Moon River – LAWRENCE WELK***

Moon River/Tonight/Exodus/Around The World/The Sound Of Music/Till There Was You/I Could Have Danced All Night/You Gave Me Wings/Some Enchanted Evening/Wish You Were Here/Love Is A Many Splendored Thing/ You’ll Never Walk Alone

Moon River features more easy listening tracks from orchestra leader Lawrence Welk, this time featuring some well known movie or Broadway songs. (US:4)

“The good old days when American music was wholesome. No cussing and swearing, no glorifying crime and violence or degrading women. Just songs that were meaningful and were intended to keep the soul happy. Makes one wonder what did we did wrong to let music degenerate to the trashy state that it is in today.”

“Lawrence was at the forefront of the easy listening market, offering interpretations of the hits of the day in a style that was unique.”

“Hear Tonight (from West Side Story) and other wonderful songs from the movies and Broadway.”

Midnight Special – JIMMY SMITH***

Midnight Special/A Subtle One/Jumpin’ The Blues/Why Was I Born/One O'clock Jump

Midnight Special was an album of extended jams of mostly covers from jazz organist Jimmy Smith and his band, and was his last recording on the Blue Note label. (US:28)

“This is where things are becoming formulaic. Smith had explored a variety of styles on his Blue Note albums, but by the time of the sessions that would be released as Midnight Special he had more or less found his groove and chose to stick to it. The result is not bad, but also not really particularly engaging.”

“This is my favourite Jimmy Smith album. I could listen to Smith's organ and Turrentine's tenor saxophone roll down the tracks on the title cut forever. Their performances are soulful and funky. To my ear, Smith has never had an equal as a jazz organist, and this album demonstrates why. Turrentine is excellent throughout. It is often too easy for forget how talented he was as a player.”

“The title track is most assuredly perfect for listening to late at night. A Subtle One is a typically jubilant Stanley Turrentine piece. The remainder are cover songs. Jumpin' The Blues keeps the happiness of going. Why Was I Born reminds me of a Christmas song. You could probably play it when relatives came over and they'd be none the wiser. The LP ends with a comical version of the Basie song One O’clock Jump. The boop-boop sound from Jimmy Smith's organ is definitely the ‘Jump’.”

“Smith provides some of his greatest jams here with Midnight Special, running to ten minutes, one of his longer jams. It feels like an extension to Back At The Chicken Shack and continues the same style of Smith's organ and Turrentine's dirty sax, putting forth some cool jams. I really liked Smith's rendition of Basie's One O'Clock Jump which ends the album off strong.”

“I love Jimmy Smith's music, and this is one low-down, groovy album, where nothing is overplayed and every chord sounds like it was struck with a distinct purpose.”

"Just open, sit back and enjoy repeatedly. A particular moment in time when the artists just come together to create a timeless masterpiece. The Hammond growls in pleasure.”

Let There Be Drums – SANDY NELSON***

Slippin’ & Slidin’/Tequila/My Girl Josephine/Big Noise From Winnetka/Let There Be Drums/Bouncy/The Birth Of The Beat/Quite A Beat/Get With It

It was very unusual for a drummer to take centre stage and achieve commercial success. Sandy Nelson managed this feat with Let There Be Drums. The title track hit single reached the top ten in both the US and UK. (US:6)

“Drummer Sandy Nelson leads a jazz combo through a set of swaggering instrumentals that sound exactly like the music you hear in the juvenile delinquent movies of the 50s and early 60s. Even the ten-minute drum solo, The Birth Of The Beat, on side two sounds cool in the background of a party. The rest is a lot of danceable fluff.”

“Let There Be Drums is more than just an album title. It's a proclamation from above, a call to arms that galvanized an entire generation of aspiring drummers. The infectious title cut proved Sandy Nelson's second and final top ten hit, and its bombastic drum sound remains a rock & roll archetype, distilling the immense power and allure of bashing the skins in well under three minutes. Like no one before him, Nelson captures the fundamental frenzy that is the essence of rock drumming, and his performance remains the template for successive generations of players to follow. The remainder of Let There Be Drums isn’t too bad either.”

“Side two is quite experimental (The Birth Of The Beat at 10 minutes) while the first side has three jazzy covers and two more originals.”

“Sandy Nelson is one of the best drummers of all time, and a fine music composer as well. Let There Be Drums is a great album.”

“Sandy Nelson's Let There Be Drums brought back great memories of the 60s. Anyone who loves the old rock and roll, will love this.”

“Anyone who has an interest in drums will appreciate this album. Check out Sandy's style. It's most unique and powerful here.”

Last Night! – THE MAR-KEYS***

Morning After/Diana/Alright OK You Win/Sticks & Stones/Misty/Night Before/About Noon/One Degree North/Sack O Woe/Hold It/Ebb Tide/Last Night

The Mar-Keys were a soul driven instrumental group from Memphis with prominent saxophone, trumpet and organ. The Last Night! title track was a US No. 3 hit single.

"Last Night was a great early-'60s instrumental rock hit, and an important one in helping to establish the basic sound of Stax soul music. It's the linchpin of the album, and despite the single's greatness, the LP is a mediocre, filler-filled effort that typifies the low standards of the full-length rock recording at the time. These are basic sax- and organ-driven soul-rock dance instrumentals, good for dancing to in the live shows The Mar-Keys were doing, but pretty boring one after another on record.”

“Last Night was the first ever Stax album, issued through Atlantic, to capitalize on the success of the title tune. The music is honking saxophone, organ, drums, everything for a good sixties party, in your club, on the beach or at home.”

“The Mar-Keys were the first house band at Stax. The emphasis of this group, was the horn. All of the tracks are great listening, and these are great musicians, but many of the tracks are just nice instrumentals, something new at the time. If you think you might like hear the roots of horns in pop and R & B, this is a great place to start. The million people who bought the hit single Last Night were on the right track.”

“Fantastic disc of early sixties instrumental soul music. Musicians include members of Booker T and The MGs and The Memphis Horns. The music is dated but well played and very cool.”

