People Get Ready – THE IMPRESSIONS***

Woman’s Got Soul/Emotions/Sometimes I Wonder/We’re In Love/Just Another Dance/Can’t Work No Longer/People Get Ready/I’ve Found That I’ve Lost/Hard To Believe/See The Real Me/Get Up & Move/You Must Believe Me

Legendary Chicago based R & B group The Impressions were at the height of their creativity and popularity during the mid sixties. People Get Ready features the Grammy winning title track and US top twenty hit single. Songwriter and lead singer Curtis Mayfield would enjoy huge success during the seventies. (US:23)

"People Get Ready featured another big Curtis Mayfield hit, one that made as strong an impact on the civil-rights movement as on the charts. One of the most beautiful songs of the '60s, the title track set the oft-used 'gospel train' as its theme, with Mayfield speaking of faith for the present and deliverance in the future, while Sam Gooden and Fred Cash contributed beautiful harmony vocals. That career touchstone aside, the rest of the material on the LP wasn't as strong, the two winners being Woman's Got Soul and You Must Believe Me, both in a similar brassy, uptown mode as expected from the Chicago soul kingpins."

"This shows The Impressions at a transition between their more adolescent-doo-wop/pop material to a mature soul vocal trio. Lyrically the tunes are still mostly of the romantic and lost-love variety, with only the famous title track showing a glimpse of where Mayfield's writing was headed. A pretty notable exception, the gospel-drenched People Get Ready, one of the most recorded tunes in history."

"Great stuff - memorable songs, great group harmonies and Curtis Mayfield on lead. What more could any real soul fan ask for."

"Good production, especially allowing for the age of most of the recordings with some 'message' music that's still topical today."

"All the tunes are great, but there are so many classics here that the set almost plays like a greatest hits."

"In short, it's hard to go wrong with twelve tracks of sweet, flawless singing and harmonies sweetened by vintage Northern soul arrangements."

L-O-V-E – NAT KING COLE****

L-O-V-E/The Girl From Ipanema/Three Little Words/There’s Love/My Kind Of Girl/Thanks To You/Your Love/More/Coquette/How I Love To Love You/Swiss Retreat

The album L-O-V-E contains the final tracks Nat King Cole recorded shortly before his passing. Appreciation of Nat's music has continued to grow since his untimely death. (US:4)

"While we are faced with the disheartening notion that the 1965 record is indeed his last, there is also a sense of hope and jubilance upon listening to it. Cole returns to his jazz roots after a few pop music detours and the songs are lightly coated with gorgeous Ralph Carmichael arrangements, and an orchestra filled with graceful strings and inspiring brass."

"One of the most arresting things about the record is how upbeat it is. Cole swings like crazy all over L-O-V-E, handling his favourite topic with cheerfulness and energy. The songs are merry, each swinging with a blissful sense of get-up-and-go. Some tracks are evidently more subtle than others, but the themes of hope and love inculcate the recording from start to finish."

"With the common thread of love moving fluently through the album, Cole takes on familiar hits and gives them new swagger. The title track bounces gleefully and finds him pleading but never overstating his case. The light bounce of the song leads into the straightforward retooling of The Girl From Ipanema wonderfully."

"Considering the gravity of his health situation, he was in remarkably good voice, and responded well to Carmichael's lush/brassy arrangements on songs like More, The Girl From Ipanema, and My Kind Of Girl, the latter allowing Nat Cole to revisit his jazz roots one final time. Perhaps the most swinging cut of all is Swiss Retreat, with Cole's deep, rich baritone gliding along effortlessly over Bobby Bryant's trumpet."

"This is a must have album, even if only for the obvious reason of it being NKC's final record. From a music standpoint, while there are certainly better Nat King Cole albums, L-O-V-E is still an exceptional effort throughout. A tribute to the determination of a man with the knowledge his life was slipping away, and evocative of the multi-talents of this musical genius who was known as a 'king' among his peers, and not just by name."

Leader Of The Pack – THE SHANGRI-LAS****

Give Him A Great Big Kiss/Leader Of The Pack/Bull Dog/Its Easier To Cry/What Is Love/Remember (Walking In The Sand)/I Can Never Go Home Anymore/Maybe/He Cried/Give Us Your Blessing/Dressed In Black/Past Present & Future

Leader Of The Pack was the debut album from the New York girl pop group The Shangri-Las comprising two sets of sisters. It features the US chart topping 'death disc' title track and No. 5 Remember (Walkin' In The Sand), both of which also reached the UK top twenty. (US:109)

"This is an enjoyable sampler of some of The Shangri-Las greatest hits; it is not intended to be definitive, but it is a good starting place for listeners who are discovering one of the finest girl groups in music history."

"The group really only had three chart hits, the death disc Leader Of The Pack, Remember (Walkin' in the Sand) and I Can Never Go Home Anymore and all three are here along with some of their other classic tracks."

"The second side, while rumoured to be a fake live show, is still great because their attitude still shines through on these classic rock 'n' roll and R 'n' B hits of the era. The only thing I would consider to be a warning is the sound quality being akin to The Rolling Stones Got Live If You Want It. However I find this to be quite charming and very representative of the spirit of the times."

"An absolute classic. Each side has its merits. Side one has three hits (and other classics such as Bulldog and It's Easier To Cry)."

"The bad girls of early spoken word rock debut album. If the question to purchase is based on the live material, don't bother. It's early 1960s ying-yang on par with a high school dance."

"There was always something different about Mary Weiss and company that set them apart from what was going on back then. Was it the (a) harmony (b) mystique (c) dark approach (d) New York drawl or (e) adolescent issues? try (f) - all of the above."

Knock Me Out! – THE VENTURES***

I Feel Fine/Love Potion No.9/Tomorrow’s Love/Oh Pretty Woman/Mariner No.4/When You Walk In The Room/ Gone Gone Gone/Slaughter On Tenth Avenue/She’s Not There/Lonely Girl/Bird Rockers/Sha La La

Knock Me Out! comprises the usual mixture of Ventures originals and recent hit covers, and highlights one of their strongest cuts Slaughter On Tenth Avenue. (US:31)

“The best of their original material is the echoey song Mariner No. 4. One thing that's immediately noticeable is the ability to perfectly recreate the percussion parts of familiar tunes. They do rely a little too much here on fuzz guitar and organ. Only Sha La La has a vocal chorus; all the rest are straight instrumentals, often done with a surf music twist.”

“The performances are simply awesome. The Ventures are so much fun to listen to; it makes you want to go out there and play those songs yourself. Just about every song is extremely listenable. The covers of hits of the day are fun.”

“An example of The Ventures in their 60s prime, Knock Me Out is one of their best albums. One of the great guitar instrumentals of all time, Slaughter On Tenth Avenue, is worth it alone. The driving guitars are showcased in some outstanding tunes. An original, Mariner #4, surprised me when it first came out, obviously influenced by their earlier albums, but is a standout and an often missed classic.”

“This is The Ventures at their best; the songs are infectious, the playing is top-notch, and it is easy to se why they have endured throughout the years.”

“One of their absolute best and hardest rocking LPs. It was The Ventures' response to the British Invasion, and they include several songs that Brit rockers brought to the US in 1964 or 1965. There are toughened, fuzzed-out cover versions that even those most sceptical of the British Invasion would welcome.”

“The Ventures have a ton of filler albums, and given the amount of popular covers on here you'd think this would be one of them, but these are much more listenable than a lot of their own material. Slaughter On Tenth Avenue is my favourite Ventures song.”

Kinda Kinks – THE KINKS***

Look For Me Baby/Got My Feet On The Ground/Nothin’ In The World Can Stop Me Worryin’ ‘Bout That Girl/ Naggin’ Woman/Wonder Where My Baby Is Tonight/Tired Of Waiting For You/Dancing In The Street/Don’t Ever Change/Come On Now/So Long/You Shouldn't Be Sad/Something Better Beginning

Kinda Kinks was the follow up album from London beat group The Kinks. Includes the chart topping hit single Tired Of Waiting For You. Compared with their first album this one contains more Ray Davies' originals. (UK:3)

"Tired Of Waiting For You had a nagging and addictive riff, but placed within a quiet, reflective song. A sudden change that revealed that yes, these Kinks fellows really did have something to offer after all."

"Not a great deal better in the way of things than their debut, but a breakthrough all the same. Major point in question: an absolute majority of the songs on this album are originals, something that wasn't yet quite the norm at the beginning of 1965. Not that Ray's attitude towards songwriting had changed all that much - he still views 'pop songs' as two and a half minutes of simplistic teenage love sentiment, a long way to go to reach his 'socially conscious' heights of the mid-sixties."

