Hits For Now & Always – KEN DODD**

Happiness/Still/Remember I Love You/No-One’s Listening/One Rose/Dreams/So Deep Is The Night/The River/Eight By Ten/Someone Like You/Island Of Blue/Have I Told You Lately That I Love You/The One I Love Belongs To Somebody Else/Now & Always

Comedian Ken Dodd makes his second appearance on the UK album chart with Hits For Now & Always which includes the No. 3 UK hit The River and his signature tune Happiness. (UK:14)

"Ken Dodd tries his hand at a wider variety of pop sounds, even brushing up against calypso music at one point on Hits For Now & Always. The album opener, Happiness, became something of a signature tune for him, and overall this is a much more interesting (though no more daring or challenging) album than his debut long-player."

"Puts most modern day entertainers/comedians in the shade, but sadly little of his material is played nowadays on mainstream TV/radio which in my opinion is a real shame."

"Put simply, if you like genuinely good music, good songs and good heartfelt singing then you'll enjoy this album."

"I should I be embarrassed about liking Happiness but I find it rather uplifting."

"Dodd was having a joke on all of us. Listen to the lyrics and see that this sickly sweet song Happiness is really a mickey-take."

"The River is a fantastic song from Ken Dodd. We played it as the first dance at our wedding and there wasn't a dry eye in the room."

Hey Joe – THE LEAVES***

Dr Stone/Just A Memory/Get Out Of My Life Woman/Girl From The East/He Was A Friend Of Mine/Hey Joe/Words/Back On The Avenue/War Of Distortion/Tobacco Road/Goodbye My Lover/Too Many People

The Leaves were part of the Los Angeles mid sixties music scene and mixed folk elements to their basic garage rock sound. Their only (limited) chart success came with an early version of Hey Joe. (US:127)

“At a time when the two big trends in American music were garage rock and folk-rock, The Leaves somehow managed to fuse the pair together and come up with garage-folk. Their debut is obviously dated, but it does sound like a fabulous relic, powerfully evoking the mid-1960s LA scene. There's a blast of pure energy that zaps the songs.”

“The music is really quite good and their take of Hey Joe is unique. The rest of the songs are also quite good and none make for throw-away space fillers. For those who want to hear what the LA rock scene sounded like in the sixties, you couldn't do any better than these guys and this album.”

“If you like mid sixties rock 'n' roll, and think that shaking and stirring The Byrds with The Rolling Stones sounds like a good idea, then this is for you. The Leaves were a good but not a great band.”

“What keeps The Leaves alive in the hearts and minds of so many, was their take on the song Hey Joe, which was the beginning of a new classic, a song still covered by many.”

"Yet fine as this release was, there was something about it, as if it were a business adventure, Solid music, but just lacking that something that was needed to carry them forward. Nevertheless, they nailed some great covers.”

“This is a well produced album by a talented group of garage musicians, yielding a comparatively polished sound.”

“Great fuzzy album that opens with the fast paced Dr Stone and keeps its edge throughout. Of course Hey Joe is what it is most remembered for, but The Leaves originals are just as iconic and innovative.”

Gettin’ Ready – THE TEMPTATIONS****

Say You/Little Miss Sweetness/Ain’t Too Proud To Beg/Get Ready/Lonely Lonely Man Am I/Too Busy Thinking About My Baby/I’ve Been Good To You/Its A Lonely World Without Your Love/Fading Away/Who You Gonna Run To/You’re Not An Ordinary Girl/Not Now I’ll Tell You Later

When Smokey Robinson was replaced as producer by Norman Whitfield, the Temptations sound became more rough edged, as exemplified by the US hit single Ain't Too Proud to Beg. Gettin' Ready includes the UK top ten hit Get Ready. (US:12 UK:40)

"The marvellous title track alone, with Eddie Kendricks gliding into the stratosphere, made this an instant winner. There were several fine songs that weren't hits, such as Not Now I'll Tell You Later and I've Been Good To You and there sure wasn't anything wrong with powerhouse cuts like Ain't Too Proud To Beg."

"Gettin' Ready marked a turning point for the group. The production of the group was turned over from Smokey Robinson to Norman Whitfield, who continued to produce hits with the group for an incredible eight years."

"We had grown accustomed to the smooth doo-wop call and response style of The Temptations, then seemingly out of nowhere came Norman Whitfield to create the rough edged, Ain't To Proud To Beg. It was the end of the Smokey era."

"Gettin' Ready was the first album to feature Norman Whitfield as the band's producer/writer. Up to that point, Smokey Robinson had guided the band to great success. Under Mr. Whitfield, they moved away from the doo-wop, street corner vocals styling to a more grittier sound. This is evidenced on the classic Ain't Too Proud To Beg. While the song still has that great vocal interplay, the music is harder. Get Ready is a gem with its shuffling beat. Gettin' Ready started the trend towards more mature music for the band."

"There is absolutely no filler here, even the songs that were originally recorded by other artists of the company are done with the usual great flair of the group."

"This album remains one of my all time favourite Temptations albums. Even after all these years I still remember the words to all of the songs. Say You, Lonely Lonely Man Am I and Who You Gonna Run To, are some of their most beautiful ballads. This album is really worth listening to."

From Nowhere – THE TROGGS***

Wild Thing/The Kitty Cat Song/Ride Your Pony/Hi Hi Hazel/I Just Sing/Evil/The Yella In Me/With A Girl Like You/Our Love Will Still Be There/Louie Louie/Jingle Jangle/When I’m With You/From Home/Jaguar & Thunderbird/I Can’t Control Myself/Night Of The Long Grass

Hampshire pop group The Troggs enjoyed a brief period of popularity in the mid sixties with mostly simple, pounding beat music. Their debut LP From Nowhere includes their chart topping hits With A Girl Like You and Wild Thing plus the No. 2 I Can't Control Myself. (UK:6)

"The Troggs are a hard band to pin down. Wild Thing is easily the song they are most known for, and while the sloppy rock presented there is certainly one side of the group, they did everything ranging from bubblegum to straight rock 'n' roll to proto-metal during their short career."

"They somehow managed to become relatively well-known while playing the simplest of songs typical of early 1964-65 era garage rock/teen pop - but actually doing this in the era of psychedelia and experimentation. Their most famous genre was dirty, distorted, 'caveman' garage rock, and clearly that was the genre where they excelled at most."

"The Troggs' debut was pretty obsolete for the standards of 1966 if one approaches it from a purely musical perspective, but it's still groovy fun despite all the 'lightweightness', if only because the music is so fresh, exciting and catchy."

"Who needs professional approach anyway when the first track on here is Wild Thing? That might be the simplest song ever written - the classic three chords, plus a staggeringly slow tempo."

"All in all, a pretty damn solid way to start a career - too bad this was 1966, and The Troggs were starting their career in just about the same way as every British band was starting theirs in about 1963."

"While there were plenty of garage bands about before The Troggs, they had a pretty distinctive sound and their best records are tight, snappy and devoid of anything unnecessary."

Born Free – SOUNDTRACK****

Main Title-Born Free/The Hunt/Elsa At Play/The Death Of Pati/Waiting For Joy/Killing At Kiunga/Born Free/ Holiday At Elsa/Flirtation/The Warthog Hunt/Fight Of The Lioness/Reunion- Born Free

The African wildlife film Born Free starred Bill Travers and Virginia McKenna. The music was composed and arranged by John Barry. The soundtrack album includes the much covered song Born Free. (US:42) “This is one soundtrack I can listen to from start to finish without troubling my remote. Suffice to say Born Free is so much more than it's theme and is enjoyable and immensely rewarding.”

“This has got to be one of the greatest soundtracks ever written. My favourite tracks are the Main Title, The Hunt, Killing At Kiunga, Flirtation, Fight Of The Lioness with that stratospheric French horn part. There is some great stuff here."

“I remember watching the movie when I was a little girl, how much even then I loved the music. Only as an adult did I know that John Barry composed so much of the movie music I love. If he composes it, its a safe bet it will be wonderful and inspiring.”

