Collections – THE YOUNG RASCALS****

Follow up album from 'blue eyed soul' pop group The Young Rascals. Collections contains the US No. 14 hit I've Been Lonely Too Long. The title is misleading, this is not a greatest hits LP. (US:14)

"The second Young Rascals LP shows them progressing nicely as a blue eyed soul band at the top of their game. The hit I've Been Lonely Too Long is present, but every song here is enjoyable."

"The Rascals were a great band on record and live. This LP has elements of their live show. The Mickey's Monkey/Love Lights cut and the song, Come On Up, are examples of some of the best music ever made. Dino Danelli's drums are great particularly on the transition from Mickey's Monkey to Love Lights - one of the best drum riffs of all time."

"The S on the end of the title should be a clue, but just in case: this is not a Rascals greatest hits compilation. Released in 1967, Collections is a studio album that finds The Young Rascals at the height of their blue-eyed soul era, bashing out smart funky covers of R & B hits and a small handful of meaty originals."

"I had this as an album in the sixties and couldn't forget their version of More - what a rendition. These cats were way cool. If you're not familiar with them, this is a great introduction. It's amazing that people could come up with so much great music every time out, and that doesn't happen much these days, but The Rascals were consistent hit makers and never made a bad record."

"Too sophisticated to be a garage band, The Young Rascals still had a rough edge to their sound - even on a version of the middle-of-the-road favourite More, that gives the album its excitement. The boys are in full-on human jukebox mode, tossing off their interpretations of The Miracles' Mickey's Monkey, The Marvelettes Too Many Fish In The Sea and a version of Land Of 1000 Dances. Good sweaty R & B fun."

"Gene's guitar riffs on Since I Fell For You and More are awesome, and his solo on What Is The Reason is my favourite guitar solo of all time."

Between The Buttons – THE ROLLING STONES*****

Yesterday’s Paper/My Obsession/Back Street Girl/Connection/She Smiled Sweetly/Cool Calm & Collected/All Sold Out/Please Go Home/Who’s Been Sleeping Here/Complicated/Miss Amanda Jones/Something Happened To Me Yesterday

Between The Buttons is considered to be the most pop orientated album from The Rolling Stones, with some songs leaning more towards vaudeville than rhythm & blues. (US:2 UK:3)

"The Rolling Stones 1967 recordings are a matter of some controversy; many critics felt that they were compromising their raw, rootsy power with trendy emulations of The Beatles, Kinks, Dylan and psychedelic music. Approach this album with an open mind though, and you'll find it to be one of their strongest, most eclectic LPs, with many fine songs that remain unknown to all but Stones devotees."

"A good balance between the low-key ballads and effective rock songs. This album arrived at about the point where The Stones music softened a bit, but tunes such as Complicated and Miss Amanda Jones prove that they could still rock out."

"This is very much of its time. With Aftermath completed the band were clearly unsure which way to head, instead they accumulated everything from the 'Swinging London' of the time and produced this cracking little record. The influence of The Kinks can be heard in the vaudeville tracks Cool Calm & Collected and Something Happened; they are very much tongue in cheek but a lot of fun."

"A minor oddity in The Stones discography, as this is just a charming little pop album with some phenomenal production and one of Mick's better vocal performances."

"Buttons fits very well into the timeframe it was recorded as its musical direction is typical for a number of groups from around that time (for example The Kinks). There is a certain vaudeville influence on some of the tracks, as well as a real Old English flavour to virtually all of the songs. On the whole the songs work extremely well with Brian Jones once again making his mark playing some unusual instruments."

"This is the most British of their albums, with two major influences pounding on both the melodies and the lyrics: The Kinks and Dylan. The most striking difference when compared to most Stones albums is that it is far less rock/rhythm & blues orientated; instead its an album chock full of melodic pop songs."

The Spirit Of ’67 - PAUL REVERE & THE RAIDERS***

Good Thing/All About Her/In My Community/Louise/Why Why Why (Is It So Hard)/Oh To Be A Man/Hungry/ Undecided Man/Our Candidate/1001/Arabian Nights/The Great Airplane Strike

The Spirit Of '67 is considered to be the strongest album from this garage style group that were extremely popular in the US during the mid-sixties, but virtually unknown in the UK. It contains three US top twenty hit singles Good Thing, Hungry and The Great Airplane Strike. (US:9)

"One of the strongest albums by Paul Revere & The Raiders. Good Thing, Hungry and The Great Airplane Strike were all very good single releases in their own right. Also, the supporting cast of songs was fairly strong. They were able to produce good pop/rock without distancing themselves from their garage roots."

"In fact, as far as 60s pop goes, this album is a pretty solid offering. Opening with the almost Stonesy rocker Good Thing it is a varied album - and yes, the material is consistently good, whatever style they decide to tap into. Even the slower, more melodramatic songs like All About Her aren't laughable or corny. Louise is a rocking track that should have been a top 40 single, had it not been behind three others on this album. For my money, their best album."

"Despite this band's rather silly outfits and name, I think you would be surprised at how good this album actually is, I know I was. Rockin' garage and psych pop tunes that would fit nicely with more cool obscure platters."

"There isn't a truly weak song on the album. There are 'weaker' songs, but none of them are just fillers. This is the first album where Mark Lindsay had fully developed the range and power of his vastly underrated male rock voice. The instrumentation on this album kicks things up a notch. There is some very nice and intricate guitar playing, for example, and unexpectedly, on Oh To Be A Man, as well as on many other tracks. By this point in time The Raiders' harmonies were at their tightest and were uniquely their own. The great tragedy is that The Raiders chose not to build on the strength of this album but to go off in a more pop and bubblegum direction for a year."

"There was always a quality gap between their hits and the other LP cuts, but there are some surprises here."

Watchout! – MARTHA & THE VANDELLAS***

I’m Ready For Love/One Way Out/Jimmy Mack/Let This Day Be/Keep It Up/Happiness Is Guaranteed/I’ll Follow You/No More Tear Stained Make Up/Go Ahead And Laugh/What Am I Going To Do Without You/Tell Me I’ll Never Be Alone/He Doesn’t Love Her Anymore

Martha & The Vandellas Watchout! epitomised the contrast between Motown’s singles success and relatively poor album showing. The singles I’m Ready For Love and Jimmy Mack reached No. 9 and No. 10 in the US respectively, whereas this album struggled to a low chart placing. (US:116)

"Fabulous album which really shows Martha's growth as a singer and a music stylist. The Vandellas Rosalind Ashford and Betty Kelly were given some catchy lines in the background.”

“It's widely considered one of the great Motown albums because the material is infectious and Martha absolutely tears apart each song and puts it back together again so dynamically. This woman was a genius at taking undistinguished material and making it unforgettable. Besides having the talent to sock any song over, she was a keen interpreter of lyrics and conveyer of mood, extremely intelligent and without a false note in any of her emotions. Watchout! is a lesson in how to sing.”

“Watchout! is a major disappointment. Apart from the two big hits, I'm Ready For Love and Jimmy Mack, and possibly No More Tear Stained Make Up and the brooding He Doesn't Love Her Anymore, the other songs are unmemorable and undistinguished. But then, Martha always sang above the quality of her material. That's her genius as a singer. Her passionate 'tear-your-guts-out' vocals still gives me the shivers and compensate for the lacklustre, dirge-like quality of the tuneless fillers.”

"Watchout! is a real gem and most of the songs are interesting, entertaining and mostly upbeat."

Tiny Bubbles – DON HO***

Please Wait For Me/One Paddle Two Paddle/Beautiful Kauai/Young Land/Happy Me/Hawaii/You’ll Never Go Home/She’s Gone Again/Geev’um/The Lights Of Home/Tiny Bubbles/I Love The Simple Folk

Popular Hawaiian night club singer Don Ho achieved his only US top twenty album entry with Tiny Bubbles. His future album releases would be much less successful. (US:15)

"Don Ho and Tiny Bubbles will certainly put you in a paradise frame of mind. If you remember your honeymoon or vacation in Hawaii, this album will spur all those wonderful memories, and maybe you'll want to call your travel agent to plan your next vacation."

"A lot of people hate Don Ho because of childhood memories of schlock; more appropriately, however, he's the next step after Martin Denny." "I was born and raised in Hawaii. I saw Don Ho at Duke Kahanamoku's in the 60s. You had to wait in line to get into his show. If you went to his show, it was a happening thing in Hawaii."

