Lonely & Blue - ROY ORBISON****

Only The Lonely/Bye Bye Love/Cry/Blue Avenue/I Can’t Stop Loving You/Come Back To Me/Blue Angel/ Raindrops/I’d Be A Legend In My Time/I’m Hurtin’/22 Days/I’ll Say Its My Fault

Dramatic US vocalist Roy Orbison enjoyed a string of hit singles during the 1960s. Lonely & Blue was his first LP on the Monument label and includes the chart topping Only The Lonely plus the top twenty follow up Blue Angel. (UK:15)

“Roy hit his stride upon arriving at Monument records. Only The Lonely immediately sets out his musical stall - tragic and romantic ballads impeccably sung. What an immense voice and that falsetto tugs at the heart strings so effectively. Lonely & Blue is such a well rounded album, we've a few of those wonderful ballads, we've pop hits, we've rock and we've rockabilly and country. We've the voice of big Roy Orbison, and string arrangements, very much of their day, that perfectly complement the material.”

“This is the profound era of Roy Orbison coming into his own as an artist - he'd honed his sound to perfection and was at the summit of a decade long plateau peak.”

“After breaking-in as a proto-rock 'n' roll and rockabilly singer at Sun Records in the '50s, Orbison found his calling with the intense operatic pop ballads for which he's so fondly remembered. This debut LP for Monument hit the ground running at full speed. With his signature Only The Lonely Orbison lays out the bittersweet sorrow that would mark many of his greatest works, with an orchestral arrangement whose dramatic starts and stops propel the vocal to a stratospheric falsetto.”

“It would always be his voice that would set Roy Orbison apart from anyone else in music. It had a power, range and clarity that few could match. Lonely & Blue was his first album release and finds Orbison consolidating his pop sound. He would interpret some of the hit songs of the day, some better than others. Only The Lonely was his first hit and would be representative of what was to follow. It featured a catchy melody with Orbison's vocals floating above the mix.”

"Orbison croons in his enormous, dramatic, operatic voice over the string-driven orchestra and whispering background singers."

King Kong – LONDON CAST***

Sad Times Bad Times/Marvellous Muscles/King Kong/Kwela Kong/Back Of The Moon/The Earth Turns Over/ Damn Him/Gumboot Dance/King King/Be Smart Be Wise/Crazy Kid/Quickly In Love/In The Queue/Wedding Hymn/Death Song-Sad Times Bad Times

The London Cast musical King Kong starred Nathan Mdledle and Peggy Phango. It opened at the Prince’s Theatre in February 1961 and ran for 201 performances, after originally being staged in South Africa. The story is about the life and times of a South African heavyweight boxer. Music by Todd Matshikiza, lyrics by Pat Williams and Todd Matshikiza. (UK:12)

“The orchestral arrangements and vocals have been altered, probably to suit European tastes and preferences and to add more drama and dynamics to the London stage version.”

“Most of the songs are dated sub-Sondheim, but Gumboot Dance allows in some pretty infectious rhythms, recognizable as authentic from the work of South African exiles in London.”

“Over the years I have regularly returned to this album to freshen my ears. Just listen to the arrangements – magical.”

“While the music of King Kong was not really jazz per se, the presence in the cast and orchestra of so many jazz musicians gave it a strong flavour of township jazz.”

“The music of King Kong reflects all the shades, moods and contrasts of life in Johannesburg's shanty-towns.”

Greatest Hits – JOHNNY HORTON***

North To Alaska/Whispering Pines/Johnny Reb/The Mansion You Stole/I’m Ready If You’re Willing/When Its Springtime In Alaska/The Battle Of New Orleans/All For The Love Of A Girl/Sink The Bismarck/Comanche/Jim Bridger/Johnny Freedom

This patriotic and historical collection of Greatest Hits was a memorial to country balladeer Johnny Horton who was killed in a car crash the previous year. (US:8)

“From the time he captured America's heart with a rip-roaring rendition of The Battle Of New Orleans until his final release with North To Alaska, Johnny Horton surprised, delighted and amazed us with his crossover country style, sung with a muted twang. Anyone who listened to this album fell in love with his voice, which was quite distinctive and a vehicle for everything he sang.”

“There are many sides to Johnny Horton. In his short career, he could sing anything. He was great with the patriotic songs, he was great in the rock and roll area, and the third side was the romantic Horton where he was great too. Just listen to these songs, and you will agree that this entertainer could do it all.”

“Johnny Horton was the ultimate balladeer, with a rich, mellow voice that clearly tells a story. His story was apparently over with all too soon, but the magic lives on. This collection of greatest hits is clearly timeless, and still manages to capture new audiences.”

“Too bad Horton didn't stick to more simple and emotive historical material like Comanche and Whispering Pines. Unfortunately, this hits collection favours the gratuitous flag-waving fare and even ups the kitsch factor with some syrupy, string-laden weepers.”

“It's a breath of fresh air to hear someone sing about history and the frontier instead of the exclusive focus on relationships of today's pop music/contemporary country.”

“This LP has all the hits Johnny Horton recorded during his truncated life, including his biggest hit, the patriotic Battle Of New Orleans as well as Sink The Bismarck. Aside from these two tunes and North To Alaska, the rest are pretty much filler.”

Genius + Soul = Jazz – RAY CHARLES****

From The Heart/I’ve Got News For You/Moanin’/Let’s Go/One Mint Julep/I’m Gonna Move To The Outskirts Of Town/Stompin’ Room Only/Mister C/Strike Up The Band/Birth Of The Blues

Here Ray Charles is assisted by arranger Quincy Jones and backed by a big band playing mostly instrumental material. Genius + Soul = Jazz includes the US top ten hit single One Mint Julep. (US:4)

“Charles sat himself behind a Hammond B-3 and together with key members of the Count Basie band, he swung arrangements written by Quincy Jones and Ralph Burns. From the opening horn stabs of From The Heart it's clear that this band plays big, brassy and hard, yet Charles keeps it cool on the organ, and his two vocal numbers (I've Got News For You and I'm Gonna Move To The Outskirts Of Town), are blue and soulful. Charles gave the band and its soloists plenty of room to shine, but when his keys step to the front, such as his growling lead on One Mint Julep, it's clear who is leading the sessions.”

“One of the best early-'60s examples of soul/jazz crossover, this record, like several of his from the period, featured big-band arrangements. This fared better than some of Charles' similar outings, however, if only because it muted some of his straight pop aspirations in favour of some pretty mean and lean, cut-to-the-heart-of-the-matter B-3 Hammond organ licks.”

“Genius + genius = brilliance. That's when the ambitious arrangements of Quincy Jones met the masterly interpretation of Ray Charles.”

