brothers. Not actually brothers they would have to wait until 1965 before achieving their commercial breakthrough. (US:11)

"The term 'blue-eyed soul' may not have originated specifically to describe The Righteous Brothers, but they were the epitome of the genre."

"Anyone familiar with the music of The Righteous Brothers would be hard-pressed not to acknowledge their contribution. Their voices, individually and in tandem, added an indelible dimension to the popular music of the era."

"They weren't related at all, but Bill Medley and Bobby Hatfield made a great combination with their contrasting voices. While their career may seem quite long, the songs they are remembered for all came from a very short part of that period."

"The Righteous Brothers made their earliest recordings for Moonglow. They are particularly interesting in that they showcase the duo's ability to sing both uptempo songs and ballads. Nevertheless, the soulful ballads seemed to suit them best. Another characteristic is that most of their recordings are almost like solo recordings for one singer or the other. It is rare to find individual tracks on which the singing is shared equally between the two of them."

"To hear the early recordings was an ear-opening, sonic blast. These guys rocked. These wonderful, soulful, amazing performers I heard long ago and far away on Shindig are captured in all their power and brilliance perfectly."

"Little Latin Lupe Lu changes the beat considerably to give us a more rockin' type of song with a 60s flavour to it that is absolutely infectious. I love it and I predict that you will too."

"The Righteous Brothers, Bill Medley and Bobby Hatfield, never hesitated to dig deep into a ballad to be able to convey every subtle nuance of each word they ever sang, and their adoring fans loved them for it."

Bo Diddley Rides Again – BO DIDDLEY***

Bring It To Jerome/Cops & Robbers/Mumblin’ Guitar/Oh Yea/You Don’t Love Me (You Don’t Care)/Down Home Train/Bo Diddley Is Loose/Help Out/Call Me (Bo’s Blues)/Don’t Let It Go/Nursery Rhyme/ Dearest Darling

Bo Diddley Rides Again was a UK only release to coincide with the performer's 1963 British tour, which contained tracks from earlier US albums. It uses the same cover picture as the 1960 US LP Have Guitar Will Travel. (UK:19)

"For those who want to hear Bo in his artistic rockin' blues element, this is perfect."

"The music is energetic jumpin' rockin' blues with Diddley's trademark vocals and rhythmic guitar."

"Bo Diddley Rides Again, mixes tracks of the 50s from different US LPs."

"Bo Diddley in fact became a big cult figure in the British beat boom of 1963-64, long after he had been established as a rock' n' roll/rhythm & blues star in the USA."

"He influenced British groups like The Rolling Stones, and this was the Bo Diddley music they were listening to in their formative years."

More Chuck Berry – CHUCK BERRY****

Round & Round/Almost Grown/Sweet Little Rock & Roller/Anthony Boy/Little Queenie/Worried Life Blues/ Carol/Reelin’ & Rockin’/Thirty Days (To Come Back Home)/Brown Eyed Handsome Man/Too Much Monkey Business/Wee Wee Hours/Jo Jo Gunne/Beautiful Delilah

Chuck Berry achieved his third UK album top twenty hit during 1963 with More Chuck Berry. It complements the album Chuck Berry released earlier in the year and includes many of his older hits. Its chart success reflected the revival of interest in this artist who played a pivotal role in the development of rock & roll. (UK:8)

"The whole thing adds up to a really fun listen, even if all the tracks are now easier to track down elsewhere."

"Chuck Berry’s vast contribution to the music world is reflected in the plaudits he has won from many of the most well known artists who followed him."

"It is only a slight over simplification to state that most rock since Berry has been a variant of his original adaptation of rhythm and blues."

"If you are a fan of good ol' rootsy, R & B influenced rock 'n' roll; you know in your soul that Chuck Berry is the savant."

"How can a guy come up with those riffs? Those simple, yet poetic lyrics?"

