Somewhere There’s A Someone – DEAN MARTIN***

Somewhere There’s A Someone/Any Time/Blue Blue Day/I’m So Lonesome I Could Cry/Candy Kisses/I Can’t Help It/That Old Clock On The Wall/Bouquet Of Roses/I Walk The Line/Just A Little Lovin’/Room Full Of Roses/Second Hand Rose

Boosted by his TV show Dean Martin was enormously popular with American adult audiences during the sixties. To capitalise on his appeal some of his earlier recordings were unearthed and, together with a couple of more recent songs, were presented as 'new' albums. Somewhere There's A Someone is representative of this strategy. (US:40)

"By 1966, Dean's TV show was in full swing, and the demand for his albums was H-O-T! To try and meet the demand, Reprise records tried to mix and match new Dean Martin songs, with tracks from his more obscure country albums, in order to fill out and 'sell' more albums. Somewhere There's A Someone is pure cashbox. Aside from the title song and That Old Clock On The Wall, there's nothing new here."

"Dean was producing hits so quickly that, with his television and movie appearances, he hardly had time to record enough material to fill new albums. So, Reprise re-released some laid back country material from 1962-63 for these albums, along with a new hit version of Somewhere There's A Someone. Also worth mentioning is That Old Clock On The Wall which has a great rhythm and strong beat."

"Dean's 'sound' could compete with any music that came along. Even now it is timeless. Dean's music really makes me feel good. It was fun and snappy."

"It's not that I hate everything he recorded, it's that he needs to stay away from Johnny Cash and Hank Williams songs."

"Nothing can put a smile on my face quite like Dean singing. I am 16 and all I listen to is Dean, Frank, Sammy and other artists of the genre. I don't know what has happened to music now but we need more talented and classy gents such as Dean. This is real music. Somewhere There's A Someone is in the country-pop style that brought him a series of hits in the mid-'60s."

"So smooth and he makes it look so effortless. I love Dino's voice. What a consummate entertainer."

The Shadow Of Your Smile – JOHNNY MATHIS***

Moment To Moment/The Shadow Of Your Smile/Michelle/Yesterday/Something’s Coming/A Taste Of Honey/I’m In Love For The Very First Time/Quiet Nights/I Left My Heart In San Francisco/On A Clear Day(You Can See Forever)/Melinda/Come Back To Me

The Shadow Of Your Smile was the final sixties top twenty LP from Johnny Mathis. His albums would continue to chart in the US for the next thirty years, but with one exception, they would be confined to the lower reaches. (US:9)

"Where his previous albums on Mercury Records recalled his earlier work for Columbia comprised as they were of Broadway show tunes, film music and standards, this album looks forward to Mathis' albums in his second Columbia Records period where he began to cover contemporary hits. This album is made up mostly of cover versions of current hits and songs from recent shows and films."

"Mathis had often turned to Hollywood for song inspiration and on this album he includes two current movie themes. The Shadow Of Your Smile won the Academy award as the year's best song in 1965. It was the love theme to the film The Sandpiper."

"I love all Mathis songs, It seems each one takes me on a journey. Just great music."

"Mathis really captures the essence of this wonderful song On A Clear Day."

The Movie Song Album – TONY BENNETT****

Maybe September/Girl Talk/The Gentle Rain/Emily/The Pawnbroker/Samba De Orfeu/The Shadow Of Your Smile/Smile/The Second Time Around/Days Of Wine & Roses/Never Too Late/The Trolley Song

Tony Bennett achieved his last US top twenty album in the sixties with this movie themed collection. He would have to wait another 40 years for his next US album top twenty entry. (US:18)

"I have more albums by Sinatra, but if I could only take one with me to that desert island, this would be the one. It is incomparable. An example of the best movie tracks from the golden age of American song, done with the kind of concert orchestrations that soon became impossible to find as rock norms took over."

"Tony sings with an effortless sounding mastery that I can't find words to describe. One after another these songs sweep over the emotions, haunting, aching and yearning. The best track has to be the astonishing theme from The Pawnbroker. But there's also Emily, Shadow Of Your Smile and Maybe September, each one given it's definitive performance by Tony at the peak of his vocal artistry."

"In a recent interview, Tony Bennett cited this album as his favourite. He said the reason was because all the movie theme songs were arranged by each individual composer. In this LP, Bennett was at the peak of his vocal form, and is working with each different well-known composer on each song he sings. The results are what I consider to be a long buried treasure of brilliantly performed movie themes. If you have an ounce of romance left in your body, this LP is gonna kill ya."

"One of Tony Bennett's most spectacular recordings of the 1960s is The Movie Song Album. On this tribute to Hollywood, Bennett is at his artistic and vocal best, delivering deeply personal and emotionally reflective renditions of the day's movie themes. For my money, there's no finer Bennett than the singer interpreting 1960s movie and Broadway hits. Make no mistake The Movie Song Album isn't a pop disc. It's a stealth jazz album on par with the best jazz-vocal strings recordings."

"The Movie Song Album captures the ballad era in movie music perfectly. As Bennett sings, you can hear him immersing himself in the various lush arrangements and weighing his phrasing of every lyric. On each song, Bennett delivers a passionate and penetrating rendition without ever abandoning his up-close intimacy or street-singer optimism."

May Each Day – ANDY WILLIAMS****

Canadian Sunset/I’ll Remember You/The Bilbao Song/Don’t Go To Strangers/Quiet Nights Of Quiet Stars/May Each Day/Don’t You Believe It/And Roses And Roses/Loved One/The Village Of St Bernadette/Lonely Street/How Wonderful To Know

May Each Day was a UK only release of old recordings. The title track was a No. 19 hit single. The same cover was used in the USA for Andy's Newest Hits but with different content. (UK:11)

"It is rare when the pairing of song, lyrics, and performer are able to capture the listener's heart and make the listener emote. May Each Day is a magical recording thanks to the seemingly effortless talent of Andy Williams."

"May Each Day is my favourite song by my favourite crooner, with St Bernadette my second favourite from Andy Williams. He's been a part of my music life for over 40 years. I never stop listening to his lovely voice."

"Such a wonderful voice. There are no more people singing this kind of music anymore, with this voice, with this feeling. I wonder, where are they?"

"Whether, it was Dean Martin or Frank Sinatra, Andy Williams, was among those artists, who stands out as, one of the greatest singers of all time."

"Andy's voice, for decades, was both strong and silky smooth. He had a marvellous range, and you couldn't have made him miss a note or sing off key if you pinched him by surprise mid-song."

"Andy Williams is definitely one of my very favourite vocalists of the twentieth century. Although he's not remembered the way Bing Crosby or Sinatra are he deserves the honour very much."

“Andy sings May Each Day flawlessly as he expresses his hopes for the best for everyone."

"My personal favourite is May Each Day. I would probably end my day listening to this every night. It's a song that is touching and a pleasure to listen."

Mantovani Magic – MANTOVANI****

Misty/Red Roses For A Blue Lady/Chim-Chim-Cheree/Love Me With All Of Your Heart/Goodnight Sweetheart/ Cara Mia/I Wish You Love/Lover/Stardust/Mona Lisa/The Most Beautiful Girl In The World/Auf Wiederseh’n Sweetheart

Mantovani Magic achieved the highest UK album placing by this maestro of popular orchestral arrangements. Mantovani was hugely popular with adult audiences during the sixties, but dismissed as unremittingly uncool by teenagers of the time. However, most of today's youth now consider the beat groups of that era to be just as unfashionable. The reputation of good popular music has undoubtedly suffered from the pressures placed upon young people to conform to whatever the current orthodoxies in musical taste happen to be. As we have seen in recent years, this allows media charlatans to manipulate youthful ignorance to the detriment of sound musical appreciation. Fortunately young people eventually grow up and are then able to recognise how they were conned. (US:23 UK:3)

"The very mention of his name brings to mind the beautiful orchestral sounds that he created over a fabulous career spanning many years."

"Mantovani Magic is a marvellous album of the 1960s bringing together themes from stage and screen as well as other lovely songs all played of course orchestrally. The arrangements are typical fare for Mantovani and my favourite track is Chim Chim Cheree from Mary Poppins. Listen out particularly for the fabulous trombones in the chorus - deep, rich and rasping, the crisp sound is amazing."

