Wild Is Love – NAT KING COLE****

Introduction/Wild Is Love/Hundreds & Thousands Of Girls/It’s A Beautiful Evening/Tell Her In The Morning/Are You Disenchanted/Pick Up/Beggar For The Blues/World Of No Return/In Love Again/Stay With It/Wouldn’t You Know

Wild Is Love was an unusual concept album from Nat King Cole, featuring all new material about love and relationships. The gamble paid off as it achieved a high US album chart placing, even without the aid of an accompanying single. (US:4)

“This is a concept album on the subject of finding, and holding on to, love from a urban hipster's perspective. Cole is the suave bachelor narrating this journey through Hundreds & Thousands Of Girls that will, ultimately, end with the playboy opting out of the swinging life for 'the one'. Excellent vocals from the master of smooth and you can't go wrong with arrangements by the incomparable Nelson Riddle, whose orchestra ably assists in setting the perfect cosmopolitan backdrop for each song. I recommend this to anyone looking for romantic trip with one of the best tour-guides in the business.”

“Cole's last project with Riddle is an interesting one. It did not yield any hits. This may be because of the unique way this album is presented. It is a theme album, not a collection of standards, but original songs. It has Nat narrating throughout, and the songs relate to each other. It's an enjoyable album, in the fact that Nat was not afraid to experiment with new ideas. Nat fans should give this album a try.”

“Issuing an album of all new music was nearly unheard of at the time and to issue one written as a complete project equally unusual. Capitol had no idea what to expect but the album was a hit and got big radio play. Nelson Riddle's arrangements deserve much credit; he was at his zenith here.”

“This is a wonderful example of how great the 60s music business was, with superb orchestration by the awesome Nelson Riddle. The premise behind the record tells a story of love/heartache/new love and all points in between, told and sung by one of the premier voices of the era.”

“Capitol Records presented Wild Is Love, featuring an original production with music by Ray Rasch and lyrics by Dotty Wayne and the voice of Nat King Cole, with chorus, orchestration and conducted by Nelson Riddle. It is truly a masterpiece.”

Twist With Chubby Checker – CHUBBY CHECKER***

Twistin’ USA/The Ooh Poo Pah Doo Shimmy/The CC Rider Stroll/The Strand/The Chicken/The Hucklebuck/The Twist/The Madison/Love Is Strange Calypso/The Mexican Hat Twist/The Slop/The Pony

Twist With Chubby Checker is where the early 1960s dance craze The Twist started. King of this, and many other new dances, was Chubby Checker. Includes the US No. 1 hit single The Twist plus the top twenty hit The Hucklebuck. (US:3)

“The classic title song The Twist is an American institution and a flat-out rockin’ tune. Its the golden age of rock 'n' roll, and even weak records deserve some credit. But, upon repeated listens, I have concluded that, apart from the reputable title track, this album is garbage. Checker fails to come even close to holding up to contemporaries.”

“Chubby Checker's massive hit The Twist is to the 1960s what Bill Haley's Rock Around The Clock was to the previous decade; a defining moment for popular music. For Chubby there was to be some regret in later years at how big The Twist became, since it meant he had to constantly re-establish himself. There are many other dance orientated tracks on this album, including The Hucklebuck.”

“Nostalgia time. Just as the music was originally a feel good style and it remains so.”

“The Twist was probably Chubby's biggest hit ever, and he belts it out with lots of youthful enthusiasm, just what teenagers wanted back in the day. The backup vocalists add to the number and that melody is infectiously happy and catchy too.”

“Chubby Checker will never be forgotten; he was a king amongst kings and one of the best artists to consistently turn out song after song that young people, and anyone with a beating heart, could dance to.”

This Time I’m Swingin’! – DEAN MARTIN*****

I Can’t Believe That You’re In Love With Me/True Love/You’re Nobody ‘Til Somebody Loves You/On The Street Where You Live/Imagination/Until The Real Thing Comes Along/Please Don’t Talk About Me When I’m Gone/I’ve Grown Accustomed To Her Face/Someday/Mean To Me/Heaven Can Wait/Just In Time

For This Time I’m Swingin’! founder member of the rat pack Dean Martin teams up with arranger and orchestra leader Nelson Riddle to produce of one of his strongest albums. (UK:18)

“This time Dean really is swingin'. This is one of his best albums. I often wish he had made more albums with Mr. Riddle. The arrangements are smart and classy, and Dean's vocals couldn't get smoother.”

“Dean Martin demonstrates his relaxed mastery of the romantic croon on this early 1960s release. Accompanied by an orchestra arranged by Nelson Riddle, he cruises effortlessly through a hand-picked selection of show tunes and standards.”

“This Time I'm Swingin'! is an outstanding album of great tunes and hits from the singularly talented Dean Martin. Hearing Dean's voice is like listening to pure silk; and he doesn't disappoint on this album.”

“Dean Martin was one of the greatest male vocalists who ever lived; and this album proves it very well. This is a must-have for Dino's fans; and people who enjoy classic pop vocals will like it too.”

“It was only a matter of time before Dean Martin would collaborate with arranger Nelson Riddle. This Time I'm Swingin'! finds Dino in high spirits, backed by Riddle's solid orchestration and stronger than usual material. The result is one of Martin's all-time best albums.”

“This is one of the best Dean albums I have. Nelson Riddle helped on this one and it turned out great. None of those odd background vocals on here, just pure Dean and the music is superb. A must for anyone wanting a true Dino sound."

“This Time I'm Swingin'! is Dean Martin at his very absolute best. The songs fit the title with perfection, Dean is swingin', backed and masterfully orchestrated by the legendary Nelson Riddle. Dean sings every one confidently and naturally. An unforgettable recording from the all time great crooner.”

Plays Songs Of Our Heritage – DUANE EDDY***

Cripple Creek/Riddle Song/John Henry/Streets Of Laredo/Prisoner’s Song/In The Pines/Ole Joe Clark/Wayfarin’ Stranger/Top Of Old Smokey/Mule Train/Scarlet Ribbons

Plays Songs Of Our Heritage was a departure from the normal twangy guitar style of Duane Eddy, as he tackles traditional American songs on acoustic guitar and banjo. (UK:13)

“Fairly ho-hum versions of familiar tunes, sounds like some banjo in there too, but not as good as his other albums. If you are into banjo music you might like it though.”