“The first album from The Mar-Keys, the hit title tune, Last Night went a long way towards establishing the Stax soul sound.”

“I am a big Mar-Keys fan, and love the solid stuff, but I have issues with some of this material. However, Last Night doesn't even require comment - a stone cold classic.”

“If you love your jazz-rock with a lot of lovely wheezy Hammond B3, buy this LP. If you're too young to remember the 60s you might like it anyway.”

If You Go – PEGGY LEE****

As Time Goes By/If You Go/Oh Love Hast Thou Forsaken Me/Say It Isn’t So/I Wish I Didn’t Love You So/Maybe Its Because (I Love You Too Much)/I’m Gonna Laugh You Out Of My Life/I Get Along Without You Very Well/(I Love Your) Gypsy Heart/When I Was A Child/Here’s The Rainy Day/Smile

Jazz vocalist Peggy Lee tackles another selection of songs from the Great American Songbook. If You Go showcases her voice at its most romantic and seductive.

“Peggy's last good album - she's already slipping into a downward spiral of uninspired Broadway traditionals, but there's enough life left in these to be still somewhat engaging.”

“This is another collection of songs from the Great American Songbook. Just a warning - don't play this if you're tired - you might fall asleep. At no stage does the tempo rise very much - every song here was selected to showcase Peggy's seductive voice at it's most romantic. There are some albums on which Peggy likes to swing a bit, but you won't find any of that here.”

“In this current world of ordinary singers, Peggy Lee still stands out as a true blessing to the popular song. Nobody interprets a lyric with such class, technical skill and subtle emotion. If there was a national school for singers, this album would be required study.” “This is a classic artist from the time when the standards for excellent jazz singers was established.”

"If You Go, conducted by Quincy Jones, is a sterling example of musicianship at its best and sung exquisitely by one of the greatest singers of 20th century popular music. Definitely one of a kind. This collection is a must for any true music lover.”

“Not a single blemish here. Absolute beauty. The best female vocal performance I have ever heard. Magnificent many times over.”

“None of the giants among American singers is as 'economical' as Peggy. Pick out a standard that's been done by several or more vocalists and just compare. Peggy's is bound to be the briefest, yet there's never a sense of incompleteness, of anything missed or left undone.”

Hey Let’s Twist – SOUNDTRACK**

Hey Let’s Twist/Roly Poly/I Wanna Twist/Peppermint Twist Part 1/Keelee’s Twist/It’s A Pity To Say Goodnight/ Mother Goose Twist/Joey’s Blues/Let Me Do My Twist/Blue Twister/Shout/Na Voce Na Chitarra E Poco E Luna

The dance craze teen movie Hey Let’s Twist starred Joey Dee & The Starliters together with some now forgotten support acts. The title track was a US top twenty hit single. (US:18)

“The soundtrack to a fictionalized biography of Joey Dee and the Peppermint Lounge.”

“As corny as this movie gets it's a gentle reminder about when music movies had some ethics and family values.”

“The music is just great. If you are a fan of the era, or just want to see what was going on in America when Elvis was in the army, this is one place to look.”

“Another rock 'n' roll/quasi-dramatic picture from the 60s, this film features that one hit wonder ‘Peppermint Twist’ Joey Dee."

Golden Piano Hits – FERRANTE & TEICHER****

Exodus/Canadian Sunset/Autumn Leaves/Bewitched/Begin The Beguine/Tchaikovsky Concerto/Miserlou/Till/ Warsaw Concerto/Nocturne In E Flat/Near You/Quiet Village

Golden Piano Hits is not a greatest hits package but instead features some well known tunes from the piano duo Ferrante & Teicher, kicked off by the definitive version of Exodus. (US:30)

“No matter what piece they performed, you couldn't help but drift away from where you are to another, better place. Too bad there is so little of them today to share.”

“The subtle, hypnotic talents of Ferrante and Teicher appeal to a relatively narrow and very discerning audience, Obviously, Exodus is the highlight of the disc, but their intuitive touch for dynamic piano driven instrumentals is apparent throughout.”

“Ferrante and Teicher are masters at turning background music into music that refuses to be ignored, Light the fire, turn off the lights, and sit back and enjoy hours of relaxing, romantic instrumental masterpieces.”

“These are more than romantic background music or dinner music. Listen to the tones and melodies which are carefully woven into larger themes.”

“For those of you who are younger but love the sound of piano, try listening to these tracks. No blasting jarring big acoustics here to destroy the ambience. Yes they don't write or play them like this anymore.”

“This was a pleasure to listen to. Such elegant music." “Exodus is the star track on this LP, quite short but it does contain all the tracks most people would need. Their trademark two piano plus big orchestra sound is present on all tracks, performed to a high standard. Unless you're a really big fan, this collection has all you'll need.”

Flower Drum Song – SOUNDTRACK****

Main Title-Overture/A Hundred Million Miracles/The Other Generation/I Enjoy Being A Girl/I Am Going To Like It Here/Chop Suey/Grant Avenue/Dream Ballet/Gliding Through My Memoree Fan Tan Fanny/Love Look Away/ Sunday/You Are Beautiful/Don’t Marry Me/Finale: Wedding Procession-Wedding Ceremony-End Title

The musical film Flower Drum Song starred Nancy Kwan, James Shigeta and Miyoshi Umeki and follows the plot of the Broadway stage show exploring conflicts between the traditional and integrated outlook of the main characters in an American Chinatown community. Music by Richard Rodgers, lyrics by Oscar Hammerstein II. (US:15)

“The story of Chinese immigrants in San Francisco may have been forward looking in the late '50s, when the sight of a stage largely full of Asian-heritage actors was surprising on Broadway. However, after decades of increased ethnic pride, it now seems stereotyped. The fact that the show's best-known song, I Enjoy Being A Girl, taken out of context, sounded anti-feminist didn't help."

“This is one of those shows that is rarely heard these days, possibly because in this era of political correctness it is difficult to find a place for it. This is a great shame as this score is certainly of similar quality to Rodgers and Hammerstein’s better known works. Although a few numbers are a little irritating, particularly those set in the night club, some of them are sublime - Love Look Away is glorious.”