"For those nights when you're drinking alone and wallowing in your own sorrows. Put this on and one of two things will happen: either you'll forget your cares and disappear into the laid back groove of Don Ho, Hawaii's answer to Frank Sinatra and Dean Martin, or you'll be driven over the edge and commit hara-kiri with a butter knife."

"For many a mainlander, Don Ho will always be the voice of Hawaii, and tunes like Tiny Bubbles will forever accompany many a backyard or rooftop tiki party."

"Relaxing, soft, Hawaiian music. Great to listen to while driving. Reminds me of Hawaii. Don Ho at his best."

"His music does not represent traditional Hawaiian music and can be categorized as lounge lizard commercial."

"Who could forget Tiny Bubbles? Not Me! Mix the mai tais, put on your grass skirt, and rock."

That’s Life – FRANK SINATRA***

That’s Life/I Will Wait For You/Somewhere My Love/Sand & Sea/What Now My Love/Winchester Cathedral/Give Her Love/Tell Her/The Impossible Dream/You’re Gonna Hear From Me

That's Life was a somewhat disappointing album from Frank Sinatra where he attempts to keep up with the changing times by recording some unsuitable contemporary material. The title track was a No. 4 hit in the States. (US:4 UK:22)

"That's Life was constructed as many adult pop LPs of the period were: one huge hit, covers of recent popular songs, maybe an original or two done in the style of another similar sounding singer. Here, That's Life is the masterpiece. It's a swilling, swaggering piece of big band martini R & B - the perfect song statement for one who so recently and publicly turned 50."

"Some good songs, some not so good songs. What Now My Love and The Impossible Dream are probably the best. Winchester Cathedral is a misguided attempt to be 'contemporary', but it's actually fun, in a goofy kind of way. Most of the other songs are rather forgettable."

"This record is absolutely dreadful. It features 'Ol' Blue Eyes' worst ever arranger, Ernie Freeman, who was responsible for taking the ageing Sinatra into the realm of middle-of-the-road pop."

"This mid sixties release is widely considered by many Frank fans to be one of his worst efforts, and it's not hard to see why. It's blatantly obvious on this record that Frank is trying to keep up with the times, and the result is a very mixed affair."

"It's his first album of completely contemporary material, and not much of it suited Frank. It doesn't help that Ernie Freeman is the worst arranger Frank ever had."

"Frank Sinatra released a wonderful album with That's Life; Frank sounds great and he sings with his usual flair; he could interpret lyrics better than just about anyone and his audiences loved him for it. There are ten outstanding songs, all of which get the royal treatment. Frank is squarely in the spotlight, where he belongs."

"That's Life is not the world's worst recording. Not even close. It's Sinatra, after all, and he's not in bad voice at all."

Sophisticated Beggar – ROY HARPER***

China Girl/Goldfish/Sophisticated Beggar/My Friend/Big Fat Silver Aeroplane/Blackpool/Legend/Girlie/October The Twelth/Black Clouds/Mr Station Master/Forever/Committed

Sophisticated Beggar was the debut album from Roy Harper, a cult figure on the British music scene during the sixties. He straddled the line between folk and rock with this release emphasising the former.

“A promising debut which gives a hint of many of the elements for which Harper has become known: The distinctive guitar style, the humour but also the self indulgence which you either love or loathe.”

“As with most of his releases, he seems to have a Jekyll/Hyde personality conflict going between singer/songwriter acoustic folk and progressive hard rock. This first album has only one of the latter, the remainder being the former. But even the softer stuff features some great songwriting."

“Sophisticated Beggar shows Roy Harper to be a fully formed artist from the outset on his debut album. Amongst the polemic longer tracks he became known for there are some surprising attempts at more poppy material such as Big Fat Silver Aeroplane, as well as the shorter beautiful songs.”

“If you are a fan of Roy's sixties work then you will not be disappointed by the number and quality of great songs on this album. Of the thirteen tracks I would say only around three are under par. Forever combines Roy's trademark unusual tunings, lyrical acuity and beautiful melodies.”

“Harper struck gold right away with his debut album; and arguably he never did anything better. There's a variety of moods - mostly just acoustic guitar and vocal, though there are a couple of band tracks. The trademark caustic style is already there, but also childlike simplicity and a beautiful, poignant lyricism; perhaps the dominant note, though, is a mellow dreaminess, enhanced by some of his most ambitious guitar work ever.”

“As an ardent Roy Harper fan, I think this is probably the worst of his many albums I have in my possession. Granted there are little distant snippets of what is yet to come, but in all honesty, if I had heard this prior to hearing any of his other works, then I think I would not have bothered listening to any of his later masterpieces.”

Somewhere Outside – THE UGLY DUCKLINGS***

Nothin’/Do What You Want/She Ain’t No Use To Me/Just In Case You Wonder/Not For Long/I Ain’t Gonna Eat My Heart Out Anymore/Hey Mama (Keep Your Big Mouth Shut)/10:30 Train/That’s Just The Thought I Had In Mind/Postman’s Fancy/Windy City (Noise At The North End)

The Ugly Ducklings were probably the best-known Canadian garage rock group of the mid-60s. Somewhere Outside was their only album release comprising nine originals and two covers.

“The band drew heavily from The Rolling Stones and The Pretty Things style with a raunchy R & B/rock sound. The album sold well in the Toronto area, but due to a lack of national distribution the band failed to break out across the rest of the country. The album is a gem with plenty of fine originals.”

“I've heard a lot of garage band sounds from the mid-1960s, and this is surely one of the best. Every song on Somewhere Outside (most of them being original compositions) is quite unique.”

“The Ugly Ducklings influenced the Toronto music scene in a big way in the 1960s. Sounding pre-punk edgy and altogether mean. With a little guidance they would have had a place in rock history, but it never happened.”

“Really cool album of mid-60s Canadian garage rock. This is fresh and varied, bursting with youthful energy. Not really a 'must hear', but if you're into lively 60s garage rock you could do much worse than listening to this. Enjoyable stuff with an edge.”

“These guys were at the vanguard of quality garage rockers from north of the border. Their only album is psych flavoured garage with great fuzz guitar, and even includes some comparatively milder pop oriented tracks.”

“An essential 60s garage album. Probably one of the better ones to come out of Canada. What it has are several decent R & B covers mixed with a surprising amount of excellent band originals. The first five tracks are a pretty solid line-up.”

“Rough but great garage rock here. Plenty of attitude, snarl, fuzz, emphatic vocals. Nothin' is a great track.”

Mercy Mercy Mercy! – THE CANNONBALL ADDERLEY QUINTET****

Introduction/Fun/Games/Mercy Mercy Mercy/Sticks/Hippodelphia/Sack O’woe

Mercy, Mercy. Mercy! was supposedly a live performance by the Cannonball Adderley Quintet in a club setting. In fact, it was recorded in a studio in front of an invited audience. The title track hit single reached No. 11 in the States. (US:13)

"Performed in front of a studio crowd plied with free drinks, Cannonball and company (Nat, Joe Zawinul, Victor Gaskin & Roy McCurdy) play six funky songs. First Cannonball speaks to the crowd, then the band gets in the groove. The groove is a strength and weakness of the album, with the exception of the title track, the songs don't stand out very strongly from each other. The title track has the most interesting songwriting, though the fact that it was a crossover hit surprises me. It's very good, though. The playing is all top-notch, too."

"In Los Angeles during the fall of 1966, Cannonball Adderley and his crack quintet laid down one of the most joyous, defining statements in the history of hard bop. Mercy Mercy Mercy, recorded live before a select and very vocal audience at Capitol's capacious Studio A, presages the funky rhythm changes and hollering gospel testimonies that distinguish contemporary jazz and new jack fusion, but with a greasy vitality and cerebral harmonic elegance often lacking in today's imitations."

"This is extremely alive music, even though it is not technically a real live performance at the 'Club' but a makeshift live in studio set with an invited audience. Where it is really living and breathing however is in the verve and energy of the players. The first two compositions here are by Nat Adderley and are titled Fun and Games which were knowingly paired together to set the tone for the evening. It has the mood of the spectacular jumping jazz joints of old animation, where the laws of physics need not apply. The vigour of this set is out of this world, and much more fifties bop in style than one might expect from something recorded in the late sixties."

"This whole performance brings the house down. This is hard bop at its best: a swinging, infectious album whose energy is impossible not to get wrapped up in. Mercy Mercy Mercy is the highest point, but there are plenty of others where that came from."

