Sound Venture – GEORGIE FAME***

Many Happy Returns/Down For The Count/Its For Love The Petals Fall/I Am Missing You/Funny How Time Slips Away/Lil’ Pony/Lovey Dovey/Lil’ Darlin’/Three Blind Mice/Dawn Yawn/Feed Me/Papa’s Got A Brand New Bag

Sound Venture found blues and jazz musician Georgie Fame team up with the Harry South Orchestra and some of the hottest names in British jazz to create an album of big band sounds. (UK:9)

"Featuring many of the Britain’s top jazz musicians, and arranged by leading big band arranger Harry South, the album was a break from Fame’s earlier R & B hits."

"He started off tenderly with Many Happy Returns, his own catchy melody in a 6/8-rhythm, a romance for the wee hours in an early Sinatra-style. Down For The Count lives up to its title, because here the young musical director really swings free and easy. I Am Missing You presents more lovesick thoughts, a slow swing Georgie really seems to feel at home in. Lovey Dovey presents some more relaxed swing, the singer totally at ease."

"He was just beginning to settle down into a more comfortable, and certainly less hell-raisingly energetic mood as he hit his fourth album, and Sound Venture - his second successive British top tenner - does slow down accordingly. But only in comparison with its barnstorming predecessors. Any album, after all, that includes covers of King Curtis' Lovey Dovey and James Brown's Papa's Got A Brand New Bag is hardly going to lie quietly on the turntable, while the wealth of Fame originals were restrained only in the absence of his Blue Flames to truly stir things up."

"There is little indication that this was the same man who recently hit the charts with an innocuous version of Sunny, although the album's success certainly rode on the back of that hit. And, if his subsequent albums did fall more fully into the realm of pop, easy listening Sound Venture at least stands at the harder hitting end of the bridge its maker was crossing - a sound venture indeed."

"Sound Venture showed Georgie to be the hippest cat in town with a band featuring Tubby Hayes, Ronnie Scott and many of the hottest names of British jazz. The cut Dawn Yawn, from that album, written by Georgie, is a masterpiece describing a trawl through Soho clubs and the melancholia of an early morning trip home."

"My favourite is a very soulful rendition of Nelson's Funny How Time Slips Away."

Rhapsodies For Young Lovers – MIDNIGHT STRING QUARTET***

Strangers In The Night/The Shadow Of Your Smile/You Don’t Have To Say You Love Me/Blue Star/A Lover’s Concerto/Lara’s Theme/Yesterday/Young Lover’s Rhapsody/What Now My Love/Moonlight Sonata/Tonight’s Dream/My Heart’s Symphony

Rhapsodies For Young Lovers was the first, and most successful, of a series of instrumental covers LPs marketed under the 'Rhapsodies' theme, that were notable for being produced by Snuff Garrett and conducted and arranged by Leon Russell. (US:17)

"The Midnight String Quartet was a best-selling instrumental group comprised of top-notch studio musicians assembled by record producer 'Snuff' Garrett. The album concept featured instrumental versions of some of the most popular hits of the day and stayed on the Billboard charts for a remarkable 59 weeks."

"In the year of 'The Summer of Love', this was the instrumental album to own. It was 'make out music' to the maximum. The most notable member of the Midnight String Quartet was Leon Russell, who not only played piano on the group’s first album, but also conducted and arranged the record as well. In fact this album is considered to be his very first as a recording artist."

"The emergence of rock 'n' roll through the late 50s and early 60s pushed many mainstream instrumentalists to the side. Radio and records had become a teenager's province as the generation gap cleaved popular music in two. In an attempt to court the older audience with a semblance of contemporary air, numerous easy listening orchestras waxed string-based arrangements of popular hits, and endless MOR arrangements that sapped the life from then contemporary rock and pop tunes. One of the lesser remembered studio groups in this genre was the Midnight String Quartet, arranged and conducted by no less than Leon Russell, produced by Snuff Garrett, and featuring some of Los Angeles' top studio players."

"Midnight String Quartet took a hybrid approach to bridging the generation gap, mixing contemporary standards such as Strangers In The Night and The Shadow Of Your Smile, with bona fide pop hits such as Yesterday and My Heart's A Symphony. The mix of film tunes, pop hits and the occasional classical theme Moonlight Sonata, echoed the song lists of other easy listening artists. This music sufficiently pleased the record buying public to sustain the album for over a year on the charts."

Psychedelic Sounds – THE 13TH FLOOR ELEVATORS**

You’re Gonna Miss Me/Roller Coaster/Splash 1 (Now I’m Home)/Reverberation (Doubt)/Don’t Fall Down/Fire Engine/Through The Rhythm/You Don’t Know (How Young You Are)/Kingdom Of Heaven/Monkey Island/Tried To Hide

An early attempt to latch onto the burgeoning psychedelic movement. Despite its title The 13th Floor Elevators’ Psychedelic Sounds is firmly stuck in the then briefly fashionable garage rock mode.

“What you should know is that what was called psychedelic in 1966 is what we today call garage rock. It all changed after Sergeant Pepper - then psych came to mean swirling organs, maybe some sitar, echoey vocals, backwards guitars, and maybe some other studio special effects or exotic instruments. Important too, is that melody came to be important again, while it is secondary in garage rock, which is more about attitude. The Elevators are classic, a cult band, pioneers of garage rock, but they are a long way from the head-swirling psych of the post-Sergeant Pepper era.”

“Right out of the gate, The Elevators left no doubt that this was an entirely different sound than anything that had been released up to that point. Roky Erikson's nearly manic vocals on the opener set the mood for all that would follow, with arguably the most psychotic screams and shrieks heard yet on a rock album.”

“As a fan of psychedelic music I was repeatedly told I had to get this LP. Listening to it you can get a sense of why this album gets this hype but frankly the sound quality is so poor you really have to make an effort to try to appreciate it. Again there are glimpses of great garage/psychedelia and the use of the jug is cool and different.”

“I was disappointed with this. The lack of strong songs, and unnecessary wailing just made this a annoying album, and gives me a headache.” “Psychedelic Sounds is quite simply run-of-the-mill 60s garage rock. Some of the tracks are noteworthy such as You're Gonna Miss Me, others, however, are unlistenable. It's mediocre at best. Hundreds of drugged-out bands played this brand of acid rock, and most of the ones we remember did it much better. Nothing about this album sticks out.”

“Their songs were rooted in basic, grease-coated rock 'n' roll, complete with chunky guitar riffs and snarled vocals. They just took things a little further than most bands.”

Parsley Sage Rosemary & Thyme – SIMON & GARFUNKEL*****

Scarborough Fair-Canticle/Patterns/Cloudy/Homeward Bound/The Big Bright Green Pleasure Machine/59th Bridge Street Song/The Dangling Conversation/Flowers Never Bend With The Rainfall/A Simple Desultory Philippic/For Emily Whenever I May Find Her/A Poem On The Underground Wall/7 O’Clock News – Silent Night

Parsley Sage Rosemary & Thyme was another inspired collection of diverse and beautiful songs from the pen of Paul Simon. Contains the top ten single Homeward Bound. (US:4 UK:9)

"The first genuine masterpiece produced by the American twosome, Parsley Sage Rosemary & Thyme also probably represents the last true folk album that Simon and Garfunkel produced. There's so much to enjoy here, from the adorable acoustic pickings of For Emily Whenever I May Find Her to the carefree and airy The 59th Street Bridge Song. The real triumph of this album though is the wondrous harmonies. The lovely languid, alluring music mixed with these vocals is an experience in itself. Put this together with Simon's brilliant lyrics that range from topics of war and death to love and life, and you have an album that orders you to play it again and again."

"Absolutely astonishingly lovely harmonies and an exquisite vocal arrangement are showcased well during Scarborough Fair. I particularly adore Cloudy and always have done. Yes, Paul Simon could attempt social commentary and have a go at political songs yet simple songs like this, songs that take you away in fantasy and uplift you, was something Simon and Garfunkel did very well indeed."

"A very nice album, with intelligent lyrics and beautiful folksy arrangements, with Simon mainly on lead vocals, and Garfunkel producing lovely harmony vocals and really shining when he does lead vocal. Scarborough Fair is one of those beautiful songs that will stay with me always; it crosses the boundaries of popular and classical music. It is truly one of the best songs of all time, with an intricate arrangement, beautiful harpsichord and ethereal vocals."

"Parsley Sage Rosemary & Time is quite simply one of the best albums from the 60s. If you haven't listened to it recently, get out your old copy and prepare to be amazed at the quality of the songs, the complexity and superb metering of their lyrics and the often stunningly beautiful singing."