“The romantic numbers are beautifully orchestrated, the fun numbers sparkle and the swingers swing. The singers give first rate performances but the outstanding contribution comes from the orchestra. The Overture and the Dream Ballet are two of the highlights of the album. Incidentally even the maligned Chop Suey is fun here.”

“Rodgers and Hammerstein's Flower Drum Song is one of those hopelessly happy and inspiring offerings from the early 1960s. Lovely throughout, from the light and happy A Hundred Million Miracles to the very amusing version of Don't Marry Me Best known for the Nancy Kwan song I Enjoy Being A Girl, the soundtrack is multi levelled and a nice slice of life.”

“The story is a charmer. Old meets new and east meets west as generations and cultures differ in opinion where matters of the heart are concerned. Rodgers and Hammerstein's words and music tell this wonderful, comic and sweet love story perfectly. Long time fans will love the way their favourites sound on this LP."

Close Up In Swing – ERROLL GARNER***

You Do Something To Me/My Silent Love/All Of Me/Shadows/St Louis Blues/Some Of These Days/I’m In The Mood For Love/El Papa Grande/The Best Things In Life Are Free/Back In Your Own Back Yard

Pittsburgh born Erroll Garner was one of the most commercially successful jazz pianists of the 1950s. His only UK album chart entry came with Close Up In Swing. (UK:20)

“If you are a newcomer, this is a perfect piece of Garner's trio work. His compositional skills are clearly represented here, as nearly half the tracks are originals.”

“Close Up In Swing features Erroll at his hard swinging best. Buy it, it's joyous.”

“Showcases pianist Erroll Garner in typically brilliant and witty form with his 1961 trio, which also included bassist Eddie Calhoun and drummer Kelly Martin. Whether it be a sly My Silent Love, All Of Me or a joyful Back In Your Own Backyard, Garner is heard throughout in his prime.”

“The overall results are quite memorable, which is not a surprise, for Erroll Garner always seemed incapable of playing an uninspired or indifferent solo.”

Doin’ The Twist – JOEY DEE & THE STARLITERS***

Peppermint Twist Part I/Ram Bunk Shush/Ya Ya/Sticks & Stones/Shout/Peppermint Twist Part II/Hold It/Fanny Mae/Honky Tonk/Mashed Potatoes

The Twist craze wasn’t just Chubby Checker, everybody was doin’ it in 1961-62. However, it mysteriously disappeared without trace in 1963. Joey Dee’s live contribution, Doin’ The Twist includes the hit single Peppermint Twist Part 1, going all the way to No. 1. (US:2)

“They are definitive early-rock live tracks. You can practically feel the heat and the crowds as these guys get into grooves that are just brilliant. The organist, in the days before those tinny electronic organs, can suddenly swoop in and move everything to a whole new level of intensity. And the drummer's left hand must have been a blur all night long, beautiful high-speed shuffle work that just doesn't quit.”

“Can't say enough about how great this LP is. It's so good and such quality, you think you're right there with Joey Dee and The Starliters, twisting all night. Go back in time and twist like we did back in the 60s.”

“This group put the Twist on the map (along with Chubby Checker) Great doo-wop and twist dance tunes. Party on big time with this one.”

“I had the Live At The Peppermint Lounge LP when I was a kid and loved it, especially the extended Peppermint Twist cut. What blows me away about these recordings is the overall energy of the music, especially the guitar and keyboard work - amazing stuff.”

The Young Ones – CLIFF RICHARD***

Friday Night/Got A Funny Feeling/Peace Pipe/Nothing’s Impossible/The Young Ones/All For One/Lessons In Love/No One For Me But Nicky/What D'you Know, We've Got A Show & Vaudeville Routine (Medley)/When The Girl In Your Arms Is The Girl In Your Heart/Just Dance-Mood Mambo/The Savage/We Say Yeah

Despite being one of the best remembered British LPs of the early 1960s this movie soundtrack, with the exception of the hit singles, consists mostly of only average material. The Young Ones topped the UK album chart, and the title track, probably Cliff’s best ever single, was a well deserved UK No. 1. Also included is the UK No. 3 The Girl In Your Arms plus The Savage, a No. 10 hit from The Shadows with an excellent B-side Peace Pipe. (UK:1)

“Cliff goes the Elvis route and fills the album with vacuous show songs, absolutely nothing to do with the excellent pop and rock that had built up his fan base. Seven show songs here including one long medley, almost every note and word of which, especially the big band arrangements, are pure cliché. However there are two classics - the seminal title track which is gorgeous and madly evocative of the pre-Beatles era and the tough Shadows classic The Savage. Everything else is empty show business vacuity.”

“Okay, this is a little 'show-tuney', but it's got the original recording of The Young Ones. Mellow surf rock as it is, that’s cool.”

“Another film from the sixties with Cliff Richard and The Shadows, which was a lot of fun to watch and great songs to listen to and enjoy.”

“It was sheer joy listening to this nostalgic collection. A journey to my childhood days. Excellent collection.”

“I've never been a massive Cliff fan, but there's a certain innocence about this and that gives it a real old-fashioned charm.”

Chubby Checker/Bobby Rydell – CHUBBY CHECKER & BOBBY RYDELL***

Swingin’ Together/Your Hits & Mine/Jingle Bell Rock/Teach Me To Twist/Side By Side/Jingle Bell Imitations/What Are You Doing New Year’s Eve/My Baby Cares For Me/Voodoo (You Remind Me Of The Guy)/Walkin’ My Baby Back Home

A self titled collaboration from Cameo-Parkway’s two biggest stars, which showcased their very different musical styles and approach on this one off venture. (US:7)

“In December of 1961 they joined forces for a rendition of the Christmas song Jingle Bell Rock. It was a catchy pop take on this classic Christmas song.”

“Two of Cameo-Parkway's biggest artists at the start of the 1960s, the decision to have the pair link up for a joint album proved inspired. There is a sense of fun running through the whole album, most notably on Your Hits & Mine in which Bobby sings the hits of Chubby Checker and vice versa. Throw in a couple of Christmas songs and you have the perfect album for a party, sung by two of the most successful artists of the day.”