"The most striking songs on the Kinda Kinks album are unquestionably Tired Of Waiting For You (their third hit single) and Something Better Beginning. Still a bit under arranged and under produced, the most gorgeous thing about them is Ray's singing. Obviously untrained, obviously unprofessional, obviously a little shaky and uncertain, obviously so much in violation of the general unwritten rules for pop singing. The rest of the album doesn't look all that wonderful, but still most of the songs are an improvement over Kinks."

"The main problem with this album is that, while the Kinks' main strength was still in the area of straight rock, we're presented here with mostly ballads. Ray Davies simply wasn't up to scratch in the ballad department (not until later, anyway), and for me, this makes Kinda Kinks a notch or two lower than the first album."

"The sounds and words tell of a more innocent and creative time, where two very young brothers and their mates were beginning to evolve a poetic and distinctively English brand of pop-rock, less beholden to the American R & B and rock and roll beloved of The Beatles, Stones and The Who. More polished albums (and several masterpieces) were to come."

Introducing – HERMAN’S HERMITS***

I’m Into Something Good/ Mrs Brown You’ve Got A Lovely Daughter/Kansas City Loving/I Wonder/Sea Cruise/ Walkin’ With My Angel/Show Me Girl/I Understand/Mother In Law/Your Hand In Mine/I Know Why/Thinking Of You

Introducing was the US debut release from British Invasion pop group Herman's Hermits. Contains the UK chart topper I'm Into Something Good, and the US No. 1 Mrs Brown You've Got A Lovely Daughter. Some music pundits have dismissed Herman's Hermits as 'lightweight'. In reality they delivered a long series of fine melodic hit singles during the latter half of the 1960s. (US:2)

"They weren't as innovative as The Beatles. Or as edgy as The Rolling Stones or The Who. And their songs lacked the sardonic brilliance of The Kinks. But even so, Herman's Hermits still rank in the upper echelon of the best bands of the British Invasion simply because their songs are some of the most well crafted pop singles in recorded music."

"Ultra lightweight, commercial, male vocal, Brit-pop and R & B. At times, there are similarities in style to the early Beatles. Sure, there was undoubtedly more substance in a wad of cotton candy, but nevertheless, no comprehensive 60s library can ignore their contribution to pop culture. Besides, some of these tracks are rather catchy."

"There was little thought given to this fluffy soft teeny pop record, with the hit singles being the number one and two tracks, leaving the rest of the record to drown under its own weight of uncreative oldies interruptions, and Merseybeat selections that sounded a bit forced, flat and rather stale."

"Catchy pop music produced by Mickie Most. It doesn't try to be anything more than that, and that's fine with me."

"Well, not every band involved with British Invasion was a first rate rock 'n' roll band. Take prime example number one: Herman's Hermits. For whatever reason, the Hermits were incredibly popular. For a time the only band bigger was The Beatles. Thing is, Herman's Hermits pretty much sucked. They sang simple, cheesy rock 'n' roll songs that couldn't possibly be more sugary." "Herman's Hermits wonderfully represented the whimsical pop of the Brit Invasion."

Hits Again – DEAN MARTIN***

You’re Nobody ‘Til Somebody Loves You/I’ll Hold You In My Heart/Have A Heart/My Heart Is An Open Book/ You’ll Always Be The One I Love/Send Me The Pillow You Dream On/In The Chapel In The Moonlight/Send Me Some Lovin’/Wedding Bells/I’ll Be Seeing You

Dino continued his mid sixties winning streak with Dean Martin Hits Again, although the title is rather a misnomer as the album contained no major hit single. (US:13)

"Producer Jimmy Bowen had conceived the idea of doing a 1950s style rock & roll arrangement of Everybody Loves Somebody in 1964 and thus fostered Martin's musical comeback. On Hits Again in early 1965, he and arranger Ernie Freeman cloned that sound over and over, from the 4/4 beat and the piano triplets to the swooping strings and the vocal chorus. The ever-versatile Martin seemed to be at home no matter what the backing."

"Dean Martin Hits Again seems to be a quickie. One gets the feeling that the wine was pouring a little to hard on these sessions. Try to figure out how many songs are moulded on the first track. Three songs in a row have the same word in the title and this is not a concept LP."

"It doesn't get any better than this for Dean Martin fans. Hits Again is for romance and candlelight."

"This is a wonderful, excellent recording of some of Dean's great songs. It truly is worth owning and having this marvellous group of songs to listen to."

"Well, Dean Martin is one of those singers that, with each new song heard, continues to amaze me. He sits in a very short list of singers that I would class as the best. The continued love for the music is maintained with this album."

"I personally find some of Dean's Reprise records to be the most well crafted (production wise) of all time, and Dean helps them to soar. He was such a terrific singer, and had the nicest voice."

"The thing with Dean is that sometimes less is more. These lesser known songs are some of my favourites. So over all, this LP delivers the Dean Martin goods."

You’ve Lost That Lovin’ Feelin’ – THE RIGHTEOUS BROTHERS****

You've Lost That Lovin' Feelin' from blue eyed soul vocal duo The Righteous Brothers was their first on Phil Spector's Philles label. The title track was a No. 1 hit single on both sides of the Atlantic and, with over eight million airplays, is the most broadcast song in radio history. (US:4)

"You've Lost That Lovin' Feelin' produced by Phil Spector is often cited as one of the peak expressions of Spector's wall of sound production techniques. It captures Bill Medley and Bobby Hatfield at the absolute top of their blue eyed soul brothers game. All the stars were in all the right places when they recorded this classic torch song."

"This was pure, raw 'blue-eyed' soul sung by real men. Quality song - very few songs are made these days where you can actually feel the singers emotions about the lyrics they sing, or give you shivers and goose bumps like this song."

"If your looking for a high quality sound recording of the many Righteous Brothers hits, you need this album. Listening to this music takes me back to earlier days when these great songs were first recorded. Some of them will put you in a romantic mood, and some will put you in a fun mood."

"It's hard to believe that this group, while long gone, doesn't have the long term appeal and staying power of other oldies groups. Listening to the awful singers of today allows me to have more appreciation of groups that actually could sing. Where are all the songwriters."

"Phil Spector engineered his Wall of Sound production technique and quickly found out that The Righteous Brothers were naturals to be enveloped in this sound, which amped up the instruments and equipment to a point where the listener felt like he was inside the radio. Add Bill Medley's warm and soulful baritone to Bobby Hatfield's legendary tenor rock and roll voice, couple it with that driving blue eyed soul beat and decibel, and you have the most played song in rock and roll history.

The Rolling Stones No. 2 – THE ROLLING STONES****

Everybody Needs Somebody To Love/Down Home Girl/You Can’t Catch Me/Time Is On My Side/What A Shame/ Grown Up Wrong/Down The Road Apiece/Under The Boardwalk/I Can’t Be Satisfied/Pain In My Heart/Off The Hook/Susie Q

The Rolling Stone's second UK LP topped the UK album chart. Most regrettably it is no longer available as the Stones' American releases were chosen instead for CD release. The album is very similar in style to their debut, mostly continuing their interpretation of R & B covers. The US only release single Time Is On My Side reached No. 6. (UK:1)

"The second Stones album is an improvement over the first, but it's still obvious that since albums weren't really a big deal at this point in time, the group were shoving some of the weaker songs they recorded onto their albums."

"Aside from having the worst album title in their history, the Rolling Stones No. 2 contains some of their best covers they ever released, with the best of these easily being Time Is On My Side."

"If you are a fan of the first album, you'll definitely enjoy this one. Unfortunately, the album doesn't hold up well compared to what The Stones produced after it, and though it's generally a good album, I would only recommend this for fans only."

"As an integral album it feels unfinished, and the blind man may be an apt analogy for this stage in The Stones’ development; here the five are feeling their way around different sorts of pop, rock, soul and blues, sometimes coming up with a collective answer, at other times failing rather badly. It is hard, for instance, to speak up in favour of their Under The Boardwalk which, as with several other covers here, is performed in too low a key with inevitable, problematic vocal consequences, despite a heavily-miked acoustic guitar solo dashed off by Jones."

"Time remains on their side, because they managed to make this timeless song. People will probably love this song forever. I know I will fifty years from now, long after their deaths, I'll still be playing this song."

"The Stones helped to turn on a whole generation of North American kids to the blues and they deserve credit for that, along with so many other UK bands, i.e. Yardbirds, Animals."