In The Arms Of Love – ANDY WILLIAMS****

The Very Thought Of You/If I Love Again/Theme From The Sand Pebbles/Remember/Here’s That Rainy Day/In The Arms Of Love/The Face I Love/Sand & Sea/So Nice/Pretty Butterfly/A Man & A Woman/All Through The Night

Andy Williams' In The Arms Of Love LP features tracks from the Great American Songbook and movie soundtracks, some performed in a bossa nova style. (US:21)

"In The Arms Of Love is an exceptional release. The first half features romantic ballads (including the Henry Mancini penned title track) set against lush, string-filled backdrops. But the real gems are the last six tracks, which get delightful bossa nova and samba treatments that complement Andy's ultra-cool vocals perfectly. Williams' light touch is well suited to this material."

"One thing that I like about this album is that we can hear for ourselves just how versatile Andy was as a performer - crooning out classic ballads and yet quite able to turn out some bossa nova tunes that rank with the best of them. With all these well done songs and ballads this also makes a fine starter for newcomers to the artistry of the incomparable Andy Williams."

"Everything is well done and the orchestrations are classic Williams. Especially good is the samba inspired So Nice, Pretty Butterfly and A Man & A Woman."

"In The Arms Of Love features tracks chosen from the Great American Songbook and film soundtracks. The arrangements are elaborate studio creations. The result is a rich, full sound, employing strings that act as a beautiful complement to Williams's emotive singing. Standout tracks include his renditions of So Nice, A Man & A Woman and the title song. These recordings are a testament to Williams's sterling reputation as an interpreter of popular songs."

"In The Arms Of Love is a must for the title track alone, one of my favourites by Andy and this was probably his last decent album of material in the 60s. There's great bossa nova stuff here like So Nice, Pretty Butterfly and the classic A Man & A Woman. The ballads are as good as Andy can make them."

"The sensuously gorgeous reading of And We Were Lovers; Andy's arrangement of this Leslie Bricusse theme frames his voice perfectly - a classic Andy Williams song."

Hums Of – THE LOVIN' SPOONFUL****

Lovin’ You/ Bes’ Friends/Voodoo In My Basement/Darlin’ Companion/Henry Thomas/Full Measure/Rain On The Roof/Coconut Grove/Nashville Cats/4 Eyes/Summer In The City

Hums was the final classic Lovin' Spoonful album before their acrimonious split. Contains the US top ten singles Nashville Cats and Rain On The Roof plus the US No. 1, and UK No. 8, Summer In The City. The early exit of this group was unfortunate given the diverse range of songs they produced. (US:14)

"It was their first album of all original material and all of the songs were written or co-written by John Sebastian. These are all Spoonful classics and continue to reflect their wide range of influences. The consistent high quality of the material on this album is all the more amazing when you realize this was their third album in twelve months."

"A very strong album with a wide variety of songs (all written or co-written by John Sebastian). In fact, my only complaint is that it is perhaps too eclectic, with the band trying on different styles like suits of clothes."

"To some, the songs are nice ditties about good times with a few oddballs in the mix. To others, the oddballs are what gives this album its identity. How many bands sing so dramatically about bullies making fun of kids with glasses? There’s certainly more to The Lovin’ Spoonful than Do You Believe In Magic."

"Most of these tracks are so filled with whimsy it's hard to take them seriously, but they are so seriously whimsical that they bear repeated (and I mean repeated) listening."

"This album is clever, diverse and fun but also very short. Still, I’ll take quality over quantity any day. It’s so easy to sit back and just enjoy the lyrics of songs like Darlin’ Companion or Voodoo In My Basement albeit for completely different reasons. The music isn’t half bad either."

"It didn't get any better than this for the Spoonful. Sebastian's originals were about as strong as they would ever be. Summer In The City, while the stand out cut and hit single, was only the tip of the iceberg."

Hit Parade – PETULA CLARK****

A Sign Of The Times/My Love/Heart/I Couldn’t Live Without Your Love/You’d Better Come Home/You’re The One/I Know A Place/Just Say Goodbye/Round Every Corner/Where Did We Go Wrong/Call Me/Downtown

Hit Parade features a collection of Petula's best known tracks from the Tony Hatch period. A more comprehensive CD of her many hits can be confidently recommended. (UK:18)

"Petula Clark was an accomplished performer long before she was recognized in the US with her legendary hit Downtown. She has sold over 68 million records in her career, a testament to her universal and enduring appeal. This LP captures the boundless energy and optimism of her top 40 hits of the mid 60s. Her music is most often soaring and infectious, yet she can also exhibit a lush and layered sensuality."

"Clark is the only performer I can think of who made such a completely successful transition from the post-war pre-rock 'n' roll era to the beat boom of the 1960s, and she seems to have blended into the 60s teen pop scene without any difficulty at all, having a whole string of hits during that time."

"These are infectious songs that sound as wonderful today as they did forty years ago. Each one is a gem."

"Don't be fooled by the imitations, these are the original versions of Petula's hits. Tony Hatch's songs and production shine when graced by Petula's voice. In addition to the really big hits, this collection includes many of her lesser gems."

"Her 60s career was aided no end by having a highly-talented in-house songwriter writing her material for her, in the form of Tony Hatch. This album is a fine collection of Hatch written songs, all from the mid-60s period, mostly accompanied by skilfully arranged strings and brass, and all exuding a strong 60s pop ambience."

"Petula sings Downtown with so much soul you just know this is her own idea of where to go for fun and good times with friends. A Sign Of The Times sports a 1960s rock beat and Petula bats this one straight out of the ballpark. I Know A Place highlights a melody that's practically triumphant; Petula celebrates her love for her man as they go to their favourite club. My Love also boasts a triumphant, joyful melody as Petula celebrates her one true man."

Here Where There Is Love – DIONNE WARWICK****

Go With Love/What The World Needs Now Is Love/I Just Don’t Know What To Do With Myself/Here Where There Is Love/Trains & Boats & Planes/Alfie/As Long As He Needs Me/I Wish You Love/(I Never Knew) What You Were Up To/Blowing In The Wind

Celebrated songstress Dionne Warwick finally breaks into the American album top twenty with Here Where There Is Love. Contains the US No. 15 hit single Alfie. (US:18)

"I just love Dionne Warwick. I have heard so many love songs in my life time and I am in my late forties, yet I must say that I Wish You Love is my favourite love song of all time. Dionne Warwick fans - get this LP, you will not be disappointed."

"As LPs go, this one's pretty good. Its only failing is in programming. Once you get past Alfie, the rest is filler, with that final cut the worst by far."

"Back in the mid-60s, the young Dionne Warwick was the epitome of vocal elegance. The way she danced around her upper register could just about take your breath away."

"For years, I contented myself with a few 'Best Of' collections of Dionne's work in my collection. But deep down, I always suspected that she was more than just a singles artist and that her individual albums must be - at the very least - interesting. And it turns out that Here Where There Is Love proved my suspicions right. Even if these (mostly Bacharach/David numbers) are not all classics, there is nothing throwaway about any of the tracks here."

"There is so much in the first half that will be 'new' to many listeners, that they will have to listen to Dionne's music with new ears. By the time the actual chart toppers roll out, you're convinced that there was always much, much more to Dionne Warwick than any greatest hits package could ever suggest."

Greatest Hits – THE TEMPTATIONS*****

The Way You Do The Things You Do/My Girl/Ain’t Too Proud To Beg/Don’t Look Back/Get Ready/Beauty Is Only Skin Deep/Since I Lost My Baby/The Girl’s Alright With Me/My Baby/Its Growing/I’ll Be In Trouble/Girl(Why You Wanna Make Me Blue)

First greatest hits collection from the legendary Motown soul group The Temptations with their original line up. It covers the period from early 1964 to mid 1966. (US:5 UK:17)

"This early Temptations Greatest Hits collection not only includes power singles like My Girl and Ain't Too Proud To Beg from the original five Tempts - Paul, Eddie, Otis, David Ruffin and Melvin - but also some of their lesser known hits favoured by some of us who had been with them from the beginning, like the smooth Don't Look Back and I'll Be In Trouble."

"It gathered every Temptations single from The Way You Do The Things You Do (January 1964) to Beauty Is Only Skin Deep (August 1966). Although a couple of significant early Norman Whitfield productions appear, this first Greatest Hits basically represents the period when The Temptations belonged to Smokey Robinson."

"There are more complete compilations out there for The Temptations, but this one has their early hits that are missing from other greatest hits and best of packages."

"Everything that made Motown's original Greatest Hits series truly great is here, from the twelve brilliant 1964-66 singles to the nothing fancy front cover. Hardly less powerful than larger packages, this set ranges through the varied approaches the company's assembly line brought to the group's early hits: the intricate metaphors of My Girl, the heartbreak of Since I Lost My Baby, the outright rush of Get Ready. One of the records that helped build the Detroit soul empire."

