The Divine One – SARAH VAUGHAN****

Have You Met Miss Jones/Ain’t No Use/Every Time I See You/You Stepped Out Of A Dream/Gloomy Sunday/What Do You See In Her/Jump For Joy/When Your Lover Has Gone/I’m Gonna Laugh You Out Of My Life/Wrap Your Troubles In Dreams/Somebody Else’s Dream/Trouble Is A Man

The Divine One is Sarah Vaughan’s first album on the Roulette label, arranged by Jimmy Jones who also backs her on piano. Songs are ballads backed up by a small jazz combo.

“This is another absolute beauty by Sassy. Twelve great songs, all short, but oh so sweet. Highlights for me Have You Met Miss Jones, her exuberant, playful performance on Jump For Joy and her wistful, yet touching take on What Do You See In Her. You won’t be using the fast forward button after popping this one on. She had so much range, she was always in such perfect control, and she nails every note on this album.”

“Sarah delivers more drama, emotion and excitement to the lyrics of each song regardless of quality. Her gift always brings new life and fresh air to any given tune. I also believe that Sassy was more rebellious vocally compared to others.”

“This is my favourite Sarah Vaughan album. She is at the height of her vocal powers with beautiful tone and absolute control. In addition she employs all her talents and jazz musicianship in the service of the songs, without the extraneous vocal acrobats that sometimes mar her other performances. The songs are all top quality and the accompaniment is by a true small jazz combo played wonderfully with stylish and swinging arrangements.”

“One can listen to this album repeatedly finding new things to love about Sarah's performances each time. It is a true treasure for Sarah Vaughan fans and all true lovers of vocal jazz.”

“Recorded just after Sarah Vaughan joined the Roulette label in 1960, The Divine One found her in exactly the right circumstances to suit her excellent talents. Arranged by Jimmy Jones, who also sits in on piano, the setting was a small group that included one strong voice to accentuate hers. The Divine One is mostly a ballads collection, and it includes a few songs that were new to her repertoire.”

Ring-A-Ding Ding! – FRANK SINATRA*****

Ring-A-Ding Ding/Let’s Fall In Love/Be Careful Its My Heart/A Foggy Day/A Fine Romance/In The Still Of The Night/The Coffee Song/When I Take My Sugar To Tea/Let’s Face The Music & Dance/You’d Be So Easy To Love/You & The Night & The Music/I’ve Got My Love To Keep Me Warm

Ring-A-Ding Ding! was the first Frank Sinatra album release on the new Reprise label, which he founded. His new arranger Johnny Mandel swings harder and jazzier. (US:4 UK:8)

“Sinatra's first Reprise record is of Capitol quality. This is a fantastic and decidedly upbeat record. One of the last consistently great Sinatra albums.”

“Frank's first album for his own company is one of his best. Amazingly enough, Cahn and Van Heusen were able to actually write a song using Frank's catch phrase. This album has what in my opinion is the greatest arrangement of the Cole Porter classic In The Still Of The Night. The arrangements by Johnny Mandel swing hard and fast and Frank just glides over the band like a wave.”

“This record launched Frank's Reprise years and what a debut. Five stars isn't sufficient for an album that contains some of the greatest vocal tracks ever sung by Sinatra. This is an album where you can put it on, hit play and never fast forward, all the songs are eminently Sinatra-esque and exuberant.”

“This album is among his best. Johnny Mandel's arrangements are more jazz oriented and this music really swings even more than his other swing LPs, if that were possible.”

“In his premiere recording for his own label, Reprise, Sinatra scored a direct hit. From the swinging title tune to the end, he swings as well with Johnny Mandel's arrangements as he did with Riddle's. In fact I'm surprised that they didn't follow with more albums together since in a way, Mandel's charts are jazzier than Riddle's.”

“A major reason Sinatra peeled away from Capitol Records in 1961 to form his new Reprise label was to work with a variety of arrangers with innovative styles. Ring-A-Ding-Ding was the maiden album he recorded for his new enterprise, and what a debut it was. Johnny Mandel's jazz-infused arrangements proved a perfect foil for Sinatra, who at this point was still at the peak of his vocal abilities.”

Persuasive Percussion Vol. 3 – ENOCH LIGHT****

Moments To Remember/All The Way/Theme From Polovestian Dances/Perdido/Come Rain Or Come Shine/Hawaiian War Chant/One For My Baby/Kashmiri Song/When Your Lover Has Gone/Bingo Bango Bongo Baby/Autumn In New York/Don’t Worry ‘Bout Me

Persuasive Percussion Vol. 3 was another 'ping-pong' album from Enoch Light, demonstrating stereo effects and targeting the burgeoning audiophile hi-fi market. However, the novelty was beginning to wear a little thin and future releases would be less successful. (US:3)

“A dozen interpretations of popular music standards with highly stylized arrangements centring on full-bodied organ solos as well as significant augmentation from bongos, maracas, and a variety of additional hand-percussion instruments. The melodies were often given light and easy listening interpretations.”

“For those who like true lounge music. The kind that will propel you to 'sing along' with a series of 'brrrips', 'zips' and 'pop-a-taas'. This set is for you.”

“The percussion sounds great, the bass is solid, the arrangements absolutely terrific.”

“Among the apex in not only composition by Light, but in stereo recording. Very enjoyable music. So put on this LP, sit back and smile.” “The ping-pong effect is quite apparent in stereo recordings of this era.”

“I have been a fan of Enoch Light from the early 60s. His musical style from that era was totally different. Great to listen and dance to.”

“The sounds, so crisp, clean, and smooth. The stereo separation, the melodies that seemed to always be a part of my consciousness. It's all here.” “It's the real deal: a throwback to a time when red meat and cigarettes weren't going to kill you, when Martinis and Manhattans and Mai Tais were quaffed without care of carbs or chastising glances, when stereophonic recordings were an exciting novelty.”

“A lovely assortment and arrangement of old standards and then current hits from the magical 60s.”

Orange Blossom Special & Wheels – BILLY VAUGHN***

Wheels/Orange Blossom Special/Are You Lonesome Tonight/Marie/My Dear/C’est Si Bon/Lazy River/The Wiffenpoof Song/Sorrento/Green Grass Of Texas/Summertime/It’s A Lonesome Old Town

Orange Blossom Special & Wheels comprised the usual winning formula of recent hits and some old standards from easy listening Billy Vaughn and his Orchestra. (US:11)

“Great versions of the hits of that year using those great saxes, strings, guitar and much more.”

“If you're from this era, this will bring back many memories. An excellent album.”