“If you like Chubby Checker or Bobby Rydell you would want this in your collection. I like it and I think you can really feel the friendship they had on this album.”

Do The Twist With – RAY CHARLES***

Tell Me How Do You Feel/I Got A Woman/Heartbreaker/Tell The Truth/What’d I Say/Talkin’ ‘Bout You/You Be My Baby/Leave My Woman Alone/I’m Movin On

Do The Twist was a miscellany of tracks from Ray Charles’s Atlantic years, opportunistically re-packaged to exploit the popularity of the Twist dance. None of the tracks specifically relate to the Twist since they were recorded before the dance craze started. (US:11)

“A low-budget compilation of early Ray Charles material. The songs are great, but better-mastered versions and more complete packages are available on other labels.”

“I remember reading music reviews when I was pretty young and thinking that Ray Charles was in the 'adult' class...certainly nothing that would interest my more adolescent musical interests...in short, he was pretty boring...but I kept seeing his name. Then I heard What'd I Say. Oh. Now I get it. So I went looking for this song and only found it on this album, with a cover that clearly screamed, 'We want to hop on the cash bandwagon called The Twist.' I didn't own this one though it owned me as Ray Charles music has since then. If you are only venturing into the deep and wide waters of Ray Charles music, this isn't a bad place to launch your boat.”

“What can I say? Great composition, great voice, great music, great songs. What more can I say? Ray Charles was a genius.”

“Ray Charles made real music. He wasn't mass-produced and mass-commercialized like today’s artists.”

“What I'd Say is an obvious classic and the song that made Ray Charles a household name.”

“The Atlantic years were where the real action was, when he found his own unmistakable voice, when he practically invented soul, when he honed his delivery as an entertainer. When he was at his best, there simply wasn't anyone who could touch him."

Andy Stewart – ANDY STEWART***

Mae Sae Bad/By The Lochside/Kissin’ In The Dark/My Hameland/Bonnie Lass O’ Fyvie/Cailin Mo Ruin-Sa/The Heart Of Midlothian/The Road & The Miles To Dundee/That’s The Reason Hoo I Wear The Kilt/When You & I Were Young

Andy Stewart was very popular in Britain during the sixties as a singer of traditional Scottish songs of the kind that are to be found on this LP. However he is best remembered today for the novelty number Donald Where’s Your Troosers. (UK:13)

“Andy Stewart was a Scottish national treasure and his music still is. If you like the skirl o' the pipes and the folksy sound of the Highlands, this one's for you.”

“His style is down to earth folk music, very lively, very familiar, and fun. He has a 'hard not to sing along with' voice which is great for folk and country music. See if he doesn't make you smile.”

“If you like traditional music and want to hear it sung as it has been for generations round fireplaces, in pubs and at gatherings, with all the gusto and spirit with which it was meant to be sung, then you can hardly do better than Andy Stewart.”

“There was only one Andy Stewart. In song or poem he was a master, and a great comic. He could do the lot.”

“Its not just having a good voice, but knowing how to sing a song - Andy has got it. The orchestra nicely follows the vocals, not the other way round as is so often the case today.”

West Side Story – FERRANTE & TEICHER****

Overture/Maria/Tonight/Somewhere/I Feel Pretty/Camelot/Gigi/Carnival/Three Coins In A Fountain/Fanny/Around The World In Eighty Days

Ferrante & Teicher, with their twin piano sound, specialised in movie and Broadway tunes. The first five tracks are from West Side Story with the remainder successful movie themes from the late 1950s. (US:10)

“Ferrante & Teicher made their reputation with their arrangements of movie music in the early '60s. The duo are best remembered for their twin-piano work. The arrangements spotlight the pianos, but they employ a full orchestra and often a chorus as well.”

“A great classic instrumental recording. I would recommend to any who love the lush instrumentals of the 60s.”

“I have always loved Ferrante and Teicher. Here they are at their best. This is a wonderful collection of beautiful movie melodies.”

“Elegant music. Light the fire, pour the wine, kick back and listen.”

“Anything done by Ferrante & Teicher is marvellous. I love Tonight. Their music is a treat long gone but still appreciated.”

Berlin Melody – BILLY VAUGHN***

Berlin Melody/Michael/Mexico/Wooden Heart/Together/It Happened In Adano/Autumn Love Song/Blue Tomorrow/Clair De Lune/Blue Moon/Till I Waltz Again With You/Serenade Of The Bells

Berlin Melody was a collection of mostly older standards from Billy Vaughn, with a few more recent hits thrown in for good measure. These Dot album covers were consistently uninspiring. (US:20)

“Berlin Melody hints at the orchestra's enormous German popularity with the title song previously known as the Berlin Polka and the traditional Wooden Heart, adapted for Presley when he made the movie GI Blues. Add Clair De Lune, Serenade Of The Bells and oldies Blue Moon and Together, for what is generally a formulaic sound and style with only occasional lapses towards a wider orchestral diversion (It Happened In Adano, Summertime etc.), but it's a happy toe-tapping sound that still retains its instant appeal.”

“Berlin Melody offers a jazzed-up Clair De Lune, a lovey-dovey self-penned Autumn Love Song and several other sweeties.”

“Here we have another great collection of hits and awesome recordings of standard material. Billy's re-recording of Autumn Concerto is a highlight of this LP.”

“This is a great album. This kind of music is just not available anymore.”

The Temperance Seven 1961 – THE TEMPERANCE SEVEN***

Pasadena/Chili Bom Bom/Vo-Do-Do-De-O Blues/Falling In Love Again/TCP/Dinah/Oh Baby/East St Louis Toodle-O/Kaiser Drag/Hard Hearted Hannah/I Wonder What’s Become Of Joe/Autumn Leaves/My Blue Heaven/Finale

The Temperance Seven played 1920s style jazz but unlike their trad revival contemporaries they played it very much tongue in cheek. The Temperance Seven 1961 includes the British top five hit single Pasadena. As a novelty act the Seven quickly faded, despite their undoubted talent. (UK:8)

“The Temperance Seven were already six year veterans of the music world when their hit You're Driving Me Crazy, re-ignited an interest in 1920s style jazz. The group and their producer George Martin were quick to capitalise on that success, issuing the single Pasadena to great acclaim. The album 1961 would similarly become a top ten success before the year was out.”