“Perhaps one of John Barry's best known compositions, the Born Free soundtrack expresses its African setting very well. The music is very moving, and evokes all emotions from the playful to the tearful.”

“Born Free would cement John Barry’s reputation as one of the most vibrant composers of the 1960s. Barry's main theme became a pop sensation and one of the world's most recognizable movie songs, a veritable cultural landmark. This song has been so successful that it overshadowed the rest of the score, which is a thoroughly satisfying, romantic and dramatic work.”

“The way John Barry wove the themes together, and his orchestrations, are nothing less than genius. Born Free was a breakthrough in film scores; certainly the greatest of its era (which included a number of epics); almost certainly one of the top ten of all time. And it is a personal, sentimental favourite of which I'll never tire. Barry's expressive arrangements and melodies convey the vibrant and dangerous aspects of African wildlife. Like the film itself, the score is lively and moving without becoming forced or saccharine.”

Blues Breakers With Eric Clapton – JOHN MAYALL*****

All Your Love/Hideaway/Little Girl/Another Man/Double Crossing Time/What’d I Say/Key To Love/Parchman Farm/Have You Heard/Ramblin’ On My Mind/Steppin’ Out/It Ain’t Right

Blues Breakers is recognised as the greatest British blues album released in the sixties. It also brought ace guitarist Eric 'Slowhand' Clapton to a wider public attention. (UK:6)

"Few albums have had greater impact than the landmark John Mayall with Eric Clapton Blues Breakers This is the album that set the blues and guitar worlds aflame and established Eric Clapton's name worldwide as the most passionate of musical interpreters. If you haven't yet heard 'Beano' (as the album is affectionately known, because Clapton is pictured reading the comic on the cover), then you ain't heard nuthin' yet."

"From the album's first notes, you realize that you're in guitar heaven, as 'Slowhand' shows us the way electric guitar can and should be played. Clapton's virtuoso performance is white hot throughout, playing with maturity beyond his 21 years." ,p> "Well this is one of the most memorable LPs of my life. I have been a blues fan (fanatic?) for 40 years and it all started with this LP."

"When one listens to and appreciates Blues Breakers, it becomes easy to imagine the major impact that this release had in the history of popular music."

"Blues Breakers is a fabulous and innovative LP that one will want to listen to, enjoy, and appreciate time after time. Of course, Eric Clapton's guitar playing is amazing, and John Mayall's blues singing and organ, piano, and harmonica playing are equally strong. Blues Breakers is a must buy for people who love the blues."

"Blues masterpiece. That's what this album is. To be quite frank these are the greatest guitar licks that Clapton ever came up with."

"A whole host of classic blues covers played note perfectly with full credit to the original composers. The 'Beano' album marked the discovery of the blues for a whole new generation to enjoy."

Blonde On Blonde – BOB DYLAN*****

Rainy Day Women #12 & 35/Pledging My Time/Visions Of Johanna/One Of Us Must Know/I Want You/Stuck Inside Of Mobile With The Memphis Blues Again/Leopard-Skin Pill-Box Hat/Just Like A Woman/ Most Likely You Go Your Way & I’ll Go Mine/Temporary Like Achilles/Absolutely Sweet Marie/4th Time Around/Obviously 5 Believers/Sad Eyed Lady Of The Lowlands

Bob Dylan hits peak form with Blonde On Blonde displaying his mastery over a diverse variety of song styles. It was the first double album to be released of original material. Includes the hit singles Rainy Day Women and I Want You. (US:9 UK:3)

"Blonde On Blonde was a double album that featured a wide variety of music proving just what the man was capable of. The mid-60s were arguably Dylan's most prolific and creative period and it is somewhat amazing to look back on the vast amount of quality work that he produced during this time. Here is another important musical nugget from the 60s and an essential album to own from that decade. There are great love songs, fun songs, more serious fare and just about everything in between."

"This album is unbelievable. The band is working together terrifically, the songs have superb lyrics and melodies. Even the more 'lightweight' songs move along with this great feeling. An unmistakeable masterpiece."

"Brilliant, from Rainy Day Women to Sad Eyed Lady, it rocks, it soothes, its quirky, its diverse its everything the 60s was and influenced everything that followed. It has great songs of course - a masterpiece for sure."

"Blonde On Blonde is definitely a case of the whole being greater than the sum of it’s parts. Taken as a whole it’s a classic, a reference point in popular music, and a record I will never tire of hearing."

"What is striking about this album is its depth, a cliché perhaps, but none-the-less true. Repeated listenings to this album are essentially an ongoing journey of discovery. I have owned it for years and I am still discovering new dimensions to these tunes. It is a sprawling double album packed with endless facets of Dylan’s creativity. Taking it all in on first listen is impossible, since it isn’t a light pop/rock album filled with catchy yet depthless hooks."

Best Of – THE BEACH BOYS*****

Surfin’ Safari/Surfin’ USA/Little Deuce Coupe/Fun Fun Fun/I Get Around/All Summer Long/In My Room/Do You Wanna Dance/Help Me Rhonda/California Girls/Barbara Ann/You’re So Good To Me/Sloop John B/God Only Knows US version has different song listing as shown on sleeve.

Best Of was the first compilation package from The Beach Boys and mostly covers their surf, girls and cars period before the music started to get more complex and serious. (US:8 UK:2)

"If you like 1962-1965 Beach Boys (the girls, cars, and surf era) and hate the 1966 and beyond Beach Boys, this disc is for you. It's got all of the classics from the early era and all of the stuff you heard on the radio, and then some."

"For the time period, it's great. It's got all of the big hits, plus some fan favourites like You're So Good To Me and Wendy, which are among my favourite Beach Boys songs."

"This one, Best Of The Beach Boys is a far dated compilation containing the pre-Bruce Johnston era (1962-1965), or for a better term, the pre California Girls era. This was arguably the height of The Beach Boys popularity, with screaming girls everywhere they went and #1 records one after the other."

Would You Believe? – THE HOLLIES***

I Take What I Want/Hard Hard Year/That’s How Strong My Love Is/Sweet Little Sixteen/Oriental Sadness/I Am A Rock/Take Your Time/Don’t You Even Care/Fifi The Flea/Stewball/I’ve Got A Way Of My Own/I Can’t Let Go

Fourth album from The Hollies sees them still heavily dependent on covers. Would You Believe contains the UK No. 2 hit single I Can't Let Go. From this time onwards groups would start to focus more on albums. (UK:16)

"One thing's for certain: The Hollies were chewing on 1966 with sharper teeth than The Dave Clark Five. But that still wasn't sharp enough. They had plenty of stamina to last themselves through the 'great singles war', but their finest adversaries such as The Liverpudlians ended up duping them by shifting from singles to entire albums."

"In early 1966, The Hollies were in an interesting situation. They were writing stuff of their own, some of that even excellent, but their hits were constantly brought in by guest writers and their albums were half filled with covers."

"I Can't Let Go just happens to be one of the timeless classics. I do believe that no-one in Britain at the time could reproduce those vocal harmonies, or could probably begin to understand how on earth they were constructed in the first place."

"Would You Believe? had only four original songs and they tended to be derivative, like Hard Hard Year, or novelties such as Oriental Sadness and Nash's solo showcase Fifi The Flea. Meanwhile, the covers again mixed rock & roll and R & B oldies with borrowings from the folk and folk-rock repertoire."

"The best of the first four Hollies albums: the albums that made them popular, but also showed that they were a singles band. This album has better songs overall, and they sound more serious than on the previous works. Would You Believe? has very few weak points."

"Would You Believe is a clear indication that even greater songs and albums were to come. After this album the band began to write many of their hit-singles themselves, and the vast majority of the songs on their following albums were Clarke/Hicks/Nash material."

Strangers In The Night – FRANK SINATRA*****

Strangers In The Night/Summer Wind/All Or Nothing At All/Call Me/You’re Driving Me Crazy/On A Clear Day(You Can See Forever)/My Baby Just Cares For Me/Downtown/Yes Sir That’s My Baby/The Most Beautiful Girl In The World

Frank Sinatra returned to the singles chart in a big way with his huge hit Strangers In The Night, No. 1 on both sides of the Atlantic. The hit boosted sales of the accompanying album. (US:1 UK:4)

"Frank is in excellent voice, Nelson Riddle's arrangements are excellent, and the songs are top notch. The atmosphere for the album is very casual and fun, and it shows in most of the recordings."