“Basically Ray on a jazz trip, backed with a big band playing mostly instrumental material. Its a fine record but not the place to go if you want to hear Ray singing some R ‘n’ B. Parts of it are simply magical though, and you can really hear in places what a great keyboard player he was.”

“Musically this album is fairly solid, but I was hoping for more of a soul/jazz vocal experience rather than a loud big jazz band featuring Ray with his organ stabs and flourishes. There isn't a weak track on the album, but then again there aren't many here that will blow you away. I think the strongest track is I'm Gonna Move To The Outskirts Of Town. If the album played out more like this it would have been a much more rewarding listening experience.”

For Twisters Only – CHUBBY CHECKER***

Blueberry Hill/Your Feet’s Too Big/Hound Dog/Twist Train/Mister Twister/Whole Lotta Shakin’ Goin’ On/Hold Tight/Shake Rattle & Roll/But Girls/At The Hop/Dance With Me Henry/Rock Around The Clock

The King of Twist, Chubby Checker piled up a succession of hit LPs in the early 1960s. For Twisters Only features his dance versions of several 1950s rock & roll hits. (US:8 UK:17)

“The early sixties were a time of experimentation, particularly in the field of dance. The most successful dance to emerge from that period was The Twist, and songs about it are what Chubby Checker is remembered for.”

“The supreme Chubby Checker was unsurpassed as 'The King of The Twist' dance craze and unleashed some enduring pop music.”

“For Twisters Only features a mix of familiar songs and obscurities. The familiar songs include covers of rock 'n' roll classics such as Whole Lotta Shakin' Goin’ On (a minor American hit for Chubby Checker) and a couple of Bill Haley songs.”

Bobby’s Biggest Hits – BOBBY RYDELL*****

Kissin’ Time/You’ll Never Tame Me/We Got Love/I Dig Girls/Wild One/Little Bitty Girl/Swingin’ School/Ding-A-Ling/Volare/I’d Do It Again/Sway/Groovy Tonight

Bobby Rydell was one of the biggest American teen idol stars of the early 1960s, although he was less successful in Britain. Bobby’s Biggest Hits is a strong collection of his earlier work, but omits his later hits from 1962-63 before he was swept away by the British Invasion. (US:12)

“This is greatness from that forgotten (ignored) period of American rock 'n' roll - the late '50s to pre-Beatles '60s. I imagine that he was aiming at the teenybopper market, but these tracks shouldn't be dismissed as worthless. Bobby has a strong voice and delivers these songs with such punch and energy. They are admittedly innocent and light hearted, but what is wrong with that? There isn't a dud on the entire album.”

“It is almost 50 years ago that this guy and his music were popular, I am totally a fan. He defined music in a very difficult stage of American culture.”

“Bobby Rydell was one of the better voices from the stable of Philadelphia pop stars of the late '50s - early '60s. Especially catchy is his rendition of the old standard Sway, along with more popular hits that appealed to many teens of the era.”

“Bobby Rydell was one of the biggest teen idols of the early sixties. Between 1959 and 1963, he placed nineteen singles in the US top 25. After the British Invasion changed the pop music landscape the hits ended abruptly.”

“Bobby was one of the singers who achieved popularity in large part due to appearances on American Bandstand which was filmed in his home town of Philadelphia. Usually classified as one of the 'Frankie' or 'Bobby' type of clean cut teenage idols of the late fifties and early sixties, Rydell recorded some infectious pop ditties from that era."

"In the period between 1960-63 Bobby Rydell was pretty hot stuff. As a reigning teen idol his face was plastered all over teen magazines and his records sold like hot cakes. Then in 1964 the British Invasion phenomenon caught everyone by surprise and suddenly stars like Bobby and so many others were cast aside.”

Bobby Vee – BOBBY VEE****

Rubber Ball/Talk To Me Talk To Me/One Last Kiss/Angels In The Sky/Stayin’ In/Long Lonely Nights/Devil Or Angel/Poetry In Motion/More Than I Can Say/Mister Sandman/Foolish Tears/Love Love Love

Clean cut and unthreatening, American pop idol Bobby Vee epitomised the transitional era between the end of 1950s rock & roll and the arrival of the 1960s beat groups. Sometimes derided for being too commercialized, this period nevertheless produced many fine, well constructed pop tunes which have stood the test of time. His self titled debut album includes the top ten hit singles Rubber Ball and Devil Or Angel. (US:18)

“Rubber Ball is very reflective of the transition era where the 50s were over, but 60s music as we know it hadn't quite arrived yet. People tend to scoff at this kind of song because of the British Invasion, but it's a fun little number.”

“Teens today need this. What has been lost in today’s music is heart, soul and love.”

“The music was much better in those days. Have you ever heard anyone singing or even humming anything from more recent times?”

“Bobby Vee was one of the trio of 'Bobby' teen idols from that time who could actually carry a tune, the others being Darin and Rydell.”

“I do rather prefer the 50s/60s rock and even the country music from that era also. The main reason is because I can understand the words. I don't need to ask someone 'what are they saying'. Also, you can feel the emotion in the songs. I like that too.”

“There is nothing out on the radio in the rock category that can hold a candle to the music we 'baby boomers' grew to adulthood listening to. Youngsters need to listen to some really good music with lyrics that will get to the heart.”

“I'm not the only one who thinks that he was no Buddy Holly. But having said that, he wasn't a half-bad pop artist. Not the best for sure, but certainly not the worst.”

"Not all of the 'younger crowd' are unaware of the great music of the past. I hope history repeats itself and people go back to making genuinely good music.”

Calcutta! – LAWRENCE WELK***

Calcutta/Sailor(Your Home Is The Sea)/Perfidia/April In Portugal/Humouresque Boogie/Corrine Corrina/Bombay/Mam’selle/The Mountain King/Blue Tango/Ruby/Save The Last Dance For Me

Bandleader Lawrence Welk was at the peak of his popularity when he released Calcutta! which topped both the American singles and album charts. Within a decade his music would be largely forgotten. (US:1)

“Calcutta might be the least remembered number one hit of the '60s; its brisk rhythm, hand claps, wordless chorus, and prominent melody add up to an infectious instrumental, but anything associated with the name Lawrence Welk tends to be dismissed out of hand.”

“Welk’s early '60s Dot albums, with their weirdly generic cover designs and crazy assortments of rock and pop tunes, were often quite good. On Calcutta Welk covers a number of recent hits, including Perfidia (with electric guitar) and Corrine Corrina. Ruby is the kind of string-laden, easy listening music most listeners would expect from Welk, but Save The Last Dance For Me performed with what sounds like a harpsichord on lead, returns to rock & roll territory.”