"The sound of Mantovani fits perfectly for that moment when you relax, why not with a dry martini, and just enjoy life. Perfect for background music when having friends over for dinner."

"This is a great collection when light music was real music and not so much of the electronic stuff."

"I grew up listening to Mantovani, Misty being my favourite piece by him."

Don’t Be Concerned – BOB LIND***

Elusive Butterfly/Mister Zero/You Should Have Seen It/Counting/Drifter’s Sunrise/Unlock The Door/Truly Julie’s Blues/Dale Anne/The World Is Just A B Movie/Cheryl’s Goin’ Home/It Wasn’t Just The Morning/I Can’t Walk Roads Of Anger

Bob Lind was a one hit wonder who achieved major international success with the evocative folk-pop song Elusive Butterfly, which reached No. 5 on both the US and UK singles chart. The associated album Don’t Be Concerned fared much less well. (US:148)

“Its a wonderful period piece wrapped in a lovely production. The lyrics are far too overblown to be serious. He's remembered today for Elusive Butterfly, a song that still holds up as a perfect slice of mid-'60s yearning and passion, but his songwriting went much deeper than one song. My particular favourites are Truly Julie's Blues, which effortlessly achieves a spiritual quality that is almost never attained when a songwriter actually tries for it; Drifter's Sunrise, a perfect reflection of both regret and hopefulness from a man moving on, and Unlock The Door, a joyful, and lustful burst of excitement at the beginning of a new relationship.”

“I've played this album for many people who missed it the first time around, and its pleasures seem to elude many of them. He is wordy, and he wears his passions on his sleeve, but I find both of those qualities utterly winning on this album. I think he's the perfect antidote to our too-cool age.”

“Lind doesn't have the most expressive voice in pop music, but within his own limitations, he composed some songs that have stayed with me many years, and shows us that a lot of the one hit wonders had more talent than one would suppose.”

“Bob's wonderful songs cover a wide range of subjects, emotions, and issues ranging from introspection, devotion, wanderlust, humour, and plain rotten luck. The lyrics are poetic and sometimes philosophical, yet direct and accessible. The melodies are pleasant, and comprehensible, even when the subject matter is rough.”

“Few songwriters can craft a lyric with the versatility of Bob Lind. His lyrics have a creative thrust that causes the listener to confront and appreciate the subject matter in a thoughtful way. The recording blends creative folk storytelling with tasteful, tuneful accompaniment in the appealing pop-orchestral style heard in the 1960s.”

Lightfoot! – GORDON LIGHTFOOT****

Rich Man’s Spiritual/Long River/The Way I Feel/For Lovin’ Me/The First Time I Ever Saw Your Face/Changes/Early Mornin’ Rain/Steel Rail Blues/Sixteen Miles/I’m Not Sayin’/Pride Of Man/Ribbon Of Darkness/Oh Linda/Peaceful Waters

Self titled debut album from Canadian folk singer and songwriter Gordon Lightfoot who would have to wait until the seventies before achieving wide commercial acceptance.

“This album is easily his best of the '60s, featuring the purest folk music he ever recorded. On his later albums, he mixed in hints of pop and country flavours to the folk base, but his debut is all about superbly written and sung folk songs.”

“Lightfoot's first album, recorded in late '64 but not released until '66, features eleven original songs and three covers. The instrumental backing is pretty sparse, but these songs sound great relatively unadorned. And that's where the magic lies, in the songs themselves. Many of the melodies are simple, and many of the chord progressions are simple, but Lightfoot has a way of injecting life into simple songs with his imagery evoking lyrics and exuberant singing voice which, in the early days, was bright, strong and expressive.”

“Lightfoot is Gordon's first album, and the best of his 60s output, making a near perfect folk record.”

“Lightfoot was already 27 at the time of his solo debut, which might have accounted in part for the unusually fully developed maturity and confidence on this recording, in both his songwriting and vocals. This contains some of his best compositions, including Early Mornin' Rain.”

“By the time his first LP Lightfoot! was released, he had already gained a considerable amount of professional respect as a writer. Artists such as Marty Robbins and Peter, Paul & Mary had taken his compositions into the charts. This is the most pure folk-sounding album he ever issued, with a very stripped-down sound: rhythm guitar, vocal, lead guitar and upright bass.”

“Each tune is great and some were hits for others besides Lightfoot in the 60s. What makes this album special is that every song on here has something going for it.”

I Hear A Symphony – THE SUPREMES***

Stranger In Paradise/Yesterday/I Hear A Symphony/Unchained Melody/With A Song In My Heart/Without A Song/My World Is Empty Without You/A Lover’s Concerto/Any Girl In Love/Wonderful Wonderful/Everything Is Good About You/He’s All I Got

Motown hit makers The Supremes try to ride two horses on I Hear A Symphony. Half the album consists of covers of traditional standards with the remainder comprising the more usual Motown style songs. Includes the US chart topping title track and the No. 5 My World Is Empty Without You. (US:8)

"Disguised as an attempt to further bridge the gap between traditional pop music, the traditional Motown sound and soul, the album included covers of pop standards such as With A Song In My Heart, Without A Song, Stranger In Paradise and Wonderful Wonderful. The original plan was to have The Supremes record an entire album of pop standards."

"Berry Gordy was pushing his vision of The Supremes as a mainstream pop trio, covering songs such as A Stranger In Paradise and Wonderful Wonderful. None of these are bad, but neither are they terribly distinguished, the group even adds a certain fresh sparkle to the latter. But realistically, people were paying their money for the Holland-Dozier-Holland authored songs, any of which would have made about as fine a single as anything the trio ever put out, and all of which are still a chunk of the best part of the group's legacy."

"To broaden their appeal, Berry Gordy began having The Supremes record showbiz standards in an effort for them to cross-over into white culture as well as firmly retaining their wide black base. The I Hear A Symphony album is a pure example of Berry Gordy's shrewd marketing ploy. Whilst some may argue that it shows off The Supremes versatility, I actually hold my hands up and admit that as something of a die-hard soul/R&B/Motown fan, I find the rather kitsch showbiz covers corny, dated and in some parts quite ghastly."

"It serves as a reminder of why The Supremes remain the top female vocal group in pop music. Following their successful run at the Copa, this album was a bridge to appeal to their teen fans with hit singles, the Northern Soul favourite He's All I Got and standards to appeal to the adult market. As was the practice at that time there are cover versions of other artist’s hits."

Hold On! – HERMAN’S HERMITS***

Hold On/The George & The Dragon/Got A Feeling/Wild Love/Leaning On A Lamppost/Where Were You When I Needed You/All The Things I Do For You Baby/Gotta Get Away/Make Me Happy/A Must To Avoid

Hold On! was the first film release showcasing the immensely popular British invasion pop group Herman's Hermits. Includes the top ten hit A Must To Avoid. Film also stars Shelley Fabares. (US:14)

"More than another Herman's Hermits album with two hit songs, Leaning On A Lamp Post and A Must To Avoid, this MGM soundtrack features the original version of Where Were You When I Needed You. This version, like everything here, sounds very British Invasion, Mickey Most's production emulating early Beatles."

"This is the West Coast meeting the UK in a very pleasant way, and the combination is impressive. A short but fun disc, and essential for the fans of Peter Noone."

"Peter Noone injects more of that pop into Where Were You When I Needed You, the thin guitar and boisterous backing vocals making for a great party cut." ,p> "Combines charming hit singles, interesting explorations of folk-rock, good album tracks, and yes, some filler."

"Hold On spun off two hit singles, the music-hall styled Leaning On A Lamp Post and the folk-rock A Must To Avoid. The band cuts an interesting groove that marries British Invasion beat music and West Coast folk-rock."

"I never saw this movie, but there are so many good songs in the soundtrack it feels like I should have seen it – A Must To Avoid is probably my favourite of them."

"I've heard so many derogatory comments citing the Hermits as one of the lesser lights of the British Invasion, but the group (or their producers - I'm not sure who the responsible parties are) had a knack for finding excellent tunes. They were just as essential as any other Brit Invasion group and many have agreed with me on this."