"Chuck Berry is one of the kings of rock & roll. His guitar playing, tone & overall presentation is timeless. You hear his songs world-wide and they still sound as fresh now as they did when they came out."

"He was deep into the blues, but he was able to bridge some musical styles together to create a lasting collection of work that has often been emulated, but never duplicated."

More Trini Lopez At PJs – TRINI LOPEZ****

Oh Lonesome Me/Never On A Sunday/Heart Of My Heart/Corazon De Melon/Go Into The Mountains/If You Wanna Be Happy/Walk Right In/Lonesome Traveller/Green Green/Goody Goody/Yeah/Kansas City

Hot on the heels of his first live recording at PJs, More Trini Lopez at PJs was unable to quite emulate the huge success of its predecessor. Nevertheless, it achieved a creditable album chart showing. (US:11)

"The album was as varied as the debut, offering Latin-tinged, good-time renditions of folk, country, rock & roll songs, standards and even an original composition. Less folk-oriented than the first album in terms of repertoire but no less entertaining."

"The music is fresh, fun and never gets old. It is absolutely a gem."

"There is still something indefinably amazing about this artist who, I believe, came close to bridging the '60s generation gap."

"Trini Lopez was a fine guitar player and spirited vocalist. Someday, the world will wake up to the fact that Trini Lopez is cool."

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

"Brings back instant memories of this forgotten legend who deserves to be recognized for his many contributions to popular music."

"This is Trini at his best. A timeless rock 'n' roll classic with a boisterous crowd to boot."

Maria Elena – LOS INDIOS TABAJARAS***

Maria Elena/Maran Cariua/Los Indios/Danzan/La Orilla Del Lago/Moonlight Serenade/Baion Bon/Pajaro Campana/Polvo De Estrellas/Ternura/Ay Maria/ Vals Criollo/Jungle Dream

Los Indios Tabajaras comprised two brothers from Brazil playing traditional guitar. Maria Elena, their only US top twenty album success, was originally released in 1958 as Sweet & Savage. The title track single reached No. 6 in the US and No. 5 in the UK. (US:7)

"There are no words to describe accurately the talent of these Brazilian guitar virtuosos. If you are looking for the very best Latin American strings, this is certainly it."

"This is the kind of music that you will never get tired of."

"Included in this album are many, many gems that will keep you coming back again and again, no question."

"These two amazing guitarists will sometimes leave you aghast at their superb technique but it is never at the expense of the melody."

"The music of Los Indios Tabajaras is, unquestionably, the most exquisite I have ever heard."

"I have listened to Los Indios for more than 30 years. As a guitar player of 40 years myself, I can appreciate the skill required to make this type of music."

The Wham Of That Memphis Man! – LONNIE MACK***

Wham/Where There’s A Will There’s A Way/The Bounce/I’ll Keep You Happy/Memphis/Baby What’s Wrong/ Down & Out/Satisfied/Suzie Q/Why/Down In The Dumps

The Wham Of The Memphis Man was the debut album from the American blues rock guitarist Lonnie Mack. The Memphis in the title refers to his US top five instrumental cover of the well known Chuck Berry song. (US:103)

“Entertaining rock 'n' roll by one of the first guitar heroes. Well balanced mixture of instrumentals, rhythm & blues and soul. Worth checking out.”

“Great guitar in a blues/swamp rock style. Wham is a standout, but every song rocks out. If you like blues, jam bands, surf guitar, or just plain incredible guitar playing, get this one.”

“Lonnie Mack was a roadhouse blues-rock legend, modern rock's first true guitar hero. His playing has influenced the course of rock and roll and had an impact on many of modern rock's current guitar heroes.”

“On this great album, Lonnie Mack shows off awesome guitar skills, as well as a soulful, gospel-tinged voice that was ahead of its time. Every cut on this record is choice, but in particular, his famous instrumental Wham and his cover of Chuck Berry's Memphis are standouts. This is a must for blues lovers, guitar music lovers, and classic 60s soul/R & B lovers.”

