Flaming Star & Summer Kisses – ELVIS PRESLEY***

Flaming Star/Mean Woman Blues/Loving You/(Let Me Be Your) Teddy Bear/Its Now Or Never/Hot Dog/Summer Kisses Winter Tears/Party/Lonesome Cowboy/Got A Lot O’ Livin’ To Do/True Love/Are You Lonesome Tonight

This probably unnecessary album from the King of Rock & Roll comprised a mixed bag of eight tracks from the 1957 LP Loving You and four tracks from the never released in the UK 1961 EP Elvis By Request. (UK:11)

"Flaming Star is one of my favourite songs ever. This fun and perfect song should be way better known than it is. Elvis will always be the greatest singer, entertainer, talent, force and icon. Elvis will also always have the greatest voice."

"His power and range is exemplified on all tracks. Listen to the booming bass notes country blues-style Lonesome Cowboy and compare it with the soft crooning on the ballad Loving You."

"The album opens with songs from the 1957 movie Loving You, and a few of those are forgettable at best, but that is easily forgiven when you hear Mean Woman Blues, the driving Got A Lot O' Livin' To Do, or the silly but irresistible Teddy Bear."

"Flaming Star is a good, dramatic uptempo 1961 movie title tune. Doesn't really convey the emotions of Pacer, the 'half-breed' Native American in a racial conflict in the old west, as Elvis chooses the crooning style, but it's very well produced."

Fifth Album – JUDY COLLINS****

Pack Up Your Sorrows/The Coming Of The Roads/So Early Early In The Spring/Tomorrow Is A Long Time/ Daddy You’ve Been On My Mind/Thirsty Boots/Mr Tambourine Man/Lord Gregory/In The Heat Of The Summer/ Early Morning Rain/Carry It On/It Isn’t Nice

Judy Collins' Fifth Album cemented her status as the foremost interpreter of compositions from many of the best songwriters to emerge from the 1960s folk revival. (US:69)

"This is one of the loveliest, most moving albums of sixties folk. Collins was one of the music's great interpreters, and with all apologies to The Byrds her version of Mr Tambourine Man is to me definitive. Other highlights include the heartbreaking Coming Of The Roads. Phil Ochs' scathing In The Heat Of The Summer, and the great Richard Farina's joyful Pack Up Your Sorrows."

"The famous Collins voice was never better, never clearer, and never allowed to dominate more than in this set of recordings. Her voice was in a lower octave than later, and conveys a sense of intimacy rare for any album."

"There's not a bad recording on here. Collins's music has always been able to transport me emotionally, and she covers a full range of emotions here."

"Judy Collins began her career recording almost exclusively traditional folk songs, then turned to contemporary writers and eventually became something of a pop chanteuse. This album comes as close as any to finding her at a balance between those two worlds."

"It is rare to like a particular album much better than the best of album for an artist but this is one of the exceptions. This album is wonderful and will return you to the heart of the sixties. One of my all time favourites."

"This is classic Judy Collins from her early career and contains her versions of songs by Phil Ochs, Dylan, Gordon Lightfoot et al, plus a couple of traditional numbers. As always her voice is beautiful and her interpretation sublime."

"The choice of songs very much reflects the tenor of the times, with several being strong pleas for civil rights, while others ie The Coming Of The Roads are very forward looking in their expression of what are now universal ecological concerns."

Eve Of Destruction – BARRY MCGUIRE***

Eve Of Destruction/She Belongs To Me/You Never Had It So Good/Sloop John B/Baby Blue/The Sins Of A Family/Try To Remember/Mr Man On The Street/You Were On My Mind/Ain’t No Way I’m Gonna Change My Mind/What’s Exactly The Matter With Me/Why Not Stop & Dig It Why You Can

Barry McGuire’s version of P.F. Sloan’s Eve Of Destruction is one of the best remembered anti war songs from the 1960s, reaching No. 1 in the States and No. 3 in Britain. (US:37)

“The title track is justifiably famous, a real gem with a good raw honest feeling. The whole album is solid Dylan/Byrds type material, maybe a B-level version of that fashionable sound, but still plenty good enough to reward anyone with a taste for such things.”

“The title song can probably stand up to the best of Dylan, and with McGuire doing the vocals to P.F. Sloan's lyrics, it's enthralling. McGuire's raspy, resonant voice lends extra dimensions to all songs on the album.”

“The album is a good cross section of folk rock with Dylan songs and a few originals. The title track is possibly the greatest anti war song ever, which today makes more sense than ever.”

“In 1965, Barry McGuire rocked the world with the profoundly topical Eve Of Destruction. The cutting edge lyrics and strong melody left indelible impressions on all who heard it.”

“Eve Of Destruction was one of those songs that spoke of the times, and the highlight of this album is the title track. The rest of the album is filled with more P.F. Sloan songs, a few Dylan covers, a hippy anthem written by Barry and a few others. Apart from Eve Barry does some nice work in interpreting these songs, and it is certainly an album of its time, but it is not a strong one.”

“This is a classic period piece album which captures the energy of the civil protest times. The title piece Eve Of Destruction is worth it by itself and is certainly a timeless song which certainly speaks to multiple generations. McGuire's raspy voice makes this a unique set of songs.”

The Country Sect – DOWNLINERS SECT***

If I Could Just Go Back/Rocks In My Bed/Ballad Of The Hounds/Little Play Soldiers/Hard Travellin’/Wait For The Light To Shine/I Got Mine/Waiting In Heaven/Above & Beyond/Bad Storm Coming/Midnight Special/Wolverton Mountain

The second outing from British R & B group Downliners Sect sees them moving in a country direction. However, the music on The Country Sect is more diverse than the title would suggest.

“The Downliners Sect, a normally hard rhythm & blues and rock band consciously went against the current trends of their peers and instead of looking to Bob Dylan, and rhythm & blues like everyone else, they decided to record an entire album inspired by country music. It isn't consistently so, though. There are still a lot of blues songs and even the country numbers come off sounding more like mild rockabilly or hillbilly country, complete with washboard accompaniment.”

“Apparently this album didn't go over so well with their fan base and they were back to rock-by-numbers on their next album. They were about four years too early but this album is average at best.”

“I guess the British R & B group thought they'd try their hand at country rock/pop, but this second outing is still decent rhythm and blues that is simply different to their first and third LPs. Tracks that show you what this five piece is capable of are Rocks In My Bed, the Buffalo Springfield-ish Above & Beyond, the awesome Bad Storming Coming and Lonely & Blue as well as the disc's two well written ballads - Little Play Soldiers and Waiting In Heaven.”

“The second Downliners Sect album has always confused the uninitiated because of its title. At the insistence of their producer, the band played some country music such as Ballad Of The Hounds and Wolverton Mountain, but also branched into the folkier sounds of Hard Travellin’, and even brushed up against protest music on Little Play Soldiers. The big surprise comes with gospel numbers like Wait For The Light To Shine and Waiting In Heaven. The group's primitive nature comes through loud and clear on the loud Bo Diddley-based backbeat I Got Mine and most of the rest here. Generally this album turns into yet another brilliant outing for the band, if not quite the same as the first album.”

Sings The Ballads Of The True West –JOHNNY CASH**

Hiawatha’s Vision/The Road To Kaintuck/The Shifting Whispering Sands Part 1/The Ballad Of Boot Hill/I Ride An Old Paint/Hardin Wouldn’t Run/Mister Garfield/Streets Of Laredo/Johnny Reb/A Letter From Home/Bury Me Not On The Lone Prairie/Mean As Hell/Sam Hall/25 Minutes To Go/The Blizzard/Sweet Betsy From Pike/Green Grow The Lilacs/Stampede/The Shifting Whispering Sands Part 2/Reflections

The double LP Sings The Ballads Of The True West emphasises the western side of the Johnny Cash repertoire. This uneven concept album had rather too much narration for some tastes.

“This is the definition of a mixed bag. The good - there are some great songs on here and a killer banjo pops up every once in a while. The bad - it's way too long, there are too many mediocre songs and the spoken word intros that accompany every other song are the worst things Johnny Cash ever recorded.”

“More than most of Cash's concept albums, this one maintains a focus on the underlying theme quite rigorously. But the quality of the tracks vary, and some probably won't care for the in between track narrations at all. This still ranks as a solid second-tier Cash album, with the caveat that the pronounced old-west themes might make this less amenable to repeated plays - you have to be in the mood.”

“Easily the worst Johnny Cash album I have heard. Some songs feature glaringly flubbed lyrics, and all tracks feature poor-to-mediocre vocals by the ordinarily robust and full-throated Cash. It is telling that Cash re-recorded many of the songs on this album to greater acclaim.”