Guantanamera – THE SANDPIPERS****

Guantanamera/Strangers In The Night/Carmen/Cast Your Fate To The Wind/La Bamba/Beyond The Sea/Louie Louie/Things We Said Today/Enamarado/What Makes You Dream Pretty Girl/For The Last Time/Angelica

Multilingual easy listening folk group The Sandpipers achieved international success with their interpretation of the Latin American tune Guantanamera. The title track was a No. 9 hit in the US and No. 7 in the UK. (US:13)

"This great classic album by The Sandpipers (their very best) was released during the summer of 1966. This was the album and version which made Guantanamera known and acclaimed worldwide. What had been until then a virtually unknown Cuban 'guajira' song, became a milestone hit overnight."

"The Sandpipers, with their cool tones and gently pulsating rhythms, remained successful even when the principle focus of the music industry changed to rock and roll. They possessed the ability to touch hearts and minds with their songs; and they sang flawlessly in English, Spanish, French and Italian."

"As an American who lived in Latin America for thirteen years, I can vouch for the fact that their version of Guantanamera alone merits buying this album. It is truly startling to witness an American folk group capture the essence of 'The Latin Heart'. It is one of the most moving songs ever written and difficult to do correctly even if you are Latin. These guys do it in nearly flawless Spanish and with all the feeling and meaning appropriate to this masterpiece of world heritage."

"Guantanamera is without a doubt one of the best albums ever made. This was the way music was supposed to sound like, these songs have the power to seduce, comfort and inspire the soul."

"The Guantanamera collection is their introduction to the pop music world, and from a purely personal standpoint, it is some of their very best work. This is reflected in their adaptation of La Bamba, which is a very pleasant rendition of an old Spanish wedding song, not the 'rock' version by Richie Valens. The Sandpipers gave Louie Louie the same treatment, and it is a very pretty tune."

"These guys know how to draw the in the listener. And Angelica has to be the saddest song ever sung."

Golden Hits – DUSTY SPRINGFIELD*****

I Only Want To Be With You/I Just Don’t Know What To Do With Myself/In The Middle Of Nowhere/Losing You/ All Cried Out/Some Of Your Lovin’/Wishin’ & Hopin’/My Colouring Book/Little By Little/You Don’t Have To Say You Love Me/Goin’ Back/All I See Is You

Golden Hits was the first hit collection from Britain's premier female vocalist, Dusty Springfield. Every track is, of course, pure gold, but special mention should be given to the magnificent Losing You, composed by brother Tom Springfield. (US:137 UK:2)

"Dusty Springfield is one of just a select few ladies whose music maintains my interest. Her mixture of soulful and gospel-like textures keeps me glued to every note that proceeds from her mouth. Of course, the highlights on this offering are her recorded hits, such as I Only Want To Be With You, the classic Don't Know What To Do With Myself, the soulful Wishin' & Hopin', and her number one seller You Don't Have To Say You Love Me. These are the stars of the show, but rest assured there is not a yawner in the mix."

"Every selection in this package is a listenable delight, not so much due to the content of the songs, but instead due to the excitement that Miss Springfield's voice brings to everything she sings."

"Dusty Spingfield was the best, even if she was not the most commercially successful, of the British female vocalists in the 1960s."

"She is so plaintive in I Only Want To Be With You, who could resist? She does as fine a job with Bacharach & David tunes. The greatest diva of them all; everybody copied her, stole material and tried to steal the limelight from her.”

"Dusty came to fame in the mid 60s with her smoky, husky voice that was unavoidable. It pulled you in and you had to listen no matter what."

"Dusty Springfield's career was a hard one to figure out. She sang so great, had as wide a fan base as anyone could want and got so much critical acclaim from every corner - and still she never really sold many records after her mid-sixties heyday. In reality, Dusty was a perfectionist who sought perfection in her art and was known to be difficult because she chose perfection over mediocrity. Maybe that's why she is still a powerful influence in the music industry."

Golden Greats – GARY LEWIS & THE PLAYBOYS****

This Diamond Ring/Count Me In/She’s Just My Style/Tina/Without A Word Of Warning/Sure Gonna Miss Her/Everybody Loves A Clown/I Won’t Make That Mistake Again/Save Your Heart For Me/Little Miss Go-Go/Time Stands Still/Green Grass

Golden Greats was a timely greatest hits package of catchy but rather lightweight songs from US pop group Gary Lewis & The Playboys, who were little heard of in Britain. (US:10)

"The innocence and the sheer fun of their music is what this album's all about. While not a musical masterpiece, it is a masterpiece of nostalgia and pure fun. Gary Lewis should be in the Rock and Roll Hall of Fame. Every song is worth listening to and brings back many memories of some better times for many of us. Really good stuff."

"Gary was never a great singer but he had great songs."

"Every song was a hit. You will know and tap your feet to them all. Makes you feel young again."

"The songs are catchy, happy, pop which are instantly enjoyable, If you like 60s pop - you'll like this album."

"This Diamond Ring went gold. The group then went on to have more major successes. All light as air pop but with a solid beat and catchy song hooks which the young buying public eagerly bought up."

"This has a great 60s rock flavour to it and they play and sing the songs to perfection. They handle complex tempo and key changes like the pros they were and still remain. Gary Lewis & The Playboys were born to perform and I never tire of hearing them. There's just the right mixture of pop and rock."

"This is a terrific deal. Gary & The Playboys are an underrated group that were very popular in their day. Critics ignore them for some reason. They're terrific, energetic, rhythmic and tuneful."

"Gary Lewis & The Playboys were a good time band that by the rendering of simple boy-girl songs made all of us feel happy."

The Feel Of – NEIL DIAMOND***

Solitary Man/Red Rubber Ball/La Bamba/Do It/Hanky Panky/Monday Monday/New Orleans/Someday Baby/Oh No No (I’ve Got The Feelin’)/I’ll Come Running/Love To Love/Cherry Cherry

The Feel Of was the debut album from Neil Diamond who would pen some of the most memorable pop songs from the late sixties/early seventies. Includes the US top twenty hit singles Cherry Cherry and I Got The Feelin’. (US:137)

“He does have some wonderfully transcendent moments here, and not just on the hits. Solitary Man, Cherry Cherry and Oh No No (I've Got The Feeling) are familiar to most fans, but Love To Love and Someday Baby also show some of the power and range that Diamond would be able to muster more effectively as he moved towards his prime years.”

“As a debut effort, it has some flaws that one would expect; not all of Diamond’s originals were jewels, and he would find some finer nuances to his singing in short order. But when his songwriting and singing were on target, which was well over half the album, this was one of the better pop/rock releases of 1966, as well as a kind of transitional work in a singer/songwriter mould.”

“It is worth noting that before Diamond deteriorated into his 'spandex and spangles' incarnation in the late 70s he released many great, experimental and progressively maturing rock albums after 1966.”

“Where this album shines, it absolutely dazzles, but where it flounders, it really stumbles. It shows that when Neil Diamond was writing and recording his own stuff, he was on excellent form for this, his hastily assembled debut, but I can live without the cover versions.”

“Neil Diamond started out as a songwriter only. When he decided to record his own songs he hit an early home run with his smash hit Cherry Cherry. There was such a demand for a full length album that this was thrown together in one recording session. Neil hadn't written enough songs so he had to resort to including some mediocre cover songs to complete this album.”

Face To Face – THE KINKS****

Party Line/Rosy Won’t You Please Come Home/Dandy/Too Much On My Mind/Session Man/Rainy Day In June/ House In The Country/Holiday In Waikiki/Most Exclusive Residence For Sale/Fancy/Little Miss Queen Of Darkness/You’re Looking Fine/Sunny Afternoon/I’ll Remember

The Kinks move in a new direction with this release as Ray Davies finds his niche for writing melodic songs with a keenly observed social commentary. Face To Face includes the UK No. 1 hit single Sunny Afternoon. (US:135 UK:12)

"Face To Face is about swinging London. It talks about party lines, run away teenagers, session men, and being home on a sunny afternoon. Ray Davies, maybe rock's best storyteller after Dylan, creates a masterpiece that describes English, and London, life in the 1960s."

"This is where The Kinks finally found a niche in which they were going to stay. Very convincing effort. One of the most groundbreaking, 'artistic' rock records of 1966." "It was certainly the start of a very productive period for The Kinks, where Davies and his music began to develop seriously."

"This album presents a new phase for the group, who develop a completely unique approach to writing music that now includes elements of psychedelia and other influences. The lyrics are full of social commentary on British society, history and way of life, often being quite sarcastic and critical. Always truthful to themselves and their fans, The Kinks wonderfully mix raw energy and melodic sophistication."