“Superb renditions of 1920s music. These were the best of their kind and the songs, together with the way they were performed, conjure up an image of the era. Very enjoyable.”

“Excellent selection of music that will have you toe tapping in no time.”

“Why did the Seven ever go out of fashion? Was it something to do with pop stars taking themselves too seriously? One way or another a great collection of tunes played by true professionals.”

“While they maintained the illusion of aloof detachment, the audience would leave with the aching jaw you get from continuously smiling. Even when listening alone I am tempted to turn to an imaginary member of an audience to share the positive communal feeling generated by their music. If you are having a noisy party, particularly twenties fancy dress, or you just want to listen to something that doesn't have a serious note in it, then this is a good place to start. How many albums count on a sousaphone these days? Picture a speakeasy with sawdust on the floor.”

“There used to be a vogue for twenties and thirties jazz ages ago, and this collection by The Temperance Seven reawakened quite a few memories. Not the best jazz band in the world, but all very listenable good time stuff.”

Sinatra Plus – FRANK SINATRA*****

The Birth Of The Blues/The Nearness Of You/What Makes The Sunset/I Begged Her/I’ve Got A Crush On You/ Saturday Night/The Things We Did Last Summer/I Concentrate On You/Its Only A Paper Moon/You Go To My Head/Bim Bam Baby/How Deep Is The Ocean/One For My Baby/Bess Oh Where’s My Bess/All Or Nothing At All/Spring Is Here/S’posin’/Time After Time/Stormy Weather/All Of Me/The Music Stopped/September Song/ Sweet Lorraine/Try A Little Tenderness/My Blue Heaven/When Your Lover Has Gone/I’m Glad There Is You/Ol’ Man River

Sinatra Plus was a British double album release showcasing a selection of Frank Sinatra’s recordings from the 1940s. The insatiable demand for his music meant that Frank was never out of the album charts during this period. (UK:7)

“No matter how much we enjoy the Sinatra of the Capitol years and the Las Vegas era, there is something compelling about these early tracks. Try this. Pick a forgotten song turn down the lights, turn up the volume a bit and be thankful for making this obscure bit of magic available to us.”

“In my opinion, there is that element of restraint in the way he interpreted songs compared to his passionate performances in the succeeding years from 1953. But don't get me wrong, I still consider this to be five-star material. They are truly remarkable.”

“One can easily hear the smooth phrasing and pure tonal quality of young Sinatra's voice in the 1940s, the silky sound that made 'em swoon.” “Great sounding Sinatra recordings made during what was arguably the best period of his singing career as far as the quality of his voice goes. FS could make a good song sound great and that is what he does.”

“The maturing, confident Sinatra of the '40s and early '50s reveals a resonant and deepening voice that combines with a gentleness and tenderness that had to appeal not only to bobby-soxers, but also to their mothers and older sisters who, lonely keeping the home fires burning, were waiting for husbands and lovers to return from war.”

How To Succeed In Business Without Really Trying – BROADWAY CAST****

Overture/How To/Happy To Keep His Dinner Warm/Coffee Break/The Company Way/The Company Way (Reprise)/A Secretary Is Not A Toy/Been A Long Day/Grand Old Ivy/Paris Original/Rosemary/Finaletto Act One/Cinderella Darling/Love From A Heart Of Gold/I Believe In You/Brotherhood Of Man/Finale

The Broadway musical How To Succeed In Business Without Really Trying starred Robert Morse, Rudy Vallee and Bonnie Scott. It opened at the 46th Street Theatre in October 1961 and ran for 1417 performances. Plot involves an ambitious young man who rises from window cleaner to become chairman of the board. Music and lyrics on this Grammy winning soundtrack are by Frank Loesser. (US:19)

“Every time I listen to this, it makes me smile. The songs are all likable and get stuck in your head without being irritating. This is among the best original cast recordings because of the music. It has a great cast with excellent performances. The songs are great and the script is hilarious. This is one of my favourite albums.”

“Many people have come into contact with and grown to love Frank Loesser's work through his most famous musical, the wonderful Guys & Dolls, but in my opinion this is infinitely superior and no Broadway collection can be complete without it. The music, while catchy and fun to listen to, is not extraordinary and, although Loesser's lyrics are clever and creative, he is certainly not my favourite lyricist. The cast is excellent and perfectly suited to the piece, and yet, despite not being overwhelmed by it, I could not stop listening to it. At length, I concluded that it is the story and the nonchalant, carefree feeling of the piece that captivated me.”

“Its perennial cleverness, which is reminiscent of nothing quite so much as Gilbert and Sullivan's better satirical operettas, has been testified to by the many revivals and influences. But this original Broadway recording has a special quality that deserves consideration all on its own, if only for the definitive rendition of its hero, by Robert Morse, its memorable performance in the heroine's part by Bonnie Scott and its stunning orchestrations.”

“The score is filled with plenty of catchy songs, and the basic idea itself is great. Dancing chairmen, singing secretaries, its wonderful. This is one of, if not the funniest musical, to ever grace the stage. The music is great and the content is a plus. Frank Loesser has done a wonderful job.”

Showcase – PATSY CLINE*****

I Fall To Pieces/Foolin’ ‘Round/The Wayward Wind/South Of The Border/I Love You So Much It Hurts/Seven Lonely Days/Crazy/San Antonio Rose/True Love/Walkin’ After Midnight/A Poor Man’s Roses/Have You Ever Been Lonely

Patsy Cline is now regarded as the greatest female country artist but she was relatively little known during her lifetime, particularly in the UK. Since her death in an air crash in 1963 her reputation has continued to grow. Showcase includes her catchy top twenty hit singles Walkin’ After Midnight, I Fall To Pieces and Crazy. (US:73)

“This was Patsy Cline’s second studio album and it would make her a star. Her hits I Fall To Pieces, Crazy and Walkin’ After Midnight are all memorable and definitive country songs. Her covers all showed an artist of depth and talent.”