“Wheels/Orange Blossom Special was one of Vaughn's most successful Billboard album entries. Highlight is the version of Green Grass Of Texas which is smoother than the original. There are also more danced-up versions of older stuff, compared to his earlier albums which often emulated Jackie Gleason.”

“His Orange Blossom Special has to be the best instrumental version of this ever recorded.”

“Green Grass Of Texas has always been a favourite of mine and Billy's treatment of this hit expanded its audience by a few million. The entire Orange Blossom/Wheels LP resulted in hits and airplay the world over. Billy's It's A Lonesome Old Town has long been a favourite in Japan and his Sorrento (recorded with new lyrics by Elvis as Surrender) also saw single release in many places.”

“When released I thought this was the best recording ever of the classic bluegrass instrumental Orange Blossom Special and I still feel the same way about this recording today.”

“Billy Vaughn is one of the greatest orchestra leaders and this version of Wheels is brilliant.”

The Music Man – LONDON CAST****

Overture-Rock Island/Iowa Stubborn/Ya Got Trouble/Piano Lesson/Goodnight My Someone/Seventy-Six Trombones/Sincere/The Sadder But Wiser Girl/Pick A Little Talk A Little-Goodnight Ladies/Marian The Librarian/My White Knight/Wells Fargo Wagon/Its You/Shipoopi/Lida Rose-Will I Ever Tell You/Gary Indiana/Till There Was You/Finale

The London cast musical The Music Man starred Van Johnson and Patricia Lambert. It opened at the Adelphi theatre in March 1961 and ran for 395 performances. The plot involves a con man persuading the residents of a small town that they need a boys band. Music and lyrics by Meredith Wilson. (UK:8)

“On stage, Johnson may have been able to make his Hollywood likeability work for the con man, but on record he cannot carry the score the way Preston did. As for the rest of the cast, American ears are going to keep noticing the British accents that betray themselves in songs like Rock Island, that have no place in a piece set in Iowa. But Patricia Lambert is a competent Marian the Librarian (if no Barbara Cook)."

“Van Johnson is very good and has clearly given great thought to his interpretation but he does not quite have Preston's verve. When you hear either of Preston's recordings, you feel that he sings on every number in the score. He doesn't but his presence is always felt. He performs well but there is some energy missing. Everyone manages to do more than copy the Broadway performers, proving there is more than one way to interpret these characters and this music. This makes the recording well worth buying.”

“The Music Man is a highly innovative score, more than it is usually given credit for. The opening number Rock Island is unique in musical theatre (and brilliant to boot). The use of barber's shop quartets brings something totally new and right to the proceedings and totally evokes the location and period.”

“Preston and Cook are a hard pair to top. With slightly different orchestrations the recording does have appeal. The Brits often fail at mastering the American dialects, but this is a minor flaw. I have never been a particular fan of the sarcastic Van Johnson, and in the role of Harold Hill, he lacks Preston's masterful charm and delivery. His attack is muddy and falls woefully short. Patricia Lambert, however, fares much better in the role of Marian. She doesn't match Cook's crystal delivery, but she is more than ably suited to the role.”

Listen To Cliff – CLIFF RICHARD****

What’d I Say/Blue Moon/True Love Will Come To You/Lover/Unchained Melody/Idle Gossip/First Lesson In Love/ Almost Like Being In Love/Beat Out Dat Rhythm On A Drum/Memories Linger On/Temptation/I Live For You/ Sentimental Journey/I Want You To Know/We Kiss In The Shadow/Its You

Listen To Cliff was a transitional album from Cliff in which he starts to distant himself from his rock and roll past and move towards slower ballads likely to appeal to a slightly older audience. (UK:2)

“Eight of the tracks are with The Shadows, four by the Norrie Paramor Orchestra and four by the Norman Ebbinghouse Band. Ballads dominate with only What'd I Say and I Want You To Know to break them up. Cliff's voice is getting deeper and with it, there is a wistful quality not heard before. While many songs are wonderful, the overall feeling is that there are just too many ballads.”

“This is an ambitious, varied and substantial album which must have had a relatively huge budget for the time as Norrie Paramor strove to create a beat group/crooner hybrid. He succeeds thanks to excellent engineering and The Shadows at their confident best.”

“Overall I think this maybe Cliff's best album. It showed the present (with The Shadows) and the future. Although the album was recorded in 1961, Cliff was looking ahead and thinking about painting on a bigger canvas. Most people would probably feel that he should have stayed with The Shadows, but this young man at that time saw a world to conquer (well, at least the UK) and what we have here is a mixture of standards and original Shadows material.”

“Cliff Richard's fourth album saw him making something of a radical departure. This was not an album of pop songs and there were no singles lifted from it. Instead, Listen To Cliff finds him tackling songs from various musicals and previous eras, with several new songs written to fit this formula.”

“Listen To Cliff features a mixture of original tracks and covers of standards; there are a lot of ballads, but What I'd Say is a storming rock ‘n’ roll performance, while songs like Lover and Almost Like Being In Love are pure jazz. This album is a fine testimony to the young Cliff's versatility. His voice has a unique youthful yet precocious sound - deep, bluesy, melancholy, luminous and sensual."

Hell Bent For Leather! – FRANKIE LAINE****

Wanted Man/High Noon/Gunfight At The OK Coral/Bowie Knife/Along The Navajo Trail/The Cry Of The Wild Goose/Rawhide/City Boy/Cool Water/The 3:10 To Yuma/The Hanging Tree/Mule Train

Balladeer Frankie Laine here performs what he does best - rousing songs of the Old West. Hell Bent For Leather! includes the UK top ten hit single Rawhide, the theme song to the TV western series. (US:71 UK:7)

“A one-of-a-kind record. Frankie's big, booming, lounge singer voice mixed with archetypal tales of the old west set to a thundering orchestral score. If only he'd made a career out of this.”

“Nobody could put across a song of the Old West better than Frankie. To me he is one of the 'All Time Greats'.”

“One of the best country albums ever. My favourite track is The 3:10 To Yuma but there are no weak spots on this album. A masterpiece.”

“Frankie Laine was a dramatic singer, composer, musician and accomplished big band crooner who later sang pop, jazz and blues. He hit his stride singing ballads and songs with western and adventure themes, although he was not a mainstream country & western artist.”

“Brought back memories of the old time country music. He had a good voice and the songs are typical of the era. The music is clear and it is fun to sing along with Frankie. This is a must have for anyone who enjoyed the westerns of the 1950s.”

“Singing with raw power and emotion, Frankie was at the top of his game here. The urgent Bowie Knife building to a great climax, the chorus of the song and the story have been bouncing around in my mind for decades. The Hanging Tree with its unusual and unexpected twist, and the very beautiful 3:10 To Yuma with its tremendous arrangement, chorus, and Frankie delivering a poignant performance about a determined cowboy. City Boy could have been the weak song of the group, but not in Frankie's hands.”