"It was 1966 when the LP became more than just a collection of songs, and The Kinks were pioneers, making Face To Face a song cycle outlining the UK class system with exquisite detail. It remains a landmark in the group's career, a time when their music began to take on greater instrumental colour and their lyrics reflected the singers' own personal obsessions, painting a lucid aural sheen of crazed party lines, Hawaiian holidays, rainy days in June, elitist upper class snobs and forgotten session men. Above all else, it is a portrait of the ups and downs of the UK class system. Face To Face is an essential purchase, in spite of a few filler tracks."

"Has a great balance of passable filler, fun pop-rock songs, plus more poignant and affecting pieces."

Back Door Men – THE SHADOWS OF KNIGHT***

Bad Little Woman/Gospel Zone/The Behemoth/Three For Love/Hey Joe/I’ll Make You Sorry/Peepin’ & Hidin’/ Tomorrow’s Going To Be Another Day/New York Bullseye/High Blood Pressure/Spoonful

Back Door Men was the follow up album from the Chicago based garage band Shadows of Knight which featured a broader range of material than their debut.

“SOK's second album is a little bit more ambitious than their debut. The first half is great, opening up with the doomy Bad Little Woman. The Shadows try a few different styles here such as eastern style rock, The Behemoth, Byrdsian folk-rock, Three For Love, and a five-minute rip-snortin' version of Hey Joe. The best song on the album though is I'll Make You Sorry. The second half falls flat with some uninspired blues workouts.”

“It represents the peak of their muscular punk-blues creativity. Expanding on their debut the band stretched beyond the Chicago blues classics they'd sullied so perfectly the first time out. They still take time to apply their suburban garage sound to Jimmy Reed's Peepin' & Hidin' and a fine cover of Willie Dixon's Spoonful, but the real growth is on their originals and well-selected contemporary covers.”

“If you liked their debut, you will love Back Door Men, all the cuts are great. Rock and blues at its best, it still sounds as good as when released in the sixties.”

“While their first album, Gloria is primarily a blues rave up, Back Door Men boasts a variety of styles. Their version of Hey Joe is very original, and Three For Love has an almost Byrds-like quality to it with 12 string and harmony vocals to match. Though not promoted adequately, this second album is a great rock venture, and I recommend it highly to Shadows of Knight fans and sixties rock completists.”

“This is an improvement on their debut. Strong sales of the earlier album meant they could choose their own preferences on this one. It features more garage flavoured rock and more noticeable psych influences, via use of fuzz guitar. Though lacking a well known hit, I would recommend it to newcomers investigating this group.”

“An obvious improvement on their first, the band has matured and is more saturated with the sound that is popular for garage rock bands of the 60s. The bass is more prevalent, slightly sinister. Still, there are better garage rock albums from this time.”

As Is – MANFRED MANN***

Trouble & Tea/A Now & Then Thing/Each Other’s Company/Box Office Draw/Dealer Dealer/Morning After The Party/Another Kind Of Music/As Long As I Have Lovin’/Autumn Leaves/Superstitious Guy/You’re My Girl/Just Like A Woman

As Is heralded a change of label and a new vocalist, Mike D'Abo, for regular sixties hit makers Manfred Mann. Includes the Dylan cover Just Like A Woman, a UK No. 10 hit single. (UK:22)

"Manfred Mann's first album with Mike D'Abo in front is something of a mixed bag - you're never quite sure what direction they are aiming at. It actually seems that one of the songs touches upon this dilemma - Another Kind Of Music describes a person who enjoys his pop success but at the same time wants to be a classical musician. In the same way it is well-known that Manfred Mann and drummer Mike Hugg enjoyed playing jazz music and that they never really took pop music that seriously."

"I just don't love them the same way I love The Beatles, Stones, Beach Boys or Bob Dylan. This stuff is mediocre in comparison. Well done to the guys for replacing Paul Jones with Mike D'Abo though. You can hardly tell the difference!"

"This is the third album by the band, after Five Faces and Mann Made, but the relevant fact is that this is the first without Paul Jones. It is a clear transition; while they continue with their sound jazz blues, they try to experiment above all from the console's production, with an apparently unfinished and confusing result."

"As Is was definitely the best Manfred Mann album so far. It pretty much drops all the pretence and completely erases any borders that still existed between Manfred Mann 'the commercially successful singles band' and Manfred Mann 'the seriously out of touch LP ensemble'. Quite true to its name, the album gives us eight compositions, all of them self-penned (mostly either by Mike D'Abo or drummer Mike Hugg, although Manfred himself does help on a couple of numbers), and practically each and every one of them a potential hit single. Okay, that doesn't necessarily mean a potential good hit single, but remember, when it's unpretentious hook-based pop we're talking about, it's almost always guaranteed to be listenable at the very least."

"Although I prefer The Manfreds featuring Paul Jones, Mike D'Abo helped them turn the corner from a blues band to a pop act."

Younger Girl – THE CRITTERS****

Younger Girl/It Just Won’t Be That Way/Gone For A While/Children & Flowers/Everything But Time/Come Back On A Rainy Day/Mr Dieingly Sad/I Wear A Silly Grin/Best Love You’ll Ever Have/Forever Or No More/He’ll Make You Cry/Blow My Mind

The now little known Critters were a short lived melodic soft rock group from New Jersey. Their debut album Younger Girl contains the US No. 17 hit single Mr Dieingly Sad. (US:147)

"The Critters were one of the greatest of the soft pop groups of the '60s, as evidenced by their singles, but in 1966, it was still unfortunately common for great groups to release albums marked with too much filler material. The Critters fall victim to this, dropping in a few tepid numbers between their shining moments of brilliance. The group excels at the more sunshine pop/Association-style ballad songs where they are able to showcase their melodies and arrangements. The more 'rock' songs manage to be less convincing. When in the middle of one of their pop songs like Gone For Awhile or Mr. Dieingly Sad it's obvious that The Critters were one of the best at concocting candy-coated psychedelia."

"The Critters were a New Jersey band with national appeal. Don Ciccone and Jimmy Ryan had uniquely different voices which helped diversify the material. The songs are very listenable with great harmonies and interesting chord patterns."

"The Critters were responsible for crafting amazing pop songs that could have rivalled The Beatles and The Beach Boys had they been given the time and proper exposure. Don't believe me? Listen to the rich, layered harmonies on Gone For Awhile or the gentle, pseudo bossa nova rhythms of Mr Dieingly Sad. This is incredibly beautiful music that needs to be rediscovered."

"Some of the best, non-commercial tunes of that era. The voice harmonies are pure and the songs bring back many wonderful memories. This group of young talented musicians recorded some fine harmony enriched melodies that will always have a respected place in our musical heritage."

"Great harmonics and arrangement in every tune. Their music is very clear and crisp, and you will quickly memorize and end up singing along with every song, A must for anyone who appreciates tight harmonies."

The Time Of My Life! – JOHN DAVIDSON***

What Now My Love/Strangers In The Night/The More I See You/Michelle/Blowin’ In The Wind/The Shadow Of Your Smile/A Taste Of Honey/Daydream/Somewhere My Love/My Love/You Don’t Have To Say You Love Me

Better known in the US as an actor and game show host, John Davidson reached the upper reaches of the US album chart for the only time with The Time Of My Life. It consists of his covers of recent chart hits. (US:19)

"John Davidson is a singer's singer and a brilliant interpreter of great lyrics. Today's aspiring singers would do well to study his vocal style."

"This LP features two of my favourite songs You Don't Have To Say You Love Me and Daydream. I'll bet I have worn out one LP playing those songs. I have studied music and would rate John Davidson at the top of 'pop' singers. Also, Daydream just makes me feel happy whenever I hear it."

"This 60s offering from Davidson and I've gotta say that he is one talented singer. When he sings that is. The album, Time Of My Life is pretty darn good. Davidson proves he could belt one out with the best of 'em. The highlight is his rendition of What Now My Love. He really lets loose on this cut, no holding back. You can hear the ache in his voice and it really is a great voice. A Taste Of Honey is another highlight. Overall. a pretty good album."

The Supremes A' Go-Go – THE SUPREMES****

Love Is Like An Itching In My Heart/This Old Heart Of Mine/You Can’t Hurry Love/Shake Me Wake Me/Baby I Need Your Loving/These Boots Are Made For Walking/I Can’t Help Myself/Get Ready/Put Yourself In My Place/Money(That’s What I Want)/Come & Get These Memories/Hang On Sloopy

Motown chartbusters The Supremes hit the top spot on the US album chart with their A' Go-Go album, featuring several cover versions of recent hits for dancing. Includes the No. 9 US hit Love Is Like An Itching In My Heart and the smash You Can't Hurry Love, No. 1 in the States and No. 3 in Britain. (US:1 UK:15)

"Yes, I know it's just a bunch of covers centred around a couple of brilliant Supremes songs. But hey, they don't cover just anything here, we get The Four Tops' best song (Can't Help Myself), The Temptations' best song (Get Ready) and The Isley Brothers' best song (This Old Heart Of Mine), and the versions here are mostly very good."