"Strangers In The Night may showcase Frank Sinatra after his voice had changed somewhat with age; but I honestly like these recordings very much anyway. The quality of the sound is great and the artwork is nicely done. Frank's voice still had quite a bit of energy; and on this album he was quite able to use his voice to convey all the subtle nuances and emotions of the lyrics he sang."

"Strangers In The Night is an excellent album, and swings like crazy. Sinatra's slightly lesser efforts, such as this populist attempt to relate to some of the more modern sounds of the 1960s pop scene, are almost always better than other artists' very best efforts."

"Of the albums Frank made in an attempt to 'get with the times' by updating his sound to fit the ever changing trends of the 1960s, this 1966 effort is the best. It manages to include some unique modernized touches, but for the most part stays rooted in the traditional Sinatra sound." "The album starts with a fantastic melody, Strangers In The Night which gets the royal treatment from 'The Chairman Of The Board'. Perhaps he didn't like this tune but you could never tell. Frank's performance was that good; he never falters a bit."

"The album is a fine testament to the staying power of a great singer, artist and musician. Songs such as his pop hit, Strangers In The Night, the gorgeous Summer Wind, On A Clear Day and The Most Beautiful Girl to me are the highlights, and get superb treatment from the mature artist that Sinatra was at the time. His rich, mellow voice and his phrasing are perfect."

The Mindbenders – THE MINDBENDERS***

The Way You Do The Things You Do/Just A Little Bit/Seventh Son/One Fine Day/Tricky Dicky/A Groovy Kind Of Love/Little Nightingale/Don’t Cry No More/You Don’t Know About Love/Love Is Good/Rockin’ Jaybee/All Night Worker

After splitting with vocalist Wayne Fontana, The Mindbenders achieved an international smash hit with A Groovy Kind Of Love, a No. 2 single in both the US and UK. (UK:28)

"The Mindbenders were guitarist Eric Stewart, bassist Bob Lang and drummer Ric Rothwell, and as this album shows they were all very accomplished musicians. Like many bands of the sixties who started with pop and beat, they tried their hand at R & B standards, which would be the main reason for purchasing this LP."

"If you like R & B and beat music then give this album a go. There are some excellent tracks on it - once you get past Groovy Kind Of Love then you start getting into the real Mindbenders - my favourite tracks being The Seventh Son and Love Is Good."

"The group's choice of songs is pretty reflective of the period, with many beat group standards, including older US pop hits, plus rhythm and blues padding out the other half of originals, many of which were mostly pretty forgettable and never destined to be hits."

"This album is best looked at as the apprenticeship period of Eric Stewart, before he went on to later fame with 10cc, so is more an artefact rather than essential."

"After the departure of Wayne Fontana, his three-strong backing band promoted guitarist Eric Stewart to the role of front man with impressive results. Stewart didn't have quite as much charisma but he was just as able a singer. Sadly, despite one huge hit, the band waved the white flag after two albums. Like many beat groups, by 1967 they were weeded out by the demand for artists to create their own material and adapt to a more sophisticated approach to recording."

"It reveals a band who were followers rather than leaders, but whose music combines fun with quality. It rather disappointingly begins with a series of songs already well known by other artists, such as One Fine Day. The upside is that the band perform them with a healthy mix of professionalism and enthusiasm."

Midnight Ride – PAUL REVERE & THE RAIDERS***

Kicks/There’s Always Tomorrow/Little Girl In The 4th Row/Ballad Of A Useless Man/I’m Not Your Stepping Stone/There She Goes/All I Really Need Is You/Get It On/Louie Go Home/Take A Look At Yourself/Melody For An Unknown Girl

Midnight Ride was the third LP from American teen beat group Paul Revere & The Raiders. Includes one of the first anti-drugs song Kicks, a US No. 5 hit single. (US:9)

"Paul Revere & The Raiders were one of the most popular pop bands of the '60s. They were teen idols and sold millions of records, but because they wore Revolutionary War soldiers' uniforms and had no 'artistic' aspirations (or pretensions), they were written off as a product of their time. That they were, but they were also a great rock & roll band who made some blistering, garage rock-charged noise."

"At best, Paul Revere & The Raiders’ Midnight Ride is a collection of decent performances but it sounds very contrived. I’m Not Your Stepping Stone is a real knock out but the thought of enduring Little Girl In The 4th Row and Melody For An Unknown Girl again makes this a deal breaker. And if they felt so strong about promoting a puritanical lifestyle it would have been nice of them not to refer to narcotics as 'Kicks'."

"Paul Revere and The Raiders were not the typical garage band as they were able to add some sheen to their music and move over to a fairly sophisticated rock/pop sound. This album shows them at their best and their hit Kicks shows that pop sound. Still a lot of cover songs but mostly well done."

"Ultimately, if I had to define Paul Revere & The Raiders I would say they made dance music. These are not songs to sing along with; you just get out on the dance floor and move your feet to the music."

"Midnight Ride is a mediocre record with one or two highlights."

"Clearer but less powerful, they remain the same. They don't make progress, but they try it all."

Mame – BROADWAY CAST*****

Overture/St Bridget/Its Today/Open A New Window/The Man In The Moon/My Best Girl/We Need A Little Christmas/Mame/The Letter/Bosom Buddies/Gooch's Song/That’s How Young I Feel/If He Walked Into My Life/Finale

The Broadway musical Mame starred Angela Lansbury. It opened at the Winter Gardens Theatre in May 1966 and ran for 1508 performances. Based on the novel by Patrick Dennis about a bohemian aunt unexpectedly entrusted with the care of her nephew. Music and lyrics by Jerry Herman. (US:23)

"The spotlight, of course, is on the character of Mame, who participates in no fewer than eight of the fifteen songs. And whether it's the jazz-age It's Today, the comic duet Bosom Buddies, or the emotionally charged If He Walked Into My Life Today, Lansbury's slightly brittle but powerful tones capture something essential about the character that generations had come to know and love from previous incarnations."

"Starring as Mame, four time Tony winner Angela Lansbury gives a sensational, brilliant performance as the golden embodiment of life lived to the fullest. Lansbury sings with great strength, full-throated joy, and genuine warmth and tenderness, instilling the character of Mame with an endearing humanity and joy of being alive."

"Like Herman's most famous work, Hello Dolly, Mame is an entirely uplifting and energy-driven piece. There are very few gentle, quiet moments in this brash, overwhelming score. Those that do exist, serve to strengthen the appeal and the magnitude of the characters, and in so doing add a touching, sentimental element to this enchanting score. The music is uplifting from start to finish and the sparkling lyrics only serve to enhance the already dazzling experience."

"This is the musical to end all musicals, wonderful score by Mr. Herman, wonderful performances, book, staging, orchestrations. - what else can I say."

"Jerry Herman remains one of the greatest composers and lyricists of the entire twentieth century. One of his biggest hits was the score for the Broadway musical Mame. Angela Lansbury and the rest of the cast could inject so much extra electricity into Herman's already rousing score that people were crowding the theatre for years and wearing the grooves off the record albums. It's full of memorable, sing-along, lovable songs and great melodies. Always worth another listen."

Look To The Rainbow – ASTRUD GILBERTO****

Berimbou/Once Upon A Summertime/Felicidade/I Will Wait For You/Frevo/Maria Quiet/Look To The Rainbow/ Bim Bom/Lugar Bonito/El Preciso Aprender A Ser So/She’s A Carioca

In Look To The Rainbow Astrud Gilberto departs a little from her usual bossa nova style to reveal a mellower jazzier side. She sings in both Portuguese and English.

“This album is my favourite of Astrud's, the songs she does in Portuguese are magical. I don't mind the English ones, easier on the ears than some others I've heard. I like Astrud's voice, if you've never heard her, she's got an unusual voice.”

“I would recommend this over any other Astrud solo album, both for music quality and song selection. If you're looking for sultry vocals over a light bossa nova background, check this out, it’s really rather charming.”