“The stars definitely all came together when this was recorded. Great songs, great arrangements, wailing chick backup singers, sizzling sax, rocking drums - and Mack's mind-boggling guitar playing which set a standard for musicality, fluidity and drive that has rarely ever been matched. He was just a kid, but he played with total confidence and great taste. The solos complement the songs, rather than dominate them; his playing is awe-inspiring, but not over-the-top or self-indulgent. His singing is very good; soulful, but again without any histrionics."

“One of the best kept secrets of the sixties. This is an album that was ahead of its time. Beautiful production of gospel soul music by one of the great guitarists of his era.”

Listen – BILLY J. KRAMER WITH THE DAKOTAS***

Dance With Me/Pride/I Know/Yes/The Twelfth Of Never/Sugar Babe/Da Doo Ron Ron/Its Up To You/Great Balls Of Fire/Tell Me Girl/Anything’s That’s Part Of You/Beautiful Dreamer/Still Waters Run Deep/I Call Your Name

Merseybeat group Billy J. Kramer & The Dakotas scored their only UK album success with Listen. Surprisingly, none of their hits were included. Billy J was an important figure in 1960s UK pop history and his compilation CDs are well worth a 'listen', and not just because they contain some classic Lennon-McCartney songs unavailable elsewhere. (UK:11)

"Shows off the mixture of driving beat, heavy guitars, and emotionally expressive, American-style vocals that characterized the sound of the city." "The tendency for much of this album is to focus on Kramer’s romantic ballad style, to which he was marginally suited with his limited vocal abilities."

"To be honest, The Dakotas' musicianship was better than Billy's singing, which was good but not great. However, it doesn't really matter - the songs and the music compensate for any limitation in the vocal department."

"While not by any means the most essential Merseybeat group, they are worth a listen."

"Billy J had a pleasing voice, if limited, as for example on his attempt to reach the higher notes at the end of Bad To Me suggests."

"In retrospect, it is clear his popularity was due to the fact that his manager was Brian Epstein who gave the singer several Lennon-McCartney songs to record."

"Kramer is not that great a singer and once The Beatles kept everything they were writing for themselves, his career pretty much came to a halt."

Joan Baez In Concert Part 2 – JOAN BAEZ*****

Once I Had A Sweetheart/Jackaroe/Don't Think Twice, It's All Right/We Shall Overcome/Portland Town/Queen Of Hearts/Manha De Carnaval/Te Ador/Long Black Veil/Railroad Bill/Rambler-Gambler/Fennario/'Nu Bello Cardillo/Three Fishers/Hush Little Baby/Battle Hymn Of The Republic

US folk singer Joan Baez returned to the US album chart with her second live set. It contains two songs by Bob Dylan who is now becoming known to the American public, mostly through the releases of other artists. (US:7 UK:8)

"This album helped take folk music out of the coffee-house circuit and into national consciousness. If you ever wondered why Joan Baez was such a big figure in the 1960s folk boom, listen to this."

"Fantastic live recording, some classic traditional folk songs, along with some excellent Dylan covers. There's the odd foreign language song on it too. As far as any Joan Baez record goes, this is one of her best."

"Its often said that Bob Dylan's songs sound better as cover versions than the originals. I don't know if that's true all round, but here its certainly the case."

"In a world of heavily over-produced, synthetic music, its refreshing to hear a singer who can profoundly move an audience with just a guitar and a voice. There is a special magic in her voice, her guitar and the response of the appreciative audience."

"This LP is even better than Joan Baez In Concert Part 1. The selection of songs is better, as it contains more traditional folk songs, a fact that purists may wish to note. These songs serve to showcase her sweet, clear soprano to perfection."

"This is a live concert recording, so be prepared for clapping and an enthusiastic reception by the concert crowds, as well as some crowd interaction and participation. She pulls you into songs old and new with a voice like no other. A sweet sound, but one filled with power as well. A voice that commands listening to."