“His commercial success led to this project which surprised the music world at the time as it was all acoustic reflecting on his musical heritage. The album is quiet and moody - quite different from the frantic surging hits. This is a recording from early in his career which is essential for any serious collector.”

“There are no twangs here; it's mainly acoustic guitar and banjo. Traditional songs superbly played. If you want something that's a little bit different from his usual style, then this is for you. This is an excellent example of Duane Eddy's early work and a thoroughly good listen.”

“Duane's playing these traditional American songs on acoustic guitar and banjo is faultless, and in places, heart touching without being sentimental. Upbeat numbers such as Cripple Creek and Ole John Henry really show his finger picking ability. Don’t expect anything like the old familiar twangy bass, but this recording is unique and highly recommended.”

“Duane Eddy is mostly known for his 'twang thang' but during his career he recorded several excellent acoustic tracks, including quite a few first class blues. For me, this album is very disappointing and sounds more like a set of tracks made by rather jaded session players. There seems to be no life to many of the tunes, and when compared to his bluesier acoustic work, they fall very short indeed.”

"John Henry has an eerie but evocative start and builds into a superb version. Duane Eddy is a true guitar legend who has influenced generation upon generation.”

“He's always been somewhat under-rated by the purists, simply associated with his 'twang', yet this album shows another side of him at his best.”

Never On Sunday – SOUNDTRACK****

Main Title/Prologue/Bouzoukia/Danse Yargo/Taki/The Charms Of Ilya/Ilya/Never On Sunday/Hasapico/The Lantern/Betrayed/Speak Softly/The Organ Grinder/End Title The romantic drama Never On Sunday set in Greece starred Melina Mercouri and Jules Dassin. The score by Manos Hadjidakis features the Greek musical instrument the bouzouki. The Academy award winning title track was widely covered at the time. (US:2 UK:17) “The score by Manos Hadjidakis is filled with lively bouzouki music and including the title tune, which became a top 40 hit in both an instrumental recording and a vocal version and won the Academy Award for best song. The music has an enduring folkish appeal that continues to come across today.”

“Very cool. A soundtrack done entirely on bouzouki. This is completely Greek music, but the tracks are structured songs.”

“The film score was wildly popular at the time, with the familiar instrumental title song winning the Oscar for composer Manos Hadjidakis. The song makes use of the unique sounding bouzouki, which is similar to a mandolin. Mercouri also sings a version of the song in the movie. You'll be humming the song for days.”

“This is the ultimate soundtrack to own. The song Never On Sunday has won countless prizes such as the first prize at Cannes for the best female interpretation, the Grand Prix du Disque for the sound track music in Paris, and of course the Oscar for the best song. This song expresses in a unique and masterful way the joys and the sorrows of Greek people.”

“The music is early 60s Manos Hadjidakis using a heavy dose of bouzouki, street-organ, guitars and piano. The main song of the movie Never On Sunday became a hit in the early 60s. Melina Mercouri's voice is an acquired taste. Some will love her; most will wonder why she sung. Overall, a good example of what music satisfied us in 1960.”

Me & My Shadows – CLIFF RICHARD****

I’m Gonna Get You/You & I/I Cannot Find A True Love/Evergreen Tree/She’s Gone/Left Out Again/You’re Just The One To Do It/Lamp Of Love/Choppin’ & Changin’/We Have Made It/Tell Me/Gee Whiz Its You

Me & My Shadows was released at a time when Cliff still rocked, this album is strengthened by the increased input provided by The Shadows. Includes the British top five hit single Gee Whiz Its You. (UK:2)

“Me And My Shadows is arguably one of Britain's greatest rock ‘n’ roll albums. The Shadows' distinctive twang with Cliff's beautiful rockabilly and perfectly rounded ballad vocals, defined the UK's early rock 'n' roll sound. The songs are a versatile mix of pure rock ‘n’ roll and ballads, many of them authored by the band themselves. The rockers are stunning, hard, vibrant and powerful yet crystalline, the gorgeous ballads are upbeat, yet flow smoothly, carried by the mellow, rich glissando of Cliff's voice and by the beautifully phrased accompaniment.”

“The third album from Cliff Richard, it was also the second to feature exclusive backing by The Shadows. Indeed The Shadows provided more than just the backing, being responsible for composing nine of the tracks on display.”

“Cliff Richard collaborated with The Shadows prior to this 1960 effort, but this is the first full length album where their respective talents fully merged. Most of the recordings are uptempo rock 'n' roll songs, with Cliff the singer in a musical dialogue with the guitarists in the group. This album also has the distinction of being one of the first British home grown rock 'n' roll albums prior to the mid-sixties."

“Fine combination of the voice of the young Cliff with the incredible, precise and melodious accompaniment of The Shadows."

“Cliff's 1960 album, where he is backed throughout by The Shadows in their classic line-up. Cliff is no Elvis, having a rather soft clean-cut tone and absolutely no sense of dangerous testosterone levels. However, he is well employed on the set of songs chosen here, mostly written by past and present members of The Shadows and embellished by some off-the-peg songs by regular contributors. If your collection is short on British rock 'n' roll albums, this is among the best examples of the genre to have.”

G.I. Blues – ELVIS PRESLEY****

Tonight Is So Right For Love/What’s She Really Like/Frankfort Special/Wooden Heart/GI Blues/Pocketful Of Rainbows/Shoppin’ Around/Big Boots/Didja’ Ever/Blue Suede Shoes/Doin’ The Best I Can

G.I. Blues was one of Elvis Presley’s most successful soundtrack LPs, outselling his recent studio album. But critics claimed that some of the songs were mediocre in comparison. Includes the UK No. 1 hit single Wooden Heart. (US:1 UK:1)

“The performances from this album continued the trend toward a pure pop sound for Elvis. The title song, GI Blues is a toe-tapper and finds a mature Elvis giving a joyful performance. Pocketful Of Rainbows is an upbeat song with a smooth vocal that shows off Elvis’ new maturity. Wooden Heart was a number one song in just about every country in the world except the USA where it was not released as a single. Doin’ The Best I Can is a nice ballad that provides a good counterpoint to many of the uptempo songs. There is a new version of Blue Suede Shoes. While I prefer the original, Elvis could not really give a bad performance of this classic rocker.”