The Return Of – ROGER MILLER***

Do-Wacka-Do/Atta Boy Girl/Reincarnation/That’s The Way Its Always Been/As Long As There’s A Shadow/Hard Headed Me/Ain’t That Fine/King Of The Road/You Can’t Roller Skate In A Buffalo Herd/Our Hearts Will Play The Music/Love Is Not For Me/In The Summertime/There I Go Dreamin’

Quirky country singer Roger Miller achieved his first US album top twenty entry with his second LP The Return of Roger Miller. It won a Grammy for best country album, and includes the UK No. 1 hit single King Of The Road. (US:4)

"Second album by the late, great King of the Road, who could do more in a minute-thirty than what most songs today could do in five, or even ten." "The Return Of Roger Miller captures American music in a more innocent, fun-loving age. While listeners might be most familiar with King Of The Road, which leads off the second side of this album, there are several other Miller-penned songs that were popular back in the 1960s. Most of the tracks feature low-key production from Jerry Kennedy, and every song finds Roger Miller singing with a happy-go-lucky lilt in his voice. Even the tales of heartache and loss in love are not meant to be taken overly seriously, which made Miller stand out from some of the other singers of the day."

"Some of the humour has not aged well, sounding a bit too corny today, but all-in-all this captures Roger Miller doing what he did best and at the height of his popularity."

"It is acknowledged that Roger Miller did not have what one would describe as a 'great' voice but it was perfectly suited for the tenor of his novelty songs. It is a distinctive voice that definitely grows on the listener to become quite enjoyable."

"Roger Miller is a member of the small fraternity of musical humorists, but with a difference; his offerings are good music with a comic twist, not comedy set to music. There is a sincere, heartfelt quality to these songs, even if some of the lyrics border on nonsensical."

"Roger Miller was unique in a sense of his ability to construct story telling with a dark image of hilarity. Although not having a great voice, his capacity for songwriting was in fact a treat."

"This is just the sound of relaxed cowboys and freedom, loads of sun and happiness."

The Nancy Wilson Show – NANCY WILSON****

Fireworks/Don’t Take Your Love From Me/Don’t Talk Just Sing/Guess Who I Saw Today/Ten Good Years/The Saga Of Bill Bailey/The Music That Makes Me Dance/I’m Beginning To See The Light/You Can Have Him

The Nancy Wilson Show featured an acclaimed live set comprising a wide range of material recorded in July 1964 at the Cocoanut Grove nightspot in Los Angeles. (US:24)

"This album captured what arguably was the finest club act ever fashioned for a prominent singer. When the LP came out I was in my early 20s and just flabbergasted by the superlative original material, the full-bodied orchestrations, the brilliant pacing, sophisticated dialogue and Miss Nancy's peerless and perfect performance."

"Nancy herself felt she'd achieved something special with this engagement and was proud of her work. She could have just stood there and sung songs off her albums, after all. A stunning listening experience; don't miss it."

"If you gotta sing for your supper then let it be at the Cocoanut Grove. One of the greatest vocalists of all times, Nancy lights up this classic nightclub with song and sass. She is a brilliant stage actress who can talk and sing up a tropical storm."

"Recorded live at the then legendary Cocoanut Grove in Los Angeles, is aimed more at the popular audience who were tuned into the variety shows on TV. And in this recording, Nancy Wilson proves herself to be a terrific entertainer."

"Besides having the greatest breath control of any singer ever, Ms. Wilson shines here with her versatility. Whether the torch song Don't Take Your Love From Me, the standard The Saga Of Bill Bailey, jazz standard I'm Beginning To See The Light or hilarious novelty song Don't Talk Just Sing Ms. Wilson never fails to captivate."

"As anything Nancy Wilson does, this album is excellent. It is so refreshing to hear a voice that is a clear and precise as hers and not drowned out by the musicians accompanying her."

"Some of the song choices are eclectic, but perfect for the nightclub occasion. Nancy is in full command of her vocal gifts and the audience, which she has in the palm of her hand."

A Little Bit Of Heaven – JOHN GARY***

A Little Bit Of Heaven/I’ll Take You Home Kathleen/How Are Things In Glocca Morra/Machusla/Kathleen Mavourneen/That’s An Irish Lullaby/Cockles & Mussels/My Wild Irish Rose/Galway Bay/Mother Machree/Believe Me If All Those Endearing Young Charms/When Irish Eyes Are Smiling

MOR vocalist John Gary turned to Ireland for inspiration on his fourth album, A Little Bit Of Heaven, which included several well known standards from the Emerald Isle. (US:17)

"If today's music seems like just so much noise and madness (and sameness) to you, do yourself a favour: get with someone you love - maybe after a hard day's work, dim the lights, pour the wine, slip on any John Gary album and get ready to luxuriate."

"This album captures your heart and soul - music to take with you - wherever you go. John Gary at his finest - as always. These beautiful songs, fit for any occasion - and this fine voice - provide the setting for meditation/relaxation."

"I first heard John Gary in the early 70s. I loved him then and love him now. His voice is so pure, unstrained and soothing. He does not need special music engineering like most singers after him to make a good sound. His choice of songs, even the Irish ballads, are perfect for his voice (and my listening pleasure). None of the songs in his albums would sound as good when sang by the other singers of his time or now."

"Being from a part Irish family, the Irish standards on Little Bit Of Heaven were part of the culture, especially by John Gary. Some may find it 'old fashioned', which it is - big string arrangements, etc. But, boy, this guy has a voice, and I think these songs were meant to be done like this."

"My Wild Irish Rose is easy on the ear, and Galway Bay makes me want to hop on a jet to Ireland right now. The album ends very nicely with John Gary performing When Irish Eyes Are Smiling, this is my very favourite Irish ballad and John sings this wonderfully." "John Gary brought so much happiness to countless numbers of people worldwide. Albums like this one prove that his talent was exceptional. This is a fine album for John Gary fans - and people who enjoy Irish ballads will not be disappointed."

"John Gary brought so much happiness to countless numbers of people worldwide. Albums like this one prove that his talent was exceptional. This is a fine album for John Gary fans - and people who enjoy Irish ballads will not be disappointed."

Live! The Ike & Tina Turner Show- IKE & TINA TURNER***

Finger Poppin’/Down In The Valley/Good Times/You Are My Sunshine/Having A Good Time/Twist & Shout/ Something’s Got A Hold On Me/I Know (You Don’t Want Me No More)/Tight Pants/My Man He’s A Lovin’ Man/I Can’t Stop Loving You/To Tell The Truth

Live! The Ike & Tina Show demonstrates the raw and primitive nature of the Turners’ live act in the mid sixties. Some critics thought that it needed some polishing up to reach a mass audience. (US:126)

“Listening to this live concert from mid-1960s and one can understand clearly why it took almost ten years before the Turners finally hit the big time. To put it simply, they were too raw, brutal and unpolished for a mass audience. Lacking their own hits, in live concerts they were covering everybody from Sam Cooke to The Isley Brothers. While Ike's guitar playing was buried somewhere in the background, Tina sounded breathless and raspy with too much chest-beating which rather kills the songs. While their show was popular in black circles, the Turners were then unable to cross over into the white market.”

“This LP doesn’t represent Ike & Tina in the best light, but it gives an interesting look into early soul music, the way it was performed live in front of an admiring audience.”

“Fantastic album by these incredible stage performers. This album is recorded live in 1965, is pretty raw and has some crazy R & B tunes plus some soul ballads. Tina's voice is fantastic, and Ike's Kings of Rhythm are on a roll.”

“Raw and primitive, this set catches the Ike and Tina revue at the height of their booty shaking powers.”

“This LP includes the original recordings from the Skyliner Ballroom in Fort Worth and Lovall's Ballroom in Dallas. The sound is great, it has a wild, soulful, feel alright music. 60s soul music is great, a period in time that I love and why wouldn't you all.”

“A great album of early Ike & Tina Turner in concert, long before things became formulaic. They were still hungry and eager then, and even performed with energy and fire on mundane filler. If you ever spot this one, grab it immediately.”

“The recording is primitive and raw, with considerable distortion, but that only adds to the excitement as Tina Turner shouts and screams her way through soul standards.”

How Sweet It Is To Be Loved By You – MARVIN GAYE***

You Are A Wonderful One/How Sweet It Is (To Be Loved By You)/Try It Baby/Baby Don’t You Do It/Need Your Lovin’ (Want You Back)/One Of These Days/No Good Without You/Stepping Closer To Your Heart/Need Somebody/Me & My Lonely Room/Now That You’ve Won Me/Forever

In 1965 Motown superstar Marvin Gaye was just beginning to gain national recognition in the US with the No. 6 hit single How Sweet It Is To Be Loved By You. However, the accompanying album was much less successful despite also containing the No. 15 hit Try It Baby. (US:128)

“Although Marvin Gaye would ultimately rebel against the production line sound of Tamla, one could never detect any antipathy from the consummate performances he gave, seeing himself as the new Black Sinatra. The recordings he made in the sixties include some of the best records that Motown would put out.”