“For all Johnny Cash fans the Ballads Of The True West album is a must have. It was never a top seller that I know of, but for those who like genuine traditional western music, nobody does it better than Johnny.”

“His records were like no one else, a reflection of his gigantic personal vision. It doesn't seem to matter whether the song is spoken or sung in the unique Cash low vocal style, they all sound like an epic story you want to hear. So pull your wagon to the side of the trail, make sure the horses have water and feed, set up camp and campfire, and enjoy this trip back to the true (or maybe not) West.”

“Actually, this would be an awesome album if it weren't a double. There's a lot of filler in between the good stuff. If you don't own many Cash albums, don't get this one yet."

All I Really Want To Do – CHER***

All I Really Want To Do/I Go To Sleep/Needles & Pins/Don’t Think Twice/She Thinks I Still Care/Dream Baby/The Bells Of Rhymney/Girl Don’t Come/See See Rider/Come & Stay With Me/Cry Myself To Sleep/Blowin’ In The Wind

All I Really Want To Do was the debut album from consistent US pop vocalist Cher. The title track was a No. 15 hit in the States and No. 7 in the UK. Cher managed to stay on top of her game over the years by successfully adapting to changing musical styles, not all of them necessarily for the better. (US:16 UK:7)

"All I Really Want To Do, like the debut album by Sonny & Cher, contains many covers. The album includes recordings of contemporary, uptempo rock songs, but it also has a somewhat folky slant to it, in order to differentiate it from the musical style of Sonny & Cher's records."

"Sonny produced these recordings using Phil Spector's famed wall of sound production techniques and the results are endurably memorable. The songs are classics, written by Bob Dylan, Jackie De Shannon, Sonny Bono and Pete Seeger, among many others."

"Cher's first solo album and it contains some gems such as I Go To Sleep and Dream Baby. Cher sounds sincere, fresh and awesome on this album." "If you are a Cher fan then you will fall in love with the oldies on this collection."

"All I Really Want To Do is a great song, full of power and feeling. I love the sound from the sixties."

"All I Really Want To Do summed up this album. The songs, each in their own right, a stanza to the lives and loves of the young in those days of easy living and free love. Some classics in there, I Go To Sleep and Blowin' In The Wind, were standards and were well reproduced by Cher's distinctive deep voice."

"Quite a melancholy collection but Cher's voice is loud and true. The recording quality for the background music is not too good. However, its Cher's voice that shines through and that's flawless."

Ain’t That News – TOM PAXTON****

Ain’t That News/The Willing Conscript/Lyndon Johnson Told The Nation/Hold On To Me Babe/The Name Of The Games Is Stud/Bottle Of Wine/The Natural Girl For Me/Goodman Schwerner & Chaney/We Didn’t Know/Buy A Gun For Your Son/Every Time/Georgie On The Freeways/Sully’s Pail/I’m The Man That Built The Bridges

Ain’t That News was the follow up album from noted sixties folk artist Tom Paxton, with the emphasis on protest songs. The Vietnam War provided the American folk movement with a lot to protest about.

“Several of the songs found here that aren't world famous are just as good as the ones that are. Ain't That News and I'm The Man That Built The Bridges are all high on my list of the greatest protest songs. Elsewhere, Paxton tackles a number of early '60s topics which are once again all too relevant, such as right-wing media bias and, most eerily, a government lying its way into war. His romantic side is well represented too, with Hold On To Me Babe, among others.”

“To note that Ain't That News isn't quite as good as Ramblin' Boy is not much of a criticism. Bottle Of Wine is, of course, a classic. Hold On To Me Babe is a wonderful ballad about missing somebody who's left your life, and I'm The Man That Built The Bridges is a celebration of ordinary Americans and the great things that they've accomplished.”

“Paxton wrote a wide variety of songs within the general genre of folk, including love songs, comedy, children's songs and the folk staple, protest songs. Of these, the protest songs are the most obviously topical; what is sad is that so many of them still resonate almost 50 years later. Buy A Gun For Your Son is still a grim reminder of the absurdities of the gun lobby.”

“Paxton had a clear baritone voice and a gentle delivery which made his songs seem less aggressive than some other folkies of the time, and his love lyrics are as close to poetry as lyrics can get.”

“This album demonstrates his limited vocals and self-righteous lyrics. There is not enough variety, not enough ferocity, and way too much smug self-congratulation and arrogance. Tom is a little before my time, through I grew up on versions of his songs by others.”

“For my money, his best and most consistent release. Not a weak tune in the bunch.”

It Should’ve Been Me – ZOOT MONEY’S BIG ROLL BAND***

I’ll Go Crazy/Jump Back/Along Came John/Back Door Blues/It Should’ve Been Me/Sweet Little Rock & Roller/My Wife Can’t Cook/Rags & Old Iron/The Cat/Feelin’ Sad/Bright Lights Big City/Fina

Zoot Money’s Big Roll Band were an established fixture on the British R & B scene during the mid sixties but they never achieved a commercial breakthrough. Their first album It Should’ve Been Me is notable for the debut of Andy Summers who went on to international fame with The Police in the late seventies.

“Zoot Money’s debut LP, released on EMI's Columbia label in 1965, represents a side of the British Invasion that never quite took hold on US shores, steeped in American R & B but offering a sextet's attack on saxes and organ. There wasn't enough of a guitar oriented sound to get a fair hearing in the US.”

“This is superb R & B regardless of its point of origin, and might even turn a head or two. The big surprise, however, may be the gently swinging reinterpretation of Chuck Berry's Sweet Little Rock & Roller, which manages to successfully straddle a couple of major music stylistic eras. And Rags & Old Iron is a dark, brilliant blues showcase for saxman Clive Burrows and Money’s organ, as well as Paul Williams' vocals.”

“Led by Zoot Money, a soulful singer and gifted Hammond organist, and bolstered by a raunchy, gutbucket sax horn section, not to mention the guitar skills of a young Andy Summers, The Big Roll Band was an explosive club attraction in Britain during the 1960s, blasting powerful versions of American soul and R & B sides from the bandstand, in an extroverted whirl of energy. Not surprisingly, that raw kinetic force proved difficult to capture in the recording studio.”

“That The Big Roll Band never really broke big is a shame, and as the 1960s rolled on the group seemed dated and out of step in the eyes of the trend-following public. That must have been a big disappointment, since in live performances they could blow most of their contemporaries clean off the stage.”

“I experienced Zoot Money and his band live and even now I can remember it as one of the best live shows I have ever seen. Collectively they were brilliant.”

Wonderful World – ANTONIO CARLOS JOBIM****

She's A Carioca/Água De Beber/Surfboard/Useless Landscape/Só Tinha De Ser Com Você/A Felicidade/Bonita/ Favela/Valsa De Pôrto Das Caixas/Samba Do Aviâo/Por Tôda A Minha Vida/Din

Brazilian guitarist Antonio Carlos Jobim was one of the pioneers of the bossa nova sound in the early 1960s, created by adding a jazz mix to the traditional samba. (US:57)

“Another solid Jobim release. Only one major thing differentiates this from his other albums and that's Jobim singing most of the songs himself. I prefer instrumental Jobim to vocal Jobim most of the time, his singing isn't horrendous but he makes his songs seem less delicate and more cheesy than they really are, with his narrow range and 'self-consciously cool' attitude. Of course they're still mostly classic bossa-nova songs in any capacity.”

“My introduction to the cool and soft spoken ways of the Brazilian songwriting genius A.C. Jobim. A very subdued release tinged with a certain Brazilian sadness that is so heart gripping, even if one doesn't understand a word of Portuguese.”

“Half sung in Portuguese, half English, awesome album, backed by the phenomenal Nelson Riddle Orchestra along with Jobim's guitar.”

“Such exquisitely beautiful music coming from this once only teaming of Antonio Carlos Jobim and the legendary Nelson Riddle. Virtually every track here is flawless but I especially love the instrumental passages, especially Riddle's treatment of the tune Surfboard. Its a great loss these two guys didn't do another album together.”

“Jobim was one of the creators of the bossa nova sound, a form of music I've always enjoyed. A fine album but too maddeningly short.”

“A man and his guitar. What an incredible duo. It is at once soft, sensual, in a word, incredible. You cannot listen to it only once.”

“Nelson Riddle does a great job arranging the string of pearls that are these songs. This is a classic bossa nova album. Surfboard is a stunning masterpiece from the sixties - short and perfect.”

Something To Shout About – LULU***

You Touch Me Baby/You’ll Never Leave Her/I’ll Come Running Over/Not In The Whole World/She Will Break Your Heart/Can I Get A Witness/Tell Me Like It Is/Shout/Try To Understand/Night Time Is The Right Time/ Chocolate Ice/So In Love/The Only One/Dream Lover/He’s Sure The Boy I Love/Leave A Little Love

Glaswegian Lulu was one of the best known British female vocalists during the 1960s, regularly appearing in the singles chart. Her debut LP Something To Shout About includes two UK hit singles, the No. 7 Shout and No. 8 Leave A Little Love.