Batman Theme– NEAL HEFTI***

Batman Theme/Evil Plot To Blow Up Batman/Sewer Lady/The Mafista/Holy Diploma Batman Straight A’s/Eivol Ekdol The Albanian Genius/The Batusi/Just A Simple Millionaire/My Fine Feathered Finks/Mr Freeze/Jervis/Batman Chase

Neil Hefti composed several movie and TV themes. His best remembered is the Batman Theme. Apart from the title track none of these tunes featured in the TV series. (US:41)

“Among the many versions of the famous 1966 Batman TV theme song, Neal Hefti is the guy who actually wrote it. While none of the recordings here actually appeared on the show, this is a pretty cool disc on its own merits. It fits squarely in the 'space age bachelor pad pop' genre, with a lot of early electronic sounds.”

“Other than the title theme, the tracks on this disc have little association with the television programme. Most of this LP is middling jazzy muzak, although done with some wit and flair. The Batman Theme, which was a minor chart single, suffers without the propulsive drumming that made the television version so memorable. An interesting period piece, but nothing to get excited about.”

“Picked this up years ago thinking it was the original music from the Batman TV show - it isn't. Except for a swinging version of the iconic theme, it's the type of music that would have shown up in an Ironside episode featuring a 'rock' band.”

“The only thing in this album that is from the TV show is Hefti's Batman Theme in a slightly different and expanded arrangement. These are just songs that have Batman sounding titles and are nothing more than 60s pop instrumentals, although the Batman theme riff is interpolated in some tracks.”

“The familiar Batman Theme, of course, as well as a number of rousing adventure and comical villainous themes. Anyone who appreciated the tongue-in-cheek, campy humour of the Adam West Batman series will likely enjoy this collection.”

“Amusing uses of sound effects, fuzz box and Hammond organ. Not quite ready to pronounce it a minor pop masterpiece, but I could make a case for it, if it mattered enough. For ultimate Bat-fans, a representative work of composer Neal Hefti. This is a collector's item for those who enjoy music with a 60s era feel.”

Got My Mojo Workin’ – JIMMY SMITH****

High Heel Sneakers/Satisfaction/1-2-3/Mustard Greens/Got My Mojo Workin’/Johnny Come Lately/C Jam Blues/Hobson’s Hop

Hammond organ wizard Jimmy Smith achieved his final major hit album with Got My Mojo Workin'. He would continue to make the US album chart for the next few years but at much lower chart placings. (US:28 UK:19)

"Nobody, but nobody, has ever made the Hammond organ work so hard as Smith. He is the undisputed king of the jazz organ, and defined the sound of 'soul jazz' throughout the 60s. His work with arrangers such as Oliver Nelson represents the commercial peak of his long career. This album is one of many on the Verve label that it was cool to tuck under your arm and say that you owned. Smooth covers of C-Jam Blues, Satisfaction and Hi Heel Sneakers complement the originals as another entirely different way of playing them."

"The first time I heard this album was in my childhood, and I remember it as one of the most dynamic and wonderful pieces of music I have ever heard."

"This album is from my favourite Jimmy Smith period, the collaboration with Oliver Nelson's big band. While some reviewers didn't like the band, I felt that Jimmy in this context was like putting a firecracker in a velvet box. Oliver's arrangements are economical and punchy, and the band is tight, including many of the best horn players of the day. This album includes my favourite version of the oft-played C-Jam Blues, with a call-response opening that does credit to Jimmy and the band."

"One of Smith's more musically varied recordings for Verve in the mid-60s, Got My Mojo Workin' has him in both a quartet and octet setting, with excellent support from Kenny Burrell on guitar. Smith plays through a number of pop and jazz numbers, giving each a fairly southern blues sound. Many of the tracks are quite funky, but some are straight-up jazz vamps and others like 1-2-3 are simple easy listening pop pieces."

"This LP has just the right mix of everything. Jimmy's playing captures the essence of the soul-jazz which was big in the mid-1960s. He even turns songs as trivial as Len Barry's One Two Three into a funky swinger. A damned good album, with Jimmy playing like he means it. One of the finest examples of organ grindin' about."

The Fugs – THE FUGS*

Frenzy/I Want To Know/Skin Flowers/Group Grope/Coming Down/Dirty Old Man/Kill For Peace/Morning Morning/ Doin’ All Right/Virgin Forest

The Fugs were formed in Greenwich Village in 1964 by a couple of beat poets. Embraced by the avant-garde they specialised in crude outrage protest songs. This self titled LP was their second offering.

“Very, very mediocre folk/protest rock. Probably worth a listen for novelties sake but that's about it.”

“This one is far more palatable than either of the previous recordings. I hear a mix of punk, psych, and reasonable non-commercial rock, with only a 'smidgen' of their typically self-indulgence thrown into the mix. Maybe not their best, but certainly up to this point anyway.”

“The second album by The Fugs is a marked improvement over their first. The playing is tighter and the executions are a bit more polished. The lyrical content contains the same sexual innuendos and profanity as the first album.”

“The music is minimal. The singers, well, can't. There's poetry. Mayhem. It's punk before anyone ever thought of the term.”

“The Fugs combined political satire, garage rock trash, and enough sexual innuendo to keep the right wing up at night. But they blazed a path and left satire and some anger in their wake.”

“This album sounds like The Fugs actually tried to pretend they were a real band, instead of a spontaneous gathering of hilarious nut jobs, like they sounded on the first album. This album sounds a lot more studio than the first, but as a result, the songs sound more like real songs instead of the unscripted mayhem of the first. And as 'real bands' go, The Fugs aren't really the greatest.”

Doctor Zhivago – SOUNDTRACK****

Overture/Main Title/Lara Leaves Yuri/At The Student Café/Komarovsky & Lara’s Rendezvous/Revolution/Lara’s Theme/The Funeral/Sventytski’s Waltz/Yuri Escapes/Tonya Arrives At Varykino/Yuri Writes A Poem For Lara

The Grammy winning soundtrack Doctor Zhivago topped the US album chart during its three year run. Based on the novel by Boris Pasternak, the film set in the Russian revolution, starred Omar Sharif and Julie Christie. Music composed and arranged by Maurice Jarre. (US:1)

"Maurice Jarre's score is breathtaking. The balalaikas are wonderful, it adds a very Russian feel to it all. My favourite piece is the Main Title and the other slower, more romantic tracks, which feature the famous Lara's Theme."

"Maurice Jarre's stunning score to the film Doctor Zhivago ranks as one of the finest soundtracks ever composed. Grand, memorable and powerful, Jarre's achievement captures the agony of revolutionary Russia and complements brilliantly the epic production of Metro Goldwyn Mayer."

"Maurice Jarre created a classic for all time with the soundtrack for Doctor Zhivago. This was an epic movie of an epic love and demanded an epic musical score. This soundtrack transcended that demand. While it was the perfect accompaniment to every scene of the film, it stands on its own as well."

"Jarre's score involves the use of several leitmotifs, Lara's Theme being the most famous, which bind each piece into the larger whole of the film. That Jarre was able to accomplish this is all the more surprising because, he had only six weeks to compose the film score."

"Doctor Zhivago is a soundtrack that goes from soft and slow to thunderous and dynamic. If you never knew the story, the music would move you to joy and tears with each selection. From the Overture to Lara's Theme, it is a ride of highs and lows. This is one soundtrack you just put on and close your eyes. It is perfect."

"Maurice Jarre's sweeping, beautiful score Doctor Zhivago is certainly in the top three of the greatest film scores ever composed. As the mood of the film changes, so does the soundtrack. This wonderful score enhances and makes this film's images so vivid and alive in one's mind only by hearing the theme's few notes."

Daydream – THE LOVIN’ SPOONFUL****

Daydream/There She Is/Its Not Time Now/Warm Baby/Day Blues/Let The Boy Rock & Roll/Jug Band Music/ Didn’t Want To Have To Do It/You Didn’t Have To Be So Nice/Bald Headed Lena/Butchie’s Tune/Big Noise From Speonk

The Lovin' Spoonful's second album Daydream includes You Didn't Have To Be So Nice, a US No. 10 hit single, plus the title track which reached No. 2 on both sides of the Atlantic. The band, with their good time music, hit their peak of popularity in 1966. (US:10 UK:8)

"At least one album from this stellar New York pop band should be in every collection. John Sebastian was a lyrical genius and master craftsman of short, humorous love songs. With their jug band roots, they were no slouches at good time blues either. It is, however, the title track that brings the biggest smiles and happiest memories."