“How Sweet It Is contains enough quality material to be a good listen. The title song hit is one of the most infectious singles to ever hit the airwaves. The superb No Good Without You makes excellent use of it's killer refrain, and Marvin's vocals on Now That You've Won Me and Forever are particularly lovely. The rest of the record's material is typical Motown filler: nothing special, but perfectly listenable.”

“There were no R & B charts in 1964, as they had been abandoned late in 1963 due to their similarity with the main pop charts. In early 1965, the R & B charts were re-launched with new rules to provide a clear distinction between the two charts, just in time for the title track to become a massive hit in both of them. Although none of the other tracks seem to have found fame elsewhere, they are all of a high quality and showcase Marvin`s then burgeoning talent well.”

“He hadn't quite found his voice fully here but he could already make a song his own. You are hearing an artist just getting warmed up into a legendary career.”

“In keeping with normal Motown marketing, How Sweet It Is To Be Loved By You capitalized on the massive sales of the title track single. Essentially a compilation of earlier singles, shelved songs, and a couple of new studio tracks, the difference from earlier releases was that this LP succeeded in revealing Marvin Gaye to be a major talent, one of Motown's most impressive performers. The results made for one of those rare albums where virtually every song had something going for it. While his reputation rests primarily on his later recordings, there is a lot of great music here.”

Four Tops – THE FOUR TOPS***

Baby I Need Your Loving/Without The One You Love/Where Did You Go/Ask The Lonely/Your Love Is Amazing/ Sad Souvenirs/Don’t Turn Away/Tea House In China Town/Left With A Broken Heart/Love Has Gone/Call On Me

The debut album from Motown's most consistent male vocal group The Four Tops. Contains six Holland-Dozier-Holland songs including the US No. 11 hit single Baby I Need Your Loving. (US:63)

"The Four Tops album allows you to experience a few songs that were hits for the group and others that are like a breath of fresh air for anyone lucky enough to listen. Every song is a gem in its own right."

"For those that weren't privileged to live through the Motown era, when you heard these songs for the first time, they lit up your soul." "This is real music by super talented men. Holland, Dozier and Holland were the writers and arrangers for a ton of Motown music back in the 60s, a great era when talent was really talent."

"Motown hadn't quite figured out how to handle The Tops' distinctive vocal sound at this point. This album was rushed out to cash in on the success of the gritty Baby I Need Your Loving, and aside from that single, and Ask The Lonely, the tracks are not among the group's best work. Simple, unmemorable tunes, basic hastily recorded arrangements, a distinct lack of presence. Despite their years of work before joining Motown, The Tops were not yet ready to take over the world."

"You'd be hard pressed to find two better singles on a debut album than Ask The Lonely and Baby I Need Your Loving. These were the cornerstones of The Four Tops' first LP, and besides netting them one top ten and top twenty pop single each, it established Levi Stubbs' resounding voice as another unforgettable one at Motown. Even the tunes that didn't do so well, were marvellously sung. It was a debut to remember."

"My favourite song on this whole LP is Where Did You Go. For the life of me I wonder why it was not released as a single."

The Folk Album – TRINI LOPEZ***

Lemon Tree/Pretty Eyes/Greenback Dollar/Puff The Magic Dragon/I Love Your Beautiful Brown Eyes/Blowin’ In The Wind/We’ll Sing In The Sunshine/Scarlet Ribbons/Crooked Little Man/Don’t Think Twice Its All Right/Michael Row The Boat Ashore/This Train

Final US top twenty album success for Latin influenced folk singer Trini Lopez came with The Folk Album. Trini's albums continued to dent the lower reaches of the US chart for the rest of the decade. (US:18)

"This album is a classic. It shows how Trini could mould these classic folk tunes into his 'own style'. The album contains Lemon Tree, Michael and a great remake of Greenback Dollar, to name a few. Highly recommended for any Trini Lopez fan."

"Contains one of Trini's finest work. You can tell the fun he is having in the studio with these songs. I only wish there were more."

"Bought it originally in 1965, it quickly became one of my favourite albums. I've always been a sucker for a 12-string guitar. Trini was one of the best."

"Try and find anyone who crosses so many lines of culture. Everyone thinks of Michael Jackson, but Trini Lopez crossed boundaries and did it with class and style. A top notch entertainer, who could get a group standing up and dancing, and feeling good. Try him, you'll like him."

"The Folk Album by Trini Lopez only goes to show that this guy was a champ who could - and still can - sing and play his guitar exceptionally well. Trini turns out some wonderful numbers on this album and he never sounded better. Trini really put a lot of feeling into each ballad; and just one listen proves it."

"Trini Lopez never lets his fans down; and The Folk Album is just one of many examples of that."

"Lemon Tree is an immortal song no doubt. I will like it forever and I appreciate Trini Lopez very much for singing this beautiful and interesting song."

Ferry Cross The Mersey – GERRY & THE PACEMAKERS***

Its Gonna Be Alright/Why Oh Why/Fall In Love/Think About Love/I Love You Too/All Quiet On The Mersey Front/ This Thing Called Love/Baby You’re So Good To Me/I’ll Wait For You/She’s The Only Girl For Me/Is It Love/Ferry Cross The Mersey

Fading Merseybeat group Gerry & The Pacemakers starred and played the majority of tracks in the film Ferry Cross The Mersey, with a single track each from Cilla Black and The Fourmost. The title track was a top ten hit in both Britain and the States. (US:13 UK:19)

"This is the various artists soundtrack to Gerry and The Pacemaker's 1964 film about a musical group trying to make it big. It also featured Cilla Black in a cameo role, where she sang her song Is It Love. I'd buy it just for that alone. A well worth buy if you're a fan of the Mersey scene music."

"Gerry and the boys are adorable, the music is good."

"Lots of toe tappers throughout and, of course, there's that wonderful theme song."

"If you are into 60s music you will love the tunes in this film, not only Gerry's Ferry Cross The Mersey, but also The Fourmost and Cilla Black give good performances."

"Ferry Cross The Mersey features quality musical selections throughout and it's a joy to listen to."

"Ferry Cross The Mersey has been a favourite of mine since childhood. It is so beautiful, I never tire of it."

"They were fabulous during a fabulous time. They will forever be remembered as among the best ever."

"This sounds a bit uncomfortable with itself."

Downtown – PETULA CLARK***

True Love Never Runs Smooth/Baby Its Me/Now That You’re Gone/Tell Me(That Its Love)/Crying Through A Sleepless Night/In Love/Music/Be Good To Me/This Is Goodbye/Let Me Tell You/You Belong To Me/Downtown

With the release of the Tony Hatch composition Downtown, Petula Clark reinvigorated her singing career to appeal to a more youthful audience. The Grammy winning title track hit single reached No. 1 in the US and No. 2 in the UK. (US:21)

"The album Downtown was put together taking Clark's recent singles and recording some songs to make up the balance. The fact that none of the other songs were in the distinctive style of the hit title song did not bother too many people. Still, we are talking hit and miss here in terms of the results. Clark's version of the Bacharach-David song True Love Never Runs Smooth is pretty good as is Be Good To Me."

"The unexpected success of Downtown prompted demand for a quick release of a similarly titled album to capitalize on the single's phenomenal popularity. With her schedule allowing no time to spend in a recording studio, Clark - together with composer/arranger/producer Tony Hatch (the Bacharach to her Warwick) - gathered together a collection of tunes from 1963-65 for her American LP debut. The result was a pleasant collection of MOR tunes that was more a statement of where she had been musically, rather than a suggestion of what the Clark/Hatch team was on the verge of developing."

"The Downtown LP was something of a mixture, as Petula didn't have time to record an album to go with the single. Some new tracks were recorded, but mostly the album is made up of various pre-Downtown singles, B-sides and other tracks that hadn't appeared on any European album. Despite that, the LP was of a remarkably high quality, but overall it didn't show the new Petula sound."

"It's amazing when you hear Downtown and know that there is no other song that is like it in composition or even sounds like it. This is one of few songs that are unique, it's easily identified, and her voice is perfect for it."

Dear Heart – JACK JONES****

Dear Heart/You’re Sensational/Love Is Here To Stay/I’ll Get By/You’d Better Love Me/All The Things You Are/ Emily/Thank Heaven For Little Girls/I’m Glad There Is You/When She Makes Music/Something’s Gotta Give/You’re My Girl

Smooth American vocalist Jack Jones enjoyed his second US top twenty album success with Dear Heart. The number of high placed MOR albums began to gradually diminish as pop and rock artists began to assert their chart dominance. (US:11)

"Jack Jones broke through in the early 1960s, when rock & roll temporarily seemed to be on the wane and light pop on the way back. But when The Beatles invaded in early 1964, the 26-year-old singer, like most of his contemporaries, suddenly seemed permanently passé."

"There are so many stunning songs on this set that weren't even 45s, that you simply cannot get your head around how utterly brilliant this man really is."