“This was Lulu's first album. For someone so young she demonstrates a real maturity and shows off that terrific voice. I suppose you could call these tracks raw Lulu as she belts them out, but listen to Leave A Little Love as she shows her softer side and just wallow.”

“I love Lulu's early years with Decca, when she was just a teenager, and had so much boundless energy, her exuberance couldn't be contained. She just sang naturally, in that God-given voice. I especially love the rough and rowdy rock and R & B songs, including of course, her raunchy version of Shout."

“Lulu is unleashed and uncontained on these earliest recordings. And there are plenty of ballads on here too, with exquisite singing and that thunderous, lush orchestration that they did only in the 60s. Many, many timeless tracks are on here. It was just the beginning of her long career, and there's no doubt that she had immense talent right from the start.”

“I've always liked the more uptempo, rockin' side of Lulu best and there's plenty of that here. There are some good ballads and more pop-type material too. Just like chocolate ice it's all very nice.”

“In the UK Lulu first reached stardom as a gutsy belter of R & B tunes, delivered with a maturity and soulfulness that belied her teenage years. The Isley Brothers' classic Shout, is reinvented in a rasp of amazing power. Most intriguing of all is the original version of Here Comes The Night. Lulu performs it as an overwrought, pull-out-the-stops orchestral ballad.”

September Of My Years – FRANK SINATRA*****

The September Of My Years/How Old Am I/Don’t Wait Too Long/It Gets Lonely Early/This Is All I Ask/Last Night When We Were Young/The Man In The Looking Glass/It Was A Very Good Year/When The Wind Was Green/Hello Young Lovers/I See It Now/Once Upon A Time/September Song

The acclaimed September Of My Years sees Sinatra coming to terms with middle age. The album achieved a Grammy for best record of the year and the song It Was A Very Good Year also won a Grammy for best vocal performance. (US:5)

"September Of My Years is a perfectly arranged selection of songs recorded as Sinatra neared his 50th birthday. It is outstanding, in that the thirteen songs absolutely belong together, perfectly realized by Sinatra's mellow voice of the 1960s."

"This is essential Sinatra, certainly the best concept album on Reprise. The listener can feel that Sinatra is singing part of his autobiography here."

"Some of his greatest performances are here, bookended by two masterpieces - The September Of My Years and September Song. The songs selected flawlessly support the album's concept of the singer looking back from his approaching 50th birthday, and Sinatra doesn't hit a wrong note anywhere."

"This is Ol' Blue Eyes best recording. Not a weak moment. The songs, the melodies, the arrangements, the orchestra, the voice - it all comes together in perfect harmony. A cornerstone in every record collection. Beautiful beyond words."

"When he sang It Was A Very Good Year I totally realized how great, how truly magnificent he was. Nobody else could have performed this song but Sinatra."

"With his 50th birthday looming, Sinatra took stock at mid-life and recorded thirteen songs with arranger Gordon Jenkins. Their choices delicately balanced a nostalgic look at the successes of youth, poignant thoughts on the limitations brought on by age, and optimistic visions of what time was still left to live. Sinatra had never before sounded this personally vulnerable, and the realization of his own mortality comes across like a genuine first thought."

"This album is by far the best thing Frank Sinatra released while on the Reprise label and can be argued to be the best concept album of his entire career."

My Cherie – AL MARTINO****

What Now My Love/Crying In The Chapel/I’ll Never Find Another You/Fascination/Till/My Cherie/Moon Over Naples (Spanish Eyes)/Melody Of Love/It Only Hurts For A Little While/Three Coins In A Fountain/I Wish You Love

Easy listening Al Martino maintained his mid sixties revival with My Cherie which includes the first outing of his best known song Spanish Eyes based on the Bert Kaempfert instrumental Moon Over Naples. (US:19)

"From the opening notes of the French based What Now My Love this is a different Al Martino, singing popular tunes of the day. There are also evergreen standards here; two of note being the beautiful Till and Fascination. And everyone knows that Spanish Eyes started its life as Moon Over Naples, an instrumental by Bert Kaempfert. The lyrics wouldn't work with that title so it became Spanish Eyes, which became one of Al's signature songs, and a favourite to millions."

"Listen and enjoy a great album from one of the best and underrated crooners of all time."

"The My Cherie ensemble is Al Martino at his best. For me, all of his greatest hits are here starting with of course, My Cherie, It Only Hurts For A Little While, Spanish Eyes, etc. Pay whatever price to get this, it is well worth the money."

"Al Martino have been a favourite singer for me since the sixties when I stopped listening to The Beatles and was ready for some new directions in music."

"Al Martino is moving, brilliant and always more than satisfying. His voice is a work of art. Listening to Al is a beautiful experience."

"Al Martino is one who can melt an iceberg. All of the songs here are great. They just don't sing them like him anymore. So if it's gonna be a cold winter where you are, buy this relax, and dream of the days when wine and roses and smooth, dreamy, men who made you blush with their romantic ways, were once in style."

"What a brilliant performer and a real treasure to musical history. Spanish Eyes is his signature and no one does it better." Vox

The Magic Music Of Faraway Places – BERT KAEMPFERT****

Moon Over Naples/In A Little Street In Singapore/La Cumparsita/Mambossa/The Japanese Farewell Song/Monte Carlo/Hava Nagila/Star Dust/Autumn Leaves/Balkan Melody/Midnight In Moscow/Swissy Missy

German bandleader Bert Kaempfert's concept album The Magic Music Of Faraway Places comprised a variety of songs and tunes from countries all over the world. (US:27)

"On this LP Bert Kaempfert plays at his best the music of Europe, Asia and the rest, with his unique style for rhythm, strings and of course, trumpets as well. This was recorded during the heyday of the late maestro."

"This album by Bert, released around 1965, is a tremendous potpourri of different world sounds, from the Germanic melodies, to the tremendous Latin sounds, all done to perfection by the maestro himself, Bert Kaempfert. These interpretations are quite a departure from earlier recordings by Bert, which were basically of one theme, for entire albums. Here, you will find a mix of brass and strings, all punctuated with Bert's trademark, a strong bass guitar. Also, you will get the absolute best version of Spanish Eyes done by the composer himself titled Moon Over Naples."

"This album is the ultimate basement lounging album. The highest quality in production, with a fat bass sound way ahead of its time. A gem."

"Bert Kaempfert was a master at blending different rhythms and melodies from around the world, into his own distinctive orchestral sound. This album is a good example, with some well known melodies and some of Kaempfert's own distinctive compositions."

"Bert Kaempfert's name makes too many eyeballs roll - easy listening, lounge music. But those who dismiss Kaempfert obviously haven't heard him, in fact he made much distinctive and memorable music, and this has a bit of it. If the schmaltz sometimes flows freely, and the opening track Spanish Eyes can't escape it being the signature tune of too many tired crooners. He could nonetheless produce tracks at once eloquent and eye-opening. The band was best when it stuck with what it did best: playing simple, efficient dance arrangements, like On A Little Street In Singapore, or the truly wonderful Mambossa."

Look At Us – SONNY & CHER***

I Got You Babe/Unchained Melody/Then He Kissed Me/Sing C’est La Vie/Its Gonna Rain/500 Miles/Just You/The Letter/Let It Be Me/You Don’t Love Me/You’ve Really Got A Hold On Me/Why Don’t They Let Us Fall In Love

Sonny & Cher became the singing sensation of summer 1965 with the driving pop anthem I Got You Babe a No. 1 on both sides of the Atlantic. Cher would enjoy a singing career spanning several decades whilst Sonny gradually fell by the wayside. (US:2 UK:7)

"This is their full length debut album, a curious mix of folk-rock jangle and Spector-influenced orchestral pop. Sonny Bono worked under Spector as a session musician and staff songwriter, and his admiration for the producer's patented 'Wall of Sound' verges on slavish imitation."

"Sonny Bono picked up every trick from Phil Spector's book and surrounded himself (and his young girlfriend) with tinkling bells, echoing drums and so on, re-creating that famous 'Wall of Sound'. It was a huge hit and made stars of them."

"Cher takes most of the leads, but whenever Sonny does step forward he might not be singing with a particularly strong or pleasant voice, but somehow his delivery never lacks charm. To top it off he wrote the record's best track, I Got You Babe. It's simple, kitschy and exquisitely pure. The beauty of the song lies in its corniness and simplicity. True, most of the recordings on this album are forgettable, but when it's good it's good."