“A little different from her more straight up bossa nova albums, here she gets to try some jazzy stylings, in the incomparable hands of the Gil Evans Orchestra. Definitely more mellow than usual, Gil intentionally takes care not to overwhelm her willowy voice, though still makes things interesting at every turn. For her part, Astrud's voice simply flows like honey over the music, making for a very intimate time for all.”

“I'm crazy about bossa nova, and like many lovers, I can't really get into Astrud Gilberto's voice. When she sings in Portuguese it's alright, but hearing her in English just annoys me and brings out the fact that she really can't sing all that well.”

“I'm not sure whether or not I'm alone here but when she sings in English it is just so much more beautiful. Maybe it's the accent and slight change of word pronunciation, who knows. Overall this album remains smooth and easy.”

“The first time I heard this album, I was absolutely hooked. The combination of Astrud Gilberto's soft, alluring voice and the masterful orchestrations of Gil Evans is altogether amazing. It seems impossible that such lush, soaring harmonies in the brass section could possibly enhance the intimacy of Astrud's voice, but here the impossible is accomplished. I highly recommend this album.”

“Not her best, but if you enjoy Gilberto's deep, slightly off-centre vocals and her sweet coo, you'll get a sultry groove on nevertheless.”

Let It All Out – NINA SIMONE***

Mood Indigo/The Other Woman/Love Me Or Leave Me/Don’t Explain/Little Girl Blue/Chauffer/For Myself/The Ballad Of Hollis Brown/This Year’s Kisses/Images/Nearer Blessed Lord

Let It All Out comprises wide ranging material from a variety of sources showcasing Nina Simone’s versatility as an interpreter of many different musical styles.

“Let It All Out is an odds-and-ends record comprised of material from various sessions. It features a mixture of live and studio recordings dating back to early 1964.”

“Generally, Nina Simone's albums appear to be less than the sum of their parts, and her diversity, variety, and consequent inconsistency, is a major factor in this. Overall Let It All Out is a decent, solid album featuring many delights.”

“This is one of her best. It is a must have if for nothing else than Love Me Or Leave Me which contains a Bach solo, the only classical piece Nina ever recorded. The recordings are true to character with Nina in her vocal and commercial prime, attacking her material with uncompromising honesty, and recording with her signature musical purity. The one and only Nina Simone at the top of her game.”

“The a cappella Images will stop you in your tracks. Beautiful record.”

“One of Nina Simone's more adult pop-oriented mid-'60s albums, with renditions of tunes by Duke Ellington, Billie Holiday, Irving Berlin and Rodgers & Hart. As ever, Simone ranges wide in her selection: Bob Dylan's The Ballad Of Hollis Brown, a swaggering adaptation of Chauffeur Blues and the gospel hymn Nearer Blessed Lord. Images is an a cappella adaptation of a poem about the beauty of blackness. All of Simone's Philips albums are solid, and this is no exception, while it isn't the best of them.”

The Incredible String Band – THE INCREDIBLE STRING BAND***

Maybe Someday/October Song/When The Music Starts To Play/Schaeffer’s Jig/Womankind/The Tree/Whistle Tune/Dandelion Blues/How Happy I Am/Empty Pocket Blues/Smoke Shovelling Song/Can’t Keep Me Here/Good As Gone/Footsteps Of The Heron/Niggertown/Everything’s Fine Right Now

A relatively orthodox debut album from psychedelic folk group The Incredible String Band. Their next two LPs would reveal an 'incredible' level of adventurousness and inventiveness. (UK:34)

"The first album I know in British history that doesn't just borrow little smidgeons of traditional British/Celtic folk music in order to diversify its generally 'pop-oriented' contents, but actually crushes these influences in a ferocious embrace."

"The band recorded this album as a trio consisting of Mike Heron on vocals and guitar, Clive Palmer on banjo, guitar, vocals and kazoo and Robin Williamson on violin, vocals, whistle, guitar and mandolin. This would be the only Incredible String Band album to feature Clive Palmer as he would leave the band shortly afterwards. The music is warm and well played folk-rock sometimes humorous and at times psychedelic."

"The Incredible String Band is a very solid and at times great debut album and while later albums might better represent the adventurous nature of the band, I still find this debut album recommendable."

"The first album is pretty standard folk with a hint of weirdness and not much of the exotic instrumentation that would characterise their later albums."

"Pretty good UK trad folk with slight psych leanings, but nowhere near as astral as they would get on the following album. High quality songwriting, well played acoustic instruments, good but not great vocals: all in all a very pleasant experience."

"The style is somewhat simpler and more acoustic than on their later albums, but it's a million miles from the sort of folk music that was around at the time. There's a sort of 'joy of life' that comes over in these songs. October Song is one of their all time classics, and there are many more beauties besides. Many of the songs seem timeless, not compositions from some fresh-faced kids."

Hits Of The 60’s – THE BACHELORS***

Who Can I Turn To/The Sound Of Silence/Well Respected Man/Call Me Irresponsible/Invisible Tears/Michelle/ Love Me With All Of Your Heart/What Kind Of Fool Am I/I Wish You Love/Ain’t It True/What The World Needs Now Is Love/Portrait Of My Love/Elusive Butterfly/Homeward Bound

Irish group The Bachelors deviate from their more usual old time fare with this collection of more recent songs. Hits Of The 60's contains the UK No. 3 hit The Sound Of Silence. (UK:12)

"This is a great version of The Sound of Silence, the vocal harmony work and whole build up of atmosphere in the production is superb. One of The Bachelors best."

"Love Me With All Of Your Heart demonstrates fantastic harmonies from this group who had a natural talent for it....where has it gone? There was no enhancing then, you either had it or didn't and many groups tried to get there but none like these guys."

"If you are a singer you need to listen to The Bachelors. They will inspire you to pick out their precision and harmonies that are unrivalled."

Dirty Water – THE STANDELLS**

Medication/Little Sally Tease/There’s A Storm Coming/19th Nervous Breakdown/Dirty Water/Pride & Devotion/Sometimes Good Guys Don’t Wear White/Hey Joe Where You Gonna Go/Why Did You Hurt Me/Rari

The Standells from Los Angeles were one of a batch of garage rock bands that burst onto the American music scene in the mid 1960s. The title track on Dirty Water was a US No. 11 single. (US:52)

“The Standells were a 1960s rock and roll band who exemplified the garage rock style. Dirty Water was their only hit song, although they had a couple of others come close. Most of the songs on this LP are good, although the group doesn't handle ballads that well. Fans of the '60s garage rock sound will enjoy this.”

“The Standells can hardly be called one of the great rock bands; nonetheless the group has positioned itself firmly in the American garage rock history. The group stands as an exponent of the best of the raw, but simultaneously melodic garage rock, of the middle sixties.”

“The group achieved a major hit in 1966 with the title number from the album Dirty Water. The sound of the group is characterized by tight playing and production dominated by fat organ-sound and distorted guitar.”

“Contains a high number of garage gems - Medication, Little Sally Tease, Dirty Water and Sometimes Good Guys. Excellent drums and outstanding bass. People can be condescending about 'garage' bands, but any contemporary band could learn something about laying down an effective bass-line from this album.”

“The slashing fuzz guitar of Tony Valentino and organ of Larry Tamblyn are the distinctive features of the band.”

“The Standells were not just a one hit wonder. There were other songs that were also very good in their time and should have been hits.”

“The Standells were like many mid-sixties bands, they were about a mixture of styles This album includes proto-punk songs like Dirty Water, mixed with songs that are soul rockers, There Is A Storm Comin' and other covers.”