“Hell Bent For Leather has terrific, rousing western songs, done in a rich style that makes you feel you are back in the Old West.”

Jewels Of The Sea – LES BAXTER****

Sunken City/Stars In The Sand/Sea Nymph/Singing Sea Shells/Dolphin/Dawn Under The Sea/The Enchanted Sea/The Girl From Nassau/The Ancient Galleon/Coral Castle/Dancing Diamonds/Jewels Of The Sea

Conductor and arranger Les Baxter released several impressionistic albums of exotica, a musical style popular in the late 1950s and early 1960s. Jewels Of The Sea is one of the most highly regarded.

“Contains Sunken City, which is pretty much the ultimate exotica track, the link between Debussy and Tangerine Dream.”

“To a composer the sea offers wondrous motion, a shimmering surface of flowing mystery. Les Baxter gratefully accepted these things, and distilled them into exotic miniatures of dream-like beauty - sparkling, opalescent gems. Dreamy, sensual, iridescent, abstracted, this is quintessential Les Baxter. Baxter invented exotica, and imposed his passion for Stravinsky and Debussy on escapist travelogue themes, to create a unique form of popular music that was far from 'easy listening' in the conventional sense.”

“Around the time Capitol released this LP exotica was either peaking or starting its decline into obscurity, and Les Baxter was still kicking out at least one release a year. Here he delivered the goods again by proving with this album he could still create a cohesively themed record without resorting to bird calls or cheap whistles.”

"Jewels Of The Sea has a dream-like essence mainly carried by a floating body of strings accompanied by winds that dart back and forth like shoals of fish. Quiet rhythms turn up on some of the numbers as well, as do shimmering keyboards, but all these elements blend nicely together as none of them overpower each other. There are a few dull tracks for me, such as the title track at the end which feels like a ballroom serenade. However, the good outweighs the bad, so its fine.”

“Jewels Of The Sea, oozes about as many distinctively classical qualities as popular music in the mid-20th century would have allowed. I've set aside enough time to play this entire LP on several different occasions and it still effectively quenches my hunger for Baxter, exotica, and space age bachelor pad music alike. The fact that it’s a little more challenging just makes it all the more entertaining.”

Emotions – BRENDA LEE****

Emotions/Just Another Lie/If You Love Me(Really Love Me)/Crazy Talk/When I Fall In Love/Around The World/ Swanee River Rock/Will You Love Me Tomorrow/I’m Learning About Love/Georgia On My Mind/Cry/I’m In The Mood For Love

Brenda sticks to the formula of her previous album mixing ballads with some more upbeat material. Emotions registered a slightly disappointing chart placing although the title track was a US top ten hit single. (US:24)

“Emotions stayed with the approach she'd used on This Is...Brenda, mixing gorgeously produced Nashville orchestration with a bit of rock & roll and lush pop ballads. While it was the kind of record that could appeal to both kids and adults, it wasn't watered down, as the production on its own was pretty delightful to listen to, matched by the excellence of Lee's incredibly (for a teenager) mature vocals.”

“Brenda's songs and vocal performances were priceless to me. As much as I was in awe of Brenda's vocals on the ballads, I was always delighted to hear the rockers as well. Too bad the people at Decca Records steered Brenda to record lounge music during most of her sixties recordings. I'm sure Brenda was always a rock and roller at heart.”

“This is a great album choice for any Brenda Lee fan. Many of her best tunes are included. Here among the great ballads are some uptempo rockers.” “You would think that voice is coming from a more mature individual. It has that rock, soul, rockabilly style.”

“This little girl could sing, the best torch singer of her era.”

“Emotions is a killer song by one of the best female singer of all time. Just listen to her range.”

Basin Street East Proudly Presents – PEGGY LEE****

Day In Day Out/Moments Like This/Fever/The Second Time Around/One Kiss-My Romance-The Vagabond King Waltz (Medley)/I Got A Man/Peggy Lee Bow Music/I Love Being Here With You/But Beautiful/Them There Eyes/Just For A Thrill-Yes Indeed (Medley)/Peggy Lee Bow Music

Basin Street East Proudly Presents captures live performances by the Queen of Jazz Peggy Lee, at the legendary night spot, recorded in January and February 1961. (US:77)

“Her appearances at Basin Street East are part of showbiz legend. She always sold-out the club. This LP captures her at her live best. Every song is a gem. My personal favourite is I Love Being Here With You. Peggy wrote the lyrics and it was her opening number for many years. If you ever wondered why Duke Ellington called her 'The Queen' this will remove any doubts.”

“This live album has got to be up there with the top of Peggy Lee at Capitol. Every track is wonderful, the orchestrations top-notch, and even the crowd is in a great mood. From the opening Day In Day Out to a great live version of Fever, her voice was never better. The haunting But Beautiful ranks up there as one of the best treatments of this song, and surely Them There Eyes, with its incredible brass arrangement, will keep you spellbound. The selections are terrific.”

“Here is Peggy, completely relaxed and at ease with her music, her orchestra, and her fans, showing her range of styles.” “A true live recording of the inimitable Miss Peggy Lee, at her best, joyfully interacting with the audience and responding to their appreciation.”

“While she was never a 'belter' in the grand Garland style, her appearance at Basin Street East certainly proved she could delight an audience with upbeat, faster tempo numbers. I Got A Man, Them There Eyes, and of course Fever are all standouts.”

“It doesn't get much better than this. A terrific live recording at the legendary night club. The Second Time Around is one of my favourite tunes, and no one sings it better than Peggy Lee.”

“Peggy Lee is the consummate performer, knowing that she and the band are one, and we get to experience her singing in an intimate setting.”

At The Copa – CONNIE FRANCIS***

Ol’ Man Mose/It All Depends On You/Many Tears Ago/You Always Hurt The One You Love/Shein Vi De L’vone-Dance Everyone Dance (Medley)/Jealous Of You/Mama/Smack Dab In The Middle/You Made Me Love You-Swanee-Rock-A-Bye Your Baby With A Dixie Melody-My Mammy-Toot Toot Tootsie (Medley)/When The Saints Go Marching In-Bill Bailey Won’t You Please Come Home

Like many artists of the time Connie Francis attempted to move out of the teen idol straitjacket to appeal to a more adult market. She demonstrates her versatility on this live 'supper club' performance, but the relatively low US album chart placing of At The Copa suggests that her fans had not fully embraced this change of direction. (US:65)

“Connie leaves the whining behind on this one and belts out some great supper club songs. Whether it is the gospel flavoured When The Saints Go Marching In, Jolson melodies, or Italian and Jewish favourites, Connie knew what she was doing and wows the audience.”