"This LP was the most exciting the pair released, packed with heart-felt duets. It is vital folk rock. Look At Us has genuine sensitivity, and Sonny Bono is at his best. The anthem I Got You Babe has surely lasted and become a piece of pop history."

"Look At Us is one of the best collections of (mostly) cover songs from the sixties. Yes, Sonny Bono wrote a couple of mega-hits with I Got You Babe and The Beat Goes On, but most of this work was forgettable. Even when she was just starting out Cher was a fine singer and Sonny always had a flair for making their totally different voices work together and this album proves it."

"This is the album that has the greatest love song of the rock-folk movement of the sixties, I Got You Babe."

(Remember Me) I’m The One Who Loves You – DEAN MARTIN****

(Remember Me) I’m The One Who Loves You/King Of The Road/Born To Lose/The Birds & The Bees/Red Roses For A Blue Lady/Welcome To My World/Here Comes My Baby/Walk On By/Bumming Around/Take These Chains Form My Heart/I Don’t Think You Love Me Anymore/My Shoes Keep Walking Back To You

(Remember Me) I'm The One Who Loves You continued smooth easy listening Dean Martin’s run of hit albums in the mid 1960s. His sophisticated relaxed style of music would not survive the decade. (US:12)

"Remember Me is wonderful, especially Dean's take on the Roger Miller hit King Of The Road. Also included here is Dean's TV theme song Welcome To My World More covers here with Dean's own indelible stamp on them: Born To Lose (immortalized by Ray Charles) and The Birds & The Bees as only Dean could deliver."

"Remember Me is a good one, in which Dean has fun with some modern standards of the time. Dino fans will love this LP."

"This is a great group of Dean's smooth-style of singing with background singers and catchy orchestration."

"This LP is a must for all Dino devotees. Not a weak track anywhere. If you're new to Dino, this is the best place to start your collection. Go for it."

"This album is one of Dino's very best at Reprise, perhaps even of his entire career. Dean sings each and every song in his own unmistakable style, and makes you feel that you've never heard them before he crooned them."

"This is Dean doing what he does best, he takes other artist's songs and stamps his own interpretation on them."

"It's true nobody ever imitated Dean's voice well, or at all. He had a wonderful and totally unique delivery and sound. One of the greatest."

"Its good to see someone who doesn't overdo it. Its tiresome to see artists screaming their lungs out trying to compensate for lack of artistry. Dean was smooth.

The Hit Sounds Of – THE LETTERMEN****

Theme From A Summer Place/Downtown/A Summer Song/If Ever I Would Leave You/Dear Heart/You’ve Lost That Lovin’ Feelin’/Sealed With A Kiss/When Summer Ends/Hawaiian Wedding Song/Red Roses For A Blue Lady/Dreamin’

Misleading title as these tracks were hits for other artists, with the exception of the No. 16 US hit single Theme From A Summer Place. The Lettermen were a melodic close harmony group, who placed a vast number of LPs mostly on the lower reaches of the US album chart. (US:13)

"The Lettermen's smooth harmonies, supported by lush arrangements of new and reworked tunes, earned them a diverse following among the music buying public, giving them the top billing for adult contemporary vocal groups of the 60s."

"Not many Brits know about The Lettermen - they had just one minor UK hit single and no UK hit albums - but they were very popular in their American homeland, where they were consistently successful in both the singles and album charts, especially during the sixties. Smooth ballads were their trademark sound. The Lettermen are well worth a listen if you enjoy hearing ballads performed superbly."

"The Lettermen sing timeless standards in a nice middle of the road pop style, with good harmonies."

"You can't beat The Lettermen for love ballads and close harmony."

"Theme From A Summer Place is a classic by a real singing group, done during a period when musical acts actually knew how to sing. Too bad a lot of today's youths will never hear this great melody due to the fact that few, if any, radio stations play this kind of wonderful music. I never get tired of listening to this masterpiece."

Herman’s Hermits – HERMAN’S HERMITS***

Heartbeat/Travelin’ Light/I’ll Never Dance Again/Walkin’ With My Angel/Dream On/I Wonder/For Your Love/Don’t Try To Hurt Me/Tell Me Baby/I’m Henery The Eighth I Am/The End Of The World/Mrs Brown You’ve Got A Lovely Daughter

Debut self titled British album release from Manchester teen pop idols Herman's Hermits. Its UK album chart placing was considerably lower than what the group were achieving in the States at this time. Includes the two chart topping vaudeville style US hits Mrs Brown You've Got A Lovely Daughter and I'm Henery The Eighth I Am, neither released as singles in Britain. (UK:16)

"Herman's Hermits were almost as successful as The Beatles and The Rolling Stones in achieving a breakthrough in the USA, with their catalogue of happy, catchy tunes which made their impact at first hearing, aided by the group's attractive close harmony vocal style which was smoother and more compatible than their rivals. This was especially true of their chosen easy listening songs which appealed to a wide audience."

"The Americans went overboard for them, and particularly liked the jokey, British music-hall stuff such as I'm Henery The Eighth I Am and Mrs Brown You've Got A Lovely Daughter, both No. 1 hits there but largely ignored over here."

"Some Hermits recordings which peddled a caricature of Englishness were released only in the States, like I'm Henery the Eighth I Am. Mickey Most must have realised you can only push a UK audience so far."

"Album tracks would provide a couple of chart toppers which gave Herman a George Formby image. The music hall song from the 1910s - Harry Champion's I'm Henery The Eighth I Am were up there as massive chart hits and as much an influence on anything else at the time. Not however issued as singles in the UK."

"Mrs Brown You've Got A Lovely Daughter was thought to be a pastiche of Noel Coward. Probably a very smart move to push Herman's Hermits into this area."

Help! – THE BEATLES*****

Help!/The Night Before/You’ve Got To Hide Your Love Away/I Need You/Another Girl/You’re Going To Lose That Girl/Ticket To Ride/Act Naturally/Its Only Love/You Like Me Too Much/Tell Me What You See/I’ve Just Seen A Face/Yesterday/Dizzy Miss Lizzy

Last of the early style Beatles albums Help! topped the UK album chart. It was the final one to include covers and, although it showed no innovation or development over previous releases, it nevertheless maintained the group's superiority over all their competitors. Contains three US chart toppers Yesterday, Ticket To Ride and the title track, the latter two also reaching the summit in the UK. (UK:1)

"This would be the last time that a song by any other artist but the Fab Four would ever appear on a Beatles album."

"Great stuff, if bands could make soundtrack music like this today, I'd go nuts."

"Beatles For Sale and Help! are considered 'holding pattern' works and are less revered by critics because they didn't introduce any great innovations or ground-breaking ideas. But I don't think that does these albums justice. Sure, most of the concerns are still love-oriented, but many of the lyrics are becoming increasing complex. Even a song like Yesterday shows a real maturity in the lyrics."

"The songs offered here are The Beatles at the top of their game, in my opinion. Gorgeous melodies, catchy hooks, great harmony singing and sharp musicianship abound. The strength of songs like Help, Ticket To Ride and Yesterday are legend, but there are many other real gems on this album."

"The energy of the band is what gets it for me. So the songs later on were insanely more impressive but there are some gems on here that could fit flawlessly within their later work."

"This masterpiece shows the musical giant steps The Beatles took since they released their first movie album a year earlier. On this collection, one can hear the stronger, richer and more confident musical arrangements."

"Help represents the beginning of the musical transition from the Beatlemania period to the more sophisticated areas of songwriting that they were beginning to explore."

Having A Wild Weekend – THE DAVE CLARK FIVE***

Having A Wild Weekend/New Kind Of Love/Dum-Dee-Dee-Dum/I Said I Was Sorry/No Stopping/Don’t Be Taken In/Catch Us If You Can/When I’m Alone/If You Come Back/Sweet Memories/Don’t You Realize/On The Move

The Dave Clark Five continued to enjoy considerable success in the States during 1965, although there popularity at home was beginning to wane. Having A Wild Weekend includes four songs from the film of the same title. (US:15)

"Because of their extensive touring schedule, The Dave Clark Five were more successful in America than in their homeland."

"It seems The Dave Clark Five are the band that nobody remembers. They had a long, successful career in the 60s, sold millions and millions of records. They were front runners on the British Invasion, coming around just a few weeks after The Beatles."

"The DC5 didn't mess around. Their style had almost no subtlety. Just fast rockers played loud."

"Today, they are almost forgotten. Part of the problem is that Dave Clark guards the music closely, letting compilations out only occasionally."

"The Dave Clark Five have long been given short shrift by history. The band actually had a winning way with both more rocking material and softer, poppier sides."

"One thing that DC5 were very good at was entertainment. A very tight group in the 60s that were at the forefront of the British Invasion."

"The DC-5 gave The Beatles a run for their money and, as one of the pioneer groups during the British Invasion, The Beatles and DC-5 were considered top contenders in the music scene."