"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. What Led Zeppelin's Robert Plant did for rock vocals, Jack did for the crooners. He just transformed the entire concept."

"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."

"I tell you, this and many of all Kapp Records' Jack Jones are great treasure. Wonderful and imaginative arrangements by remarkable Pete King and Don Costa."

"These are the original, enduring Jack Jones recordings, his lasting contribution to music, the most perfectly enunciated, crystal-toned pieces of heartfelt romance imaginable. Jack Jones is indescribable - he reached perfection so soon, he had nowhere to go beyond that, and has been experimenting for years. Trust the perfect original."

Dear Heart – HENRY MANCINI****

Dear Heart/Girl From Ipanema/Mr Lucky/Soldier In The Rain/(I Love You &)Don’t You Forget It/Song About Love/How Soon/The New Frankie & Johnnie Song/Mostly For Lovers/Man’s Favourite Sport/Can’t Buy Me Love/Dream

Dear Heart provided leading conductor Henry Mancini with his penultimate US top twenty entry. The emphasis is on choral rather than orchestral arrangements. Contains the UK top ten hit single How Soon. (US:11)

"Dear Heart & Other Songs About Love is billed as Henry Mancini's first all-choral album, but he had worked with a vocal chorus many times in the past, so the 'departure' is not very unusual. The vocals and instrumentation are credited to Henry Mancini & His Orchestra & Chorus, an assemblage of studio artists. The songs encompass soundtrack cuts Dear Heart, recent hits The Girl From Ipanema, assorted pop compositions, and one delightful novelty The New Frankie & Johnnie Song."

"Mancini is better known for his orchestral arrangements - his choral arrangements are well-done, but not as 'intriguingly original' as the liner notes would lead you to believe. Dear Heart & Other Songs About Love lacks the readily identifiable sound of a Ray Conniff, for example, but is similar in tone and construction. A vocal version of Mancini's theme, Mr. Lucky, is one item of special interest on this album."

"Glorious, classy, wonderful Mancini. Here you'll find some rare specialities like a vocal version of Mr. Lucky and some other choir takes by that irresistible Mancini choir team."

"From the great art cover to the great tracks - Mancini here uses a chorus as opposed to his usual instrumental approach - a great album. I've heard this thousands of times over the years and will hear it thousands of times again. Moody, pleasant and great having on while playing canasta." "Dear Heart sounds too much like Moon River, and yes I am aware both belong to the late great Henry Mancini, but anyway the song is beautiful, but the movie with Glenn Ford and the great Geraldine Page, which it comes from, is even better."

Coast To Coast – THE DAVE CLARK FIVE***

Anyway You Want It/I Can’t Stop Loving You/I Can’t Stand It/What Is There To Say/Everybody Knows(I Still Love You)/Crying Over You/Say You Want Me/When/Don’t You Know/To Me/Its Not True

British Invasion group The Dave Clark Five notched up their fourth US hit album in less than a year with Coast To Coast. Contains the US No. 14 single Anyway You Want It. (US:6)

"Any album that opens with Anyway You Want It already has a leg up over most of the competition around it. Arguably the jewel of The Dave Clark Five's singles output, it's a song that has aged gracefully. So Coast To Coast opens strong and it gets better, blooming into an amazingly diverse yet consistently powerful record made up entirely of group originals."

"Coast To Coast would probably be regarded today as something close to an essential British Invasion record if, perhaps, not as seminal as say, the Beatles For Sale LP, but definitely more solid and important than all but one other album."

"Somewhat poorly sewn together by worthy representatives of the American musical industry. First of all, it's even shorter (eleven songs this time, instead of the typical American dozen), which probably symbolizes that they were scraping the bottom of the barrel at the time."

"The album's primary bait is definitely the lead-in track, the band's contemporary hit single Anyway You Want It, which, together with Glad All Over, still remains as the DC5 defining tune."

"The band's overall style hasn't changed much since American Tour, but the album is definitely less diverse. I miss all the cute little vaguely experimental instrumentals, for one. Where's that 'hoarse harmonica' thing? Where are the groovy bass lines? Where's the occasionally 'odd' saxophone part?"

"For a short while, it looked like The Dave Clark Five was comparable in talent and potential to The Beatles. Of course time proved that The Beatles were easily the better group and, in my opinion, the greatest singing group ever."

Cilla – CILLA BLACK****

Goin’ Out Of My Head/Every Little Bit Hurts/Baby Its You/Dancing In The Street/Come To Me/Ol’ Man River/One Little Voice/I’m Not Alone Anymore/Whatcha Gonna Do ‘Bout It/Love Letters/This Empty Space/You’d Be So Nice To Come Home To

The debut album from Liverpudlian vocalist Cilla Black. Between 1964-71 Cilla released a series of acclaimed pop singles, although none are included on this album. (UK:5)

"Cilla show's why she must be remembered in pop history as one of the finest vocalists to emerge from England. It shows her as soulful, dramatic and stunning. Just listen to Dancing In The Street, this is a must for any Cilla fan."

"From her first album comes the hauntingly beautiful ballads One Little Voice and Baby Its You." "So good to get back to full orchestrated music and the soulful sound of our Cilla swinging to Dancing In The Street. Cilla the album is soulful and rich, a must for everyone who doesn't remember Cilla as a singer."

"Listening to these tracks makes you realise just how good and important Cilla of the 60s was."

"She can turn her hand to any kind of song and there is plenty of proof of that here. Big band swing numbers, uptempo classics and the big ballads that made her so popular."

"Stunning would understate what is a beautiful album featuring the diva at her most soulful and dramatic. Cilla is the biggest selling British female artist from the sixties and this is her legacy uncovered."

"It was interesting to hear how on Cilla she recorded two songs with a big band on Old Man River and You'd Be So Nice To Come Home To - truly marvellous recordings, as she really can swing. Also on Cilla is her version of Dancing In The Street (in the very early days of her career she was, in fact, paralleling her big ballad stuff with a lot of rhythm and blues material, which she did very well). I love Goin' Out Of My Head - she suits it perfectly and it could easily be a Bacharach song."

The Best Of - AL HIRT*****

Java/Stranger In Paradise/Bourbon Street Parade/The Best Man/Stella By Starlight/Holiday For Trumpet/I Love Paris/Sugar Lips/Poor Butterfly/Cotton Candy/Love Makes The World Go Round/The Saints Go Marchin’ In

Renowned trumpeter Al Hirt bid farewell to the US album top twenty with this best of collection. He would place his albums on the lower rungs of the chart for the rest of the decade. (US:13)

"Everything on Java was just fantastic and he was playing every note exactly like he wanted it. On the surface it's a trite little tune, but his intonation was spot-on, his articulation was superb, and his phrasing and expression were truly excellent."

"I grew up listening to Al Hirt. He was, in my opinion the best. He played things that seemed to be unplayable. His Dixieland stuff was amazing, he played a ballad with more feeling than anyone I had ever heard."

"He was a terrific player. He had an enormous fat sound, very brassy, but at the same time it never had a rough edge. It seems like a contradiction, but his sound was brassy and sweet at the time. No matter how high, how loud, or how fast he was playing he always seemed to be playing well within his comfort zone, and having a lot of fun."

"This album combines genres of blues, jazz, and pop to keep the listener tapping his foot, not to mention keeping him mesmerized by Hirt's amazing talent and ability. The listener can close his eyes and be transported to another day and time. The songs on The Best Of Al Hirt seem to walk one through the sights, sounds and feelings of an entire year."

"I feel Al Hirt is often overlooked when legendary trumpeters are discussed, which is unfortunate. As a musician he was top notch, technically in his prime, while also being a master interpreter of song. This is a combination that is often hard to come by and shouldn't be underestimated." "His large-bore tone, his technical playing skills, the romance and the sense of humour he applies to his style is totally timeless, brilliant, and intelligent. Listening to this again just reinforces my youthful conviction that Mr. Hirt is truly the best."

Beatles ’65 – THE BEATLES***

No Reply/I’m A Loser/Baby’s In Black/Rock & Roll Music/I’ll Follow The Sun/Mr Moonlight/Honey Don’t/I’ll Be Back/She’s A Woman/I Feel Fine/Everybody’s Trying To Be My Baby

US only release Beatles '65 topped the album chart for nine weeks. Contains eight tracks from the UK album Beatles For Sale. The single I Feel Fine was a UK and US chart topper. (US:1)

"Beatles '65 was my very first Beatles album. I was obsessed with this album, playing it every chance I got. Still love the songs now as much as I did then. The Beatles music just doesn't get old."

"The overall maturity of these recent original songs was way above their cliché-heavy offerings of 1963. Coupling this with their becoming more adept in the studio, this being their second full album recorded on a four-track machine, their thirst for experimentation with different instruments began to emerge."