"I would recommend it to people who would like an introduction to the groups music as it has some of their most famous hits like My Girl and Get Ready."

"Anybody seriously interested in sixties music in general and Motown in particular will enjoy The Temptations."

Got Live If You Want It! – THE ROLLING STONES***

Under My Thumb/Get Of Off My Cloud/Lady Jane/Not Fade Away/I’ve Been Loving You Too Long/Fortune Teller/ The Last Time/19th Nervous Breakdown/Time Is On My Side/I’m Alright/Have You Seen Your Mother Baby/Satisfaction

Got Live If You Want It was a generally disappointing live album, marred by screaming fans and overdubbing in the studio. Nevertheless, it is of historic interest as the only authorised live release during the Brian Jones era. (US:6)

"The first in the Stones' grand tradition of interesting but non-essential live albums. The music itself is pretty good - nice if you want to hear The Stones' flowery early material done in a more ragged way. The sound quality isn't fantastic, but it's passable."

"This album was a rip-off, and The Stones knew it. If you use the balance you'll notice that on one side there's the band and audience noise, and on the other there's Mick and Keith's overdubbed vocals. Some songs aren't even live, it's the studio version on one side and screaming chicks on the other."

"The Rolling Stones have probably released more live albums than any other rock band in history. Got Live If You Want It was their first and probably the worst. The selection of songs culls their early classics, but the fact that a couple of the songs were actually recorded in the studio with crowd noise added, you feel cheated. Concerts at this time, were more for girls to go and scream at their idols and the bands really didn't experiment much."

"The worst official Stones album ever released. Poorly overdubbed, poorly recorded but it is also the only live document of the Brian Jones era." "People are harsh on this. I like it. It does have the screaming teenage girls, but they still play great music despite this."

"This record is great because it's raw and sloppy and energetic. Although you can tell there are studio overdubs galore without having known beforehand."

"Captured in those days of very limited technology, the fury and jungle mayhem that was a Stones concert."

Fresh Cream – CREAM*****

NSU/Sleepy Time Time/Dreaming/Sweet Wine/Spoonful/Cat’s Squirrel/Four Until Late/Rollin’ & Tumblin’/I’m So Glad/Toad

Fresh Cream was the excellent debut from the newly formed, hugely influential, blues rock supergroup, let down only by the self indulgent drum solo in Toad. The CD version benefits from the inclusion of I Feel Free, Wrapping Paper and The Coffee Song. (US:39 UK:6)

"One of the greatest debut albums ever by any band. One of the most definitive albums of the 60s containing some of the heaviest music ever recorded up to that time, Fresh Cream is a debut that goes straight for the throat. The teaming of guitarist Eric Clapton (fresh from John Mayall's Bluesbreakers) with virtuoso bassist Jack Bruce and phenomenal drummer legend Ginger Baker (both from the Graham Bond Organization) was nothing less than electrifying."

"Cream's debut album shows us the pure essence of blues, with a well structured composition of songs as well, plus some instrumental blues masterpieces."

"Unlike their next albums, where they played original songs, on Fresh Cream they combined their own material with blues covers. This is certainly one of the most original and influential albums of the sixties."

"Fresh Cream really truly lives up to its title, featuring the dynamic new band injecting some real performance fire into great jazz and blues standards."

"Fresh Cream is an excellent album, but not the best the band would come up with. It is a good and solid debut, but some of Cream's later works sound more inspired and sophisticated. The weakness comes with Cats Squirrel and Toad, both overdone jams."

"Half the songs are covers which is indicative of the fact they wanted to get something out to the public from this new 'supergroup'. The covers are pretty good with the highlight being Skip James' I'm So Glad which they really did make their own. Though many of the songs aren't original, they sound like no other band when coming from Cream."

Fred Neil – FRED NEIL****

The Dolphins/I’ve Got A Secret/That’s The Bag I’m In/Badi-Da/Faretheewell (Fred’s Tune)/Everybody’s Talkin’/ Everything Happens/Sweet Cocaine/Green Rocky Road/Cynicrustpetefredjohn Raga

Self titled debut album from folk guitarist Fred Neil who once worked as a songwriter in the Brill building. Includes his most famous composition Everybody’s Talkin’, later recorded by Nilsson for the Midnight Cowboy movie.

“I may not be one of the biggest fans of this artist's style of acoustic guitar driven folk and folk-rock. But there can be no denying this album is a true classic, not only of the genre, but the entire time period it represents.”

"The Dolphins and Fred's own version of Everybody's Talkin' are stunning. The rest of the songs are of pretty good quality, but none can touch these two standouts. For Neil, it seems simply possessing a cavernously low baritone wasn't enough; he constantly bended notes downward at the end of vocal phrases, employing the far-reaches of his low register to achieve a bluesy effect. He seems to overuse this tool just a bit.”

“A beauty of a folk-rock album, featuring Everybody's Talkin'. And it is a great song, as most of the rest of this is. Fred is a good guitar player and a great singer with a low and spellbinding voice. The album has some nice 60s production, some simple acoustic accompaniment mostly, with the occasional drums and electric guitar, just jammy enough without meandering too much.”

"Dolphins is an incredible song. The lyrics and music combine to capture such a wistful sentiment, and it has become one of my favourite songs. I was surprised at the quality of the rest of the music on this LP. Fred Neil had such a great voice, with an obvious appreciation of the blues.”

“Fred was an icon during the folk music period in the 1960s, though he had done a great deal of work in country prior to his coming to New York. Almost every folk musician and many of the folk rock stars of the period played and sang with Fred. With his amazing baritone voice, the songs on this album are some of his best.”

“This album is full of classic tunes and any exploration of the magic of Fred Neil should begin here. Embrace Neil's unbelievable baritone and 12 string picking, in conjunction with a set of high quality session players: you won't regret it.”

Live! – THE FOUR TOPS****

Introduction/Its The Same Old Song/Its Not Unusual/Baby I Need Your Loving/Reach Out I’ll Be There/Turn To Stone/I Left My Heart In San Francisco/You Can’t Hurry Love/Ask The Lonely/Climb Ev’ry Mountain/The Girl From Ipanema/If I Had A Hammer/I Can’t Help Myself/I Like Everything About You

Immensely popular Motown group The Four Tops' first live LP, recorded at the upper deck of the Roostertail, Detroit in late 1966. As well as many of their big hits it includes a few unlikely covers. (US:17 UK:4)

"During the rush releases of late 1966, there came a pleasantly surprising collection of songs The Four Tops recorded at Detroit's Roostertail venue. The set not only included some of their biggest hits (Reach Out, Baby I Need Your Loving), but also some standards. The Tops' showmanship is also showcased in this varied collection."

"The showstopper here is I Left My Heart In San Francisco, with cries from the audience Levi gives it his all. But it's The Tops' backing vocals that stirs the song to a frenzy with no less than two encores. For the finale, I Can't Help Myself, The Tops are joined by none other than Diana Ross and Marvin Gaye, and the encore is an emotional take on one of their greatest B-sides, I Like Everything About You. Thanks to recordings like this, we have a good deal of the legacy this group has left us."

"This captures the time and the group perfectly. I treasure this LP. In Ask The Lonely Levi has total vocal control. He uses it and delivers it as though it was an instrument, producing nothing but 'free flowing' improvisation of his creative artistry. This is soul music at it's most elevated form, natural and unpredictable. I love the groove of the song also; slightly slowed down from the hit record version; so that Levi could caress it and work his magic on it."

"These are the best, then there's the rarefied air that only a select few can reach. Levi Stubbs is among them. Here the man puts on a workshop on performing ballads. He can go from a whisper to an operatic baritone in a matter of seconds."

"They play all the favourites here and since it's live, you feel as though you're right there listening to them. Feel free to sing along."

For Certain Because – THE HOLLIES*****

What’s Wrong With The Way I Live/Pay You Back With Interest/Tell Me To My Face/Clown/Suspicious Look In Your Eyes/Its You/High Classed/Peculiar Situation/What Went Wrong/Crusader/Don’t Even Think About Changing/Stop Stop Stop

The Hollies finally get around to releasing an album worthy of their talents. Comprising all self penned numbers and no covers, the relatively lowly placing of For Certain Because in no way reflects the impressive contents within. The single Stop Stop Stop reached No. 7 in the US and No. 2 in the UK. (UK:23)

"This is what great pop is all about – melody and hooks perfectly played. I don't see a weak cut on the album. Best of all is What Went Wrong, it's a song and performance that is among the sunniest of all time and really captures that 66-67 Brit pop vibe."