Biggest Hits – THE ORLONS****

The Wah-Watusi/South Street/Not Me/Don’t Hang Up/I’ll Be True/Them Terrible Boots/He’s A Rebel/Keep Your Hands Off My Baby/Something’s Got A Hold On Me/I Met Him On A Sunday (Ronde Ronde)/Dedicated To The One I Love/My Best Friend

The Orlons were a soul group from Pennsylvania who enjoyed several hits in the USA during the early sixties, although they are largely unknown in Britain. Like many other artists of the time the hits came to an end with the British invasion.

“The Orlons were always my favourite group on Philadelphia's Cameo and Parkway labels. Lead singer Rosetta Hightower had such a booming yet endearing voice. When she belted out Don't Hang Up, you knew you'd better comply (or risk serious injury).”

“The Orlons had a highly recognizable sound. Not just because they had great harmonies and lead singer, Rosetta Hightower sang with such conviction. But they also had a sole male member Steve Caldwell chiming in with an 'oh baby' here and there. Their hits had a funky, light hearted, feel-good groove to them.”

“I was immediately taken by their tight, upbeat sound. If you like catchy, positive Motown-esque songs, this collection is for you.”

“The Orlons had a style and a sound that was meaningful and nothing short of excellent. They could sing just about anything they ever wanted.”

“The Orlons were among the first hit making groups to come out of Philadelphia in the early 1960s. They were known for light, fun dance tunes, had three big hits in succession, Wah Watusi, Don't Hang Up and South Street. Although at various times their membership varied between three and five girls, they weren't exactly a girl group, as they featured the basso profundo of their high school friend Stephan Caldwell. Their act was killed dead by the 1964 British invasion.”

“I always liked their classic hits such as South Street and Don’t Hang Up, but I had never heard some of the splendid lesser known cuts, such as I’ll Be True, which are superb. Their takes on other groups' hits are all professionally performed with remarkable harmonies.”

From Russia With Love – SOUNDTRACK****

James Bond Theme/Tania Meets Klebb/Meeting In St Sophia/The Golden Horn/Girl Trouble/Bond Meets Tania/ 007/Gypsy Camp/Death Of Grant/From Russia With Love/Spectre Island/Guitar Lament/Man Overboard-Smersh In Action/James Bond With Bongos/Stalking/Leila Dances/Death Of Kerim/007 Takes The Lektor

The soundtrack album from the second James Bond movie From Russia With Love starred Sean Connery and was based on the Ian Fleming spy novel. The music was scored by John Barry, and the title track was a No. 20 hit single for Matt Monro in the UK. (US:27)

"Compared to later scores, the music for From Russia With Love is subtle, almost sensual."

"From Russia With Love was Barry's first full score for the Bond series, and it is amazingly rich and varied. Barry's skill at weaving local and exotic idioms into his scores is evident here with some Turkish and gypsy touches. The title song was written by Lionel Bart and works much better as an instrumental arranged by Barry, than as a vocal sung by Matt Monro."

"Barry was an emerging talent with From Russia With Love, but his skills are unmistakable, integrating suspense, action, menace and romance as few film composers can."

"John Barry firmly establishes himself in the musical annals of cinema history with this classic soundtrack From Russia With Love. It is an example of exceptional film scoring, and a very satisfying album, drawing on all the elements of the film to deliver a product that musically runs the gamut of rhythm, romance, intrigue and flavourful vignettes of the film's locale."

"The From Russia With Love soundtrack album gets it right. The themes are shining and original, and even when composer John Barry revisits certain themes, he manages to rework them to make them sound fresh."

"This is a great soundtrack that really begins to show the great music in the James Bond series. All the tracks are good and have a real From Russia With Love feel to them. There are some orchestral pieces, but most of the time Barry keeps the music very simple, e.g. his approach to Spectre Island or Gypsy Camp."