“I was truly amazed how versatile and powerful Connie's singing voice is. This is a live supper club performance at the famous Copacabana in New York City. All of the songs are gems and I particularly like Connie's tribute to Al Jolson.”

“This was Connie's first Copa and NYC appearance. Her performance is amazing when one considers her tender age at the time. She is a very young star who handles the Jolson medley so competently. Her swinging versions of Ol Man Mose and Smack Dab In The Middle are first rate. It All Depends On You sounds reminiscent of the time this song was written. There's none better than the great Connie Francis, and this live recording reflects this.”

"This is a 'must-hear' for any Connie Francis fan. It was recorded in 1960, early in her career, and is a wonderful study of a first-rate 'supper club' performance. You can hear the audience's reactions to her every sung or spoken line, and experience the atmosphere of the legendary Copa. Connie's pure and powerful voice, incredible rapport with the audience, impeccable taste, fabulous phrasing and overall enthusiasm for every song she sings make her number one in my book.”

"Whoever says that Connie Francis was nothing but a late 50s rock 'n' roll wannabe needs to listen to this LP. What a class act. Connie Francis can swing and perform with the best of 'em, and have a really good time as well.”

Mr Lucky Goes Latin – HENRY MANCINI****

Mr Lucky Goes Latin/Lujon/Tinpanola/Rain Drops In Rio/Siesta/The Dancing Cat/Cow Bells & Coffee Beans/The Sound Of Silver/Tango Americano/No-Cal Sugar Loaf/Blue Mantilla/Speedy Gonzales

Mr Lucky Goes Latin features some more numbers from the TV series, this time given the Latin treatment by Henry Mancini, when his reputation and popularity was at a peak. (US:28)

“Mancini recasts some of the numbers he wrote for the popular CBS TV series Mr. Lucky in a light Latin vein. This release also features two of his best cuts in a circus-minded mix of harpsichord and trombone Rain Drops In Rio and the noirish ballad Blue Mantilla; once again, Mancini strikes a fine balance between jazz atmospherics and lounge flourishes. Furthering his stock in after-hours slinkiness, Mancini goes widescreen on layered stunners like Lujon and The Sound Of Silver, while taking the conga line to over-the-top extremes on the glibly titled Cow Bells & Coffee Beans.”

“Topped off by stellar contributions on guitar and drums Mr. Lucky Goes Latin qualifies as yet another highly entertaining release from Mancini's early-'60s prime.” ,p> “I was a fan of Mr. Lucky when it was on TV, but the best thing about it was the music and when Mancini also did Mr. Lucky Goes Latin, that was unbelievable. Really great music on top of the Mr. Lucky original.”

“This is a jazz classic. You get a good idea of the musicianship of Henry Mancini.”

“It really gets into some sonic gorgeousness, the kind that Mancini is known for and does best. Lujon, for instance, has a haunting sweeping string melody with some very cool downward chord changes. I think it's one of Mancini's classic cuts. Blue Mantilla is another slow weeper, equally remarkable. And of course there's also Mancini's playful side, represented by cuts such as Rain Drops In Rio or No-Cal Sugar Loaf.”

“Mancini prided himself on his versatility and range. It is in full evidence here.”

“Goes Latin is wonderful blues and bounce at the same time. Mancini was at the top of his game back then.”

There’s A Party Goin’ On – WANDA JACKSON***

There’s A Party Goin’ On/Lonely Weekends/Kansas City/Bye Bye Baby/Fallin’/Hard Headed Woman/Tongue Tied/It Doesn’t Matter Anymore/Tweedle Dee/Sparkling Brown Eyes/Lost Weekend/Man We Had A Party

Wanda Jackson was the best known female rockabilly star of the early 1960s and on There’s A Party Goin’ On she again manages to show the boys a trick or two.

“Do you like rockabilly and talented singers that can go from sweet innocence to hellcat at the push of a button? I know I do. That's why this is a great album for me; Jackson at the height of her prowess was capable of ripping a two-minute number like nobody's business.”

“While she was somewhat forced to follow-up Let's Have A Party with more party-related songs, they're as high-energy as their predecessor and are still fun to listen to and don't overstay their welcome. Add some great originals and a few great takes on such contemporaries as Charlie Rich and Buddy Holly and you'll find yourself having a great time.”

“No surprises as this does what it says on the cover firecracker. Okie rocker Wanda Jackson's style - shrill raspy staccato bursts - sometimes catch her own band off-guard, gasping as they catch up with her sub four minute mile antics. Set-wise it conforms to contemporary conventions; thus Jackson's unique sparkly leads, show how conservative production can limit even the most willing backing band, brand her as more than a novelty in an increasingly corporate rock 'n' roll environment.”

“Wanda may not have been the first woman to sing rockabilly, nor was she the last by any means, but whereas the rest of these women seemed just a bit too 'ladylike' to really cut raw rockabilly, Wanda was the exact opposite.”

“One thing that set Wanda apart from other female rockabillies is there's never a sense of cutesiness or that she was only doing it to sell a few more 45's. This girl was country born and bred but had a deep love and respect for R & B.”

“Wanda Jackson is the Queen of Rockabilly, she growls, and moans with her voice often purring like a cat. She rocks, stomps and swings her way through these songs, showing she was a capable rockabilly and blues singer. One surprise is Jackson handling of the jazz standard Kansas City with ease and verve.”

Swing Low – SAM COOKE****

Swing Low Sweet Chariot/I’m Just A Country Boy/They Call The Wind Maria/Twilight On The Trail/If I Had You/Chain Gang/Grandfather’s Clock/Jeanie With The Light Brown Hair/Long Long Ago/Pray/You Belong To Me/Goin’ Home

Swing Low by Sam Cooke was loosely themed around 'songs from another era', some of which are spiritual or gospel in nature. Includes the British and US top ten hit single Chain Gang.

“Most of Swing Low consists of pop repertoire (including Broadway material), albeit songs that have a devotional, reflective aspect, or a spiritual tone, and the production is very full. The choir and brass are slightly overdone on the title song, but almost everything else is a study in understatement that plays to the quiet strength in Cooke's voice.”

“In contrast to many of the singer's early RCA LPs, where one must pick and choose the jewels from among weaker moments, Swing Low is the man and the voice in full glory across most of the album.”

“If parts of his other early-'60s RCA albums represent a tragedy of wasted opportunities, through bad song choices or worse arrangements, Swing Low falls on the other side of that line, where one hears a phenomenal talent moving in almost precisely the right direction.”