“Rock 'n' roll lite. Well, if you can call it rock 'n' roll, it's a lot more polite, polished up and commercialized, although the rhythm is there. But then again, the first rock 'n' roll movement was pretty dead by 1960 and I guess Elvis was trying to re-establish his career, moving with the times like many of his contemporaries.”

“In 1960, after he had left the army, Elvis made the album Elvis Is Back and it's brilliant. He also recorded these songs for his fifth movie a month or so later and they are vastly inferior and Elvis knew it. There are some OK things here but the major problem is that it sold twice as many copies as Elvis Is Back. No matter how good Elvis's non-movie stuff was - it didn't sell so well.”

“A huge selling album for Elvis, but in reality it only shows one side of him which is giving mediocre songs a very good treatment. Why it was much more successful than Elvis Is Back is beyond me. What is more depressing is that the success of the soundtrack set a trend for most of Elvis' music in the 60s. It's an OK album with a few good songs.”

“Like many of his soundtracks, this set includes several eminently forgettable pop songs, but Elvis still manages to charm.”

Elite Syncopations – CHRIS BARBER****

Swipsy Cakewalk/Bohemia Rag/Elite Syncopation/Cole Smoak/The Peach/St George’s Rag/The Favourite/ Reindeer Rag/The Entertainer/Georgia Cakewalk

Respected jazz musician Chris Barber released the concept album Elite Syncopations which was comprised entirely of ragtime numbers, including four Scott Joplin tunes. (UK:18)

“The idea of a concept album was quite revolutionary in British traditional jazz circles in the 1950s/60s, so Chris Barber's album Elite Syncopations, completely devoted to ragtime, was something very new.”

“There are two ways a jazz band can approach ragtime songs: one is to play them with regard to tempo, and a fairly strict following of the melody and piano score harmony lines; the other is to use the melody as a base for the usual jazz approach to any tune i.e. straying from the strict melody path and allowing improvisation to take place. The Chris Barber band takes both approaches. Elite Syncopations was one of the Barber band's landmark albums and is much sought after.”

“It lacks some of the wild abandon one might expect from ragtime - and which can be found in several other tracks on the LP. The band seems to loosen up for Bohemia Rag, the first of three tunes where Barber's trombone was multi-tracked: an unusual device in trad music of the time. It works well in all three examples (the others being Cole Smoak and Reindeer Rag) because it creates the effect of a whole trombone section. Cole Smoak is also noteworthy for a heartfelt solo from Barber, expressing plenty of feeling.”

“Yes, The Entertainer is here: the Joplin tune which the band gives a respectful performance in Barber's arrangement. Several tracks are originals written by Chris Barber but they maintain the ragtime flavour and traditions.”

“Ragtime and jazz have always fitted well together. At the turn of the 19th and 20th centuries much was scored as piano music by Scott Joplin and associates - but it transfers readily for jazz bands - and Chris Barber was one of the first British jazz musicians to produce authentic ragtime jazz.”

“Wonderful syncopations - sometimes harmonies and sometimes almost manic. There are four Joplin numbers and all are brilliant.”

Darin At The Copa – BOBBY DARIN****

Swing Low Sweet Chariot-Lonesome Road (Medley)/Some Of These Days/Mack The Knife/Love For Sale/ Clementine/You’d Be So Nice To Come Home To/Dream Lover/Bill Bailey/I Have Dreamed/I Can’t Give You Anything But Love/Alright Ok You Win/By Yourself-When Your Lover Has Gone (Medley)/I Got A Woman/That’s All

Darin At The Copa was the only live album from Bobby Darin when he was at the height of his popularity. It demonstrates how successfully he made the transition to the MOR cabaret circuit. (US:9)

“It's upbeat, swinging music. Darin is passionate, brazen, slick, cool and funny all at the same time. What a talented man. His live version of Love For Sale is the best I have ever heard.”

“I was hesitant to buy it because I was afraid it would be too cheesy. Here's what I forgot: it's impossible for the great Bobby Darin to be anything but genuine, charming and brimming with a love for life as a performer. He's the coolest of the cool, a swinger who could rock any venue and crowd.”

“There is just an unbelievable flow going all the way through this album. The first combo Swing Low Sweet Chariot/Lonesome Road is bursting with soul. And the pace really never slows down from there. Whether he's doing one of his hits, hamming it up with the audience, or displaying his instrumental talent, you can just feel the electricity of this awesome performer.”

“Excellent show that gives an idea of the phenomenon Bobby Darin was on stage. Great interaction with the audience, song choices, and presence. Hard to believe he was only 24 at the time. Only complaint is that there isn't enough on it; it is too short.”

“This is early Bobby Darin at his best. He sings a broad range of music and freely interacts with the audience. Both he and his audience are clearly having a good time. His improvisations with some of the tunes add to the fun.”

“Darin performs like a man who has absolutely no shortcomings as an entertainer: he sings ballads, swing, and jazz with the best of them. He plays virtually every instrument you place in his hand; he does the greatest impersonations of dozens of classic Hollywood superstars. Bobby Darin as an all-around live entertainer.”

Combo! – HENRY MANCINI****

Moanin’/Sidewalks Of Cuba/Dream Of You/Swing Lightly/Castle Rock/A Powdered Wig/Playboy’s Theme/Tequila/Far East Blues/Charleston Alley/Scandinavian Shuffle/Everybody Blow

Combo! was a rare jazz album from arranger Henry Mancini with the focus on swing. It featured some of the top players of the time, on a wide range of instruments. (US:28)

“Mancini shows what he can do with a relatively small line-up of jazz musicians. It's essentially a swing jazz album as opposed to the 'themes' for which Mancini is famous. Swinging drums and bass overlaid with harmonized horns, solo horns, vibes, melodic lines. There's a good spectrum of instruments and each one gets space across the tracks. Warm and haunting solos from a number of different instruments as well. There are a couple of tracks which border on 'popular' but the musicianship overrides this. Far East Blues is an outstanding track.”

“This album has infusions of jazz, pop, and a slight European flair that gives it a very cool edge. Mancini today is remembered by reflections of an age of Kennedy in Life magazine, the colour aquamarine, and an America quickly losing its innocence. His music reflects the times perfectly, and can be enjoyed today in memory of what once was. This album is a must for any Mancini collector, and a good introduction for any new fan of his music and works.”