"It's filled with the kind of good time music that The Spoonful were known for. And not just the pair of top ten hits: Daydream and You Didn't Have To Be So Nice. There are lovely ballads like Warm Baby, rockers like Let The Boy Rock & Roll, the very country sounding Butchie's Tune and the instrumental Big Noise From Speonk."

"Daydream is a lush, wondrous pop-rock-jug band offering from this incredible 60s group. What type of music is it exactly, you may ask? Well, they stirred up a number of genres with this (with a spoon, of course) and gave us all a beautiful blend of tunes. I hear folk music, Nashville influences, blues and rock mixed with, of all things, a harpsichord. John Sebastian created music with a new and interesting instrument heretofore unknown to the general public."

"The Spoonful were unique in that no other band in history has been so often credited as initiating a 'good time'. The band sounds like how they look - a bit cartoonish. But this is neither overly sweet (the band were actually diverse and capable musicians) nor brittle. Rather, it's well-baked and never grows stale."

"The music is infectious, happy, a very good time. It is a rare moment of innocence in rock, before we moved to more curious and psychedelic themes. Be thankful for The Spoonful. They didn't stress your mind, they were fun to listen to, they were creative and talented musicians."

Crying Time – RAY CHARLES****

Crying Time/No Use Crying/Let’s Go Get Stoned/Going Down Slow/Peace Of Mind/Tears/Drifting Blues/We Don’t See Eye To Eye/You’re In For A Big Surprise/You’re Just About To Lose Your Clown/Don’t You Think I Ought To Know/You’ve Got A Problem

Crying Time was Ray Charles's final US top twenty album. The title track was a No. 6 US hit single and won a Grammy for best R & B record. His LPs would continue to make the lower reaches of the US album chart for another decade. (US:15)

"Without a doubt, Crying Time is my all time favourite Ray Charles album. This one is pure blues from start to finish. Not a pop re-working, or country & western song in sight. Not that Ray didn't work magic with every style he touched with his voice, but when Ray sang the blues, the results were simply without equal. This is Ray at his best, and absolute living proof that when folks called Ray 'the genius', they were telling the truth. Just like Ray does on every song on this album."

"Crying Time, a 1966 album, contains a few hits, like Let's Go Get Stoned, Goin' Down Slow and the title track. The title guides a lot of the other selections, like No Use Crying. What makes the album especially rewarding is that it is a mix of country, blues, and rhythm and blues. There are tracks visiting many of Ray's varied styles, including a Nat Cole like ballad. The pleasant surprise is that there are some straight blues pieces here."

"This is Ray in his mid-30s, already a veteran of more than fifteen years in the business. He'd already fused gospel and R & B, and country and R & B. By this time, his voice was changing with more grit and a stronger lower register. Contrast Hit The Road Jack with Let's Go Get Stoned, about five years difference, and you can hear the way his voice had changed."

"Tears Have To Fall, a ballad with a lush (syrupy) string and vocal backing, nevertheless works because of the great vocal. It holds together because Ray imposed his forceful personality on the music."

"Charles' influences were diverse. He could play R & B, jazz, gospel and even country & western. While his hits dropped off as the sixties wore on, his influence on other artists continued."

Black Monks Time – MONKS*

Monk Time/Shut Up/Boys Are Boys & Girls Are Choice/Higgle-Dy Piggle-Dy/I Hate You/Oh How To Do Now/ Complication/We Do Wie Du/Drunken Maria/Love Came Tumblin’ Down/Blast Off/That’s My Girl

Black Monks Time was the only album from primitive experimental group The Monks. Their sound included rhythmic repetitions peppered with outlandish vocals. A toxic mixture considered avant-garde by some but monotonously tedious by many others.

“They were the anti-Beatles; when everyone grew their hair long and started wearing colourful threads, they cut their hair short, shaved tonsures into their skulls and wore sombre black. When The Beatles and others were singing love songs, The Monks were singing I Hate You and Complication.”

“This album is terrible on so many levels. Every song sounds the same, only the lyrics are different and the vocals are unbelievably bad. Definitely one of the most overrated albums.”

“Surely it has to be some kind of unpleasant joke to regard this as a record ahead of its time. This is only an awful, and unbearable, rock & roll mish-mash.”

“The Monks based their sound on primitive tom-tom rhythms, bursts of guitar feedback, fuzz bass, free form organ runs and an electric banjo. On top of all the chaos, they stumbled upon a style of their own.”

“I find that Black Monk Time all too often breaks down into childish chord-progressions which at the best of times are fun, but are not particularly innovative.”

“The Monks were one of the most original groups that emerged in the 1960s. Black Monk Time represents the zenith of their most creative work. They combined the best of R & B with avant-garde rhythmic repetition; the latter would be explored further by German groups. This is a must have for anyone who has an appreciation for alternative music.”

“The hypnotic, repetitive percussion, the driving, pounding fuzzed-out bass, the haunting, demonic organ and most bizarrely, the electric banjo. The bizarre, off-kilter instrumentation helps The Monks establish one of the most unique sounds of the 60s, and helped set the perfect background for the absolutely outlandish vocals.”

The Best Of – SIR DOUGLAS QUINTET***

She’s About A Mover/Beginning Of The End/The Tracker/You’re Out Walking The Streets Tonight/It Was In The Pines/In The Jailhouse Now/Quarter To Three/It’s A Man Down There/The Rains Came/Please Just Say No/We’ll Take Our Last Walk Tonight/Walking The Streets

The Sir Douglas Quintet were an American pop group from Houston that attempted to pass themselves off as part of the British Invasion. Their album, The Best Of is not a compilation and includes the top twenty hit single She’s About A Mover.

“This is an original album, instead of a compilation, as the title might suggest. Not too consistent, but with some real hidden gems.”

“Attempting to ape The Beatles, Sir Douglas Quintet came off more like a gritty amalgam of every strain of music that drifted through the airwaves of Texas. Leader Doug Sahm had wide ranging musical tastes, but he attached himself to every performance with such pure and utter confidence that the tendency to label his music falls away as its wonderful wholeness becomes apparent. She's About A Mover, the number that put the Quintet on the map, opens things up. Delights abound, from the riveting The Rains Came to the bluesy drama of It Was In The Pines."

“Doug Sahm was one of the dozen or so unique musical personalities of the 20th century; he and the quintet created a fabulous blend of Liverpool, New Orleans, Mexico, New York and San Francisco influences. This, their first contribution to the historical record, contains the original version of She's About A Mover.”

“Doug Sahm was a treasure and the pleasures of his music have been documented extensively. Most agree that his early period was his best.” “The whole album has a simple sound that the kids nowadays might scoff at, but the memories of the 60s and early blues clubs come flooding back when you play this LP.”

“If you're looking for She's About A Mover and some more tunes in the same vein, here you go. Sadly, the so-called classic rock and oldies stations' playlists don't include much of Sir Douglas Quintet. You'll recognize almost all of these tunes immediately if you didn't know them by name, and it won't take long to love all the songs on this LP.”

The Best Of – RONNIE DOVE****

Say You/Right Or Wrong/Hello Pretty Girl/Keep It A Secret/Where In The World/One Kiss For Old Times Sake/A Little Bit Of Heaven/Nevertheless (I’m In Love With You)/If I Live To Be A Hundred/Kiss Away/I’ll Make All Your Dreams Come True/When Liking Turns To Loving

Country tinged sentimental American vocalist Ronnie Dove placed eleven singles on the US top thirty singles chart in 1964-66. Unfortunately, not all of them are on this Best Of release. Little known in the UK, this distinctive singer is best sampled on a more comprehensive CD collection. (US:35)

"Ronnie Dove's name rarely if ever comes to mind nowadays when one remembers the great male balladeers of the mid-60s, but he definitely belongs in that pantheon. For reasons a lot of 60s music fans never understood, his records never got the wide airplay they deserved and he was underappreciated in his own time. However, he always had a loyal following of fans who liked his distinctive style and his individual way with a love song."

"The songs are well crafted and Ronnie's reading of the lyrics is straightforward but loaded with sincerity and feeling. In my opinion, Ronnie in his heyday was every bit as outstanding a ballad singer as Bobby Vinton and Gene Pitney and should have been as popular with the public as they were. Anybody willing to expand their 60s pop sensibilities beyond the familiar should add Ronnie to their collection."