“Patsy Cline had a unique voice when she debuted in the late fifties. It really goes beyond the notes, the crystal clear intonation, the execution, and her phrasing of the lyrics. Showcase is an absolute treasure of classic country Nashville sound, and is the best representative of Patsy's voice and music I have heard from an original LP.”

“Showcase demonstrates her wide range of abilities; there are many different styles of songs here. Patsy has a few ballads, a few two-step fast numbers, and a few rockabilly influenced tracks.”

“The songs here are classics set in stone, mostly backed by strings and vocal choruses. This is not really true country as much as clever cross-over to pop. Cline sounds excellent and honest as ever, with or without strings. It was orchestration and arrangements that made a huge difference, but somehow in Cline's case it didn't really matter as her singing always had a ring of truth in it, and she really sounded as though she meant what she was singing.”

“Seriously, you'd be hard pressed to find music as true and tenderly loving as Patsy. Possessing the loveliest voice in music history, she sings her way through some fantastic ballads like I Fall To Pieces, and of course the all-time classic Crazy. The instrumental backings are just sweet enough to accentuate her crooning beauty.”

“Little needs to be said. Just stunning, classic country music. She sounds perfect.”

Runaround Sue – DION****

Runaround Sue/Somebody Nobody Wants/Dream Lover/Life Is But A Dream/The Wanderer/Runaway Girl/The Majestic/Little Star/Lonely World/In The Still Of The Night/Kansas City/Take Good Care Of My Baby

After splitting with The Belmonts, Dion enjoyed a couple of years as a pop idol before being swept away by the British Invasion. His debut LP includes the huge hits The Wanderer and the title track. (US:11)

“I love this album. I bought it only for Runaround Sue, one of the greatest songs ever but ended up adoring the rest of the album. Some of the greatest, catchiest tunes are contained on this wonderful release. This album single-handedly proved Dion, as a solo artist, was a force to be reckoned with after he left The Belmonts.”

“Dion pulls out all the stops on this solo LP, which has him very much in the same mode as his previous Dion and The Belmonts career phase. Runaround Sue is pop classic and all the songs are strong on this 1961 gem. A must for all who like the music of this era and singers who know how to deliver a strong performance, which Dion certainly can.”

“In format, it's not a lot different from most other LPs of the time with a couple of hits, a handful of remakes and some token original tunes. However, this is a far more personal LP than you'll find from any other artist of the time. This LP truly represents the taste and personality of the 'Prince of the Bronx'.”

“This is a true classic and an absolute joy. This is one of the few albums of real quality during that time and it helped the up-and-coming rockers to see that there was more to the music business than a slipshod single.”

"Dion provided a bridge from 1950s doo-wop and early rock & roll to '60s pop. Though Dion scored plenty of hits in the early '60s, not least of which being the raw, sassy title track of this disc, he never came across stronger than on The Wanderer. This paean to waywardness was full of fun and freedom, in short, all the things that made rock & roll important to begin with.”

“A lot of the album is other people songs. But he did it in the Bronx soul way - the Dion way.”

West Side Story – SOUNDTRACK*****

Prologue/Jet Song/Something’s Coming/Dance At The Gym/Maria/America/Tonight/Gee Officer Krupke/I Feel Pretty/One Hand One Heart/Quintet/The Rumble/Cool/A Boy Like That-I Have A Love/Somewhere

The Academy award winning musical West Side Story starred Natalie Wood and Richard Beymer and was based on the highly successful Broadway stage show about a romance that crossed the New York gangland divide. The soundtrack LP was massively popular, topping both the US and UK album charts for months on end. Without question, it is one of the finest musicals of all time. Music by Leonard Bernstein, lyrics by Stephen Sondheim. (US:1 UK:1)

“I just love the West Side Story soundtrack. It sounds fresh and clear as if you were there. The wonderful songs stay with you all day. There's a perfect combination of romantic songs, emotional songs and humorous songs. This is truly a classic.”

“It certainly captures the genius that was Leonard Bernstein. This unmatched score remains one of the greatest to ever reach Hollywood or Broadway. Superb recording of a musical masterpiece, and I don't foresee any cast outdoing it in the near future.”

“West Side Story has so many great numbers in one show. It has two of the most beautiful ballad love songs, Maria and Tonight. The Officer Krupke number has humour. The whole score is rhythmically strong. The music is as exciting and beautiful today as it was when it first appeared many years ago.”

“Excellence from start to finish, perhaps the greatest soundtrack recording ever. The music unfolds as if it were a greatest hits of Broadway collection. From the excitably jarring musical stabs of the Overture to the soft, silky and saddened strings of the end credits, there doesn't appear to be a false note, song or performance.”

“This soundtrack is just ever so gorgeous, lively and different. The songs are breathtaking and the singers sing 'em as if their lives depended on it. There's not a bad song in sight and all you have to is lean back and take it all in.”

“The music switches between manic, energetic pieces written for dance, which explode at you in a feast of rhythm and melody, soaring ballads, and the heartbreaking, pulsing, life-giving thematic rivers flowing behind the whole show from beginning to end. This show lifts you high up, and it breaks your heart at the top, and it leaves you there crying with Maria as this wise, gorgeous music tries to heal you.”

A Maid Of Constant Sorrow – JUDY COLLINS****

Maid Of Constant Sorrow/The Prickilie Bush/Wild Mountain Thyme/Tim Evans/Sailor’s Life/Bold Fenian Men/ Wars Of Germany/O Daddy Be Gay/I Know Where I’m Going/John Riley/Pretty Saro/The Rising Of The Moon

Debut album from Judy Collins, one of the most celebrated folk singers of the 1960s. A Maid Of Constant Sorrow consists of mostly traditional British and Irish folk tunes.