“This was one of his few jazz-oriented projects, a salute of sorts to the idea of the swing combo. Mancini gathered an impressive cast of top players. Some of the dozen selections are relatively straight-ahead, while a few (particularly A Powdered Wig and Scandinavian Shuffle) are a bit corny, especially in their use of harpsichord and marimba. There are a few strong moments on such numbers as Moanin', Sidewalks Of Cuba, Castle Rock and Everybody Blow, but the end results are not too essential. Overall, this is a compromise between creative jazz and tightly controlled music meant for a larger audience. A historical curiosity.”

“While the harpsichord may be a bit too prominent for some tastes, it wears well, and repeated listening adds to one's enjoyment of this early Mancini classic. In addition to the harpsichord, rare in jazz, we get trumpet, trombone, alto sax, flute, clarinet, baritone sax, piano, guitar, bass, vibes, conga, marimba and drums. I can't imagine any jazz fan not liking it. I don't look upon this album as some kind of nostalgic 'bachelor-pad-lounge-retro-so-campy-it's-good' experience, this is a real jazz album.”

The Best Of Peggy Lee Vol. 2 – PEGGY LEE****

Baubles Bangles & Beads/I’m Glad There Is You/I Didn’t Know What Time It Was/Guess I’ll Go Back Home/ Never Mind/Swing Low Sweet Chariot/Sans Souci/Love Letters/He Needs Me/My Heart Belongs To Daddy/Just One Of Those Things/Sorry Baby You Let My Love Get Cold

Peggy Lee’s Best Of Vol. 2 showcases a selection of songs from the previous decade featuring the intimate and romantic jazz vocal style for which she was famed. (UK:18)

“This superb collection will introduce you to some of Peggy's best work. Then there's her wicked Sans Souci, watch out.”

“Peggy does not have a powerful voice in the conventional sense of the word and perhaps that is part of the secret of her success. Her voice has a quality with somehow compels her audience to listen and to concentrate on her singing. Once you do that, she has got you - like a femme fatale she tightens her grip and any attempt at escape is futile.”

“Love Letters, which Peggy recorded several years before Ketty Lester made the song popular in the sixties. Peggy's version of this 1940s song is more intimately romantic than most other versions I've heard.”

“This compilation contains many outstanding examples of Peggy's artistry. Many of the songs are ballads at which Peggy excels, though there are several brilliant mid-tempo and uptempo songs to prove Peggy's versatility.”

“Unlike the wannabees on the game-music shows kids look up to today, Peggy Lee had unimaginable clarity and technical adroitness in her vocal renditions.”

Say It With Music – RAY CONNIFF****

Besame Mucho/Stranger In Paradise/Summertime/I’ve Got You Under My Skin/Too Young/Softly As In A Morning Sunrise/Just One Of Those Things/Deep Purple/Brazil/Night & Day/Temptation/Say It With Music

With Say It With Music Ray Conniff introduced a Latin beat to some old Gershwin and Irving Berlin standards to register his highest placing on the US album chart. (US:4)

“Say It With Music presents a slightly different Conniff, exploring the Latin flavour that would soon become so popular with American listeners, dancers and musicians. It also ventures into an area where many pop artists still fear to go, the dark world of minor keys. The opener, Besame Mucho, lays it on the line: an urgent, insistent rhythm pattern, crackling brass, dramatic crescendo to a lover's plea. Gershwin's Summertime fairly drips with old Charleston's heat but still produces that soothing, tomorrow's-gonna-be-OK feeling.”

“If you enjoy the melodies of George Gershwin and Irving Berlin done with a Latin beat then this is the Ray Conniff LP for you. The orchestra and voices blend together for an uptempo twelve tune set. Night & Day and Deep Purple are my favourites.”

“Say It With Music was something of a departure for Ray in that he introduced his Latin-flamenco guitar device with resounding success. These renditions prove Conniff's mettle as a skilful and innovative arranger. The sound is big band, the production values are impeccable, and the rhythms are infectious. One of Conniff's superior productions.”

“This album offers really great songs with some of the best dance band arrangements I've ever heard. Conniff melds a lively Latin tinged band with wordless voices singing harmony with trumpets and trombones. This isn't truly swing, and it's not the easy listening music that the Conniff sound later degenerated into, but it's a nifty fusion of the two, with emphasis on the swing. I can't recommend this highly enough.”

“This is the real original Ray, the one who invented a new way of 'using' an orchestra: wordless voices perfectly blended with instruments to create a unique wonderful sound. The arrangements are not at all repetitive, but what is repetitive is the wonderful sound they generate.”

The Rhythms & Ballads Of Broadway – JOHNNY MATHIS*****

Moanin’ Low/Fun To Be Fooled/I Have Dreamed/On The Sunny Side Of The Street/My Romance/Dancing On The Ceiling/I Married An Angel/Isn’t It A Pity/Spring Is Here/Don’t Blame Me/Take A Chance On Love/The Party’s Over/Everything’s Coming Up Roses/Guys & Dolls/I Wish I Were In Love Again/You Do Something To Me/Let’s Misbehave/I Could Have Danced All Night/A Cock-Eyed Optimist/I Just Found Out About Love/Let’s Do It (Let’s Fall In Love)/I Am In Love/Love Eyes/Love Is A Gamble

The Rhythms & Ballads Of Broadway was a double LP from Johnny Mathis, one disc exploring the lively rhythms, the other the slower ballads, of Broadway shows. (US:6 UK:6)

“While the ballads follow the pattern of his previous performances being touched with typical Mathis elegance and restraint, the uptempo numbers find Mathis in a very loose and uninhibited state which may surprise those familiar with his later work.”

“The ethereal, angelic voice of Johnny Mathis surpasses any of the entertainers who have recently recorded Broadway anthologies. With the breath-taking arrangements by the legendary Glenn Osser on the 'ballads' and the exciting Ralph Burns on 'rhythms', the backgrounds are in proportion to this majestic voice at the height of his career.”

“This may represent a strong turning point in the career of Johnny Mathis. Prior to this concept album he seemed pretty buttoned up on his recordings. The 'rhythms' section is anything but restrained, with Mr. M literally bouncing around the recording studio and having a ball. I wish Mr. Burns had turned the voltage down a little on a few cuts, but Johnny probably wasn't to be denied on this one. The 'ballads' are pure poetry with Mr. M doing what he has a total lock on; yanking every emotion and pure note out of these fabulous songs.”