"It is time for The Hollies to be re-appraised: always overlooked by 'cool' critics of sixties music, this band were as much a part of that decade as The Beatles, The Stones and all the rest. This is a strong pop album with some surprises - the sound of a band trying and succeeding to extend their pop repertoire."

"What strikes me most about these songs is just the care, the quality with which they were written. The melodies are all original; the verses are all carefully structured; the harmonies, as usual, are immaculate and, moreover, twisted to the point of virtuosity, just a breathtakingly well-written album."

"This is just so self-assured, so tight, so professional, that it makes me go wow. Drop all the pretences, bring your feet on the ground, and face reality: who cares if 1966, the year of a musical revolution, saw The Hollies firmly defend their position as an unambitious, simplistic, pop ensemble. It's the melody that matters above all the experimentation, and there's enough melodies on For Certain Because to keep a typical nineties band alive for years."

"The biggest hit here was Stop Stop Stop a fast, swirling whoopla with a highly distinguishable twinkling banjo riff that gets you really going round and round."

"For Certain Because is a real gem. You have to listen to this one if you want to hear some of the finest vocal harmonies of all time and incredible tunes. Sadly, I don't hear melodies like these on the radio nowadays."

Finders Keepers – CLIFF RICHARD ***

Finders Keepers/Time Drags By/Washerwoman/La La La Song/My Way/Oh Senorita/Spanish Music/Fiesta/This Day/Paella/Finders Keepers/My Way/Paella/Fiesta/Run To The Door/Where Did The Summer Go/Into Each Life Some Rain Must Fall

Cliff's final top twenty soundtrack album is the usual lightweight and forgettable film fare, typical of the period. Finder's Keepers contains the UK top ten hit single Time Drags By. (UK:6)

"This still stands up as a good collection of catchy songs. OK, yes, they are a bit naff but in a good way and I defy you not to be singing 'Oh Senorita, who's the man beneath your window, singing softly while he plays a small guitar' within minutes of hearing it. Despite blowing my credibility, I have to confess that a lot of Cliff's sixties songs are actually very good. This Day is still a favourite."

"The use of paella as a love song cue is one of the most hilariously hokey rock movie song cues outside of a typical Elvis Presley flick. If you like Cliff Richard and/or the kind of cheerful light hearted, light headed pop music movies they cranked out in the 1950s and '60s, Finders Keepers is pleasant fare for a lazy afternoon."

"The film's songs are all good. Written by The Shadows, they are mostly cheerful and plot relevant, and they include the haunting This Day, a ballad performed while boating through subterranean caverns. The soundtrack is well worth a listen."

A Collection Of Beatles Oldies – THE BEATLES*****

She Loves You/From Me To You/We Can Work It Out/Help/Michelle/Yesterday/I Feel Fine/Yellow Submarine/ Can’t Buy Me Love/Bad Boy/Day Tripper/A Hard Day’s Night/Ticket To Ride/Paperback Writer/Eleanor Rigby/I Want To Hold Your Hand

The Oldies album was a rare commercial failure from The Beatles. Despite containing more No. 1 hit singles than almost any album in history, its sales were relatively disappointing. Presumably, since most fans already had the tracks as singles, they saw no need to buy them again in LP form. (UK:7)

"This was the first opportunity for British listeners to get tracks like She Loves You, I Want To Hold Your Hand and Day Tripper in LP form. Released as The Beatles were entering into their psychedelic phase, this compilation features wonderful cover art. The sequencing here doesn't make all that much sense (but all the songs are phenomenal). I love the addition of Bad Boy, the only cover song on the album, which is a very underrated Beatle rocker."

"A contractual obligation album, but a good one. Not having enough material to release a second album of new songs in 1966, The Beatles chose to release a compilation of all their singles instead. Vital tracks appear here for the first time on an LP record."

"While a collection of all single A-sides (except, oddly, Love Me Do and Please Please Me) kind of makes sense, it doesn't make for a very cohesive album, especially in the present jumbled running order. I can't help feeling that instead of some of the songs that were already available on LP, a few of the better single B-sides would have been nice, but who am I to complain? This is great stuff."

"Their only official compilation issued during the band's lifetime. All the early singles except for the first two, plus key album tracks, with a very odd running order."

"Love the cover art work on this now somewhat hard to find LP. There is not a track on this that I would skip, an excellent collection of mostly hits up to 1966."

Carryin’ On – LOU RAWLS***

Mean Black Snake/Walking Proud/The Devil In Your Eyes/Find Out What’s Happening/You Can Bring Me All Your Heartaches/A Woman Who’s A Woman/The Life That I Lead/Yesterday/Trouble Down Here Below/You’re Gonna Hear From Me/Something Stirring In My Soul/On Broadway

The success of Soulin' and his live album pushed up the sales of Lou Rawls's Carryin' On. He would go on to enjoy a lengthy, albeit uneven, commercial career. (US:20)

"This album swings with the best of them, along with the great vocals, as usual by Lou. Do not hesitate to purchase this LP if you dig Lou, swing blues, Motown sound. You won't be disappointed."

"He got a mild hit from this album with a fine rendition of On Broadway, but otherwise, it was another example of everything clicking except nothing sold. The production and arrangements were perfectly tailored."

"Rawls is one of the many R & B singers trained in gospel groups. Capitol tried to mould him in the same style as Nat King Cole, but ended up overproducing him and negating his talent, although the hits have a certain vitality."

Cabaret – BROADWAY CAST*****

Willkommen/So What/Don’t Tell Mama/Telephone Song/Absolutely Marvellous/Two Ladies/It Couldn’t Please Me More/Tomorrow Belongs To Me/Why Should I Wake Up/The Money Song/Married/Meeskite/Entr’acte/If You Could See Her/What Would You Do/Cabaret/Finale

The Broadway musical Cabaret set in Weimar Germany starred Jill Haworth, Jack Gilford and Bert Convy. It opened at the Broadhurst Theatre in November 1966 and ran for 1,165 performances. Music by John Kander, lyrics by Fred Ebb. (US:37)

"Want to know why Cabaret is a classic? Just listen to this recording. The songs are masterfully crafted and beautifully performed by a great cast, including Joel Grey, Bert Convy, Lotte Lenya, Jack Gilford, and Jill Haworth. Though the show has undergone numerous changes since this recording was first produced, there are still no better recordings of the score than in its original form."

"Those who know Cabaret only from the popular movie version starring Liza Minnelli are missing quite a lot. The original Broadway cast recording is a delight from start to finish. The recording starts with the definitive version of Willkommen in which the sinister emcee invites us into the seemingly lovely, but downright evil world of Berlin in the early 1930s. From then on, it's a string of hits, including well known songs like Tomorrow Belongs To Me, If You Could See Her and the title song. This recording also has lesser known, but equally wonderful songs not included in the film. The movie version may be silver, but this is gold."

"The music is catchy, wickedly bawdy and full of entendre. Written by John Kander and Fred Ebb, it examines the ins and outs of cultural clash, identity and human violence. The instrumental is deceptively peppy, as if to conceal a reality that the performers are desperately trying to hide. I recommend this as an engrossing period piece, as well as a great example of the musical theatre repertoire."

"This is one of those musicals that you may perfectly describe as a landmark in the history of musicals. It helps to define the transitional period between the golden age of the fifties and the musicals that came right after. Impossible to classify it as a musical comedy, since it deals mostly with dramatic issues. It's rough, dramatic, violent stuff but so wonderfully conceived. Jill Haworth plays the immortal character of Sally Bowles with style, and her rendition of Cabaret is stunning."

Buffalo Springfield – BUFFALO SPRINGFIELD*****

For What Its Worth/Go & Say Goodbye/Sit Down I Think I Love You/Nowadays Clancy Can’t Even Sing/Hot Dusty Roads/Everybody’s Wrong/Flying On The Ground Is Wrong/Burned/Do I Have To Come Right Out & Say It/Leave/Out Of My Mind/Pay The Price

Solid self titled debut album from the legendary Buffalo Springfield, which launched the careers of some of the biggest names in rock music. The lowly album chart placing does not do justice to the quality of the songs or the talent of the performers. For What Its Worth was a US No. 7 hit single. (US:80)

"This record is a great introduction to what the group had to come and portrays, more than any other album, their folk-rock style of music. It is full of easy to listen vocals and guitar playing."