"Another concept album, this time The Supremes sing songs for dancing to. Works pretty well, despite some very silly covers in the shape of Hang On Sloopy and These Boots Are Made For Walking. The rest of the covers are solid Motown. The high point, of course, is You Can't Hurry Love, with a marvellously imaginative arrangement and superbly springy drums."

"Motown's obvious marketing ploy was that in getting The Supremes to do a series of famous cover versions of hits from around that era, this would instantly sell the album in big proportions, as well as also showing how adept and versatile a vocalist Ross had become. Well, Motown's strategy worked as The Supremes A Go Go raced to the top of the album charts. Though highly commercial and formulaic, it proves compelling and is indeed a classic album."

"This set was put together (rather quickly is my guess) and released to capitalize on a hot streak. There is a semblance of a 'concept' with the 'au go-go' thing, i.e., a record full of danceable tunes."

"The concept in this album is so obvious and formulaic, that one may pass it as routine. It's not different from many other Motown albums, by including hits as well as Motown and other covers. But the selection of songs is very good."

"Essentially this is a rehash of old Motown hits in order to bang an album together."

Sunshine Superman – DONOVAN*****

Sunshine Superman/Legend Of A Girl Child Linda/Three King Fishers/Ferris Wheel/Bert’s Blues/Season Of The Witch/The Trip/Guinevere/The Fat Angel/Celeste

Folk orientated musician Donovan heralded a major change of style with Sunshine Superman, one of the first psychedelic albums. The title track topped the US singles chart and reached No. 2 in Britain. (US:11 UK:25)

"In late 1965 on the heels of two successful UK folk albums, Donovan was forced to take a 'break' in his career through a good part of 1966 while two record companies disputed contract rights for his next album. All the while of course Donovan was writing songs, and he and The Beatles were about to unleash psychedelia upon the planet, first in the form of Revolver and then with Donovan's own Sunshine Superman, the first true 'hippy' album."

"Sunshine Superman was not only the first overtly psychedelic album, but it also was a perfect reflection of 'Swinging London' at the time of its release and inadvertently made Donovan the spokesman for the happening lifestyle."

"The definitive hippy album of an era, more so than anything released by The Beatles, The Dead, The Airplane, or any of the myriads of the San Francisco scene."

"This record simply gets more distinctive as the years pass: a beautifully eccentric and frankly odd setting of impressions and ideas that remain unpredictable and absolutely filled with the sheerness of innocence, light and conviction."

"This contains some of the best of Donovan: Sunshine Superman, Season Of The Witch and The Trip. But then there are the really touching beauties that never made the top 40, but that make a really enjoyable music set. Guinevere is just beautiful, but the real hidden jewel is Celeste."

"Paced by the title track, one of Donovan's best singles, 1966's Sunshine Superman heralded the coming psychedelic age with a new world/old world bent: several ambitious psychedelic productions and a raft of wistful folk songs. Producer Mickie Most fashioned a new sound for the Scottish folksinger, a sparse, swinging, bass-heavy style perfectly complementing Donovan's enigmatic lyrics and delightfully skewed, beatnik delivery."

Sergio Mendes & Brasil ’66 – SERGIO MENDES & BRASIL ‘66*****

Mais Que Nada/One Note Samba-Spanish Flea/The Joker/Going Out Of My Head/Tim Dom Dom/Day Tripper/Agua De Berber/Slow Hot Wind/O Pato/Berimbau

Brazilian bandleader Sergio Mendes scored a big hit with his A & M debut album. His easy listening bossa nova music was immensely popular in the States during the late 1960s. (US:7)

"He caught the real 60s pop spirit and mixed it with his Brazilian style bossa nova, Latin and jazz roots for this mainstream oriented band. He is supported by marvellous musicians, and singers Lani Hall and Janis Hansen that make a superb work with their voices, plenty of delightful harmonies. This record is recognized as lighter and more easy listening than the jazz music Sergio Mendes usually made in the USA. It's easy listening, but it isn't elevator music."

"Unlike his contemporaries from the post-bossa nova wave in American jazz circles, Sergio Mendes carved a whole new genre, stylizing Brazilian sounds with jazz, and accessible popular tunes of the period. These works were greatly accentuated by the amazing vocal talents of Lani Hall."

"This self-titled set, the debut album by Sergio Mendes & Brasil '66 ensemble, establishes the template for the group's popular sound, with its mix of lush late-1960s pop and bossa nova. Tracks such as the lively, percussive Mas Que Nada and the enthusiastic treatment of The Beatles' Day Tripper feature all of Brasil 66's trademarks, most notably Mendes's spry keyboard lines and the bold, expressive vocals of Lani Hall, which stood in sharp contrast to the lighter Astrud/Joao Gilberto singing approach of the era."

"Bossa nova music is quite pleasant to the ear, with its blending of tropical rhythms, jazz and even pop-rock. And Mr. Mendes really knew how to successfully combine all of these elements in a single pot."

"You have to think of this record in context. In 1966 this was massively cool, accessible and smart. This was a bachelor pad must have. Classics like this remind me how much more there was to that decade."

River Deep Mountain High – IKE & TINA TURNER****

River Deep Mountain High/I Idolize You/A Love Like Yours(Don't Come Knockin' Every Day/A Fool In Love/Make 'Em Wait/Hold On Baby/I'll Never Need More Than This/Save The Last Dance For Me/Oh Baby(Things Ain't What They Used To Be/Every Day I Have To Cry/Such A Fool For You/Its Gonna Work Out Fine

Phil Spector's tour de force River Deep Mountain High brought the vocal talents of soul sister Tina Turner to wider public attention. The highly rated title track peaked at No. 3 in the UK but stalled at a disreputable No. 88 in the US, a disappointment leading to the shutdown of Spector's Philles record label, and a halt to his production work. (US:102 UK:27)

"This album is one of the most influential albums of all time and is a highlight of Phil Spector's career."

"The obvious highlight is the title track. It's pure human madness in the form of a popular soul song. I've never been much a fan of Tina Turner's voice, but there's no question she can belt her lungs out, and River Deep Mountain High is exhibit A in the defence trial of that. It's so uplifting with its elaborate string section and horns."

"As with any record with one insanely brilliant single, I was expecting the entire set to be built around it, but I was pleasantly surprised. Plus, with that bombastic, full 'wall of sound', you can't hear much of anything. A Love Like Yours and Make 'Em Wait are best of the rest."

"It was Phil Spector's pinnacle production - and it remains a nearly overwhelming recording - and reaching for the stars, he carried Tina to new heights. But music was changing in the mid '60s and America had tired of Spector's intricate productions and fabled Wall of Sound. The single barely dented the charts in the US, but became a smash in England and established Tina as a superstar."

"River Deep Mountain High ranks among the ten best rock singles ever produced. However, the album does sound like Spector put most of his efforts into that song and very little on the others, which although fine, don't come anywhere close to the majesty of the title track."

"River Deep Mountain High is an amazing song. Tina Turner roars through it like a hurricane, finally and definitively making the link between R & B and rock."

Nobody Needs Your Love – GENE PITNEY***

Blue Collar/Angelique/River Street/Eyes Talk/No Matter What You Do/California/ Backstage/Conquistador/Turn Around/Dream World/Flamingo/Nobody Needs Your Love

Nobody Needs Your Love was the final chart album of new material from American vocalist Gene Pitney. The title track and Backstage reached No. 2 and No. 4 respectively on the UK singles chart. (UK:13)

"This is a voice that is so recognizable. It is a pity that the man himself has not been properly recognized. Gene Pitney is one of the most underrated singers of all time. The range of this man's voice is incredible as are the songs. He can make you cry one minute and fall in love the next."

"Gene Pitney was never, technically, a great singer. But what he had was charisma. His voice was irresistibly alive, thin and piercing, collapsing into choked histrionics at the climax of each miniature melodrama, then recovering to hit one last high note, iridescent with vibrato. Given the right material, his delivery is unique and truly affecting."

"Backstage (I'm Lonely) is a frenzy of self-pity amid hysterical orchestration."

"Gene Pitney is much derided for his cheesy 60s ballad pop style, but secretly much admired by the sneering critics."

"Great catchy tunes, with lyrics sung with Pitney's instantly recognisable light, poppy voice with characteristic drawl."

"Another early Randy Newman tune Nobody Needs Your Love sounds more 'bubble gum' than most of his work."

"Backstage is one of my favourite Gene Pitney songs. The reason why music is so forgettable today is that it all sounds the same. It's all generic, electronic heartlessness that is about making money. There is no soul or love in these kind of songs."