“This is Mathis as you've never heard him. His version of Let’s Do It is so hot. The show tunes and Mathis' voice, make for great, great listening.”

“Beautiful music and lyrics of Broadway presented in style. Moody and tasteful ballads, exciting and upbeat rhythms.” ,p> “This recording represents Mathis at his technical and musical peak, applied to some of the greatest songs America has produced.”

The Eddie Cochran Memorial Album – EDDIE COCHRAN*****

C’mon Everybody/Three Steps To Heaven/Cut Across Shorty/Jeanie Jeanie Jeanie/Pocketful Of Hearts/ Hallelujah I Love Her So/Don’t Ever Let Me Go/Summertime Blues/Teresa/Somethin’ Else/Pretty Lou/Teenage Heaven/Boll Weevil Song/I Remember

The Eddie Cochran Memorial Album was a tribute to this legendary US rocker, featuring many of his best known songs. He was tragically killed in a road crash during his tour of Britain where he was always more appreciated than in his native land. (UK:9)

“As you can see this album is a best of, and shows that Cochran definitely had the potential to become very big. Not only could he write original, rousing songs, he sang with heart and conviction."

“Eddie Cochran left us too soon. To oversimplify, he had the voice and the looks of Elvis, plus he wrote killer songs. He had big plans as a producer, recording artist, and even an actor. Sadly, those ended in a tragic car crash, with the final single being, ironically Three Steps To Heaven. This is the anthology that was released shortly following his death, and is a classic. You can't go wrong with this.”

“Cochran's work was pretty classic, and many of his songs have really stood the test of time. Summertime Blues, which struck such a chord with the angst of the teenage market of the late fifties, has dated a little, but tracks such as Three Steps To Heaven and C’mon Everybody still work well today.”

“Cochran's music is deceptive; it sounds simple to today's ears, but was groundbreaking at the time. As well as developing the relatively new rockabilly and rock 'n' roll styles, he was an innovator in recording technique, pioneering the art of multilayered tracks and studio tricks. The genius of it is that you don't notice the use of fancy technique, it all sounds perfectly natural. The end result is track after track of truly classic rock 'n' roll, an essential addition to any music collection.”

“Great collection of nostalgia with Eddy at his best, and would recommend this title for those who like the rock and roll era.”

“It is an interesting collection of his best work. However, a single disc cannot do the man justice, and I would recommend more comprehensive compilations.”

The Genius Hits The Road – RAY CHARLES****

Alabamy Bound/Georgia On My Mind/Basin Street Blues/Mississippi Mud/Moonlight In Vermont/New York’s My Home/California Here I Come/Moon Over Miami/Deep In The Heart Of Texas/Carry Me Back To Old Virginny/ Blue Hawaii/Chattanooga Choo Choo

The Genius Hits The Road was not a live album as the title might suggest but songs themed around American locations. It includes the Grammy winning US No. 1 hit single Georgia On My Mind. (US:9)

“However novel a concept this is, the end result is that the conception doesn't always live up to the reality of the finished product. That's why The Genius Hits The Road is an album that ends up sounding bored by its own selective state by state roll call through America.”

“Although one of Ray's signature songs, Georgia On My Mind, appears, these songs are mostly lushly orchestrated standards. A few (Alabamy Bound, Mississippi Mud) are rather embarrassing nowadays, they have almost a minstrel show feel to them. However, Ray takes Carry Me Back To Old Virginny, a song that could have turned out similarly, and transforms it into a gorgeous, soulful gospel number.”

“This was a guy who was in love with the music of Hank Williams and Nat King Cole in his youth, so the joining of jazz, gospel, country and blues with pop that made up soul music beginnings was by now second nature to him. The elements had always been there, and all he really did with his music of this era is bump up the orchestral elements a little bit.”

“When Ray Charles left Atlantic for ABC-Paramount, he also sought to expand his stardom on the pop charts, solidifying the crossover success he'd started. The first outing for his new label was this release, whose travel and place related theme was sufficiently broad to leave Charles room to roam. The titles include Tin Pan Alley classics, Dixieland standards, trad jazz and pop numbers, and even a nineteenth century minstrel tune.”

“These tracks are a transition between Charles' roots as a jazz player and his future as a pop crooner. The material is a mix of novelties and well-selected chestnuts, and though the orchestrations can get a bit strong, Charles holds down the centre with a voice that makes it all worth hearing.”

The Buddy Holly Story Vol. 2 – BUDDY HOLLY*****

Peggy Sue Got Married/Well Alright/What To Do/That Makes It Tough/Now We’re One/Take Your Time/Crying Waiting Hoping/True Love Ways/Learning The Game/Little Baby/Moondreams/That’s What They Say

The Buddy Holly Story Vol. 2 was a compilation of some of the lesser know Buddy Holly tracks released to meet the insatiable demand of his fans following his untimely death. (UK:7)

“The unprecedented success of The Buddy Holly Story, released in the immediate aftermath of the singer's death in a plane crash in 1959 soon had executives at Coral scouring for other material they could put out for the public. A total of twelve tracks were unearthed, including several that had not been completed, to which studio overdubs were added to make them accessible. The album further enhanced Holly's reputation.”

“There are other LPs with some or all of these songs but there is an important difference. These songs are primarily taken from demos with little or no instrumental backing. They were rushed out following Buddy’s death. Instrumental backing was supplied for this release. Through the years the demos have had different backing added so that getting the ones on the original vinyl has been problematic. If you longed for the original dubbings, get this even though the production level is a little wanting - they will still warm your heart and ears. This is the guy who started the prototypical rock & roll band: lead and rhythm guitars, bass and drums.”

“Remember some of the original recordings were pretty rough to start with, but these numbers still provide a real feeling of intimacy with the genius that was Buddy Holly. His last studio session produced four inspirational recordings, with the beautiful True Love Ways and the haunting Moondreams included here, and which were surely an indication of what was to come had he been spared. This album demonstrates some of the most innovative, ground breaking, influential recordings of the rock 'n' roll age.”