“A lilting eclectic album that barely puts a foot wrong as SC tackles inspirational, 19th century, cowboy, pop, soul and swing songs which create a very uplifting, charming, coherent and surprising whole. Sound quality, vocal production, band, production and arrangements are all excellent."

“A nice transitional album from Sam, and the most satisfying one since his self-titled debut. Bland pop tunes with syrupy strings dominated his early albums, but here for the first time a few pure soul songs sprout into the mix. Swing Low contains the beautiful title track with its soaring horn charts, the heart breaking Chain Gang and the lovely ballad They Call The Wind Maria. The rest, with the exception of the gospel soul appropriately entitled Pray, fall back on traditional pop ballads, give or take You Belong To Me. Better things were to come, but you get some pretty potent stuff on this little gem.”

The Soul Of Ike & Tina Turner – IKE & TINA TURNER***

I’m Jealous/I Idolize You/If/Letter From Tina/You Can’t Love Two/I Had A Notion/A Fool In Love/Sleepless/ Chances Are/You Can’t Blame Me/You’re My Baby/The Way You Love Me

First album release from the husband and wife soul duo who would achieve more widespread commercial success in the mid 1960s. The Soul Of features Ike on guitar and Tina on powerful vocals.

“The first early-'60s Ike & Tina Turner album, with Tina sounding tentative at times, and other times gaining confidence as the song progressed. They were far from a finished, polished act, especially in the studio. Tina was still determining how much power and sensuality she had in her voice and was developing her delivery and presentation, while Ike was honing the backdrop, and his band learning when to push and when to lay out behind Tina."

“The Soul Of Ike And Tina Turner, their first album, was recorded with the fabulous Ikettes while they were on tour and comprised almost exclusively Ike Turner compositions. All but three of the tracks also appeared on singles and there is remarkably little padding on the record.”

“When the dust settles this might end up being duo's most important work. Whatever commercial success they achieved later in their career, these gritty, sweaty and finger-poppin’ songs are where Ike & Tina came from.”

“Horn-driven dance material of the early 1960s with the irresistible Ikettes harmonizing in the background, their dark voices matching Tina's lusty screams note for note. The most surprising thing about this LPs is how exciting it sounds today; basically it is a compilation of very strong singles with no filler, just great music all the way.”

“This is of course very early Turner material, but that's not a bad thing. This album is fully of catchy and fiery numbers you can easily bop along to as Tina belts 'em out and Ike stars on the guitar. To me, you could definitely tell by this album that this dynamic duo were going places.”

“In their prime, the Ike & Tina Turner Revue specialized in a hard-driving, funked-up hybrid of soul and rock 'n' roll that, in its best moments, rose to a visceral frenzy that few R & B acts of any era could hope to match.”

Songs To A Swinging Band – CONNIE FRANCIS****

You’re Nobody ‘Til Somebody Loves You/Ol’ Man Mose/How Long Has This Been Going On/My Love My Love/It Might As Well Be Spring/Taboo/Love Is Where You Find It/I Got Lost In His Arms/Dat’s Love/Angel Eyes/Gone With The Wind/Swanee

Songs To A Swinging Band sees Connie Francis moving towards a more adult audience as she demonstrates her versatility performing big band numbers, backed by a large orchestra.

“Sultry and cool, Connie gives the performance of a lifetime. This might be the best album by Connie to date. She delivers some great standards giving them her special kind of magic. Her voice is perfect, she purrs and belts her way through the twelve songs, completely forgetting about her usual 'sob in the throat' delivery. I have no idea why this album wasn't a success when it was released as it deserves to be called a real classic.”

“Connie Francis could sing any kind of music, but Big Band is probably her best. Songs To A Swinging Band is a fabulous testament to her ability with good material. The songs are A1 standards, the balance between voice and band is perfect, the arrangements are spectacular, and Connie's voice soars above it all in the most magical and memorable way. It is truly a treasure of a recording and, in my opinion, has been overlooked by musical critics for years. For those who think Connie was only about Stupid Cupid and Where The Boys Are, think again.”

“This 1961 release was Connie's most mature venture at the time, exploring swing and big band. She is backed by a huge orchestra. The uptempo material drives home like a jackhammer. In sharp contrast, the ballads are soft and heartfelt. Listen to her pulsating version of the classic Swanee, then to the soft and wistful It Might As Well Be Spring. Sounds impossible, but Connie makes it work, as only she can.”

“Connie Francis' bubblegum hit singles didn't really represent her talent. But this album is a gem, consisting of great, sophisticated standards performed with powerful big band backing. I don't think Connie Francis ever sounded better.”

“One of Connie's best albums. Her vocals are bright, clear and strong. This LP contains many unusual tracks for Connie and the orchestrations are just as unusual. This album highlights Connie's versatility, from ballads to swing, a contrast to what we might usually expect. Connie can do it all, with style and charm.”

The Swingin’s Mutual! – GEORGE SHEARING & NANCY WILSON****

On Green Dolphin Street/Oh Look At Me Now/The Nearness Of You/You Are There/Born To The Blue/Blue Lou/ Lullaby Of Birdland/All Night Long/Inspiration/The Things We Did Last Summer/Don’t Call Me/Let’s Live Again

The Swingin’s Mutual! was a well received jazz collaboration between Nancy Wilson and George Shearing comprising six vocal tracks from Nancy plus six instrumentals with just George.

“The Swingin's Mutual! is a wonderful album by the great Nancy Wilson who sings alongside The George Shearing Quintet, and what a great sound they produce. This is music at its very best and fans of both will be thrilled by this. Overall, it has terrific numbers proving that when this pair worked together there was magic in the air.”

“The choice of material is excellent, with most songs true to the Cole Porter/Duke Ellington school of sophistication. Ms. Wilson's vocals are bell like in clarity, with pitch, dynamics and inflections simply right.”

“Nancy Wilson with The George Shearing Quintet provides the best of both worlds. I've always been a fan of the mellow jazz sounds of the quintet and this pairing was perfect. Nancy Wilson always had perfect enunciation to go with a voice that was clear and crisp without being strident, and George is well known over the years for his knowledgeable backing of vocalists and making such collaborations memorable.”

“I've listened to this many times and never tire of it. Nancy's vocals are fabulous. A wonderful range of music from torchy All Night Long, to jaunty The Things We Did Last Summer. Her voice is passionate, her phrasing stylish. Shearing's instrumental tracks are tasty too.”