"The album is loaded with a bunch of really good songs. I'm A Loser, I'll Follow The Sun and Baby's In Black are my favourites - all of these could have been top ten songs, played on the radio."

"While this wasn't their best album it was part of another transition period of their music and once again proved the band's diversity and musicality. The album is rather dark too with all those self pitying songs."

St Louis To Liverpool – CHUCK BERRY****

Little Marie/Our Little Rendezvous/No Particular Place To Go/You Two/Promised Land/You Never Can Tell/Go Bobby Soxer/Things I Used To Do/Liverpool Drive/Night Beat/Merry Christmas Baby/Brenda Lee

Rock & roll pioneer Chuck Berry's final release of memorable new material came with St. Louis To Liverpool. It contains the hit singles No Particular Place To Go and You Never Can Tell. (US:124)

"The release of 1964's St Louis To Liverpool found the seminal rock & roller riding high on a resurgence of popularity thanks to The Rolling Stones, The Beatles and other British acts who had discovered and reinterpreted Berry's music."

"Though the record was released at the tail end of Berry's streak of self-penned hits, the disc still throws out classics left and right. It's hard to imagine the rock canon without Little Marie, No Particular Place To Go and You Never Can Tell."

"To some extent, this is Berry's final hurrah. The album doesn't greatly change his formula of clever lyrics, memorable guitar licks and Johnnie Johnson's ever-present piano backings, but it does add a few classics and some fine album tracks."

"In no way did Chuck Berry intend to surrender his rock ’n’ roll to the British Invasion without a fight. It rocks right from the very first number and one could almost believe that one was in a road movie when Berry belts out his songs about America and its people."

"This may be rock's first great comeback album. St. Louis To Liverpool captures the middle-aged Chuck Berry doing what he did best: pounding out song after song of relentless rock 'n' roll brilliance without much regard for anything else."

"The songs are some of the best in the entire Chuck Berry catalogue. Opener Little Marie sets the pace brilliantly, with its churning guitars, a strutting rhythm section, and a nearly hypnotic vocal. No Particular Place To Go recycles the stop-start melody of Berry's earlier School Days, throwing in some hilarious lyrics for good measure. You Never Can Tell proves that Chuck was one of rock 'n' roll's greatest storytellers, and includes some smokin' guitars and pianos. The remaining tracks are marvellous as well."

South Of The Border – HERB ALPERT & THE TIJUANA BRASS*****

South Of The Border/The Girl From Ipanema/Hello Dolly/I’ve Grown Accustomed To Her Face/Up Cherry Street/ The Mexican Shuffle/El Presidente/All My Loving/Angelito/Health Love & Money/Number Five/Goodbye My Heart

US trumpeter Herb Alpert and his Tijuana Brass third album release South Of The Border began a long run of massive album hits featuring their easy listening style. (US:6)

"It showed Herb’s magic touch on some of the era’s most popular hits. Covers of Jobim’s The Girl From Ipanema and The Beatles’ All My Loving were set alongside Spanish love songs."

"Musically, this is arguably Herb Alpert's Tijuana Brass' finest material. If you haven't auditioned this music, I hope that you give it a go."

"This is one of the greatest albums ever. Herb Alpert was one of the few that could compete with the intense popularity of The Beatles and Stones."

"This early effort from Herb Alpert features the title track. The opening to it brings to mind bullfights, lovely senoritas and fiestas."

"This is a one of a kind sound and if I were stranded on a desert island with only a few albums, Herb Alpert & The Tijuana Brass would be included in that collection. This is one of his best albums."

"Mexican Shuffle is featured on this album. It is the only hit here, but the rest of the album is very good. For the first time, Alpert demonstrates his knack for arranging, taking a completely left turn on Jobim's classic Girl From Ipanema, and The Beatles' All My Loving. Overall, the Mexican feel is still evident in this album, perhaps the last album that would showcase this."

"Just listen to the fantastic craftsmanship that went into the making of this album. There isn't a bad song here. The Brass just roll effortlessly through each song. Wow! Thanks to Herb for releasing this unbelievable album all those years ago."

Softly As I Leave You – FRANK SINATRA***

Emily/Here’s To The Losers/Dear Heart/Come Blow Your Horn/Love Isn’t Just For The Young/I Can’t Believe I’m Losing You/Pass Me By/Softly As I Leave You/Then Suddenly Love/Available/Talk To Me Baby/The Look Of Love

On Softly As I Reach You Frank Sinatra tries to get with it and fails. Artists should stick to what they do best and ignore modish attempts to try and update their musical style. (US:19 UK:20)

"This album was Sinatra's first tentative attempt to come to terms with rock & roll. Arranged by Ernie Freeman Softly As I Leave You, Then Suddenly Love and Available are definitely stabs at incorporating rock & roll into Sinatra's middle-of-the-road pop, featuring drum kits, backing vocals and keyboards. The rest of the album is pieced together from leftovers from various early '60s sessions, from many different arrangers and conductors, giving the album a rather uneven finish."

"The '60s were the beginning of the end for jazz-infused popular music. Softly As I Leave You finds Sinatra looking for material worthy of his vocal talents and commercially viable. Here he succeeds on the second count, but only occasionally on the first. Five stars for the vocals, two stars for the songs."

"The title track is moving, even with the obligatory '60s choir in the background. Sinatra explores his somewhat deepened register, with none of the coarseness that would alter his sound later in the decade, and the result is seamless and powerful. He sounds engaged in the song."

"I will never understand how an album that proclaims to bring us Sinatra singing about 'everything there is to know about love' would sink to this kitsch."

"Not an easy review to write, because the best popular albums ever made have Sinatra written all over them. The Reprise era was uneven and the present album - even with a few high points - shows the wheels coming off the exquisite taste and excellence of the Sinatra legend. Recommended for serious Sinatra fans only."

"This album is a classic example of the more commercial sound created for Frank by producer Sonny Burke in the sixties. This is truly a solid and underrated effort. It is very listenable with the exception of Pass Me By. A must buy for any Sinatra collector."

Presenting The Fabulous Ronettes – THE RONETTES***

(Walking) In The Rain/Do I Love You/So Young/(The Best Part Of) Breakin’ Up/I Wonder/What’d I Say/Be My Baby/You Baby/Baby I Love You/How Does It Feel/When I Saw You/Chapel Of Love

Presenting The Fabulous Ronettes is regarded as the best example of legendary producer Phil Spector's 'wall of sound' production technique. However, it struggled to dent the top 100 of the US album chart despite the inclusion of the hit singles Be My Baby and Baby I Love You. (US:96)

"These were the bad girls of rock & roll. Teased hair, tight skirts and mascara as thick as Veronica’s accent."

"The song that kicked it off for them was Be My Baby and if you’ve never heard it, you’re missing out. That is one of the few songs I can put on repeat and listen to over and over and over again. I love the opening drum beat, Veronica’s lead vocals, the constant chanting of the background vocals, the entire production of that song is just amazing."

"With The Ronettes, Spector pioneered the ‘girl group’ sound. And this album is one of the finest examples of his ‘Wall of Sound’. In a time when AM and mono was king, Spector produced a genius sound that worked. It was a massive influence at the time and still continues to be to this day. For that reason alone this album deserves to be remembered. The Ronettes themselves were pretty much puppets, but hey, they were one of the first girl groups. Their voices worked with the tracks. It’s uptempo and catchy. The album is pretty much chart fodder and doesn’t pretend to be anything other than that, a perfectly polished pop album."

"Of all the incredibly gorgeous and powerful work that Phil Spector did, his work with The Ronettes was his finest accomplishment. Phil's 'Wall of Sound' production style is in full effect here."

"Ronnie was not the most technical singer around, but there is a sultriness and soulfulness in her voice that just cannot be matched. Her cute, passionate voice, backed up by the famous Spector backing, creates a sound that is hard to explain. Basically the singing is often the only clear thing, the rest all seems to blend into the background."

Pearly Shells – BILLY VAUGHN***

Pearly Shells/Peg O’ My Heart/I Cried For You/Everybody Loves Somebody/A Taste Of Honey/Girl From Ipanema/Maybe/For Me & My Gal/Caravan/Moonlight & Shadows/Over The Rainbow/Again

Pearly Shells returned bandleader Billy Vaughn to the upper reaches of the US album charts. Easy listening orchestral instrumental albums such as this were quickly fading from the charts during the mid 1960s. (US:18)

"If you like excellent alto sax playing harmonics this is music for you. I've never met anyone who doesn't like his music."

"Billy's orchestra was basically a rock band surrounded by horns."

"Billy Vaughn kept some of us sane during the raucous decade of the 50s and the early part of the 60s with his melodic sounds."