“This is the superb collection of the so called 'Apartment Tapes', with many of them becoming posthumous hits. It also includes True Love Ways, one of Buddy's most loved songs. This is a must for all Buddy Holly fans and those music fans wishing to see how Buddy was moving rock/pop music forward, and how much has been missed through his untimely death.”

Beat Girl – SOUNDTRACK****

Beat Girl/The Off Beat/I Did What You Told Me/Lindon Home Rock/Time Out/The Shark/The Beat Girl Song/The City 2000 AD/The Stripper/The Cave-Beat Girls Kid Stuff/Made You/Car Chase-Night Chase/Chicken/Blues For Beatniks/Its Legal/The Immediate Pleasure/Blondie’s Strip/End Shot/Slaughter In Soho The rebellious teen film Beat Girl starred Adam Faith with the score composed by John Barry. It features the guitar of Vic Flick, presaging the James Bond theme. (UK:11)

“Beat Girl was Adam Faith's film debut, with Christopher Lee, Oliver Reed and Gillian Hills among the other stalwart names appearing. The music was written and performed by John Barry, with Adam leading on three tracks. The film was also unique as it was the first British soundtrack to be released on LP."

“A chance to hear the combination of Vic Flick and John Barry, most famously heard in the guitar playing in the James Bond theme, it is no wonder they wanted to parade him as Britain's answer to Duane Eddy. You can almost imagine yourself in a 60s cafe with the jukebox blaring in the background. This is definitely an album for nostalgia fans.”

“The film owes much of its effectiveness to John Barry's impressive first film with Vic Flick's savage twangy guitar presaging the Bond theme that was less than two years away.”

“John Barry’s instrumental score is bristling with panache. Influenced by both rock 'n' roll and the style of jazz that Elmer Bernstein had employed, Beat Girl is loud, brash and staggeringly cool. The guitar of Vic Flick is set to permanent riff and the brass section blows up a storm.”

“The music shows just how good John Barry really was, even at such an early stage in his composing career. I was perhaps more keen on the Adam Faith bits than the orchestral arrangements."

“Listening to the album today, I particularly enjoyed Vic Flick and his style of guitar playing which became a hallmark of the early 60s." “It's nostalgia trip music. The staccato brass, pizzicato strings, Vick Flick's twangy Strat are all in there, outlining the shape of things to come.”

Around Midnight – JULIE LONDON****

Around Midnight/Lonely Night In Paris/Misty/Black Coffee/Lush Life/In The Wee Small Hours Of The Morning/Don’t Smoke In Bed/You & The Night & The Music/Something Cool/How About Me/But Not For Me/The Party’s Over

Sultry Julie London’s Around Midnight comprises many well known standards, each suggesting a different time of the day. Divided into two sections featuring orchestra and jazz combo respectively.

“Popular song stylist, Julie London truly got it all together to make this terrific album. Around Midnight is a typical example of the jazzy, bluesy, sultry sound that Ms. London was so famous for. Her voice is at its peak with perfect phrasing. Her back up on all tracks shines as much as the singer. If you aren't familiar with Julie, this is the perfect LP to introduce her to you.”

“Her voice generated more electricity than a neon sign theatre and these recordings remain in high demand.”

“Around Midnight has excellent singing and arrangements from start to finish. The material is vaguely oriented around the time of day, hence the cover art concept. The orchestral arrangements are spare but effective. Julie's singing has superbly natural phrasing."

“Though Julie's vocal range was limited, compared to other lounge singers of the day, she has long been credited with having a 'come hither' voice which could not be better exemplified than her performances on this album. Listening to this album, it's like she's performing in a deserted club and singing just for you, the only patron. The songs, all standards, ooze out of the speakers with warmth.”

“Julie London is a torch singer and this is her best record. Lonely Night In Paris had me dreaming of the city, Misty is like an arrow to your soul and Black Coffee is a swinging, bluesy number so full of emotion that you want to cry, which segues into Lush Life, a real heart breaker.”

“She could really express herself through music. The best thing she did was to give these standard songs a different spin. Her Black Coffee is my favourite rendition. This is my favourite album of hers.”

What In The World’s Come Over You – JACK SCOTT***

What In The World’s Come Over You/Oh Little One/Am I The One/I’m Satisfied With You/My King/Its My Way Of Loving You/Burning Bridges/Baby Baby/So Used To Loving You/Cruel World/Good Deal Lucille/Window Shopping

Jack Scott’s second album of 1960, What In The World’s Come Over You, reverted to more pop orientated material. The title track and Burning Bridges were both US top five hit singles. (UK:11)

“Jack was extremely talented writing his own songs and having his own band. He had more of the bad boy look, instead of the well polished look of teen idols of that time.”

“Jack Scott deserves much praise for making countless people happy with his incredible singing; there really wasn't any type of song he couldn't do brilliantly. I recommend his music for both his current fans and people just discovering his talent.”

“Jack Scott never received the accolades and recognition he should have. The DJs of that era played far too little of him and too much of the Philadelphia pretty boys Fabian, Frankie Avalon and Bobby Rydell.”

“He has by far one of the most powerful voices of the time. His original releases and tribute songs are all top notch. Listen to one of the few voices you will find that are strong and tender all wrapped into one artist.”

“His deep baritone was unusual for rock artists of the time, and I always liked distinctive low voices.”

“This talented singer never got the recognition he so richly deserved. Just listen to his rendition of What In The World's Come Over You. Jack Scott put his heart and soul into his songs. The oldies stations have virtually ignored his music.”

“When I heard this music, it transported me back to the 50s and reminded me of what really good music sounded like. Then you could understand what they were saying and what they meant.”

Oliver! – LONDON CAST*****

Food Glorious Food/Oliver/I Shall Scream/Boy For Sale/That’s Your Funeral/Where Is Love/Consider Yourself/ You’ve Got To Pick A Pocket Or Two/It’s A Fine Life/Be Back Soon/Oom-Pah-Pah/My Name/As Long As He Needs Me/I’d Do Anything/Who Will Buy/Reviewing The Situation/Oliver (Reprise)/As Long As He Needs Me (Reprise)/Reviewing The Situation (Reprise)/Finale

The London cast musical Oliver! starred Ron Moody and Georgia Brown. It opened in June 1960 at the New Theatre and ran for 2618 performances. Based on the Charles Dickens novel Oliver Twist, about the boy who falls in with a gang of pickpockets, led by the notorious Fagin. Music and lyrics by Lionel Bart. (UK:4)

“If you want to hear Oliver! at its very best, just go for this one. There is not a singer/actress alive that could ever compare with Georgia Brown's performance of Nancy. Her version of As Long As He Needs Me is the most honest, truthful and vocally outstanding - sheer perfection. She was a true East End girl and it really shows. She has a voice which is 'true class', that is second to none.”