Blue Gene – GENE PITNEY****

Twenty Four Hours From Tulsa/Autumn Leaves/Half The Laughter Twice The Tears/I’ll Be Seeing You/Lonely Night Dreams/Answer Me My Love/Blue Gene/Yesterday’s Hero/Maybe You’ll Be There/Keep Tellin’ Yourself/I Can’t Run Away/House Without Windows/Take It Like A Man/Those Eyes Of Liza Jane

Powerfully voiced US pop singer Gene Pitney achieved his first UK album chart success with Blue Gene. Contains the magnificent Twenty Four Hours From Tulsa, a No. 5 hit single in the UK. The remaining tracks include a mixture of contemporary numbers, and covers of older songs. (US:105 UK:7)

"People have spoken of Gene's ability to interpret and express a song. Well this album will tell you what the blues is all about."

"I enjoy very much the pop/rock songs included in the album Blue Gene as Take It Like A Man, his classic hits Yesterday's Hero and 24 Hours From Tulsa. I like very much these kind of songs from the voice of Gene Pitney."

"Voted the all time favourite album by the Gene Pitney fan club, a must for anyone who listens to Gene Pitney. Blue Gene includes many of his more well-known rock favourites."

"Have been a Gene Pitney fan since seventh grade, when I used to play his albums over and over, never tiring of him or his music. Blue Gene was a special favourite."

"One can smile through tears listening to Gene Pitney's gorgeous voice and perfect phrasing to young love's agonies and ecstasies. His beautiful voice, and his creative mind and heart, enabled him to express my emotions for me in song, over and over again."

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

"Keep listening to this kind of music and you will truly be blessed with the ability to listen to music at its finest."

We Want Billy! – BILLY FURY***

Sweet Little Sixteen/Baby Come On/That’s All Right/Wedding Bells/Sticks & Stones/Unchain My Heart/I’m Moving On/Just Because/Halfway To Paradise/I’d Never Find Another You/Once Upon A Dream/Last Night Was Made For Love/Like I’ve Never Been Gone/When Will You Say I Love You

Billy Fury makes his second 1963 UK album chart entry with We Want Billy!, a live set in front of a spirited audience of mostly teenage girls. It featured backing from The Tornados with their distinctive electric organ sound. Divided between rockers and hit singles it fails to do justice to either, since other singers do the former better, and the studio versions of the latter are far superior. (UK:14)

"There are many different Billy Fury albums but We Want Billy is perhaps the best. Many people prefer studio recordings to live ones, but this recording was carefully engineered so as to combine studio-type quality with the excitement of a live show. The result is exceptionally good."

"We Want Billy was recorded live in two sessions with different audiences. He was a master showman, who thrived on audience reaction, and it really shows on this album. The audience simply did not want to let him go."

"I'm not a big fan of live music on albums but for me We Want Billy is the best and most exciting live album from that period."

"The sound quality is great, the fans screaming is so exciting. Sweet Little Sixteen, wow! what a version. The build up to That's All Right is really exciting, especially with the organ pumping away."

*It was one of the first live albums in UK rock history and featured renditions of his hits and cover versions of several R & B songs such as Unchain My Heart."

"About half of the 'concert' consists of rock & roll oldies like Sweet Little Sixteen and Unchain My Heart, sung in a competent sub-Elvis style. There's also a lengthy medley of many of his early '60s pop hits, which are better heard in their studio versions."

Washington Square – THE VILLLAGE STOMPERS***

Washington Square/Tie Me Kangaroo Down Sport/If I Had A Hammer/Blue Grass/We Can’t Stop Singin’/ Midnight In Moscow/Walk Right In/Green Green/The Poet & The Prophet/Cold Steel Canyons/Blowin’ In The Wind/Follow The Drinkin’ Gourd

Dixieland styled jazz band The Village Stompers achieved their only US top twenty album success with Washington Square. The title track reached No. 2 in the US singles chart. Album mostly comprises Dixieland instrumental versions of recent folk hits. (US:5)

"Washington Square, with its title and the band's name, evokes images of an earnest strolling coffee house band, and the repertoire here reflects that."