“Lawrence Welk may have been your grandparents’ music. But if you listen carefully, you'll understand what a craftsman he was. No orchestra sounded better than The Champagne Music Makers.”

“Care to recall a time when music was easy to listen to? Pick up a copy of this LP and pop a bottle of champagne.”

“A big part of me enjoys these old instrumentals. A big thanks to Mr. Welk and other easy listening orchestras for saving my sanity. Too bad music became so trashy after 1990.”

“Calcutta is a very lovely dance tune and very soothing. You know you are getting older when you enjoyed the Lawrence Welk Show with your grandma.”

“Dates from the good old days when people had class and the audience just sat gracefully and appreciated the dance instead of acting like savages. We have surely come a long way from these days of class and refinement. I laughed at this stuff when I was younger, but grew to appreciate it more and more.”

Unforgettable – DINAH WASHINGTON****

This Bitter Earth/I Understand/This Love Of Mine/Alone/Somewhere Along The Line/The Song Is Ended/ Everybody Loves Somebody/Ask A Woman Who Knows/A Man Only Does (What A Woman Makes Him Do)/A Bad Case Of The Blues/When I Fall In Love/Unforgettable

Unforgettable featured a collection of melancholic and sad songs from acclaimed blues singer Dinah Washington, achieving her highest album chart placing. (US:10)

“The arrangements are a little syrupy, but the voice is unmistakably unique.”

“This gem of an album finds Dinah in familiar company with arranger/conductor Belford Hendricks, making spectacular music. Be it bluesy, swinging or the world weary wisdom of the opening verse of the classic When I Fall In Love, its a mixed bag of standards.”

“I find the songs and Dinah on this LP to be melancholic, mellow and sad. We all know Dinah from her blues material, but here she is understated and mellow. Yet she still infuses each song with heartbreak and ache that rattles your soul. Standouts include the lesser known songs Alone and This Love Of Mine."

“This disc is one of her finest, with standouts This Bitter Earth and Somewhere Along The Line, prime examples of her exquisite phrasing and soulful commitment to each song. It is also a great intro to Miss Washington for the new listener.”

“What can you say in praise of Dinah Washington that hasn't already been said? She is unforgettable and always worthwhile. I highly recommend this album to anyone who likes good music with words that you can actually understand.”

“She is the greatest and can bring tears to your eyes and soul, to tug at the heart of the most hardened music listener.”

“Perhaps the most popular is the almost autobiographical reading of This Bitter Earth. Upon first hearing this song, I rushed out and bought this disc. The story told in this lovely track must be heard by anyone who appreciates a great song. Truly a masterpiece, as is the entire set.”

Exodus To Jazz – EDDIE HARRIS****

Exodus/Alicia/Gone Home/ATC/AM Blues/Little Girl Blue/Velocity/WP

Exodus To Jazz was a somewhat unlikely top selling album by jazz saxophonist Eddie Harris, which featured his soulful version of the Exodus movie theme. (US:2)

“Eddie Harris' Exodus To Jazz became the first jazz album ever to be certified gold. Sales exceeded one million dollars, an astounding and unprecedented phenomenon for a jazz artist. A jazz record that sold an unheard of two million copies.”

“Eddie's soulful version of Exodus was apparently so popular in 1961 that it inspired a critical backlash. He can't be blamed for trying to make a buck, but this is real jazz by any standard. He's less funky here than he got later in his career, playing more in cool-toned bop mode. A nice mix of ballads and faster swinging jams.”

“This LP is a good one to play for your friends that might not be into jazz. It really captures the essence of bop without being too 'out there'. That's why I call it 'soft bop'. Yet that doesn't mean is doesn't swing. It does. I think the real treasure here is the beautiful sound and presentation of Harris and his generous sharing of the musical load with the other musicians.”

“Eddie Harris has his own particular sound, smooth as silk and, more importantly, the passion to play the saxophone. This is the music to warm up on a cold rainy day.”

“Exodus To Jazz remains an exemplary and stellar acoustic album showcasing Eddie Harris’ talent as a jazz tenor saxophonist, and his 1960s penchant for original interpretations and arrangements.”

“Eddie Harris is amazingly original, funky and elegant at the same time, screaming and whispering at once, so much intent behind every note, and everything flowing positively forward.”

“An all-embracing collection of grooves, each choice is solid gold, featuring music that has stood the test of time and maintains a respectable place in the annals of jazz. It captures Eddie Harris' unique early acoustic tenor intonation and expression, which captivated the attention of countless listeners.”

Dynamica – RAY MARTIN***

The Flight Of The Bumble Bee/Mood Indigo/Bye Bye Blues/Humoresque/Stormy Weather/Pagan Love Song/ Shadrack/Indian Summer/Malaguena/The Moon Was Yellow/Lullaby Of The Leaves/Cry Me A River

Conductor and arranger Ray Martin achieved his only chart success with Dynamica, a cocktail music album which showcased the capabilities of the then novel stereo recording techniques. (US:43)

"Flight Of The Bumble Bee, Shadrack, and to a lesser extent Cry Me A River and Lullaby Of The Leaves, are wonderful examples of the scored-for-stereo approach, use of Esquivellian wordless chorus, or both. But the bulk of Dynamica lags - a wasted opportunity.”

“One of the very first entries in a line of crazy stereo recordings. My old and worn LP is a lot of fun in stereo.”

“The musical arrangements are absolutely top notch. The rediscovery of cocktail music which led to its resurgent craze in the mid to late 90s has died down...too bad. I hope the stereo tape is not lost to the ages.”

“The music takes me back to the early 1960s and listening to the music flow from the left to right speaker. I love to put it on, sit back and listen when I just want to mellow out.”

“This is an interesting orchestral stereo action recording. There are lots of strings. I would say if you really like stereo action buy this.”

“Dynamica is truly a one of a kind album and the stereo experience was never better dubbed 'the music that you can follow with your eyes'. You can listen and watch as the sounds shift from side to side and from front speaker to back speaker. For it's time it was a masterpiece of arrangement and engineering and was a prized addition to many a record collection. I highly recommend this to anyone who enjoys good instrumental sounds and innovation.”