Dave Dee Dozy Beaky Mick & Tich – DAVE DEE DOZY BEAKY MICK & TICH***

DDD-BMT/We’ve Got A Good Thing Goin’/Here’s A Heart/Something I Gotta Tell You/All I Want To Do/ Frustration/Hold Tight/Hard To Love You/Nose For Trouble/No More Love/After Tonight/No Time/Double Agent

The group with the long name, Dave Dee, Dozy, Beaky, Mick & Tich's self titled debut album includes their No. 4 hit single Hold Tight. The group were a vehicle for the songwriting team of Howard-Blaikley. A compilation CD that includes all their well crafted pop hit singles can be very strongly recommended. (UK:11)

"First album by the classic British pop group Dave Dee, Dozy, Beaky, Mick & Tich, one of the most prominent hit makers in the mid to late 1960s, which with many other British pop acts shaped the sound of the music of that decade. Although mostly known for their contributions to the hit parade, they were in fact excellent musicians and singers. Listening to their albums in retrospect reveals a whole world of music, which is mostly forgotten, but certainly deservers to be remembered."

"Most of the music the group played was penned by the pair of excellent songwriters Ken Howard and Alan Blaikley, Their debut album includes typical mid-1960s British pop, full of wonderful melodies and lots of typical British humour. The material is superbly performed and sung, with vocal harmonies easily rivalling those of The Beatles or The Beach Boys and many other acts of the time."

"People, who love the wonderful sound of the 1960s and the intelligent and clever British pop, will find here quite a surprising wealth of memorable material to delight in. Warmly recommended."

"The first album from Dave Dee Dozy etc. was originally released on Fontana Records in 1966. It contains some great examples of British 1960s pop; most of it written by the young songwriter team, Ken Howard and Alan Blaikley."

"They recorded a long string of hit singles during 1965-69, and obviously many of these are highlights on their albums. Their debut album is probably their most consistent, with many fine album tracks as well. This is one of the overlooked bands of the sixties, and if you want only one of their original albums, this one certainly would be good choice."

When A Man Loves A Woman – PERCY SLEDGE***

When A Man Loves A Woman/My Adorable One/Put a Little Lovin’ On Me/Love Me All The Way/When She Touches Me/You’re Pouring Water On A Drowning Man/Thief In The Night/You Fooled Me/Love Makes The World Go Round/Success/Love Me Like You Mean It

R & B vocalist Percy Sledge enjoyed a huge international hit with When A Man Loves A Woman, No. 1 in the States and No. 4 in the UK. None of his future releases would approach this level of success. (US:37)

"When I first heard the opening bars of When A Man Loves A Woman the hairs on the back of my neck stood up and I got cold chills. This is simply the greatest soul R & B love song ever."

"The charismatic Alabama bred soulman's first album was naturally built around the peerless and classic When A Man Loves A Woman, the first Southern soul track that became a No. 1 pop hit."

"The title-track is soul perfection; the lamenting, organ driven groove, the country-soul guitar, the choir and on top of it all the magical voice of Percy Sledge. Truly one of the most brilliant recordings ever committed to vinyl, sung by the only Southern soul performer who, commercially, seriously rivalled Otis Redding at the time." "So, what about the rest of the LP? One knows that When A Man Loves A Woman is a hard act to follow, and the rare heights achieved by that particular tune is not attained elsewhere, here. That's not to say the remainder is subpar, 'filler' or by-the-numbers soul. Quite the contrary."

"My Adorable One, another quintessential Sledge-belter, has a charm all its own. The delicate vocal amidst the raw grit of the Muscle Shoals backing band is amazing. Sledge's spin still is the definitive version."

"Percy righteously gets down on the pumped-up, blazing beater Put A Little Lovin' On Me and the hard socking thumper You're Pouring Water On A Drowning Man, demonstrating the man was at much at ease with more uptempo material."

"Sledge soars on those delicious country-soul dirges, producing a sound uniquely nurtured by the fertile ground of upper-Alabama."

What Now My Love – HERB ALPERT & THE TIJUANA BRASS*****

What Now My Love/Freckles/Memories Of Madrid/It Was A Very Good Year/So What’s New/Plucky/Magic Trumpet/Cantina Blue/Brasilia/If I Were A Rich Man/Five Minutes More/The Shadow Of Your Smile

With What Now My Love Herb Alpert & The Tijuana Brass notched up another easy listening US chart topper. The title track won a Grammy for best pop instrumental. (US:1 UK:18)

"With over two months at the #1 spot, this was the commercial peak for Herb Alpert's Tijuana Brass. Like other popular acts of the sixties, Herb was releasing LPs fast and furious and this came hot on the heels of Going Places. And like he had with every previous album, he took the basic elements of what made his earlier recordings work, but added a little something extra here and there to make the current release unique. What Now My Love finds Herb in a more pensive mood, and even the more upbeat numbers have an air of sophistication about them."

"It's not being too bold when stating that this collection of songs is as good as TJB has ever compiled. Fresh, jazzy, moody, seductive are just some of the words that come to mind when listening to this jewel. If nine weeks at number one and a Grammy award doesn't grab you, the music absolutely will. There is not one song here that disappoints as they take you from tropical Cantina Blue to dancing bar mitzvah style with If I Were A Rich Man. And what about the fabulous It Was A Very Good Year? By beating Sinatra to the punch, Herb Alpert and TJB set the tone for a classic. Sit back and enjoy an album for the ages, over and over again."

"Herb Alpert & The Tijuana Brass enjoyed great success in their heyday during the 1960s, and enthusiastic fans on both sides of the border invariably came to hear them perform. This LP tells us why. Their sounds are smooth as silk, rich as Rockefeller and as sophisticated as any Rhodes Scholar could ever be. Virtually anything that they recorded in the 60s is worth having, yet this set is arguably their best."

"Herb Alpert and the TJB are a class act. Even more, they are timeless. Although their music tends to have a Latin theme, it cannot be qualified that way. It is just great music to sit back and listen. This collection is no different. These are all very good. Don't look for great vocals; look for catchy tunes and superb musicianship. Look for fun."

Uptight Everything’s Alright – STEVIE WONDER***

Love A Go Go/Hold Me/Blowin’ In The Wind/Nothing’s Too Good For My Baby/Teach Me Tonight/Uptight (Everything’s Alright)/Ain’t That Asking For Trouble/I Want My Baby Back/Pretty Little Angel/Music Talk/Contract On Love/With A Child’s Heart

After nearly three years in the doldrums, a still very young Stevie Wonder made an impressive return to the singles charts with Uptight (Everything’s’ Alright), which reached No. 3 in the US and No. 14 in the UK. The associated album also included the US No. 9 cover of Bob Dylan’s Blowin’ In The Wind. (US:33)

“Uptight (Everything's Alright) is a true classic in every sense of the word, one that simply defines the Motown sound in its full glory - bold, confident and grandiose with that infectious riff and horns propelling the music forward.”

“At this stage Motown were more concerned about the quality of the individual hit songs in their bid for commercial success than creating an album as a coherent artistic statement. Stevie was still very young, and this album was still a better offering than most artists more than twice his age would be able to achieve, and there's much to enjoy, but think how much better it could have been.”

“Last shot at glory or back to college it is for you kid. Significantly it is the Motown production rather than actual killer tracks that resurrects the precocious kid's career. Motown was still intent on commercial gain at this tenuous stage, another five years before artists began to tear away at the restraints old man Gordy placed on them.”

“Motown was ready to throw in the towel with 'Little' Stevie; three full years since his hit Fingertips, and absolutely no chart action in the interim to show for their troubles He was given one last chance: the result was the song Uptight (Everything's Alright). Who knows how history would have been rewritten if Berry had dropped the kid at this stage.”

"Uptight was one of those albums that really didn't have a bad cut at all, and you could listen to both sides, all the way through, without your interest waning."

“A good 60s Motown album. Obviously not a patch on his later work, but shows a good progression from his first albums and is infinitely better than it's predecessor. Particularly interesting is his duet with Levi Stubbs on Teach Me Tonight.”

Small Faces – THE SMALL FACES****

Shake/Come On Children/You’d Better Believe It/Its Too Late/One Night Stand/Whatcha Gonna Do About It/ Sorry She’s Mine/Own Up Time/You Need Loving/Don’t Stop What You’re Doing/E Too D/Sha-La-La-La-Lee

An impressive debut album from London East End mod group The Small Faces that contains two UK hit singles, the No. 14 Whatcha Gonna Do About It and the follow up No. 3 Sha La La La Lee. (UK:3)

"In an era that was hardly short of great artists, The Small Faces still stand out. They had it all, style, taste and above all class. This debut encapsulates them at their blistering best; Marriott's supreme, passionate vocals and McLagan's organ playing giving them a highly distinctive sound. This must surely rank as one of the finest and most consistent debut albums of the sixties. A must own for all mod and British beat fans." "Great debut album for legendary 60s mod band, The Small Faces. Much more straightforward R & B and soul influenced rock, than their later (and more celebrated) work, but a great start."