"The inclusion of not one but two Bob Dylan tunes, both done in prime, campy Dixieland style, are some of the most radical re-workings of his tunes ever."

"This is corny, overly sentimental music, but its a lot of fun and expertly played as well as brilliantly arranged."

"The Village Stompers, a group of Dixieland band veterans, perform a jaunty, swinging tune tagged Washington Square."

"Their musicianship and their cover of non-traditional Dixieland numbers is a hot combination that never gets old. This Dixieland jazz is timeless. Its easy to get lost in this music. You'll forget time and space."

"This album is from a time when really great instrumentals were lots of fun to listen to. This still sounds fresh after 40 years. Those were the days when there was real variety, and you could hear ten completely different styles on the radio in the same hour."

"Good music lasts and lasts and this is lively music that's never boring and always fresh and interesting. Its a shame that we just don't have artists producing such good instrumentals these days."

The Very Best Of – CONNIE FRANCIS*****

Who’s Sorry Now/Everybody’s Somebody’s Fool/Follow The Boys/Lipstick On Your Collar/My Happiness/ Vacation/Among My Souvenirs/Where The Boys Are/Frankie/I’m Gonna Be Warm This Winter/My Heart Has A Mind Of Its Own/Second Hand Love/Don’t Break The Heart That Loves You/Stupid Cupid/Breakin’ In A Brand New Broken Heart

Subtitled Connie's 15 Biggest Hits, this is an excellent compilation of this versatile singer, who was equally at home with ballads as with rock & roll style numbers. An extra six tracks on the CD version makes this an even more fantastic collection. (US:68)

"The choice of material here includes samplings of her ballad hits and her rock and roll hits. I must say that most of her recordings reflect talent, versatility and charm, not found in many vocalists, and certainly not the ones of today."

"Connie Francis has such a distinctive voice and I remembered it well from my younger years. Her phrasing makes you want to sing, these songs are timeless. Few female vocalists are as distinct. She had quite a few hits and all the ones I remember are here."

"Connie Francis made an amazing contribution to the burgeoning field of rock 'n' roll within a five year span. All of the important chart hits are found here from 1958-63. Connie brought a style to rock and roll singing that is similar in contribution to that of Elvis."

"Connie brought a sophistication to rock singing that was absent before her presence on the scene. Although overshadowed by her male contemporaries, Connie Francis stands the test of time, as this wonderful collection of hit records attests."

"The big hits were enough to make Francis the hottest singer of the period, and these were the recordings that gave her that status." "It is very interesting to hear her sing songs clearly aimed at the rock 'n' roll market and tracks that adults would also like."

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

If You Gotta Make A Fool Of Somebody/Some Other Guy/Somebody Else’s Girl/Yes I Do/Zip-A-Dee-Doo-Dah/ Drink This Up It’ll Make You Sleep/I Understand/Sally Anne/I’m A Hog For You/The Wedding/Money/Crying/He Got What He Wanted/Kansas City

Zany Manchester pop group Freddie & The Dreamers achieved their only UK album success with their self titled debut LP. Includes the top five UK singles If You Gotta Make A Fool Of Someone and I Understand. Despite their sometimes clownish image, Freddie & The Dreamers released many melodic pop songs, best heard on the several compilation CDs currently available. (UK:5)

"On their first release, 1963's If You Gotta Make A Fool Of Somebody, Freddie affects a Buddy Holly type twang, rather than showcasing his northern English accent, which most other northern groups did."

"If you're really interested in 60s melodic beat then this is a great way to take a deeper look into the music of these crazy guys."

"Freddie & The Dreamers were just that little bit different, a really fun group that entertained as well as performed."

"Freddie produced some absolute gems, brilliant examples of light hearted and easy to listen to 60s pop."