Do Re Mi – BROADWAY CAST***

Overture/Waiting Waiting/All You Need Is A Quarter/Take A Job/Its Legitimate/I Know About Love/Cry Like The Wind/Ambition/Fireworks/What’s New At The Zoo/Asking For You/The Late Late Show/Adventure/Make Someone Happy/All Of My Life/Finale

The Broadway musical Do Re Mi starred Phil Silvers and Nancy Walker. It opened in December 1960 at the St. James Theatre and ran for 400 performances. Plot involves a con man who tries to go straight as a juke box salesman. Music by Jule Styne, lyrics by Betty Comden and Adolph Green. (US:12)

“Although Do Re Mi was not top drawer it managed a modest Broadway run. Headlining the cast were the incomparable Phil Silvers and Nancy Walker, comic actor/singers par-excellence. Silvers was not new to playing a con man and here lends his considerable comedic talent to It's Legitimate and The Late Late Show, and the two leads make a minor classic out of Ambition. Incidentally, Mr. Silvers will absolutely break your heart with the show's closing number, All Of My Life. What kept Do Re Mi from becoming a smash was its thin plot.”

“It is a superb album. Phil Silvers is as good as you would expect, but Nancy Walker is also excellent. Silvers is particularly effective on It's Legitimate and All Of My Life. Make Someone Happy is a beautiful ballad and I Know About Love is a fine bittersweet song. Fireworks, a duet, has more sparkle than any real fireworks. Highly recommended.”

“The score is good to average, but it is still nice to listen to, some of the songs (It`s Legitimate and Asking For You for instance) are quite catchy but there’s nothing I would call a hit, something that’s really sticks in your ears. The orchestration is in the usual Styne style, which is swinging and sounds well.”

“With all that proven talent, the show should have been better, The score proves to have been one of Styne and Comden/Green's less successful, with the one memorable song being Make Someone Happy, although the irrepressible Silvers, one of the great clowns of the era, makes a strong impression.”

Dedicated To You – RAY CHARLES***

Hardhearted Hannah/Nancy/Margie/Ruby/Rosetta/Stella By Starlight/Cherry/Josephine/Candy/Marie/Sweet Georgia Brown/Diane

Dedicated To You was a themed LP in which Ray Charles covers songs, each of which has a girl’s name in the title. His albums came thick and fast during the early 1960s. (US:11)

“Dedicated is a set of tunes with a girl's name in each title, a concept which allows Charles to try his hand at Nancy, Stella By Starlight, Sweet Georgia Brown and Ruby, this last a well-deserved hit.”

“I originally bought Dedicated To You in 1961 at college. It was the only album that I ever wore out completely with help from my dorm mates. It was played constantly. The titles are all girls' names and his treatment of Nancy, Diane and Hard-hearted Hannah are classics with big band background.”

“He shows here that he is a brilliant singer, with a great sense for rhythm and emotion.”

“My favourite is Hannah which has a funny line in it regarding the polar bear. At any rate, it's a lovely song as are all the rest on this LP."

Memories Are Made Of This – RAY CONNIFF****

Memories Are Made Of This/Tammy/Young Love/Three Coins In The Fountain/Moments To Remember/My Foolish Heart/Love Me Tender/Around The World/Love Letters In The Sand/Unchained Melody/Only You/No Other You

The Ray Conniff sound during this period featured a chorus using their voices as instruments usually without words. Memories Are Made Of This featured songs from the 1950s. (US:4 UK:14)

“The songs are a typical assortment of hits from the previous decade, but Conniff remakes them in surprising and creative ways. The album is strictly instrumental in its approach, with Conniff's chorus confined to the wordless vocalizing for which it is famous. Subtle Latin beats and playful arrangements transform Tammy and Three Coins In The Fountain into minor masterpieces; the listener may recognize the melodies, but Conniff's interpretations are refreshingly new.”

“From the moment the first track played I was hooked on Conniff. I was a 17 year old and in awe of the older couples swaying and humming along to these exciting arrangements. On returning home I bought the record and played it into the ground.”

“I love all Ray Conniff music, particularly the earlier songs that were using the voices as instruments with no actual words. This album like many others released in the sixties contain a rich and wonderful sound that to me is a great alternative to well known tracks presented in a different way that you never seem to tire of. Truly Conniff presents music to get lost in.”

“This is one of the most memorable of Conniff's early albums, in that it provided exquisite, traditional Conniff treatments of some of the most popular songs of the middle and late fifties. For anyone who appreciates truly good music.”

“Mr. Conniff always assembled fine musicians for his albums. He used a blend of instruments and voices (sometimes without lyrics) to create his unique and recognizable sound. This is a particular personal favourite.”

“Memories Are Made Of This is an excellent Ray Conniff album showcasing his artistry, combined with that superlative chorus and music. The numbers on this album are all winners; there's not a dud in the bunch.”

Cherry Pink & Apple Blossom White – JERRY MURAD’S HARMONICATS***

Mack The Knife/Fascination/Polka Dots & Moonbeams/It’s a Sin To Tell A Lie/Ruby/Lonely Love/Cherry Pink & Apple Blossom White/It Happened In Monterey/I’ll Never Smile Again/Paradise/Ramona/Kiss Of Fire

Harmonica trio The Harmonicats had been recording since the 1940s and enjoyed a string of US hit singles which ended in the early 1950s. They achieved a short lived revival in 1961 with the minor hit single Cherry Pink & Apple Blossom White. (US:17)

“Unlike some of the other Murad albums, this one has orchestral backing, not just harmonica. Nevertheless, it's still a satisfying listen.”

“This trio took the harmonica from the back porch to the pop charts, scoring a smash with their 1961 LP Cherry Pink & Apple Blossom White.”

“The trio are a joy to listen to. The band's popularity spawned hundreds of harmonica trios and it is a unique sound that I thoroughly enjoy listening to. The Harmonicats were certainly among the best of their genre.”

“The sound of the lead harmonica was strong and pure. Jerry could really make that harmonica 'sing'. Here there is too much and too loud background instrumentation. It severely takes away from the purity of the lead harmonica.”

“You just can't believe how good a harmonica can sound unless you hear this. I know it's an oldie... but it's a real goodie.”

“There's no group that can play harmonica's the way The Harmonicats do. The album features many of the old songs they recorded back in the fifties and some more contemporary hits like the title tune, Cherry Pink & Apple Blossom White. If you like mellow, rich, tuneful harmonica music at its best, this album is a must.”

“The trio just seemed to be missing something. I wanted that wild, rapid harmonica sound. Jerry Murad's Harmonicats gave me that a few times, but didn't always deliver. Sometimes, the tempo just seemed a bit too slow. Still, as a novelty, and to round out your collection, you should get this album.”

Camelot – PERCY FAITH***

March/I Wonder What The King Is Doing Tonight/The Simple Joys Of Maidenhood/Camelot/Follow Me/The Lusty Month Of May/Then You May Take Me To The Fair/How To Handle A Woman/If Ever I Would Leave You/What Do The Simple Folks Do/I Loved You Once In Silence/Guenevere

On this album Canadian bandleader Percy Faith employs his skills as an arranger to turn the songs from the hit musical stage show Camelot into easy listening orchestrations. (US:6)

“Captures Faith at his peak. He's well-suited to this style of music, turning the lovely songs into soothing easy listening recordings, which may be a little schmaltzy to some ears but should satisfy his fans just fine.”