"A delightful album, from start to finish, with not a weak track in sight. It displays the awesome songwriting talents of some of rocks future legends in Stills and Young. Arguably a pre-super group, with all going on to future fame, even after leaving a group as influential as this. One of those 'truly essential' 60s releases that epitomizes the period."

"Highlighting material from Stills and Young, the quintet's self-titled debut showcased a twelve song mixture of rock, folk and country influences. Recorded at breakneck speed, the material on Buffalo Springfield was impressive."

"This is an excellent collection to have. For What It's Worth is one of the anthems of the 1960s. The natural expression, the great vocals and guitar playing make this pre-CSN collection a real treat to have. Stephen Stills and Neil Young will not disappoint. This is truly a worthwhile collection to have. It also just plain sounds good. I love it."

"All in all, twelve rootsy pop/rock tracks ranging from great to fantastic without a stinker in the bunch. All of this without mention of Stills' For What It's Worth. Everything that can be said about that song has already been said, all I can add is that is deserves every ounce of praise it has attained."

"Very, very good debut album from these hippie 60s counter-culture dudes. You really feel a part of the 60s when listening to this. First album to feature the brilliant Neil Young. Even though it's now overshadowed by its superb follow up, its best bits should be remembered as some of Stills and Young's finest music."

A Quick One – THE WHO***

Run Run Run/Boris The Spider/I Need You/Whiskey Man/Heat Wave/Cobwebs & Strange/Don’t Look Away/See My Way/So Sad About Us/A Quick One While He’s Away

A Quick One was the disappointing second album from The Who in which the song writing credits are shared amongst group members. Fortunately, Pete Townshend would take a grip on proceedings, resulting in three brilliant follow up albums. (UK:4)

"The Who's second album is a less impressive outing than their debut, primarily because, at the urging of their managers, all four members penned original material Still, there's some great madness on Keith Moon's instrumental Cobwebs & Strange, and Townshend delivered some solid mod pop with Run Run Run and So Sad About Us. John Entwistle was also revealed to be a writer of considerable talent (and a morbid bent) on Whiskey Man and Boris The Spider."

"Townshend and Entwistle (never mind Daltrey and Moon) aren't exactly Lennon and McCartney in the song writing department. Pete actually, except for A Quick One, takes a major (although temporary) dive in writing with this collection of wimpy pop songs, albeit dressed up in the band's instrumental attack. He does get an A for effort for the title track, but I think it's overstating it quite a bit to call a nine minute track a rock opera."

"Oh boy, I just don't like A Quick One at all - I think it's pretty much of a mess; and, more importantly, in no way does it reflect The Who's gloriously aggressive live act of the time. At least John Entwistle came through with some winning tunes: Boris The Spider is fun; but gets a bit too much praise for just a silly, scary nursery rhyme."

"All in all, this album is quite low down on a Who buyers' guide simply because of its mixed bag of quality."

"This album certainly suffers in comparison to their great first album, but it is still fun and enjoyable. It slowly starts to lose steam coming into the second side, but it perks up again with the best song on the whole album - the title track."

"An absolute train wreck of an album. Churned out in double quick time to make a quick buck, disastrously all the band take a hand in the writing with cringe worthy results."

Winchester Cathedral – THE NEW VAUDEVILLE BAND***

Winchester Cathedral/Lilli Marlene/I Can’t Go Wrong/Tap Your Feet/Whatever Happened To Phyllis Puke/Diana Goodbye/A Nightingale Sang In Berkeley Square/Whispering/Kind Of Hush/Your Love Ain’t What It Used To Be/That’s All For Now Sugar Baby

The short lived The New Vaudeville Band specialised in ersatz yet appealing recreations of the musical styles of the twenties and thirties. The Grammy winning title track was a No. 1 hit single in the States and No. 4 in Britain. Unfortunately omitted are their breezy follow up hits Peek-A-Boo and Finchley Central. (US:5)

"Geoff Stephens, a producer and songwriter who wrote Winchester Cathedral, was a clever moderniser of the '20s and '30s music hall styles which he genuinely loved, Winchester Cathedral became the surprise blockbuster of mid-to-late 1966. Stephens managed to round up an ensemble - complete with contra bassoon, pocket trumpet, and other period instruments as well as a contemporary rhythm section. Unfortunately, the novelty wore off sooner than Stephens believed it might."

"Their music was firmly rooted in the thirties although much of their material was original, written to sound like it could have been vaudeville music of the time."

"This novelty vaudeville jazz outfit surfaced for a short chart run in the mid-'60s. Although limited in range and at times far too obvious, at their best The New Vaudeville Band delivered a whimsical, sometimes clever takes on original and imitation tunes of the 1920s and 1930s."

"A quirky group that brings back memories of the swinging '60s. Listening to Winchester Cathedral is like taking a lovely walk to memories past. A song with simplistic music and lyrics that are sung so clearly."

"The New Vaudeville Band was a mid 60s outfit that had a habit of using megaphones and kazoos for sound affects, like in the Roaring 20s to the Big Band era. In most cases they also dressed the part as well. Simply outrageous and fabulous." "This LP is more than just their one big hit song. Even though A Kind Of Hush was contemporary, they place their 1920s stamp on it as an authentic period piece."

Winchester Cathedral – LAWRENCE WELK***

Winchester Cathedral/Born Free/Summer Wind/Family Affair Theme/Mas Que Nada/Summer Samba/Tijuana/ Cuando/Copy Cat/Walking On New Grass

Winchester Cathedral was the last of a long line of US album top twenty entries featuring current hits, from the 'Champagne Pops' bandleader and arranger Lawrence Welk. (US:12)

"The most popular shows on public television right now are the rebroadcasts of the old Lawrence Welk Show. That should be enough to convince you to get with the Welk momentum. Timeless arrangements of classic songs. A true American treasure."

"Thankfully, the maestro's music eschewed the flash, always focusing on the substance of the piece and getting deep into the heart of the music."

"Winchester Cathedral was a wonderful big hit for the Welk folks. Done so well."

"I always loved the Family Affair Theme and this version of it is awesome."

Turn On – THE MUSIC MACHINE**

Talk Talk/Trouble/Cherry Cherry/Taxman/Some Other Drum/Masculine Intuition/The People In Me/See See Rider/Wrong/96 Tears/Come On In/Hey Joe

The Music Machine were a short lived garage rock band from Los Angeles. Their debut Turn On, relies heavily on many well known covers and includes the US No. 15 hit single Talk Talk. (US:76)

“To me the term 'garage band' came from a type of music that was played by young raw musicians who would get together on a Saturday afternoon in someone’s garage or basement and bang away on those raw, edgy, 'easy-to-play anybody-can-sing-`em' songs that were common knowledge to most young musicians of the 60s.”

“This was music that upset parents in the mid-60s. The Music Machine were different. They looked it, dressed head to toe in black, including black leather gloves, The vocals were baritoned howls and growls, The music was down and dirty hard as nails garage rock. The Music Machine were a true underground band."

“When I first heard The Music Machine, I was blown away. These guys are one of the greatest garage bands ever. On their rockin' tracks they feature intense fuzz, rocked out guitars, dance inspiring drums, low pounding bass, an organ that has a touch of cartoon horror to it, with Sean Bonniwell's deep, enchanting voice bringing you to another world.”

“The Music Machine were definitely not one of the most famous rock bands of the sixties. The cover versions on the disc are not as good as the songs the band wrote themselves. Talk Talk was the group's only top 40 hit, but there are several songs that they wrote themselves that are great sixties garage/psychedelic tunes. Definitely recommended for fans of the genre.”

“Turn On, the debut album, is both brilliant and slightly uneven, thanks to three or four cover versions that aren't bad, but sit uncomfortably next to Bonniwell's fiercely original songs, that mine relationship conflicts and explore social and political dynamics with nuance and subtlety.”

“From chilling ballads to snarling pop rock, Bonniwell delivers with complete sincerity. His experience in folk groups gave him a solid foundation in harmonies, which gave Music Machine some pretty haunting vocals at times.”

S.R.O – HERB ALPERT & THE TIJUANA BRASS*****

Our Day Will Come/Mexican Road Race/I Will Wait For You/Bean Bag/The Wall Street Rag/The Work Song/ Mame/Blue Sunday/Don’t Go Breaking My Heart/For Carlos/Freight Train Joe/Flamingo

Standing room only as Herb Alpert and the Brass continue their winning streak. SRO includes The Work Song and Mame, both US top twenty hit singles. (US:2 UK:5)

"This has always been my favourite Tijuana Brass album, mainly because it was the jazziest of the group's repertoire. Herb Alpert even takes a nice trumpet solo on the opener Our Day Will Come. This album also illustrates Herb Alpert's incredible arranging skills, something many people have forgotten about. To me, this is the first time the TJB sounded like an actual 'band' instead of a recording group. Well worth picking up."