"There are some great rock 'n' rollers, especially a great version of Money."

"The legacy of Freddie & The Dreamers is a collection of feel-good songs guaranteed to raise a smile."

"Freddie & The Dreamers are one of the groups that put the fun in rock & roll and deserve to be better known today."

Surfer Girl – THE BEACH BOYS****

Surfer Girl/Catch A Wave/The Surfer Moon/South Bay Surfer/The Rocking Surfer/Little Deuce Coupe/In My Room/Hawaii/Surfers Rule/Our Car Club/Your Summer Dream/Boogie Woogie

The final outing for the Beach Boy's surfing theme came with their third album Surfer Girl, featuring the top ten title track. With this album Brian Wilson became more heavily involved in the production side as his songwriting talents continued to develop. (US:7)

"Its easy after all this time to forget the brilliance of Brian Wilson's vision. This album gave the first hint of just how bold that vision was, how far it might go."

"Surfer Girl was the last of their surf themed albums, but what a great one. They had matured musically quite a bit by this time and it shows. There is some filler instrumentals here, but a great album."

"Surfer Girl is really a fine piece of work. Brian Wilson did a great job in the composition of the songs. In My Room is an evocative song featuring a lead vocal from Brian, Mike Love now featuring mainly on the uptempo material."

"Some of the tracks are quite throwaway, but others such as Catch A Wave and The Surfer Moon, which features a string arrangement, seem to be the result of a lot of care and craft to achieve a tight sound, and indicate considerable musical growth and maturity on the part of Brian Wilson."

"Surfer Girl is a frustrating mixed bag of genius and filler. Surfer Girl and Catch A Wave show just how far Brian has come in a very short time in composing brilliant ballads and great rockers. In My Room is the first clear pointer to the future of the introspective balladry that would come to dominate."

"These early Beach Boys albums may not reach the musical complexity of later Brian Wilson works, but that's not necessarily a bad thing." "I was initially disappointed by the comparatively 'primitive' nature of the songs, but as I listened more I became drawn into the sheer potency of many of these wonderful ballads and rock and roll classics."

Sassy Swings The Tivoli – SARAH VAUGHAN****

I Feel Pretty/Misty/What Is This Thing Called Love/Lover Man (Oh Where Can You Be)/Sometimes I’m Happy/ Won’t You Come Home Bill Bailey/Tenderly/Sassy’s Blues/Polka Dots & Moonbeams/I Cried For You/Poor Butterfly/I Could Write A Book/Time After Time/All Of Me/I Hadn’t Anyone Till You/I Can’t Give You Anything But Love/I’ll Be Seeing You/Maria/Day In Day Out/Fly Me To The Moon/Baubles Bangles & Beads/The Lady’s In Love With You/Honeysuckle Rose/What Is This Thing Called Love/ Lover Man (Oh Where Can You Be)/I Cried For You/The More I See You/Say It Isn’t So/Black Coffee/Just One Of Those Things/On Green Dolphin Street/ Over The Rainbow

Sassy At The Tivoli is a double live album recorded in July 1963 at the Tivoli Gardens, Copenhagen, backed by her trio. The material comprises familiar standards and jazz tunes.

“It's Vaughan doing what she did regularly, singing strong material in the context of her working trio. Those songs that might be unusual in another singer's repertoire, Black Coffee or Poor Butterfly, were mainstays in Vaughan's. These are wonderful performances. Vaughan's voice was as fine an instrument as has ever sung jazz and her timbre was without peer.”

“No singer past, present, future can be compared to Sarah Vaughan. She was music. This album is surely one of her best, one absolutely to have from her illustrious career. Jazz at its absolute best. Music at its absolute best.”

“Sarah Vaughan is my absolute favourite singer, no one compares. Not only does she have the most incredible voice, she is one of the most creative and adventurous vocalists who ever lived. This live performance captures Sassy at her finest and contains some of her best vocals of well known songs associated with her such as Poor Butterfly, Tenderly and Misty. Warning: one taste of Sarah and you will be hooked.”