Tony’s Greatest Hits Volume III – TONY BENNETT*****

I Left My Heart In San Francisco/I Wanna Be Around/Quiet Nights Of Quiet Stars/When Joanna Loved Me/The Moment Of Truth/Who Can I Turn To/The Good Life/A Taste Of Honey/This Is All I Ask/Once Upon A Time/The Best Is Yet To Come/If I Ruled The World

Very unusually for a third hits collection release Tony's Greatest Hits Volume III contains a large percentage of his most highly regarded songs for which he is best remembered today. (US:20 UK:14)

"When I looked at the list of tracks in the album I expected to see some of his lesser hits but surprisingly it had most of my favourite songs I remembering him singing."

"Tony's third hits collection isn't only the best of his best, it's a classic. Bennett's career hit its second and highest artistic peak in the first half of the 1960s, starting with I Left My Heart In San Francisco and continuing through a series of magnificent ballad hits such as I Wanna Be Around and The Good Life, all of which are here, along with some equally impressive album tracks. As a result, this album became Bennett's second gold seller, and it remains the definitive statement of a major pop singer at his zenith."

"Sinatra referred to Tony Bennett as the 'best singer in the business', and after listening to many of Tony's albums it is hard to argue. This 'best of' collection includes some magnificent recordings, including a heart-stopping I Wanna Be Around. It is a time capsule album of Tony's earlier career."

"If you are looking for an introduction to Tony Bennett, or just appreciate his powerful voice and inimitable spirit - the guy always sounds like he's smiling into the microphone, and that happiness comes through - you should enjoy this album."

"Tony had an incredible voice, and the songs featured here are the crème de la crème of pop song writing, including the immortal I Left My Heart In San Francisco."

"Sinatra and other crooners are good, no doubt about it. But those who hear only Bennett's 'raspy' voice and cannot comprehend soul, won't like him. If you appreciate heart and soul, Bennett is for you. If all you want to listen to is polish, maybe you don't quite get what art and music is all about."

Gentle Is My Love – NANCY WILSON****

Who Can I Turn To/There Will Never Be Another You/If Love Is Good To Me/My One & Only Love/Funnier Than Funny/More/Gentle Is My Love/At Long Last Love/Time After Time/If Ever I Would Leave You/When He Makes Music

Smooth jazz vocalist Nancy Wilson reached the US album chart top twenty for the second time in 1965 with Gentle Is My Love, a collection of string laden ballads. (US:20)

"I know some will say this album is more pop than jazz but that really is the dual legacy of Nancy Wilson. I enjoy all her recordings in both styles."

"I found Gentle Is My Love on used vinyl in the village of Manhattan back in the early 90s and fell in love with it. I played it incessantly."

"Gentle Is My Love was an album that was an absolutely satin-and-sheet listening experience, Nancy leaving no doubt, as if there were any, that she was phenomenally talented."

"Gentle Is My Love has brilliance, genius, and ultimately was one of the most heartfelt of her albums. Her stature comes from her ability to be both accessible and remote. She respected her audience but did exactly as she pleased."

"I love Gentle Is My Love, its very classy and jazzy, a milder softer Nancy. My favourites are Who Can I Turn To, Gentle Is My Love and If Ever I Would Leave You. The others are good too."

"Gentle Is My Love is a real treat for me. Recorded within one week (yes, they did that in those days) this is a beautiful collection of string laden dreamy ballads, in the Nat King Cole vein. Her rendition of More is the most beautiful I've heard."

Elvis For Everyone – ELVIS PRESLEY***

Your Cheatin’ Heart/Summer Kisses Winter Tears/Finders Keepers Losers Weepers/In My Way/Tomorrow Night/ Memphis Tennessee/For The Millionth & Last Time/Forget Me Never/Sound Advice/Santa Lucia/I Met Her Today/ When It Rains It Really Pours. UK release substituted Wild In The Country for Summer Kisses Winter Tears

By 1965 Elvis Presley's musical releases had become focused on his soundtrack output. RCA conceived an anniversary album to celebrate his tenth year on their label. The resulting album Elvis for Everyone was a compilation of mostly unissued leftovers from various sessions during the previous decade. (US:10 UK:8)

"This is a collection of previously recorded songs that were gathered together and released as an album in 1965. So it is kind of a hodgepodge album, which includes some of his early recordings from the 50s, along with some of his more current material recorded in the 60s. While it was a top ten hit in 1965, it is really not that great an album. Not bad, but not really good either. Only for avid Elvis fans."

"This is probably one of the least remembered albums by Elvis. It is actually recordings from earlier years, and there are not that many great songs. However, the couple that are worth buying it for are Sound Advice and Summer Kisses Winter Tears which is an outstanding song that makes this worthwhile."

"Without a doubt, one of his best albums, almost by accident: RCA wanted something to commemorate his tenth anniversary with the label, and in 1965, they had to sift through non-commercial movie material, unfinished ballads, and a lot of other stuff not destined for the top ten. But that's fine, because these 'leftovers' are all listenable."

"I have to assume that RCA at the time did not expect a release with such historical resonance. It's really is an Elvis showcase - turning those proverbial lemons into lemonade...for everyone."

"I've had this album since 1965 and love how Elvis can go from a country ballad, upbeat Your Cheatin' Heart, to a bluesy up tempo When It Rains It Really Pours."

"Elvis For Everyone was thrown together, but this is a fine record none the less; with some real gems like the rockin' Your Cheatin' Heart."

Catch Us If You Can – THE DAVE CLARK FIVE***

Catch Us If You Can/On The Move/If You Come Back/Long Ago/Any Time You Want Love/I Can’t Stand It/Your Turn To Cry/Hurtin’ Inside/Don’t Be Taken In/Don’t You Realize/I Cried Over You/Sweet Memories

Catch Us If You Can was the last UK chart album of original material from the Dave Clark Five. The title track was a No. 4 hit single in the US and No. 5 in the UK, and featured in the group's movie Having A Wild Weekend. (UK:8)

"The majority of DC5 songs were harmonies, and the power of the Five's harmonizing remains exhilarating."

"DC5 were damn close to having as many hits as The Beatles. They were as good as rocking as they were as ballads. Mike Smith, the singer, shouted and crooned as best as any 60s beat generation."

"The DC5 were, early on in the British invasion, second only to The Beatles in record sales. This album brings out The DC5's distinct sound and instrumentation. It is a shame that the group has been largely forgotten about on the American pop music scene."

"Catch Us If You Can is probably my favourite DC5 song. This is what music was all about. A true classic. Mike Smith's voice is greatly missed."

"This is one group that belongs in the Rock and Roll Hall of Fame. Once you put this album on, you will start tapping your feet and singing along with the music. The music sounds as good today, as when they first recorded it back in the 60s."

What’s New Pussycat – SOUNDTRACK***

What’s New Pussycat/School For Anatomy-Bookworm(Medley)/High Temperature Low Resistance/ Downhill & Shady/Stripping Really Isn’t Sexy Is It/Marriage French Style-Here I Am (Medley)/Here I Am/Marriage French Style/My Little Red Book/Pussy Cats On Parade/A Walk On The Wild Wharf/Chateau Chantel/Catch As Catch Can

What's New Pussycat featured thirteen Bacharach/David compositions. Best known is the title track sung by Tom Jones, with other vocal tracks by Dionne Warwick and Manfred Mann. Film starred Peter Sellers and Peter O'Toole. (US:14)

"This film score fits the movie perfectly. There are three songs with vocals and ten instrumentals. The highlight is the great vocal performance by Tom Jones on the title track. Other highlights are Manfred Mann's version of My Little Red Book, which is vastly superior to Love's version that came a year later. The best instrumental is Downhill & Shady featuring some great electric guitar in the British Invasion style."

"This is a great 1960s score from composer Burt Bacharach. The main title song sung by Tom Jones and composed by Bacharach and Hal David is a classic. Bacharach's music goes perfectly with the story."

Tom Rush – TOM RUSH****

Long John/If Your Man Gets Busted/Do-Re-Mi/Milk Cow Blues/The Cuckoo/Black Mountain Blues/Poor Man/ Solid Gone/When She Wants Good Lovin’/I’d Like To Know/Jelly Roll Baker/Windy Bill/Panama Limited

This self titled LP from Tom Rush, accompanied by acoustic guitar, consists of an eclectic choice of folk and blues songs evoking the depression era in America.

“Tom's voice is as solid as is his guitar playing, and the accompaniment is stellar too. Great pick of songs and it is not a problem that none of them are self penned. A surprisingly complete and convincing album.”

“The last of Tom's white man blues albums before he ventured into the folk and rock realms of his career. The songs are all interpretations and they are done quite well. It's a secret undiscovered gem for a selected group of listeners who like this genre.”