"Although I consider myself a 60s specialist I must admit that I wasn't familiar with Ronnie Dove. At least here in Europe he's a rather unknown singer. When I saw the number of hits he had in the top 100 Billboard official charts I got curious and purchased this greatest hits collection. What a surprise... beautiful melodic songs."

"There's something timeless about the sentimental, emotionally sung ballads of the sixties. There's an element here that is missing from today's music, and Ronnie Dove provided it. The perfect pop record, plaintively sung to a pleasant background track, evoking a feeling of sentimentality."

"What a silky smooth, passionate voice. I have always loved Ronnie Dove's voice and music. If not for the change in music styles in the 60s, Ronnie Dove, would still be great today. He is a classic."

14 Things To Think About – CHRIS FARLOWE***

Think/My Colouring Book/Lipstick Traces/Summertime/That’s No Big Thing/Don’t Play That Song/Looking For You/Its All Over Now Baby Blue/I Just Don’t Know What To Do With Myself/Rockin’ Pneumonia/Why Don’t You Change Your Ways/My Girl Josephine/Yesterday/Don’t Just Look At Me

Sixties British blues stalwart Chris Farlowe achieved his only major album success with 14 Things To Think About, which omits his chart topping cover of The Rolling Stones' song Out Of Time. (UK:19)

"Chris Farlowe's debut LP for Immediate Records actually offers one a lot to think about and even more to enjoy, while pondering how this white Englishman could pour forth such convincing gutbucket soul. One of the finest soul albums to come out of England (or anywhere else) that year."

"It's very easy to forget that one is listening to a white vocalist working out of England. It was to be Farlowe's most consistent and his most exciting album, and his purest soul album."

"Many people only know Farlowe's work from Out Of Time, but he is one of the most under rated R 'n' B singers of the sixties."

"This guy is fantastic. Possibly one of the finest voices of all time, which is backed up by the songs to match."

"It is strange to think that a man with so many great recordings, and one of the best voices the UK has produced, has had such little commercial success."

"Anyone who remembers the West London club scene in the early 60s will really appreciate this LP. Chris Farlowe never really got the fame he deserved, his music is much better than many of his contemporaries."

"Farlowe depended mostly on outside material and at least half of the songs are better known by other artists, but it's hard to fault any of them."

"Never a pin-up, Chris Farlowe's commercial standing failed to match his critical success. This collection of mid-1960s songs consists of booming, brassy soul-inflected R & B."

The Orbison Way – ROY ORBISON****

Crawling Back/It Ain’t No Big Thing/Time Changed Everything/This Is My Land/The Loner/Maybe/Breakin’ Up Is Breakin’ My Heart/Go Away/A New Star/Never/It Wasn’t Very Long Ago/Why Hurt The One Who Loves You

By 1966 Roy Orbison was far more successful in retaining his fan base in Britain than he was in his native USA. This is reflected in the relative chart placings of The Orbison Way. Contains the UK No. 19 hit single Crawling Back. (US:128 UK:11)

"The Orbison Way, offers a varied body of songs, half of them recorded with his new backing band The Candy Men, and the other half featuring orchestral accompaniment. Orbison rises to new heights of drama in his singing on the latter songs, and it is interesting to hear him switch gears between the two musical backings and genres. The Loner is one place where he melds the two genres."

"Roy Orbison cut his most creative and aesthetically satisfying long player with his magnum opus The Orbison Way. If one were to put a label on this disc, I can only think of the term 'baroque-pop'. All twelve selections are wonderfully arranged by Bill McElhiny, and the LP has a consistency that wasn't always the case with Roy's albums."

"Every track here is a gem, starting off with the two hit singles Crawling Back and Breakin' Up Is Breakin' My Heart, which open each side respectively."

"None of these songs are on any Roy Orbison 'greatest hits' I've ever seen, but half of them wouldn't seem out place on one. This is one of his original albums from the 60s and it's pretty great. If he ever recorded any bad material, I haven't heard it."

"This is one of Roy's best MGM recordings. He was still recording songs that were similar to his Monument stuff and the songs on this are all excellent."

"Great stuff, from a man who had his own voice and didn't try to play chameleon with styles."

"The MGM period is a bit different to the Monument years - less of the saccharine strings that over burdened some of the Monument hits, and less of the too often present chorus. The songs on these MGM albums are thus a bit 'stripped down', with more interesting guitar and drumming."

Sweet Charity – BROADWAY CAST****

Overture/You Should See Yourself/Big Spender/Charity’s Soliloquy/If My Friends Could See Me Now/Too Many Tomorrows/There’s Gotta Be Something Better Than This/I’m The Bravest Individual/The Rhythm Of Life/Baby Dream Your Dream/Sweet Charity/Where Am I Going/I’m A Brass Band/I Love To Cry At Weddings/Finale-Charity’s Theme

The Broadway musical Sweet Charity starred Gwen Verdon. It opened at the Palace Theatre in January 1966 and ran for 608 performances. Based on the romantic events in the life of a young New York taxi dancer. Music by Cy Coleman, lyrics by Dorothy Fields. (US:92)

"Cy Coleman's other work has been distinguished and attractive enough, but it was with this show that he left a permanent mark on the history of the American musical theatre. The story of is an uproarious and very moving fable about love, trust and their implications. This potent mix of emotions emerges fully from the original cast album. Coleman's score (with fine lyrics by Dorothy Fields) is dazzling, ranging from the haunting Where Am I Going? to the exhilarating I'm A Brass Band."

"Sweet Charity is one of the greatest of Broadway musicals. Very rarely has it been bettered than in the original 1966 cast album. Gwen Verdon found her greatest stage role in Charity Hope Valentine, the down-on-her-luck dancehall hostess with a heart of gold. Verdon belts out her numbers in her own trademark style."

"This is a Broadway musical that has it all, The best thing, though, is the performance of Gwen Verdon in the title role. Just through her vocals, you will be able to imagine her in her prime, hoofing, mugging and charming you as she did with so many lucky audiences over her long, illustrious career. A great tribute to all the creative forces involved in the making of this durable, toe-tapping musical."

"A Cy Coleman score sung by Gwen Verdon and staged by Bob Fosse. A book by Neil Simon. Why did it only run a year and a half? Quite possibly because it is never quite as good a show or score as it ought to be. There are moments that sizzle: Big Spender; There's Gotta Be Something Better Than This and especially Where Am I Going? But some numbers are pale: Too Many Tomorrows and I'm The Bravest Individual are just not showing the authors in top form."

"The score is a bit uneven, probably as a result of the unlikely pair, Cy Coleman and Dorothy Fields. The songs that are good, however, are infectious showstoppers."

Spanish Eyes – AL MARTINO***

Spanish Eyes/My Foolish Heart /By The River Of The Roses/Make The World Go Away/Hello Memory/Till Then My Love/The White Rose Of Athens/Forgive Me/The End Of The World/One Has My Name/I’ll Hold You In My Heart/Think I’ll Go Somewhere & Cry Myself To Sleep

The success of the song Spanish Eyes, lifted from Al Martino's previous album My Cherie, was such that it was included again on the hastily released follow up LP that was named after it. He would continue to place albums on the lower reaches of the chart for the next decade. (US:8)

"Al Martino has had a strong effect on me since childhood when my dad introduced me to contemporary music. There is no one I would rather listen to for hours on end, that rich baritone voice can sooth and excite your senses. When you are in the mood for romance, no one fills the bill more than Al Martino."

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

"Think I'll Go Somewhere & Cry Myself To Sleep works very well when Al Martino sings this one out with loads of energy."

"Al Martino sings a love song with an emotional undertone which is his own style."

"Spanish Eyes features Al in the spotlight; this wonderful ballad never sounded better than when Al delivers it here with so much genuine passion. I love it. Think I'll Go Somewhere & Cry Myself To Sleep uses the strings to great advantage and Al never lets go of a superfluous note. The percussion and guitar work enhance this number all the more too."