“This is light classic jazz, not the junk that calls itself 'smooth jazz' you find today. Everyone on the album is a solid player, and the quintet's instrumentals are among Shearing's best in his lengthy career. Jazz vocal fans, piano jazz fans, fans of either Nancy or George...it seems like a 'must own' item to me.”

"A great glimpse into the genius of both George Shearing and the absolutely incredible Nancy Wilson. Her vocals are effortless and smooth as glass, while being accompanied by Shearing on a delicate yet bold piano. Sit back, relax and enjoy."

New Juke Box Hits – CHUCK BERRY***

I’m Talking About You/Diploma For Two/Thirteen Question Method/Away From You/Don’t You Lie To Me/The Way It Was Before/Little Star/Route 66/Sweet Sixteen/Run Around/Stop & Listen/Rip It Up

New Juke Box Hits, from rock & roll pioneer Chuck Berry, comprised several of his more obscure own compositions, together with interpretations of other artists hits.

“Whilst New Juke Box Hits is a good rock and roll album, it is not regarded as one of his better efforts, with Chuck covering material from several other artists and writers and coming up with no hits himself.”

“Many people don't know how many-sided Chuck really is, and this album is a good chance to get familiar with his ballad side. There are some Latin-feelings, gentle blues, jazzy pop-ballads and, of course, several rockers and everything in between.”

“Like most albums of the day, New Juke Box Hits was based around a single, I'm Talking About You. The rest is made up of obscure (though wonderful) Berry written tracks like the funky bossa nova of Thirteen Question Method and rampaging versions of such songs as Rip It Up and the venerable Route 66. Unlike many of his contemporaries, however, Berry's energetic performances and wild, inimitable electric guitar style make every song he sang sound like his own composition.”

“Highlight of this record is the soft rocker Route 66, which I consider one of Chuck's best ever. There are also a couple of throw away-songs, a silly pop-slower Little Star and an uninspired 'straight from the sheet' sounding reading of Rip It Up.”

“The album may be the least essential of the initial five Chuck Berry’s LP’s issued by Chess Records. While New Juke Box Hits is not as strong as some others, one can hardly argue that a collection which includes I’m Talking About You and Don’t You Lie To Me isn’t worth attention. The remainder of the album is a little more subdued than what was expected from Chuck at the time. While New Jukebox Hits houses the anecdotal Thirteen Question Method and the haunting Stop & Listen, it would have benefited from a Johnny B. Goode or two."

“Average Chuck Berry was still better than most of what was being released during the early 1960s. There are none of his definitive hits here but what was included was a solid example of Berry’s type of rock ‘n’ roll.”

A Golden Treasury Of Bilk – ACKER BILK***

Should I/Snag It/Pretty Boy/New Orleans Stomp/Corrine Corrina/Coming For To Carry Me Home/Buona Sera/Gatemouth Blues/Club Foot/Lord Let Me In The Lifeboat/Who Rolled That Stone Away/Imperial Echoes

Acker Bilk gradually moved away from trad jazz to include more pop and easy listening tracks. Golden Treasury Of Bilk includes the British top ten hit Buona Sera. (UK:11)

“Although Bilk was certainly well on his way to embracing the pop mainstream by this time, and his ear for melody was certainly leaning toward the more popular end of things, still his stabs at the traditional Go Tell It On The Mountain is nothing if not rousing.”

“Very much a signpost for the slow demise of trad as a major power in the land, nevertheless, this is a heartily enjoyable album.”

“As a trad jazz musician, Bilk rejected the use of amplified instruments and was also against the use of saxophone, most commonly associated at the time with bop and hard bop jazz. He preferred instead the instrumentation most commonly associated with jazz music prior to World War II. As a result, his early recordings featured Bilk on clarinet, with accompaniment on banjo, trumpet, trombone, drums and piano.”

All The Way – FRANK SINATRA****

All The Way/High Hopes/Talk To Me/French Foreign Legion/To Love & Be Loved/River Stay ‘Way From My Door/Witchcraft/Its Over Its Over Its Over/Ol’ Macdonald/This Was My Love/All My Tomorrows/Sleep Warm

All The Way comprises a retrospective collection of singles and B-sides from the last years Frank Sinatra spent at Capitol records. He would soon set up his own record label Reprise. (US:4)

“At this point Sinatra was singing pointless pop songs whilst under the illusion that Elvis was just a passing fad. I gave it an extra half score because he still has the voice.”

“As a compilation, by definition it lacks the thematic unity of his best albums from this period. However, four of the dozen songs are by Sammy Cahn and Jimmy Van Heusen, including the title track and High Hopes. Along with Witchcraft these are the three best songs on the album. You will also find an interesting take on another kiddie song, Ol' MacDonald, which is done as a sort of jazzy farmer's daughter joke.”

“All The Way was composed by Sammy Cahn, famous for several songs, including High Hopes. Frank Sinatra also sang that little hit. His voice is world class, so you won't be disappointed.”

B.M.O.C – THE BROTHERS FOUR****

I Am A Roving Gambler/Well Well Well/Sweet Rosyanne/St James Infirmary/Riders In The Sky/When The Sun Goes Down/Green Leaves In The Summer/A Pretty Girl Is Like A Little Bird/My Little John Henry/Beautiful Brown Eyes/The Old Settler’s Song/With You Fair Maid

Best music provided on/off campus by The Brothers Four lives up to its title for this folk group. The diverse B.M.O.C provided them with their highest US album chart showing. The Brothers popularity would wane quite considerably after this. (US:4)

“An ideal artefact of its era: upbeat and enjoyable (and totally inauthentic) presentations of folk songs and folk-type songs. The songs on B.M.O.C are diverse and sung with great subtlety and sophistication, and constitute the group's best work. The range of material on this disc makes it an excellent alternative to a greatest hits collection by the group.”

“I listened to this as a child, and have always remembered the songs. Their vocal harmonies, and instrument mastery, have no equal.”

“I don't know what makes The Brothers Four sound so good. Their voices, their own arrangements, I’m just not sure.”

. “Back to cheerful days that unfortunately won't come back but that nothing and nobody can ever take away from you.”

“The Brothers Four were popular at the same time that The Kingston Trio were big. I felt these guys were just as good and sometimes better.”

The Ventures – THE VENTURES****

Shuck/Detour/Ram Bunk Shush/Hawaiian War Chant/Perfidia/Harlem Nocturne/Blue Tango/Ups ‘N Downs/Lonesome Town/Torquay/Wailin’/Moon Of Manakoora

Early self titled album from The Ventures without too many obvious instrumental covers that would become their staple later on. Includes the British top five hit single Perfidia. (US:105)

“Beyond the straight ballads and rockers, this album shows that The Ventures can also do a trolloping Hawaiian War Chant, a vibrato-dripping Moon Of Manakoora and the juvenile delinquent Harlem Nocturne. The rockers are for the most part even catchier. None of these tunes are considered Ventures classics, but Ram Bunk Shush is on a couple of greatest hits records (though it's not exactly the most mesmerizing number on here).”