"The Small Faces were rather more popular at the time than their historical standing might suggest. In the mid 60s they were serious rivals to The Who and The Stones. Several subsequent bands cite them as influences, and others clearly benefitted from their influence even if they haven't admitted it. Check out You Need Loving and tell me it isn't the blueprint for Led Zep's Whole Lotta Love, it's almost the same song."

"Much like the early Who, The Small Faces had an exuberance that threatened to detonate the band's songs but instead kept the players rolling forward with unrelenting fervour."

"This debut long player is awesome. This is probably the closest to what the band actually sounded like live at the time, with extending jamming on some tracks and influences such as Booker T clearly evident. Superb."

"The energy level, the rawness of the sound and the pure gusto displayed here is utterly incredible. This album is an electric, jaw-dropping document of 1960s rock music at its most lively and the whole album is very, very strong."

Shadow Music – THE SHADOWS***

I Only Want To Be With You/Fourth Street/The Magic Doll/Stay Around/Maid Marion’s Theme/Benno-San/Don’t Stop Now/In The Past/Fly Me To The Moon/Now That You’re Gone/One Way To Love/Razzmataz/A Sigh/March To Drina

Shadow Music was a disappointing offering from The Shadows that contained no particularly memorable original tracks, concentrating instead on reworking MOR oldies. (UK:5)

"For me the John Rostill period, The Shads playing Burns guitars, stands out for creativity, exploration of new sounds and more. So, this is one of the fine records from that period. Very varied, yet typically Shads."

"One of the less essential Shadows albums, Shadow Music is a 'business-as-usual' type blending of characteristic remakes of pre-pop classics with a clutch of middling band compositions, with its highlights drawn from the least likely surroundings of all."

"Christmas, 1965, saw The Shadows score a pantomime version of Babes In The Wood at the London Palladium. Three songs from the venture appear on Shadow Music - the buoyant beat ballad I Only Want To Be With You, the chiming foot-tapper Magic Doll and Maid Marion's Theme, a gentle guitar instrumental with the ghost of several past Shadows hits lurking around the edges. For the rest, Shadow Music offers little to get excited over. Four further vocal numbers are pleasant but unexceptional. A rocking take on Fly Me To The Moon is scarcely an improvement on Cliff Richard's ham-fisted assault of the previous year, while Fourth Street harks back to the lute and drum led numbers which starred on earlier band albums, a showcase for drummer Brian Bennett's piano playing which adds to the variety, but contributes little to the legend."

"The jazz spoof Razzmataz is neatly dexterous, while a rearrangement of Franz Listz's A Sigh, brings a touch of classic class to the proceedings. There's also a chance to hear the band's original version of In The Past, a song better known from Cliff Richard's 1969 re-recording. By comparison with past Shadows albums, however, Shadow Music offers few surprises and nothing new

Pet Sounds – THE BEACH BOYS*****

Wouldn’t It Be Nice/You Still Believe In Me/That’s Not Me/Don’t Talk(Put Your Head On My Shoulder)/I’m Waiting For The Day/Let’s Go Away For A While/Sloop John B/God Only Knows/I Know There’s An Answer/Here Today/I Just Wasn’t Made For These Times/Pet Sounds/Caroline No

Brian Wilson reached his creative peak with Pet Sounds. One of the finest pop albums of all time by one of the greatest pop bands, it is sheer perfection throughout. Includes the top three hit singles Sloop John B and God Only Knows. (US:10 UK:2)

"It's absolutely one of my favourite albums of all time. Strikingly beautiful melodies, beautiful vocals, beautiful orchestration, beautiful everything."

"Pet Sounds is simply amazing. Brilliant from beginning to end. Every track is an absolute masterpiece. This is the most important album ever made because it turned popular music into a real art form, and did so with artistic and technical mastery."

"This is an incredibly moving album. Without a doubt, this is the most brilliant creation ever bestowed upon popular music. God Only Knows is the perfect pop song. Brian Wilson was a master at crafting pop symphonies. Every song on here is a classic, even though the mood is very similar throughout, the only exception being the out of place but still terrific Sloop John B." "This is where the group's mastery of the technical came to the forefront like never before. There are so many vocal layers, and such a rich symphonic sound that by this point it was clear, The Beach Boys had something pretty special happening. The album is a symphony of sophisticated chord changes, wistful melodies, sweet vocal harmonies and reflective lyrics of love and longing."

Moods Of – MARVIN GAYE***

I’ll Be Doggone/Little Darling (I Need You)/Take This Heart Of Mine/Hey Diddle Diddle/One More Heartache/Ain’t That Peculiar/Night Life/You’ve Been A Long Time Coming/Your Unchanging Love/You’re The One For Me/I Worry ‘Bout You/One For My Baby (And One More For The Road)

For most of the 1960s Motown was a singles orientated company, with sales of LPs much lower, other than compilations. This was especially true for Marvin Gaye. Two tracks from his Moods album I’ll Be Doggone and Ain’t That Peculiar both peaked at No. 8 in the US. (US:118)

“The first side is a fairly basic Motown soul template circa 1966 and shows evidence of Gaye's desire to begin penning his own work, while the flip is a much slower, lovelier affair. It's also the better of the two.”

“Marvin Gaye's treatment of songs that would be standard in most others hands make albums like this worth seeking out instead of heading to an obligatory anthology or compilation.”

"When it comes to the pop album, Marvin Gaye possessed that certain 'je ne sais quoi' that made his albums just a little bit more special and a little bit more memorable than anyone else's. Moods Of Marvin Gaye just may be his liveliest album. It came at a time where he was peaking as a performer and just about to explode into the songwriter and arranger that the world still celebrates him as. Most of the songs here come from either Smokey Robinson or Holland/Dozier/Holland - so if you love Motown, you're going to love this.”

"Moods Of Marvin Gaye is one of the greatest albums Marvin ever put out. It is simply incredible to hear these Sinatra like songs. The music is excellent, and Marvin's voice sounds golden.”

“A landmark album from Marvin Gaye in 1966. The exceptional concept of this album rests in its diversity. It contains versions of past singles. The remaining tracks were taken from a scrapped album of mainly standards, and are in a quite different style, Nat King Cole influenced with lush big band backing. They range from Willie Nelson's Night Life, Billie Holiday's I Wonder 'Bout You and Frank Sinatra's One For My Baby to a new Stevie Wonder song called You're The One For Me.”

Live At The Café Au Go Go – THE BLUES PROJECT***

Goin’ Down Louisiana/You Go I’ll Go With You/Catch The Wind/I Want To Be Your Driver/Alberta/The Way My Baby Walks/Violets Of Dawn/Back Door Man/Jelly Jelly Blues/Spoonful/Who Do You Love

The Blues Project became the resident band at the New York club Café Au Go Go, drawing large crowds and swiftly becoming one of the city’s most popular bands. This live album captured their performance. (US:77)

“It is hardly surprising that the band would record their debut album live at the club, which has become their place of residence, although starting off with a live album was hardly the norm back then. They were however always strongest live, as their future albums would prove. Although firmly based in the blues tradition, the band played a broad amalgam of tunes.”

“The Blues Project were definitely one of the more underappreciated groups of the 60s. Reasons why are not hard to find. In the world of pop, the blues were somewhat in eclipse in 1966 and the late-60s was still in the future. Also, it was becoming crucial for musicians to have their own material, and the original Blues Project were primarily interpreters - everything on this album is a cover. Third, the group had no real standout lead vocalist, and it seems that bands with only so-so vocals don't tend to do too well.”