"Gentle, nice and swaying wonder. What magic Billy Vaughn had in composing Pearly Shells. Yet another of my favourite instrumental hits from Billy Vaughn & Orchestra."

"First time I heard this one I was surprised. No saxophones. I don't dislike saxophones, but so many of his songs have them that it's a pleasant surprise to hear one without them. They would, I think, be a harsh addition to the soft, tropical melody of Pearly Shells."

My Love Forgive Me – ROBERT GOULET***

My Love Forgive Me/Now That Its Ended/Quiet Nights Of Quiet Stars/Softly As I Leave You/What Kind Of Fool Am I/What Can You Do/Just Say I Love Her/Two Different Worlds/Welcome Home Angelina/Choose/Too Good/This Is All I Ask

Final US top twenty album chart placing for smooth MOR vocalist Robert Goulet came with My Love Forgive Me. The title track reached No. 16 on the US singles chart. He continued to place albums on the lower reaches of the chart for the rest of the decade. (US:5)

"Actually, despite the haste with which it was assembled, the album is one of Goulet's better collections."

"Suddenly with this material, Goulet seemed less like a fading middle-of-the-road pop singer and more like a potential competitor to the mop-topped hordes. As it turned out, his thunder was stolen by the British Invasion tagalongs Tom Jones and Engelbert Humperdinck over the next few years. But with the gold-selling, top five My Love Forgive Me LP, he briefly looked like he might be back in the hunt."

"The My Love Forgive Me tracks are a different kind of offering. This album was Robert Goulet's most popular, given the fact that beside If Ever I Would Leave You, the title track of this album is the song he was most associated with during his recording career. There are four different conductors on the twelve tracks and the album feels a little inconsistent. I will say that Mr.Goulet is on top form, and most of the set has a very serious feel to it."

"Thank you for this. Robert Goulet had such a rich, beautiful voice. One of the few great male singers."

"My Love Forgive Me - how can you get better than this. What a song, what an entertainer. Those of you that love this, don't tell me you can pass on turning this up and singing. It's not possible."

"Robert Goulet was the best baritone in his time. And his legend still lives."

Mr Lonely – BOBBY VINTON****

Mr Lonely/Always Always(Yesterday’s Love Songs)/Tina/Forever Yours I Remain/Life Goes On/Laughing On The Outside/A Thing Called Sadness/The Grass Is Always Greener/I’ll Never Smile Again/Someone I Used To Know/Satin/Its Better To Have Loved

US vocalist Bobby Vinton successfully straddled both the teen and more adult market in the early 1960s. The heart rending Mr Lonely was a US chart topping single. (US:18)

"A wee piece of nostalgia for our times, crooners who make sense and woo you to tears of love remembered or lost. It is so nice to hear the young Mr. Vinton again."

"While it's best known for its chart-topping title ballad, Mr. Lonely remains one of Bobby Vinton's most consistent and engaging albums, a product of the Brill Building pop formula at its most irresistible. Given the songwriting and arranging talent on display here it's easy to joke that Vinton's presence is almost superfluous."

"Though Bobby Vinton usually sang songs written by others, in 1964 Vinton co-wrote Mr. Lonely with Gene Allan, taking the song to #1 on the Billboard Hot 100. Vinton is at his best when singing about poignant issues. In this case, Mr. Lonely is a soldier far from home. The heartfelt emotions behind Vinton's words are unavoidable and make this a great song for anyone who is isolated or feels isolated. Vinton's falsetto is awesome and gives Frankie Valli a run for his money."

"Bobby Vinton's music is timeless. It is just as poignant and beautiful today as it was when he first recorded it. Vinton was incredibly successful, holding his own against The Beatles, Rolling Stones and dozens of other pop artists. There are still people that make such music, but you will likely not hear them on pop radio. If you ever get nostalgic for mellow, romantic music, pick this album up and give yourself a treat." "A wave of attractive, talented male singers sprouted in the lull between Elvis' induction into the army and The Beatles arrival on US shores. Among them, Bobby Vinton had one of the prettiest voices, an instrument with which he carved out a niche of pop songs that didn't even feint towards rock `n' roll."

"Vinton looked further back to earlier, pre-rock pop. His lushly orchestrated recordings were more apiece with the pre-rock 'n' roll hit parade than with the amalgam of blues, R & B, country and gospel."

Lennon-McCartney Songbook – KEELY SMITH**

If I Fell/This Girl/Please Please Me/And I Love Him/World Without Love/She Loves You/A Hard Day’s Night/Do You Want To Know A Secret/Can’t Buy Me Love/All My Loving/I Want To Hold Your Hand/PS I Love You

Keely Smith's only UK album chart entry was with this largely forgotten collection of Lennon-McCartney covers. She is best remembered as the vocalist in the jazz band of her former husband Louis Prima, and can be best sampled on her solo albums from the fifties and sixties. (UK:12)

"Keely Smith possesses a fantastic ability to sing so well that she could capture your attention at once and you would never want to stop listening to her."

"Keely Smith does something for me. The songs she sings and her voice are among the best of any entertainer. Her recordings deserve more appreciation than they have received."

"Keely Smith's voice is sterling. It is as suited to the jumpy Louis Prima numbers as it is for standards. Her interpretive powers are top-notch." "Keely Smith is an undervalued songbird whose talents remain strong even today."

"She sings with power and a great sense of timing and phrasing, a bit of an accent that never quite ceases to call attention to itself but does not detract from the charm of the music."

"Keely's pure and clear voice will capture you no matter how many times you listen."

I Am – P.J. PROBY***

Whatever Will Be Will Be/Its No Good For Me/Rockin’ Pneumonia & The Boogie Woogie Flu/The Masquerade Is Over/Glory Of Love/I’ll Go Crazy/Question/You Don’t Love Me No More/Don’t Worry Baby/Just Call & I’ll Be There/Louisiana Man/Cuttin’ In

US vocalist P J Proby was far more successful in the UK than in his home country, with six top twenty singles during 1964-65. None of these are included on his only hit album, the rocking I Am P J Proby. Unfortunately, he is best remembered for the publicity generated by some alleged trouser splitting incidents whilst on stage. (UK:16)

"Compared to his other albums, I Am P J Proby is faster in beat and more influenced by rock & roll."

"A terrific debut. A perfect showcase of an extraordinary talent capable of almost anything. I consider this a fantastic album with some weak points such as Don't Worry Baby, really inferior to The Beach Boys`s original, and some extreme highlights - almost anything else. Thank you P.J. for all the good moments you have given us."

"This is an excellent album, one that I can strongly recommend to anyone and not just fans. I think that if you don't like this album after hearing it then you're pretty hard to please. I love every song and simply can't choose a favourite."

"I came across this album in a record store a year or so ago and after listening to it I fell in love with the man and his music all over again. Surely P.J. Proby is one of the best all round entertainers ever. Better looking than Elvis and with a greater vocal range, PJ sweeps all before him."

"This was one of the first albums I ever bought, and I was absolutely amazed. This man had the greatest range in vocals I had ever heard. Absolutely wonderful. And I have been collecting his records ever since."

"Proby had a fantastically powerful and emotionally charged voice, unique in style when he wanted it to be. He could also sound like Elvis Presley when the mood took him too. He pours his very heart and soul into his performances. PJ was equally at home with a raunchy rock & roll number as with classic ballads. If only he hadn't split those trousers - we can just wonder what might have been."

Gone Gone Gone – THE EVERLY BROTHERS***

Donna Donna/Lonely Island/The Facts Of Life/Ain’t That Loving You Baby/Love Is All I Need/Torture/The Drop Out/Radio & Tv/Honolulu/Its Been A Long Dry Spell/The Ferris Wheel/Gone Gone Gone

Gone Gone Gone is a mixed bag from The Everly Brothers with many of the tracks comprising leftovers that had been recorded several years earlier. By the mid 1960s the glory days of this iconic duo were sadly over.

“A jumble of tracks from varying sessions that, despite some excellent moments, were indicative of the general lack of direction of The Everlys' career at this point. The title song and The Ferris Wheel were decent minor hits. Otherwise, the album contains a few other songs cut in 1964, and some odds and ends from sessions in the early '60s. Unfortunately overall it was not up to the standards of either the writers or the performers.”

“This album has always gotten a bad rap, either because it tanked sales wise, or because Everly fans considered it a slipshod compilation of throwaway tracks.”

“Gone Gone Gone is a good LP. Besides the title song, other worthy efforts are Ferris Wheel, Donna Donna and Torture. The Facts Of Life is an interesting song written by The Everlys.”

“Gone Gone Gone was a rather hurriedly put out album, capitalizing on their first US top 40 hit in nearly three years with the title song, possibly their greatest upbeat recording to date and a Don and Phil composition to boot. Their relaxed harmonies really gelled with the terrific studio band, controlled by some fantastic drumming.”