Mann Made Hits – MANFRED MANN*****

Pretty Flamingo/The One In The Middle/Oh No Not My Baby/John Hardy/Spirit Feel/Come Tomorrow/Do Wah Diddy Diddy/There’s No Living Without Your Loving/With God On Our Side/Groovin’/I’m Your Kingpin/Sha La La/5-4-3-2-1/If You Gotta Go Go Now

Mann Made Hits was an excellent compilation of the group’s Paul Jones era, that includes their pop singles plus some R & B material. Lookalike Mike D'Abo would take charge of the vocals from now on. (UK:11)

"You get it all here. The marvellous emotional rocket launching of Doo Wah Diddy Diddy; the more mature yet still emotive feelings elicited by Pretty Flamingo. There is also pretty good version of Dylan's Just Like A Woman, which should not be taken as criticism, but rather a compliment to the band's musical prowess."

"Their music was generally upbeat good time music and could be described as a cross between R & B and mainstream pop. Given that, it may seem surprising that they covered several songs by folk-rocker Bob Dylan, but the combination worked well and no doubt helped to build Dylan's reputation as a great songwriter. Of the other songs, Pretty Flamingo was yet another British chart-topper and Oh No Not My Baby was originally an American hit for Maxine Brown. Other songs that I particularly like include 5-4-3-2-1 and Come Tomorrow."

"Has all the hits featuring Paul Jones. Well played, catchy sixties pop from an underrated outfit."

"Band were definitely one of the leading lights of Division Two of sixties British pop talent, only really being excelled by the absolute greatness of The Beatles, Stones, Kinks and Who."

"Paul Jones' voice shows its full range, singing blues and pure pop with equal ease."

"This was the period when most of the bands hits were made, though their hearts lay less in poppy crossover numbers like 5-4-3-2-1, Do Wah Diddy Diddy and Pretty Flamingo as in the blues-based workouts."

The Mamas & The Papas – THE MAMAS & THE PAPAS*****

No Salt On Her Tail/Trip Stumble & Fall/Dancing Bear/Words Of Love/My Heart Stood Still/Dancing In The Street/ I Saw Her Again/Strange Young Girls/I Can’t Wait/Even If I Could/That Kind Of Girl/Once Was A Time I Thought

A quick follow up to their immensely successful debut, this self titled LP again showcases the incredible harmonies of The Mamas & The Papas. Includes the top five US hit singles Words Of Love and I Saw Her Again. (US:4 UK:24)

"This, the second album by The Mamas & the Papas, was recorded and released during the precise high point in their brief career, The end result - while not quite as striking as a whole as their debut - is still magnificent. Aside from the hits I Saw Her Again, which was possibly the hardest rocking track the group ever recorded, and Words Of Love, the rest of the album has numerous highlights. Most notably, My Heart Stood Still and Once Was A Time I Thought are perhaps the finest recordings that the group ever cut."

"My Heart Stood Still showcases Phillips' masterful arranging abilities of older, Tin Pan Alley/Brill Building type material. No Salt On Her Tail is mesmerizing folk-pop which adds a luxurious glow to the vocal harmonies, and Trip Stumble & Fall boasts infectious marimba and an urgent lead from Denny."

"Similar to their debut, with beautiful vocal harmony and great period flavour. But this one loses points for a commercial orientation just slightly too high for my taste."

"Why John Phillips is not considered in the first rank of songwriters is incomprehensible. This is a typically masterful effort with soaring harmonies, brilliant singing, heartbreaking lyrics (listen to Even If I Could) that maintains the spell it conjured on first release."

"This album is a stunning and magnificent follow-up to their debut album, all the while perfecting the male/female harmony. There isn't a clunker here - the group firing on all pistons, and another batch of a dozen folk-pop masterpieces."

"A great album which captures their genius for all time."

Jack Orion – BERT JANSCH****

The Waggonner’s Lad/The First Time I Ever Saw Your Face/Jack Orion/The Gardener/Nottamun/Henry Martin/Black Water Side/Pretty Polly

Although Bert Jansch was an accomplished songwriter, on Jack Orion he performed acclaimed interpretations of traditional folk songs. He is accompanied by guitarist John Renbourn on some tracks.

"There are no Jansch originals anywhere to be found on Jack Orion, his third album released in 1966. It’s made up of seven traditional interpretations and one conventional cover. This hardly matters though - it’s what Bert does to these pieces in the space of the record which is important. He adds a then ‘hip’, weary blues quality to even the oldest sounding trad folk melodies and completely makes them his own, with some dazzling finger-picking and all round awesome acoustic playing."

"Bert Jansch's third album is, in my humble opinion, his greatest. An album filled with traditional songs it truly goes to show just what a great guitarist he was. As if Bert's talent wasn't enough he is joined by the equally great John Renbourn on some tracks, which even further heighten the worth of this album to any guitar player. The album is so full of great songs that you won't be able to stop listening to it."

"Like so many Bert Jansch albums, nothing but great tracks on this one. Hearing him play banjo on the opener is delightful. It's tough to do better than Bert Jansch. The only things that keep this from being a five star release is the fact that some of the tracks sound a little too similar, and that, as usual, the coherence isn't superb. Nevertheless, just try not to enjoy this album."

"Although this album consists entirely of British folk songs and traditionally inspired instrumentals, Jack Orion's appeal as a folk album is an awkward one, for in essence it is blues album. Yet its mix of styles and hypnotic background arrangements, makes it more revolutionary than all that had come before it."

"This album is an absolute gold British folk classic. Here, although the banjo does feature in the first track, he plays mainly acoustic guitar. This is executed with perfect skill and sense of rhythm making this truly enjoyable and interesting to listen to. Most of the tracks compile a masterclass in the art of solo guitar playing, with Jansch playing alone, but there are a few tracks in which the great man plays with his old flat-mate John Renbourn."

Greatest Hits – BERT KAEMPFERT*****

Wonderland By Night/Afrikaan Beat/Red Roses For A Blue Lady/Spanish Eyes (Moon Over Naples)/LOVE/Magic Trumpet/Danke Schoen/Strangers In The Night/Bye Bye Blues/That Happy Feeling/Wiederseh’n/A Swingin’ Safari German bandleader Bert Kaempfert was at the height of his fame in the mid sixties as the composer of Spanish Eyes and Strangers In The Night. The release of his Greatest Hits was thus very timely. (US:30)

"This album really is the very best of Bert Kaempfert and should be in the collection of any lover of easy listening music."

"As 'Best of' records go, these dozen easy listening instrumentals, first compiled and republished in 1966, are some of the very finest."

"This album gives an excellent overview of the life and work of Bert Kaempfert. It contains all his world hits like Danke Schoen, L-O-V-E, Spanish Eyes and Strangers In The Night plus Kaempfert's instrumental hits like Swingin' Safari and Afrikaan Beat. All these titles are arranged in the distinctive Kaempfert big band sound."

"Bert Kaempfert became a symbol of two generations. He knew how to combine elegance, inspiration and lyricism, always preserving his well defined musical personality during the sixties. How can you forget tunes such as Wonderland By Night and Red Roses For A Blue Lady. You grew up with those themes in your soul, and your heart. How many love affairs, how many marriages were made reality thanks to those beautiful and engaging melodies?"

"Bert Kaempfert was one of the best composers and band leaders. His music goes to the innermost desire of your heart and brings you alive. It is such happy music. The rhythm always leaves you tapping your foot."

"His music was an island of sanity in a rapidly changing pop field as each year of that turbulent decade passed, and for pure relaxation and close dancing there was none better."

"Every one of these songs is an absolute classic. Beautifully played, all instrumental. This is one of my favourite LPs by far; I can't recommend this highly enough."

East-West – THE BUTTERFIELD BLUES BAND****

Walkin’ Blues/Get Out Of My Life Woman/I Got A Mind To Give Up Living/All These Blues/Work Song/Mary Mary/Two Trains Running/Never Say No/East West

East-West was a quick follow up from the influential blues rock group The Butterfield Blues Band. It was one of the first albums to include Indian influences. (US:65)

“Released shortly after the debut album, East-West builds on the evolving blues sound of the group. It has been said that this album was one of the first to introduce psychedelic rock. True or not, the psychedelic elements on this album are certainly undeniable. East-West ventures into, as the title suggests, a blues/rock/eastern hybrid musical genre, creating a fantastically original album.”

“East-West is arguably one of the best blues-rock albums ever. The atmosphere, the bluesy spirit of Bloomfield's guitar and powerful voice are unique and brilliant.”

“Mike Bloomfield's guitar work is a joy to hear throughout. The title track, an extended instrumental, is a lot more experimental than the rest of the record, and perhaps not as successful, but still somewhat ahead of its time. The first overt Indian influences in Western pop music had only just begun to appear.”