“Sounds awfully cheap, especially when compared to the lush orchestrations of the original Camelot cast recording.”

“The Simple Joys Of Maidenhood, along with I Wonder What The King Is Doing Tonight, both from Camelot, have that stirring emotion from the wonderful string arrangements by maestro Percy Faith. Who can forget the opening few chords from the title tune, beautiful orchestration to give this an unforgettable place in the American theatre.”

“Faith has the uncanny ability to use every piece of his orchestra as one instrument, taking you always on that musical journey into a fantasy land of enchantment. I know of no other arranger for strings, who has that same effect on me. I can only describe Faith's music as a God given talent that he uses to entertain and even mesmerize his listeners. Take for instance Follow Me, what sweeping and engulfing tones and moods, almost like colours in the rainbow.”

$1,000,000.00 Worth Of Twang – DUANE EDDY*****

Rebel Rouser/Cannonball/The Quiet Three/Bonnie Came Back/Because They’re Young/Theme For Moon Children/Moovin’ & Groovin’/The Lonely One/Forty Miles Of Bad Road/Some Kinda Earthquake/First Love First Tears/Kommotion

$1,000,000.00 Worth Of Twang was the first compilation album featuring the twangy guitar of Duane Eddy, the first artist to chart regularly with purely instrumental guitar tunes. He was equally popular on both sides of the Atlantic. (US:11 UK:5)

“In the mid-1950s rock & roll had been born and electric guitars were starting to get louder and more prominent. The popular music charts of the late 1950s and early 1960s were awash with lively and melodic instrumental hits, often featuring stunning virtuoso arrangements or fascinating original ideas. Duane Eddy was one of the most highly acclaimed musicians at that time, with a distinctive and original guitar sound and cleverly written and catchy tunes a plenty. He was a big success due to his well developed technical skills on the guitar.”

“The combination of Eddy's hollow-body Gretch, Bigsby vibrato tailpiece, a tremolo unit, and oceans of echo, racked up dozens of hits. The best are also typical, Duane twangs a simple melody over some yakkety sax and much excited yelling in the background. As such, his worldwide influence on a generation of guitar-pickers was massive.”

“I couldn't wait for the latest Duane Eddy record. He had hit after hit. Every aspiring rock guitarist with a little elbow grease could play along with these fine recordings.”

“Many instrumental albums tend to sound a little 'samey' after a few tracks. Duane Eddy worked hard to ring the changes with a variety of styles. He used different instruments and vocal arrangements as the leads on some tracks. But there are still plenty of tracks which contain his usual Gretsch sound complete with sax, piano and rebel yells. His single releases stand up well after over 50 years.”

“For me this is such timeless music. Duane is a one of a kind with the great bends and twang of the guitar. Duane is not only a living legend but will forever be an icon for creating such a recognizable sound, his famous twang.”

Wildcat – BROADWAY CAST****

Overture/Oil/Hey Look Me Over/Wildcat/You’ve Come Home/That’s What I Want For Janie/What Takes My Fancy/You’re A Liar/One Day We Dance/Give A Little Whistle/Tall Hope/Tippy Tippy Toes/El Sombrero/ Corduroy Road/Finale

The Broadway musical Wildcat starred Lucille Ball supported by Keith Andes. It opened at the Alvin Theatre in December 1960 and ran for 171 performances, but was terminated prematurely following the collapse on stage of Lucille Ball. The plot centres on a feisty female prospecting for oil in 1912. Music by Cy Coleman, lyrics by Carolyn Leigh. (US:6)

“This was Cy Coleman and Carolyn Leigh's first Broadway score and it's a winner in every song. The book is a sort of Annie Get Your Gun plot with Lucy as the ugly duckling who blossoms and tones down her competitive ways to win her man. Keith Andes sings beautifully opposite her. The production closed due to Lucy's inability to keep up the Broadway stamina of eight performances a week and there being no one of similar quality to take over. A great show album with fine performances, comedic acting and rousing singing.”

“I will never forget the show. Lucy 'sold' every single song; the entire show was bursting with energy; the men's chorus was excellent in particular. The house was completely sold out. The reviews were good. The show was not a flop. So, where does that leave this LP? A great memento of a very good show that should have lasted longer (if only Lucy had). Buy it if you love the old Broadway shows with great singers, a star and a full orchestra.”

“It is easy to see why the show had to fold when Lucy collapsed on stage. Even on the album, she towers over the rest of the cast like a redheaded dynamo. Nobody in the world at the time could have taken her place. The music in this show is light and cheery, and most of the cast were equal to their parts. The plot is basically an excuse for the songs and is mostly forgettable.”

“I have always felt that Carolyn Leigh was one of the most brilliant of lyricists, and this, her first score with the equally inspired Cy Coleman, does nothing to diminish that opinion. The cast is uniformly perfect, led by Lucille Ball, who gives one of the great musical comedy performances. The voice is surprisingly strong, and the timing is, of course, impeccable.”

Chet Atkin’s Workshop – CHET ATKINS****

Lambeth Walk/Theme From A Summer Place/Whispering/In A Little Spanish Town/Sleep/Marie/Hot Mockingbird/Lullaby Of Birdland/Tammy/Goofus/Bonita/Que Sera Sera

A wide range of songs, including a couple of recent pop hits, are given the Chet Atkins guitar treatment. Workshop became his highest placed album in the States. (US:7 UK:19)

“Listening to these old Chet Atkins albums is the equivalent of ending the day in your favourite chair with a piece of fresh apple pie. How could it possibly be more warm and cosy? His playing is second to none, of course. Sure it is a little showy, but in a controlled way. Never brash.”

“On Workshop there is more accompaniment than on some older Chet albums that I have. A drummer on brushes, a bass player, even some subdued piano. It all sounds good. I tended to like side one the best, especially the last two songs, Sleep and Marie are fantastic. Plenty of jazzy touches make this anything but a 'boring' country album.”

“An all time favourite album which I have listened to it until it is almost worn.”

“The performances by Chet are quite excellent; the selection of tunes is a bit on the 'pop' side, but his playing on this album is as good as any he ever made. If you're a Chet Atkins fan go for it.”

“The album Workshop is to me a foundation for more guitar based rock sounds to come in the future. It is not the typical Chet Atkins music one might expect. It is the most 'rockin' album I have ever heard from him and the tone itself is bright and hot. I consider it a must have for Chet Atkins collectors or serious guitar fans. Chet was such a master of the guitar and in so many styles. His range was incredible.”