Sounds Of Silence - SIMON & GARFUNKEL*****

The Sounds Of Silence/Leaves That Are Green/Blessed/Kathy’s Song/Somewhere They Can’t Find Me/Anji/ Richard Cory/A Most Peculiar Man/April Come She Will/We’ve Got A Groovey Thing Goin’/I Am A Rock

Sounds Of Silence was the first of the four definitive Simon & Garfunkel albums. Contains the US chart topping title track and I Am A Rock, No. 5 in the US and No. 17 in the UK. A very satisfying album from this hugely influential duo. (US:21 UK:13)

"This was the defining American album of the mid 1960s. Simon and Garfunkel spoke directly to the loneliness of the soul that was pre-Woodstock adolescence, and the rejection of the men in their grey flannel suits who were propelling us to be things we did not want to be anymore. This was the innocent and poetic Paul Simon before he studied music formally. Art Garfunkel has the voice of an angel."

"The album tapped into the restlessness and post-adolescent angst of 60s teenagers, but it was wrapped in gorgeous singing (mostly by Garfunkel) and catchy, if unusual, melodies. Otherwise, how could an album filled with songs about suicides and alienation be such a massive hit?"

"This is their first truly great album. Yes, the title track of this album is a timeless masterpiece, but the greatest moment on here is the beautiful April Come She Will. What is it about this song that just takes me to heaven every time I hear it?"

"Sounds Of Silence marked the introduction proper of Simon as sensitive song poet: intellectual, well-read, politely iconoclastic, self-consciously poetic - the perfect '60s folk-pop idol. Fortunately, Simon's melodic and lyrical prowess and the duo's beautiful post-Everly Brothers harmonies were enough to counteract any intrinsic tendencies toward pretension. From the romantic melodrama of Kathy's Song to the anthem of alienation I Am A Rock, Sounds Of Silence was the ultimate sonic portrait of the artist as a young man."

"A good and classic album from one of the greats of folk-rock. There are many great catchy tunes here. This was the album that really launched their careers. These songs have stood the test of time and remain as great today as they were back then. Every song is a memory being made. They are the measuring stick that all others are measured against."

John Renbourn – JOHN RENBOURN****

Judy/Beth’s Blues/Song/Down On The Barge/John Henry/Plainsong/Louisiana Blues/Blue Bones/Train Tune/ Candy Man/The Wildest Pig In Captivity/National Seven/Motherless Children/Winter Is Gone/Noah & Rabitt

Self titled debut album from leading sixties British folk guitarist John Renbourn. He would soon achieve greater commercial success after joining Pentangle.

“At the tender age of 21 John Renbourn immediately notified the world that his pair of hands were meant to operate a six string as no other could imagine. What an incredible debut. I know most of his work with Pentangle and some later albums but, this is earth shaking.”

“Renbourn would prove over and over his ability for composition and creating guitar pieces few could ever mimic. He evens demonstrates that he can sing a bit. The vinyl original is loaded with fifteen songs and everyone is a keeper.”

“Before becoming famous with Pentangle, John Renbourn recorded this masterpiece which can compete with any of the early Bob Dylan albums. His folk is more British but inspired by the forgotten US bluesmen of the time.”

“Sometimes Renbourn sounds a bit raw in his singing, but it doesn't affect the album at all. Warmly recommended, especially if you are an acoustic guitar player. You won't be disappointed because it's a true masterpiece.”

“A lovely album, a true classic of English modern folk music and beautiful guitar playing.”

“Reminds us of his blues and folk roots and the kind of material he was playing in the clubs at the time as a highly successful solo act. The fare consists mainly of solo instrumentals, but he sings on quite a few and is accompanied on some by an additional singer or instrumentalist. Even at this early date there is plenty of virtuosity evident, though to my mind the effect is just a bit too raw.”

“Renbourn made the most amazing sounds I had ever heard a guitar produce. I would recommend that every aficionado of the guitar make at least one pilgrimage to his altar.”

If You Can Believe Your Eyes & Ears – THE MAMAS & THE PAPAS*****

Monday Monday/Straight Shooter/Got A Feelin’/I Call Your Name/Do You Wanna Dance/Go Where You Wanna Go/California Dreamin’/Spanish Harlem/Somebody Groovy/Hey Girl/You Baby/In Crowd

If You Can Believe Your Eyes & Ears was the stunning debut album from the iconic Californian folk-rock group The Mamas & The Papas. The hippy revolution begins here. It includes two classic singles, California Dreamin', and the US chart topping and Grammy winning Monday Monday. (US:1 UK:3) "Coming at a time prior to the '67 Summer of Love, but riding the crest of folk music's metamorphosis into electric psychedelia, this stunning debut is packed with gorgeous pop melodies enhanced by The Mamas & The Papas soon-to-be trademark harmonisations. All of the classic singles are here and even when they are covering other songs, they create fascinating interpretations that stand on their own. This is easily their masterpiece in a short and turbulent career."

"In the spring of 1966, If You Can Believe Your Eyes & Ears represented a genuinely new sound, as fresh to listeners as the songs on Meet The Beatles had seemed two years earlier. It embraced folk-rock, pop/rock, pop, and soul, that also reflected the kind of care that acts like The Beatles were putting into their records at the time. Monday Monday and California Dreamin' are familiar enough to anyone who's ever listened to the radio."

"A terrific album, with great original compositions, and something to admire in every other song as well."

"One of pop music's great moments, from the 1960s or any other period. This album was solidly hippie, but it managed to bridge the generation gap nicely. Every song on this album is a winner - showcasing the group's tight vocal harmonies which would bring them a Grammy award for Monday Monday. This is a groundbreaking album with dazzling vocal harmonies that likely inspired later groups."

"You can feel the sixties in the air when this music is played. When I hear this album, I think of the Summer of Love and the culture change that occurred."

Greatest Hits – THE DAVE CLARK FIVE****

Over & Over/Everybody Knows(I Still Love You)/Can’t You See That’s She’s Mine/Bits & Pieces/I Like It Like That/Catch Us If You Can/Because/Any Way You Want It/Do You Love Me/Glad All Over

The release of British Invasion pop group The Dave Clark Five's Greatest Hits was well timed, since their popularity in the States would soon take a nosedive. (US:9)

"The Dave Clark Five have long been given short shrift by history, consigned to the 'Merseybeat' (sic) category. But hits like Glad All Over, Bits & Pieces and the gorgeous Because still stand out as classy pop records. On the other hand, the DC5's cover of Do You Love Me stands out as one of the more unbridled, edgy English singles of the 60s. The band had a winning way on both rocking material and softer sides."

"The earliest songs are the strongest from high octane Glad All Over, Any Way You Want It and Catch Us If You Can to excellent soft melodies like Because."

"The Beatles rivals were not The Rolling Stones in 1964, it was The DC5. And what a set of great singles they had. How can you resist stomping your feet the minute Bits & Pieces comes on? How can you not feel inclined to move in a little bit closer to that special girl or guy when you hear Because? How can you not get completely lost in the thunderous echo of Anyway You Want It? It was these great songs that set The DC5 apart from everybody else."

"This album is quite good - The DC5 were, early on in the British invasion, second only to The Beatles in record sales. This album brings out the DC-5's distinct sound and instrumentation. It is a shame that the group has been largely forgotten about on the American pop music scene."

"The Dave Clark Five still can be heard on the oldies stations, and rightly so. Although they don't have the prestige of other British Invasion bands they have some songs with the greatest trajectory of any thumping, groovy band. The ballads shouldn't be dismissed, but they're not as accomplished as their fast songs."

"Unfortunately, their time was brief in retrospect. Their hard driving 'mono' recordings were unique at the time."

At The Sands – NAT KING COLE****

Ballerina/Funny (Not Much)/The Continental/I Wish You Love/You Leave Me Breathless/Thou Swell/My Kinda Love/The Surrey With The Fringe On Top/Where Or When/Miss Otis Regrets/Joe Turner Blues

A rare live album from Nat King Cole released posthumously. Live At The Sands was recorded in January 1960 and features classics songs with others that are less well known. (US:74)

“Nat had a tenderness in his voice, completely flawless. He could never deliver a bad tune, his style and signature of making a song his own has never been duplicated. Within this compilation are twelve heartfelt ballads and swingin' tunes. Some are timeless that remain classics, while others are songs that have never seen the light of day before.”

“Listening to At The Sands reminded me of just how warm and wonderful a performer Nat King Cole was. He is one of a handful of artists I could listen to for hours at a time. Here was a live performance that showcased the many talents of this American icon.”