“It's a superb record of blues, jazz-blues fusion and not a little soul, but has a wonderful 60s feel to it. This record is an absolute classic which explored new ground as well as giving a freshness to some old standards. If you love the blues and don't have it, there is a gap in your collection.”

“In contrast to the relatively routine, rock and roll style blues music, East-West is as inventive as it is fierce, and its sound does not suffer by modern standards, being as dense as is needed at all times. All in all, though, East-West fully lives up to his reputation as a must have album: its power and melody set standards that were copied long after jam rock had gone completely out of fashion.”

“East-West is in the top of the top league. Paul Butterfield had an amazing band, featuring Michael Bloomfield, arguably the best pure blues axe man of the era. What Butterfield did on this album was to take numerous styles and run a Chicago blues thread through them. A classic from some of the great young blues players coming out of Chicago in the early sixties.”

Drivin’ You Wild – CLIFF BENNETT & THE REBEL ROUSERS***

Three Rooms With Running Water/Baby Baby Baby/You Make Me Happy/Sweet Sorrow/I Have Cried My Last Tear/Another Saturday Night/Its Drivin’ Me Wild/(That’s Why) I Love You So/Who’s Cheatin’ Who/I’ll Be Doggone/Strange Feeling/Take You Home

One of the first releases on the successful budget label Music For Pleasure was Drivin' You Wild, from British sixties pop stalwart Cliff Bennett & The Rebel Rousers. Budget albums such as this would be later disqualified from chart inclusion. (UK:25)

"The history of pop music is full of injustices, but one of them is that Cliff Bennett only has two UK top ten hits to his credit. Despite that, Cliff's music is seen as an integral part of the British sixties music scene. Some people are wary of cover versions, but Cliff was brilliant at them. Other British R & B bands of the time, gained wider recognition, especially in America, but Cliff's music is just as good as theirs."

"In truth, they were a couple of years ahead of the curve, with Bennett possibly one of the few Brits who could tackle material by Marvin Gaye, Little Milton and Sam Cooke without looking or sounding ridiculous in the process. The Rebel Rousers are a minimal, but deceptively fast and full sounding sextet, that make these tracks come alive with stripped-down vitality. They make old soul tunes sound like Liverpool pop, and pop throwaways sound like R & B rarities. This is one of the missing chapters in British rock that every fan ought to get around to sampling."

"Cliff Bennett & The Rebel Rousers earned the right in the mid-sixties to be called a true 'band' - a seven man line-up, with a powerful bluesy lead singer and not one, but two, rasping saxophones to spice up all their arrangements. Maybe their delivery and choice of material was just a little too in-your-face for the teenage record buying public, which may go some way to explain why they are largely forgotten today."

"For years the accepted wisdom about this band is that they were too dependent on cover versions to be taken seriously. Absolute nonsense! Rhythm & blues and soul have always been rife with cover versions. Indeed that was part of the magic - hearing different singers trying to outdo each other with the intensity and vivacity of their performances. For my money The Rebel Rousers were victims of the musical snobbery of the record buying public of the day - that a bunch of white guys from the Home Counties could not compete with what was being produced Stateside."

The Classic Roy Orbison – ROY ORBISON***

You’ll Never Be Sixteen Again/Pantomime/Twinkle Toes/Losing You/City Life/Wait/Growing Up/Where Is Tomorrow/I’ll Never Get Over You/Going Back To Gloria/Just Another Name For Rock & Roll/Never Love Again

The Classic Roy Orbison was the final top twenty album from the Big O during the sixties. He would chart again with an album of new songs 23 years later, after his death. (UK:12)

"Orbison remains one of the true godfathers of rock 'n' roll and pop with his deep catalogue still fondly remembered by millions of people around the world. He was known for his smooth tenor voice, which could jump three octaves with little trouble. Orbison's talents have continued to keep him poised high in the upper echelons of rock legends. This album is not a collection of hits as the title suggests but an album full of masterful songs performed in that classic Orbison way."

"The songs on The Classic Roy Orbison and are truly special. Being one of the greatest ballad singer of all times, there are a lot of unforgettable beauties on this."

"This will not disappoint. There was no one like him. What a voice and what a great songwriter."

"The Classic Roy Orbison is a more erratic collection that perhaps reflects the crisis in Orbison's career. Amongst the choice tracks is City Life, a vigorous rocker that includes some of Orbison's finest lyrics; the surreal Pantomime, which displays shades of hedonistic revelry and the atmospheric Wait that conveys the frustration of an illicit affair. On the negative side is the unintentionally comedic Twinkle Toes. The Classic Roy Orbison is a mixed bag that veers from brilliance to banality."

"Roy Orbison's albums never cease to amaze me. His lyrics, music and never to be equalled voice are fantastic."

Black Is Black – LOS BRAVOS***

Trapped/Baby Baby/Make It Easy For Me/She Believes In Me/Will You Always Love Me/Black Is Black/Stop That Girl/Give Me A Chance/Cuttin’ Out/Two Kinds Of Lovers/You Won’t Get Far/Baby Believe Me

Los Bravos comprised a rare combination of Spanish backing group with German vocalist. The title track was a massive international hit reaching No. 4 in the US and No. 2 in the UK. The group were never able to repeat anything like this fame again. (US:93 UK:29)

"The lead singer is German and the rest of the group are from Spain. The guys got a distinctive voice. Problem is, most of their work is nothing like the big radio song. If more of the tracks sounded like this upbeat rocker you'd have a tasty LP here."

"I don't think Los Bravos had another hit in their life other than Black Is Black. I loved the title track and I listened to the rest with interest. It was a Spanish group, but the singer was German and he sang in English (for marketing reasons) with an incredible accent that contributed a lot towards the success of the single. The opening riff was also a good idea. It's a funny souvenir, but I must admit that it doesn't stand the test of time too well."

"Black Is Black is a great song and the rest of the album does not disappoint. In fact it is an excellent representation of mid-60s rock/R & B/pop. After hearing this LP you will probably agree that Mike Kogel was one of the best voices of rock and it's a shame that most likely he will not get the credit he deserves. Especially if top 40 radio continues to only play Black Is Black. Get this album if you really enjoy upbeat 60s music by excellent musicians and a great singer."

"Los Bravos were one of the more unlikely stories of the 1960s top 40, breaking out of Spain with a German lead singer to achieve US one-hit wonder status with Black Is Black in 1966. The single, along with their debut album, features the Gene Pitney-like vocals of Michael Kogel and horn-heavy, soul-influenced pop that owes more to 1960s New York R & B than the British Invasion, then winding down its sweep of the world's stage. From their sound, you'd be hard-pressed to place this band as German and Spanish in origin. The group had a second hit in the UK with I Don't Care, but never really regained their footing on the US or international charts. Their debut has no other songs that compare with the catchiness and drive of the iconic hit."

The Best Of – THE LETTERMEN****

When I Fall In Love/She Cried/If Ever I Would Leave You/Love Is A Many Splendored Thing/Yesterday/The Way You Look Tonight/Theme From A Summer Place/You’ll Never Walk Alone/Smile/Portrait Of My Love/Secretly

Best Of was not a genuine best of selection from this melodic harmony group as it omits several of their singles including the US top twenty hit Come Back Silly Girl. (US:17)

"Their style is impeccable. Their vocal charm and passionate harmonies are both romantic in flair and graceful in mood. The Lettermen set themselves apart from all the other so-called romancer groups during the early '60s. Some classic hits are presented here in this best-of package, backed by a chills-inducing stringed orchestra to bring forth a more eloquent atmosphere."

"The Lettermen display their many singing talents on such soothing tracks as When I Fall In Love, If Ever I Would Leave You and Smile. These nurturing melodies are sure to make the heart skip a beat decades after their original release, and the tunes should certainly be nostalgic for listeners who passed through the '60s. Perfect accompaniment for a candlelight dinner with your date on a quiet and romantic moonlit evening."

"The Theme From A Summer Place never sounded so good - and The Lettermen are the only people who could deliver this so very well. The strings are beautiful and they even help to mark the beat - very creative."

"Unlike many of the performers of their era, The Lettermen were legitimate musicians and their talent was never more evident than in the selections included on this LP."

"The soft, romantic sounds of The Lettermen soothes the soul and lifts the heart in joy. There has never been a blending of voices as pure and as wonderful as these, and any lover of lilting, relaxing music will want this album."

"The Way You Look Tonight puts The Lettermen squarely in the spotlight, right where they belong. They harmonize to perfection and beyond - its a marvellous number."