“Today it is easy to forget what an important part Judy Collins played in the early folk movement during the 1960s. Her debut album of mostly traditional folk songs sounds somewhat dated today, but remains a nice glimpse into a very different world.”

“Absolutely wonderful. A voice of startling purity and power. A thoroughly intriguing selections of songs too. The versions of Wild Mountain Thyme, Bold Fenian Men and The Rising Of The Moon are easily the match of any of the more seasoned male performances I've heard. Fabulous versions of British and Irish traditionals.”

“Collins' voice is deeper here than on any of her later albums, but the purity of tone for which she is famous is evident. All the tracks are English, Irish or Scottish folk songs. Pretty Saro is especially lovely.”

“A Maid Of Constant Sorrow was released in 1961 and listening to it will surprise her fans because this is not the Judy Collins they are used to hearing. In retrospect it is clear that Collins is still learning how to use her voice to her advantage; she tends to stay more in her lower register at this point, and the glorious high notes we associate with her singing is seen only in spots.”

“More of historical interest at this point, because you are not going to find them to be quintessential Judy Collins. However, if you remember the times you can appreciate that this was a period when folk music did not mean commercially viable songs, but more 'authentic' music. The bottom line is that fans of her voice are going to appreciate hearing it at the beginning of one of the celebrated careers in folk music.”

“Anyone looking, on this early Judy Collins album, for something with traditional folk beauty will be seriously surprised by the intensity and darkness found in her performances. The opening track sets the tone with its quite un-nerving acoustic guitar and Collins' deep voice.”

Never On Sunday – CONNIE FRANCIS****

Never On Sunday/Young At Heart/Around The World/High Noon/April Love/Song From Moulin Rouge/Three Coins In The Fountain/Tammy/Anna/Moonglow & Picnic/Love Me Tender/Love Is A Many Splendored Thing

With Never On Sunday Connie Francis sings some of the best remembered movie theme songs from the 1950s, registering her final US top twenty album entry. (US:11)

"It is one of my favourites. Connie's interpretation of each of these songs made them her own. No one will ever top her on these songs.”

“If there is any doubt about Connie's ability as a singer check out this album. Connie sings the best Young At Heart I've ever heard. But the version of High Noon is kind of cheesy.”

“Despite the title, this album features only one song taken from the soundtrack to Never On Sunday. It proved to be an impressive album, proof that Connie could switch her musical style with ease.”

“This is Connie's first movie inspired LP and also one of her major chart successes in the early 60s. She was at the pinnacle of her career when she was asked to sing at the Oscars. She chose the underdog Never On Sunday. The rest is history, as she has become closely associated with this song. Her version of Love Is A Many Splendored Thing is the best cover to date, and Moonglow with the underscore of Picnic in the background is classic. She takes a smaltzy High Noon and turns it into believable drama at it's best.”

“People who dismiss Connie Francis as a fluffy singer should take a listen to this soundtrack album. It does get samey after a while but it is a remarkable achievement. Connie's voice is at its peak and she truly takes the lyrics to heart. Her cover of Young At Heart is a superb example. Every time I hear it I just have to clap. Connie shows she has a sense of humour too with the cheesy High Noon.”

“This was a big album for Connie, her first venture into the movie theme genre. Her recording of High Noon is a stand out, and her version of Love Is A Many Splendored Thing pure drama.”

Milk & Honey – BROADWAY CAST****

Overture/Shalom/Independence Day Hora/Milk & Honey/There’s No Reason In The World/Chin Up Ladies/That Was Yesterday/Let’s Not Waste A Moment/The Wedding/Like A Young Man/I Will Follow You/Hymn To Hymie/As Simple As That/Finale

The Broadway musical Milk & Honey starred Robert Weede, Mimi Benzell and Molly Picon. It opened at the Martin Beck Theatre in October 1961 and ran for 543 performances. Plot involves lonely American widows touring Israel in search of husbands at the time of independence. Music and lyrics by Jerry Herman. (US:10)

“Jerry Herman made an impressive Broadway debut with his score for this musical set in Israel. Nothing can dim the delightful score, and Robert Weede, displays his warm baritone in Shalom. Molly Picon is wonderful with her Hymn To Hymie. The title song becomes a brisk march. You also hear some of Jerry Herman's trademark love songs in Let's Not Waste A Moment and As Simple As That."

“Milk & Honey, Jerry Herman's first Broadway musical, shows the promise of the wealth of memorable scores he would compose in the future. Like all of his scores, the songs remain in your head long after you have put the LP away. This is a mature score, always deeply melodic, sometimes deeply emotional, at other times wonderfully funny, but always touching. I loved the score the first time I heard it, and still love it today.”

“A little rough, a little ethnic, but a good, solid score with good performances. Plus, the opportunity to hear the great Molly Picon. Hummable tunes and clever lyrics, always associated with Jerry Herman, are here in his first Broadway effort. Some of the selections are ponderous, but they can be forgiven - the others are wonderful.”

“This is a magnificent, if somewhat forgotten gem of a musical. Jerry Herman's first Broadway show has a score full of stunning ballads, marvellous comedy numbers and hummable ensemble pieces. The songs performed by Robert Weede and Mimi Benzell are fantastic, Molly Picon's numbers are witty and catchy and there is a ballad, I Will Follow You that is so beautiful.”

“This musical was written in 1961 and is instantly recognisable as a Jerry Herman. A mixture of his catchy plinky-plonks and his trademark waltzes.”

The Best Of – THE DUKES OF DIXIELAND***

South Rampart Street Parade/Wait Till The Suns Shines Nellie/Georgia Camp Meeting/Hot Time In The Old Town Tonight/Dixie/Muskrat Ramble/When The Saints Go Marching In/Bourbon Street Parade/Eyes Of Texas/South/Down By The Riverside/Bill Bailey

Compilation LP from the New Orleans Dukes of Dixieland revivalist jazz band formed in the late 1940s. They were noted for their successful 'marching' albums. (US:10)

“Too many bands play Dixieland like it was just a dose of medicine they have to swallow each night; The Dukes don't. They obviously get a tremendous wallop out of their music, and it comes clear and sharp on this collection that The Dukes combine enthusiasm with enormous ability.”