“Rush is faithful to the traditions on this album, which features excellent acoustic guitar work and vocals that are uniformly convincing. Half the songs on the record are traditional. He treats these with reverence and interprets them originally. There is nothing fake or posed in the way Rush presents folk music and blues songs. Further, the collection is eclectic - not just blues or folk songs but a delightful mix.”

“While Rush was eventually eclipsed by some of his contemporaries, he was true to tradition and the idioms of American music. Moreover, his virtuoso acoustic guitar playing was fresh and authentic. This disc is particularly valuable because of the music it contains and the high level of musicianship.”

“The cover photo tells you precisely what the record sounds like - depression era classics presented with flinty integrity and urbane polish at the same time. The song choice is a tasteful mixture of white and black sources, but Rush never has to indulge himself in vocal 'impressions' to get to the meaning of a song. He lets the interplay between his voice and his brilliantly unflashy guitar work do the job. Tom Rush's voice is deep and rich, his guitar playing flawless, the tunes varied but cohesive.”

“This is a surprisingly well crafted album, with no single weak spot in it. To the average rock/pop fan this isn't of much interest, but folk fans have different standards. Every track is a cover version.”

The 3rd Time Around – ROGER MILLER***

Engine Engine No. 9/This Town/The Last Word In Lonesome Is Me/Water Dog/I’ll Pick Up My Heart/Swiss Maid/It Just Happened That Way/The Good Old Days/One Dyin’ & Buryin’/Kansas City Star/Big Harlan Taylor/ Swing Low Swingin’ Chariot

The 3rd Time Around was the last major hit album of original material from idiosyncratic country singer Roger Miller. Contains the US No. 7 hit single Engine Engine No. 9. Apart from the hits, many of his songs are likely to be an acquired taste for most people. (US:13)

"At least half of the dozen titles here are among his most famous, and every song is written by him."

"What a range of themes and characters are presented, from the little Swiss Maid to Big Harlan Taylor and the sad sap who sobs The Last Word In Lonesome Is Me, Miller gets so much out of so little."

"Every track seems as if an extra effort was made to make it sound fresh and different. Miller is indeed fortunate that such an individualistic style as he had was allowed plenty of breathing room."

"Roger Miller was unique. Not just because he sings and writes about things that the average singer/songwriter doesn't write about; it's because he does it in a way that everyone can understand; young, old it doesn't matter. He is definitely a unique artist."

"I would guess that this man's work would have limited appeal. It's crazy and it's country and not a lot of people like either one, but especially when you put the two together. But there was a fire in this man that you can feel."

"After being introduced to Roger over the last year, appreciating new music is even more difficult than it was before. There is so little else out there in the world of creative works that captures this wide spectrum of human emotion and thought."

Their First LP – THE SPENCER DAVIS GROUP***

My Babe/Dimples/Searchin’/Every Little Bit Hurts/I’m Blue/Sittin’ & Thinkin’/I Can’t Stand It/Here Right Now/Jump Back/Its Gonna Work Out Fine/Midnight Train/It Hurts Me So

Debut album from R & B influenced The Spencer Davis Group featured teenage prodigy Stevie Winwood on vocals. Less than inspirationally titled, Their First LP fails to include any of their hit singles. Albums such as this, with lots of R & B filler, released by groups best known for their pop hits, would decrease substantially from now on. (UK:6)

"It was apparent from their first record that Winwood, with his ferocious soul drenched voice, belying his tender sixteen years, would be the focal point of the group."

"Their First LP established them as a major group. It is basically a reflection of their early repertoire and very heavy on the R & B/soul standards. Dominated by covers, only three of the tunes are originals. Winwood's mid-tempo soul number It Hurts Me So is easily the best of them. Winwood is in fine voice."

"Stylistically, it was American R & B, like most other young British groups were doing at the time, but in comparison to their contemporaries The Spencer Davis Group had a lot more soul in their sound, as can be heard in their renditions of Every Little Bit Hurts and It's Gonna Work Out Fine."

"No one in the 60s had a voice quite like Steve Winwood. At the very young age of 17 on this record, Winwood's voice is a mature, yet raw concoction of legendary rock sounds. This album didn't spawn any hits you'll hear on the radio today, but you can't listen to It's Gonna Work Out Fine and doubt that Steve Winwood is one of the greatest rock voices in the history of music."

"This is neither as good as their best work, nor as good as the best British R & B albums of the era by competitors like Them and The Rolling Stones."

"The Spencer Davis Group were perhaps the greatest R & B group to come out of England during the 1960s. However, their individual albums were cluttered with filler."

The In Crowd – THE RAMSEY LEWIS TRIO****

The In Crowd/Since I Fell For You/Tennessee Waltz/You Been Talkin’ ‘Bout Me Baby/Theme From Spartacus/Felicidade/Come Sunday

Soul-jazz pianist Ramsey Lewis enjoyed his greatest album success with The In Crowd recorded live at the Bohemian Cavern, Washington in May 1965. It won a Grammy for best jazz album with the title track single reaching No. 5 in the US. (US:2)

"Soul-jazz pioneer Ramsey Lewis's 1965 hit The In Crowd made the pianist a crossover smash, connecting with the pop, rock and jazz crowds simultaneously. His simple, bluesy, swinging style is infectious and immediately accessible. One of the key aspects is its party atmosphere - you get a real feel for the interaction between Lewis and the live audience."

"Today, The In Crowd sounds like an extension of the hard-bop era's no-frills, groove-oriented aesthetic, not to mention a foreshadowing of what would emerge decades down the road as acid jazz."

"The In Crowd is The Ramsey Lewis Trio at the peak of their eclectic but popular sound. It has the intimacy and spontaneity of music recorded live, but the precision of music played by those who have talent. A bit bluesy, a bit groovy, swinging, boppy jazz. It's good music for driving, for cooking dinner, as background at a party and, most importantly, for listening to."

"This is a typical mid-sixties, live jazz recording, so the sound is not all that good. What makes this worthwhile is that Lewis and his team were helping to define piano trio jazz at the time, but in a completely unique style and direction of their own, so there is a lot of depth to the music. The mix of tunes is eclectic and the introductions have a bluesy feel without stomping down into a unidirectional 'cellar' of one kind of musical wine."

"Ramsey Lewis is just about the most eclectic and accessible of musicians. The In Crowd probably represents the 'real' Ramsey better than any other recording."

"This is Ramsey Lewis's most famous record, Tennessee Waltz and Felicidade are the two standouts. The Party's Over and Theme From Spartacus are next in line. This is a classic album, and was also a turning point for the trio."

Summer Days (& Summer Nights!!) - THE BEACH BOYS****

The Girl From New York City/Amusement Parks USA/Then I Kissed Her/Salt Lake City/Girl Don’t Tell Me/Help Me Rhonda/California Girls/Let Him Run Wild/You’re So Good To Me/Summer Means New Love/I’m Bugged At My ‘Ol Man/And Your Dreams Come True

Seen as a step back by some after Today, The Beach Boys' Summer Days (& Summer Nights!!) nevertheless contains the US chart topping version of Help Me Rhonda plus the No. 3 US hit single California Girls. (US:2 UK:4)

"Here we have a rather mixed album containing moments that are a throwback in terms of subject matter to The Beach Boys earlier material and a few other numbers that continue to point the way towards Pet Sounds and Good Vibrations."

'Help Me Rhonda is immeasurably improved over it's Today version, this is the performance that went to number one - shorter, louder, catchier and harder hitting."

"This album is something of a disappointment when compared to Today. With this album, Brian Wilson created a more relaxed feel to his orchestrated music but, on the whole, the material here is noticeably weaker, particularly the first half."

"This album is definitely not Today, but is still strong musically. Brian and the boys' genius shows through again with songs like Help Me Rhonda and California Girls - a popular song with a very classical opening."

"Unfortunately, Summer Days was a step backwards. But any album that contains California Girls, Let Him Run Wild and Girl Don't Tell Me is still pretty great."

"Summer Days as many fans have noted, is a bit of a pulling back from the themes developed on Today, being filled with just a little more fun summer tunes, but it's still a truly wonderful album. The absolute highlight has got to be Let Him Run Wild, a brilliant, beautiful song with an exciting chord progression and a pleading falsetto."

"For some reason, the progress Brian started to make on Today was temporarily abandoned on Summer Days. There are great songs, California Girls and Girl Don't Tell Me, but again there is little innovation."