Autumn ’66 – THE SPENCER DAVIS GROUP****

Together ‘Til The End Of Time/Take This Hurt Of Me/Nobody Knows You When You’re Down & Out/Midnight Special/When A Man Loves A Woman/When I Come Home/Mean Woman Blues/Dust My Blues/On The Green Light/Neighbour Neighbour/High Time Baby/Somebody Help Me

Autumn '66, the third album from The Spencer Davis Group, continues their traditional fare of blues drenched numbers. Stevie Winwood would depart the following year bringing the band's chart career to a close. (UK:4)

"There isn't a duff track on it and it is one of my top twenty albums. OK so it's mostly covers of blues standards, but let's not forget that the band were a blues band, the hit singles were kind of a side product. To criticise a blues band for playing the likes of Dust My Blues etc. is like criticising snow for being cold and wet."

"It is almost impossible to say anything about this band without making reference to a young Stevie Winwood. Basically filled with rhythm and blues standards from the 60s, it would be a ho-hum listen if not for him. But, putting it in another perspective it was the perfect vehicle to emphasize one of greatest talents to arise from this era."

"At the peak of their popularity, The Spencer Davis Group's albums were considerably less impressive than their hits and a bit thin on imagination, although they were never less than competent. This, their third LP, relies heavily on soul covers, as well as a few oft-covered blues."

"The Spencer Davis Group were one of the best R & B groups of the British Invasion. Winwood's tenure in this group is overshadowed by his work in Traffic, Blind Faith and his solo career. But his talent is present even in these early recordings. Most feature his soulful vocals, his impressive organ playing and underrated guitar work."

"Whether they performed covers or original songs, their performances were always top notch soulful blues. Young Stevie's voice was incredible, and many songs will make you wonder if it was really possible that a white teenager could sing with such a mature voice. Spencer Davis has a very good blues voice too."

"Compelling, solidly crafted English blues from its earlier years - sometimes understandably derivative, but with an honesty and charm all its own."

Wade In The Water – RAMSEY LEWIS****

Wade In The Water/Ain’t That Peculiar/Tobacco Road/Money In The Pocket/Message To Michael/Up Tight/Hold It Right There/Day Tripper/Mi Compasion/Hurt So Bad

Wade In The Water was the first album release from R & B/jazz pianist Ramsey Lewis after the break up of his original trio. The title track was a US No. 19 hit single and Hold It Right There won a Grammy for best R & B group performance. (US:16)

"Wade In The Water is one of my all time treasures. Not a dud track on it and is still good. The title track is still able to get people up and off their seats. Highly recommended."

"With Cleveland Eaton II (bass) and Maurice White (drums) replacing Eldee Young and Red Holt in the trio, Ramsey Lewis alters course just a bit from his handclapping soul-jazz idiom that was so popular at the time. The two new sidemen are relegated more to the background, and some punchy big band charts by Chicago's Richard Evans share the spotlight with Lewis' gospel-blues-drenched piano. Nevertheless, the old swinging fervour is left intact this time, as Lewis and company purvey a set of pop hits, with a few others worked in. They even got a large-scale hit out of the old gospel tune Wade In The Water. The best cut of the bunch is the hard-swinging, down-home treatment of the Stevie Wonder hit Up Tight, that got almost as much airplay as the title track. Like The In Crowd, this record evokes its era indelibly."

"The opening track on this album is a gem - Wade In The Water. Although credited to Ramsey Lewis on the album is in fact a traditional song with it's roots steeped in black American culture. This track is unbelievably funky and full of soul. Ramsey comes out tops every time."

"I had the LP Wade In The Water shortly after release as a long sought after 60s soul fave. True to form the title track still cooks, rounded out with great brass and sounding like it was recorded live in the studio. It is complemented by the variety of other soul hit covers Ain't That Peculiar and Up Tight, plus Ramsey's long love affair with Beatles interpretations continues."

"If your spirit needs a lift just pop this LP onto your player and enjoy the sounds of 1960s pop-jazz from the great Ramsey Lewis."

This Is The Life – MATT MONRO****

I’m Glad There Is You/This Is The Life/You’re Gonna Hear From Me/I’ll Take Romance/Strangers In The Night/ On A Clear Day(You Can See Forever)/Sweet Lorraine/My Best Girl/On A Wonderful Day Like Today/Merci Cherie/Honey On The Vine

Matt Monro was the most successful British MOR male vocalist during the first half of the sixties, his singing style inviting comparisons with Frank Sinatra. This Is The Life is a collection of standards and ballads. (UK:25)

"This Is The Life pairs crooner Matt Monro with arranger Sid Feller for a collection of standards and ballads that incorporate elements of contemporary pop and jazz, but never does so at the expense of its sophistication or hard-fought maturity. The cover - with Monro sandwiched between a pair of fabulous babes - sets the tone for the music inside: this is effervescent, celebratory pop for and by adults. Feller's ripe arrangements beautifully complement the restrained drama of Monro's vocals, and the songs are perfectly calibrated to his almost effortless interpretive brilliance."

"Matt Monro, Brit's answer to Frank Sinatra is often overlooked when it comes to male singers. But Monro, had a supple, endearing and rich voice and in this album he uses it with force and sparingly to swing with some wonderful numbers. Sid Feller offers some lush arrangements."

"Matt Monro was Britain's best balladeer of his generation. Comparisons with other singers, particularly Frank Sinatra, are inevitable, but Matt carved out his own niche and his music remains popular today. This is the first album that he recorded after switching labels to Capitol, and contains a selection of love songs, mainly slow ballads, but with the occasional uptempo song to provide variety."

"This Is The Life, features several songs that were oldies even in the sixties. One of the most famous songs here is Strangers In The Night, a cover of one of Frank Sinatra's classic songs. In some ways, it was brave of Matt to record it, because there were those who accused him of being a Sinatra copyist. He wasn't. Yes, there are similarities, but Matt was not Frank's clone. There are plenty of great songs here, some famous, some obscure, but if you like Matt's music and you've already got a hits compilation, you'll love this."

"Some of the lyrics may seem a bit lame in today's eyes, but that does not detract from the wonderfully rich tones of Matt Monro." Vox Pop Album Review 1966 Wade In The Water – RAMSEY LEWIS**** US: Cadet

The Exciting – WILSON PICKETT*****

Land Of 1000 Dances/Something You Got/634-5789/Barefootin’/Mercy Mercy/You’re So Fine/In The Midnight Hour/Ninety Nine & A Half (Won’t Do)/Danger Zone/I’m Drifting/Its All Over/She’s Good To Me

Wilson Pickett was prominent amongst the galaxy of American soul stars from the mid 1960s. Exiting is considered to be his finest LP, capturing him at the height of his popularity. Includes his best known track In The Midnight Hour, plus the US hits Land Of 1000 Dances and 634-5789. (US:21)

"What a voice this guy had. Excellent singing and a great band to back up Wilson's soulful voice. I love this gritty Southern soul stuff, really a great album."

"One of the best soul LPs ever. Land Of 1000 Dances, 634-5789, In The Midnight Hour and the best version of Mercy Mercy I've ever heard. Yeah, you know those, but, really, every song's a winner. It's highly listenable, energetic, fun to dance to, and Pickett's voice is unstoppable, and as the album's title suggests... exciting. A talented cast of musicians make up the album's sound; present are some of soul music's defining creative forces."

"Released in the summer of 1966, this was Wilson Pickett's first all-out Southern soul perfect LP, one that set the standard for Pickett, as well as Southern soul, for years to come."

"Wilson Pickett's voice could strip the chrome off a Buick. Gritty, raw, and capable of emphatic shrieks and woeful moans, Pickett's voice is, in some ways, the paragon of Southern soul style. Exciting showcases the man's formidable vocal talents to the point of near perfection. It is the soul man's most solid and satisfying studio album."

"The set is classic Pickett: funky, blues and gospel-influenced, aggressive and intense. It is often forgotten that Pickett wrote much of his own material, and more than half of this set features Pickett's name credited as songwriter."

"If you could only own one Wilson Pickett record, this would be the one to get. Not so much because of the break-out hits, which are available elsewhere, but because of the less familiar tracks. If you love Wilson Pickett's singing for the things that make it unique, you should pick this up just for the sake of the astonishing It's All Over. All over indeed; there's just nothing left after this."

Takes Off – JEFFERSON AIRPLANE****

Blues From An Airplane/Let Me In/Bringing Me Down/Its No Secret/Tobacco Road/Come Up The Years/Run Around/Let’s Get Together/Don’t Slip Away/Chauffeur Blues/And I Like It

Takes Off was the debut album from celebrated San Francisco underground group Jefferson Airplane, featuring vocalist Signe Anderson who would leave before the next album. (US:128)

"The fact that Grace Slick isn't here is sometimes seen as a problem with this album, but for my money, it's difficult to tell that Signe Anderson isn't Slick anyway - she has a similar timbre and singing style."

"Let me talk about Signe Anderson. She wasn't quite as good as Grace but she still has a marvellous voice that's downright stunning at times, most notably on Chauffeur Blues, her only solo spot on the album."