“This is Dixieland at its best and purest. For example, listen to The Dukes version of Saints, and many others. Of course, these artists are long gone now, but they remain alive on this recording.” “Not the best musicians to ever play Dixie, but the enthusiasm and the attention to the recording process make this a must have.”

Cookin’ With The Miracles – THE MIRACLES***

That’s The Way I Feel/Everybody’s Got To Pay Some Dues/Mama/Ain’t It Baby/Determination/You Never Miss A Good Thing/Embraceable You/The Only One I Love/Broken Hearted/I Can’t Believe

Quick follow up album from The Miracles, their second of 1961. Cookin’ is a mixture of doo-wop harmony, ballads and more up tempo material, many from the pen of Smokey Robinson

“Cookin’ is a rockin' good time and represents a great time in rock & roll and R & B music. Smokey Robinson is a master songwriter and crafts some memorable songs here. I was not alive during the doo-wop era but really love this style of music, and Smokey and The Miracles are one of my favourite doo-wop acts. Mama is an upbeat rocker where Smokey sings about addressing his mother and telling her that he found a wonderful woman, and though they will struggle financially, they will make it. Everybody's Gotta Pay Some Dues is a rich string laden number about what everyone will have to endure in relationships: pain and loss.”

“Cookin' With The Miracles is the group's second album, made during a time when singles, not albums seemed to be a higher priority for Motown. Classic early Motown dance numbers such as Ain't It Baby, Everybody's Got To Pay Some Dues and Mama are songs not commonly found on the big anthology sets.”

“Their second album shows Smokey and Motown starting to 'uptownize' with energetic strings, although it's still one of The Miracles' most uptempo and R & B-oriented efforts. A solid set, with virtually all the material coming from the pens of Robinson and Berry Gordy.”

King Of Kings – SOUNDTRACK****

King Of Kings Theme-Prelude/The Holy Of Holies/Pontius Pilate’s Arrival Into Jerusalem/The Virgin Mary/ Nativity/The Temptation Of Christ/John The Baptist/The Miracles Of Christ/Salome’s Dance/Mount Galilee & The Sermon On The Mount/The Prayer Of Our Lord/Christ’s Entry Into Jerusalem & Tempest In Judea/The Way Of The Cross/The Scourging Of Christ/Mary At The Sepulchre/Resurrection-Finale

The biblical epic King Of Kings about the life of Jesus starred Jeffrey Hunter, Siobhan McKenna and Rip Torn. The stirring soundtrack was scored by Miklos Rozsa. (US:10)

“Miklos Rozsa was the last of the master composers from Hollywood's 'Golden Age'. This score was written just two years after his masterpiece, Ben-Hur. It was an amazing achievement to come up with such original music considering he was revisiting the same genre with similar material so soon. The textures Miklos wrote are lush and exhilarating, the melodies gorgeous and the harmonies have his typical stirring dominant bass line.”

“Boasts a suitably grandiose, often pompous, flavour. It was a style of movie-making, and film scoring, that was coming to the end of its heyday: portentous orchestral strings, swells of volume and march-like tempos indicating danger and crisis, sudden drops in orchestral density marking gentle interludes in which there remained an uneasy sense that the story wasn't over yet. Also on board are plenty of pious massed choral vocals, which are actually the most moving segments, particularly when they vocalize the film's theme. If you go for this sort of thing, King Of Kings has it in spades.”

“Rozsa is one of those composers who could define a film with his score instead of the other way around, and this music does just that. There are themes abound, plenty of great brass writing, lovely wordless choir, and certainly lots of fast-paces action music to be found.”

“King Of Kings boasts one of the most magnificent scores ever composed - too glorious for words. It's astonishing that Rozsa could revisit this same cultural/musical ground so soon after Ben-Hur and produce a work so different, and of such power and beauty.”

“This is a true treasure for anyone who loves great film music, but the 1960s LP only contained a fraction of the score.”

I Remember Tommy – FRANK SINATRA****

I’m Getting Sentimental Over You/Imagination/There Are Such Things/East Side Of The Sun/Daybreak/Without A Song/I’ll Be Seeing You/Take Me/Its Always You/Polka Dots & Moonbeams/It Started All Over Again/The One I Love Belongs To Someone Else

I Remember Tommy was a tribute album from Frank Sinatra to his former boss Tommy Dorsey, for whose orchestra he developed his skills as a vocalist in the early 1940s. (US:3 UK:10)

“I Remember Tommy is a fine Frank Sinatra album that his fans should have in their collections. Frank's voice is in excellent form, but then again, Frank's voice was always in excellent form.”

“Frank Sinatra does a superlative job on this tribute to the great Tommy Dorsey. I highly recommend this for Sinatra fans, fans of Tommy Dorsey and the big band era; and people who like the 'oldies' will be charmed by this album as well.”

“There would not be a Frank Sinatra without Tommy Dorsey, who taught him everything he needed to know about singing. Frank modelled his unique phrasing and breath control techniques on Tommy's marvellous trombone skills. This tribute to his mentor has Frank in top form. He makes his appreciation for Tommy quite apparent, applying the techniques he taught him so well to every recording.”

“As to why it did not achieve the rapport with fans Sinatra hoped for, my guess is that the record buyers interested in Frank's work on Reprise, his own label, were looking forward, and not in a nostalgic mood. Frank put out this record, with songs 20-30 years old, and arrangements in the style of two decades earlier.”

“Some of the songs chosen by Frank were not really top rank. Also, the album as a whole is mid-tempo: the swinging tracks are not particularly bold or forceful, and the ballads are not reflective of real pain. It's all pleasant, and I'm glad I own it, and I will play it every once in a while, but not as often as some others.”

“This is a great LP for someone who likes Tommy Dorsey songs sung with the voice and attitude of the matured Sinatra. Also, the arrangements are a real listening pleasure. He made the music swing while including the Dorsey touch. A ragbag of everything from jazzy tunes to sorrowful saloon songs to swinging, upbeat songs."