“For me there is only one recording of Oliver! that works and this is it. The cast bring the whole show to life. My favourite song is Ron Moody’s Reviewing The Situation And as for Georgia Brown, well she was perfect as Nancy."

“A fantastic version - the original and the best. If you're not already familiar with her, relish the outstanding quality of Georgia Brown's voice - the definitive Nancy.”

“This is the original London cast recording of Lionel Bart's undisputed masterpiece Oliver! It is sung with joy and excitement by a stellar cast, obviously still reeling from the glowing reviews and laurels that had been lavished on them. Georgia Brown remains for many the consummate Nancy; It's A Fine Life was specially written for her. She is at her best wrapping her velvet voice around the ultimate apologist ballad As Long As He Needs Me.”

“This is the original West End cast starring Ron Moody and Georgia Brown. It's significantly less polished than the movie that came along in the late 60s but its rawness is magnetic. Great songs performed by great artists in an all British musical that its composer was never able to repeat.”

“This is the recording that best sums up all the joy of Oliver!, the cast that best performs it and which preserves the original vision and intention of Lionel Bart.”

Nice ‘N’ Easy – FRANK SINATRA*****

Nice ‘N’ Easy/That Old Feeling/How Deep Is The Ocean/I’ve Got A Crush On You/You Go To My Head/Fools Rush In/Nevertheless (I’m In Love With You)/She’s Funny That Way/Try A Little Tenderness/Embraceable You/Mam’selle/Dream

With the exception of the top twenty title track Nice ‘N’ Easy consists of new interpretations of songs Frank Sinatra recorded for the Columbia label in the 1940s. (US:1 UK:4)

“Over a year between albums meant that Sinatra fans flocked to the stores to buy this, keeping it at the top of the charts for several weeks. The title track is very easy on the ear, plus some warm readings of standards from the American Songbook - give this a big tick.”

“An often neglected and severely underrated Capitol album, Nice 'N' Easy stands up well in the company of Sinatra's other, more recognized masterpieces. It's not one of his moody concept albums, but a stunning collection of classic love ballads performed with full attention and care from the master. Nelson Riddle's arrangements shimmer with emotion and beauty, perfectly complementing the singer.”

“This superb collection is notable in consisting of ballads Frank Sinatra had recorded in the 1940s, re-interpreted in 1960 with the emotional depth and resonance he'd developed in the intervening years. His phrasing is assured, shaping the melodic line in sometimes unusual but always inevitable ways.”

“Frank Sinatra fulfilled his contract with Capitol Records by recording the songs for this wonderful album entitled Nice 'N' Easy. This track set features the more mature and highly seasoned Frank Sinatra, who sings with a degree of sophistication that squarely ranks him as one of the greatest male singers of all time. Many of the songs were recorded earlier in his career; but when Frank Sinatra revisits these ballads he uses his artistic maturity, increased focus and panache to convey greater sensitivity than ever before.”

“The title track is 'new' for 1960, and it works well enough. The balance of the album consists of older material, but rather than recycling old tunes Riddle and Sinatra lighten things up a bit. Yes, some of the lyrics have a 1940s naiveté about them, but the deeper Sinatra voice of 1960 makes them less quaint and more compelling.”

More Gunfighter Ballads & Trail Songs – MARTY ROBBINS***

San Angelo/Prairie Fire/Streets Of Laredo/Song Of The Bandit/I’ve Got No Use For The Women/Five Brothers/ Little Joe The Wrangler/Ride Cowboy Ride/This Peaceful Sod/She Was Young & She Was Pretty/My Love

More Gunfighter Ballads & Trail Songs was the follow up album to the 1959 original in which balladeer Marty Robbins again puts the western back into country & western. (US:21)

“This album picks up where the first left off - great stories, versatile singing, and a flawless collection of songs. I suppose you could criticize this album for recycling the first one's concept, but when the music is as good as this, I'd just prefer to have twice as much to enjoy.”

“One wouldn’t expect the sequel to measure up to an original but this is every bit as good as the classic predecessor and identical in style. Outstanding singing – technically excellent, effortlessly good, perfectly phrased. This is definitely folk music with its emphasis on word, story, tougher times and tradition, acoustic instrumentation and recycled melodies.”

“Marty was in great voice; the arrangements are superb. If you can listen to these bittersweet, haunting ballads without having your heartstrings plucked you are stone dead.”

“Marty Robbins was not only a great western ballad writer and singer, he was a real rarity with his style and sound. A dedicated man who felt what he wrote and sang, who gave all he had to everything he did.”

"What can you say, Marty Robbins at his best. No one epitomizes western music like he does. Notice that I said western music, not to be confused with country music. The songs are classics of that genre and only Marty can do them justice.”

“When Marty Robbins wrote and recorded his original Gunfighter Ballads, country & western music in America had pretty much abandoned its western side and was deeply sunk into the smooth country side of its personality. Nobody sang western songs anymore and certainly no one wrote western songs anymore. The sequel album, More Gunfighter Ballads, continued the tradition."

Johnny’s Mood – JOHNNY MATHIS****

I’m Gonna Laugh You Right Out Of My Life/Stay Warm/There’s No You/How High The Moon/I’m So Lost/Once/Goodnight My Love/The Folks Who Live On The Hill/April In Paris/Corner To Corner/In Return/I’m In The Mood For Love

Perennially popular MOR vocalist Johnny Mathis was rarely out of the album charts in the early 1960s. Johnny’s Mood maintained his success rate on the US album chart. (US:4)

“Of the songs on the album, several are associated with other singers and it seems fascinating to hear Mathis' take on them and how well they compare with the work of others. In all, Mathis gives his customary polished performances of these well known songs, imbuing each with his own style.”

“While it shouldn't be necessary to say, Mathis delivers his own special brand of ethereal magic on classic standards like How High The Moon and April In Paris. This LP is a perfect introduction for younger fans who may be only beginning to scratch the surface of Mathis' prolific discography.”