“This is Sarah at the peak of her voice. She uses her considerable vocal instrument to breathe new life into standards, just listen to Maria. Every song on this double LP is worth listening to over and over again.”

“Sarah Vaughan is so stylish and engaging. Her voice has this strong, smoky quality. When she jokes with her audience on various tracks, you know she's having fun.”

“I listen to this LP just about every day. I cannot get enough of it. Her tone on these songs makes the listener feel as though they are in the Tivoli.”

On Tour – THE GEORGE MITCHELL MINSTRELS**

Everybody's Doing It/Let's All Go To The Music Hall/Ole-Ole/All Aboard The Minstrel Train/Michael Row The Boat Ashore/Around The Emerald Isle/Calypso Time/In Bonnie Scotland

The fourth Minstrels' LP On Tour featured the BBC's enormously popular and long running TV show The Black & White Minstrels. The show exemplified the generation gap of the time. Sixties teenagers considered this old style music to be irredeemably 'square' but their parents just loved it. (UK:6)

"At the height of its success The Black & White Minstrel Show was watched by a then record 18 million viewers a week and established itself as one of the world's best known musical/variety shows on television."

"How wonderful to hear these great artistes again. I do wish we could see the shows released on DVDs."

“Many of these singers came from operatic backgrounds, all were fully trained singers, several of them were Royal Academy of Music Gold Medal winners."

"George Mitchell was universally acknowledged as one of the best arrangers of the 20th century. The show was voted the best in the world in 1961, running for 21 years on TV and nearly 30 on the stage. This LP is a great reminder of a superb show."

"Only wish I could see some of their entertaining shows again."

"Such wonderful memories and great talent. This is real entertainment."

"This was the most popular family entertainment show on British television during the 1960s. It was popular because it was entertaining and of a very high quality. Talented musicians, dancers and the whole production team. People enjoyed it."

In The Wind – PETER PAUL & MARY*****

Very Last Day/Hush-A-Bye/Long Chain On/Rocky Road/Tell It On The Mountain/Polly Von/Stewball/All My Trials/ Don’t Think Twice Its Alright/Freight Train/Quit Your Lowdown Ways/Blowin’ In The Wind

Peter, Paul & Mary's third LP In The Wind would introduce millions of people to the songs of Bob Dylan through the release of the top ten singles Blowin' In The Wind and Don't Think Twice Its All Right. (US:1 UK:11)

"Blowin' In The Wind is infinitely more commercial than the original, and therefore got its message out to a much larger audience than Dylan himself could."

“It sealed their image as the troubadours of the '60s civil rights movement, it helped position the then little-known Dylan as the voice of a generation."

"In The Wind has to be not only their best, but one of the best albums of all time. With both traditional and contemporary songs, it includes the finest versions of Blowin' In The Wind and Don't Think Twice ever recorded and heralded a new era when 'folk' was cool and the words of pop songs began to mean something."

"If you are curious about Peter, Paul and Mary this is the place to start. A wonderful album that hits many chords. The way music was meant to be performed. The vocals on this album are sublime, emotional, beautiful and dazzling. As always, Paul and Peter's guitar work is extraordinary. The songs are sung with conviction, belief and testimony."

"In The Wind is a strong album from one of the greatest folk music groups ever - Peter, Paul & Mary. We owe so much to them for their sharing their artistry with us. This is absolutely essential for fans of the trio."

"In The Wind is by far the best recording they have done. The harmonies are incomparable. Nobody after them sounded as good. The acoustic guitar playing is brilliant. Peter and Paul created a duo guitar style that has never been matched."

“Strong, straightforward folk music with bright, pretty harmonies. Lots of traditional numbers and three Dylan tunes. Has probably relaxed and uplifted countless thousands of people. Polly Von is a great tune in a more mellow, subdued vein.”