“Doubters sneered at Nat's going back to doing live shows around this period, considering his Trio days were far behind him now and situations didn't particularly call for it. But once again, the doubters were wrong, and Nat's warm personality, easy vocal style, and superb piano playing came across just as smooth as always.”

“He performs a number of songs that he had never recorded, and just a few that he had. My point is that this isn't a performance of his 'greatest hits'. Fresh material, absolutely dynamite arrangements and well, he was loving it up there on stage. They truly don't make them like Mr. Cole anymore.”

“This recording at The Sands features Nat singing with lots of energy and his rapport with his audience is remarkable. He sings very well despite a slightly raspier voice closer to the end of the live performance; but this is really a minor quibble because even then Nat King Cole stood head and shoulders above the rest of them.”

“I consider Nat Cole to be the top male jazz singer of the 20th Century, and this album is a good demonstration of his unparalleled ability to capture the essence of a song, to swing, and to do this in a seemingly effortless way. Nat has the uncanny ability to find the natural rhythm which I have never found in any other jazz singer.”

Bye Bye Blues – BERT KAEMPFERT****

Bye Bye Blues/Remember When(We Made These Memories)/When You’re Smiling/Tahitian Sunset/Once In A While/Steady Does It/It Makes No Difference/You Stepped Out Of A Dream/Wiederseh’n/I’m Beginning To See The Light/Melina/Out Of Nowhere

German bandleader Bert Kaempfert achieved his highest placed UK album with Bye Bye Blues, a collection of easy listening old standards and contemporary tunes. (US:46 UK:4)

"Bert Kaempfert was coasting at the peak of his popularity when he released Bye Bye Blues in early 1966. Perhaps that's the reason why he decided not to change his formula at all on this breezy collection of standards, originals and contemporary tunes. The title is no joke - this is a sunny album without a care in the world, lightly swinging to its own beat."

"Kaempfert's big, brassy arrangements are appealing but a little similar, which means that the entire record blends together; there's no beginning or end, just twelve easy listening tunes that flow into one another."

"Bye Bye Blues is a pleasant album, ideal for background cocktail music, which is all that Kaempfert fans old or young will want anyway."

"I first listened to Bert Kaempfert in the mid '60s. You could hear these songs being played on the radio all the time. They are terrific renditions of, mostly, old standards. Unfortunately, you have to buy the album to hear them now, as they cannot be heard on the radio anymore."

"This incredible collection entitled Bye Bye Blues was released at the very peak of Kaempfert's popularity with the 1960s easy listening crowd, and showcases the 'Kaempfert sound' better than any of his other albums. All of Kaempfert's distinctive trademarks were in place for this album: the thumping bass in perfect synch with the drums, the haunting wordless chorus and, of course, the trumpet of Fred Moch. These trademarks are evident throughout. No Kaempfert collection is complete without the exotic sounding Tahitian Sunset."

"This is one of Bert's top ten albums and perhaps his first great album - his band really came on from here. There are no turkeys in this album, giving it a real good feel start to finish."

Boots – NANCY SINATRA****

As Tears Go By/Day Tripper/I Move Around/It Ain’t Me Babe/These Boots Are Made For Walkin’/In My Room/ Lies/So Long Babe/Flowers On The Wall/If He’d Love Me/Run For Your Life

Nancy Sinatra, daughter of Frank, enjoyed a mega hit with These Boots Are Made For Walkin' which topped both the American and British singles charts. The accompanying album Boots would be her most commercially successful. (US:5 UK:11)

"These Boots Are Made For Walkin', with its sinister descending bass run, made Nancy Sinatra an instant icon of cool. Along with her signature tune she essays several songs by her Svengali Lee Hazlewood, as well as a bunch of then current hits, common practice at the time. Boots is a quintessential '60s time capsule."

"Nancy's first album was centred around her big hit. I guess Lee was a little short on material, because over half the album included covers of other people's hits. Artists covered include The Rolling Stones, The Beatles, Bob Dylan, The Knickerbockers and The Statler Brothers. The covers are actually pretty fun, thanks to interesting arrangements by Hazlewood."

"This album is a pop masterpiece that is totally evocative of its era. It could only have been recorded in 1966. It's a wondrous mishmash of musical currents: lounge, bossa nova, bright Memphis horns, David Rose-style bump-and-grind, easy listening choruses, catchy bumblegum pop, and bold Vegas show-stopping. And it all works. Lee Hazlewood, who produced the album, was a genius with a finely tuned ear for commercial music. He crafted Nancy's wholly fabricated tough-chick image to ride on top of his brilliant arrangements. This is one of the most listenable 60s albums."

"Here's a special piece of the sixties - starting with the delicious ridiculous cover shot. The tunes sound just like NS looks. Not every track works - there's obvious haste and filler - but the ones that do click are about the best kitten-with-a-whip kitsch ever made."

"Nancy's first album, Boots, doesn't appear all that promising. But producer Lee Hazlewood told her to drop her voice from her school-choir soprano to whisky tinged alto that ignited rivers of testosterone. It was the Hazlewood songs that gave Nancy the musky scent of mystery that she would be remembered for. The stuff she did with producer/singer Lee Hazlewood is pop at its very best."

Boom – THE SONICS**

Cinderella/Don’t Be Afraid Of The Dark/Skinny Minny/Let The Good Times Roll/Don’t You Just Know It/Jenny Jenny/He’s Waitin’/Louie Louie/Since I Fell For You/Hitch Hike/Its Alright/Shot Down

Boom was the follow up album from the American garage rock band The Sonics. A mixture of covers and originals performed in a raw primitive style typical of this short lived genre.

“The Sonics second album from 1966 features gut-wrenching songs like Cinderella, He's Waitin’, and their slaughtering take on Louie Louie which is way better than the original. The sound of the music is mean and dirty, lead singer Gerry Roslie sounds as if he is going to shred his vocal cords. What's a shame though is the fact that The Sonics did not write enough original material for the album. Their original songs were great, but the covers simply do not hold up very well.”

“The Sonics were playing and recording some of the wildest music in the history of rock. This is some of the most primitive, raucous music that you can imagine. Not every song is essential. But the highpoints on this album are so overwhelming that no true fan of garage rock would want to do without this disc.”

“The weakest link in this album is the covers. For one thing, there are too many of them, and they are standard stuff, nothing overtly creative about any of them in their selection or their performance. The meat of The Sonics is in their original material.”

“The second album by The Sonics continues their tradition of fast and furious from the first album; however this one doesn't have quite the same effect. It is still really good though. Check out my favourite tracks, He's Waitin’ and Shot Down which sound incredibly ahead of their time.”

“The Sonics were not a great band, but they were sure fun. Boom is their second album, and is almost as good as their first, but it trails slightly, mainly because of The Witch, Psycho and Boss Hoss. All of the original songs are extremely good; the covers are okay."

“The playing here is not pretty. Its attack style with no intention of finesse.”

“This isn't the classic but it's still damn good rock 'n' roll. At first I was disappointed that the insane energy is taken down a bit, but really they just changed a little bit.”

The Best Of/The Most Of – THE ANIMALS*****

Its My Life/Gonna Send You Back To Walker/Bring It On Home To Me/I’m Mad/House Of The Rising Sun/We Gotta Get Out Of This Place/Boom Boom/I’m In Love Again/Roberta/I’m Crying/Don’t Let Me Be Misunderstood - UK release Most Of includes Baby Let Me Take You Home/Bright Lights Big City/Mess Around/Dimples/Talkin’ ‘Bout You and omits I’m In Love Again/Roberta

Separate US and UK compilations from Geordie R & B group The Animals, covering their period with producer Mickie Most during 1964 and 1965. Both collections include many excellent blues influenced tracks, but special mention should be given to the definitive interpretation of the traditional song House Of The Rising Sun, which topped the singles chart on both sides of the Atlantic. (US:4 UK:6)

"From first to last, every song is great on this greatest hits package. This is a must have if you love the British Invasion R & B."

"The album showcased The Animals' tough-edged pop hits combined with their more devoted blues and R & B workouts."

"Includes the sessions that The Animals recorded with producer Mickie Most in 1964 and 1965, so omits later hits at Decca."

"I know some people say this does not have all of The Animals hits, but for me, this has everything I want to hear from The Animals."