“This is primarily soft, country flavoured guitar instrumentals. Overall, quite light weight, and commercially oriented.”

“With more gusto than often found later in their career.”

“Really good album. The Ventures have such a classic, timeless sound."

“The Ventures are a lot of fun. If I were sent in a time machine back to 1961, I'd be relying on this album to fill my rockin' out needs.” “Outstanding album from one of the greatest bands ever.”

“This type of music is not heard much anymore. They were a good group and appealed to a large audience. It's nice to find their music still around.”

Tonight:In Person – THE LIMELITERS****

There’s A Meetin’ Here Tonight/Molly Malone/The Monks Of St Bernard/Seven Daffodils/Hey Li Lee Li Lee/ Headin’ For The Hills/The Far Side Of The Hill/Rumania Rumania/Madeira M’dear/Proshchai

Tonight: In Person was recorded live at the Ash Grove, Hollywood in July 1960. The Limeliters formed part of the American folk revival of the early 1960s. (US:5)

“The Limeliters are by far the best, from harmony to humour. It's almost as if I'm there in concert with them again. Glenn Yarbrough's melodic voice shines in Molly Malone and The Far Side Of The Hill. A well done album which I highly recommend to folk music fans.”

“Their songs, which are ballads from across many lands, consist of hilariously funny audience group participation as well as tender songs of love.”

“The songs stay with you, thanks to soaring harmonies and ferocious energy. The humour retains its bite more than forty years after recording. Most impressively, The Limeliters didn't patronize their audience. Most of the humour on the record is sophisticated, and much of it is unspoken.”

“Lou Gottlieb's quick witted ad-libbing was genius in itself and Alex Hassilev was the quiet baritone. But Glenn Yarbrough, my favourite, has a clear splendid voice that when accompanied by his beautiful whistling brought forth great tenderness to his ballads of lost loves. This album consists of some of their most memorable songs.”

“Nothing beats folk music in live concert form and this particular album, while it certainly shows off individual talents, humour and creativity, is enhanced with some great audience participation. That's what folk music was all about and The Limeliters were great at their craft.”

“This album is a true classic. It's from back in the time when groups were more interested in making music than just noise.”

“The album showed the tremendous poise and versatility the group. This album is a winner all the way and one of the shining examples of the best of the urban folk revival of the early '60s. Each Limeliter was given a chance to shine.”

The Other Chet Atkins – CHET ATKINS****

Begin The Beguine/Sabrosa/Yours/Siboney/The Streets Of Laredo/Delicado/Peanut Vendor/El Relicario/Maria Elena/Marcheta/Tzena Tzena Tzena/Poinciana

On The Other Chet Atkins Chet departs from his more usual country influenced material to play Spanish guitar on this collection of Latin themed tunes. (UK:20)

“The Other Chet Atkins is something of an unusual entry in Atkins' catalogue, an entire album where he plays Spanish guitar, with no electric instruments or country music to be heard. It's a gentle, lilting album, featuring understated versions of The Streets Of Laredo, Maria Elena, Marcheta and Begin The Beguine.”

“Whilst he undoubtedly made his name as one of the best exponents of country music and an exceptional guitarist, Chet Atkins was still capable of throwing a surprise. None more so than on this album, in which he plays the Spanish acoustic guitar, and not one of the tracks was country. Instead there are twelve Latin influenced gems.”

“This, without a doubt, is one of Chet's very best efforts. This style of guitar music is the most engaging that I have ever heard. It is always a treat to hear Chet in a quiet acoustic mode.”

“If you like Spanish guitar music played only the way Chet can play it I highly recommend this LP.”

“This collection is acoustic guitar, and Chet's signature bass (thumb-picked) accompaniment is only occasionally evident. His treatment of the material is extraordinarily sensitive and I think the album deserves a concentrated listen to truly appreciate it."

“A little disappointing. Chet Atkins was a world class guitarist but you'd never know it from this album. He plays well, but not spectacularly here. The arrangements aren't the most interesting, either. The songs are all played on a nylon string guitar, which perhaps was a bit out of his element, which would explain the somewhat lacklustre feel of the performance.”

Sinatra’s Swingin’ Session !!! – FRANK SINATRA****

When You’re Smiling/Blue Moon/S’posin’/It All Depends On You/Its Only A Paper Moon/My Blue Heaven/Should I/September In The Rain/Always/I Can’t Believe That You’re In Love With Me/I Concentrate On You/You Do Something To Me

The material on Swingin’ Session comprises one of Frank Sinatra’s final Capitol recording opportunities where he again raided the vaults to recycle a selection of classic songs that had been released earlier in his career. (US:3 UK:6)

“Sinatra's Swingin' Session is a hard-swinging collection of remakes from his Columbia years, recorded in Capitol's peerless studios. While all of the songs are perfectly realised, 1960 was a very good year (one of many) for Sinatra's voice, and the band is on fire, this is not the best collection of songs turned out by the Sinatra/Riddle team. There are plenty of gems, but you can tell Sinatra is not immersed in the songs the way he was on the earlier Capitol sets.”

“Sinatra's Swingin' Session is a breezy, toe-tapping album that always goes down smooth. It lacks the suave sophistication and pathos of some of the earlier Capitol releases, but everything on here 'swings', just like the album title promises.”

“Simply the best swingin' Sinatra I've heard. Is Sinatra capable of 'not' swinging? Does any musician have a more unerring sense of the beat? Sinatra sounds so cool on this record, in a groove and effortlessly in charge. The songs are all good, they stick in your head, and I really fell in love with Sinatra's style and voice on this one. A good mixture of upbeat and moderate tempo tunes.”

“Sinatra's Swingin' Session finds the Chairman of the Board at the peak of his powers. With a strong assist from Nelson Riddle, he nails one classic after another: This recording was one of Sinatra's last for Capitol and it remains among his best. In terms of vocal mastery, nothing from Reprise comes close.”

“Frank sounds so relaxed and smooth on Swingin' Session because he was quite prepared for these songs and knew exactly what he wanted to do vocally. Sinatra's phrasing musical ideas are brilliant and he sounds as in control of the material as one can be. He turns these songs inside out, and in several instances re-inventing them as he goes. Its exhilarating to listen to what he is doing - and yet he makes it sound so easy.”