“The Everly's trademark harmonies are as good as ever but the album is let down by weak material, only Ferris Wheel and the title track made it onto my playlist, the rest of the tracks are pretty forgettable.”

“It does represent a return of Don and Phil as songwriters plus a reunion of sorts with the Bryants, but none of their contributions scale heights previously reached. As with all Everly albums there are some good moments. The Ferris Wheel, a haunting song of lost love, is a great track which charted in the UK. The title track is also a bit special with a bossa nova backbeat and some good guitar work. A few tracks were recent studio cuts but the majority had been done three years earlier in the first Warner sessions and had not been thought worthy of immediate release.”

Getz Au Go Go – STAN GETZ****

Corcovado/It Might As Well Be Spring/Eu E Voce/Summertime/Only Trust Your Heart/The Singing Song/The Telephone Song/One Note Samba/Here’s That Rainy Day/6-Nix-Pix-Flix

Getz Au Go Go, featuring jazz saxophonist Stan Getz, was recorded live in August 1964 at the Greenwich Village Cafe Au Go Go. It features Astrud Gilberto on vocals. (US:29)

"The focus of Getz Au Go Go steers away from the Brazilian flavoured fare, bringing Astrud Gilberto into the realm of a decidedly more North American style. That said, there are a few Antonio Carlos Jobin compositions, Corcovado and One Note Samba both of which would be considered as jazz standards in years to come. Getz Au Go Go is highly recommended for all dimensions of jazz enthusiasts."

"Although Astrud Gilberto has drawn most of the attention given to this album over the years, what makes it a classic is the interaction of the then young Gary Burton with Getz and bassist Gene Cherico. They do the best version ever of Here's That Rainy Day and one of the best of Summer Time. The bossa novas and Gilberto are charming and wonderful, but it is their lyric, swinging treatment of the standards that make this one of the best jazz albums of all time."

"The real shame of this particular edition of the Getz quartet is that it was so under recorded. At any rate, this is a quality band. Gary Burton on vibes gives the band a different texture, and Astrud's voice fits in perfectly with the cool sound of this group."

"This is relaxing, enjoyable cool jazz. Astrud sings on five of these tunes. She sings very well, with the classic sound we love so well."

"This is a pleasant album to add a little variety to your collection of Stan Getz or Astrud Gilberto. It is a document from an era when bossa nova burst onto the American scene, and jazz songs could actually get airtime on top 40 radio and turn into big hit records."

"Getz sounds great and Gary Burton is on hand with his vibes and Astrud Gilberto is her mesmeric self. I love The Telephone Song, catchy and the band seems to be having fun, and when Astrud laughs at the end it charms me so."

Five Live Yardbirds – THE YARDBIRDS***

Too Much Monkey Business/Got Love If You Want It/Smokestack Lightning/Good Morning Little Schoolgirl/ Respectable/Five Long Years/Pretty Girl/Louise/I’m A Man/Here ‘Tis

Five Live Yardbirds is the first album from the British blues influenced group The Yardbirds. Unusually for a debut it was recorded live, this taking place at London's Marquee Club in March 1964. Although the LP never troubled the UK charts it is notable for the first recorded appearance of guitar genius Eric Clapton.

"What we have here isn't half-bad, and it does set a number of major historic 'firsts'. It's the first LP to have Eric Clapton appearing on it, already stealing the show from his band mates, when he gets the chance. It's the first Yardbirds LP, introducing a band that would occupy its rightful place among the great ones. It's the first live LP of a British rock band, as far as I'm aware, it's the first case of a band making their first LP a live one - a clear symbol of rock music coming on as a major active force that had to be judged as spontaneous performance, rather than just a hastily assembled set of half-hearted covers and half-baked originals."

"At this point, The Yardbirds still weren't performing any of their own material, so the set list is packed with the usual blues, rockabilly and Bo Diddley standards. They are, of course, nowhere near as authentic as the black masters; they aren't as tight and dedicated as The Stones either."

"They are able to rip it up, even on the lengthier 'rave' numbers whose purpose is to enthral the listener rather than just entertain him. They are competent with their instruments. And, of course, they have Eric Clapton out there. Perhaps the biggest crime of this album is that Eric is given far fewer chances to shine than he should."

"It was the first important - indeed, essential - live album to come out of the 1960s British rock & roll boom. In terms of the performance captured and the recording quality, it was also the best such live record of the entire middle of the decade."

"Wow! That's all I could say when I first heard this record. Ten songs that made you want to get up and move. Not dance necessarily, but sort of sway to the music. Keith Relf plays a blistering good harmonica that reminds me of Little Walter. Eric Clapton is, well, he's Eric Clapton, a guy who plays like he was born with a guitar in his hand."

Broadway Blues Ballads – NINA SIMONE***

Don’t Let Me Be Misunderstood/Night Song/The Laziest Gal In Town/Something Wonderful/Don’t Take All Night/ Nobody/I Am Blessed/Of This I’m Sure/See-Line Woman/Our Love (Will See Us Through)/How Can I/The Last Rose Of Summer

Broadway Blues Ballads shows a different side to Nina Simone’s work, including her take on some less well known show tunes, plus a distinctive interpretation of Don’t Let Me Be Misunderstood.

“In Broadway Blues Ballads you get Nina Simone trying lighter tones, beautiful pop-soul songs and Broadway tunes, but she's not willing to give up her anguished & determined style altogether. Don't Let Me Be Misunderstood is an example of Simone's revolutionary aspirations and may be the best song to define her musical career. Ms. Simone never wanted to be pigeonholed into one genre, she was always exploring new sounds, new ideas, new styles.”

“The studio recorded Broadway Blues Ballads is ultimately less than successful but still boasts a number of Simone classics. Her version of Don't Let Me Be Misunderstood is definitive, with an opulent and beautifully sophisticated string arrangement and one of Simone's most emotional and impressive vocal performances. The arrangements elsewhere are similarly string-drenched, but sometimes trade opulence and sophistication for schmaltz."

“This album was intended to showcase Nina Simone's artistic diversity, but the syrupy arrangements don't really suit her style. Certainly, songs here like Don't Let Me Be Misunderstood and The Laziest Gal In Town are instantly appealing and memorable and Simone carries the material off with aplomb, but there are also songs that are less successful and don't show the true depth of Simone's artistry.”

“There's a lot more Broadway and a lot more ballads than blues on this, which ranks as one of her weaker mid-'60s albums.”

“This album is brilliant. She didn’t really do many albums like this (big show numbers), but I am so pleased she did. She even covers a trite song The Laziest Gal In Town and makes it sound good. She also does the same with the Last Rose Of Summer, one of my favourite tracks here, plus the rhythmic See-Line Woman, another early goody from Ms. Simone.”

Blue Midnight – BERT KAEMPFERT****

Blue Midnight/L-O-V-E/Red Roses For A Blue Lady/Java/Almost There/Lonely Nightingale/Cotton Candy/Three O’Clock In The Morning/Free As A Bird/Love Comes But Once/Treat For The Trumpet/Goodnight Sweet Dreams

German bandleader Bert Kaempfert achieved his third and final US album top twenty entry with Blue Midnight. Includes the US No. 11 hit single Red Roses For A Blue Lady. He would continue to dent the lower reaches of the album chart until the early 1970s. (US:5)

"The style of this German bandleader was always middle of the road, smooth as silk, and literally the definition of easy listening elevator music."

"Blue Midnight is not a blues album despite its title implications, but a strong collection of ballads with a distinct 'night' flavour to them, although uptempo novelties like Java and Cotton Candy break the overall mood."

"Instrumental classics like this are a thing of the past and deserve so much more value than most would give. I remember all of Kaempfert's music as a young kid growing up in the 70s and the easy listening radio stations that played his stuff. You just don't hear this music anymore at the doctor's office or even in the elevator."

"The reason why everyone who has ever heard music by Bert Kaempfert has tapping toes is evident in this album. I can't tell you how much I missed his music, but I can tell you that I have almost every recording of Mr. Kaempfert's extraordinary and talented production. What a fine class of work this man created. His trumpet blowing is refreshing and delightful. His guitar playing is incredible and smart. Mr. Kaempfert has never fallen short of remarkable when he composes (or scores) music."

"Easy listening/dance music doesn't get much better than Bert Kaempfert. He possesses one of the most distinctive and recognizable sounds of the last fifty years. The tunes - ah, there isn't a bad one on here. The use of Bert's signature trumpet, the omnipresent bass riffs, the impeccable percussion, smooth strings, and that enchanting female voice, this is what makes Bert Kaempfert one of the best."

"Red Roses For A Blue Lady is vintage Bert Kaempfert. This is my favourite of this song. Bert has been gone for thirty years now and through music like this he will never be forgotten."