"It is fortunate for us all that The Animals were discovered because they recorded some of the best R & B music to come out of the UK in the sixties."

"What a treasure trove these rock pioneers have left us. The music has certainly lasted the test of time."

"House Of The Rising Sun - here it is. One of the most compelling and greatest hits in rock and roll history. Burdon's voice is raw, raw, raw - and that is what you want for this kind of song."

"Deftly chronicles the best years of The Animals, the grittiest British Invasion band."

Best Of – LITTLE ANTHONY & THE IMPERIALS*****

Goin’ Out Of My Head/Take Me Back/Shimmy Shimmy Ko-Ko Bop/Hurt So Bad/Tears On My Pillow/I Miss You So/I’m On The Outside (Looking In)/Hurt/Reputation/Our Song/Never Again/Get Out Of My Life

Sweet sounding R & B vocal group Little Anthony & The Imperials had several American top thirty hits during the sixties, including the most successful version of the plaintive standard Goin' Out Of My Head. (US:97)

"The writing/producing talents of Teddy Randazzo, Anthony Gourdine and his Imperials created some of the most memorable, superbly crafted pop tunes of the rock era, several of which have become standards. Goin' Out Of My Head, Hurt So Bad and I Miss You So represented some of the most polished landmark tunes to come out of the mid-60s."

"One of the foremost doo-wop groups of the late1950s and early '60s, Little Anthony & The Imperials enjoyed a succession of hits with classic rock & roll era songs like Shimmy Shimmy Ko-Ko Bop, all of which combined lead singer Anthony Gourdine's distinctive falsetto vocals with the group's sophisticated harmony backing."

"The Imperials' vocal mastery expressed something essential to the soul of rock & roll. Anthony Gourdine's quintet (later a quartet) was an exemplar of the golden age of doo-wop at its most heart-wrenching. Their signature tunes are nothing less than majestic."

"The group would team up with producer Teddy Randazzo to make some of finest pop records of the period. To this day Hurt So Bad is still one of my all-time favourite records. After listening to this LP I am confident that you will agree with me that there is not a bad song to be found." "They could very well have been the very first adult contemporary group, establishing a new level of class and sophistication never before seen in R & B groups, while at the same time never abandoning their doo wop roots."

"Tunes such as Goin' Out Of My Head and Hurt So Bad have become standards that put to shame most of what has come out of popular music for decades since. Their rich harmonies carried the music to levels barely reached by others."

Batman Theme – THE VENTURES****

Batman Theme/Zocko/Jokers Wild/The Cape/00-711/The Man From Uncle/Secret Agent Man/Hot Line/Vampcamp/Up Up & Away/Get Smart Theme/Green Hornet 66

Batman Theme from The Ventures features not just the caped crusader but instrumental interpretations of several current spy themes plus many original tunes. (US:42)

“Now this is a concept album which features prominently several fun spy songs. They all rollick with action, intrigue, deception and a little bit of minor-key suspense, giving the listener the impression that he is inside a real-live James Bond movie or an episode of Dragnet. No ballads, no happy pop songs, no over distorted dance songs - just straight through spy music. The ultra-encouraging thing here is that seven of these twelve songs are Ventures originals, and not only do they nail the mood perfectly, but they are just great songs.”

“Batman Theme, is a good album of mostly original tunes based on the hit TV show. It captures The Ventures at the height of their creativity. It has many spy themed songs on it, including quite a few originals that fit into the whole Batman genre.”

“Batman features many superhero or spy related themes, plus seven original compositions. It's solid work, and it's pretty much a typical Ventures album. The album on the whole is pretty fun. Recommended to Ventures fans.”

“Consist of seven originals and some covers; this is one of The Ventures best LPs. With great originals like Hot Line, Joker's Wild, Zocko!, 00-711 and The Cape, they put you in the world of spy flicks. This is real, check it out.”

“A sure sign of a great Ventures record is an inordinate amount of original compositions, and The Ventures Batman Theme album has many, with every one of them a winner. Zocko, Joker's Wild, and Vampcamp are classic Ventures’ stompers, with near-raunchy guitar lines, stops, starts, and fabulous drumming. Television spy themes were tailor-made for The Ventures' sound. A great LP from top to bottom with tons of great original tunes and effects.”

Ballads Of The Green Berets - SSGT BARRY SADLER*

The Ballad Of The Green Berets/I’m A Lucky One/Letter From Vietnam/Badge Of Courage/Saigon/Salute To The Nurses/I’m Watching The Raindrops Fall/Garet Trooper/The Soldier Has Come Home/Lullaby/Trooper’s Lament/Bamiba

Not all Americans opposed the Vietnam war as this album by Staff Sergeant Barry Sadler testifies. Ballads Of The Green Berets topped the US album chart, and the title track achieved the same feat on the US singles chart. This curious album comes rather too close to glorifying warfare, fighting and militarism. (US:1)

"Staff Sergeant Barry Sadler‘s The Ballad Of The Green Berets, is a definitive piece of Vietnam War music. In contrast to the growing volume of popular protest songs, it instilled pride in the soldiers, commended their bravery, and commended the bravery of their families. The song also speaks of the sacrifice made by the men and their families, but that it is for a worthwhile cause and we should persevere. The tune itself has a very regimental beat, which adds to its patriotic feel."

"Between the hippies and Hollywood, I had forgotten that not all American soldiers in Vietnam were drafted. Some of these guys actually liked war. I do not believe they would put it that way, but the fact is some guys volunteer to kill. Those are the guys Sadler is singing for. The type who, when not in battle, listen to songs about battle."

"Ballads Of The Green Berets at its best is a mediocre country and western music. At its worst it is propaganda. There is no death or violence on the record, just a recruiting advertisement. Sadler's biggest problem with the military are the type of soldiers who are all talk, who have never seen any combat, like the ones he sings about on Garet Trooper. But, Sadler is a soldier first and an entertainer second; on those grounds, these songs about loyal buddies, unquestioned bravery and longing for home, have a little more poignancy."

"It's difficult rating this album since it is rather unique and is tied to the time period in which it was released. Sadler served in Vietnam as a Green Beret in a special unit. Returning to the USA he heard much anti-war and anti-Vietnam talk and music. Wanting to give a different view he wrote The Ballad Of The Green Berets. A spoken word 'song' with music in the background. It was a big hit at the time but has received little airplay since. The rest of the album is just filler with little to recommend it."

Them Again – THEM****

Could You Would You/Something You Got/Call My Name/Turn On Your Love Light/I Put a Spell On You/I Can Only Give You Everything/My Lonely Sad Eyes/I Got A Woman/Out Of Sight/Its All Over Now Baby Blue/Bad Or Good/How Long Baby/Hello Josephine/Don’t You Know/Hey Girl/Bring ‘Em On In

Second and final album from UK mid sixties blues-pop group Them led by Van Morrison on vocals, who would go on to greater things with a lengthy solo career.

"This is a must have release for the blues/rock fans. Van Morrison is raw and powerful, the band tight, and the selection of music outstanding. Turn it up and enjoy."

"Usually I am not a big fan of 60s R & B but this album is excellent. Morrison carries the group. Great originals and covers again."

"Some excellent tracks here. Check out Van's interpretation of Bob Dylan's It's All Over Now Baby Blue and for good measure the raucous Bring 'Em On In."

"What this album offers is VM doing edgy rock and roll. Every cut is VM sounding like the VM who later became a superstar, except here he is young and really raw (versus studio polished) and with a sharp edge."

"Despite the increasingly major influences, soul and jazz, the album sounds very similar to his debut, but there are eleven covers or songs ceded against five original, which is a point against. Although they were in the process of regrouping, with musicians coming and going, and that it would lead to the departure of Van Morrison, that does not seem to have much affected the final result."

"The group's second and, for all intents and purposes, last full album was recorded while Them were in a state of imminent collapse. To this day, nobody knows who played on the album, other than Van Morrison and bassist Alan Henderson. The 16 songs here are a little less focused than the first LP. The material was cut under siege conditions, with a constantly shifting line-up and a gruelling tour schedule."

"Van Morrison's distinctive vocal talent and rock 'n' roll 1966 - what could be a better combination than that. I love this LP. His vocal work with Them was energetic and emotive, and his timing contributes to the enjoyment of these songs."