Shirley – SHIRLEY BASSEY***

In The Still Of The Night/Let There Be Love/All At Once/For Every Man There’s A Woman/I’m In The Mood For Love/So In Love/If I Were A Bell/There Will Never Be Another You/Hooray For Love/Too Late Now/I’m Shooting High/Ev’ry Time We Say Goodbye

Shirley Bassey was Britain’s most successful female vocalist in the early 1960s, appealing mostly to the adult market with her powerful MOR ballads. Shirley was her second album for Columbia. (UK:9)

“Shirley Bassey in her early days as a performer - recorded in the early 1960s. Great musical accompaniment, the voice is not the full developed Bassey of the late 60s early 70s, but the promise is there.”

“This is pretty much the finished article here and there is no denying the power and quality of Shirley's voice. The songs are wonderful as well, long before all that Hey Big Spender stuff.”

“The numbers feature competent but not exciting work by Geoff Love: pretty much your standard saxes-and-strings nightclub style, with the occasional bizarre touch (chirping crickets on In The Still Of The Night and a completely unnecessary choir on I'm In The Mood For Love).”

“Bassey's brassy voice works well and does a lot to cut the overtly sentimental factor of many ballad albums, as does her slight accent. She doesn't dig too deeply into the lyrics, but her voice is thrilling enough that it takes a while to notice this, and by then, you've stopped caring too much. Not to say that there aren't some really good interpretations here: So In Love and Too Late Now are both superb, as is the little heard All At Once."

At Newport – NINA SIMONE****

Trouble In Mind/Blues For Porgy/Little Liza Jane/You’d Be So Nice To Come Home To/Flo Me La/Nina’s Blues/In The Evening By The Moonlight

Nina At Newport registered an acclaimed live performance by jazz legend Nina Simone at the Newport Jazz Festival, Rhode Island, recorded in June 1960. Includes a mixture of traditional songs coupled with more recent tunes. (US:23)

“A consistently very good album. It makes me wish I'd been there in Newport. Trouble In Mind starts and I get hooked. But its her version of You'd Be So Nice To Come Home To that leaves me speechless.”

“Some of these tracks are original tunes, some re-workings of traditional songs. All of them showcase her immense passion, her stellar voice and her fantastic piano playing.”

“I don't need to write about how amazing Nina Simone was, and how much wonder she brought into the world of music. Every listener has heard her voice, even those who haven't realized it.”

“To call Nina Simone a jazz singer is to neglect the depth and range of her artistry. A classical pianist, folk singer, protest singer and songwriter, her arrangements are harmonically rich, varied, and rhythmically experimental, while her voice can go from lounge singer-smooth to raw and exposed in the space of a verse.”

“The performances here are simply electrifying, one highlight being Simone's heartbreaking and soul baring version of I Loves You Porgy."

“At Newport was by far Nina's highest charting album, featuring stellar performances of Trouble In Mind, Porgy, Nina's Blues and more.”

“To me, she was the last of the very great jazz singers. Just one of the most beautiful voices ever.”

“You'd Be So Nice To Come Home To is one highlight. Night club jazz played with style and grace, flowing in and out of time, with a commanding vocal.”

Mitch’s Greatest Hits – MITCH MILLER**

March From The River Kwai & Colonel Bogey/The Yellow Rose Of Texas/Sing Along/The Bowery Grenadiers/Song For A Summer Night/Silly Little Tune/The Children’s Marching Song/Do-Re-Mi/Hey Betty Martin/Bonnie Eloise/Walkin’ Down To Washington/Hey Little Baby

Mitch Miller was enormously popular in the USA from the mid 1950s to the early 1960s and his singalong LPs sold in the millions. He was less successful in the singles chart although his version of The Yellow Rose Of Texas was a US No. 1. (US:9)

“Even among aficionados of lounge and kitsch, Mitch Miller, producer of the Sing Along With Mitch series on record and TV, is second in reputation to Lawrence Welk as a purveyor of white bread '50s musical dreck. Yet Miller was one of the most innovative, resourceful producers in recording history.”

“It's almost as if Miller challenged himself to create hits from the homeliest material he could find, tunes like The Children's Marching Song or The Yellow Rose Of Texas. That he succeeded so well says something either about popular taste or the power and appeal of a well-made record.”

“Recommended for those who groove to Mitch Miller as campy enjoyably bad music.”

“There are, I think, several facets to Mitch Miller. The choir conductor, the march conductor and the novelty musician. This collection should have been called 'A Mitch Miller Portrait' as it features each of these categories."

“This is a fun LP for those of us who grew up watching and hearing the Sing Along With Mitch television show. The songs and arrangements make this a fun album for kids or adults who have never even heard of it. A good selection of tunes.”

“If you like singalongs, this LP is very good. It is a reminder of days gone by. Mitch was very popular in the 1950s and 60s. Great retro listening.”

“I grew up with the sounds of the 50s. I like the music of that time frame a whole lot better than that of today. Mitch Miller had a unique sound, presenting the best singalong tunes.”

Make Way – THE KINGSTON TRIO****

En El Agua/Come All You Fair & Tender Ladies/Jug Of Punch/Bonny Hielan’ Laddie/Utawena/Hard Travelin’/ Hangman/Speckled Roan/The River Is Wide/Oh Yes Oh/Blow The Candle Out/Blue Eyed Gal

The Kingston Trio were undisputed leaders of the folk revival in the early 1960s but they would soon be challenged by more creative and innovative rivals. Make Way would have disappointed by not making the top spot again. (US:2)

“While a modern day listener may find folk music somewhat simple in content and approach, these factors were exactly what made the music so appealing in the late '50s and early '60s. No more than a guitar and a voice were needed to set forth ballads of love and murder.”

“Make Way includes a charged-up version of Hard Travelin’ and Hangman. All of the group's trademarks - tight, smooth harmonies, traditional material and energetic presentation - govern these sessions. Beware, though: old fans and the young at heart will feel the urge to sing along with The Jug Of Punch no matter who is in the room.”

“The pre-Beatles early 1960s were best defined by wonderful protest songs; songs of social injustices and the issues that resound to this day. Folk is deeply entwined in our consciousnesses, our history and our lives. Folk, which is a musical version of story telling, is an excellent unifier which brings people together.”

"Make Way has none of their more outstanding efforts, although Blow The Candle Out is good."

“It brings back memories of my favourite group and I find myself singing with them just as I used to do way back when. This music sounds as great today as it did back in the 60s.”

“The Trio's patented tight, smooth, perfect harmonies and uplifting performance show their experience and shine brightly from first track to last. As an introduction to the folk music of the period, there are few albums better than this. It's perfect for both Kingston Trio fans and folk music novices.”