“Chet is the grand master of finger-picking and this album is the proof. Several of the tunes display his gift for speed. On all of the songs, the backup is mostly bass and light drumming so Chet's guitar is what you hear.”

“This LP is the essence of the artist. If anyone does not understand what virtuoso of the thumb-and-finger guitar means, just listen and be educated.”

Wonderland By Night- BERT KAEMPFERT****

Wonderland By Night/La Vie En Rose/Happiness Never Comes Too Late/On The Alamo/As I Love You/Dreaming The Blues/Tammy/The Aim Of My Desires/This Song Is Yours Alone/Drifting & Dreaming/Stay With Me/Lullaby For Lovers

German orchestra leader Bert Kaempfert came to widespread public attention with the huge success of his composition Wonderland By Night. Both the album and single topped the respective American charts. (US:1)

“Bert Kaempfert was one of the few German orchestra leaders to achieve a lasting worldwide success. He made easy listening, jazz oriented records and his smooth sound has become timeless.”

“The music can be classified as easy listening with an emphasis on lovely background singing, some twang guitar but overall, pretty melodies played by Bert's favourite solo instrument, the trumpet. Very relaxing music, soothing and with a number of upbeat and whimsical numbers.”

“To knock the mellow sound of Bert Kaempfert is to engage in musical snobbery. His music was an island of sanity in a rapidly changing pop field as each year of that turbulent decade the 1960s passed. For pure relaxation and close dancing there was none better.”

“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.”

“Kaempfert's enchanting way of seducing the listener with a combination of instrumental as well as vocal sounds is awesome.”

“One of the pillars of the 60s AM radio. More than adult contemporary and great to listen to if you want relaxation. A distinctive approach to easy listening. Surprisingly good, upbeat but mellow. Great listening.”

“Nice music. It's what I remembered growing up. Very calm elevator music. A trumpet player with a great technique. I'm simply astounded by the talent and beauty of this work - contemporary 'artists' just don't compare.”

The Unsinkable Molly Brown – BROADWAY CAST****

Overture/I Ain’t Down Yet/Belly Up To The Bar Boys/I’ve Already Started In/I’ll Never Say No/My Own Brass Bed/The Denver Police/Bea-U-Ti-Ful People Of Denver/Are You Sure/I Ain’t Down Yet (Reprise)/Happy Birthday Mrs J J Brown/Bon Jour (The Language Song)/If I Knew/Chick-A-Pen/Keep-A-Hoppin’ & Leadville Johnny Brown/ Up Where The People Are/Dolce Far Niente & I May Never Fall In Love With You/I Ain’t Down Yet (Reprise)

The Broadway musical The Unsinkable Molly Brown starred Tammy Grimes and Harve Presnell. It opened in November 1960 at the Winter Garden Theatre and ran for 532 performances. Plot involves the love and social affairs of the 'unsinkable' Molly who survived the Titanic disaster. Music and lyrics by Meredith Willson. (US:6)

“While this score is not a classic it still has many delightful songs. It also stars the unique and delightful Tammy Grimes and the talented Harve Presnell. This show is an underappreciated gem.”

“Harve Presnell is Johnny Brown with his marvellous, rich voice and Tammy Grimes is his spunky wife, Molly. Her voice is throaty and warm and her characterization downright irresistible. Meredith Willson's score is spirited, tuneful and gives a powerful upbeat message with many singable, heart warming songs.”

“This is a classic. The original Broadway cast is wonderful and takes you back to the time when musicals were light and told a good story. Many tunes from here are recognizable.”

“I enjoyed listening to The Unsinkable Molly Brown, Broadway version. The music is lively, and Tammy Grimes is a wonderful singer, and so is Harve Presnell. The words in all the songs are understandable and make you want to sing along with them. I love it.”

“Meredith Willson wrote a honey of a score, which includes Molly's anthemic opening number I Ain't Down Yet, and Johnny's soaring love ballad l’ll Never Say No.”

“So it's not The Music Man but it's still a great little show with some wonderful songs, written in the traditional Broadway style.” “The Broadway version is a well crafted example of the early 60s musical comedy, with an impressive star turn by Tammy Grimes. The score contains some gems, and is a definite asset to any theatre buff’s collection.”

Wonderland By Night – LOUIS PRIMA***

Wonderland By Night/Twilight Time/By The Light Of The Silvery Moon/Moonlight Becomes You/The Night Is Young (And You’re So Beautiful)/Moonlight In Vermont/I Want Some Lovin’/I Could Have Danced All Night/Polka Dots & Moonbeams/You & The Night & The Music/A Lovely Way To Spend An Evening/Goodnight My Love

Critics claimed that the move of trumpeter Louis Prima to Dot Records resulted in a bland offering compared to his Capitol releases. Nevertheless, Wonderland By Night became his highest charting album. (US:9)

“Wonderland By Night is a far cry from the boisterous, good-time Italian swing of Louis Prima's popular Capitol recordings. This comprises orchestral pop instrumentals, some of which incorporate a wordless vocal chorus. Night time is the theme of the album, with Prima's trumpet out in front to carry the melody. A fine, atmospheric album that sets an evening mood any time of the day, but is completely unlike the music for which Prima is best known.”

“Though it has some pretty solos in it, and the music is all well put together, it lacks the lustre which adds to Prima's appeal. Why anyone would strip Prima of his main boys in their prime is beyond me, but if you're looking for the usual Prima, don't look here. The songs conform exactly to the standard written arrangements, with some crooners in the background, but there are no vocals.”

“One supposes that, after Louis signed with Dot Records upon leaving Capitol, part of the deal was he would do an album along the style already well-established there by Billy Vaughn, who arranged all the selections presented. Unfortunately, that was like having Lawrence Welk arrange Little Richard and have him do 'sparkling champagne' versions of the Liechtenstein Polka. The results would be predictably bland, and this is very much the case here.”

“This was a bunch of studio musicians who came in, played the music and marketed it under Louis Prima. It doesn't sound like the Louis Prima everyone knows, but it's still a nice listen.”

Party Time – RUSS CONWAY**

The Dark Town Strutters Ball/Oh Johnny Oh Johnny Oh/You Were Meant For Me/Toot Toot Tootsie/When The Red Red Robin Comes Bob Bob Bobbin’ Along/Give My Regards To Broadway/Miss Annabelle Lee/Rock-A-Bye Your Baby With A Dixie Melody/Put Your Arms Around Me Honey/Rolling Round The World/Painting The Clouds With Sunshine/Down Yonder/A Gal In Calico/I’m Sitting On Top Of The World/Carolina In The Morning/Swanee

Popular honky-tonk pianist Russ Conway gets everybody in a party mood with these Al Jolson era tunes. Party Time was his last album to chart, ending a two year run of hit releases. (UK:7)

“In the two years between December 1958 and December 1960, Russ Conway enjoyed six top ten UK albums, was the subject of television’s This Is Your Life and performed two Royal Command Performances. Party Time was something of a last hurrah, a final top ten hit.”