"This album is considered by many to be the best Tijuana Brass record ever. It certainly is a great recording. Obviously, this is the Brass' most jazziest album yet, recording Nat Adderley's The Work Song, the Dixieland Wall Street Rag, the swinging Mexican Road Race, the standards I Will Wait For You, Flamingo, Our Day Will Come, and the tune made famous by Wes Montgomery, For Carlos, during which the Brass shift time signatures with ease and a nice trombone solo."

"This album really has a group sound to it. All the instruments of The Brass were very well represented, drums, bass, piano and guitar. Basically the whole rhythm section is tight as can be. Herb's trumpet playing is also superb. A brilliant album."

"S.R.O. offers you an excellent assortment of eleven instrumental tracks as well as one song to which they sing the lyrics, Mame. They may not be the greatest singers I ever heard; but their awesome, infectiously catchy melodies and relentless happiness and optimism more than compensate for this disappointment." ,p> "Overall, fans of Herb Alpert & The Tijuana Brass will consider this a 'must-have' for their collection; and people who enjoy classic instrumentals and easy listening will enjoy this album too. Herb Alpert & The Tijuana Brass will remain a strong force in the world of entertainment for quite some while to come because of their numerous superb releases during the 1960s."

Renaissance – THE ASSOCIATION****

I’m The One/Memories Of You/All Is Mine/Pandora’s Golden Heebie Jeebies/Angeline/Songs In The Wind/You May Think/Looking Glass/Come To Me/No Fair At All/You Hear Me Call Your Name/Another Time Another Place

The Association's second LP Renaissance lacked a big hit single resulting in a comparatively low US album chart placing. However, it still combined memorable tunes with the group's excellent trademark vocal harmonies. (US:34)

"Renaissance is The Association's second album and, once more, these guys deliver the goods with catchy, inventive, memorable pop songs and truly unique vocal harmonies. It features a couple of Association hits, albeit minor ones: the lovely No Fair At All, and the spectacular psychedelia of Pandora's Golden Heebie Jeebies, one of the band's very best confections. But there are many more first rate songs."

"Second album by the excellent US pop group The Association, a sextet of gifted songwriters, players and most importantly singers, who brought the art of vocal harmony to the highest levels known in popular music. The group enjoyed some success on the US charts in the late 1960s, but they were way more sophisticated and creative to be considered just as hit makers. Most of their material was self penned, self played and self arranged and the collective talent and ingenuity of the band members was beyond doubt. This is classic pop, which still sounds perfect today. Wholeheartedly recommended.”

"This one doesn't have a standout track like their debut, but to my ears, it is every bit as good overall, and maybe even a tad more consistent. This one establishes the band as more than just commercial fluff propagators."

"Renaissance is the second album The Association released. Although there were a few 'minor' hits on the album, it did not make waves like their first release. The only reason for that is that The Association did not sound like other groups at that time, and much of their music was not mainstream top 40."

"When I first heard this I thought it paled significantly in comparison to the debut largely because it doesn't benefit from Curt Boettcher's innovative production. Give it a few listens and the quality comes through. The stripped back production actually stops this from being too cloying when they slip into ballad mode."

Psychedelic Lollipop – BLUES MAGOOS***

(We Ain’t Got) Nothin’ Yet/Love Seems Doomed/Tobacco Road/Queen Of My Nights/I’ll Go Crazy/Gotta Get Away/Sometimes I Think About/One By One/Worried Life Blues/She’s Coming Home

New York garage band Blues Magoos main claim to fame is the early use of the term 'psychedelic' on an LP. Psychedelic Lollipop contains the US No. 5 hit single (We Ain't Got) Nothin' Yet. (US:21)

"In their '60s heyday, Blues Magoos were one of the first garage-punk bands to achieve mainstream success, and one of the first to embrace psychedelia. Early in their existence, the Bronx-bred quintet's high-energy live sets made them a popular attraction on the Greenwich Village club scene. Once they began making records, they quickly emerged as one of one of the earliest and most inventive exponents of the psychedelic sound."

"Despite the title this is not a psychedelic album, just typical 1966 US beat group stuff."

"What amazes me most about Psychedelic Lollipop is how early it is for psychedelic music. To use the name 'psychedelic' in the title of an album must have seemed incredibly prescient in 1966. I don't believe that the Magoos get enough credit for being there first."

"Compared to what was happening at the time, it is quiet derivative. What saves it is the enthusiasm with which they attack it. Still, it's a bit too much generic garage psych to qualify as essential. A pleasing listen but don't expect to be wowed."

"This is pretty standard beat from the 60s. It's hardly psychedelic, there are a few flourishes but otherwise it's pretty average. (We Ain't Got) Nothin' Yet and Love Seems Doomed are the best tracks on this reasonably short affair."

"Blues Magoos sounded like no one else in 1966, fresh and heavy with new psychedelic sounds and great vocal harmonies."

"This is not the florid 1967-style psychedelia that many people associate with that term, but an earlier, garage-rock proto-psychedelia."

Projections – THE BLUES PROJECT****

Can’t Keep From Crying/Steve’s Song/You Can’t Catch Me/Two Trains Running/Wake Me Shake Me/Cheryl’s Going Home/Flute Thing/Caress Me Baby/Fly Away

New York blues-rock band The Blues Project came to prominence when they landed a residency at the prestigious Cafe Au Go Go in Greenwich Village. Their most successful release was Projections. Members Al Kooper and Steve Katz went on to form Blood Sweat & Tears. (US:52)

"One of the best 60s album of my whole collection. This is a perfect mix between R & B, psych and jazz played with talent and passion, and the songs are great."

"I don't know if I have ever heard an album that so successfully combines rock, jazz, folk, blues and scorching guitars as this one does. This could only have been made in the '66-'67 period, when a certain magic was in the musical atmosphere. I can't imagine anyone who enjoyed a rock album being disappointed with this one."

"Projections is undoubtedly the group's most varied and their best. Five members, each with different influences, outlooks and opinions on music. They used this disadvantage by turning out an album that embraces all the disparate elements within. They were young, making it happen, but in time these differences that manifested into this great album, caused their implosion. This was their zenith."

"One of the greatest records of all time. Awesome mix of 'white' blues, with a bit of jazz and country played by accomplished, talented musicians."

"This is a very, very solid album that shows off each member's talents to their fullest. If there is a weakness it's in the fact that there is a wide range of different styles being played. Apparently the reason was the huge range in tastes of the band members, each bringing something a little different to the collective. The criticism of it being too all over the place actually serves as its strength."

"Psychedelic fans, don't be put off by the fact they were called The Blues Project, they didn't play blues all the time. This is an excellent album overall, remarkably consistent, and commendably diverse. It's about an even mix of folk/rock and blues material, featuring some great ideas for songwriting. How promising did their career look at this point?"

Outward Bound – TOM PAXTON****

Leaving London/Don’t You Let Nobody Turn You ‘Round/My Son John/The King Of My Backyard/One Time & One Time Only/Is This Any Way To Run An Airline/All The Way Home/I Followed Her Into The West/This World Goes Round & Round/Talking Pop Art/When You Get Your Ticket/I Believe I Do/Outward Bound

Outward Bound was the third album from respected folk singer songwriter Tom Paxton. Although it does not include any of his best known songs it is considered to be one of his finest LPs.

“This album retains the sound of the early-60s folk boom; it's just acoustic guitar (plus a little banjo), bass, and Tom Paxton's clear, earnest vocals. The material, all written by Paxton, is high quality overall, although it doesn't include any of his classics. My favourites are My Son John, a poignant sketch of how war scars its survivors; The King Of My Backyard a humorous dog song; Is This Any Way To Run An Airline? a jaunty ragtime ditty about air travel woes that still rings true today. I Followed Her Into The West is a touching ballad and I Believe I Do showcases Paxton's trademark sardonic humour.”

“Some great music from one of the best singer songwriters to come out of the 60s folk revival. As good as most of his stuff is, I always like his humour best. Talkin' Pop Art is my favourite here.”