“This album, recorded when the band had really been together only a few months, shows them already quite capably handling a wide spectrum of blues songs. Their primary strength is hard-driving, back-beat blues but they are also very effective on slower numbers. Two folk tunes point the way towards the more eclectic mix that would appear on their next album.”

“This album, their first, was recorded live; freshness, spontaneity, and sheer fun leap out from the speakers with amazing clarity. The later studio work from this group does not have the spark found on this one. If you have never heard it, and want to experience how a golden era of music began, a treat awaits.”

“This album was one of the most significant records of the '60s by a group that has been all but forgotten. The Blues Project was the seminal New York City psychedelic band, members of which became influential throughout the music industry. If you love '60s music and have never heard this you owe it to yourself to buy this album.”

How Does That Grab You? – NANCY SINATRA***

Not The Loving Kind/The Shadow Of Your Smile/Sorry ’Bout That/Time/Sand/Crying Time/Baby Cried All Night Long/Let It Be Me/Call Me/How Does That Grab You Darlin’/Bang Bang

How Does That Grab You? was Nancy Sinatra's speedy follow up to her successful Boots album. Produced again by Lee Hazlewood, the title track was a No. 7 hit in the States and reached No. 17 in the UK. (US:41 UK:17)

"How Does That Grab You, Darlin'? was Nancy Sinatra's second top ten hit, so naturally, her second album was titled after it. This was a solid sophomore effort by Nancy, with some great songs by Lee Hazlewood, especially Sand. Nancy and Lee's first duet together. Also notable is Sorry 'Bout That, which is a terrific song in a similar style as Nancy's hits. In the fashion of the time, there are several cover versions of other people's hits. Recommended to all of Nancy's fans."

"Nancy Sinatra's follow-up album cemented her image as a tough babe icon. It also follows more or less the same formula as its predecessor."

"Sinatra purrs her way through a bunch of Lee Hazlewood songs, most notably Sand and the fuzztone-drenched proto-metal Lightning's Girl, along with some covers of contemporary hits including Cher's Bang Bang, performed as a sort of beatnik poetry reading against a backdrop of a solo guitar."

"This is the second and last album where Nancy has her bad-girl image. However, one can find a variety of styles from the bluesy jazz of Not The Lovin' Kind, The Shadow Of Your Smile, which might be a soundtrack to a nice picnic outing, a blue evening in a dimly-lit cafe, or something to play in the crib with a loved one, to the country of Crying Time."

"This album is not as good as it looks. The duet with her father is no competition to Something Stupid. The Lee Hazlewood songs are not amongst his strongest, except Sand."

"The sass is back in the kittenish Sorry 'Bout That as she's been tired of being treated like an alley cat and finds someone who treats her more decently."

Greatest Hits – MRS MILLER*

Downtown/The Shadow Of Your Smile/A Hard Day’s Night/Dear Heart/Chim Chim Cher-Ee/These Boots Are Made For Walkin’/A Lover’s Concerto/Let’s Hang On/Catch A Falling Star/Gonna Be Like That/My Love

A mid sixties curiosity. The tone-deaf Elva Miller was an easy target for the pundits. Not only could she not sing, but she was safely middle aged at a time when the cult of youth was becoming dominant in the music industry. This being 1966 her songs had both a proper structure and a catchy tune (which she ruined). In future years many music pundits would be uncritical, often reverential, towards artists who were unable to sing, and who made no claims to be able to do so. However, unlike Mrs Miller, such artists were promoted as the cutting edge of musical fashion, despite possessing zero musical talent. (US:15)

"Mrs Elva Miller blasts onto the music scene in 1966 with this revolutionary debut. The impeccable diction found in her singing style is probably due, in part, to the fact that she has listened to opera recordings very closely. The collection of current hits is sung in the manner that only this new star can sing them. She has a sound and style all her own."

"This is not only way 'off beat' and 'makes cats howl' but is just downright ghastly. People who think that this terrible timing, warbling singer is 'funny' are clearly sniffing glue."

"This LP could some day show its worth in music teaching. With all her joyful singing, Mrs. Miller has put together a brilliant catalogue of all the things a musician in general, and a singer in particular, should not do. No more theory, just let the students listen."

"You have to hear this to believe it. Definitely from the 'so bad its good' camp. Mrs. Miller hits all the right notes so perfectly wrong."

"There was no one who sang like Mrs. Miller, for which I'm sure many people are grateful. At the same time, she was a true original - that warbling, off-key vibrato, the dreadful timing, the astonishing whistling breaks - she was instantly identifiable."

"Mrs. Miller is lusciously awful. No one can resist smiling and dancing as she tortures the standards. She forgets words, warbles like crazy and sounds just terrible."

Greatest Hits – MARTHA & THE VANDELLAS****

My Baby Loves Me/Come & Get These Memories/(Love Is Like A)Heat Wave/Dancing In The Street/Quicksand/ Live Wire/You’ve Been In Love Too Long/In My Lonely Room/Love(Makes Me Do Foolish Things)/A Love Like Yours/Nowhere To Run/Wild One

Before the rise of the Supremes, Martha & The Vandellas were the leading Motown girl group, with a stronger R & B sound. Greatest Hits covers the period 1963-65, thus omitting some of their later hits. (US:50)

"This one was issued in mid-career so while there is little filler here, there are a few things left out, Jimmy Mack in particular."

"For my money Martha and The Vandellas were every bit as good (if not better) than their Motown competitors. Not only that, but they didn't carry all the personal baggage that went with The Supremes. That said, this is the perfect place for casual fans or the curious to start. Overlooking Gordy's exceptionally unattractive cover art, 1966's Greatest Hits pulled together twelve of the group's more commercial highlights. It's certainly not an all inclusive 'best of' set since it focused on material from their first three years and managed to leave off several vital tracks."

"Totally essential sixties soul from Motown's best girl group. Wonderful stuff that just puts a huge grin on your face from the moment the needle hits the grooves. Nothing fancy just great songs, great voices and wonderful production from the Motown studio. All the best early work is here and there is no filler as this LP is short and to the point as all good 'Best Ofs' should be."

"While Diana Ross & The Supremes were at least ten times more popular and are at least fifty times better known, Martha and The Vandellas were their more soulful, although less prolific, peers. Dancing In The Street, Heat Wave and Nowhere To Run are absolute Motown classics. Obviously, but equally exciting are the lesser known numbers here."

"After The Supremes, Martha & The Vandellas were Motown's biggest female stars. The sheer volume and power of Martha Reeves, raw, earthy, soulful vocal style has been highly underrated and overlooked over the years."

"Dancing In The Street remains their most timeless song. The atmospheric musical arrangements, catchy groove and hooky chorus has soul classic written all over it."

Genuine Dud – THE DUDLEY MOORE TRIO***

Samantha/Yesterdays/Field Day For Shirley/Straight Life/Exactly Like You/If You Were The Only Girl In The World/You’d Be Nice To Come Home To/Blues For Boots/Fly Me To The Moon

Comedian Dudley Moore was also an accomplished jazz (and classical) pianist and his trio broke into the UK album chart for the second and final time with Genuine Dud. (UK:13)

"Music was central to Moore's life. An exceptionally gifted pianist who could sight-read and extemporise with remarkable ease, he had an amazing ability to change from jazz to classical. Classical pianists praised his performances of Bach fugues; the jazz fraternity dug his free flowing, lissom style."

"And they've hit such a nice tempo with this. It's so light you can just lean back and play."

"The only reason I knew Exactly Like You wasn't Peterson - not as anything against Dudley, far from it but I knew that towards the end of the first chorus, certainly by the beginning of the second, Peterson would have been using a lot more dazzling technique. Because he gets off very, very fast, with the full technique going, he'd have been well away. But this is nice - I like Dudley's economical approach very much. If the rest of it is as good, I'd like the album."

"I thought the record was very pleasant, but a little bit too unadventurous and straightforward for my taste, seeing as he's got nothing to contend with except the bass and drums. He could have spread out a bit more than that. With his technique and knowledge, it could be a little more spiced."

"I accept that Exactly Like You is an overall pleasing track, understating everything rather than overstating. Dudley can be dazzling, if he wants to be, but I don't think he was trying to dazzle on it."