"Johnny's Mood doesn't have quite as rich material as Faithfully, however, as any Mathis fan has come to learn, he always makes due and can get the most out of any song.”

“I love all the older albums by Johnny Mathis because his voice is smooth as velvet and the music brings back so many memories.”

“Lush string arrangements whisper, then soar, to ecstatic peaks, alternately embracing then setting free, the sensual voice of Johnny Mathis. Johnny is at his best here, mastering the lyric and phrase with ease and skill. Bring romance back into your life. This is the album you have been seeking.”

“He has a rare talent as he enjoys singing well written songs, puts his heart and soul into them and out comes perfection.” ,p> “Johnny's Mood is a classic. April In Paris and Once are two of my favourites. Folks Who Live On The Hill and In Return are two more greats. Another excellent album from the Mathis' prime.”

The Fabulous Style Of – THE EVERLY BROTHERS****

Like Strangers/Since You Broke My Heart/Let It Be Me/Oh What A Feeling/Take A Message To Mary/Brand New Heartache/When Will I Be Loved/Rip It Up/(‘Til) I Kissed You/Hey Doll Baby/Poor Jenny/Be Bop-A-Lula

Fabulous Style was an opportunist compilation LP cashing in on the later Everly Brothers singles released on the Cadence label before the boys jumped ship to Warner. (US:23 UK:4)

“Released by Cadence Records in 1960 as The Everlys career reached a peak worldwide. It was a compilation of songs clearly aimed at the ever growing army of hysterical fans which more than satisfies.”

“More than half the songs originated as Cadence label 45 rpm sides. Rather than rendering it overly familiar sounding, however, the strategy underlines just how strong the guys' output was. Masters of the forlorn upbeat song When Will I Be Loved and the heart-rending ballad Devoted To You, they fill the disc with this mix of moods.” ,p> “Simply the greatest close harmony duo in rock history. This LP features many of the songs that sent them to the upper reaches of the Billboard charts.”

“This disc pays due attention to The Everly Brothers' early years, which show a lot of country influence in the songs. Give a careful listen to the solidly country Take A Message To Mary and the haunting minor harmonies of the often overlooked Oh What A Feeling.” ,p> “There are a number of rather obscure songs, but that doesn't mean bad. The Everly Brothers had an incredible knack for turning mediocre material into memorable music, the kind that grows better each time it is heard. Fabulous Style will do just that, grow on you until it becomes a part of you. A truly excellent album."

“Let It Be Me is a great song, perhaps The Everlys' finest moment as romantic balladeers. And though Don and Phil might have felt impelled to take their chances away from Cadence with a lucrative offer from Warner Brothers, this album yielded some of their most powerful material: the Bryants' Take A Message To Mary and Like Strangers, along with The Everlys' own emergence as songwriters: Don's 'Til I Kissed You, with its rolling tom-tom beats and drop-down bridge, and Phil's impassioned When Will I Be Loved."

Encore – SANTO & JOHNNY***

Alabamy Bound/Over The Rainbow/The Breeze & I/Lazy Day/Venus/Teardrop/Deep Purple/Old Man River/ Prisoner Of Love/You Belong To Me/Long Walk Home/Annie

Encore was the second album from instrumental duo, the brothers Santo & Johnny who are best remembered for the innovative use of steel guitar, backed by rhythm guitar. (US:11)

“These two guys, the brothers Santo (steel guitar) and Johnny Farina (rhythm guitar) had a unique sound back in my high school years that lingers today in my memories. These guys are definitely part of guitar history. My personal favourite Alabamy Bound from the Encore album. This is a can't miss treat.”

“Santo and Johnny were great musicians in their day. The sound is very good and very enjoyable. Buy this LP if you want to hear them again or have never heard them. You won't go wrong.”

“I really love listening to these guys play their guitars. I wish that their music was played more often.”

“From the first reverb filled note, you will be yanked back to a simpler musical time that catches this wonderful duo before the surf era.”

“A great dynamic duo from the 1950s popularly known for their use of steel guitar, with dreamy tunes like Teardrop and Venus."

“This duo had a sound that is hard to come by anymore. The simple way they make the music sing in awesome.”

“Normally we would associate steel guitar with country music, but this is far from it. It's easy listening. The music appeals to all ages. Some of you will discover a new (old) sound while others like me will relive some of the best instrumental music of the 60s.”

“You rarely hear this music now except on movie soundtracks. I love this and have played it many times, and never tire of their artistry or sound.”

Ella In Berlin – ELLA FITZGERALD*****

Gone With The Wind/Misty/The Lady Is A Tramp/The Man I Love/Summertime/Too Darn Hot/Lorelei/Mack The Knife/How High The Moon

One of the most celebrated live albums, noted for Ella’s adlibbing on Mack The Knife when she forgot the lyrics. Ella In Berlin won a Grammy for best female vocal. (US:11)

“Everything is swinging and awesome but I especially like Ella's attempt at Mack The Knife in which she forgets the lyrics and wings it brilliantly.”

“Always a technician beyond reproach, here Ella adds the X-factor that makes a record great. Her performance is downright intense, an inspiration that cements her place in the audiophile book of life.”

“Every song is out of this world and the accompaniment is just as wonderful. Standouts include That Old Black Magic, Too Darn Hot and my personal favourite How High The Moon. Whoever said Ella lacks feeling in her delivery needs to listen to this album, and recognize that melodrama does not always equal feeling.”

“Ella Fitzgerald never had a voice, she had an instrument which she used to her greatest potential. She was one of the greatest jazz singers to have graced the world. This recording is when she was at the zenith of her career and it is this album that contains the definitive recording of the great Gershwin song Summertime.”

“Happen to think that Ella was absolutely the best, and here she is at the top of her game. All the cuts are good, but Mack The Knife alone is worth the price.”

“I had always respected her technical ability, but hadn't found the emotion and passion I was also looking for. With her live recordings, it's all there and grabs you in a way her other stuff may not always do. You can feel how present she is in the music, and her improvisations on Mack The Knife are priceless, including an impression of Louis Armstrong that's spot-on.”

“What makes this recording truly stand out is Ella's consistency. She is vocally at the peak of her powers, and each of the songs she sings here is the best Ella version that exists.”