“One of Russ's best albums originally released for Christmas 1960, when they were still using the original honky-tonk piano at Abbey Road.”

“Russ Conway, a cornerstone of the early 60s. While The Beatles were on the up, and The Stones were beginning to roll, Russ belted out so many hits you could lose count.”

“I recall as a child seeing him appear on so many Saturday night TV shows as a guest, and can remember hearing him on the radio, where his distinctive style and personality shone through every time.”

Temptation – ROGER WILLIAMS***

Theme From The Sundowners/Theme From The Apartment/Temptation/One Finger Symphony/Homesick For New England/La Montana/Never On Sunday/Riviera Concerto/Its Now Or Never/What Lies Over The Hill/ Raindrops/Little Rock Getaway

Pianist Roger Williams was rarely out of the US album chart during the early 1960s. However, in Britain it was a different story as he never once troubled either the singles or album chart there. Temptation was one of his better selling albums. (US:5)

“I have always considered Roger Williams piano and arrangements to be the finest and this album is right up there with his best.”

“A good album for easy relaxation, with a lot of good fancy piano playing.”

“Roger Williams offers expressive piano solo treatments of some lush movie themes in this strong mood music package.”

Tenderloin – BROADWAY CAST***

Overture/Bless This Land/Little Old New York/Dr Brock/Artificial Flowers/What’s In It For You/ Reform/Tommy Tommy/The Picture Of Happiness/Dear Friend/The Army Of The Just/How The Money Changes Hand/Good Clean Fun/My Miss Mary/My Gentle Young Johnny/The Trial/Reform (Reprise)/Finale

The Broadway musical Tenderloin starred Maurice Evans and Ron Husmann. It opened at the 46th Street Theatre in October 1960 and ran for 216 performances. Plot centres on a clergyman who tries to clean up a red light district in Manhattan. Music by Jerry Bock, lyrics by Sheldon Harnick. (US:15)

“I know it wasn't a huge success, but the score is wonderful, especially Little Old New York, How The Money Changes Hands and Artificial Flowers, which should be in all lovers of Broadway musical collections.”

“One of my favourite shows by this great team. Not a throwaway number in the whole lot. A must for lovers of Broadway musicals.”

“The long lost musical Tenderloin made its debut on Broadway in 1961, from the pens of Sheldon Harnick and Jerry Bock, famous for Fiddler On The Roof. It has a great score with numbers such as Artificial Flowers, and How The Money Changes Hands.”

“It is the weakest Bock and Harnick show, with too many songs capturing a period flavour without adding any passion of feeling.”

“Jerry Bock's score and Sheldon Harnick's lyrics can be schmaltzy, but they invite one to sing along. Some of that schmaltz is satirical. The Picture Of Happiness is a politically incorrect assessment of prostitution. Artificial Flowers, while satirizing the pulp fiction of the day, still manages to be sentimental. And My Gentle Young Johnny combines satire and sentiment in the yearning of a prostitute for one special man.”

“I did not have high hopes for it. However, once I got past the insanely long overture, I was hooked. This is a very varied score from My Miss Mary to the sweet Tommy Tommy and the rousing The Money Changes Hands, this is totally delightful. I don't care much for the story - the 'what's wrong with a whorehouse?' idea is stupid and basically not funny.”

The Nutcracker Suite – DUKE ELLINGTON****

Overture/Toot Toot Tootie Toot/Peanut Butter Brigade/Sugar Rum Cherry/Entr’acte/The Volga Vouty/Chinoiscric/ Dance Of The Floreadores/Arabesque Cookies

Jazz maestro Duke Ellington reinterprets Tchaikovsky’s Nutcracker Suite with a jazz orchestration, re-titling the songs in the process. Billy Strayhorn assisted with the arrangements. (UK:11)

“Ellington's genius is best appreciated in his orchestral compositions, his balancing of the composer's intentions with his band members' inventions, and his ability to write for the performer of the instrument, not merely the instrument itself.”

“Take one brief movement of The Nutcracker Suite, the Entr'act. Listen to it several times, and then just simply marvel. We hear the composer's orchestral textures, we hear the colourful voices of no less than four different soloists, we hear nuanced dynamics, and finally we experience a collaborative celebration as much a product of the individual parts as their sum meaning.”

“This Nutcracker is no novelty project, no mere 'jazzing up' of the classics. Ellington comes at the piece as another jazz artist might approach a Gershwin or Cole Porter standard. The result is a 're-visioning' that exposes Ellington's inimitable genius without dismissing Tchaikovsky’s.”

“His Nutcracker Suite is not just some 'jazz in the classics' campy fun: a theme, some swinging solos, return to theme and out. No, nothing of the kind. Ellington and Strayhorn carefully imagined these sophisticated arrangements, that remain quite faithful to Tchaikovsky's music. They bring out the most evocative, new colours and rhythms in the music so you feel you're hearing the originals in a whole new light.”

“What Ellington does with Tchaikovsky is truly a work of genius. An understated effort; this album is so fluidly listenable, that it requires repeated listening to fully appreciate the subtleties of these very sophisticated arrangements. But as complex as the Duke's harmonic approach is, the real star of this show is the beauty of the music itself. Anyone with an appreciation for the music of Ellington cannot go wrong with this swinging, jazzy, gorgeous album.”

“Duke's attitude to the Nutcracker Suite is rather tongue-in-cheek, as witness his re-titlings, but it's an interesting approach nevertheless.”

More Minstrel Melodies – BIG BEN BANJO BAND**

I Want To Be Happy-What A Little Moonlight Can Do-Don’t Dilly Dally On The Way/Whispering-Chick Chick Chicken-Five Foot Two Eyes Of Blue/Look For The Silver Lining-I Wouldn’t Leave My Little Wooden Hut-There’s A Long Long Trail/Makin’ Whoopee-In A Shady Nook-I Don’t Want To Set The World On Fire/Oh Oh Antonio-Burlington Bertie From Bow-Oh Dear What Can The Matter Be-Dear Old Pals-Bless ‘Em All/I Love The Sunshine Of Your Smile-Ship Ahoy-Why Did She Call For The Leader Of The Band/On Ilkla Moor-Clementine-There Is A Tavern In The Town/Music Music Music-I Love My Baby-Ain’t She Sweet/The Washing On The Siegfried Line-I’m Going To Get Lit Up-Run Rabbit Run/When You Hear Big Ben-Mistakes-Sally/On The Banks Of The Wabash-Cuddle Up A Little Closer-Mary’s A Grand Old Name/On Mother Kelly’s Doorstep-Last Night On The Back Porch-Tea For Two/The Fleet’s In Port Again-What Shall We Do With The Drunken Sailor-Anchors Aweigh/Let Him Go Let Him Tarry-John Brown’s Body-Knees Up Mother Brown

More Minstrel Melodies includes plenty of pub singalong tunes on the only Big Ben Banjo Band LP to chart. Popular music nerds will be aware of the connection between lyricist Tim Rice and the Big Ben Banjo Band. (UK:20)

“Assembled by hit producer Norrie Paramor, The Big Ben Banjo Band arrived as the banjo was enjoying something of a revival. More Minstrel Melodies became their only hit album.”