The Sound Of – THE SHADOWS****

Brazil/The Lost City/A Little Bitty Tear/Blue Sky Blue Sea Blue Me/Bossa Roo/Five Hundred Miles/Cotton Pickin’/ Deep Purple/Santa Ana/The Windjammer/Dean’s Theme/Breakthru/Let It Be Me/National Provincial Samba

The Sound Of The Shadows features more great tunes from Britain's premier instrumental group, let down again by a few dud vocal tracks. The Lost City, Santa Ana and The Windjammer would have made much better singles than those actually released by the group at this time. (UK:4)

"I think now that it was the last of the 'old style' Shadows albums. Their later albums tended to involve much more experimenting with different guitar sounds with more multi tracking and other recording gimmicks."

"Sound Of The Shadows has a light touch with effects. Double tracking is used mainly for harmony guitar and is used sparingly. Thus 90% or more of what you hear on this album is the actual sound of The Shadows."

"If you buy this album you can look forward to musicianship of the highest order, belying the fact that The Shadows were still young men in their twenties. Their timing is always immaculate and that in itself can give you a buzz."

"Wonderful music to listen to in a top down convertible with bright sunshine and the blue skies of Florida overhead. Their version of Brazil is haunting."

The Best Of – SKEETER DAVIS****

The End Of The World/(I Can’t Help You) I’m Falling Too/I’m Saving My Love/I Will/Something Precious/Now I Lay Me Down To Weep/Gonna Get Along Without You Now/He Says The Same Things To Me/I Can’t Stay Mad At You/I Forgot More Than You’ll Ever Know/My Last Date (With You)/Am I That Easy To Forget

Country star Skeeter Davis is best remembered for the magnificent US chart topping pop ballad The End Of The World. Her versatility on a wider range of other material is demonstrated on this collection.

“Skeeter Davis was one of Nashville's early female crossover stars, producing twangy country sides, Brill Building pop productions, and several hits that straddled both worlds.”

“Some of Skeeter Davis's mellow C & W/pop singles are among the best in country music, particularly her cover of Gonna Get Along Without You Now and the jaunty I Can't Stay Mad At You. Davis seemed to gravitate to songs about heartbreak, but she's not a shrieker or a belter. She makes these songs her own, and they're worth hearing again and again.”

“Skeeter Davis has one of the most affecting voices ever recorded. Her two classic pop hits (End Of The World and I Can't Stay Mad At You) are alone worth the price of admission. However, I had no idea how great her other material was until I heard this, which is now one of my favourite LPs. If you are at all interested in classic pop or country, you owe it to yourself to check out this collection.”

“If you enjoy heartbreak and love songs sang in a unique style, you may enjoy this album.”

“Whether she is singing honky-tonk country, Nashville sound, pop ballads or rockabilly, Skeeter consistently pours all her emotion and personality into every song. She delivers convincing, satisfying interpretations of pretty love songs that sometimes sound mawkish when sung by amateurs. This is an excellent album filled with solid songwriting, tasteful instrumentation and Skeeter's superb singing. Skeeter's voice is pure and clear on every number.”

“When people assess sixties country music, Skeeter is usually well down the list, but this is so unfair. Perhaps it is due to her success in the pop charts, but Skeeter recorded many other great songs, as this collection shows.”

P. J. Proby – P. J. PROBY***

That Means A Lot/I Will/Mission Bell/The Nearness Of You/Lonely Weekends/If I Loved You/Let The Water Run Down/She Cried/Secret Love/I Will Come To You/Lonely Teardrops/With These Hands

A quick self titled follow up album from powerful American vocalist P. J. Proby who was a lot more popular in Britain than his native country. Includes the UK No. 19 hit single Let The Waters Run Down.

“The brilliant P. J. Proby, who has the most awesome voice, deep emotional power, high notes and deep notes. Without a doubt a most natural and gifted singer.”

“This album is just so incredibly good. The selection of tunes, the brilliant arrangements, the blend in styles, the skilful orchestras, the production, the sound and, above all, the singing is just superb the whole record through.”

“Another example of perfection from the master of every vocal style known to mankind. Impossible to pick a favourite track on this album, all are classic Proby. His voice, talent, charm and personality must live on for future generations to enjoy.”

“This is pop at the very best, all songs are delivered in great voice and the orchestra is really nice, probably my favourite PJ album.”

“Every track on this LP is just outstanding; he was never as good as this again. Strong rich baritone voice. He didn’t get the recognition he deserved.”

“When one remembers Proby's falsetto singing back in the sixties and compare these songs, one can appreciate the versatility of the man. There are no singers of that decade who can touch him for voice control, range and depth.”

The Nearness Of You – JOHN GARY***

The Nearness Of You/You Stepped Out Of A Dream/My Foolish Heart/Softly As I Leave You/Who Can I Turn To/Hawaiian Wedding Song/Time After Time/On The Street Where You Live/Beautiful/I Wish You Love/Dear Heart/The Sound Of Music

The Nearness Of You was easy listening balladeer John Gary's highest placed LP. He continued to place albums in the lower reaches of the US album chart for the rest of the decade. Later generations scarcely remember him. (US:11)

"Vocalist John Gary had much in common with the laid-back vocal styles of Perry Como and Andy Williams. Unfortunately he never gained the reputation or financial stability they did. In the 1960s Gary covered a wide variety of music that appealed to the easy listening audience. Somehow he got lost in the shuffle when record companies began signing anything Beatle-like. The Nearness Of You consists of tried and true standards."

"I experienced such a rush of past memories when I played this disc. I was taken back to a time when John's music was such a wonderful way to slow down and just enjoy life."

"John Gary once described himself as a 'baritone with a freakish range'. It was just this 'range' that first caught my ear. There are many examples on this album to bear out his description. His tenor range is strongly evident in several cuts, among them is Hawaiian Wedding Song. The vocal strength that John possessed was absolutely amazing. He seemed to be able to effortlessly hold a note for an eternity."

"Classic Gary cuts are all here, delivered in that warm, intimate, passionate style that set him apart from all of the rest - and he must have recorded just about every important love ballad that ever came from Broadway and film during his heyday in the 60s."

"His astounding three octave range won over millions of listeners in the mid-60s, despite the British Invasion and made his records sell worldwide. Sadly, he never reached stardom like a Frank Sinatra or Tony Bennett."

"John's reading of On The Street Where You Live from My Fair Lady is filled with emotion, and a lovely ending with one of John's trademark high notes."

More Hits By Cliff – CLIFF RICHARD*****

It’ll Be Me/The Next Time/Bachelor Boy/Summer Holiday/Dancing Shoes/Lucky Lips/Its All In The Game/Don’t Talk To Him/I’m The Lonely One/Constantly/On The Beach/A Matter Of Moments/The Twelfth Of Never/I Could Easily Fall

Cliff''s second compilation of hit singles More Hits covered the period from late 1962 to the end of 1964 during which time he was an almost constant presence in the UK top ten. (UK:20)

"An unexpected highlight has to be It'll Be Me a song I'd never heard before. A great rock number with a stinging vocal delivery full of desire and raunch. Bachelor Boy is more familiar fare, the kind of cheesy song Paul McCartney would have sung in 1975. Forward onto? Well, the title track from the hugely fun Summer Holiday film. You'll know this song, it's part of the national consciousness. Cliff by now has developed a smooth vocal delivery that's pure class."

"On The Beach is a Shadows backed guitar number, excellent pre-Beatles rock and pop. The guitar work and the rhythm section truly excel."

"Summer Holiday is one of the great holiday songs of the century, it makes one want to pack up and go on a wonderful holiday." "Most of Cliffs earlier songs were very catchy tunes, very easy listening."

"Don’t Talk To Him is one of his best and Hank's licks are really tasteful, this one came out at the height of The Beatles popularity, hence the vocal harmonising."

"I was never a Cliff Richard fan, being a huge Elvis fan, but I have to say he did make some good music and Constantly is one of my favourites, so romantic."

"Cliff could always put a love song over well. The Twelfth Of Never is a good example."

More Hits By – THE SUPREMES****

Ask Any Girl/Nothing But Heartaches/Mother Dear/Stop In The Name Of Love/Honey Boy/Back In My Arms Again/Whisper You Love Me Boy/The Only Time I’m Happy/He Holds His Own/Who Could Ever Doubt My Love/(I’m So Glad) Heartaches Don’t Last Always/I’m In Love Again

More Hits is the third studio album from Motown girl group The Supremes and is not a compilation as the title might suggest. All songs were written by the hit making team of Holland-Dozier-Holland. More Hits contains the US chart toppers Stop In The Name Of Love and Back In My Arms Again plus the US No. 11 Nothing But Heartaches. (US:6)

"More Hits is a precious Motown album, one you can listen to all the way through, over and over, without a moment of boredom. At this point in time, The Supremes were all but incapable of any wrong move."

"The girls were never cooler than when they sang Whisper You Love Me Boy, their cool, calm style is witness to their stability and genius in 1965."