"I dream of playing like Dudley Moore: Genuine Dud is still my desert island choice."

"If you've never heard Dudley Moore play, please give this a listen. If you're already a fan of this late lamented talented man you don't need me to sing his or the Trio's praises."

Don’t Go To Strangers - EYDIE GORME****

How About Me/What’s New/What Did I Have That I Don’t Have/I’ll Be Around/If He Walked Into My Life/Don’t Go To Strangers/I Wish You Love/How Did He Look/I Wanna Be Around/Tell Him I Said Hello/When He Leaves You

Eydie Gorme's acclaimed LP Don't Go To Strangers includes the Grammy winning single If He Walked Into My Life. Eydie's albums would make the lower reaches of the chart until the early seventies. (US:22)

"It is a fantastic LP, no doubt her very best. You get a true sense of her feelings as she sings. If you truly like soft music with a meaning this is a must have. You won't find many better than this."

"I heard If He Walked Into My Life many times on the radio without knowing it was Eydie. I bought this LP just for that song, but this is an amazing collection by a truly gifted singer. Each song is a gem. The arrangements, the vocals - if you want to hear some great old songs done the right way, you have to get this."

"When the LP Don't Go To Strangers was first released is was clear that Eydie Gorme had arrived as a seriously great singer in the same league as Garland or Streisand yet with a sound, and way with a song, completely her own."

"Eydie Gorme is quite simply one of the best singers of our time. Possessing a voice that can go from an out-of-tempo whisper to solid upper register, notes surfing above the crest of a huge orchestra reaching it's crescendo. Ms Gorme can literally and delightfully make your hair stand on end."

"You can't find a better collection of torch songs than Don't Go To Strangers. This is one of the great all time albums by an amazing voice."

"Thank you Eydie for this engrossing collection of richly varied and timeless classic performances, as you created a true vocal masterpiece that is a joy to listen to and experience for always. You are a wondrous and magical singer; there is none finer on the planet and this album is the ultimate musical treat and treasure."

"This has become my favourite LP and demonstrates that Eydie is the best torch singer and the most talented pop singer ever. There is a lot of great music in this album, Eydie does each song perfectly and sounds like she means every word."

Animalisms/Animalization – THE ANIMALS***

One Monkey Don’t Stop No Show/Maudie/Outcast/Sweet Little Sixteen/You’re On My Mind/Clapping/Gin House Blues/Squeeze Her Tease Her/What Am I Living For/I Put A Spell On You/That’s All I Am To You/She’ll Return It. US album includes Don’t Bring Me Down/Cheating/Inside Looking Out/See See Rider and omits Outcast/ Clapping/Squeeze Her Tease Her/That’s All I Am To You

Animalisms was the final UK chart album by The Animals and came with a change of label to Decca. A similar LP was released as Animalization in the US. The group fell apart shortly afterwards with vocalist Eric Burdon forming the New Animals with a more psychedelic sound. (US:20 UK:4)

"The album is packed with blues standards recorded in the States with top producer Tom Wilson. Typically raucous lead singer Eric Burdon pours heart and soul into classics such as Gin House Blues and One Monkey Don't Stop No Show."

"Most of the trademark Animals sound is still there: Eric's raunchy vocals, the band's menacing energy and invigorating rhythms, and new member Dave Rowberry even gets to shine with a couple of organ solos that sound not unlike the classic Price ones, although in general the organ is sorely missed on most of these songs."

"Eric is already going in the 'psychedelic/soulful jam' direction he would cherish so much for the next few years. Many of the songs don't have stable melodies as such, and often abandon the verse/chorus scheme in favour of random 'sound making'. In less experienced hands, this would prove to be a terrible disaster. Fortunately, Burdon is such a great singer, and the band is such an effective unit, that even the most loose 'chants' are still efficient."

"This has a better overall sound than their previous albums, but if I’d bought this when it came out I’d have been hugely disappointed. It just doesn’t seem right for a big name group to be covering something like Sweet Little Sixteen in 1966."

"As good as this album is, there's a sudden drop in sound quality and the covers are starting to get a little old. It's not like every other British pop band at the time hadn't covered Sweet Little Sixteen yet, and the songs are drenched in echo and have a darker sound to them. But on the bright side, they do great versions of these songs. It's no exaggeration to call Burdon the king of Brit blues for 1966. But he's still able to do pop as well. Recommended for Animals fans, but it does sound a little outdated."

A Touch Of Today – NANCY WILSON****

You’ve Got Your Troubles/And I Love Him/Uptight(Everything’s Alright)/Have A Heart/Before The Rain/The Shadow Of Your Smile/Call Me/Yesterday/Wasn’t It Wonderful/You’re Gonna Hear From Me/No One Else But You/Goin' Out Of My Head

A Touch Of Today was jazz influenced vocalist Nancy Wilson's last US album top twenty entry. She would continue to place her LPs on the lower rungs of the US chart for more than a decade later. Despite her international stature she failed to crack the UK album chart. (US:15)

"A Touch of Today features Nancy Wilson's pop sessions from the mid-'60s, chock to the brim with up-to-date, for the time, standards. Though Wilson's beautiful voice and impeccable phrasing convert most of these songs into her repertoire, a few just don't work at all."

"A Touch Of Today overall has a warm, very understated, relaxed feel about it. If you're looking for Ms. Wilson to holler and bellow to the crowd, look elsewhere The arrangements by Sid Feller are superb. They envelop and surround Ms. Wilson like a linebacker protecting a quarterback, making sure she hits her goal. Some personal favourites are: You're Gonna Hear From Me, sung with gusto and feeling. Many singers have sung this song written by Andre Previn, but out of all of them, Ms. Wilson's version stands out and really stays with you. Others include the nicely done The Shadow Of Your Smile. Let's just say Ms. Wilson acquits herself very nicely here."

"True, not her usual jazz tone, but I'm sure happy with it, especially No One Else But You. That's a rare gem. This songbird can do no wrong in my book."

"What a voice, I mean if you like Nancy Wilson then you will love this album. I don't care if some of the songs are considered sappy 60s elevator fare, this woman's voice just makes any song sound beautiful and fresh. I almost left the room when Yesterday came on and I am so glad that I didn't ‘cause she just nails it like no one I have ever heard before. However, the whole album is like this."

The Young Rascals – THE YOUNG RASCALS***

Slow Down/Baby Let’s Wait/Just A Little/I Believe/Do You Feel It/Good Lovin’/Like A Rolling Stone/Mustang Sally/I Ain’t Gonna Eat Out My Heart Anymore/In The Midnight Hour

New York pop group The Young Rascals self titled debut album includes the US No. 1 hit single Good Lovin'. However, it is disappointing that nearly all of the tracks are covers. (US:15)

"An interesting debut. These guys had their chops down when they cut this LP but they came up with better material later on. Still, it's interesting to hear them do songs by Dylan and The Brummels. Still recommended. Classic mid-60s stuff."

"There are a lot of covers on here, but these guys always add a good twist or two so their renditions don't turn out as you would expect. Slow Down and In The Midnight Hour are two great examples of this. And they did get better from here."

"There is one treasure on this - their version of Slow Down, sounds like their encore piece and far better than The Beatles version. Overall the drumming is excellent but bass, keyboards and vocals are sub standard. Hard to believe the facile La Bamba pastiche Good Lovin' was a US No 1."

"The Young Rascals were one of the best bands to emerge from the 60s. I love the Hammond organ and Felix's voice."

"The first album by New Jersey's esteemed Young Rascals is in many ways a standard mid '60s debut: pretty much all covers, from The Beau Brummels' Just A Little to Wilson Pickett's In The Midnight Hour, leavened by the immortal blue-eyed soul rave-up Good Lovin', one of the classic pop songs of the decade."

"There were so many great groups who were overlooked during the 60s, groups who laid out wonderful music, but just got lost in the shuffle. Thankfully, The Young Rascals were recognized, got played, and have been selling this album steadily ever since."

"The Rascals first album was all covers except one song. They really didn't start writing originals until the second album. Good Lovin is a cover of the song originally by The Olympics. The Rascals version is a complete classic."