“Well produced and there are some vocals on it. It will get everyone singing and tapping their feet to its lively beat.”

“Nice for anyone wanting to listen to some relaxed nostalgia. This would also make nice listening for people in homes, as many people would know the words to the instrumental medleys of these old songs.”

“A great treat for all banjo lovers and singalong enthusiasts. Some terrific tunes and memories for people to enjoy.”

“Its just really nice music to listen to. It certainly should be part of every ones music collection.”

“The Big Ben Banjo Band’s music is great for a party. Its really very uplifting, so ideal if you're feeling in a low mood."

“Mostly feel good medleys as you would expect from the early 60s archive. Plenty of toe-tapping to be had. Recommended.”

Let’s Think About Livin’ – BOB LUMAN***

Let’s Think About Living/Meet Mr Mud/Bad Bad Day/Every Time The World Goes Round/Jealous Heart/I Love You Because/Oh Lonesome Me/Throwin’ Kisses/Why Why Bye Bye/Dreamy Doll/I Love You So Much It Hurts/You Win Again

Texan country singer Bob Luman is now only remembered for his worldwide pop smash Let’s Think About Livin’ with its sardonic observations on contemporary society. (UK:18)

“Bob Luman enjoyed a special vocal gift that allowed him to alternately convey a sense of comfort as well as excitement. Eventually, Boudleaux Bryant penned Luman’s 1960 Top 10 hit Let’s Think About Living.”

“Bob Luman had a voice not unlike Elvis or even Johnny Horton, but his music was closer to the great Carl Perkins. Bob Luman's heyday was in the early 1960s when honky-tonk was being infused with original rock 'n' roll, and Luman's sound was the epitome of this movement.”

“His biggest hit, what we'd now call a 'crossover', was Let's Think About Living, which did well not only on the country charts, but the pop charts of the day as well. There are a few others that are immediately recognizable: You Win Again and Oh Lonesome Me. If you like true rockabilly, then this one is well worth owning.”

“Bob said at one of his concerts that the problem he had was the rock people said he sounded too country and the country people said he sounded too rock.”

Last Date – LAWRENCE WELK***

Last Date/Sleep/To Each His Own/The Green Leaves Of Summer/Temptation/Georgia On My Mind/Please Help Me I’m Falling/Chances Are/Melodie D’Amour/Night Theme/My Heart Has A Mind Of Its Own/Misty

Host of a TV variety show for over 25 years Lawrence Welk described his band’s style as 'champagne music'. Last Date was one of his better selling albums. (US:4)

“My mother so enjoyed watching Lawrence Welk every Saturday. These bring back such wonderful memories for her. The music is very entertaining.”

“Mr. Welk and his 'bubbly' musical style, a format that drew more than it's fair share of ridicule from the more acerbic musical 'experts'. Among those sharing their barbs and darts with Welk were people like Pat Boone and Engelbert Humperdinck. Strangely, however, the ones just mentioned all shared one common factor: their music sold in the millions.”

“Even some of the well known hits are greatly enhanced by that touch of magic accompanied with the light and happy feel that Welk added to every one of his pieces. I have discovered through experience that most non-Welk music is like flat champagne.”

“Very nice collection of popular Welk music from the sixties. This is the kind of sound that refused to die with Mr. Welk.”

In Style With – THE CRICKETS***

More Than I Can Say/Rockin’ Pneumonia & The Boogie Woogie Flu/Great Balls Of Fire/Ting-A-Ling/Just This Once/Deborah/Baby My Heart/When You Ask About Love/Time Will Tell/A Sweet Love/I Fought The Law/Love’s Made A Fool Of You

In Style was the first album release from The Crickets after the grievous loss in an air crash of front man Buddy Holly, a tragedy from which the group never fully recovered. (UK:13)

“To any fans of Holly or rockabilly who have not heard this music, you should pick it up ASAP. It is a superb collection by a group that never really made it.”

“Every cut is well produced and executed. Check out the original I Fought The Law for the 'zip gun' juvenile delinquent lyric Loves Made A Fool Of You, Deborah and When You Ask About Love which are some of the best songs of the era. The Brits knew this and charted several of these. Enough said.”

“The Crickets, post Buddy Holly had a lot to live up to. Let’s face it no group could have survived the loss of such a talent as Holly, whether it was writing some of the best pop songs of the last 50 years, his unique vocal style or his electrifying guitar work. So, yes, post Holly they were never quite as effective a force. Nevertheless in their own right they remain an extremely professional and enjoyable group with a wide range of material, and the ability to deliver soft, almost bubble gum rock, as well as beat rockers.”

The Big Sound Of – JOHNNY & THE HURRICANES***

Molly-O/You Are My Sunshine/Like Rock/Beatnik Fly/The Kid/Bye Bye Blackbird/Traffic Jam/Teensville Tonight/ Mister Irving/Sheba/Tom’s Tune/Corn Pone

The early 1960s were a relatively short lived golden era for guitar instrumentals. After six UK top twenty entries in two years, by the end of 1961 the hits had dried up for Johnny & The Hurricanes. The Big Sound includes the UK top ten hit single Beatnik Fly. (UK:14)

“Hurricanes' albums are the lost gems of instrumental surf music. They sounded distinctive, played fast and generated very excited rhythms and hooky riffs. It's a pure fun to listen to it these days and relive the nostalgic, but powerful feelings of 50/60s rock 'n' roll madness.”

“The late ‘50s, early ‘60s were the golden era for rock ‘n’ roll instrumentals and Johnny & The Hurricanes were at the forefront of the boom, enjoying widespread international popularity with the unmistakable sound on Johnny Paris’s rasping sax and Paul Tesluks’s searing Hammond organ.”

“The band enjoyed several hits, led by distinctive organ melodies and funked up by sax, guitar and jumping drums.”

“One of the early pioneers of rock instrumentals.”