"This aptly titled album captures The Supremes in their prime. The sensational combination of harmonies of Diana Ross, Florence Ballard and Mary Wilson was just magical. The Supremes were aided by the excellent production skills of the sheer genius songwriting trio, Brian Holland, Lamont Dozier and Eddie Holland."

"At the dawn of 1965, The Supremes staggeringly enjoyed their fourth consecutive chart topper with that familiar classic Stop! In The Name Of Love - undoubtedly one of their key landmarks, and more dramatic than their previous three hit singles. The group's lead singer, the divine Diana Ross, was clearly progressing as a highly adept vocalist whilst evidently developing a unique style and sound of her own."

"More Hits By The Supremes album was jam packed with potential singles. Each track carried the traditional Motown sound."

"More Hits By The Supremes is simply essential to any Diana Ross and/or The Supremes/Motown fan. At this early stage in The Supremes career Motown hadn't yet fully recognised the strong potential in albums being used as pieces of musical art. Every track is indeed a high grader making this more than a recommended album."

The Magnificent Moodies – THE MOODY BLUES***

I’ll Go Crazy/Something You Got/Go Now/Can’t Nobody Love You/I Don’t Mind/I’ve Got A Dream/Let Me Go/Stop/Thank You Baby/It Ain’t Necessarily So/True Story/Bye Bye Bird

Birmingham group The Moody Blues came to public attention in early 1965 with the UK No. 1 hit single Go Now which also reached No. 10 in the States. At this time they were a fairly orthodox blues influenced group showing no signs of the progressive psychedelic sound that was to become their hallmark. The Magnificent Moodies reached No. 5 on the NME album chart. "This is pretty much your standard mid-60s Brit-pop and nothing like what The Moodies did on Days Of Future Passed and beyond."

"Go Now, a cover of a nearly identical American single by R & B singer Bessie Banks, heavily featuring Laine's mournful lead vocal - fulfilled every expectation and more, reaching number one in England."

"The pre-psychedelic Moody Blues were represented in England by this album, which is steeped in American soul. The covers include songs by James Brown, Willie Dixon and Chris Kenner, plus the chart-busting Go Now, interspersed with a brace of originals by lead singer/guitarist Denny Laine and keyboardist Mike Pinder, and one Jeff Barry/Ellie Greenwich number."

"The group's sound is good and loud, and Laine was a phenomenal singer, though the band lacked the charisma and built-in excitement of such rivals as The Rolling Stones and The Animals."

"Most of the songs featured on this debut album are cover songs from the rhythm & blues repertoire."

"I have to admit that this first album has little to do with their later work and is not a great record. The only outstanding track is Go Now, a No.1 hit single in the UK. And frankly, if you except this one, there are hardly any other interesting songs featured."

"The style of music on The Magnificent Moodies differs greatly from what most people expect from a Moody Blues album. The style is R 'n' B influenced and rather naive and simple. The songs are all single length and nothing sticks out as being innovative or progressive in any way."

I Have Dreamed – MATT MONRO****

I Have Dreamed/Who Can I Turn To/My Friend My Friend/Love Is A Many Splendored Thing/Its A Breeze/ Without The One You Love/Once In Every Long & Lonely While/All My Loving/If This Should Be A Dream/How Soon/Exodus/Here & Now/Friendly Persuasion/Start Living

Britain's best known ballad singer during the early 1960s, Matt Monro achieved his only UK hit album of contemporary material with I Have Dreamed. He was at the peak of his popularity during the beat group boom, appealing much more to the older generation than to teenagers. (UK:20)

"Matt's voice was deep and warm, his timing superb, and his ability to 'tell a story' via a song matchless. He does sound like Sinatra at times but for me he's better with the slower less 'swinging' songs than Frank."

"A truly wonderful singer who was very much underrated. He has a silky smooth voice that just flows."

"This is a great sounding album that will remind you, and send you spinning back in time, to the 1960s with that rich and velvety voice that was so relaxed."

"Just how talented Matt was. I read he was the singer's singer. It shows in his ability to hold a note. He is sadly missed."

"You'll appreciate watching this portrait of a man whose voice can never be duplicated, who will move you and warm your heart with his passionate voice, perfect pitch and wide vocal range."

"Matt Monro could take a song and make it a masterful symphony with his excellent style of performing ballads. He will always remain one of the best male vocalists of the entire twentieth century."

"Matt Monro deserves much more recognition that he receives in our times. Matt could take a song and make it his own, through his exquisite and sensitive renditions that always reflected sensitivity and good judgment."

"The best singer England has produced and sadly lost. I'm glad we can still listen to his magic voice. I Have Dreamed is one of the most beautiful songs ever written."

The Golden Hits Of – LESLEY GORE****

Its My Party/Judy’s Turn To Cry/Just Let Me Cry/She’s A Fool/You Don’t Own Me/That’s The Way Boys Are/I Don’t Want To Be A Loser/Maybe I Know/Hey Now/Look Of Love/Sunshine Lollipops & Rainbows/All Of My Life

Teen vocalist Lesley Gore enjoyed a string of catchy, often angst ridden, hit singles. These excellent examples of mid-sixties pop are all contained in Golden Hits. The current CD contains six bonus tracks making it even better value. (US:95)

"Truth be told, I developed my love of 60s pop from listening to Lesley Gore, The hits are all here, but album cuts like the insistently hooky Maybe I Know and the doo-wop flavoured The Look Of Love are so top-notch. There is absolutely no filler to be found here. Every song is catchy as heck, superbly produced and sounds as fresh today as it did when this hits package first appeared in 1965. For true classic pop, and some of the greatest vocals ever recorded, Golden Hits is a must own."

"When people say this is an outstanding collection of songs by Lesley Gore, they mean it. There isn't a bad track. The quality of the sound is very good and Lesley is in top form throughout on all of these numbers."

"There's truly something here for just about anyone who likes this genre of music; and Lesley's voice itself is a wonderful instrument that I could never tire of hearing. The songs will never go out of style; this music is that good. Lesley performs them all with panache and I'm very impressed."

"Lesley Gore fans will enjoy this; and this is especially good for newcomers to Lesley's artistry or casual fans who want a good sampling of her songs. That era may have passed, but thankfully we can still enjoy this excellent music, and at least for some of us these songs will bring back countless fond memories."

"Really enjoy listening to this album. It takes me back, and makes me feel a bit sorry for all the kids today because there is nothing light and fun like this out there now."

"What stands out here, is all those '60s hits. They don't sound dated because Quincy Jones was Lesley's musical collaborator on so much of this work. All her arrangers were talented, imaginative orchestrators and Mercury always gave Lesley top drawer production. This young lady had a unique style and talent that takes you back to the 'good old days' like no other singer from that era ever could."

For Your Love – THE YARDBIRDS***

For Your Love/I’m Not Talking/Putty (In Your Hands)/I Ain’t Got You/Got To Hurry/I Ain’t Done Wrong/I Wish You Would/A Certain Girl/Sweet Music/Good Morning Little Schoolgirl/My Girl Sloopy

For Your Love was the first American LP from the British R & B cum pop group The Yardbirds, featuring some tracks from the already departed Eric Clapton. The title track was a US No. 6 and UK No. 3 hit single. (US:96)

“I'm not that impressed with this album as overall it is way too inconsistent. Some good songs, some mediocre ones and a couple of boring numbers as well.”

“Half dated, half great early British invasion style blues rock, half good pop, half boring rehashed pop tracks. That's a lot of halves. There isn't anything worth hearing that isn’t on their compilation stuff. Really only for hardcore fans.”

“For Your Love was The Yardbirds' first American LP, and although Jeff Beck is featured on the album's cover and liner notes, this compilation is actually drawn mostly from earlier Eric Clapton era material. The psychedelic tinged pop of the title track is the highlight here, while the remainder of the LP leans heavy on Chicago blues steamed, pressed and styled in the 60s British tradition, but missing the visceral immediacy of the real deal.”

“On the whole this is a pretty good collection; the best thing about it is that it demonstrates the creative evolution of The Yardbirds like no other album does. From the self-assured blues/rock of I Wish You Would, to the glorious pop sounds of For Your Love, to the guitar innovations of I'm Not Talking, and the artistic license of My Girl Sloopy, its all happening. A mix of good, fairly hard blues pop, and comparatively lame pop hit covers.”

“An absolutely classic piece of rock from the mid-1960s, and it features an (unaccredited) Eric Clapton at a time when he could still play straight blues without turning every guitar solo into a wrestling fight between his guitar and his ego."

“Being familiar with The Yardbirds only via their widely played pop hits, I was surprised to find that many of the songs on this album sound like Anglicized covers of blues tunes. I wanted to hear the roots of rock by a band that was experimenting with American blues and going beyond the blues to form a new sound.”