"This legendary band began here with a mix of folk and power melodic pop. It's pure mid sixties music which is probably one of the best times of musical history ever. Bands loved melodies and singing in unison. The first female vocalist Signe Anderson does a great job too. This is pre psychedelia and it reminds me of the many great groups around in 1966 who just wanted to make good melodic music. It's too bad people don't make music like this much anymore, it soars and lays down great layers of beautiful sound. This though is 1966 stylings, not the later type of more polished songs made just a year later, and that's why this one is the raw start of a true giant legend."

"Here the early Grace Slick-less Jefferson Airplane incarnation is all about playing in that sort of woozy version of the current rock that morphed into psychedelia the next year. They do it well enough though you can't begin to convince me that this is a classic album. It lacks personality, the songs as well as the singers."

"A forgotten gem. Not as groundbreaking as The Byrds' early work, but solid original folk rock nonetheless."

"The album itself is really wonderful. The main difference from The Byrds is in that it's dark. The songs are, actually, rather simple: love ballads, hippie anthems, old blues covers, etc. But the way they sound was something new around 1966. How do they get that gloomy, murky sound, is something I still can't explain.

Soulin’ – LOU RAWLS****

A Whole Lotta Woman/Love Is A Hurtin’ Thing/So Hard To Laugh So Easy To Cry/You’re The One/Don’t Explain/ What Now My Love/Memory Lane/Old Man’s Memories/It Was A Very Good Year/Growing Old Gracefully/Old Folks/Autumn Leaves/On A Clear Day/Breaking My Back

Gritty and silky soul singer Lou Rawls enjoyed another significant US album chart success in 1966 with Soulin'. Includes the No. 13 US hit Love Is A Hurtin' Thing. (US:7)

"Lou Rawls began his roll onto the R & B and pop charts with this 1966 work. He was now doing soul material, songs where his gospel background and instincts took over, and he simply wailed, soared, and shouted, rather than interpreting or working with blues progressions. He scored a huge hit with Love Is A Hurtin' Thing and had finally found a successful formula."

"This is classic Lou Rawls at his best. There are some bluesy numbers like So Hard To Laugh So Easy To Cry where the deep voice timbre of Lou Rawls is full of vitality and vigour and so unmistakeably Lou Rawls. Likewise Don't Explain features Rawls wailing and swinging in his unique style. There are also more well known songs, like the often recorded in the sixties, What Now My Love with a nice big band ensemble sound full of individual jazzy solos."

"All of the songs on this LP were recorded flawlessly. The musicians were very gifted as well as inspired. I only wish that they had been acknowledged in the liner notes as they deserved to be. They perfectly complete one of the best all-time greatest collection of songs."

"If you are a Lou Rawls fan, this is a must for your collection. But if you love an excellent male uptempo jazz singer, this is a must for your collection as well. Get it before it is gone forever. You will want to play it over and over again 'to satisfy your soul'."

"Soulin' may be Rawls' apex: you hear his depth artistically if not politically. Here, producer David Axlerod and arranger H R Barnum set a horn strewn, echoing jazz/soul bed for Rawls to work over, and work he does. Listen to the melodic Love Is A Hurtin' Thing. What clicks so well with Rawls' singing is, he has ability to make his vocals gritty and silky at the same time. He stays in his range, and each note he sings is pungent."

Sinatra At The Sands – FRANK SINATRA*****

Come Fly With Me/I’ve Got A Crush On You/I’ve Got You Under My Skin/The Shadow Of Your Smile/Street Of Dreams/One For My Baby/Fly Me To The Moon/One O’Clock Jump/The Tea Break/You Make Me Feel So Long/ All Of Me/The September Of My Years/Luck Be A Lady/Get Me To The Church On Time/It Was A Very Good Year/Don’t Worry ‘Bout Me/Makin’ Whoopee/Where Or When/Angel Eyes/My Kind Of Town/A Few Last Words/My Kind Of Town(Reprise)

Sinatra At The Sands was the first live album release from singing legend Frank Sinatra, recorded in April 1966 at a night club setting in Las Vegas. The double LP of this exceptional performance, includes monologues which may not be to everyone's taste. (US:9 UK:7)

"Frank Sinatra performing in a live concert with Count Basie and his Orchestra, conducted by a fine arranger/orchestrator Quincy Jones, is one of the best things that ever happened to the Chairman's illustrious musical career. Sinatra At The Sands is one of the best concerts in the history of live recordings that I wholeheartedly recommend for your listening enjoyment. For a live concert, Sinatra's performances are nothing short of splendid."

"This live recording from Las Vegas finds Sinatra fully in his element. Vegas in the '60s was a perfect setting to bring Sinatra's music out of the abstract and into the realm of flesh and blood. At the Sands, the centre of Vegas nightlife, Sinatra is the unchallenged king, and on this album he wears the crown with grace. And, naturally, he swings."

"Pop this on, close your eyes, and you'll be instantly transported back to the Vegas of 1966. The Sands Hotel was still the 'class joint' where Sinatra and his Rat Pack buddies partied, held court, and occasionally even performed. This priceless document (Sinatra's first official live album) captures the Chairman of the Board in performance mode."

"The audience goes crazy for this masterpiece. Sinatra is incredible throughout this legendary event and swings like he never swung before. You can feel the excitement from the audience and the great time they were having."

"This musical journey is the greatest concert performance released in Frank Sinatra's long and brilliant career. This masterpiece is highly recommended for anyone who enjoys vocal artistry at its peak in a live concert setting."

Roadrunner – JR. WALKER & THE ALL STARS***

(I’m A) Roadrunner/How Sweet It Is (To Be Loved By You)/Pucker Up Buttercup/Money (That’s What I Want)/ Last Call/Anyway You Wannta’/Baby You Know It Ain’t Right/Soul Darling/Twist Lackawamma/San-Ho-Zay/ Mutiny

Junior Walker & The All Stars featured driving sax tunes tailor made for dancing at house parties. The well known title track single reached No. 12 in the UK and No. 20 in the US. Also included is the US No. 18 hit How Sweet It Is. (US:64)

“This is another one of Junior’s rough but lovely albums, featuring his 'gritty but pretty' style of playing and singing. Here he also takes on the work of his fellow Motowners such as Marvin Gaye's How Sweet It Is To Be Loved By You and Barrett Strong's Money. The former is fine but he really rocks out on the latter in two parts and, like good artists should, he turns it into something all his own.”

“It is clear what was the function of the record. Several of the tracks have party noises and the lyrics and vocal interjections are peppered with the dance crazes of the time. If the music lacked surface sophistication, it certainly made up for it in honkin' sax, atmosphere, energy and feeling, plus it was brilliantly played, with a gospel-like fervour. I would guess it enlivened many a soul party in the sixties.”

“Now this is music. I remember rocking out to this song in the 60s at house parties and everybody danced.”

“These guys were in the pocket so hard, magic in this track. You can single out every instrument and it's nailing it on its own. Put ‘em all together, now that's soul.”

“One of the best. When music was made with real instruments and real people singing.”

Revolver – THE BEATLES*****

Taxman/Eleanor Rigby/I’m Only Sleeping/Love You To/Here There & Everywhere/Yellow Submarine/She Said She Said/Good Day Sunshine/And Your Bird Can Sing/For No One/Doctor Robert/I Want To Tell You/Got To Get You Into My Life/Tomorrow Never Knows

Despite increased competition The Beatles continued to maintain their dominance of the popular music scene. Revolver is a magnificent album, jam packed with distinctive and timeless songs. The double A side single Yellow Submarine/Eleanor Rigby was No. 1 in the UK. At the time, both the public and the pundits thought it would be impossible for the group to better this album, but they were to be proved wrong. (US:1 UK:1)

"A mind boggling collage of perfect song craft and sheer sonic joy, Revolver, like its predecessor Rubber Soul, stunned the pop world when released in 1966."

"This album is really one of the best ever released. Every song is listenable and loveable. It features some of the most advanced music The Beatles ever released, with the songs in many different styles."

"This is the most unbelievable example of self-caused, more or less independent musical evolution the world had ever seen."

"In my opinion, this is the greatest album in the history of the universe. All of the various aspects of the group that made them so awesome converge here. We have George and his sitar, we have guitar rock, we have the strings, we have the gorgeous and sorrowful ballads, we have the absurdly catchy Lennon pop, and most of all, we have genius."

"This is one of my favourite albums ever. The 'poppiness' blends perfectly with the experimentalism. The Beatles definitely continued their reign as the best song-writers of the 20th Century with Revolver. Every song shows their tremendous range of musical talent. Not only was the music amazing, but Revolver was a technical masterpiece as well."

“When considering a truly great album, I feel that it is necessary to consider songwriting, musicianship, production, palatability, originality, creativity and how well it holds up over time. This has it all.”