“Outward Bound appeared when the folk revival was on its last legs, and it sounds like it. Paxton was clearly trying to settle on a new style here, making for a somewhat eclectic collection - but a very innovative one. My Son John is not only amazingly prophetic; it was a brave statement to make in 1966 and it's still pretty unique in the canon of Vietnam songs. Talking Pop Art and especially Is This Any Way To Run An Airline? are among the best of his biting satires. There is also plenty of what made his first two albums great: Leaving London and One Time & One Time Only are great love songs. Don't You Let Nobody Turn You 'Round may have missed the golden era of protest songs, but it's one of his best nonetheless.”

“This album from early in his career is a compelling look at an important figure in American music. The songs range from introspective to anthemic. He is in excellent voice. The production is sterling, and instrumentation superb, from soft guitars to orchestra. Tom Paxton has written songs that will be sung for ages. It had the style and song mix that listeners had come to expect. What the album does not have are compositions on the level of his best early songs.”

Away We A Go-Go – SMOKEY ROBINSON & THE MIRACLES***

Whole Lot Of Shakin’ In My Heart/You Don’t Have To Say You Love Me/(Come ‘Round Here) I’m The One You Need/Save Me/Oh Be My Love/Can You Love A Poor Boy/Beauty Is Only Skin Deep/I Just Don’t Know What To Do With Myself/Baby Baby/Walk On By/Swept For You Baby/More More More Of Your Love

A second go-go themed album from The Miracles which disappointed some fans by only including four new Smokey Robinson songs. Away We A Go-Go includes the US No. 17 hit single I’m The One You Need. (US:41)

“The only knock on Away We A Go-Go would be the lack of songs written by Smokey himself; only four Robinson originals appear here, even the most successful single here, (Come 'Round Here) I'm The One You Need came from the Holland-Dozier-Holland hit machine. Considering his gift with words and melody, his personal contributions are missed.”

“In the early to mid sixties the 45 rpm single held sway. Most families had a big pile of crinkly-sleeved singles and maybe half a dozen albums by their very favourite artists. There was a perception, probably shared by record company bosses, that albums consisted of a recent hit single or two and a lot of filler. I don't know if Berry Gordy shared this view but if so he must have been very disappointed by the consistently high quality of all the tracks coming out on his artists' albums, not least those of Smokey Robinson and The Miracles.”

“Although its title is clearly inspired by the monster dance hit that lent its title to the earlier album, the scope of this LP is far wider, if slightly less brilliant in part.”

“If you enjoy the music of Smokey Robinson and The Miracles, and wish to explore what else the group has to offer besides the obvious hits, this is a great one to listen to. Only two singles were released from it. Most of the other songs are originals, though there are covers of two songs made famous by Dusty Springfield.”

“It's a pity Tamla chose to release Away We A Go-Go as a separate album because it's really mostly fill-out, I'm afraid, although some of the tracks are vintage Smokey classics.”

Je M’appelle Barbra – BARBRA STREISAND****

Free Again/Autumn Leaves/What Now My Love/Ma Premiere Chanson/Clopin Clopant/Le Mur/I Wish You Love/ Speak To Me Of Love/Love & Learn/Once Upon A Summertime/Martina/I’ve Been Here

For the experimental Je M'appelle Barbra acclaimed songstress Barbra Streisand has a stab at singing in French on several of the tracks, perhaps not altogether successfully. (US:5)

"Alors, Mesdames et Messieurs, popular adult contemporary music just doesn't get any better than this, the crème de la crème from a timeless artist who strives for excellence and perfection in each and every endeavour."

"Streisand, at the height of her 60s-phase, is flamboyantly 'Barbra' on this album. At times quiet and touching, and then loud and over the top, this album is a mixture of styles and quite good. Barbra's performances are flawless and the arrangements are quite beautiful."

"Barbra's voice in 1966 was at its youthful peak. Her presentation and phrasing are unique and excellent, and the fact that the album is half in French gives it a touch of sophistication and culture, so much so that I don't believe it can ever be equalled by any other American artist."

"This is possibly Barbra Streisand's first experimental recording, in which the songs recorded are sung in French and/or of French origin. While it was not an experiment that paid off initially the end result is a beautifully sung album. Almost all of the songs are sung with a great passion, that makes even those of us ignorant of the French language truly feel what is being said. Admittedly, this album will need time to grow on you. It isn't a Barbra Streisand essential by any means, but any fan will appreciate her beautiful voice and phrasing."

"I think this album, while it isn't one of her best, its not one of her worst. This album inspired Liza Minnelli to do her own French album with also mixed results."

"This has always been one of my very favourite Streisand albums. I first listened to it when it came out, and the intensity and beauty of this recording really spoke to me. This album shows the greatness of Barbra Streisand range and emotional intensity."

"This is certainly not one of my favourites but I do adore the song Autumn Leaves."

In My Life – JUDY COLLINS****

Tom Thumb’s Blues/Hard Lovin’ Loser/Pirate Jenny/Suzanne/La Colombe/Marat-Sade/I Think Its Going To Rain Today/Sunny Goodge Street/Liverpool Lullaby/Dress Rehearsal Rag/In My Life

Influential American folk singer Judy Collins continued to gain recognition with the release of In My Life. Her major commercial breakthrough would come with her next LP. (US:46)

"One of Judy's very best. A brilliant selection of great songs by great songwriters with some of her finest vocal performances. Almost plays like a concept album. The rendition of Leonard Cohen's Suzanne is unforgettable. Also Weill's Pirate Jenny, a tour de force, and Marat/Sade are colourful pictures painted with words and music. This is a superbly crafted and magnificently arranged album."

"The best track on the album is Leonard Cohen's Suzanne which nails the song perfectly. Judy sings it in an almost trance state and I'm sure Leonard would agree that this might be the definitive version. All in all, its a very enjoyable record."

"This album opened my mind, heart and soul up to the possibilities of what could be expressed in song. Every cut transports the listener to a different world, and helped me learn that I was allowed to feel all different types of emotions, and to like lots of different types of music. Taken individually, every song on the album is outstanding, from the contrast of fury and heartbreak in La Colombe to the rollicking humour of Hard Lovin' Loser to the bitter pain of Dress Rehearsal Rag, the exotic strangeness of Pirate Jenny and the airy innocence of Sunny Goodge Street."

"I love most of the songs on this album, from the opening cover of Bob Dylan's Tom Thumb's Blues to the Richard Farina's comical and upbeat Hard Lovin' Loser to Leonard Cohen's magically evocative Suzanne, and his ironic and satirical Dress Rehearsal Rag. Cohen's haunting and evocative lyrics are masterfully interpreted by Collins, an early champion of his amazingly poetic folk songs. This is an early snapshot of one of the titans of modern American folk music."

"Judy Collins' In My Life is one of those albums from the mid-1960s which showed that the true artists populating the music scene at that time were quite serious about the intent to bring change into the world via their artistic sensibilities. Judy Collins was certainly at the forefront of that endeavour. In My Life was cutting-edge in its time and still is."

Here Come The Minstrels – GEORGE MITCHELL MINSTRELS**

Jolly Good Company(Medley)/Where There’s You There’s Me(Medley)/Without A Song/Going Places (Medley)/ Crazy Tunes(Medley)/Last Round Up/Grand & Glorious(Medley)More Requests(Medley)

Here Come The Minstrels marked the seventh and final appearance of The Black & White Minstrels in the UK album top twenty. The successful BBC TV series would continue for another decade. (UK:11)

"It was probably watched by the older generation who thought nothing of the fact that the singers were white men blacked up. They just saw it as entertainment with songs that had a sentimental meaning to them."

"I used to really enjoy the songs when I was younger .... of course that would not be 'politically correct' these days would it?"

"It has always saddened me that delightful family entertainment such as the Minstrel Show should be branded 'racist'. I watched it many times and can honestly say that it never occurred to me for one moment that it was parodying black people."

"Thinking back now, it must have been in 1962 that The Minstrels started their West End run at the Victoria Palace. That was a wonderful show that I saw many, many times. There was never anything racist about The Black and White Minstrels - their shows were good honest entertainment and that is the way we all watched them."

"By the mid-1960s many people felt The Black and White Minstrel Show was insensitive. On 18 May 1967, the Campaign Against Racial Discrimination delivered a petition to the BBC signed by people from different racial backgrounds, which requested that the programme be taken off the air. However, the programme continued to be shown until July 1978."

"Looked at from a contemporary perspective, the show is laughable in its underlying racist pretence and its harking back to the old Deep South, and the weekly sight of pretty women serenaded by smiling, obedient black slaves. Yet at the time it was hugely popular. It won the Golden Rose of Montreux in 1961, and consistently commanded audiences of 16 million. Robert Luff's stage adaptation opened at the Victoria Palace Theatre and broke all box-office records."